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Only halfway through the Aught Eight, there are a handful of standout discs I would recommend. There are others in the running, but the following have earned the most play time and mindshare at the halfway point.

British Sea Power, Do You Like Rock Music?
The bravado in the critic-baiting title is equaled only by the rafter-shaking anthems – nearly drowning out whispering vocals concerning English football, beer-washed nights and waving flags.

The Cool Kids, The Bake Sale
Chicago’s own drop a stoned-out introduction of twinkling samples and molasses-slow delivery. Proudly flaunting counter-culture habits, this “new black version of the Beastie Boys” forges an album of “Paul Revere”-minimalism and 80’s revivalism.

The Mountain Goats, Heretic Pride
Sharp and immediate songs run the gamut from ridiculous kitsch to sublime, with  interesting turns of phrase and solid melodies. The title track alone is worth the price.

Murder By Death, Red of Tooth and Claw
Southern rockabilly punk with a tinge of spaghetti western scoring brings a unique sound and visually storytelling lyrics about raining ash, fire everywhere, Ennio Morricone, and the evil ways of women.

Nick Cave & The Bad Seeds, Dig! Lazarus! Dig!
He may be in his fifties, but Nick Cave has more swagger, hooks and sleaze than bands half his age. His voice brings gravitas to nearly anything he says, and combined with his Grinderman project last year, makes him one of the great rock survivalist stories.

Clark, Turning Dragon
Acid-fueled chop-shop electronic, aggressively overdriven vocal samples sliced beyond phonetic meaning and dipped in red-lining bass fuzz.

Airbourne, Runnin’ Wild
What these AC/DC-worshipping Aussies lack in schoolboy knickers they make up for in beer, cheap women, black clothing, and cheaper women. Their delivery and gusto put them far ahead of other “old metal” revivalists.

Santogold, Santogold
Compared to MIA for her multiculturalism and total self-confidence, Santogold possesses a far more radio-friendly sound closer to Deborah Harry’s punk aesthetic. One of the most consistent discs of the year.

The Roots, Rising Down
A thrilling uptempo hip-hop album that puts the focus on the microphone far more than most Roots albums. Killer guest spots only serve to raise MC Black Thought’s game as he drops some of his most intricate flows in ages.

Cut Copy, In Ghost Colours
Cut Copy slips seamlessly between the dance floor and headphones, art openings and probably some CW hipster show. Effortless grooves, synthesizers and deep vocals wash over each other through a surprisingly listenable album.

Vampire Weekend, Vampire Weekend
The internet may have turned its back when their Ivy League pieholes graced the cover of Spin, but damn. This album has been worn into the ground with replays and radio interest – and yes, the Paul Simon Graceland comparisons are quite appropriate.

Lil Wayne, Tha Carter III
A flow as ridiculous as his self-aggrandizing claims (Best Rapper Alive, MLK of Hip-Hop, The New Andre 3000, etc) mostly pays off the promise of his ungodly-productive amount of mixtape work the last couple years. The music is a slow grow, but he controls the mic with charisma and a voice that  doesn’t come along often.