This is the most beautiful and emotionally gripping record I’ve heard all year. A cascading tapestry of dread, ambiguity and ecstasy, “Folly” is flat out astonishing and a total artistic triumph. This moody, shoegazish album is exquisitely detailed and studied yet doesn’t feel fussed over or overwrought. Julian Swales’ guitar tones are tasteful and remarkably expressive and his playing always serves the song and not his ego. The erudite lyrics are dark and mysterious but often personal and accessible. Lush, atmospheric, intelligent, forceful yet restrained, “Folly” stuns like few records I have heard in years. The swoon of opening “Oak Tree” pulls the listener into a dark place but soon sheds light as twinkling guitar chimes glide in and out like fireflies. And listen to the aural bliss produced by Swales’ billowing guitars from 3:30-4:10. “Extravagance” entices with drawn out and well developed melodies. “Disappearance” may mark the album’s peak though. Starting with pretty guitars, the tone shifts and the lyrics move from magical to foreboding. The guitar’s expressiveness on “Disappearance” is something to behold (listen to 1:55 to 2:25). Positively shiver inducing stuff. “Wolves / Crows” bludgeons the listener with its insistent, slow-mid-tempo attack that doesn’t need speed to send the listener into voluntary submission. Patrick Fitzgerald voice is slightly restrained yet always appropriate. And Dan Goodwin’s rock-steady drumming works just right too, always in service of the song. If you are looking for literate rock that can tickle your cerebrum and grab your heart — and not let go — then buy this album pronto. Did I mention that this is the group’s first record in 19 years? It would be the height of folly to ignore this.

Am I biased in admitting that Captain Sensible is on the short list of my all-time favorite musicians? Probably. But I am nonetheless exceptionally impressed with this record that he recorded with super talented bassist Paul Gray (ex-Damned from 1980-1982). This album is in many ways actually my favorite record of the year as it was just last week that I got a copy of “Folly” and was summarily blown away. While Captain continues to do great work on guitar for the Damned, he obviously is itching to do more. By teaming up with Gray and Ant Thickett on drums, Sensible made a most sensible move. At first blush this concept album of songs/postcards from England might seem slightly obvious with its complaints about excessive drinking in the UK, Hollywood and reality TV — easy targets all. However, Captain points his guns on larger sights like Tony Blair and his actions in rallying the country to war. Captain also addresses global warming, political corruption, the decline of the British empire, the fall of mom and pop shops and rise of big-box retailers and the surveillance state. Be sure to check out “Stole into the Night,” “Lottery of Life,” “City Bird” and “Forgotten High Streets,” which has one of the greatest hooks I have heard in a long time. While it sound deceptively simple, “Forgotten High Streets” is a piece of pop genius. This record is such a pleasant surprise being that it has been more than a decade since his last solo album. Make no mistake. Captain Sensible is one of the greatest musicians in the biz. His guitar prowess is well known. His voice is wonderful and so too is his songwriting. And in the biggest surprise, Captain has significantly upped his already considerable lyrical ability. Bless ya Cappy!

Famed producer and founder of the much respected Sundazed label, Bob Irwin can make great music too. If you are looking for top-shelf, groovy, jangly, atmospheric, surf/rock/pop/exotica then look no further. The instrumentals conjure up the ’50s and ’60s and Irwin shows that he can swing one mean ax (see the relentless “Fast Girl, Last Girl”)! Irwin serves up some lounge with heart (not so common) too on “The Dollhouse Theme.” Has Quentin Tarantino heard “Vindaloo”? Surely not or else we’d have read about him contacting Irwin to use the song in a movie.

Kudos to the band for not recycling previous songs, unlike “The Big Roar,” which rerecorded four songs from what I consider their first album, the eight song “A Balloon Called Moaning” (many consider this a long EP). Also, the band takes some real chances here. Styles are mixed up and new paths are explored. The opening “This Ladder is Ours,” is among the group’s best. I also adore “The Leopard and the Lung,” which is cut from the same sonic cloth as the also brilliant “The Greatest Light is the Greatest Shade” from “The Big Roar.” And Ritzy Bryan’s vocal showcase, the closing “The Turnaround,” borders on melodrama but never goes that far. Though I still prefer the more expansive “Big Roar,” this record over time is narrowing the gap.

Another year, another BR record. Well, the band doesn’t make an album every year. It just seems that way. Regardless, their 16th LP is predictably hard, fast and melodic. Though it takes fewer chances than 2010’s generally excellent “The Dissent of Man,” “True North” is a harder, sharper and shorter record that importantly remains vital and exciting. And is there a better lyricist around today than Greg Graffin? Morrissey (a whole separate discussion)? Regardless, if you like this group you’ll likely love this album. Just don’t expect many stylistic surprises.

I was very pleasantly surprised by this one after feeling let down by 2007’s “The Weirdness.” At under 35 minutes, this album, like Iggy, is all muscles and no flab. “Burn” does just that, kicking off the album with guitarist James Williamson’s burning licks. “Gun” though may be the best cut on this record. Engaging and alive from start to finish, this features Iggy’s trademark vocal swagger and ripping solos by Williamson. “Ready to Rock” rocks and boasts a ridiculously catchy extended chorus. Even the slow “Unfriendly World,” fully satisfies. Only the insipid “DDs” mars an otherwise great record.

Why does this get no respect? Scan “Best of 2013” lists and you’ll be hard pressed to find this. Though I have every album by Hitchcock, I’ll be the first to say that he should do a better job with quality control. He has a habit of letting far too many duds make it on to LPs. That said, the 10-song album is tight, stylistically diverse and short on dross. The album kicks off with the gorgeous, moving piano-driven “Harry’s Song” that features heartbreaking strings and chords. The Beatlesesque “Stupefied” is catchy as all hell. And how can you resist the shimmering guitars of “Strawberries Dress”? Much love for this late career winner.

Play the opening “Doubles and Trebles” loudly and marvel at a band going 37 years strong and not missing a step. Amid legions of imitators, Wire continues to possess a distinct sound and worldview that sounds alienated but well understands the human condition and shines light on it from its own distinct vantage point. Listen to the shimmering beauty of “Reinvent Your Second Wheel” and how subtle interplay adds emotional color to what already is moving music. “Stealth of a Stork,” is a brilliant, ripping punk tune than is as manic and exciting as anything young bands are making today. How do they do it? For a spooky atmosphere than will send shivers racing down your spine, listen to “Time Lock Fog.”

After 22 years, Kevin Shields finally released a new record. It is admittedly flawed as his creative engine seems to have been working double-overtime to find enough material to round out an LP. However, the bar was set so high that perhaps some disappointment was all but inevitable. The first third picks up where 1991’s “Loveless” left off but fails to reach the same highs. The next three songs mix up styles with the poppy “New You” being striking for its accessibility. The last third is more aggressive and daring, climaxing with the thrilling “Wonder 2.”

This album is not consistently great. However, it is never boring and often thrilling thanks to a fearless approach to experimenting. I love the shape-shifting nature of this record, which evokes My Bloody Valentine and Ringo Deathstarr. Its adventurous nature and willingness to hop-scotch stylistically is exciting and satisfying. Highlights include “Hare Tarot Lies, “Prodigy,” and “Slug Night.” The record contains plenty of shoegaze material, both mellow and manic, along with clashing guitars, rumbles aplenty, vocal effects and unexpected beats (see the Cure-like “Blue Neck Riviera). Wait to pleasure? Nah. Get it now!