Roundhouse 

The second release from Roundhouse kicks off with an upbeat tune that blends elements of swing, blues, zydeco and rockabilly. The jazzy drums and bass lines are fit for a 1940s swing dance, while the bluesy guitar, harp and vocals make the music equally appropriate for a honky tonk saloon.

The track, called “Got Love,” sets the tone for an hour of authentic blues-based music on “Kickin’ the Dirt,” released in April. The band’s five veteran musicians showcase their experience with music that geographically bridges the traditions of New Orleans, Kansas City and Chicago. Harpist Mike “Bullfrog” Rogers exchanges vocal duties with guitarists Buddy Shute and Dave Graf, while Doug Green strums bass and Joe Rogers pounds snare-heavy drums.

Members of Roundhouse have played with acts ranging from Emmy Lou Harris, The Eagles, Tom Rush, George Winston and Bill Haley, and their combined experience and talent gleam through all 13 tracks on “Kickin’ the Dirt.” The songs manage to be catchy without sacrificing blues authenticity, and they maintain a toe-tapping quality while capturing an element of rockabilly grittiness. The three singers split songwriting duties for a sound variation that does not stray far from the folk-blues nest.

Roundhouse will perform for the Maine Blues Festival at Bray’s Brew Pub in Naples, Maine, on June 16. The new CD is available on the band’s Web site at www.roundhouseblues.com.

Swaggerin' Growlers 

The opening notes of “The Bottle and the Bow” sound like something off the “Braveheart” soundtrack. But within 30 seconds, the drums come crashing in, instantly bestowing the music with hard rock muscle. The first line on the CD seals the attitude: “I’d sell my soul for a bottle of Bushmills,” the Swaggerin’ Growlers promise, but they intend to drink their Irish whiskey without relinquishing their Irish souls. The song ends about a minute later with the line “The devil best be ready for a fight when he comes to collect his dues.”

The second song bursts directly into a fast-paced Irish punk anthem, paving the way for an assault of hardcore drinking songs with titles like “Drunk Before Noon,” “Beer, Women and Song” and “Kiss My Ass.” Despite the limited subject matter, the album features a variety of skillfully utilized instruments, including tin whistle, banjo, mandolin, violin and accordion.

Melding The Dropkick Murphys with The Kings of Nuthin, the Dover-based sextet growls through a recording that combines traditional Irish folk music with modern punk rock. Their appreciation for the traditional and the cutting edge grants them an appeal that bridges generations. The band has racked up well over 100 shows together in the Boston area, but “The Bottle” constitutes the band’s first full-length CD.

The Growlers unveiled their debut album with an appropriately decadent release party on March 3. “There were over 200 people there, and absolutely everyone was devastatingly hammered,” guitarist and vocalist Jonny Swagger reports on the band’s Web site, www.theswaggeringrowlers.com.

Adria 

During nearly five years of performances throughout New Hampshire and the rest of New England, Adria has spread from its New London roots to grab regional recognition. The band’s first full-length album, “The View From Here,” hit store shelves on April 3. It follows the 2005 EP “Concealer,” which was released shortly after the three-piece band signed with local label Red Fez Records. The new disc was recorded over six months in the latter half of 2006 at Dizzyland Recording in Rochester.

The album shifts between varying levels of rock intensity, ranging from speedy Foo Fighters riffs to moments of pure metal and occasional gentle digressions. Adria seems to have found inspiration in several local contemporaries, including The Screen and Dreadnaught, with whom the band has shared the stage. The overall effect is typical of the rock power trio, with guitarist Sean Joncos, bassist Justin Pill and drummer Matt Cartmill passionately throttling their instruments.
Lyrically, the album consists of lofty musings sketched out in rhyming lines by Joncos. He and Cartmill share vocal duties, and both air out their lungs with youthful sincerity and angst. The result is 12 songs that could easily fit into any modern rock radio station’s set list.

Adria will be gigging heavily this summer at locations throughout New England, Pennsylvania and New York. For a list of live dates or to purchase the CD, visit www.adria-rock.com. 

The Glam Rags

Guitarist and singer/songwriter Josh Weller refers to his personal brand of music as “space folk.” It’s not a traditional genre, but it fits. On The Glam Rags’ Web site, the artist describes his battle with Cerebus the Three Headed Guard Dog and recounts the band’s sci-fi origins. “The Glam Rags spilled out of Josh’s head after he cracked open his skull to relieve a headache,” the site states. “Josh’s powers include being able to set his own eyeballs on fire and the ability to change into a tree.”

Released in September 2006, “Hopscotch on a Barren Planet” consists of 14 simple folk songs made trippy with basic effects and surreal lyrics. “Voices stirring in my head,” he repeats in the fourth song, “Voices.” “The world is growing stranger, wait up with me. The sky is growing darker, wait for the dawn with me.” Alan Argondizza adds harmonica and keyboard accompaniment on a couple of tracks, and an ambient five-minute interlude called “War Between Planets” divides the track list.

The disc was recorded and mastered by Argondizza at WPEA in Exeter. Despite amateur production, Weller’s songwriting is continually stimulating and evocative. He embraces his own quirkiness and sings earnestly through just under an hour of music filled with space waves and folk chords, all written and performed by the artist.

Argondizza also designed the band’s Web site, www.theglamrags.com, which includes information on how to pick up the CD.