Part prog-punk, part art-noise, and part synthesized mayhem, Ho-Ag’s The Word from Pluto is a confluence of sound both dynamic and obnoxious. From technically proficient riffs to interspersed, head-banging rock and underused space-punk, much of the Ho-Ag modus operandi is laudable.

The Roots crew returns with their latest album, Game Theory. The greatest thing that can be said about The Roots is that every album sounds completely different from the previous.

It must be kind of weird to be in Beachwood Sparks and The Tyde at the same time, since neither band sounds like anything else out there, but both could easily be compared to each other. Playing easy going, mellowed-out guitar rock with super sweet vocal harmonies a la The Byrds is what these folks do best, and Three’s Co. is no exception.

French Canadians Les Breastfeeders prove that a garage rock revival band by any other name will still sound like the Hives. With a rabidly squealing frontman, Luc Brien and crew careen through forty minutes of fast-paced but ultimately forgettable mod madness.

The final opus of the late great Jay Dee (a.k.a. J Dilla) entitled The Shining is a fitting departure for an underappreciated, phenomenal beatsmith of our generation. J Dilla’s beats are the epitome of soulful production, often including his famous soul clap, giving drum machines the warmth and texture of an analog set.

Bloomington’s best are at it again. The collective known as Early Day Miners has continued to grow and evolve over the last six years into something that is truly unique. Their newest venture, Offshore, is one of the most fascinating and pleasant musical experiences I’ve had this year.

On The Birds in the Bushes, singer Eva Saalens (a.k.a Inca Ore) and her friends in Lemon Bear’s Orchestra have made their own journey to the proverbial jungle. Though recorded in a house in Cape Meanes, Oregon, The Birds could have been smuggled out of the Far East and few would notice.

The name David Pajo is probably the third-best-known name in the indie-rock genre, right up there with Will Oldham and Steve Albini, and as such, the fact that over the years the three of these men have worked together so much is of no surprise. Pajo‘s name has been attached to such acts as Palace, Slint, Papa M, Aerial M, Zwan, Tortoise, and The For Carnation just to name a few, and this year marks a new chapter in Pajo‘s life, one that will be cataloged simply under the name Pajo.

Saddle Creek is at pains to use the word “voluntarily” when they say that Eric Bachmann lived in the back of his van while recording To the Races; whether they mean to emphasize a) what a crazy son of a bitch he is, or b) that he could afford an apartment if he wanted to, I’m not sure. Either way, a folksinger living in his van isn’t exactly a unicorn.

Frequency is the supergroup you never knew existed. They are comprised of two members from the notorious Advancement of Creative Musicians (AACM) and two members internationally known for their numerous contributions to the world of soul, symphony orchestras, and jazz.

For many of you reading out there, Radio Birdman is one of the best and most important bands of which you’ve never heard. They are the Australian Iggy and the Stooges, Sonic Youth, and Ramones all wrapped into one and have had a lasting influence on innumerable rock bands that have come since.

Abandoning the name El Guapo and boarding the boat for Touch and Go Records was just about the best thing the boys of Supersystem could have ever done. Don’t get me wrong, El Guapo was a solid post-rock outfit, complete with nostalgic memories of 1980s avant-garde hardcore jazz and an impalpable ability to make you groove.