I officially fell in love with music long ago during a three-hour road trip through Oregon to an airport in Washington unbuckled in the cargo area of a station wagon. My mom snatched us from school with the aid of a social worker to flee from my abusive father on our way back to NJ. All I had to keep me company was an old Walkman, some headphones, and Fleetwood Mac’s Tango in the Night. That tape occupied my ten-year-old brain during the tail end of a tumultuous series of events, and I have been indebted to Fleetwood Mac ever since. My parents have long since divorced, and I now look for different brands of escape in music. Bloom instantly reminded me of the addicting spirit of and shares an eerily similar musical space with Tango in the Night.

I usually write about highlights in album reviews, but there really are no unique standouts here. Each day brings a new favorite track. Of course, we’ve had access to “Myth” the longest, and it served as a perfect introduction to Bloom. From the opening bell and shakers to Alex Scally’s mesmerizing slide guitar to Victoria LeGrand’s impeccable pitch, “Myth” will likely appear on countless song-of-the-year lists. “New Year” features Legrand at the top of her game, broadening her already expansive palette of vocal melodies and range to fit Scally’s reverbed guitar like a glove. There are layers upon layers of atmospheric synths and effects throughout Bloom that are placed on top of addicting melodies that circle for five minutes and never overstay their welcome. Bloom’s second single “Lazuli” is a prime example of a track layered with lush and ethereal sounds that build into a celestial crescendo. It’s “Lazuli’s” crescendo that mostly reminds me of Tango in the Night. Christine McVie’s “Everywhere” comes to mind immediately.

There is not much new territory explored by the band on Bloom, and this is not necessarily a bad thing. They have perfected a formula, cultivated their sound, and matured as musicians, all while employing an “if it’s not broken, don’t fix it” approach. I’m lucky enough to be attending tomorrow night’s Bowery show in New York, which sold out in less than a minute. It sure as hell beats the back of a station wagon.

From the wonderfully distorted guitars and deformed vocals on opening track “Pinball Wizard” to the layered, anthemic, and indecipherable chorus on “The Jacker,” Mr. Impossible plays like a fun house of sounds liquified by a blender. First single and album standout “Pigs” may be the best track the band has ever released. The song builds from a surly main synth, monotonous beat, and disjointed verses by Copeland to a cacophony of noise. The track is ugly, and even repulsive at times, but the combination of the disfigured sounds work well as a whole. Mr. Impossible is not a record meant for family barbecues or leisurely Spring drives, but I guarantee it will make you forget about your shitty boss after a long day at work. This is one of the best releases of 2012.

Keaton has been much more known for his skills as an illustrator and visual artist with works frequently exhibited and used for various ventures. He originally recorded the songs from Dear … in his bedroom with no intention for anyone beyond a close friend to hear them. With some convincing, a few songs were shared online, and a buzz began to grow. Henson decided to self-release the record and instantly sold 4,000 copies. His accompanying videos received 1000s of hits online and were featured on various music blogs. Henson gained most of his notoriety after UK DJs began playing “You Don’t Know How Lucky You Are” in regular rotation. Eventually, record labels began showing interest, and Dear … was re-released properly on Oak Ten Records last month.

Dear … is an instant and sorrowful masterpiece that may not be suitable for repeated listens. It’s an intensely depressing record that features minimalist instrumentation on much of the track list. Most of the songs feature Henson’s quiet, whispery, and nearly-cracking voice along with an acoustic guitar. Apparently, Henson’s apartment is located in the flight path of Heathrow Airport. This explains the planes that can be heard before and after some of the tracks, especially during the last ten seconds of “Charon.” The first standout track is “You Don’t Know How Lucky You Are,” one of our favorite songs of 2011. Henson’s voice is particularly fragile as he recites lyrics like “Does he know not to talk about your dad? Does he know when you’re sad? You don’t like to be touched, let alone kissed.”

Many speculate that Dear … is a breakup album, but not much is known about the source of Henson’s deep sadness or loss. While there is no filler here, “Small Hands” and “Flesh and Bone” also standout. The latter may be the saddest track on the album. Keaton’s voice sounds like he’s on the verge of a breakdown as he sings the chorus, “My body’s weak, feel my lungs giving up on me. I’m worried it might just be something my soul needs.” “Nests” is another mesmerizing track with a more uplifting melody. This also may be the first song with percussion on the record (if you count Henson’s tapping on his cupboard). “Not That You’d Even Notice” may be my favorite track on the album. The music is more fully-realized and orchestral, with bells, hand claps and vocal accompaniments, and shows the first glimpse of hope on the entire album.

Dear … is book-ended with “Party Song,” which is anything but. Henson’s ex-girlfriend has apparently moved on, and he’s not able to get over it. “I’m sorry, can’t make your party. I’ll be busy burning. And I’m afraid I’d kill your lover while your back was turned.” It’s a sad ending to a heartbreaking record, “And I see pictures now of the two of you and it makes me sick. Damn, I love you.” Dear … is my favorite album of 2012, and I could not recommend it more highly.

As good as Dear … is, there are b-sides from singles that are as strong as anything from the album. “Strawbear” and “f.r.i.e.n.d.s.” are two such songs that show Henson’s limitless talent as a songwriter. As one might guess, Henson is somewhat of a recluse who shuns publicity and refuses to play live shows to avoid panic attacks (he tried playing live once but was unable to finish). However, he has been engaging his fans with recorded live performances. Most recently, Henson streamed a pair of short live performances he called “Forts.”