Nationalistic

Metal Hearts, Socialize (Suicide Squeeze Records). A little record of big ideas, Socialize brims with unassuming yet formidable masterpieces of achingly beautiful, dreamy rock. Anar Badalov and Flora Wolpert-Checknoff spike their intensely personal indie pop with ethereal harmonies, saxophone squawks and plenty of warm electronic textures as they plead quietly and paradoxically for human connection and solitude. -- Eyl

Juana Molina, Son (Domino). The latest from Juana Molina, an Argentine emigré with a background in, of all things, sketch comedy, initially seems like a fairly standard world-music effort. But it soon becomes clear that the album's gently strummed acoustic guitars and serene singing are building blocks for an impressionistic opus distinguished by organic arrangements and naturalistic sounds. Together, they make Son rise. -- Roberts

Van Morrison, Pay the Devil (Lost Highway). Constructing an unlikely bridge between Celtic soul crooning and country-Western, Morrison puts his own spin on cow classics while throwing out a few of his own. His offspring, including the Mephistophelian title cut and the fetching track "Playhouse," more than stand up to their country cousins, making the trip from Belfast to Nashville downright enjoyable. -- Hutchinson

Murs & 9th Wonder, Murray's Revenge (Record Collection). Cali underground rapper Murs has been putting in work for years, but it wasn't until he connected with Little Brother producer 9th Wonder that he made his best album ever. Wonder's laid-back, soulful production is the perfect match for Murs's witty, insightful lyricism. -- Salazar-Moreno

My Chemical Romance, The Black Parade (Reprise). Some dunderheaded reviewers have fixated on the bleakness of Gerard Way's themes without noticing the glee with which he shares them. Despite the presence of a tune cheerfully named "Cancer," The Black Parade is a kick from start to finish thanks to the theatrical joy that Way and the Romancers exude as they promenade into Hades, skeletal grins firmly in place. -- Roberts

My Morning Jacket, Okonokos (ATO). The antidote to jam bands while still kind of being a jam band, My Morning Jacket brings it home in the live setting. The act's ethereal, reverb-heavy sound is anchored by chiming guitar lines, steady grooves and wistful vocals. Stretching out on 21 live cuts, Okonokos is the next best thing to being up front at Bonnaroo. -- Hutchinson

Nicolay, Here (BBE). Amsterdam producer Nicolay made waves in the underground with Foreign Exchange, his project with Little Brother's Phonte. This year he dropped his debut album, Here, which introduced new talents Wiz Khalifia and Black Spade and continued to display Nicolay's brilliant musicianship, production artistry and song craftsmanship. -- Salazar-Moreno

The North Atlantic, Wires in the Walls (We Put Out). Wires is magnetic. It's an exaltation of stupid punk ardor and art-house intellectualism that in some weird vortex of hand-clapping and fervid guitar-playing makes total sense. The San Diego-based North Atlantic sweats out youthful apprehension that transcends genres, making this release easily one of the most accessible rock records of the year. -- Nguyen

Om, Conference of the Birds (Holy Mountain). Everyone talks as if High on Fire's Matt Pike was the acid-fried brains behind stoner-rock progenitors Sleep. But the other guys -- bassist/vocalist Al Cisneros and drummer Chris Hakius -- prove that Pike ain't got nothing when it comes to super-slow, ultra-heavy, loud-as-fuck drone metal. Two songs in 33.3 minutes, and not a second wasted. -- Nguyen

The Prids, ...Until the World Is Beautiful (Five03). The critical backlash against all things post-punk should halt when it comes to bands like the Prids. Driving, propulsive rhythms and ethereally incendiary guitar draped in shiningly icy synths -- those were the hallmark of the best of early-'80s post-punk. On this release, the Prids update that sound with exhilarating energy and conviction. -- Murphy

The Roots

, Game Theory (Def Jam). The past year and a half has been an emotional roller coaster for the Roots. The effects of Hurricane Katrina and the death of friend and collaborator J Dilla proved difficult to ignore and permeated Game Theory. The Roots' darkest release yet, the album finds the act baring more of its soul than ever before. -- Salazar-Moreno

Siouxsie and the Banshees, Voices on Air: The Peel Sessions (Universal Polydor). Legendary radio host John Peel died in 2004 and left behind an equally legendary body of recordings created to air on his BBC show. The first four tracks on this disc are the band's earliest studio recordings, before it ever released an album. Voices is stark, haunting, jagged music often overlooked by post-punk miners of yesteryear inspiration. -- Murphy

Sivion, Spring of the Songbird (Hip-Hop is Music). Sivion's uplifting lyrics over brass-knuckle beats provide a perfect balance for those who love a raw sound with resolute lyrics. Ranging from his love of hip-hop ("I Still Love H.E.R.") to his love of being a father ("Songbird Saturday") to his love of God ("Today Is the Day"), Songbird exhibits the MC's notable versatility. -- Salazar-Moreno