2006 has been a unique year for indie music. Making up for this year’s lack of super group indie rock releases, however, are a few up-and-coming artists with innovative debuts and a wide variety of developing sounds.

As artists such as Sufjan Stevens have gained prominence through their intricate use of a wide variety of instruments, many musicians have overlooked the quintessential rock quartet or quintet in order to create sounds using grandiose strings and less conventional instruments. Out of this progression, a few originative artists have produced profound releases, some worthy of being deemed albums of the year.

Best album you haven’t heard: Talkdemonic, “Beat Romantic”
Portland’s local music scene has arguably become the strongest in the U.S., rivaling the depth and ingenuity provided by Toronto- and Montreal-based artists. It has been the instrumental group Talkdemonic that has made the greatest impression, now extending its prominence across the nation. Talkdemonic is composed of two musicians (the violinist, Lisa Molinaro, now tours with The Decemberists) and utilizes drums, violin, banjo and synth to create a new genre deemed “folktronic.” Their beautiful compositions flow together, creating palpable beauty where the grandeur of large post-rock bands used to have the monopoly. Only on their second album, this effort is not only essential but also a sign of things to come.

Best debut: Beirut, “Gulag Orkestar”
Upon hearing “Gulag Orkestar” for the first time, the listener may feel he or she has been transported to an elaborate parade on the Champs-Elys?©es or to a turn-of-the-century Polish town square. Zach Condon, the one-man wonder that is Beirut, accomplished this complex sound, amazingly, at the age of 20 and almost completely on his own. Often splicing together accordion, ukulele, brass and strings with his own voice as the chorus, Beirut’s unprecedented sound has poignancy in its breadth that few others can rival. The wide variety of influences and instrumentations cannot be pigeonholed into any specific musical category. This unclassifiable approach to music, often unfairly put into the genre of indie folk, indicates the future direction of music

Beirut’s release was not the only powerful debut of the year. The chamber pop outfit Island’s “Return to the Sea” proved to be one of the more enjoyable, while blogosphere indie rock favorites Tapes n’ Tapes and Canadians Tap Tap also hit the ground running.

Album of the Year runner-up: Destroyer, “Destroyer’s Rubies”
Over the course of the year, no single album wowed the nation. TV on the Radio’s “Return to Cookie Mountain” proved to be the epoch of indie rock, while Final Fantasy’s orchestral pop masterpiece “He Poos Clouds” did its best to remind us that Arcade Fire still exists (Final Fantasy is composed strictly of Owen Pallett, the Arcade Fire violinist). Other albums such as The Decemberists “The Crane Wife” and the new Yo La Tengo furthered already impressive careers.

Two albums stand out as the most complete amongst the collection. One is Destroyer’s “Destroyer’s Rubies.” (The other, of course, claims the Album of the Year spot below.) Destroyer is the solo project of New Pornographer’s Dan Bejar. One of the pre-eminent lyricists of our time, Bejar had previously focused on his flowing poetry offset by his music. With this new album, however, Bejar is able to create music that becomes the ship carrying his meaning. Bejar’s almost-jazzy sound culminates through piano and saxophone. “Destroyer’s Rubies” draws you in with catchy notes, and, through his undulating voice, Bejar never fears sacrificing a pristine song for emotional undertones. Destroyer’s success is another reminder that Canadians proving they are good for something other then hockey, as they have begun to dominate the indie scene.

Album of the Year: Joanna Newsom, “Ys”
Who would of thought that we would come to a day where a young female harpist, toting a mousy voice, a five-song album and relatively unstructured songs, would be such a force in music? Newsom’s second release has captured the imagination of the music world, with reviews unable to even describe its magnificence. Even Pitchfork has revealed a slightly unhealthy obsession.

Ys, when it speaks to the listener, can leave one speechless. Newsom had legendary composer Van Dyke Parks create a transcendental accompaniment to Newsom’s harp playing. The songs, averaging around 11 minutes in length, are narratives of Newsom’s recent experiences. Bearing such powerful poetry and flowing with such elegance, the longevity of the album and its importance are unrivaled. “Ys” will surely be remembered for years to come.