Plug in to these Vegas releases

Vein-bursting metal, sunbaked ska punk and Mississippi-bred soul top the latest roundup of Vegas releases:

DESTRUCTION OF A ROSE, "American Hell" (myspace.com/destructionofarose): These metalcore bruisers are less about breaking the mold than breaking your face.

As such, "American Hell" seethes with the expected metalcore signifiers -- melodic thrash riffing, bone eroding breakdowns, strangulated vocals suggestive of supreme agony -- but still feels like a fresh bruise on the subgenre's battered frame.

While they can turn a mosh pit into an emergency room-in-waiting with anthemic ragers such as "63," it's when the band incorporates a dirty rock 'n' roll groove via gritty, cleanly sung vocals and a hard guitar swing on songs such as "Open Your Eyes Not Your Legs" and "I Kissed a Vulture" that this Rose really blooms.

STEREO HIGH, "All Is Fair and Love Is War" (myspace.com/wearestereohigh): They often sing of discord -- black and blue hearts, income inequality, dodging the cops -- but really, Stereo High is all about harmony. All four members of this ska-inflected, pop punk troupe contribute vocals, and do so well, resulting in some rich multipart harmonies on songs such as "Daddy's Girl" and "Tazersex."

Meanwhile, guitarists Jake and Kirt -- who drive this disc with consistently excellent, overheated playing -- duel with one another like Iron Maiden devotees.

Though the backdrop shifts from hooky hard rock ("The Lesson") to a sub-Tropical lilt ("The Ride & The Wrath") there is one constant through it all: The more things fall apart, the more these dudes seem to come together.

MICHAEL GRIMM, "You Can Leave Your Hat On" (michaelgrimmmusic.com): He's covering songs that should really never be covered.

Really, is anyone going to one-up Al Green on the knee-weakening "Tired of Being Alone"?

And yet Michael Grimm acquits himself well here, taking on a dozen blues and soul chestnuts that he grew up listening to as a kid.

The Las Vegas-by-way-of-Mississippi crooner possesses a voice that can register as a tender caress or a thunderclap of emotion.

Backed by a punchy horn section and some slow simmering organ in places, Grimm adds some real vigor to the album's well-traveled titled cut and the equally ubiquitous "Hold On I'm Coming," where he's joined by Bill Withers.

But Grimm's at his best on "I'd Rather Go Blind," a lightning bolt of longing flashing through this worthy collection.

Contact reporter Jason Bracelin at jbracelin@reviewjournal.com or 702-383-0476.