Music: The best local albums of the year (so far)

Yes, six months have zoomed by on the '08 calendar, and at least six local albums arrived on my desk each week. Most are still there, too.

The discs on this annual semiannual best-of list are the ones that were impressive enough to make the leap to the car stereo, home stereo or home computer (the iPod mothership) and withstand heavy listening.

Even more than in past years, this list is as much for casual fans as for the diehards who may already know which Minnesota albums are the biggies this year. At least half of the titles on this alphabetical tally could be recommended to anybody who likes music, not just kids in too-tight T-shirts or the bar staff at the Turf Club. On the other hand, Muja Messiah, Vampire Hands and even Atmosphere's hit album (No. 5 in Billboard!) are definitely -- thankfully -- not for everyone. The best music rarely is.

A nontraditional hip-hop album in many ways, Slug's and Ant's first full-fledged album in three years was also their first with live musicians, and the first time they worked side-by-side while recording. The results are as varied as the drink specials at Slug's favorite Uptown bar, from the uncomfortably personal confessionals "Me" and "Yesterday" to the dark and bleary-eyed epics "Guarantees" and "Your Glasshouse" to Atmosphere's first and perhaps last pop song, "You."

Yep, best one yet from the young indie-folk starlet. Where her ice-queen voice was the selling point on previous outings, her more mature (but no less bleeding-hearted) writing style and the semi-polished, Tchad Blake-mixed arrangements are equally big stars here.

Steve Kaul is another local master of the resophonic guitar, but on his trio's second album he proves to be much more. Named after the instruments in the band (the bass is a rope-strung metal washtub), the album could have instead been called "Fortysomething Workingman's Blues." Kaul's modern, blue-collar acoustic-blues epics, such as "Tin Man" and "Killing Time," are rife with authenticity and vivid storytelling.

Stripping away the twang, fuzz and poppier melodies of his old band, the Jayhawks frontman did not add much new to his largely acoustic and rustic solo debut -- just atmospheric pedal-steel guitar and a little gospel-style harmony. Chris Robinson of the Black Crowes produced the rawer sound, bringing Louris' lyrical and vocal talents to the forefront more than ever before.

Transitioning from an acoustic duo to a full band sounds effortless for husband/wife team Alexei and Channy Moon Casselle -- he of gravelly voiced Crescent Moon rapper fame, and she of serene, siren-like singing ability. Their edgy, starry-night country/folk music is nicely filled in with softly plunked banjo, pretty violin and pristine electric guitar parts. But their intimate, evocative songs are still the attraction, along with Channy's uncanny voice, like Margo Timmons mixed with Joanna Newsom.

Never mind the bloggers. The weathervane indie tastemakers who made TNT a suddenly hot commodity in 2006 just as hastily dismissed the follow-up to "The Loon," but it's as clever and more powerful than its predecessor. Touring for a year and a half straight added extra oomph to the wiry, roller-coastery quartet, and production from Dave Fridmann (Flaming Lips, Low) provided a tad more slickness. Songs such as "Headshock" and "Hang 'Em All" are especially feisty rockers onstage, for which this album sounds tailor-made.

This subversively rhythmic art-punk quartet has already started to mellow on its second album -- and somehow that resulted in a harder-hitting, scarier record. There's a slow-igniting but hellishly hot fire that burns through the swamp-bluesy "Safe Word" and the CD's standout, "No Fun," fueled by singer/bassist Chris Bierden's eerie falsetto and dueling tribal drums. One of the most fascinating and innovative local bands of recent memory.

If this really is the local sax legend's final album, as the title and his age (88) might suggest, then consider it one mightily graceful bow. He lends his elegant, tender style well to the standards "Wee Small Hours" and "Make Someone Happy," featuring taut backing by Peter Schimke, Gordy Johnson and other MVPs. The real prizes are originals such as "Debra's Dream," a lullaby-like ballad inspired by his daughter that says "good night" on several levels.

chrisr@startribune.com • 612-673-4658