This quartet out of NYC features Laura Fay on vocals and guitar, Michael Aguirre doing the same, Ron Moore on bass and Ted Kirschner on drums. Though previous press remarks that they have "been on a sweet sexy wild rock ride picking up where Blondie, the Motels, and the Pretenders left off," their music seems to have more of a Midwest Americana sound than a new-wave feel. Fay's vocals can be deep and heavy. When she ventures into the upper heights, however, it can get a bit flaky. But her presence is strong, nonetheless. What really drives the band is the guitar work of Aguirre, whose leads smoke like a Carolina barbeque, sweet and sharp, filling, but leaving you wanting more. Again, the songs gravitate more toward blues rock or R&B than new wave, but with a peppier slant (as opposed to crying-in-your-beer stuff). Production is good, for the most part (some drops in volume, etc.). All in all, not a bad first effort. www.theblisstones.com.

You know, there are singers like Celine Dion, who belt out big pop hits like that "Titanic" number, and Enya, who makes big swoopy new-age stuff that just leaks out of the speakers. Cari Cole's disc is similar, but for whatever reason doesn't grate on my ears like the aforementioned. Her inspiration for this disc comes from don Miguel Ruiz's book, "The Four Agreements," and the result is a healing/holistic disc with absolutely gorgeous vocals. Cole, a former soloist for the Metro Mass Choir in NYC, has a voice that is pure in tone and a pleasure to listen to. And though the instrumentation and arrangement of the songs here are lush, they aren't overbearing, or weighed down by tons of reverb, or inundated with strings. The result is a calm listening experience, kind of a massage for the ears and skull. Much in the way a good cup of tea takes the edge off an ugly day, so does Cole soothe your soul. Even if the lyrics are too preachy or touchy feely for you (I'm not ready for salvation yet), the sonic beauty and Cole's voice will please. www.caricole.com

Well, here's a surprise. From Champaign, Illinois comes a quartet fronted by G. Lee, a singer whose timbre is not unlike that of Sheryl Crow. But lest you peg her as a copycat stylist, she diverges quite nicely on "(Worse Than a) Slow Death," a kind of rock-meets-beat-poet-lounge jazzy number that should put any thoughts of mimicry aside. Other songs range in styles from funky blues rock, like "Let It Rain," to gassed-up folky stuff, like "Joy," which is one song where you might make the Crow comparison. On a song such as "I Will Escape," the acoustic guitar dominates, with synth strings giving a big sound in the chorus. The rest of the band – Andy Lund (guitar), Peter Roubal (bass), and Ian Shepherd (drums) – provide a lively and engaging backdrop to Lee. Dynamically, the songs rise and fall, as if some thought actually went into the arrangements, and that's a good thing. All they need now is a few more bucks for tweaking production, and they're radio bound. www.jetblonde.com.

A quick glimpse at the back cover shows two fellas sitting on chairs at low tide, elbows on a table, mini teacups in hand, one wearing what looks to be a Burger King crown, the other a tiara, little donuts scattered about the table. What? No greased broads, no symbols, no kabuki makeup? Nah. And this six-song EP, though not too polished (the drummer runs on alternating current, for example), has its moments. With the opener, "We Love Star Wars," the tone is set, one that attempts to be humorous. And lyrics are worth a chuckle, but don't have much staying power. For example: "Millennium Falcon's got the pace, to beat Tie-Fighters in outer space, though Chewbacca speaks gibberish, there ain't no spaceship he can't fix." Similarly, the music is a kind of frat-boy punk, simplistic, straight ahead, easily accessible. As bar bands go, they should do fine, and the recent addition of a drummer should give them the push that drum machines just can't provide. www.snackband.com

The band seems to have vaulted into the limelight with the blessing of media giant HBO, who tapped them for a song on the "Sopranos" (who knew? I don't watch the show). On their latest release, there are 11 peppy tunes that are always charging. Even the slow ones. Let me put it this way; you know how acoustic bands that place a lot of emphasis on rhythm are strumming the crap out of their guitars? Well, that's how these boys sound. Nothing derogative here, just an observation, as in it would have been nice to slow things down once in a while, else the disc sounds like a roller coaster with no brakes. The songs are engaging though, and should find airplay easily, fitting in that niche of acoustic-charged electric bands that come and go (there's usually one or two a year that go big). Best track is "I Was Hopin'," an interesting song with good movement. Just beware of their website, as it is a nightmare (every click seems to launch a new window – ugh!). www.tammanyhallnyc.com

Didn't get a lot of press on these guys, and the website is light on info too, but if you're a fan of the current garage stuff (i.e., White Stripes, Strokes, et al.), or a fan of the real deal from Motor City many moons ago, then this disc is for you. It's raw, energetic, in-your-face rock, with emotion and not just chord progressions. Vocals emote rather than wail. Guitars punch, jangle and grind, in tune or not (and that's appealing as well). It all drives home on 12 solid tracks. You have to listen to catch what's going on, unlike some bands that put everything right out front for you. "Come Clean," for example, features a lovely separation of guitars split between channels, and background vocals hang just low enough that they don't stick out, but you know they're there. Listen, you'll see. One of the finer discs to come our way this month. www.celebrityhotwax.com.

From Ohio comes a band that emulates the current trend of standard rock fare. That is to say, they use dynamics in songs, breaking out of a quiet part when all comes crashing down, the guitar lead cuts through, the singer gets hoarse (or approaches that point), and all the pieces fit together nicely. And that's part of my problem with the band, in that the songs don't flow as much as they seem to be stitched together. As if part A was slapped to part C and so on. The familiarity is akin to seeing the same sights on your daily commute, juxtaposed somewhat, and a tad unnerving. But I don't fault the band, more so the current state of rock, since this is the stuff that's getting airplay, and if you want to get signed, well, you know how the game goes. There are some glitches on the disc, a nasty guitar out of tune on one song, what sounds like drums speeding up in another, but they've done a decent job.

It took two songs to sell me on this band, essentially the duo of Chyanna Davis and Tom Diekmeier. The sound is not unlike that of Garbage, though not as dark or layered, and more poppy. Oh, there is layering to be found, but I guess it doesn't feel as heavy or ominous. Further, the band has been heard on such TV shows as "Buffy the Vampire Slayer" and "Dawson's Creek," though they seem more mature, and develop their songs more than most of the teen-throb outfits heard on those shows. And after repeated listening, I found myself getting lost in the music, like a good, heady buzz that just takes you away from reality for awhile. Chyanna's vocals are bright and seductive, as on "Deeper," or sultry and intoxicating as on "Sugar Star," where a coyness beckons the listener. The arrangements are brilliant as well, bass lines that sway and shift, drums that snap, a variety of keyboards that set the mood or add a shimmer of brilliance, and songs that shift from light pop to menacing dark rock at the snap of a finger. Just a great disc. And though their website drove me nuts with the sound file popping up, here it is... www.crushingvelvet.com

On this disc, singer Christopher takes a stab at 10 songs that mine the depths of, oh, call it middle-of-the-road rock, soft pop rock, without an edge. As much as I want to like this guy (he has a nice promo kit, wrote a nice letter, seems sincere, and all), I have reservations about his voice. In fact, listening to the first song, I felt like Simon on "American Idol" – I wanted to take a drink of Coke (bottle's label toward the camera), and stone-faced blurt out, "you just can't sing." It's true, his voice quavers, and strains, though on some songs, it's adequate. So I listened again, since it's only fair (and, well, with the disc title and all), but sadly, my first instincts were on the mark. On the plus side, there is a variety of music, it's not the same tune in ten different ways, but I found it harder and harder to listen as the disc played on. www.terrychristopher.com

From Rochester, NY, comes a quartet playing acoustic rock with added retro keyboard sounds. Friends and close allies know I'm not partial to stuff like Dave Matthews, and these boys fall in that wake. The introduction of keyboards, however, reminds me of the early days, Moog sounds in particular, giving the music a, dare I say, quirkiness that colors it in an enchanting way. The opener, "Cannonball," uses a keyboard line that sounds as if it were pulled off an ancient Head East or Styx track, and by itself, the line would be laughable. But the melding with the acoustic jam, the way the drums and bass pump, it creates a groove along the lines of Beck. Other tunes use synth strings to give a big, spacey sound to the song, as on "Sugarcane Alley," that again, comes across as rooted in the past as much as the present. Though the title is beyond me, the music is just fine, thanks. www.junctionfive.com.

Shadow, a poet, had gone to Nashville years back when the songwriting mill was an interesting alternative to the then current state of music. Now, on a disc that took four years to make, he paints a vivid and nostalgic portrait of NY as seen from the street level. His poetic descriptions are a joy to read, as on "Crossroads of America," which begins, "Minnie Mouse gets grab-assed, by a white-whiskered alchy, in the leftover '50s light of the arcades of 42nd Street, jazz Cadillacs scream in octaves, generations wait at the cosmic light." His delivery is not unlike Lou Reed's, predominantly spoken rather than sung, the voice gravelly, but not despondent. He also has some talent backing him, like guitarist John Jackson (Bob Dylan, Lucinda Williams), and drummer Paul Griffith (John Prine), among others, so the musicianship is there as well. The disc smokes and burns like steam coming out of a manhole cover, gritty and authentic, and fans of New York and artists like Reed, Jim Carroll, etc. will find this a must-have addition to their music collection. www.allenshadow.com.

The huge sound on this disc belies that the band is, in fact, a trio. I, for one, was surprised. There is a lot going on, not that the music is too busy or a lot of bells and whistles. Rather, each song is tightly packaged and the elements drawn out quite well. Also good news is that Olio plays a mix of rock and funk, a style that's hard to maintain. Usually, it either gets too heavy on the rock side, such as Living Color, or heads off toward the more jazzy side, often falling into the Holiday Inn-circuit black hole, never to be heard from again. But singer/guitarist Arif has a clean and fresh George Michael-type voice, and is no slouch on the guitar. Likewise, Alex Evans on bass is as adept at walking as he is at popping. He also gets a good clean sound. Lyrically, you may have issues – their mission statement, for example, is along the lines of eradicating racism, color lines, and just enjoying life. Noble indeed, but personally, I'm a cynic, and a tired one at that. Nevertheless, the music will have you swaying at the total funkiness of it all. Production is clean; good separation; good stuff for the funk inclined. www.oliomusic.com

Take four unassuming lads out of Lake Placid and what do you get? A hyper-funky jam rock that puts a lot of the name acts to shame. Going by looks alone (I'm so shallow), you'd expect a real slacker disc, a bunch of hemp heads stringing some chords together. Instead, there's a frenetic fury, more along the lines of something Adrian Belew might do. Rhythm means a lot to these guys, and the drums and bass are tight together, while the guitars, split between comping and running leads, really color the songs. Vocals veer from singing to a high-speed rap, at times blowing past your ears before you get a chance to hear what the singer is saying. There is some high-speed guitar playing as well, like the intro to "What It Be Like?" which shows that the guitar lessons paid off. The boys prove their versatility on "Wandering Home," a jazzy ballad that's a mix of Van Morrison and Kenny Burrell. There's a lot to sink your teeth into here, and though at times it overpowers the listener, it's well worth the investment. www.hot-fat.com

Though only a five-song EP, there's enough meat here for the hungry listener. Dark and moody, a heavy mix of melodic bass playing and richly repetitive guitar hooks, it's the kind of stuff that gets you in or out of a funky mood. On "Void," for starters, the droning and octave guitar work is reminiscent of early U2. The song always feels like it is on the verge of slipping, or losing time, as drum kicks snap on the "and" of 4, and devices like this really make the song fun to listen to. The opener, "Without a Name," features sounds in the background like whales barking, while a guitar plays swoopy lines on top (probably with an E-bow). Bassist/singer J. Milazzo affects a whine in his voice, more of a pleading tone actually, that fits the style of music quite nicely. Another nice disc this month (though I would have liked to have heard more from these guys). www.masterofnone.com

Not much press on this one, but it seems like another foray into the Christian metal arena. Sonically, the songs are heavy, with a good buzzy distortion on the guitars, melodic enough, though hooks don't grab terribly well. The sound is somewhere in the Whitesnake meets Dio house. And were I not to venture into the liner to read the lyrics (or listen for that matter), it'd be a decent metal disc – not too heavy. Yet, when I come across a line like "Go ask Lazarus," the radar goes up, and I get defensive. Not that I'm dissing religious preferences, far from it. I just like to keep the church and the state (of rock) separate. And, again, there's something entrancing about Marshall's disc, not in the way that I'd tell you to run out and get it, but the way the songs are put together. Probably due in part to this being a solo effort (for the most part), but it is interesting. Though he has yet to toss up a website, you can get clips at www.earbuzz.com/jmarshalls

"After years of silence the inventors of Flower Punk are back" proclaims the press that came with this disc, and though I'm not sure what flower punk is, the boys do play a peppy and catchy version of punk rock. For three of the numbers, the liner blazes the info that they were mixed and engineered by Daniel Rey and Joey Ramone, who either got a ton of cash or were fond of these Italian lads. The difference in production is apparent as well, as the opener, "A Bullet in Your Heart" sounds thin compared to the others. It is, though, an up-tempo, speedy little pop-punk number, sounding like early Ramones. "Walras Equilibrium" starts out in a hardcore vein, before switching halfway into the Beatles' "Magical Mystery Tour," and if you think hardcore doesn't mix with a poppy, heavy version of that cover, well, you'd be right. "Error 5 From Outer Space" is infectious and finds more common pop ground, while the last song, "Fester (The Magic Cat)," is almost as long as the first three, and a bit disjointed. Interesting stuff though. www.kaleidoscopic.it