Ra Ra Riot 'The Rhumb Line'

Ra Ra Riot's orchestrally-rich, perpetually peppy indie-pop betrays both the band's black back-story and frontman Wesley Miles' poetic ambitions. Drawing from wordsmiths like e.e. cummings and Virginia Woolf, Miles maps human emotion onto the snowy New England landscape, and plots humanity's fraught awareness of their own mortality amidst the natural cycle of decay/death/rebirth. Given that original Ra Ra Riot drummer John Pike drowned in Buzzards Bay in Massachusetts in 2007, there's a sense of sadness in every word, adding layers of darkness and depth to RRR's jaunty indie jams. And the learned, librarian nature of Miles' inspirations makes Ra Ra Riot the coolest combo to flaunt scholastic aptitude this side of their pals Vampire Weekend.

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Max Tundra 'Parallax Error Beheads You'

English electro geek Ben Jacobs spent six years beavering away at his third record; fashioning hyperactive, high-speed pop-songs —that sound somewhat like Frank Zappa programming an early-’80s Atari— in a labour-intensive, neuroses-courting manner. But, as manic as the music may get, Parallax Error Beheads You isn't a work of simple ridiculousness. Singing in a pitch-shifted, Prince-groping falsetto, Jacobs —confessedly obsessed with the idea he'd die before the disc was finished— laces his lyrical comedy with thematic mortality (“nothing happens when you die/you don’t leave your body or fly off into the sky”). Surviving the six-year-ordeal, Jacobs has come out clutching a marriage of musical lunacy and lyrical poignancy worth the wait.

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Of Montreal 'Skeletal Lamping'

After casting Of Montreal as glam-fisted shrine to personal reinvention with the sprawling, dawning, deliriously brilliant Hissing Fauna, Are You the Destroyer?, Kevin Barnes' 9th OM LP finds the flamboyant frontman making like the Elephant 6 answer to Prince. As the band refine their wonky tweelectro-funk licks and melt songs one into the next, Barnes trades in a wanton, lurid, randy theatricality, singing spectacularly ridiculous things like “when we get together/it's always hot magic,” “I took her standing in the kitchen/ass against the sink,” “you only like him because he's sexually appealing,” and “I wanna turn you on/I wanna make you come.” In the normally-sexless realm of indie-pop, hearing such sung aloud seems near pornographic.

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Belle and Sebastian 'If You're Feeling Sinister' (1996)

Glasgow's Belle and Sebastian delivered twee to the masses by way of their wondrous second LP, truly one of the greatest albums ever made. When holed up for years with chronic fatigue syndrome, genius songsmith Stuart Murdoch crafted loving character-studies; story-songs detailing domestic dramas and struggles with faith, Scottish winters and adolescent sexual rites. Together, they play like a tender coming-of-age novel set to fragile, acoustic music, delivered with a conspiratorial whisper. Bordering dangerously close to perfection —there's not a single bad song nor, even, a moment wasted on its 41 minutes— If You're Feeling Sinister has slowly gathered an ever-growing, rabid cult following. It's a true classic.

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