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Shiv's picks | Mike's picks | Joe's picks

What's more to be written? What's more to be said?

To me, In Rainbows finds a veteran band in mid-to-late career stride, effortlessly polishing off songs that have been in their live repertoire for years. They sound relaxed, assured, and empowered by the unique DIY status they've earned. It's almost as if they're saying "Hi, how are you? This is what we've been up to. Do give a listen." It may be the most down-to-earth Radiohead record since The Bends.

Nicking the metronomic beat employed by any you-name-‘em krautrock band, these three Brits ably shift their collection of re-recorded, previously released singles from the dancefloor ("Collarbone", "Ankle Injuries") to prog-rock instrumental workouts ("Cassettesingle", "Conductor 71") that could easily slide onto an album released over 30 years earlier.

The debut full-length from the Scots' incorporates an indie rock feel into a thick, guitar heavy Mogwai-like soundscape that borders on bombastic excess yet manages to never lose control. Add in singer James Graham's thick brogue and intense, angst-ridden lyrics and you've a curiously unique blend of post-rock, post-shoegazer music.

The collaboration between Winehouse, producer Mark Ronson and backing band the Dap-Kings formed a perfect storm for the recording of her biographically based journey through the stages of post-breakup anger, self-loathing and cautious optimism. This is probably my most listened to record of the year, with "Back To Black", "You Know I'm No Good" and "Tears Dry On Their Own" among my favorite songs. Whether she can repeat the effort remains to be seen.

A C86 inspired indie pop trio from Leeds, their debut contains the requisite amount of jangling guitars, catchy melodies and sweetly sung lyrics with only one song over 3:40 long. A genuinely modern throwback that's instantly endearing, it should connect with fans of Belle and Sebastian, Camera Obscura and vintage bands like The Mighty Lemon Drops and Shop Assistants.

Possibly the most promising band on the list, WFANFC took their name from the motto on the ‘Welcome to Manchester (UK)' sign. This US-only release packages their '06 self-titled debut with this spring's Rocket EP and nearly ten other new and previously unreleased songs for a staggering 29 tracks spread over two discs. Melding acid-tinged beats and tuneful prog-pop, WFANFC could be described as way cooler than Kasabian, less serious than Radiohead and not as tired as The Chemical Brothers.

A blogger favorite upon its overseas release last year, this Glaswegian trio plays guitar pop at the mid-point between The Twilight Sad and Snow Patrol. The recently issued domestic version remixes the entire disc and adds a live version of the title track as a bonus cut.

The five songs on Is Is were supposedly written in 2004 following the release of Fever To Tell and sound more raw than what appeared on last year's Show Your Bones, a record I found a bit glossy and uninspired if not forced. Yessir, I prefer my YYY rockin' and raucous and these may be some of the best songs they've ever recorded.

It's hard to deny Zach Condon's talent. The eastern European influence cultivated on Gulag Orkestar has shifted west to Paris to incorporate his interest in French chanson and, in particular, the work of Jacques Brel. A very richly textured, gorgeous recording with Condon's vocals soaring over the seemingly old world instrumentation, it'd be easy to lose oneself in the music and dream of strolling thru the Latin Quarter. And the kid's 20: amazing.

A no-brainer to get any party movin', James Murphy simply writes great, catchy songs. That's what made Sound Of Silver for me, and although "North American Scum" sounds like a re-working of "Daft Punk Is Playing At My House", a down tempo song like "Someone Great" shows off his versatility. "Watch The Tapes" and "All My Friends" are also terrific songs.

The station's #1 record, I'd been reluctant to warm up to the band prior to this disc. Although "Mistaken For Strangers" and "Apartment Story" are two great, uptempo numbers, more intricate, downbeat songs like "Ada" and "Start A War" ultimately did more to win me over. It's always good to support the hometown, too.

The wild card on my list, the second disc from this UK band features pretty Karen Reilly belting out her best Rid Of Me-era PJ Harvey inspired vocals. Punk and bratty, she leads the band through some taut, in-your-face rockers that, while not entirely original, was a breath of fresh air and at arm's length from any number of UK bands trading on a more predictable type of Britrock sound. Look for the CD to possibly receive a proper US release in 2008, although it's been available here digitally since the summer.

Produced by Bjorn Yttling of Peter Bjorn and John fame, the Shout Out Louds received the benefit of his experience crafting his own band's Writer's Block, and to me, ultimately made the better record. Sure, singer Adam Olenius had people thinking The Cure had a new song with "Tonight I Have To Leave It", but the expansive "Hard Rain" showed what the band could be when not confined to four minutes. A sweet indie pop record that really raised my appreciation for the Swedes.

As a fan of nearly every shoegazing band ever formed, Film School's music has an in on my sweet spot, and their latest was no exception. In addition to "Sick Hipster Nursed By Suicide Girl" providing the best/worst song title of the year, Hideout was a reliable set of melodies set against reverb, distortion, and giant soundscapes.

Thought by some to have been a little on the safe side, I thought the band moved just enough to the center to rein in a bunch of new fans. From a radio standpoint (we do think about that occasionally), The Stage Names offered a multitude of listener-friendly tracks without really altering their sound. Oh, it was good, too.

Guilty as charged in that I'd not really paid much attention to any of their previous work, but it only took their first record in five years to change that. I'd already expected a record of kinda sloppy garage-rawk but was pleasantly surprised by the melodies and pop appeal of "Patty Lee" and "Kiss Kiss Is Getting Old". I'm converted.

I'll admit that I bailed out on the band's polarizing They Were Wrong, So We Drowned and Drum's Not Dead, but came back for this self-titled fourth full-length. Despite being loud in places, it's far less caustic than those previous two records, not that it's a play for the mainstream by a long shot. I appreciated the discs' nod to dark, noisy seminal 80's records like the Jesus and Mary Chain's Psychocandy, Sonic Youth's EVOL, and The Flowers Of Romance by Public Image Limited.

I really liked a lot of the off-kilter beats and horns that Friend And Foe offered up. Another band whose work I was unfamiliar with prior to this release, I found it one of the most interesting rock records of the year. Give it up for a band still willing to experiment and take some chances!

Proving that there's still some indie rock that rocks, this Brooklyn trio's third CD is a punishing slab of a disc that recalls bands like Oneida, Fugazi and Q & Not U. In a way, Mapmaker reminded me of records that used to come out on the old SST label many years ago: old school spirit for modern times, I suppose. I thought it was one of a handful of CD's that provided a bit of a kick to an indie landscape that has seems like it has been moving rock to its fringe ever so slightly.

Gothic songstress Nastasia teamed up with Dirty Three drummer White for a starkly recorded (by Steve Albini) disc that focused on the arresting interplay between the two. With songs comprised of nothing more than guitar, drums and voice, it's an entrancing listen. Nastasia's haunting voice atop White's offbeat, scattered drumbeats made for one of most unique records, to me, of 2007.

A classic sounding, unpretentious, Midwestern (from Kansas) indie rock record that fans of Built To Spill and Grandaddy should enjoy. Check out "Stitch Me Up", "Aaron", "Beast At My Side" and the Lounge Act session they recorded in July.