Their press photo shows a bunch of guys with frosted-tip mop tops, and with a name like 3rd Degree, I'm thinking another Backstreet Boys rip-off, another formulaic band. Instead, I'm rewarded by edgy, hard pop rock, kind of like Split Enz on steroids. Well, maybe not that tough, but the chord changes are more interesting than your standard 1-4-5, and you'll hear vocal harmonies (remember those?), hooks abound, and in general, you're set for a good time. Their sound is such that mainstream and college stations can play their songs without worry. And in that respect, they score big – stuff like their image and name can be fixed later. An impressive debut. www.3rddegreerocks.com

Here's a band that's interesting for a number of reasons. First, there's Jane Tworsey's voice – sultry and sleek, at times sounding like a young Debbie Harry, other times just youthful exuberance shining through. Then there's the guitar work of Jules Shapiro – hard or soft, he plays the right notes the right amount of time, no flash, no overplaying, and you can tell he's no slouch. Bassist Jeff Eccles and drummer Ty Dennis hold the rhythm section together just fine. The only thing that seems to be missing for this rock quartet is that radio-friendly hit to push them to the top. Everything else seems to gel, so that hit should be forthcoming. www.firebugmusic.com

Did you ever have a friend in a band, and you didn't think the band was that good, but you never said anything? That's kind of how I feel about Minus Bluff. There are spots where it sounds like they're grooving together, where the sound meshes in a Romeo Void/X kind of way, and I think, okay, yeah, not bad. And in other spots, they start sounding a bit like Zappa, spoken vocals, sporadic instrumentation. But then a spot will come along, and I think, nah, just not good. Maybe it's the loose, jam-like feel that adheres to every song, maybe it's the lazy quality of the vocals, who knows, but you can subtract me from the fan club. www.minusbluff.com

There's a hint of Elastica, but maybe it's more of the attitude that filters through, a sassy East Village "we know who we are, who the fuck are you" sneer. And you keep waiting for the band members to drop their guard and crack up. Though they may keep the mood in place and not crack a smile, the songs presented here are all good fun. Sounding sparse and amateurish, like the old days of new wave and punk when everyone and their mother started a band for the heck of it, Galvanized plug away. And the tunes grow on you, be it Dahlia's restrained vocals and bass playing, Lori P.'s guitar work, Lori T.'s drumming, or Rob Rogue's keyboards. It's a quirky good time – hard as it is to label the sound, you'll find it much easier to listen to. www.getgalvanized.com

There's a heavy Middle Eastern presence throughout Annette Farrington's disc – be it the rumbling beats of the drums, the musical backdrop, or the way her velvety voice drips its way over the tunes. And usually when I hear music like this, I think I'm in the wrong place, some goofy bar that serves blue martinis at $15 bucks a pop. But Farrington manages to keep me in my seat listening. Her voice, though often drenched in effects, need not be; it's strong and clear, and just lovely, thanks. When she gets ripping, as on "Dive," it's like Kate Bush has sprung back to life (no, she didn't die, just a phrase), and that's good enough for me. Good solo stuff from a former member of Opium Den. www.drawbridge.com/annette

I've been watching a bunch of "VH1 Classics" lately, getting all misty eyed, and here comes Judith, sounding like all those big-guitar, deep-voiced bands like Echo and the Bunnymen, Ice House, et al. Who knew that this sound was still around? Well, now we know. And as much as it's nostalgia in me that likes the sound, the music is also good – big, ringing guitars, melodious vocals, a touch of minor chords here and there. Hey, if this sound made teen goth girls weepy before goth was big, imagine the mascara running now. Hard to believe it's just a trio; Christopher David on guitar and vocals, Damian James on bass, and Brian Veit on drums. But it fits together like a fur-lined glove. And if you're old enough to remember this sound the first time around, you'll love hearing it again. www.asthetik.com/amphion

I was going to pass on this, because it's not that good, but there's something weird at work here that makes me wonder about it all. Sawyer writes numbers like Al Stewart – big, flowing songs that always seem to be going somewhere. And his raspy voice is kind of like Stewart's, though Sawyer's cracks more like Peter Brady's did ("when it's time to change, you've got to rearrange"), and you kind of feel sorry for the guy. But then there's the weird stuff, the religious undercurrent to the songs, the fact that it's distributed by the Music Discovery Network (weird name), and the fact that Sawyer and Aaron Hallas are listed as guitarists, but no credit is given for any other musicians (and they are there). I guess it's okay for the coffeehouse crowd, but I'm getting a weird vibe. You decide. www.musicdiscoverynetwork.com

The first thing you notice about Moon Theory is Kaeti O'Ghara's vocals – strong, aggressive, emotional, sexy, everything you asked Santa for. And over the Middle-Eastern-flavored electronica rock, she paints a beautiful picture. Stylistically, Moon Theory are in the vicinity of Garbage, Portishead, and Bjork – all that trippy, ethereal background music that's occasionally broken up with heavy guitar chording. And playing yin to O'Ghara's yang is TSO, producer and songwriter. He knows his way around a studio, and without her voice, the disc would be interesting enough. But, fortunately, O'Ghara is along for the ride, and that just makes it all better. Sometimes TSO uses too many effects on her voice, but aside from that, no quibbles here. Groove on kids. www.moontheory.net

Citing among their influences groups such as the Band and the Rolling Stones, the bio of Sticky points to the style of music you can expect. And that sound rocks as much as it rolls, a blues-based rock that's folky enough to be accessible, but still sharp enough to cut you. Think Black Crowes without the strutting and pretentiousness, and you'll be close. Even a number like "Gift of Song," which has that all too familiar "Gloria" set of chord changes sounds fresh, and that's not an easy thing to do. The vocals of Mike Press snarl and sneer, the guitar duo of Steve Mayone and Jonas Kahn balances leads and chords, electric and acoustic perfectly, and the rhythm section of bassist Jeremy Curtis and drummer Nicky Kuland moves it all along. This could be my new favorite band. Cool rock and roll. www.stickymusic.net

When you think of Texas, images of tumbleweed and a burning sun may spring to mind. My guess is that Ross Marlow, James Sidlo, and Lisa Kuehl have spent some time baking in that sun. How else to explain the psychedelic foray into the musical soundscape? There's a weirdness at hand, like a soundtrack from a '70s drug film – a kind of carnival feel, where something strange is amiss. If it weren't so appealing, I'd use it for a coaster, but this CD is just so riveting, as I'm trying to figure out what the hell is going on, that I can't get it off the player. To top it off, Marlow recorded it all at home, the band never plays out (well, once, at the Knitting Factory), and it's driving me nuts but I love it. Can you say enigma? www.emigre.com

This is probably the strangest approach I've heard in a while, though not surprising in today's Pro Tools dominated studio/computer world. Mark Gage (code name Vapourspace) trolled his way through the Magna Carta catalog, selecting 10 songs, of which he then took the masters, and, as the saying goes, "Gave them the business." He didn't add anything, or play on top of the tunes, rather he diced up the tracks, fed them through software and synthesizer banks, and voila! 10 little remixes, all in a row. Without having the originals handy, a comparison is out of the question; but Gage's handiwork is quite good, as there's always something going on. Though it may be at odds with the techno and progressive crowds, no doubt it's interesting stuff. www.vapourspace.com

From Stockholm, Sweden, come the Maggots, a trio featuring Mans Mansson on guitar and vocals, Steffen Hellstrom on bass, and Jonas Lundberg on drums. Mansson's voice sounds like a vintage Pete Shelley when he was with the Buzzcocks. And come to think of it, the music at times has that punky feel to it, mixed in with a garage rockabilly feel. "Chicken Race with Satan" has a Paladin heft to it, sparse but always moving, and a song like "I Wanna Be Your Maggot" sounds like it could have come from the Kinks garage. Strange that a garage band would be coming out of Sweden, but what they're doing works, so why knock it? www.badafro.dk

Pole Position are Daniel Da Silva on vocals and keys, and Rui Guerreiro on drums and electronica. The duo from Jersey has had work on a few movie soundtracks, and now they present their first CD for your consumption. With a piano as the most dominant instrument, there's not much in the way of rocking here; rather, as keyboardists seem destined to do, the songs are more expressive vehicles for storytelling. If you like the moodier stuff, then Pole Position are up your alley. Though the opener, "Boulevard," is propelled by the drums, the rest of the tunes fall into a mid-tempo cant, more minor-key dreariness than hook-heavy pop. Hey, keyboard players can be like that. www.polepositiononline.com

Sheeow, the opener, "Bad Blood" is hotter than hell. It's a raucous, rebellious rocker if I ever heard one. And now the second cut, "Just Like You" comes ripping out of the speakers. Where the hell did these kids come from? Copenhagen, of course. Huh, Denmark? Oh yeah. Well, bring 'em on, I say, if they sound like this. Think of any garage band you like, and then imagine that band with about 15 cups of coffee in each member. In this case, that's Bondo on drums, Helle Hellcat on bass, Lars Loco on guitar, and JT on vocals. They're energetic, and the way they rip through songs will make you positively giddy. Goddamn, sometimes this job is fun. www.theburnouts.dk

Keyboardist Walter says this disc is a "tribute to the great soul/jazz records of the 1960s." That said, when the first cut, "2% Body Fat" cuts through the air, and you hear that slightly distorted electric piano, the Latin percussive beat, a bass that runs rather than walks, and a guitar going through a wah-wah like nobody's business, it all makes sense. Sure, you may have visions of Starsky and Hutch racing through the streets in their Torino. Well, if you're of the younger set, you'll probably think of a Target commercial. No matter the imagery, the disc cooks, and cooks with gas. The feel is spot on, and with talent like Harvey Mason, Red Holloway, Chuck Rainey, and Phil Upchurch, how can you lose? www.20thcongress.com

There seems to be a bit of confusion – the photo on the back of the CD is of a razor that looks like it's cutting a long line of cocaine. And just to the right, it says, "Thanks to the Lord." Mixed messages aside (hey, maybe He's a good connection), this quintet from Poughkeepsie, NY, manages to keep centered when it comes to pounding out rock numbers. They're way on the heavy side of heavy metal, but don't seem embittered enough for the aggro crowd. More like a really pissed-off Alice in Chains. And it's nice – heavy guitars without the screaming vocals, big pounding bass and drums. Though there's a certain sameness to the tunes here, it's better than average metal, and a tune like "Shep" positively thunders. Keep it up guys. www.nypipebomb.com

You know, all those bands out in California that call themselves punk (speed pop to me) should sit down, listen to the latest from Suspect Device, and then write a letter to the band saying they're sorry, and they won't call themselves punk anymore. Suspect Device are punk, no doubt about it. They're lively, sloppy (in a good way), and the disc freaking explodes, so much so you feel like starting a mosh pit in your living room. With a sound like early Clash, the band pummels its way through the dozen songs, with nary a dud in the bunch. The only question you'll have is how many times you'll play it in a day. This is punk in all its glory, so take notes, and then go spread the word. www.suspectdevice.homestead.com

Karwreck are messy and amateurish in the same way that early Talking Heads were messy, and that means either they're still learning their instruments and are headed in the right direction, or they really suck and no one's had the heart to tell them, or they don't listen. I'll hedge my bets on the former, since they seem, at least on disc, excitable enough to be doing the right thing. And their sound is kind of early Talking Heads, with a bit of Television and Sonic Youth tossed in for good measure. And with that kind of NY sensibility, should they keep at it, they could be successful. The current disc is quirky, but a lot of fun. Though production is a bit uneven, I'm keeping my ears open for their sophomore release. Let's hope the band keeps at it. www.karwreck.com

Artists will recognize "red to violet" as a phrase that covers the colors in the spectrum. On the cover of the disc, guitarist Onno has a red shirt on, while singer El wears a purple one. So much for being deep. Anyhoo, this duo from Holland seems to be a next-generation Eurythmics, at least in lineup. El's voice may not belt it out on par with Annie Lennox, but on a track like "Let There Be Light," she does manage to sound quite a bit like Chrissie Hynde. On "It Comes Again," there's a bit of noise or clutter in the midrange that almost buries her vocals; that kind of muddiness bares its head here and there across the album. Aside from that knock, the bluesy rock they produce is cool stuff. Better production and a peppy song with a hook will land them on the stateside charts. www.redtoviolet.com