The disc's cover features its title, "Last of the New Wave Riders," on a television screen, while a new-wave-clad lad (skinny red leather tie, black suit) is vomiting what looks to be milk. Happily though, the music isn't nearly as confusing to me. In their press pack, they postulate, "What would it be like if you crossed a vintage guitar amp with your Atari 2600?" and the answer is worth finding out. There is a glean toward Radiohead, in the snarling guitars, the synth work, but the lean is toward the earlier sound of that band. TAOM possess more of the urgency and anger of Television, less reliant on keys (though the instrument adds much in a minimalist way), and the mix of that indie grind with older synth sounds proves a successful one. Choruses are peppered with hooks, as on "Big Bang," which clocks in at just over two minutes and is great fun. And even though a song like "Resistor" veers toward Oasis, the band holds its own. A rock solid offering. www.armyofmars.com

The title may be a reference to the delay in getting his disc out; Keon was involved in an accident in '95 that put his guitar-playing future in doubt. And while certain impairments may still exist, the lad has sprung back. The vein of music is classic, straight-ahead rock, and Keon can burn up the fretboard (without relying on finger tapping even). Yet there are some speed bumps along the way, the first being a nearly two-minute intro to the opener, where it's just clean solo guitar and the occasional drum flares lugging until the pounding starts. When the whole band does come in, there's enough delay to make it sound as if the recording was done at the end of a long hall. And that sonic annoyance (to my ears anyway) continues throughout the disc. It also feels like the drummer is dragging, but since I've been fighting pneumonia, I'll give them the benefit of the doubt. Check for yourself at www.quinnkeon.com.

From the band name and disc title, you can safely assume they have a good sense of humor. In part, you might think novelty act, or rock in the sense of They Might Be Giants, Violent Femmes, or Barenaked Ladies, and they are without a doubt quirky. Yet when a number like "Alice Sits" runs by, you realize the guys have a sensitive side, and there's more at work here. Call it intelligent pop (the band labels their sound "freak pop"), but the music is quick and engaging, the lyrics smart, production clean, and if you can imagine yourself on a sunny summer day listening to happy music, this is what you'd have on the CD player. For example, "Diane" is a ska-infused '50s rocker, "Uncle Charlie's Clothes" begins with the line, "Uncle Charlie died and left me a bunch of clothes, couple of shirts and some pants but nothing matches," and for production, well, you'll have to take my word. Good fun that grows, and not annoying the way some of those other folkie rock outfits often are. www.therightbastards.com

This acoustic duo from Jersey certainly has that Jersey style, which, like the Boss's, is prone to storytelling, with song structures that offer more than just your standard 1-4-5 format. The opener, "My Town," contains some biting lyrics about a relationship gone wrong. But then suddenly, there's a weird change when the second number rolls along, like it was mixed or recorded somewhere else. Some of the highs disappear, as does the full, rich sound. The unevenness in the production haunts this disc, which is too bad. Some of the numbers have a nice melancholy Dan Fogelberg ring to them (how's that for a reference?), but personally, if I can't hear something properly, or there's a hiss, or high end gone, etc., it drives me nuts. And I'm guessing the same happens to other listeners. Towards the end of the disc, the boys rock it up a bit on "Pity to Waste the Moment" and "Wings of Madness," the latter of which is probably the best cut on the disc. It's also the direction in which the band should probably head. www.crashtown.net

For fans of the current glut of bands labeled punk (New Found Glory, Good Charlotte, etc.), you'd do well to give Trigger a spin on your player. They are energetic, raw, vicious, and lack that prepackaged sheen and gloss that so many punk outfits acquire. Their sound is rooted in '70s rock, and elements of the Stooges, MC5, et al, can be discerned. The fact that they come from Sweden adds something too, as the European interpretation of American rock has always fascinated me. Maybe it's the lack of distractions over there; maybe there's not a McDonalds/Starbucks/Gap on every corner, and that capitalist mentality doesn't prevail. Maybe not, who knows? I can say though, that this disc kicks ass, and, hey, from just a trio to boot. Pick any song off the disc, and it explodes out of the speakers. "Unforced Peace" is spinning right now, and a la '70s bands, a guitar lead (remember those?) is switching back and forth between right and left channels. At once a throwback to the past and a look ahead to the future, Trigger grabs you hard and doesn't let go. www.rocktrigger.com

The company that hosts both Trigger above and the Gaza Strippers below sounds to me like a label you may want to look into. Formed in Italy, they seem to like the underground, garage punk bands, and none are lacking in the energy department. The first break from the relentless charging comes at track 7, with Spamabilly doing "Borghetti Bop," a rockabilly number which is dead to nuts Gene Vincent stuff. Another quieter number is "Street Stalker" by Most Unusual Sound, and it's quieter only in the sense that the production is lo-fi – the band rages like old Richard Hell stuff, careening on the edge of chaos. The group Muthi Mambo is a mix of Cramps-like insanity and voodoo swamp punk on "Rosy Nano." And they pretty much repeat themselves with "Memphis Tennessee." Bands like Thee Psychotones, Real Swinger, Los Activos, and the Dissuaders (along with Trigger, of course) prove that true energetic punk is still alive, though a mite harder to find. As samplers go, this one is pretty good. www.nicotinerecords.com

The word boisterous comes to mind as the second song from the Gaza Strippers blows by – they are loud, unrelenting, and a whole lot of fun. What's not to like? The sound and hard-charging attack would leave the energizer bunny in the dust. For some of the grizzled vets out there, they do ripping covers of Queen's "Sheer Heart Attack" and Blue Oyster Cult's "ME262." And the inclusion of three live cuts proves that the band onstage is pretty much what you get in the studio. Oh sure, the mix isn't quite as hot, but live mixes rarely are. The studio tracks, though, rip with a vengeance, from the blazing opener, "Almost Instant Karma," which will have you snapping your neck to the beat, to a number like "Rodan," a hilarious nod to the Japanese movie monster, and probably a nod to BOC's "Godzilla." The Gaza Strippers are a good pick if you like up-tempo rock with roots in bands like BOC, Cheap Trick, and the like. Just wear your seatbelt when listening. www.gazastrippers.com

When you see a lot of glowing reviews in the press pack, it's a good idea to take a step back for a second, and right now I've just taken a step back. Though the first cut was standard punk fare, the second verges on nu metal, a distorted rant with barely intelligible vocals. Then it's back to a more subtle approach for the next number, as they start out quiet and pick up into a garage sound before coming back down. Are they worth the hype? I'd have to stay on the fence on this one. Mike Tucci's vocals have a nasally whine that snarls from time to time, and though fitting for the music, it grates on my ears. And drummer Billy Tucci (brother maybe?) seems to rush the beat in spots, and while no one else might notice, it bothers me. (Although the possibility that my mind is gone along with my hearing is an option.) Bassist Tony Cortz holds down the bottom quite well, balancing out the trio. The variety in the tunes sounds like an identity struggle for the band, though the boys seem most successful with the pop punk stuff. See for yourself at www.atticsnoise.com.

After so many punk discs, listening to this one was like stopping from 90 miles an hour in the blink of an eye. And what a treat for the ears. In the minimalist Americana vein, it is both sparse and lush, cinematic in scope, with no wrong notes, and all the bits and pieces forming a beautiful collective whole. It has the scope of, say, a Tom Waits disc, without the darkness and insanity that often comes with his territory. Songs careen from the opener, "Mussolini," which, with its lean banjo playing, sounds akin to Otis Taylor's last release. "Can't Afford," on the other hand, sounds like a mid-70s jazz lounge, while the title track has a mid-America feel. Bluesy ballad? Maybe. It's difficult to classify. The disc impacts immediately with its subtlety, but the sophistication of the arrangements and instrumentation may take a few listens before you can recognize its beauty. A solid (albeit introspective) disc, but one that has a lot of staying power. www.killhenrysugar.com

Another trio this month, one that does a pretty whacked cover of Willie Nelson's "Crazy" that sounds nothing at all like the tune in your head right now. Oh, and they do a cover of George Harrison's "Art of Dying" that's a bit closer to the source. For their original stuff, however, they employ a straight-ahead approach. Their press gives nods toward a Replacement sound, but the band doesn't quite employ the melodic intuition that the Replacements had. Not to say that Blue Sandcastle aren't melodic, it's just that the hooks aren't overwhelmingly strong. The band is primarily the duo of Erik Schuman on drums, and Jean-Paul Vest on the remaining instrumentation (guitar, bass, vocals, if you're keeping score). And it's interesting rock, with intelligent lyrics that tell a story. Vest's voice is a wee bit, hmmm, nasally, or maybe it's a bit on the high side, and to me, it doesn't have enough punch for a rock singer, perhaps lacking an emotive strength. But give them a listen, because I've been wrong before. www.bluesandcastle.com

On the back cover, I notice in the song list, "Song for Michael Hedges." Anyone who is familiar with Hedges (an acoustic monster if there ever were one) might prick up their ears and say, let's see about that. And I did. And Thompson delivered. He's a surprising talent, tapping the fretboard, fingers all over the place, picking like a banshee when called for. So those worried about the Hedges song, or any others, can relax, because you're in good hands. Music of this sort creates an atmosphere in which relaxation and attention are key to enjoyment, and it's not for guitar heads alone. Others should equally find joy in it. Sure, you won't be singing choruses while waiting at the bus stop, but when you do give pause, you will find the music doing strange and wonderful things, like evoking memories in your head as passages hum or repeat, or experiencing Zen-like moments when a sharp note is plucked hard, or when Thompson raps on his guitar with his knuckles. He's a smart fellow too, by the way. You can find out more by visiting www.nickthompson.com.