With their seamless blend of shimmering '60s pop and UK-influenced indie fare, Afternoon Naps delight and charm their audiences to the point of giddy devotion. That's probably why they're always on the hottest tickets to come through the Cleveland area. Most recently, the Naps opened for the kitschy British bombshell trio The Pipettes, who played to a sold-out Beachland Tavern crowd. Since the release of their album Sunbeamed this past summer, the Afternoon Naps already have another season-centric release under their belt, a winter-themed EP called Snowday. They also have a three-song single in the works that'll receive a proper release from Cloudberry Records, a Miami, Florida-based indie pop label with international distribution. There's much demand for the Naps abroad, it seems, as Apple Crumble record shop in Tokyo, Japan has just started stocking their record, and good buzz from various international music blogs have made CD sales "surprisingly OK," says co-band leader Tom Dechristafaro. The Naps' plans for the new year include a visit to South by Southwest, as well as "a really good pending gig in New York City." - Emily Anderson

2. ETERNAL LEGACY

Back when power metal was in its heyday, most of the Eternal Legacy's members were toddlers or not even born. But this type of triumphal, panoramic power metal laced with prog-rock influences has a diehard following, especially in Europe, and it passes the torch from generation to generation. Eternal Legacy carries that torch with aplomb on its debut CD The Coming of the Tempest, released last spring on Cleveland's Auburn Records. The young band, the first new band signed to the revived '80s metal specialty label, fits right in with its roster of golden-era bands. Drummer Steve Dukuslow and bassist Josh Gatka provide the solid rhythm section to support Shaun Vanek's stampeding, spiraling guitar and Sean Phillips' classically trained but understated and artful keyboards. And Jason Vanek has one of those classic metal voices, with fullness in the low end and steely steadiness in the upper register, that allows him freedom to roam. These elements coalesce to create tracks like the ferociously dazzling, inexorable "Shadow of Revolution," and "Realm of Wind and Ice," which has a grandeur that's positively Scandinavian. Tracks like "Time Out of Mind" show how well the band traverses diverse musical terrain while still maintaining coherent song structures. The band's roots go back more than four years, in which time it's opened for numerous big-name acts such as Dark Tranquility, Sonata Arctica and Venom. But it's really taken off in the last year, getting glowing reviews abroad as well as in the US and landing a slot on Germany's Headbangers Open Air festival in July. A second album is expected some time this year. - Anastasia Pantsios

3. GRAVITY

LUNAVELIS

The High School Rock-off has been a major stimulus for the local music scene, giving young bands something to work toward and producing a startlingly high level of technical competence - although predictably, much of it's accompanied by an equally high level of derivativeness. But many of the bands reach well beyond Fall Out Boy for their influences. One of those is last year's winner, instrumental quartet Gravity, which has just released its first full-length album, Into Oblivion, following up a five-song EP, Visions Within, in 2006. Formed in 2004 by guitarist Eric Potapenko - a guy influenced by players such as Joe Satriani, whom he says "really did something with his guitar and made it sing" - the band placed second in the 2005 Rock-off before going through a period of instability and lineup changes. That's nothing surprising, considering Gravity's members are in their mid-teens. Evolving into a line-up that includes now keyboard player Joe Capka, bassist Brian Craft and drummer Matt Kerschner, the band entered the Rock-off again and won. What's astonishing is that it tackles a style of technical prog-influenced instrumental hard rock that's never been mainstream except in music stores packed with aspiring Satrianis. Even more astonishing is that the band approaches it with sophistication well beyond its years. Instead of showboating, the group constructs logical, flowing compositions like the dynamic "Oblivion," which is marked by the intricate guitar work and evocative keyboard landscapes of prog rock but avoids its digressive overkill. In fact, the band tends to favor songs with focused melodies and a strong sense of direction; "War Drums" features a forceful beat you can nod your head and even dance to while enjoying the flickering, tumbling guitar lead. - AP

4. LIVING STEREO

Hard-rocking veteran guitarist/producer Don Depew (Breaker, Cobra Verde) taps into his '70s power pop side on the Living Stereo's debut, which he produced and plays on. The band, which also includes singer-keyboardist Brandon M. Abate, guitarist Brent Ferguson, drummer Brian Contento and bassist Jeff Deasy, all regulars from the local hard rock scene, recalls a wide range of retro acts on its fantastic debut, Introducing Living Stereo. You can hear shades of This Year's Model-era Elvis Costello in the organ-driven rave-up "Stammer," and the unhinged, hiccuping vocals in "No Life Crisis" and "Stop Now" are bolstered by blistering guitar leads that pack the same ferocity as the garage punk of the Stooges. Sharp melodies and stellar guitar work make this one of last year's more notable local releases. The band's motto is "Come on, you're not too cool to dance" (a line taken from the tune "Dance"), and the jumpy songs on Introducing Living Stereo are so addictive, it would be hard not to shuffle your feet to them. - Jeff Niesel

5. LUNAVELIS

Lunvelis calls itself an "alternative art rock band," whatever that means. Even more perplexing, its My Space page describes it as "if Harry Potter traded his wand for a synthesizer." But the band's not really as fey and precious as that sounds. Formed by guitarist-vocalist-songwriter Chris Feran as a showcase for his tunes, and comprising bassist Kyle Napierkowski, keyboardist Richie Flores and drummer Ben Kubit, Lunavelis recalls the anthemic, emotionally fraught college rock of the early- and mid-'90s with generous dabs of modern Britpop: it's complicated pop for the young and the serious, recalling a range of bands from the Gin Blossoms to Muse. Feran's got one of those boyishly sincere voices college girls love, and following the release of its debut disc, Airplane, in March on Feran's and Napierkowski's own Arp Media label, the band focused, appropriately, on getting college-radio airplay on such stations as John Carroll University's WJCU-FM. The disc is full of impatient, surging songs that fill out their perfect pop skins and seem about to bust their seams, crackling with energy and an urgency that's nicely balanced with more ballad-like songs such as "The Burden" that slowly ratchet up the intensity. The band has since released a four-track Internet EP called Coventry that features a zesty gale-blast of a title track driven by joyous swells of synths. The band says that's indicative of the direction it's moving; says Napierkowski, "We're trying to make it a little more accessible and high energy with more synth leads and layers. We want people dancing to it." - AP

6. MUAMIN COLLECTIVE

TO BE A HIGH POWERED EXECUTIVE

In the same way Kanye and Common put Chicago on the map, OutKast awoke the South or Bone Thugs N Harmony introduced their multi-syllabic, sing-song flavor to rep the 216 some years ago, the trio known as MuAmin Collective - Josiah Quarles (ZiON) & Aaron Snorton (aLIVE) and DjONIT - is at the cusp of defining the Cleveland hip-hop sound. MuAmin still embraces and espouses the anger and frustration of earlier artists like Public Enemy and N.W.A., with the organic funkiness of A Tribe Called Quest wrapped in a nice Cleveland candy-coated shell. Self-described as "no grills or frills, just real talk," their style combines street prophet rants, socially conscious slambook poetry and that conversation you have with your homeboys after having waaaay too much to drink. The strongpoint is that the two emcees have the chemistry of a point guard and forward that have played together for a few seasons; they play well off each other verbally and stylistically. The production is as fearless as it is experimental. With plenty of head nodding beats that recall the brilliance of J-Dilla, it ignores the standard formula in favor of obscure jazz riffs, punk rock yelps or a well-placed rock guitar lick, chopped and diced so fine you won't be able to recognize the original recipe. And yet the flavor is undeniable. 2008 should have good things in store for this collective. - Clarence D. Meriweather

7. STATE BIRD

Could the State Bird ever change? Every day it does, says its 22-year-old co-founder Coby Hartzler of Dover, who has recently written, performed then produced Mostly Ghostly alongside his 23-year-old partner Jared Riblet of Wooster. The album's the second batch of eclectic folk-inspired gems in as many years, and it's crammed thick with haunting evocations, tribal incantations and soul-stirring melodies that sound years beyond their still-budding spheres of reference. Sounding like an approximation of Neutral Milk Hotel bumping into Modest Mouse at one of Wilco's more rural-inflected concerts, State Bird enlists a cadre of fine musicians to add flourishes of brass or percussion, subtle or otherwise, that give its sound a sophisticated and full body. Take the lead track off Mostly Ghostly, "Story of the Last Pilgrim and Indian." It features an accordion stacked with an old-timey whistled melody, then trumpets, and a triumphant chorus that ultimately screams beautifully in unison. And by this point there's a driving guitar and drums, too, then Indian chanting and a hopeful spirit of giving right there at the album's door; you instantly forgive the simply delivered vocals when you hear the artful and meticulous harmonies. The album, like its predecessor, Marching thru the Wilderness, progresses organically through varied sonic territory, lo-fi ballads to dins of sound and fury, and one memorable melody after the next. The group is also a delight to behold live, with witnesses treated to various costume flourishes, like the recent Pilgrim theme which transitioned through time into a neon-soaked Indian motif. "We really try to leave people with a good feeling or a strange feeling, but at least to make some kind of impact so we're not just a band that sets their stuff up and played their songs," Coby says matter-of-factly. Of course, they could do the latter, and it would still be worth your time. - Dan Harkins

8. TO BE A HIGH POWERED EXECUTIVE

Released digitally via Ropeadope.com, the imprint responsible for groovy jam-oriented acts such as Anti-Balas Afrobeat Orchestra, To Be a High Powered Executive's jazz/jam/post-rock effort We Don't Want it Safe, We Want it Secret finds the increasingly popular instrumental act at the top of its game. "The Secret of Silent Dreams and Shattered Fucks" is a soaring number that recalls the more accessible material of Tortoise, and the undulating "Consummation" has a power to it that sneaks up on you. While Six Parts Seven is the best-known instrumental act from these parts, in the three short years since its formation, To Be a High Powered Executive has made great strides and can give the guys a run for their money. The band plays out regularly, hitting local clubs like the Beachland and the Grog Shop as well as the Lakewood coffeeshop/club Bela Duggy. Expertly recorded at Test Tube Studios in Austin, Texas, We Don't Want it Safe is a testament to the growth its undergone in the past year. And with an East Coast tour in the works and a new album ready to be recorded in May, the band's profile will only increase in 2008. - JN

9. UNSPARING SEA

STATE BIRD

Its ascent to local indie-darling status has been swift, but chamber-pop sextet Unsparing Sea has plenty of staying power. After releasing its nearly epic debut album Cloud in the Cathedral, Unsparing Sea has played a slew of packed house shows. "Everyone seems to be really on board with what we're doing now," says frontman J.R. Bennett. "I think we're a better band than we used to be, so that makes it easier too." A band of this size and scope (instrumentation includes cello, saw, and harmonium coupled with your usual drums, bass and guitar) demonstrates a great degree of professionalism and restraint on Cloud in the Cathedral. That make it all the more enjoyable when the band lets loose at live shows, sometimes leaving headlining acts in the dust. If you haven't caught its whimsical blend of orchestral finesse and Nashville swagger, you'll soon have your chance. You can catch them opening for the Chicago folk-rock/indie pop act 1900s at the Grog Shop on Jan. 6. - EA

10. VENOMIN JAMES

If Clutch and Alice in Chains had a baby raised by Kyuss and Cream, this would be Venomin James. The band - drummer Jared Koston, singer Jim Meador, guitarist Tom Scull, bassist Erin Corcoran and guitarist Joe Fortunato - released Left-Hand Man at the end of 2007. With lyrics transcribed from Meador's wartime journal (he served in Iraq), the themes are tortured yet delicate, with the occasional growl included for emphasis. "Abu Gharib" rips open the disc with straight stoner rock. Doom/stone rockers will love "Feed the Flames," as the guitar work is stellar. "Iron Horse" is a standout with lines such as "I found serenity in madness, found my peace of mind," and then it takes off with Meador's soulful, rousing call to "burn it all." "El Brujo" closes out the CD with insane guitar riffs and tighter-than-tight drumming. Too many times, you hear a band's influences and not the band itself. This is simply not the case with these guys as VJ manages to have its own vibe while delivering a cool vintage Black Sabbath/Skynyrd sound. Also, while Meador's army experience certainly accounts for his lyrics, it's the band as a whole that works together so well on its debut CD. - Jara Anton