Japanese MotorsThis Southern California quartet's debut album is full of raucous, infectious tracks infused with a laidback surfer attitude—think the Strokes meet the Beach Boys. While many tracks blend dirty beats with clean melodies, there's always a salty twist, though that might just be the ocean air that practically exudes from the record. JR
CheveuCheveu's art-damaged synth-punk sounds like a blues-informed French Suicide or Metal Urbain on a four-track. Never has apathy sounded so menacing. The live show's menace becomes a murky tension on the album, especially on standout tracks like "Jacob's Fight" and "Unemployment Blues." TB
Dan Melchior und das MenaceThe prolific Melchior, teaming once again with das Menace, showcases his singular songwriting on this relaxed psychedelic punk-pop triumph. The sometimes spooky, sometimes sweet, guitar-driven arrangements provide fitting support for Melchior's surreal lyrics. Christmas for the Crows is another highlight in the Melchior catalog. RW
SpiritualizedJason Spaceman has looked up from his piss-catchers for the first time in five years and delivered the most glorious gospel-flavored Spiritualized record yet. While the rest of the world is busy ripping off his earlier work, Spaceman decided to strip off the gauze and expose all his wounds on the most grown-up shoegaze record yet. MPO
Vivian GirlsAn album that would sound perfect at either Rockaway Beach—Cali or Queens. For those who like their dazzling pop songs a good deal more uncerimonious, the Vivian Girls are positively resplendent. Pretty but thorny, steely but hazy, 21 and a half minutes of tenaciously balanced perfection. MS
High PlacesThe music of Brooklyn's High Places occupies an ethereal realm made from a hubris equal parts organic and artificial. As such, their orchestrated pop confections seem to occupy their own space and time, and the duo's debut full-length is more than just the result of its unique hybrids, it's its own niche. SS
Lykke LiThe latest Swedish phenom is Lykke Li, whose angelic voice has charmed indie and pop fans alike, whether she's breathily confessing she's a "Little Bit" in love or being sassy on "I'm Good, I'm Gone." The latter's Devo-esque beginning is one of many quirks that works in the record's simple, oddball musical landscape. JR
PortisheadFor all the talk about the Axl Rose Medicine Show's "Chinese Democracy" the re-emergence of Portishead after an 11-year absence came relatively under the radar. Which is a shame because Third showed that a little downtime didn't dilute the group's power. It's a claustrophobic, fragile and emotionally aggressive record that was well worth the wait. DSH
Gang Gang DanceAnyone who's questioned Gang Gang Dance's pretentious past can rest assured with the booming sound system of new age exotica and electric boogaloo that Saint Dymphna broadcasts through bright flashes and black-hole dementia. Everything from Afrobeat to desert trip-hop, shoegaze echo to neon-flecked disco-pop is orbited in what is by default the Dadaist party record of the year. KJE
TV on the RadioKyp Malone exclaims that he's "fat and in love" and likewise this unexpectedly upbeat record is a little bloated and oversexed. Nevertheless the band creates a mass of rousing moments, from the angry, electric "DMZ" to the grinding funk of "Love Dog" all the way through the album's gorgeous horns and harmony dénouement. MS