Those craving a Pink Floyd fix after 2005’s short reunion for Live 8 will, unfortunately, have to wait just a little while longer. In its place, you’ll just have to enjoy lead guitarist David Gilmour’s On an Island, his first solo disc in 22 years and first album of new material since Pink Floyd’s last bow, The Division Bell, in 1994. In what has become a formula for the guitarist, the album opens with an instrumental leading into the first single, “On an Island.” You’ll recognize those background vocals – its David Crosby and Graham Nash making a guest appearance. The pulse – forgive the pun – beats a little faster in the mid-tempo rocker “Take a Breath.” The penultimate track, “A Pocketful of Stones,” is a gorgeous orchestral foray. Gilmour’s disc should please many and is one of 2006’s best albums.

While a lot of current British bands are taking their cues from acts like the Gang of Four and the Clash, the Pure Reason Revolution is reading from the book of Pink Floyd and current don’t-call-them-prog-band Porcupine Tree. On The Dark Third, their first full-length album, the Pure Reason Revolution gives fans of “expressive rock” their fill. “Goshen’s Remains” is a great introduction to the back-and-forth vocals of Jon Courtney and Chloe Alper. The first long track, “The Bright Ambassadors of Morning,” not only nicks its title from a classic Floyd track, “Echoes,” but also replicates the latter’s tone and feel in its expanse. The guitar of “Voices in Winter” continues the 70s references, only this time emulating the spacey guitar of the Steve Miller Band’s “Threshold.” You’ll be rewarded in spades if you take the time to accompany the Pure Reason Revolution on their trip to the stars.

If you haven’t heard them, you’ve probably heard of them. Sheffield, England’s Arctic Monkeys have caused quite a commotion in their native country by vaulting to almost overnight success with their first full-length offering, Whatever People Say I Am, That’s What I'm Not. Selling a record number of albums their first week out, the Arctic Monkeys were quickly crowned best new band by UK press – the hype continued when the debut album won the Mercury Prize (England’s “Grammy” Awards). But is the album worth the smoke from the cigarette? It most certainly is – Whatever is the best melding of indie rock and punk to hit both sides of the Atlantic. Single “I Bet You Look Good on the Dancefloor” contains all the trademarks of this new punk revival, melded with an almost disco-like beat from the rhythm section. Other highlights include the bass-heavy “Dancing Shoes” and the debauchery in the early-morning light of the “Riot Van.” Make sure to pick this one up to receive a dose of English nightlife.

In the “out of nowhere” category for 2006 comes former Fleetwood Mac guitarist Lindsey Buckingham’s intensely personal document Under the Skin. As Buckingham admitted in his concert appearance at the Lakewood Civic Auditorium in October, he had to be persuaded by his band to release the sessions. Three of the tracks are from Buckingham's aborted Gift of Screws album. Buckingham makes great use of his three greatest talents: his guitar, his voice, and his production skill. From a whisper to a shout, Buckingham’s voice still excites; the insane guitar genius that made his stamp all over eclectic releases Tusk and Go Insane comes to play here in the great showcase numbers “Show You How” and “To Try for the Sun.” Turn the lights down and enjoy Under the Skin – it stands proudly as one of 2006’s best releases.

The Killers have successfully followed up their big hit album in 2004, Hot Fuss, with an album that takes some chances.  Is that a glockenspiel? Why – it is – and it’s not the only Springsteen-based moment on the Killer’s sophomore album Sam’s Town. Everything here is overblown and extravagant, echoing the Las Vegas hometown of the band. Lead single “When  You Were Young” is immensely catchy, while “Bling (Confessions of a King)” features splashy synths and galloping drum fills that are a backdrop for lead singer Brandon Flowers’ imagery. The lone drawback to this album is its make-your-ears-bleed production, which leaves your ears tired even with Sam’s Town shorter length. However, this is one I’ll be playing for some time to come.

The leap to major-label Capitol from the Kill Rock Stars label did not alter The Decemberists’ course – they have provided their best work in The Crane Wife since… well, their last classic, Picaresque. Lead singer Colin Meloy’s tales of imagination take their time to sprawl out over the course of The Crane Wife. Two of the songs are over 11 minutes long - not that this is a new thing for the Decemberists. Their single release of the 18-minute epic “The Tain” proved they could handle a long piece. The first tale is inspired by Shakespeare’s The Tempest and keeps your interest throughout style and tempo changes. The three parts of “The Crane Wife” bring a characteristic Decemberists spin on an old Japanese tale. The accordion makes a return appearance in “Summersong,” with Meloy’s imagery of the end of summer over top. The rest of the album is hugely satisfying and is a must-buy for both old and new fans of the Decemberists.

“Operatic” isn’t a word used often for charting music these days; however, it fits perfectly with Muse’s fourth album Black Holes and Revelations. Here it is, Muse’s finest hour – Black Holes makes the case that Muse is one of the best bands around these days. From its Storm Thorgerson-designed cover, to its album-closing epic “Knights of Cydonia,” this album feels like it’s landed from Planet Prog and spawned from an alliance between Rick Wakeman and Led Zeppelin. The album kicks off with a slow-burning bolero, “Take a Bow,” which explodes into the one-two punch of “Starlight” and first single “Supermassive Black Hole.” More highlights include the spacey “Hoodoo” and introspective “Soldier’s Poem.” There’s not a single bad note on this album, and it’s one of 2006’s strongest releases.

2006’s best album didn’t even get a domestic release – the Guillemots’ Through the Windowpane roars out of the UK with a combination of alt-rock, avant-garde and even classical influences. What is a guillemot? Foremost, it’s a species of bird, but in this case it’s a group of four from London, England that have crafted a circus of rollicking tunes that will keep you busy for some time to come. From the lush “Little Bear” strings to the nearly 12-minute album closer “Sao Paulo,” Through the Windowpane delivers in every way. Pounding drums and piano underpin the stomp “Trains to Brazil,” only to be matched by a jazzy horn section during the chorus. You’ll definitely want to check out this debut release by the Guillemots – it’s the most daring album of the past year, and by far the best.