Flaming Lips
Christmas on Mars
(Warner Bros.)

Due to fiscal limitations and a certain bandmate/cast member's debilitating drug use, the completion of the film Christmas on Mars became Wayne Coyne's Moby Dick or his Chinese Democracy. No one complained much, however, as Coyne's band The Flaming Lips kept recording. The film's score plays as big a role as any actor in the piece: symphonic washes, electronic transmissions and harmonic vocalizations deliver emotion and atmosphere that enhance the low-budget sets and bizarre imagery. From despondent to scary to triumphant, Christmas on Mars is an experimental soundtrack that transports the listener on a psychedelic journey to the dark depths of space and back again.  — Matthew Dube

Crooked Still
Still Crooked
(Signature Sounds)

The third album by well-known folk group Crooked Still does what every band hopes for: reaffirms their unique sound while simultaneously exploring new musical territory. Deft fiddling, ethereal vocals, furious banjo and cello playing and the rhythmic walking of an upright bass all combine to weave ballads and upbeat folk tunes from a dense tapestry of sound. Longtime fans might be disappointed by the emphasis placed on richly melodic ballads rather than the foot-tapping dance tunes from earlier albums, but there should still be enough of both to please newcomers and die-hards alike, showing the versatility and creative depth of this talented band.  — Becca Liss

Chris Trapper
'Til the Last Leaf Falls
(Starlit Records)

The name Chris Trapper may not ring immediate bells, but you've heard his songs in films such as August Rush, The Devil Wears Prada, and There's Something About Mary. He sometimes fronts the pop rock Push Stars, but also has a dynamic solo career and a repertoire that's somewhere between the wall-to-wall lushness of Snow Patrol and the chirpy optimism of Great Big Sea. Trapper claims musical brotherhood with the latter; his baritone often resembles that of Alan Doyle. Check out "Black Eye," a song that manages to tackle abuse, car theft and flight, yet still come off as opti-pop with its "everything is gonna be OK" promise. Truly one of the highlights of 2008.  —Rob Weir

Seth Hall
Lucky 13
(Self-released)

This album could only have happened in the 21st century; it's an often seamless amalgamation of many kinds of music. Generally it breathes something of a pop sensibility into a maelstrom of fast-tempo looped beats, effects-saturated, Tre Anastasio/Jeff Beck riffy guitar licks and vintage-sounding keyboards. Sometimes it sounds like a crazy video game or dance track, but on occasion it thins out enough to let you hear just a cool, chord/arpeggio-driven pop tune a la Elvis Costello, sped-up Sublime or even 1989 Firehose. One thing's clear: this guy is one skilled musician. Hall plays/programs everything on the record, and you can almost smell the Real Book under his pillow.   —Tom Sturm