Aside from the question of "what is a moke?," there's little else to do with this disc but sit back and enjoy. It's a mix of old and new, of classic Brit-pop and metal, where guitars crunch and vocals layer across sonic landscapes. And just when you get comfortable with that, the music goes psychedelic, or raunchy, the latter with a healthy dose of killer slide guitar that'll take you back to the big Southern rock bands of yore. The four lads from across the pond (John Hogg on vocals/guitar, guitarist Sean Genockey, bassist Alex Evans and drummer Johnny Morgan) kick from start to finish, and the nicest thing is the freshness of the music. While a track like "Today" may sound like the Pixies, when the song enters the chorus via a minor chord, it's all British, and will have you smiling at the melodic movement. The opener, "My Degeneration," is the funkiest thing since Jane's Addiction, but again, manages to sound new. It rocks. Nuff said. www.moke.com

There's pop music, and then there's intelligent pop music, music that's more spread out than your average progression, with lyrics vague and poetic, and instruments that come and go, dropping in to add bits of harmony, distortion, and what not. Francine falls into that latter category (like you couldn't see that coming), as Clayton Scoble mostly talks/sings his way through the songs, musing his way through the numbers. And just as the lyrics are aloof and take time to be truly appreciated, so does the music slowly worm its way into your noggin. Though the opener "Set of Dune" features a dirty guitar hook right off, other numbers, owing to their construction, may not attack your senses right away. But these Beantown boys know what they're doing, and repeated listening is a delight. The nuances begin to pop out, and you realize these guys are good. www.qdivision.com

Since his last heyday in the Boston music scene a few decades ago, where he opened for some big names (Van Morrison, the Velvet Underground, J. Geils, etc), Johnson has been keeping a low profile, at least in terms of releases. With his batteries charged up, he recently released Bloodshot, a mix of haunting, folky music, with his raspy voice talking the lyrics. It's a kind of Tom Waits meets Leonard Cohen, and may not be for everyone. The musicianship is top notch, with solid guitar work from Asa Brebner and David Champagne, and Steve Sadler playing a wailing lap steel, among others. Johnson's poetic lyrics can be incisive as well as humorous, as on "She's a Heart Attack Waiting to Happen to Me," where he wails "If I sat on a cactus it wouldn't hurt more, than to be with this love I adore." Yet other times his voice just plain grates. You make the call. www.petercjohnson.com

This debut from the Santa Barbara singer/guitarist offers a wide range of styles to the listener, showing that Hoagland is a competent player. And though his voice may be weak in the sense that there's not the same effort put into it as found in his guitar playing, it's not something that should hold back the lad. After all, a few years on the coffeehouse circuit should make him grizzled and cynical, giving him a snarl when he needs it. As for the stylistic tour, well, many solo artists make the common mistake of showing everything they can do on their first disc, recording a resume as it were. So though the CD is not bad, it's a bit too diverse for my tastes, ranging from acoustic blues to country to Latin to jazzy numbers, etc. The best cut is "Calvary Hill," a jazzy blues number with some nice chord movement. www.tedhoagland.com

It's a long way from theatre school in Chicago, where the pair met, to signing with Ani Di Franco's record label, but here they are on their second release, a stirring disc that is both raw and sensitive, jarring and melodic. With an opener titled "Best Cock on the Block," you can pretty much gather this ain't Celine Dion. But neither should you be put off – as the duo are sharper than a set of Ginsu knives, cutting their way though a baker's dozen of songs. Some are funky, with a beat-poet feel, as bass and bongos provide the backdrop for the vocals. Others, such as "Mother's Day," find a lone electric piano holding up behind the voice. The absence of a rhythm section seems to hone the attack of the pair, who can be hilarious or touching, depending on the subject matter. At times, it's hypnotically captivating. Wild stuff. www.righteousbabe.com

His voice has a raspy quality to it, like Cat Stevens after a few packs of Camels. It wavers when he holds the notes, a tremor that jitters over a few beats. Oh, and there's a slight nasal thing going on too, which makes his voice sound affected. Coupled with the waver, you start focusing on the voice, and put the lyrics and instruments aside. And in that respect, the disc just doesn't hold up. The guitar-voice solo arrangements (well, he overdubs a lot of guitars, but you know what I mean) seem lifeless and depressing, hookless, and without steam. And on "Enough Today," the first venture into the chorus features vocals that clash and are flat. Yeouch! I'm sorry to tell Blaike that I have tasted it, and I don't like it. Check please. www.blaike.com

Imagine for a second Mountain's "Mississippi Queen" stopping and suddenly breaking into the Beverly Hillbillies' theme song. That's kind of the attack found on the opening cut, "On My Mind." A wicked, heavy guitar riff gives way to a country bluegrass thing, and you're stunned, but the absurdity of it makes sense (don't ask me how), and it's toe-tapping fun. Are country bluegrass and heavy metal kissing cousins? Hey, call a library or a museum and ask somebody, I'm too busy having fun here. And though there are only six songs, it's all good. Frontman John Piser can rip riffs on guitar and banjo, and has a nice gruffy snarl in his voice when he needs to use it. In the end, it's that weird mix of genres that lifts the disc above others, and I'm still trying to get the connection. Hey, if it ain't broke... www.alcohol-usa.com

The band plays mostly blues-based rock, but you'll catch a melodic side to the trio of guitarist Asher Kahn, bassist Mike Smith, and drummer Aaron Boczkowski. And though some of the press nods to Dave Matthews as an influence, you're more likely to hear the Stones or John Mellencamp. Sure, maybe there's that DMB thing going on, but only if you dropped the sax, acoustic guitar, and general pretentiousness in favor of Jack Daniels and just plain rocking. A song like "Dreamer" sounds more like Mellencamp, while the next cut, "Something to Hold" begins with a ZZ Top-like riff before venturing into funkier, Santana-like territory. Not knowing what to expect and not being disappointed make the disc fun, and my guess is they'd make a good showing at a bar. One way to find out, of course. www.asherkahnband.com

Well, when you get a lot of heavy, angry hardcore bands, you had to figure there'd be a bunch of fallout in the forms of imitators and wannabes. And from LeRoy, NY, comes D-ZL (pronounced "diesel"), trying to stake a claim in the market. And though Dan Clor's guitar work hits the chords with all the speed and aggression necessary, his vocals sometimes lack the conviction or anger to go with the music. The production is adequate, even without all the tricks of the bigger studios. And the songs are dissonant and segmented, like hardcore bands write, bouncing from section to section as chaotically as possible. But the band just doesn't sound as threatening as I think it wants to be. And you know where nice guys finish. www.d-zl.com

She is perhaps best known for singing "It Can't Rain All the Time" on The Crow soundtrack, or the song "Calling All Angels," found in the films Until the End of the World and Pay It Forward. But she also did a track for the movie Barney's Great Adventure, in addition to working at Peter Gabriel's studio on a couple of numbers. Laura Nyro is an influence on Siberry, and there's a song on this disc that pays tribute to Nyro which is also found on the Time and Love tribute album. You'll hear that influence, along with big, swoopy, new-age sounding material. Heck, there's even a number with Joe Jackson, and a klezmer tune. And as much as it sounds like the disc is all over the road, Siberry's voice, syrupy at times, but with a lovely depth and breadth, holds it all together. www.janesiberry.com

If you like techno/electronica sampled music that's cut and pasted, then dial M is up your alley. The good news is that if you don't like that type of music, chances are you too will like dial M. Personally, I fall into the latter category, but there's something about the disc, either the pacing, or just the way everything is smashed together that makes it engaging. I ain't about to start hitting the dance clubs, but this disc is at least edgy enough to make it interesting to those of us who wouldn't normally walk down the techno alley. Maybe it's because the songs have a heavier edge, and feature lots of guitars and square wave synth sounds. But don't worry, I won't be pinching cigarettes and ordering lattes anytime soon. www.dialmnow.com

Here's another disc that was recorded in someone's apartment, and doesn't sound too bad at all. Well, there's not the depth of a big studio, and the guitars sound like they're either going through a teeny Peavey amp cranked to the gills or through a distortion pedal. But no matter, the boys are enthusiastic enough, and the songs are heavy, reminiscent of old Motorhead, and fun to listen to. The tunes are even interspersed in two spots with some studio banter, which is funny enough, though it's mostly swearing and band blathering. Even when things calm down a bit, as on "Monster Show," it's engaging. But not to worry, it gets heavy again soon enough. With a little polishing and a bigger studio, the bots just might make it to the big time. www.orgasmabots.com

Well, sorry to say if I had any press on the Gelatin Boys I've misplaced it. And a quick trip to their web site left me with nothing, since it was under construction or whatever. Suffice it to say, the Gelatin Boys are a quirky, punk progressive outfit that is surprisingly easy to listen to. The disc opens with some banter that sounds like some stoned dolts discussing a band at a bar, and then launches into a punk song along the lines of the Cramps. The next number begins with a funky, ninth-chord guitar rhythm before falling into a loose, jam feel. So they're quirky, erratic. But then you'll hear a cut like "Birthday," a melodic, pining song with acoustic guitar, that sounds damn near folky. By disc's end, I'm not sure how they'd prefer to be labeled, since they close with the Captain and Tenille's "Love Will Keep Us Together." Too wacky for words, but too fun to pass on. www.gelatinboys.com