Add the Night Marchers to Speedo's roll of triumphs and feel free to rank See You in Magic as one of his finest moments. It's really that good.

No Age turn noise into gold on Nouns.

The pop textures are more evident, the melodies are more hook-laden, and the overall vibe is more laid-back than past releases, varying in moods from positively gleeful to terribly melancholy.

While The Supreme Balloon's nostalgic synthetic playground is a smaller statement than some of Matmos' other albums, it's still a strong one.

As it makes these digressions seem funny, not fussy, and that's ultimately the charm of Momofuku: it's captures a loose, natural Elvis Costello, somebody that hasn't been captured on record in years. It's still a Costello that plugs Lexus, writes operas and plays jazz festivals, but here he's not trying to prove anything, he's just making music and that's why it's one of his most enjoyable latter-day records.

Just Us Kids is an album very much of its time that also speaks to the larger ideas of life in America in an uncertain age, and it's brave, smart, and pithy music that captures James McMurtry at the top of his game.

One can't help but wish the 15-track set list included more numbers like 'Frankie's Gun,' which features some of Ian's wittiest lyrics and the brothers' spot-on imitation of the Band, but it's hard to find fault in this collection of earthy ballads and barroom jams.

Circular Sounds is altogether smoother than the musician's previous work, but it's far from slick, packed with enough grit (note the slightly off-key horns in 'Everything Begins') and solid songcraft to set itself apart from the retro-rock catalog.

Narrow Stairs is far from desperate, however, and the album's willingness to steer Death Cab into unfamiliar territory (or, to reference an earlier lyric, "into the dark"), is by far its strongest asset.

All these happy concessions, along with the strong emphasis on instrumental interplay, give Mudcrutch the feeling of a true band effort, and even if it's not perfect--it is indeed possible to amble and ramble just a little bit too much--it's thoroughly winning because of its imperfections, as this is music that's all about cruising down the back roads on a sunny nostalgic day.

Here, he's no longer a stylized, self-conscious innovator, he's a working musician enraptured by making music, and he's so invigorated by creation it's hard not to get sucked in as well.

Considering that it's an album of leftovers--one B-side from "Yes, Virginia...," four unreleased recordings, one old demo, a cover, and five new recordings, to be exact--the songs on No, Virginia... are unexpectedly strong.

Most of all it will go down like honey for Mates of State fans who have been following the band's progression from an edgy lo-fi duo to the indie rock hit making machine they have so gracefully become.

The Charlatans are taking risks again without losing their identity.

Home Before Dark offers aesthetic proof that "12 Songs" was no fluke. This is a much stronger, less "civilized" album.

Maybe Mick Collins can't save the world, but he's got plenty of worthwhile things to say on this album, and his global angst beats Bono's for sheer entertainment value any day of the week.

Here I Stand is almost exactly the kind of release you'd expect a 29-year-old Usher to deliver in 2008, and while it is seriously doubtful the album will move more copies than the nearly diamond platinum "Confessions," there is plenty to like about it.

There is no better place to spend 45 minutes than in Lay It Down's dreamy, sensual, gritty, and tender sound world.

Newly focused energy, willfully restrained arrangements, and taut compositions give the set a sheer emotional power that no Spiritualized recording has ever displayed before, making it, quite possibly, their finest outing yet.

Mixing and matching funk, rock, and soul with a little jazz and blues, and enhanced on occasion by some seamlessly incorporated electronics, Boo! delivers robust party material with plenty of straight-faced, sidesplitting/head-scratching humor...precisely what you'd expect from them, then.

From the Valley to the Stars is a fairly magical trip to the center of heartache.

Nine Lives is deeper, heartier, and braver lyrically than anything he's ever done.

At its heart it's just a collection of songs, but it's that rare thing for a songwriter: it works as a piece of writing and a sterling pop album of its own.

It's some of Firewater's angriest, most poignant, and most accomplished music.

Lookout Mountain, Lookout Sea reveals more poetic, as well as playful, layers with each listen--and above all, underscores what an inviting songwriter Berman is, whether he's taking a darker or lighter approach.

Throughout the album, the band sounds wise beyond its years, so it's not really that surprising that Fleet Foxes is such a satisfying, self-assured debut.

Their songwriting and vocals are actually better than Air, closer to Scissor Sisters again in their ability to write great pop songs and deliver them with flair.

At a time when labelmates (and, in the minds of the UK music press, rivals) the Coral are seemingly at a bit of a musical crossroads, the Zutons have made the album that delivers on their early promise.