Inspirations from the local beat

January 01, 2010|Jonathan Perry, Globe Correspondent

So much noteworthy music comes out every year that we almost dread making these end-of-year lists. In 2009 we heard so much engaging music that distilling those sounds to a roll call of favorite albums felt like a tougher task than ever. Still, although no list is perfect and each is a reflection of individual taste, we wanted to acknowledge some of the coolest local music we heard this year. And as Nigel Tufnel said, this one goes to 11.

SARAH BORGES & THE BROKEN SINGLES

“The Stars Are Out’’

Three spirited albums have catapulted Borges from being another local player with potential to being a bona fide player. On her latest, the siren with the sure-handed sense of melody showed off her roots and more - namely her affection for timeless pop, rendered with soulful conviction. So, in addition to another collection of country-rock dandies, we got comely covers of tunes by Smokey Robinson, Stephin Merritt, and Evan Dando. Are the stars out? Borges should know; she’s become one of the city’s brightest.

DAVID WAX MUSEUM

“Carpenter Bird’’

Singer-songwriter David Wax led his charges through an inspired selection of lovely, semi-acoustic folk songs, and Mexican roots music that sounded older than the hills yet utterly fresh and forward-thinking. “What could you want with my antique music box voice?’’ Wax asked listeners on the winning opener, “Jalopy Heart.’’ The answer is, everything. More please.

DRUG RUG

“Paint the Fence Invisible’’

On the follow-up to their ’07 debut, Drug Rug co-conspirators Tommy Allen and Sarah Cronin employed their goofy gifts with gleeful assurance. Jittery psychedelia, garage-rock rabble-rousing, oddball pop bliss - it’s all here, along with the jubilant harmonies, fuzzy guitars - and Mellotron!

MEAN CREEK

“The Sky (Or The Underground)’’

The band’s name comes from an indie film about troubled teens and grim secrets - not entirely unlike this elegant collection of songs that are as tumultuous and questing as they are heartfelt and beautiful.

MARISSA NADLER

“Little Hells’’

On her fourth and latest album, an array of ghosts, lovers, loners, and mistresses - most of them damned, doomed, or in dire need of daylight - populate singer-guitarist Nadler’s echo chamber ruminations on ruination. Spectral and sublime.

HIGHWAY GHOSTS

“After All This Time’’

A masterful blend of roots-rocking guitars, ragged-but-right vocals set to rustic melodies, and other good stuff that never goes out of style when it’s done right. Echoing the late-night/early morning feel of alt-country progenitors such as the BoDeans and the Jayhawks, this is an auspicious debut that brims with equal parts heartache, swagger, and hard-won wisdom.

PASSION PIT

“Manners’’