People may call M.I.A. comparisons 'shallow' and I have to disagree - Santi sings like Maya, so if you hate M.I.A.'s voice you won't like this much either. But as long as you can tolerate Maya, you'll probably love this album, because the songs on Santogold are so much more appealing than M.I.A.'s. Where hers tend to be rough and bass-heavy, Santi shoots for songs that are more melodic - the one that does try to do M.I.A.'s world-sampling falls a little flat. The rest, however, are knockout pop tracks - why isn't "Lights Out" a Billboard hit?

This is an odd one as to timing - self-released in '07 but released by JJ this year, so it's not exactly a 2008 release, but since Metromix has it listed as '08, I will too (and plus they haven't reviewed too many albums I've loved this year so I'll fill this up where I can). But this album, in short, is breathtaking. Ignore the stories about cabins, ignore its presence on House's Season 4 finale - remove it from everything. Just sit back and listen to it, and let yourself get sucked in. The best part of the album is Vernon's use of space, which is reminiscent of great jazz pianist Paul Bley. Bley felt that every note was important, and would let them hang in the air after playing them. Similarly, For Emma features notes that breathe, always going a bit slower than you expect it to but never being boring.

Another electro-oriented act, m83 really changed it up this year, for the better. I've always thought that they had strong singles but could never really get into their long players, and S=Y is finally an m83 album with more than one single. So we get stand-out epic rock/dance songs like "Graveyard Girl" and builders like "Kim and Jessie" that don't build in the old m83 way, but in a much more 'pop' way. Who knew we'd like a neo-shoegaze band that moved to the other end of the 80s spectrum?

'Stay Positive' has three great tracks on it: "Sequestered in Memphis," "Stay Positive," and one of the year's best tracks all-in-all, "Constructive Summer," which features all of the best aspects of The Hold Steady's sound: shoutalong choruses, great storytelling, and a sweeping crescendo (before a little piano bridge).

Another oddly-timed album, Dizzee Rascal's third release didn't see its US release until just this spring while it had been out in the UK since last year. Regardless, "P***y'ole (Old Skool)" is one of the best tracks he's served up yet, mixing his unique delivery, intense grime style, and 80s influence in one intense package. It's totally naff - wait, does that mean sweet?