This power trio understands that you don't have to 1) turn it up to 11 on every song, 2) rage on the drums with triplets, or 3) play blazing solos that scream "watch what I can do." Not that they can't – if need be, they'll be as in your face as a junkyard dog. But they also understand restraint, and that shows a certain maturity in both writing and production. Funny thing, in the liner notes they state, "There's a song on this CD for everyone," and I thought, yeah, sure, which one is mine? The thing is they can rip it away heavy, or play it nice and soft, and my guess is there's more than one song for everyone. Keep it up boys.

Ahhh, nothing like the sound of Marshall amps. They should issue licenses so that only people who really know how to crank 'em would be allowed. Needless to say, Greedyedna would have no problem passing the test. The CD – part rap, part heavy metal, part power pop (and there should be a new term coined, like Power Metal Rap) – rip roars ahead, stopping for no one along the way. The more melodic sections of the songs tend to balance out the rap influence, although the songs might be better off without the rap breaks. "Against My Wall" is a powerful, contemplative rocker, as worthy of airplay as a bowlful of other alternative bands on the airwaves now.

This four-song EP (although the press release calls it an album) is a good start for four lads from New Jersey. They met and subsequently started a band after a Slayer show, which should give you a tip-off to the sound. The notes also state that the disc was recorded in a bedroom, which, if it's true, should send other bands scurrying inside their homes with recorders. Big, death/speed metal without big production sounds pretty cool here. Matt Bolger plays a chunky guitar and doesn't overdo it, Jeff Hardee snaps the skins hard, bassist Pat Milver keeps it together, and vocalist Ken Kobesto has the right register and range for the music. "Ghostman" is the pick of the four here, a rousing number that'll have you drawing pentagrams all over your walls. Well, not really, but...

Here's a NYC based power trio that's been together for a long time. It shows in their playing – they're tighter than a chokehold on a typical Jerry Springer show – and some songs really sparkle. "Summer Street" has a southern rock bent to it, and the vocal harmonies are nice, as it powers its way into a pounding chorus before calming down again. Other tunes, however, have a more disjointed feel. Musically, they are along the lines of Soundgarden or Metallica, but without melodic vocal lines or refrains you'll be singing in your head later. The guys can play it light or heavy, and often do in the same song. The lighter side will even have you thinking of a young King Crimson. www.chaoticpast.com

The Irish rockers are back with a vengeance with their fifth album. Following the collapse of their record label (A&M), they signed with Ark21. Two-and-a-half weeks in the studio, no more than three takes, two weeks to mix, and here's the best damned rocker I've heard in a long time. Vocalist Andy Cairns runs his pipes through a veritable president's physical fitness test, while guitarist Martin McCarrick (who played with Siouxsie and the Banshees) works his axe like a madman, with more distortion than a cheap fm radio. "He's Not That Kind of Girl" opens the disc, and the fun doesn't stop for 45 minutes. Even a slower paced tune "Six Mile Water" holds your attention. Rip roarin' fun.

Must be something about this time of year, or maybe a comet passed close to the earth, because the discs keep getting better. The nucleus of Flytrap is guitarist Jeff McErlain and vocalist Purple Pam Shelby. While the former can shred bluesy notes in his sleep, the latter's voice is close to Janis Joplin's, without the gravel gin-drenched hacking. "Too long" is a slow cooker, and gives the pair a chance to show off what they've got. "Animal" is an up-tempo blues number, with some nice slide work. Their take on Led Zepplin's "Communication Breakdown" is a slower paced number, that I'm still not sure about. I'll get back to you on it. The rest of the tunes sizzle and pop as heavy blues should. www.flytrapnyc.com

It takes a lot of nerve to release a live album. Sure, they were a big novelty back in the '70s (Kiss, Frampton, et al), and the sound was, well, not great. Now, bluesman Derryberry throws his version in the ring, and if you didn't know it was recorded live, you'd think the title was a joke. But it ain't, and by the way, neither is his playing. There's a heavy Texas/SRV influence, and some Clapton as well, but nothing extreme, as Derryberry carves his own way up and down the fretboard. Bassist Ian Kilpatrick and drummer Baron Miller complete the trio, and along with a few guest appearances on harmonica and organ, the result is a thinking-man's blues album. Not all the tunes adhere to the 1-4-5 progression; "And You Will Be Free" is a thoughtful ballad, and other songs make their own ways. Derryberry's voice is capable too. A great live performance, a great disc. www.willderryberry.com

The Atlanta-based Aparo has a striking look – a cross between Smashing Pumpkin's Bill Corgan and Garth Brooks' alter ego, Chris Gaines. The songs here are big bold numbers, probably due in part to producer Matt Serletic (Matchbox 20, Aerosmith), and there's more layers to the sound than a dozen wedding cakes. But Arapo's no slacker when it comes to penning tunes, and his vocals, well, think of Michael Stipe enunciating, and you're partly there. The lush songs also bring to mind Brit Robbie Williams, but maintain an American authenticity. Whether it's an fm-ready hit like "Spaceship," or a more brooding piece like "Hush," Aparo doesn't miss a beat. www.angieaparo.com

Front girl Susan Hyatt has a voice hot enough to melt ice in Siberia. Good news is she also plays a mean guitar. The poppy, punky songs on this disc will remind you of early Blondie/Pretenders, with a dash of Veruca Salt and Garbage. "Me and my rhythmbox" is the opener, a sultry funky number that'll get your blood running in a hurry. "Right now" has a bigger, sixties lounge sound to it, and a live track, "They'll Never Love You," shows making the effort to see Pillbox in the flesh would be a good idea. And though a handful of folks engineered and mixed the songs, the disparity doesn't get in the way of enjoyment. The songs hold their own, and again, Hyatt's voice is worth the trip. www.pillbox.co.uk