When I first threw on this disc I was in a foul mood, but by the time the music ended, I was at peace with the world. Regine might be well known for her career as a DJ; she's done the major clubs and some celeb parties, but that could change with this release. The 12 songs here balance between acoustic and electric, with never too much of either. Nor is Regine a slouch on guitar – her fingerpicking is strong, and on "Thru the Dust," she lets a hint of the Delta shine with some slide work. This isn't the kind of disc that grabs you by the throat, but rather sinks in deeply with repeated play. Think of sitting around on a summer night with a light breeze, a drink in your hand, no worries, and you'll get the idea. www.mp3.com/dinaregine

As these six songs waft across the room, you get a feel for authentic country, like Hank Williams, with a slight Brit influence. The sound is American though, no doubt about it, a rootsy, alt/independent minimalist guitar thing, well, given three guitars. "Black Car" is a funky, chugging number, in which all the guitars go different ways, and yet all make sense. The sound is lazy, kind of chaotic, with an almost southwestern surf/across-the-border bent. "Land Lord" has that Radiohead feel, with a big sound generated from the guitars. It also has that descending "Dear Prudence" chord cadence. The only downer is there are only six songs. Dang. And a feller could get to like these guys. www.50centhaircut.com

What began as a film project in 1992 is now a full-scale funk assault. Blending a horn section with a DJ has led to the creation of an unusual but successful mix, where Latin rhythms, hip-hop beats, raps, and a slew of other influences blare out of the speakers with an unmistakable enthusiasm. The title cut races, as turntable scratches compete with Chicago-style horns, the title is chanted, eventually giving way to rapping. It is a fresh sound, and stays alive to the end. At times the sameness gets in the way, and you start thinking it's too much, but then, as on "Switch," the boys kick things down a notch for variety. Good sweaty dance music, that's for sure. www.picscape.com

This Jersey-based band begins their disc with songs titled "You Can't Polish a Turd" and "Sweet Tarts and Anal Rape." The music is angry (no surprise there), hard and fast. Why the anger? Hey, living in Jersey can do that to you. Musings aside, there's no denying the energy of this alt/punk outfit, and as the chords change at high speed, you're almost tempted to say, " Dudes, take your Ritalin." "I Know It's Wrong (But It Feels So Right)" appeases that instinct, starting off slow, modulating into violence, and then shifting back. Hard to describe the overall feeling you get from listening to this disc, but the word "disturbed" comes to mind. Singer Marc Rosato seems at home either whispering or screaming, as do the songs. Heavy stuff. www.narcoleptics.com

In the band Days of the New, the core of Tantric tasted success briefly, before it all went bye-bye. Now, Todd Whitener (guitar), Jesse Vest (bass), Matt Taul (drums), and newfound singer Hugo Ferreira seek the big time again. Produced by Todd Wright (Korn, Alice in Chains), they stand a good chance. The songs are heavy, well arranged, without the muddiness that comes from loads of distortion and effects. The sound is akin to Alice in Chains meets Pearl Jam, with Ferreira's vocals gruff, moody and out in front. There's enough of a mix between the acoustic and electric elements to keep your head from banging too much, and more hooks than your average metal band. www.maverick.com/tantric

On the opener, "Get In, I'll Drive," Maybaum's vocals are light yet full, similar to Natalie Merchant, but without that nasal inflection. Oh no, not another, you think, but on the next cut, "What You Wanted," she gets a bit more serious, and shows a bit more tonal range. Her voice is balanced nicely by the boys in the band, Rich Stefens (guitar), Tom Semioli (bass), and Tom Papadatos (drums). Together, the blend is irresistible, with no one overshadowing the other. Interesting here is the printing in the liner notes of the dueling ads from the Village Voice, which is how Maybaum and Stefens met. Was it kismet? Well, you can think about that while you listen to the disc, but the short answer is yes. www.andreamaybaum.com

The minds behind this disc are, to say the least, twisted. The opener, "The Pussy God," is not a tribute to felines, but rather, well, you know. Likewise, the song "Kennedy's Head," begins with a bullet being chambered, then a rifle shot, then the music comes in, a kind of Blue Oyster Cult meets Boston mix. The production is good, and many of the songs are almost theatrical in sound. You'll also find "Hitler Is a Jerk," which mixes in what used to be a popular kid's rhyme with a tirade against racism. The capper, though, is "Sex with the Dead," probably the weirdest thing I've heard in a long time, and one that should be on the Hannibal soundtrack. With spoken lyrics like, "This isn't surgery, just sew it up," you get the picture. Creepy.

Sure enough, here's another Celtic-flavored band. Can't seem to pass a month without one. Fear not though, for these lads seem to be a good outfit. Lead singer/guitarist Dominic Cromie sings like he's got enough despair for all five boroughs, and yet he comes from across the pond. The other three lads, Matt Mancuso (fiddle, trumpet), Ed Kollar (bass), and Dave Barckow (drums) are all native New Yorkers, and yes, you did just read "trumpet," which, while perhaps not authentic or what you're used to in an Irish band, does add an interesting edge. Of the 12 cuts here, there are two arrangements of reels (what, you wanted a jig or a hornpipe?), with the rest the band's own compositions. With just four members, they generate a big sound (this is a live recording after all), and somehow seem fresher than other Celtic bands of late. Maybe it's that trumpet. www.raglanroad.com

I suppose the parental advisory for explicit content should have been a tip-off, but the opening lines to the first cut start, "We gonna do some new shit, not da old shit, damn, some shit that all y'all motherfuckers never heard shit." Obviously, enough fodder to send Tipper Gore into cardiac arrest. The next few minutes continue the profane rap, and you wonder, is this a theme song for juvenile delinquents? The following cut, "God," is a hardcore metal thrasher, and all I can think is this is LA white-boy angst. The songs continue to flip between metal and hip hop/rap (thus the title, I suppose), and while the production is stellar, and the musicianship is good, it just doesn't seem to gel. There seems to be something askew, like too much anger or hatred or something. Can't we all just get along?

Yeah, yeah, "Right Place" is a happy jangly tune, and doubtless you'll hear reviewers compare it with something from the Bangles (if you heard the nasal inflection in the vocals, you'd say so too). By "Wide Awake," though, you're awash in gorgeous harmonies (without that nasal thing), and the pep of this pop is pervasive. It's not just a switch from all the heavy metal crap I've been hearing lately; the production here is great, the songs are above-average pop, and Robyn Celia's voice grows on you with the intensity of a schoolboy crush. They recently won an unsigned band contest, so I'm sure some major labels are interested, but let's hope they don't let success go to their heads. There's just enough edge on the pop tunes as they stand, and sometimes the big boys have a way of making everything bland. www.lavababy.com

Wow, what a set of pipes! Julia Brown has a bold, seductive voice, and knows how to pen songs well (she was invited to a songwriting conference courtesy of Squeeze's Cliff Difford, which paid off, and is apparent on some of the tracks). Though the first cut, "Victims and Villains" has some sort of annoying synth sound that's distracting, when the following cut, "Instinct #1" starts, you're hooked like a marlin. It's a haunting song that drives forward, sounding a bit like a late Duran Duran ballad, with that voice, deep and resonant, lilting on the background vocals. What's most fun is to hear the band buildup the dynamics, and hear Brown's voice rise as well, not about to be drowned out. If you're looking for substance, beautiful songs, and a beautiful voice, Julia Brown is the answer. www.juliabrown.com