Speak No Evil just may be a welcome remedy for those who have become tired of listening to old Zeppelin CDs. The band's contribution manages to balance a refreshing new direction with the familiar protocol of classic rock. Loud guitars, moderately pissed-off vocals, and extremely pissed-off lyrics characterize the songs on this CD. The L.A.-based quintet spent four years honing its skills before releasing the self-titled debut, and it shows. One listen to the album, and it doesn't take a music guru to realize there's something worthwhile going on here. Frontman Curtis Skelton's singing is both powerful and inspiring, mixing well with the layered and complex playing of Danny Gill (guitar), Lee Rios (guitar), Greg Weiss (bass), and Chris Frazier (drums). Extra percussion on some tracks, such as "Small Words," effectively adds depth to an already profoundly compelling collection of songs. – SB

Although the musical background of Jonathan Buck and Jonathan Sea is rooted in latin and jazz, their debut EP sounds surprisingly like eighties rock. I almost hesitate to say this because of the ill connotations associated with eighties music – and Coppermine deserve anything but a bad name. The duo's beautiful vocals and expert searing musicianship (Buck on vocals, trumpet, drums, rhythm guitar and Sea on lead/slide/rhythm guitar, bass, "space crickets") are at the crest of classic rock. I guess it's the heavy-metal guitar work combined with the deftness of synthesized sounds that produce the effect. Shades of XTC, Morrisey, Pink Floyd, and even a little Beach Boys and Simon and Garfunkel can be heard on the three-song demo. I was amazed to learn that they produced the music in Buck's "pad" in Brooklyn. Well done. Check the band's website for additional info. – AH

The V-Roys claim that music is about honest emotion, heartfelt performance, and above all, good songwriting. It's refreshing to see in this day and age of pervasive sampling and overproduction, that musicians are still putting themselves into the music. That's exactly the impression one gets from the V-Roys' second album, All About Town. Each song is fully saturated with pop and folk melodies. Some of the down-home rhythms are just catchy enough that I found myself wishing the band had explored them a bit more and maybe ventured into some engaging jamming, which they consistently hint at, but don't entirely deliver (each song is less than four minutes). The good thing, however, is that the sincere, highly personal songwriting and vocals soar at a lofty enough altitude to leave you on a distinct emotional high. No commercial interruptions here. The V-Roys don't hold anything back as demonstrated on such bittersweet open-book tracks as "Sorry Sue" and "Fade Away." In the end, it's difficult to resist such emotionally guided performing and good-natured pop/folk melodies. – SB

In a letter to NY Rock, Joe Mannix describes Pretty Strange as "the studio album [he has] always wanted to make." Well, Joe, we thank you for making it. Mannix and collaborator Chris Peck (vocals/drums) brought in Kristin Pinell (lead guitar) and Michael Nattboy (bass) to create Pretty Strange, a 15-song CD with music reminiscent of James Taylor in its storytelling-like feel. For a quick and dirty description of the New York City-based band's sound, think Ben Folds Five with an electric guitar taking front stage in lieu of a piano. That is, the music has an acoustic gone electric feel. Overall, the songs are melodic, occasionally hard rockin' and always well done, but as with Ben Folds Five and James Taylor, Joe's vocals consistently remain prominent. And well they should. With its sophistication, passion and wide range, his tuneful voice steals the show. The band performs about town; to catch them live or purchase the CD, check their website. – AH

In Between Blue's music evokes the Berlin decadence of the thirties. What we have here are the likes of Trent Reznor, the Cure, Roxy Music, David Byrne and David Bowie all lost inside some sort of irresistibly evil carnival. Not to be listened to alone or in a dark place (or perhaps that's the point), the band makes psychosis seem not only disturbing but equally alluring. Ryan Holiday's voice is either truly compelling or truly vexing, depending on one's mood. Some songs reveal meaningful messages, while others seem to run out of lyrics and fill the time with endless choruses of "la la la...." The music is there. It's well played and interesting, with sudden tempo shifts and truly original melodies that cannot be ignored. There is an atmosphere that is dark yet appealing, and that is what keeps one from running away. For more info, check Sol 3 Records website. – SB

In the mood to relax, sip a cup of tea, and sink into your favorite chair? Then don't forget to put Jennifer Maione on the changer. That's not to say that Maione's music doesn't rock out on occasion. It's just that her jangly country rock also manages to be pleasant and soothing, emotional and stirring. Maione cites influences such as Roseanne Cash, Joni Mitchell and Patti Smith, and reminds one of a grown-up Lisa Loeb. That is to say, this chick's got real (not manufactured) girl power. Highlighted by her pretty vocals, the introductory three-song EP is a damn good demo. Maione's professional work stands out from the pack in its quality and appeal. A full-length CD is currently in the works. Keep on rockin' and keep us posted, Maione. – AH

Disproving the theory that "you can't judge a book by its cover," Blu Velvet's CD fronts a sultry pair of blue velvet high heels set against a crimson pink backdrop. Similarly, the New York City-based band's music features equally seductive (velvety, shall we say) guitar work and harmonies – clearly some of the band's strengths – against an acoustic rock backdrop. The subtle, simple, yet crystal guitar work (Aaron Freeman on lead) that seeps in and out of each song, in effect, defines the band's sound as much as lead singer/acoustic guitarist Ron Perry's unique vocals. The lyrics, compliments of Perry, speak truths we all can relate to: "Now I border on happiness/but soon enough I'll praise for death," "I wanna be a star/I swear it won't hurt me." The band performs regularly about town; check their website for times or to purchase the CD. – AH

The members of Kiwi Lip Bomb describe themselves as "a female-fronted, boy-backed New York City rock'n'pop'n'roll band" whose music is like "Blondie meets Alanis breaking into Patti Smith's house on Iggy's birthday." I couldn't put it better myself. If this sounds rather eclectic, well, it is. The lyrics are definitely punk, while the music is more varied and flavorful, if not a tad bit lacking in focus. That being said, I must admit, the sixth track and stellar tune "Late for Work" is reason enough to pick up this CD. This is not to say that the rest of the album isn't up to snuff. Overall, each song is a mixed bag of sardonic lyrics delivered with delectable Deborah Harryesque spunk. Singer/songwriter Lisa Pariseau proves herself to be one smart honky-tonk woman. She's backed by a tight group of musicians who obviously take their craft seriously, despite the good amount of sarcastic humor they display throughout their work. For more info, check the band's website. – AH

After listening to a slew of rock CDs, it was oh so refreshing to put some acid jazz on the changer – particularly the funky acid jazz of Heavy Merge. This band is simply oozing with rhythm and soul. The brainchild of two native New York Latinos (vocalist Genevieve Gazon and bassist Orlando Marin, Jr.), this blend of world/jazz music is part elegance, part funk (with clear emphasis on the latter). Each song features a grooving, exciting beat behind Gazon's sensational vocals. This girl's got a powerful set of pipes, tuneful and as smooth as silk. If their studio work is any indication, their live performances must be a knockout. Check their website for gig dates and more info. – AH

On the heels of the last smash hit album White on Blond, comes the latest release by UK pop band Texas. The Hush, the band's third release, is said to be its best. The album is straightforward in its simplicity, uplifting, and sensual. If lead singer/songwriter Sharleen Spiteri's sex appeal weren't evident, as it is, from the CD sleeve, it becomes clearly apparent after listening to her voice. Whatever she's singing about, whether it's a "Sunday Afternoon" or "The Day Before I Went Away," there is an aura – a certain dream-like quality – that floats about the music and captures the listener. The ever-present dance beat and subtle guitar playing, which seem to be the signature of The Hush, complement her velvety vocals. – SB