It's appropriate that the billing for this band is the Dynamites Featuring Charles Walker, not Charles Walker & the Dynamites, because that's what Walker sounds like on this disc, a featured performer rather than a dominating one. Thus, an album by the group is basically a calling card or souvenir of their live show more than a standalone entity.

Shudder to Think's zest in their return is palpable, this live recording both a fan essential and a good starting point.

Those who power through this album, though, will be richly rewarded by ASDIG's diaphanous, highly intelligent take on noise pop.

Loyal hip-hop heads with a taste for the old-school boom-bap shouldn't think twice and won't be disappointed.

This wasn't the kind of record that lights up the charts--which could account for the reason it didn't appear on the shelves in late April 2002, as expected, and only earned an official release in 2009--but in many ways it's superior to the released Amplified.

Moneen's 2009 release, The World I Want to Leave Behind, is certainly a sign of the times in the rock world--intricate musical bits are combined with emo-like vocals, and in the process, the group never forfeits the importance of melody.

Knopfler's distinctive conversational baritone begins calmly intoning lyrics, and eventually there are examples of his melodic fingerpicked guitar style on both acoustic and electric.

It'll doubtless put some smiles on some faces as it goes, but it neither reaches for more nor tries to be anything less. Perhaps it is enough, but does it have to be?

Here, on Blood and Candle Smoke, he's perfected this method of songwriting and learned to record in a completely new way, to boot.

The limited palette and relentless attack wind up a little wearying, especially when married to brickwalled masters.

So Far Gone shows that Drake is for real, and works as a tantalizing teaser for his first full-length record.

Blood of Man sounds like that album's [2004's "Use Your Voice"] companion piece, merging the same traces of folk, roots rock, and small-town storytelling with a simple increase in volume.

With Two Dancers, the Wild Beasts move from fascinating to accomplished, and that they did so just over a year after releasing "Limbo, Panto" makes that achievement all the more impressive.

As fine as those nearly 16 minutes of controlled chaos are, it's the first half of Popular Songs that you're more likely to come back to, where by thinking in a small space Yo La Tengo have challenged themselves a bit and beautifully risen to the occasion.

One of Hart's sharpest decisions is to keep everything short--17 songs over the course of 45 minutes, which if not quite Ramones level is still pretty brisk--while ensuring each piece has its own individual character.

11:11 reveals a true musical and sonic expansion without Rodrigo y Gabriela losing sight of their strength as an acoustic duo. Awesome.

The Blueprint 3 isn't a one-man tour de force like the first. Jay is upstaged once or twice by his guests, and while the productions are stellar throughout--Timbaland appears three times, and No I.D. gets multiple credits also--it's clear there's less on Jay's mind this time.

Reunited (partially) in 2006 by the acclaim of their fans, Os Mutantes sound just as vital as they did back in 1968 on Haih...Ou Amortecedor.

They sound more focused than on any of their ten previous studio offerings. Certainly, what's here is not for everybody, but this jumpy, well-constructed little set may even get Phish fans excited.

Everything Goes Wrong is by no means a bad album, but there are other bands doing this same kind of thing, and doing it with better songs and a better sound.

If this is the style Lerche decides to stick with for a while, that will be cause for a round of hearty cheers from fans of smart, sophisticated guitar pop everywhere. If you are a fan of said music and you don't know Sondre Lerche, this is the place to start the discovery process.

They fit into the indie rock genre about as loosely as Bad Brains fit the hardcore punk stereotype or Living Colour fit in the hair metal mold. Who cares? Pigeonholing is futile, the music is boundless.

For many, Health's noisy tendencies will be a bit much, but those who aren't afraid to dig deeper will be rewarded greatly.

Apart from these standout tracks, it's a solid album that shows off the individual members' songwriting skills and holds together very well as a display of smart and savvy modern pop.

Even if it's not their best ever, it's a valid comeback that should appease longing fans.

This sequel may have little to do with the original, but if the title helps to point out this is the Shaolin poet's best work since 1995's Pt. 1, then so be it.

This is a much better record than their debut--and that in itself is an impressive feat.

It's all really quite astounding. Neo-soul. Yep. That's what this is. And it's damn good. Soul, neo or not, is soul, and this guy has it.