Editors' Choice for March 2010

Four years after the herky-jerky garage rock of Derdang Derdang, the group returns with a sound that's more psychedelic than swampy.

— Jason Lymangrover

The embodiment of the early-'90s twee pop scene, this is the second retrospective of the short-lived band's work.

— Rovi Staff

Brad Mehldau's trio reunites with producer Jon Brion on The Highway Rider suite, with Joshua Redman, Matt Chamberlain, and an orchestra.

— Thom Jurek

This four-disc compilation covers Berry's return to Chess Records in 1969 and the three years that followed, providing a number of satisfying minor classics.

— Rovi Staff

Craftily recombinant techno from the Netherlands' Boris Bunnik, a disciple of early Detroit and U.K. techno and Berlin dub.

— Andy Kellman

2010's Big To-Do finds the Drive-By Truckers in excellent form.

— Rovi Staff

New Amerykah, Pt. 2: Return of the Ankh is much different than its 2008 predecessor, designed for instant kicked-back enjoyment.

— Andy Kellman

Konstantinos Soublis' fifth Fluxion album, his first for Echocord, injects some sunlight into the typically austere world of dub techno.

— Andy Kellman

The third time is the charm for Frightened Rabbit, who turn in their most anthemic, optimistic set of songs yet.

— Heather Phares

Pianist Geri Allen's major new work for solo piano was inspired by McCoy Tyner, Herbie Hancock, and Cecil Taylor.

— Thom Jurek

Led by the singles "Rocket" and "Believer," this is Goldfrapp's foray into pure, frothy pop.

— Heather Phares

A weird, ‘60s-rooted, psychedelic hip-hop trip with croaking vocals and Middle Eastern-flavored beats by the Gaslamp Killer, Mainframe, and Flying Lotus.

— Jason Lymangrover

Plastic Beach is a big-budget expansion of the pancultural pop of Demon Days, offering cameos by Lou Reed, Mark E. Smith, De La Soul, Bobby Womack, and Mos Def.

— Stephen Thomas Erlewine

Gretchen Wilson comes up with the "first female Southern rock album" on her own label; it's radio-friendly to boot.

— Thom Jurek

Happy Birthday mix lo-fi recording values with high-quality pop songs and end up with a very impressive debut album.

— Tim Sendra

A collection of essential tracks from Jimmy Donley's troubled stay at Decca Records.

— Steve Leggett

Now living in Valencia, Rouse sings in Spanish and embraces Brazilian music on his eighth album.

— Andrew Leahey

This collection of live recordings and concert footage cements Liliput as feminist punk legends.

— Heather Phares

Subtle, sprawling, and spooky, Sisterworld's almost tangible atmospheres enrich its songs about Los Angeles misfits.

— Heather Phares

A rain-themed set of tracks that are just as subtle, but more melodic and emotional, than Loscil's earlier work.

— Heather Phares

Love Is All's third album is just as thrilling and energetic as their first two, but adds a new level of songcraft and production values.

— Tim Sendra

Mose Allison and producer Joe Henry team for swinging, hip jazz and blues on The Way of the World.

— Thom Jurek

Pavement's first retrospective might not have all the singles but it touches upon everything that made them arguably the best indie rock group of the '90s.

The first half of a two-part project where Gabriel covers songs from 12 different artists who then record their own versions of Gabriel's compositions.

— Rovi Staff

Avant R&B and tranquil folk-soul from Boom Clap Bachelors' Robin Hannibal and Coco O.

— Andy Kellman

Coming off a pair of Grammy nominations, DeVaughn packs his ambitious third album with a significant portion of socially conscious material.

— Andy Kellman

Serena-Maneesh put a ton of work into their second album and it paid off in a challenging, sonically thrilling work that puts them at the head of the nu-shoegaze movement.

— Tim Sendra

This sophomore album repeats its predecessor's formula, but the arrangements are more lush and the results considerably more rewarding.

— Andrew Leahey

A covers album paying tribute to '80s blue-eyed soul/soft rock icons Hall & Oates.

— Rovi Staff

Once again, DEP are preaching (at top volume) to the converted. Which is fine, because they remain very, very good at what they do.

— Rovi Staff

The I.R.S. Years sums up the Fleshtones' first five years as recording artists with flying colors, and will satisfy old fans and newcomers alike

— Rovi Staff

The Go Find's third album relies more on straightforward pop songcraft and less on electronics and atmosphere, making it their most immediate, and best, work to date.

— Tim Sendra

The soulful trio's fourth album for Alligator Records.

— Steve Leggett

The first retrospective of album tracks by the Jon Spencer Blues Explosion is a raucous rock powerhouse.

— Thom Jurek

A distillation of the romping, Athens, GA-based post-punk group's early output.

— Andy Kellman

The Secret History's debut full-length is a lyrically involving, musically expansive, emotionally powerful album that vaults the group to the head of the indie rock class.

— Tim Sendra

The Unthank sisters' singing is supported by a nine-piece band here, resulting in much greater richness and variety in the musical arrangements.

— Rovi Staff

With a mix of furious rockers, dramatic ballads, and fan favorites, the Stripes' first live album was worth the wait.

— Heather Phares

Kompakt's elder statesman molds the music he supplied for the documentary 24h Berlin into a crisp, flowing, 70-minute album of mostly ambient techno.

— Andy Kellman

Blowing past the hour mark with muscular, multi-segmented songs, this blue-collar opus is as contagious as it is ambitious.

— Jason Lymangrover

Hamburg's Dial celebrates a decade of downcast techno with new material from its founders (Lawrence, Carsten Jost) and younger faves (Pantha du Prince, John Roberts).

— Andy Kellman

The fourth volume in a series focusing on Nigeria's Afrobeat scene from the late '60s to the late '70s.

— Rovi Staff