That's My Dad.

Miguel - Kaleidoscope Dream

Frank Ocean isn’t the only R&B poet worth your attention this year. Enter “Kaleidoscope Dream”: the sexual, dazzling and zealous sophomore LP of soul singer/songwriter Miguel. After an impressive artistic renovation, Miguel comes at the top of his vocal and lyrical game. Whether its the immaculately potent opener “Adorn”, his dreamy psychedelic title track “Kaleidoscope Dream”, the existentially eloquent Alicia Keys collab “Where’s the Fun in Forever” or his most authentic moments on the intimate yet boyish “Do You…” and “Pussy Is Mine”; Miguel keeps his material definitively fresh and wholly consistent. Along with an earnest level of musicianship effort following suit, “Kaleidoscope Dream” earns a well-deserved reputation with a modest yet mature artistic approach for a timeless sounding record. (8/10)

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Zammuto - Zammuto

Former member Nick Zammuto of acclaimed experimental duo The Books returns with his self-titled solo project and new LP: Zammuto. While The Books called it quits at the top of their game (breaking up in 2010, with their last release “The Way Out”), there was a lack of closure in where their final creative destinations were. Well, Zammuto is here to clear up any loose creative ends. Through each of his tracks, Nick concocts an idea sonically, throws in a house of mirrors, and when it finds its way out, smashes it with a sledgehammer (like Gallagher). It’s an explosive musical style, but not of Flaming Lips proportions; think of a more technically defined Anamanaguchi or Animal Collective. With rapping computer voices, absurdly edited jazz and electronic samples galore and the coolest usage of auto-tune I’ve ever heard, it would be a challenge to deny Zammuto’s enthralling qualities. Through all of its skippy, skittery, zany, bouncy, smart and unadulterated fun, “Zammuto” is the most enriching experience the world of experimental rock has this year; heck, I haven’t this much fun since Battles’ “Gloss Drop”. (10/10)

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Beach House - Bloom

If the world of independent music were a diner in the ’50s, Beach House would be it’s own ice cream flavor; orange creme, to be exact. Since their adored 2009 LP “Teen Dream” dazzled listeners, both easy-going and nit-picky, this dream pop duo has undoubtedly taken city and seashore dwellers by storm. Already known their profoundly lush sonic textures and eloquent technical abilities, it comes to no surprise that Beach House didn’t want to change a thing on their latest album: “Bloom”. In fact, Beach House revisits the gorgeous sonic sculpture created on “Teen Dream” and chisels out an extra layer of detail, texture and effect. This remodeling ends up making “Bloom” their most thematic album to date, constructed with punctual compositions and a set of flourishing lyrics to match. These details, while bound with comprehensive traits, are intensely subtle, challenging and hard to wrap your head around, especially to those unfamiliar with Beach House’s sound. Unlike the instant click you’d feel on “Teen Dream”, there is a serious trade-off of patience involved with “Bloom”. From the nautical-sounding opener “Myth” with its glistening guitar tones to the equally heartwarming/breaking “Wild” composed of nostalgic teenage memories, “Bloom” proves to be the most rewarding listening experience of 2012. (8/10)

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Spiritualized - Sweet Heart Sweet Light

With its razor sharp level of emotional control and silky smooth sonic production, Spiritualized’s 7th LP “Sweet Heart Sweet Light” succeeds not only in creating a set of brilliant, catchy tunes, but also as one of the most determined, developed pieces of audio art seen in quite some time. There was no moment of revelation. Nor was there a taint of favoritism. It was a clear cut critical evaluation: “Sweet Heart Sweet Light” is the best indie rock release of 2012. (10/10)

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Lambchop - Mr. M

Good tension in music comes from a calculated set-up. St. Vincent’s 2011 LP “Strange Mercy” was a bipolar masterpiece; it understood how to take ugly and beautiful and sync it up for dramatic results. Through all the madness, it found something very poetic. Lambchop’s “Mr. M” falls right through the potholes in the creating process of musical tension. The album offers mouth-watering, angelic productions but pairs it up with startlingly out of place vocals by Kurt Wagner. The opening track “If Not I’ll Die,” in itself, begins masterfully with a picaresque string and mild-mannered drum accompaniment and then you hear a 54-year-old alt-country singer oddly deliver the lyric “Don’t know what the fuck they talk about.” Listening to this album brings the same uncomfortable feeling of walking in shoes several sizes smaller than yours. Despite its passive-aggressive deliberations, “Mr. M” results as an unorthodox experience that baffles the mind trying to find the beauty in this confusion. (5/10)

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