What albums made your iPod cry?

[HTML_REMOVED]Ghostface Killah: Fishscale[HTML_REMOVED]

With a resume that includes the epochal Enter the Wu-Tang and the near-perfect Supreme Clientele, one could hardly expect Ghostface Killah to outdo himself. Yet on Fishscale he has done just that, fathering some of the catchiest, funkiest hip-hop ever hit to the streets of New York. An expert storyteller, Ghost delivers gripping narratives of crime, drugs and dealing at a frenzied, snarling pace. If this album doesn't give you chills, check your pulse; bangers like "Dogs of War" and the Wu-reunion track "9 Milli Bros" sizzle with equal parts energy and intelligence. Sorry Hov, but I'm stripping you of your title. Everybody knows Ghost is the best rapper alive.

[HTML_REMOVED]Roy: Killed John Train [HTML_REMOVED]

Forever looming in the shadows of Botch and These Arms Are Snakes, Seattle folk/rock act Roy has been pumping out amazing music for years, almost completely under the radar. 2006's Killed John Train is their most cohesive and moving effort to date, an impressive feat for a band with three songwriters. Each contributes a different angle; the result is a gorgeous display of feedback-drenched Americana. Echoing distorted waves of melody over minimalist acoustic guitars and Dylan-esque crooning, Killed John Train is the antidote to the homogeny of modern indie rock. Not since Slanted and Enchanted has this sounded so good.

[HTML_REMOVED]Gnarls Barkley: St. Elsewhere[HTML_REMOVED]

Go ahead and roll your eyes, but St. Elsewhere is the most interesting thing to clog the airwaves since OK Computer. Cee-Lo and Danger Mouse have made one hell of a unique record, somehow managing to sound both classic and innovative at the same time. Sure, "Crazy" and the band's "Gone Daddy Gone" cover has been seriously overplayed on the radio, but the rest of the record is superb [HTML_REMOVED] and refreshingly weird. St. Elsewhere might just be the boldest pop statement of 2006, and deserves every bit of praise it gets.

[HTML_REMOVED]Akimbo: Forging Steel and Laying Stone[HTML_REMOVED]

A new golden age of Seattle heavy music is upon us, and the boys of Akimbo are its reigning kings. Forging Steel is the trio's first release on celebrated punk label Alternative Tentacles, as well as the most punishing and accomplished slice of rock to come out of the Emerald City in years. A hardcore band at heart, Akimbo has thrown a heavy dose of riff rock and sludge metal into Forging Steel, sounding as much like Zeppelin on steroids as Black Flag. Groundbreaking and indescribably heavy, this record won't melt your face; it'll crush your skull.

[HTML_REMOVED]Mars Volta: Amputechture[HTML_REMOVED]

Adored by acne-ridden, Tool-worshipping teenagers around the world, the Mars Volta is perhaps the most adventurous and experimental band in mainstream rock today. Unfortunately, they suck. Their first record had its moments, but it's been all downhill since Frances the Mute. Continuing in the bold tradition of mindless noodling and squealy vocals, Amputechture bounces from place to place without a hint of resonance, reaching new levels of indulgence. Stop calling this prog-rock, idiots; to be considered progressive, there has to be progression!

[HTML_REMOVED]Less Than Jake: In With the Out Crowd[HTML_REMOVED]

Most lovers of quality '90's pop punk have come to grips with the eventual degradation and commercialization of their favorite bands. It's happened to everyone from Goldfinger to the Alkaline Trio, but why God, why did it have to happen to Less Than Jake? In With the Out Crowd completely lacks the honesty and humor that made LTJ great, not to mention any semblance of ska or punk. The production is so glossy that you can't even recognize Chris's voice. For an album so overbearingly poppy, In With the Out Crowd sure doesn't have a lot of hooks.

[HTML_REMOVED]Fergie: The Dutchess[HTML_REMOVED]

"Fergalicious" haunts my dreams.

[HTML_REMOVED]Mogwai: Mr. Beast[HTML_REMOVED]

This was supposed to be Mogwai's "heavy" album, where they rock their ever-loving balls off and convert metalheads and indie snobs alike to their glorious cause. Sounds dandy, I know, but it turns out there are only two even remotely aggressive songs on Mr. Beast, both of which just sound like Isis without the inspiration. The rest of the album is a snore-fest of gently tapped pianos, goofy electronics and ridiculous whispered vocals. Post-rock is a dying genre already, and Mr. Beast might just be the final nail in the coffin.