As the days slip past, we find ourselves thinking ’bout the holidays, and soon we will be facing the close of yet another year (not to mention the first decade of the new millennium). This can mean only one thing: the time has come for that self-searching, plumbing of our emotional depths, in search of nothing less that the year’s best offerings. However, rather than offering up a comprehensive list including all things aural, we are taking a slightly altered path this year by segmenting our lists into various structured categories, presenting a “best of” for individual genres carrying great importance for the year in music.

As our year end coverage explores the unarticulated narrative outlined by the path of popular music over the course of the past decade, our choices for the most influential music of 2009 reflect the importance certain genres have amassed throughout the past 10 years. Accompanying the vicissitudes of popular music in our current technological age, a return to the organic sounds of times past has asserted itself, and today as much as ever “folk” music finds itself at the forefront of modern expression. While the specific definition of what constitutes “folk” any more these days has become increasingly obscured, many musicians have embraced the roots music of past cultures continually expanding the variety of sounds and textures we associate with “folk” music, making the genre as vibrant and engaging as ever.

So, with no further preamble, here are our favorite folk-ish albums of 2009. Oh, and as an added bonus, much like the amps of Spinal Tap, this year our lists go to 11, and well, that’s one more now isn’t it?

1. Laura Gibson, Beasts of Seasons
I have a feeling this will inspire some controversy. However, simply put (and played in this case), Laura Gibson has crafted one of the year’s best albums. Beasts of Seasons never sets out to shock, startle, or aggressively grab you; rather it is an exercise in subtleness that succeeds with staggering achievements. From the somber opening of “Shadows on Parade” Gibson’s latest album paints detailed aural portraits composed around the gentle plucking of a nylon stringed guitar and gracefully ragged vocals. A sprinkling of found sounds fills out the album along with dramatic atmospheric swells of sound, and Gibson’s honest and emotive songwriting keeps listeners hanging on every word.

2. Joker’s Daughter, The Last Laugh
If someone told me at the close of last year that one of 2009′s best folk albums would be an album produced by Danger Mouse, I don’t know if I would have believed them. But here we are and the duo of Helena Costas and Danger Mouse has proven to be a superior pairing. Engaging with Arthurian legend, various folk tropes, and pop music inspired studio techniques, this album manages to span various genres while firmly maintaining an anchor in folk music. From the steady groove of the album opener “Worm’s Head” to the whimsical, at times almost carnival-esque “The Goblin’s Run,” The Last Laugh manages to both surprise and impress, while providing the year’s most unexpected collaborations.

3. Port O’Brien, Threadbare
Muting many of their more overt rock aesthetics, Port O’Brien are back with their third full-length installment. Eschewing much of their more light-hearted material, Threadbare explores a much darker and more sobering sound. This latest album sees Port O’Brien expanding their musical vocabulary, especially evident in the swelling dynamics of “Calm Me Down” and the dramatic pairing of vocals and strings on “Next Season”.

4. Alela Diane, To Be Still
At times you almost have to wonder if Alela Diane is directly channeling Joan Baez’ voice, a comparison I’m sure she is already tired of hearing, but a pertinent one none the less. To Be Still, from its opener to the closing “Lady Divine,” is a hauntingly beautiful album. Austere vocals, beautiful arrangements, and an organic and refreshing approach to music define Diane’s most recent effort. “White As Diamonds” aptly displays Diane’s wealth of talent as her vocals lead an inventive approach to the subtle polyrhythms entrenched in the folk medium.

5. Taken By Trees, East of Eden
Taken By Trees, a.k.a. Victoria Bergsman is picking up exactly where she left off with Open Field, that is mixing her unique vocal timbre with astutely arranged song structures and an interesting cover thrown in for good measure. Leaving behind her jolly rendition of “Sweet Child O’ Mine,” Bergsman this time around is giving Animal Collective a bit of a re-vamp (or in this case a de-vamp) bringing a whimsical twist to “My Boys.” The rest of the album reflects the unique recording environment these songs were captured in, with the entire album being recorded in Pakistan.

6. Shelley Short, A Cave, A Canoo
Bringing another dose of her stripped down, bare bones, largely acoustic song treatment, Shelley Short has crafted another gem of an album. Featuring a subtly obscured optimism in her bouncing vocals, Short speaks directly to the listener via her acute narratives and skillful manipulation of vocal melody. There is a quiet, wistful quality to her voice that lends her songs a depth of feeling not easily achieved with minimal accompaniment, and these songs resound with originality and importance.

7. Ah Holly Faml’y, Reservoir
Continuing a fine tradition of folk-influenced artists hailing from Portland, Ah Holly Faml’y bring us a multi-layered album that becomes more rewarding with each listen. Boasting eight gifted musicians, Ah Holly Faml’y composes intricate detail oriented chamber-folk, rich in dynamic expression and aural textures, featuring lilting strings interacting with the breathy vocals of Jeremy Faulkner.

8. A Hawk & A Hacksaw, Delivrance
No one said anything about this being an American folk list, and while A Hawk & A Hacksaw may hail from New Mexico, that is about as American as their music gets. Taking a healthy dose of influence from Eastern European and Baltic music, Delivrance offers a collection of songs driven by truly astounding musicianship with fiddle, accordion, brass, and percussion pursuing breakneck tempos, off-kilter timings and complex melodies, all the while offering a culturally diverse sound.

9. Frank Fairfield, Frank Fairfield
Here is a bit of a new one. Having just released his debut full-length this year, Frank Fairfield comes directly from the folds of days long since past. Only amassing a mere 23 years of life experience, Fairfield plays banjo, guitar, and fiddle with a grace and skill most can only imagine. His repertoire consists entirely of traditional American tunes such as “John Hardy” and “Cumberland Gap” played with an intensity and urgency these songs have not felt in years. A gritty, raw, and authentic representation of American roots music at its best.

10. Vic Chesnutt, At The Cut
Never one to play the complacent or indifferent musician, Vic Chesnutt woefully sighs his way through beautifully simplistic melodies driven by words that could weigh down Atlas himself. This album may strike more than just a few minor chords, but all to astounding and riveting effect. Arrangements sculpt emotions into sounds with the aide of members of Godspeed You! Black Emperor and Fugazi, making this album one of the year’s best regardless of genres.

11. The Dodos- Time To Die
Coming in with the furthest leaning rock flavor, The Dodos skillfully pair daft finger-picking with hypnotic vocal phrases and unrelenting percussion. Time To Die continues to display The Dodos ability to turn well-composed songs into fantastic albums, with each song playing an important role in the album as a whole. It doesn’t hurt that the album was produced by Phil Ek either.