Spanish Poets Invading Colorado Streets -- the S.P.I.C.S. for short -- are neither reggaeton-inspired bandwagon-jumpers nor mere mainstream-rap imitators. Rather, Joel-C and Cryme Dawg are proud local Latinos who use the template of gangsta rap to tell their own, unique story. On Mental Advisory, the chant of "Chicanos, Mexicanos" throughout "S.P.I.C.S." echoes with the sort of pride that should inspire residents of any hood.

Good luck pigeonholing vocalist Felisa Herrera. On Sacrificios, she sings in English and Spanish and handles pop, R&B, hip-hop and more with a relaxed confidence that's downright inspiring. The only problem? This 2005 disc was supposed to serve as the introduction to a double-CD set that has yet to arrive. Enough with the teasing, Ms. Herrera. After all, waiting this long for more music is sacrifice enough.

The music of pianist Bill Douglas and tabla-player Ty Burhoe is often quiet and reflective, like entries in the typically soporific new-age field. Those who listen closely, however, will discover that these tracks are more thoughtful and complex than their surfaces imply. Sky is a beautifully recorded, sensitively performed and lovingly crafted album whose mellowness is a state of mind, not a marketing technique.

Blusom blooms thanks to the contrasting talents of partners Mike Behrenhausen and Jaime "Jme" White. Behrenhausen is a gifted singer-songwriter with a rare ability to translate his thoughts and emotions into relatable tunes, while White is an electronics expert blessed with endless curiosity and the skill to transform the mundane into the marvelous. Together they make The Metapolitan a great place to visit.

In the past, detractors of Dressy Bessy vocalist Tammy Ealom have complained about the thick layer of sugar she spoons onto most of her songs. Fortunately, Electrified features a modified recipe. Ditties such as the title cut and "Second Place" are still sweet, but because they're leavened with more substantial riffs, melodies and performances, they seem a lot more nutritious than their predecessors. Bring your appetite.

Some CD singles contain more musical data than does Be Mine, Valentine, which lasts a mere twelve minutes. Nevertheless, Drop Dead, Gorgeous makes every second count, spitting out six relentlessly energetic, emotionally intense songs whose impact is epitomized by the title "Knife Vs. Face: Round 1." It's music that leaves a mark.

Computers can be terrific musical tools, but only if artists use the technology to enhance their ideas rather than as a substitute for innovation. Justin Gitlin, who goes by CacheFlowe, strikes just the right balance. On Automate Everything, he refuses to limit himself to just one or two electronic styles, and his eclecticism pays dividends. Creatively speaking, CacheFlowe cashes in.

Back in 2004, veteran local bluesman Dan Treanor hooked up with R&B vocalist Frankie Lee for African Wind, a surprisingly effective hybrid of American blues and indigenous rhythms. Lee doesn't participate this time around, and his absence is felt. Nevertheless, the current lineup is strong and sympathetic, and Treanor's mastery of instruments ranging from the diddley bow and cane flute to the guitar and harmonica makes this a more-than-worthy sequel. Have Mercy.

Typical CDs have an eighty-minute capacity, and Tha Revolushun fills nearly every second of that span with musical invention, ambition and achievement. The album's introductory track declares that "hip-hop will revert back to its original essence. Purity, rawness, originality: That will be part of the equation." Foundashun members Solpowa, Shunfist, Keo and Dent are clearly committed to this vision, and they spend the rest of the recording living up to it. Intricate production, conscious rhymes, excellent performances and memorable beats make this one Revolushun worth joining.

One-upping Steve Albini ain't easy. The world-famous sound engineer has recorded everyone from the Pixies and Nirvana to his own legendary bands Big Black and Shellac. In 2004, he also recorded Bright Channel's eponymous debut at his Electrical Audio Studios in Chicago. The result, though, wasn't as stellar as it could have been. While the songs and performances were brilliant, there seemed to be too much of a cold distance between the disc and its listener that blunted the impact of its droning, skyward-fixated sound. The trio's sophomore effort, Self-Propelled, is a vast improvement, at once heavier, breathier, more celestial and more intimate than its predecessor. And the kicker? Singer/guitarist Jeff Suthers produced the whole thing in his basement studio, Flight Approved. Let's hear it for do-it-yourself.