Original Release Date: September 25, 2001
Review Date: January 4, 2002

"He's gonna let you down
  and gonna break your back for a chance
  and gonna steal your friends if he can"
  -- from "Take It or Leave It"

    The Strokes have been proclaimed as the next coming of Rock and Roll by many a music magazine this past year. If one is a fan of the Velvet Underground (or other 70's New York City rock/punk acts) or The Stooges, perhaps this is the truth. In a time where rock acts have become incredibly derivative and where record companies are hanging on to the third generation of bands influenced by the Seattle scene back in the early 90's, The Strokes' debut album, Is This It, is refreshing in that it is not just another knock off of the latest flavor.

    As the singer-songwriter creative force of the band, Julian Casablancas' influences are easy to spot. The more aggressive songs like "Someday" and "Last Night" sound as if they were written at the same time as Iggy Pop's Lust For Life. Other songs have a Lou Reed-like deliberateness to the tempo. Most songs are about sex and relationships, no surprise there, though "Hard to Explain" is a typical early-20's angst song that has been done so many times before. The final song ends on a high note as Casablancas pleads for a chance instead of that other guy, you know the one, that jerk over there, over the thundering drums and driving guitars.

    Unfortunately, the production on the album is so incredibly lo-fi, that most of the quality moments of the 3-chord rock just don't stand out above the rest of the standard fare. The up tempo songs occasionally defeat this choice of production, but most cannot escape it. It is obviously apparent now that the hype the band garnered came from fans of artists that had the sound over 20 years before The Strokes did. This album will not set the industry on its ear, but hopefully it is a sign that the industry is ready to move away from the current crap that is called rock.

Grade: C

Original Release Date: January 8, 2002
Review Date: February 1, 2002

"I want to love you but my hands are tied
  I want to stay here but I've been denied
  Let's watch the clock until the morning sun does rise."
  -- from "Tie Up My Hands"

    A new export from the U.K. indie scene, Starsailor has released their first album, "Love Is Here". Not quite Britpop ala Oasis, Blur, or The Verve, and more folksy than other indie Brits like Travis or Coldplay, Starsailor has their own style and sound. A combination of somber folk acoustic guitar, up tempo lead piano, deliberate, controlling percussion, and the occasional fuzzy noise electric guitar, the music cannot be specifically classfied, but is not unfamiliar.

    Love Is Here opens with songs of desperation. In "Tie Up My Hands", a sure radio hit if released as a single, there is a story of a missed opportunity that seems to make the haunting statement, "If only circumstances were different..." The song is the folksy equivalent of the soft verse-loud chorus-soft verse songs that are currently popular. The somber "Alcoholic" tells the story of a depressed life. "Lullaby" uses background organ music to turn a song about remembering the start of a past relationship into something almost spiritual. The slow acoustic numbers, "Way To Fall" and "She Just Wept" continue the sad tales, with the former ending with a cathartic electric guitar. The end of the album warms the mind with "Love Is Here", a tale of hope, and the current single from the album, "Good Souls". The latter is a confirmation that there are people in the world that make life worth living, packaged with a foot-tapping beat and some inviting hooks.

    While Love Is Here will not turn the world on its side, it is still a solid album with a couple radio-friendly songs. In the correct mood, this album can be a warm blanket, letting one know that sometimes, others' lives don't always go the way they planned as well. However, this is also to the album's detriment, as some of the songs can be a bit of a bring-down. Starsailor may not be the next Oasis, but there will certainly be enough people who prefer them to their British cousins.

Grade: B-/C+

Original Release Date: January 29, 2002
Review Date: February 8, 2002

"God gave you life
  So get out of mine
  And take your sorry ass back to Florida."
  -- from "Don't Bring Us Down"

    Veteran band Cracker brings us their fifth album. On the one hand, they bring us more of the same sarcastic humor as seen on previous albums, but on the other hand, the songs seem more eclectic than previous efforts. The combination makes for an album that is interesting from beginning to end.

    The songs destined for singles, including the first single, "Shine," are straight-out rock like previous hits "Teen Angst" and "Low". But there are elements of other styles of music that greatly contribute to the musical experience. "Miss Santa Cruz County" features keyboards that almost mimic a gospel church organ, making the concept of the song, becoming someone else for a while, almost spiritual. The piano keyboard sounds in "Don't Bring Us Down" give the music character in a way a guitar could not. Many of the songs feature a twangy quality to them that also adds to the character of the album, especially the title track road trip love song, "Forever".

    But what really stands out in the album are the lyrics. There are the uplifting words of "Shine" and the solemn longing in the lines of "Sweet Magdalena of My Misfortune". There's humor in many of the tracks. And then there's the strange. Why should someone who is so beautiful be protected in such a strange way in "Guarded By Monkeys"? And speaking of monkeys, what's going on in Bali to cause a monkey attack in "Brides of Neptune"? Perhaps they, too, are so beautiful. We may never know, but while eclectic, these songs are so interesting or so humorous, they're compelling. You can't not listen to them. The only song which is questionable is the Cracker rap featured in "What You're Missing". The band obviously had a good time with it, but perhaps I'm missing something.

    Forever is an album that will not be put away so easily. All in all, Cracker produced a great album, with rich sounds and lyrics that are both interesting and fun to listen to. Early purchasers will be blessed with a bonus live CD called Hello, Cleveland that was recorded in Chicago in November of 1999. The production of the live album is superb, and has quite a few Cracker hits, a true bonus.

Grade: A-

Original Release Date: January 22, 2002
Review Date: February 22, 2002

"Don't allow this mythologic hopeful monster to exact its price
 Kyoto now!
 We can't do nothing and think someone else will make it right"
 -- from "Kyoto Now!"

    Bad Religion has been making punk rock for over 20 years. They moved from indie label Epitaph to Atlantic with their eighth album eight years ago, but return to the label that bore them with The Process of Belief. Not only do they return to Epitaph, but original guitarist Brett Gurewitz returns, adding additional edge to the songwriting with singer Greg Graffin. Bad Religion show they are back in force, with lyrics as vital as ever with this new album.

    The songwriting on The Process of Belief is more intelligent than any album recently released. Bad Religion's penchant for socio-political statements pervade the music. One can't help but to think while listening to the lyrics. The words of "Materialist" cut like a knife through your brain. If you didn't consider the environmentalist position before hearing "Kyoto Now!" you surely will think again (and George W. Bush should be subjected to the song every day until he gets it through his skull). The lyrics also use assonance (similar vowel sounds) and rhyming to make the words flow fast off Graffin's tongue, in order to keep up with the speedy music. The majority of the songs on the album are speed punk, with a few of the songs being less than two minutes long.

    The couple songs the deviate from the repetitive fast pace provide a break from the furious beat. "Broken" quiets down the guitars to an almost accoustic level, mimicking the feelings in the song, during the verse. The slow process of self-realization is echoed in the pace of "Epiphany", or at least the relatively slow pace compared to the rest of the album.

    Overall, The Process of Belief is a great album. Some of the punk music guitar and drums is a little repetitive, but the lyrics cannot be beat. If you're looking for some good punk rock, or have missed Bad Religion's edge, this is certainly the album to enjoy. If you're not into punk but are curious, maybe this is a good place to start.

Grade: B+

Original Release Date: February 19, 2002
Review Date: March 8, 2002

"I wanted you from way back when
 I wanted you for years, then years again"
 -- from "Keeping You"

    Tanya Donelly is the former frontwoman of Belly and ex-member of the Throwing Muses and the Breeders. With that sort of resume, it is expected that Donelly has the experience to pull off a quality album. Beautysleep is an introspective view from a mature songwriter who is now a mother. The lyrics are surrounded my mostly etherial music to yield a rich warmth common to all songs on the album.

    Donelly experiments with the musical craft in quite a few of the songs. The album opens with the haunting "Life is But a Dream" which flows over a constant, steady heartbeat. "The Night You Saved My Life" is a cross between a folk song and a hymnal. Donelly revisits her Belly-era rock in "Wrap-Around Skirt," but cuts it with twangy slide guitar for fresh sound.

    While Donelly experiments with new sounds on Beautysleep, her colorful lyrics are still the main course. "Keeping You" is a beautifullly described feeling of love gained and love lost. She tells of the danger of the feelings for an old flame in "Darkside". She asks for the trust to "come into the shadow with me" in "The Shadow". Donelly has a great voice, but on a couple of the songs, her vocals hit too high of a pitch, which is a bit grating, and detracts from her otherwise wonderful singing.

    Overall, this is a good solo effort for Donelly. It is not as good as Belly's Star by any means, but it is different, more mellow, more thoughtful. There is a hidden track a couple minutes after the last track that definitely should have been included as a normal track on the album, combining her spiritual lyrics over a solemn acoustic guitar. If one is looking for good lyrics and unobtrusive, etherial music, give this album a try.

Grade: B-

Original Release Date: March 5, 2002
Review Date: March 15, 2002

"No song is too sacred
 and that's what makes them so professional
 It's all about the Benjamins,
 so come on let's hear it for the rock n' roll!"
 -- from "Rock & Roll Professionals"

    Local H frontman Scott Lucas went through some hard times the last couple years, and Here Comes the Zoo proves it. After the parent of their previous label, Polygram, was bought up by Universal, Local H was quickly dropped in a round of label consolidation. Then after the 2-piece's drummer, Joe Daniels, left the band in 1999, Lucas wasn't sure whether he would form a new band, or go solo. Brian St. Clair, former drummer of Triple Fast Action, experienced the same when Triple Fast broke up a year earlier. Lucas asked St. Clair to take up the sticks for Local H, and proves his worth by hitting hard and hammering out his half of the music. Lucas, for his part, plays the all of the guitars and sings.

    On the surface, Here Comes the Zoo seems like just another rock album born out of the Chicago scene of the mid-90's. Loud, heavy hitting, and with an attitude, it takes a while to find what differentiates it from the rest. There's the great Ministry-esque hook in "Son of 'Cha!'" and female backup vocals that contrast the driving guitar on "5th Ave. Crazy" (shades of Triple Fast's "Revved Up"). Nothing ground-shatteringly original, but certainly not bland or the norm.

    The album is cohesive, with a theme that runs alongside Lucas' feelings as he dealt with the loss of the label, and struggling to find a new one. It is quite disturbing at times, "Hands on the Bible" seems to be about the feeling of being on trial for a murder committed while under the influence. A developing depression is explained in "Keep Your Girlfriend" which culminates in the album-ending monster opus of desperation "What Would You Have Me Do?", that clocks in at 10 minutes plus a 5 minute feedback session, 10 minute break, and one final note that fades out the album. But it also has some more radio-friendly tracks, like the bitter, but humorous "Rock & Roll Professionals".

    This album is not as good as Local H's most popular effort, As Good as Dead, missing great songs such as "High-Fiving MF" and "Bound for the Floor" (the "keep it copacetic" song), but it is better than their previous Pack Up the Cats, and will likely garner commercial success somewhere between those two albums, enough to keep the band going until the next album.

Grade: C+

Original Release Date: March 19, 2002
Review Date: March 29, 2002

"You will condemn
 I'll convert
 You will preach
 I will pervert."
 -- from "Preach/Pervert"

    KMFDM is one of the original industrial acts that formed in the late 1980's as an alternative to the popular music of the time. It is not surprising that eventually members of the band would eventually leave to pursue other interests, as did two of the founding members of the band En Esch and Gunter after what could have been the band's farewell album Adios. But frontman Sascha Konietzko decided to press on, and released an album under the name MDFMK, and eventually decided to continue the band under the original name.

    Those familiar with KMFDM will find Attak to be mostly more of the same. However, the addition of Lucia Cifarelli, singer for the hard rock band Drill, who joined during the MDFMK effort, adds an extra kick for the songs in which she is featured. As with previous KMDFM albums, many of the songs feature war themes or metaphors, such as tracks "Attak/Reload", "Urban Monkey Warfare", and "Sleep". These are the tracks which generally sound like something you've heard before.

    Where the album deviates from the tired war theme, the more interesting songs can be found. "Save Me" is an emotional song about a broken relationship. Cifarelli's "Superhero" hits the peak of energy for the album, with silky smooth vocals over the 160 beats per minute. Evil corrupts good for fun and profit in "Preach/Pervert".

    As industrial albums go, this is certainly lacking a feeling and energy of some of the classics. Fans may be happy that KMFDM is back, and will probably embrace this album, but this not the KMFDM of the 90's. There are no songs which could be played in the dance clubs without some severe remixing, with the possible exception of "Superhero". The only thing that saves the album from being forgettable is skillful arrangement and mixing by Sascha, and the added elements of related music styles, the bits of ambient, trance, and electronica, that make for an interesting listen.

Grade: C-

Original Release Date: March 12, 2002
Review Date: April 5, 2002

"He can shoot me up full of bullet holes
 But the souljacker can't get my soul."
 -- from "Souljacker part II"

    The Eels are fronted by singer-songwriter E. E is pretty much Eels in the same way Trent Reznor is Nine Inch Nails and Billy Corgan was the Smashing Pumpkins. The Eels' previous albums have been quite dark, but this album is much less so.

    Much of the lyrics of Souljacker are weird in fashion similar to lyrics of artist Beck. E is giving it an honest try, but misses in many of the songs. "Life ain't pretty for a dog-faced boy" in the appropriately-named "Dog Faced Boy" is supposed to be funny, but is it? E also toys heavily with irony, but most of the attempts fall flat. "That's Not Really Funny" is ostensibly a serious song where he is requesting that his honey quit verbally emasculating him, but it is sang against silly music. In a similar vein, the lyrics to "What Is This Note?" are for an incredibly sappy love song, but the song is played at a punk pace, and E sings quickly over fuzzed-up guitars. Unfortunately, if you don't read the lyrics off the liner notes, you'd be hard-pressed to know it was a love song, so the irony fails horribly.

    There is not much to save this album. E explores a wide variety sytles and instruments to give some nice flavor, but it's not enough to satiate the desire for good music. The bonus CD (a sticker on the CD indicates the second CD) is a 4 song EP with songs that are passable, and on the whole, better than the songs on the album itself, but it's not worth buying the album just for the bonus EP.

Grade: F (without bonus CD) / D (with)

Original Release Date: March 5, 2002
Review Date: April 12, 2002

"Do you love
 Do you need love
 When your angels fall
 Have you lost it all"
 -- from "Do You Love?"

    Natalie Imbruglia is back with her second album, the first being 1998's Left of the Middle which featured the hit "Torn". The song was a cover of an Ednaswap song of the same name. With production strewn with pop sensibility, the song put Imbruglia on the map. White Lilies Island is again littered with pop sensibilities with a capable crew of writers, producers, and musicians backing her.

    It is likely you'll never see Imbruglia called a "singer-songwriter", since all of the songs on this album only attribute her as a co-writer. It is fairly obvious that many of the songs were not written by her, which would be fine if she could evoke strong emotions in her singing. In some of the songs which are supposed to be heartfelt emotions, such as "Beauty in the Fire" and "Hurricane", she falls flat. The extra production in these songs was apparently added to cover for that deficiency.

    The songs which stand out are the simple pop tunes, where Imbruglia can be a bit playful without the extra production distracting from toe-tapping performance, such as on "Wrong Impression". Also, the songs where Imbruglia pulls out the stops and gives the full force of her emotions save the album from being a lifeless pop contrivance. "Goodbye", a tale of perseverence in the face of a relationship ending, would be an amazing closing song on the album if there already wasn't a great closer, so it instead serves as the emotional high point. That closer, "Come September", again is lighter on the production because Imbruglia is able to effectively communicate the feelings behind the lyrics.

    There is no doubt White Lilies Island was constructed to be a pop album, in an attempt to hit as wide of an audience as possible. If one can get past the overproduction in the songs in which Imbruglia shows the weakness in her ability to emote, there are a couple small gems that will likely find their way onto easy listening or "lite pop" radio stations.

Grade: C-

Original Release Date: March 19, 2002
Review Date: April 19, 2002

"You beg and borrow like no tomorrow
 Just give me something to make it go away."
 -- from "Beg and Borrow"

    Sometimes when light is shed upon an obscure art form, that art form becomes popular, and popularity can bring one of two extremes, heightened creativity that lifts the genre even higher, or cookie cutter copycats that only serve to drive the genre to a tired and bored obscurity. Industrial music had its niche back when the likes of Ministry and Front 242 could produce a platinum album. Then Nine Inch Nails brought it to the mainstream (at least in the US), and that may have been the beginning of its downfall. Gravity Kills, part of the second generation of industrial artists, put out its third album, Superstarved, that doesn't contribute anything to the genre.

    Most of the songs on the album follow a similar formula. There's a quiet part, a part where the vocals are screamed, a part where the guitars, drums, and cymbals make a wall of sound, and a part where the vocals are distorted. Some songs have the occasional sample, or an interesting lyric to break up monotony. Only a couple songs actually stand out, and do so because of catchy lyrics. "Fifteen Minutes" does it with a play on an old adage, requesting his "fifteen minutes of shame." "Beg and Borrow" has great lyrics, but is still built on the tired old industrial theme of personal pain. They do nothing interesting with a cover of Depeche Mode's "Personal Jesus", with the original still being a far superior song.

    Angry guitars and driving lyrics can be interesting, but not when every song on the album has the same routine. It is also pretty sad when there's two remixes of a song ("Love, Sex, and Money") on the album, and they're more creative than some of the original songs. One of the few good aspects of the album is the vocals were mixed in clearly, with the music mixed a bit lower, however, this does reinforce the point that the music isn't all that interesting to begin with. After hearing this album, it allowed a better perspective on KMFDM's Attak, which is much more creative, and certainly a better album overall.

Grade: D-

Original Release Date: April 9, 2002
Review Date: April 26, 2002

"And I want to get free talk to me
 I can feel you falling
 And I wanted to be all you need
 Somehow here is gone"
 -- from "Here is Gone"

    Since the Goo Goo Dolls' last album, Dizzy Up the Girl, the Goo Goo Dolls have been known as a band that can not only rock hard, but also write deep, emotion-inspired lyrics. Their latest effort, Gutterflower continues to live up to that potential, but with the influence of the feelings resulting from lead John Rzeznik's divorce.

    Rzeznik writes and sings most of the songs, with Robby Takac penning and singing a couple. Rzeznik's vocals show great range and rhythm, going from slow but melodic in "Here is Gone" to fast staccato in "What a Scene", but Takac's are rather scratchy. Most of the songs are catchy; as much as you will listen to the lyrics to "It's Over" with a heavy heart, you will be tapping your feet. At the same time, the music emphasizes the emotions contained in the songs, as the driving guitars of "What Do You Need?" stress the conflict taking place in the song.

    So basically, Gutterflower is almost exactly what one would expect the Goo Goo Dolls to release. It's a bit darker than Dizzy Up the Girl, but still a good, solid album.

Grade: B

Original Release Date: April 16, 2002
Review Date: May 3, 2002

"I wanna get over you
 Before you get over me"
 -- from "Over You"

    Sheryl Crow has been our reliable happy-go-lucky party girl for quite some time, so much that it is a bit of a shock to hear another side of her on her latest album C'mon, C'mon. Regrets on failed relationships, an examination of the current state of her life, or perhaps Crow may have recently had a mid-life crisis, if the songs on the album are any indication, the topics examined are darker and deeper than what we're used to from her. Perhaps for those reasons, Crow sequesters quite a few friends to help her out, with Liz Phair, Stevie Nicks, Don Henley, Lenny Kravitz, Natalie Maines, Emmylou Harris, and (huh?) Gwyneth Paltrow singing backup vocals on various songs.

    "Safe and Sound" is the first of the sad tracks, with its string arrangement and organ, emphasizes the longing for a relationship that didn't work out. The title track is that part of all of us that seeks the warmth of a relationship, even though that relationship is bad for us. And on the other side of the coin, "It's Only Love" is a one-sided conversation, an attempt to convince herself to let go of a lost love. The solemn, acoustic guitar reinforces the beautiful melancholy of the lyrics to "Weather Channel". This song closes the album, leaving the listener with the sense that Crow is still healing her mental wounds.

    The album is not all sad songs. Crow still treats us with the happy go lucky, with the album opening on a car driving metaphor, invoking the carefree feel of "Steve McQueen". The first single "Soak Up the Sun" adds to her plethora of pop hits. "You're an Original", with its good rock groove featuring Lenny Kravitz, is a commentary on the vapid cookie cutter pop stars found today. She also throws another pop song near the end of the album, "Hole in My Pocket", which is a fun "opposites attract" song.

    On C'mon, C'mon, Crow opens up and shows us her hopes and fears, and loves' labors won and lost. While unexpected from our good 'ol party girl, it is a welcome feeling of depth and familiarity that pulls at the heartstrings, compelling repeated listening. This cathatic album has allowed Sheryl Crow to grow, which should help fuel her future efforts.

Grade: B+

Original Release Date: April 23, 2002
Review Date: May 10, 2002

"Seen a vision of perfect grace -
 airbrushed and lifeless
 All contempt and aftertaste,
 it's like I'm waiting for the scars to heal"
 -- from "Loretta Young Silks"

    The Sneaker Pimps introduced trip-hop to mainstream music with their seminal hit "Six Underground" back in 1997 from their first album, Becoming X. After touring for that album, the band decided they no longer wanted to be slaves to the style they helped pioneer. So on their second album Splinter, they dumped singer Kelli Dayton, who had sung the majority of vocals on Becoming X, and they turned more towards rock beats. Bloodsport is a continuation of that move towards rock, with many different styles thrown in, for a very diverse listening experience.

    The album starts out with the driving rock and electronica beat of "Kiro TV", a lament on the price of stardom. The funky rhythm of "Sick" helps emphasize the strange things he'll do to keep someone from being sick of him. A little bit of the Pimps' past shows in the acoustic guitar with backbeat reminiscent of their early trip-hop can be heard in "Black Sheep". Goth with synth backbeats, "Loretta Young Silks" sounds a little like Violator-era Depeche Mode. "The Fuel" crosses their trip-hop, goth, driving synthesizer, and dance backbeat in what seems to be a culmination of all of their current and previous work. In the title track, we learn, "love is just a bloodsport". The album ends with the slow, melancholy "Grazes", pining about the end of a relationship.

    While Bloodsport is never repetitive and each song has something unique to offer, there are few tracks which have the hook to grab you and pull you in. This album would make great background music for a nightclub, but it is not likely any of the songs will be radio hits.

Grade: C+

Original Release Date: March 19, 2002
Review Date: May 24, 2002

"They're nothing big, but they're nothing small
 Just four best friends that you'd like to call
 With Kathy, Kim, Arirak, and Jen
 When you hear their songs you want to hear them again"
 -- from "Theme Song"

    The All Girl Summer Fun Band hails from the indie scene of Portland, Oregon. As the lore goes, Jen Sbragia, half of the band The Softies, had just finished a show when keyboardist and singer Kim Baxter gave her a tape of her music. Sbragia liked the music, and Baxter introduced her to bass player Arirak Douangpanya and drummer Kathy Foster, and they formed the band to make light, fun songs.

    And fun is what the All Girl Summer Fun Band's first album is all about. From the simple breezy and dreamy guitar and organ music, to the light and cheery lyrics that include elements of doo-wop, it's hard to feel bad listening to the self-titled album. Cute is the best way to describe these pop songs, like when the band coos over the love of a "Canadian Boyfriend". Or as in "Brooklyn Phone Call", Baxter predicts a happy future if only he makes that phone call to her. And perhaps if he does call, she can call him back on Sbragia's "Cell Phone", which, while it is the oldest cell phone in thw world, seems to work best when she is talking to her boyfriend on it.

    But the songs that really shine are the ones that are subtly naughty. In "Later Operator", each member of the band has a verse to describe her boyfriend, and whether he is an unshaven surfer, a workaholic, or incredibly shy, "he's a damn good / later operator". Feigning relief that she no longer has to "Cut Your Hair", Sbragia calls the ex-boyfriend's new girl an "Australian hoar" amid the "la la la"'s of the backup vocals. There are also the humorous songs like "New In Town", where she finds out that the cute new boy in town that she wants to date is gay. And the single repeated guitar riff that sounds like an engine trying to start fits perfectly in "Car Trouble".

    While there's little substantive on the album, the light songs are very easy on the ears and just plain fun. The album is very lo-fi, which makes it sound a little rough around the edges, but the production mimics that of girl bands from the 50's or 60's, so it works with these simple songs. The All Girl Summer Fun Band has obviously succeeded in their goal in making light, fun music.

Grade: B

Original Release Date: May 14, 2002
Review Date: May 31, 2002

"Lord don't leave me
 all by myself
 in this world"
 -- from "In This World"

    Moby (aka Richard Melville Hall, yes, that Melville) is a very unusual artist. He does practically every part of creating his music himself, he writes the lyrics, composes the music, plays the instruments, and produces and mixes the songs; but on many of the tracks, he has others sing. It takes some kind of genius and an incredibly small ego to do this and do it well, and Moby seems to have both parts of the equation. Thirteen of the 18 songs on 18 have lyrics, and of those, Moby only sings on 4 of them.

    In Moby's essay in the liner notes, he says he wrote about 150 songs for this album, and had to whittle the number down to the 18 that most created a cohesive mood and inspired what he felt in the making of the album. 18 was created in the shadow of the September 11th, 2001 tragedy, it is obvious the Manhattan artist was deeply affected by the events. There is a somber mood in many of the songs, and some lyrics which could be interpreted as depressing. "Sleep Alone" conjures disturbing images in the wake of the disaster with its haunting "At least we were together, holding hands, flying through the sky." Sinead O'Connor adds her intensity to the theme of conflict in "Harbour".

    But Moby is a self-proclaimed optimist. So the heavy cloud of melancholy on the album has a silver lining. The opening track can only be interpreted as hopeful, "No one can stop us now," Moby sings on "We Are All Made of Stars". The final track "I'm Not Worried at All" bookends this hopefulness with its encouraging message of faith in God, sung by the The Shining Light Gospel Choir. The soothing and fast-paced sythesizers reveal the joy of simply existing on "In My Heart".

    Other tracks of note include the peppy "Jam for the Ladies" which features Angie Stone and MC Lyte. Slow and sorrowful stringed instruments compliment the incredibly delicate vocals by the duo Azure Ray on "Great Escape". "The Rafters" is a techno-inspired, toe-tapping, gospel affirmation that there is something above.

    Moby's goal was to create an album that would evoke the feelings he felt in creating the album, and one can't help but to feel the array of emotions embedded in the CD. After listening to the album a couple times all the way through, you get the sense you've been taken on a trip with Moby. It wasn't the path which you might have chosen to follow, but you start in a good place, end in a good place, and felt as if you're really experienced something along the way. How many albums can treat you to such a journey?

Grade: B

Original Release Date: May 14, 2002
Review Date: June 14, 2002

"It's great to be a rock n' roll star"
 -- from "BFF"

    Girls Against Boys has been around since the early 90's, mostly releasing music on the independent label Touch & Go. The guitar rock band was drafted by Geffen in the late 90's, producing their previous album, Freak*on*ica on that label. Apparently, the electronica-influenced album didn't sell well enough, and Girls Against Boys found themselves doing the indie route again. You Can't Fight What You Can't See returns the band closer to their indie guitar rock roots.

    To summarize the album up front, the album suffers from the music being pretty homogenous, most of the tracks don't sound all that different from each other. The lyrics try to be interesting, but are oftentimes too cryptic to be so. Are they attempting to compare Hollywood to a drug in "300 Looks for the Summer", or are they just obsessed with their dislike of it? So they like New York better than Los Angeles for some non-specific reasons in "Tweaker", why do we care?

    "Miami Skyline" and "BFF" display some Dirty/Experimental Jet Set, Trash and No Star-era Sonic Youth-esque qualities that break up some of the monotony. The album also ends with a cool down song, "Let It Breathe" that would be a great closer except for its odd resolution of going to "booze heaven" to resolve a difference of opinion. "All the Rage" starts interesting, with it's "Hey pussycat, what's new?" accompanied by a cool riff, but goes nowhere with it.

    And finally, even though this is an album on an independent label, there's no excuse for the unprofessionalism of having the songs listed in a different (numbered) order on the inside of the liner notes than on the outside of the liner notes.

Grade: D

Original Release Date: May 21, 2002
Review Date: June 21, 2002

"No one break for me
 I just got life
 I'm in beer class
 Every Thursday night"
 -- from "Sinister Foxx"

    The Breeders are back after an eight year hiatus, which was interrupted by, among other things, the arrest on drug charges of Kelley Deal, sister to frontwoman Kim Deal. Kim didn't sit idle while her sister was in jail, she released an album under The Amps, Pacer, which was a departure from the more commercial, previous Breeders album, Last Splash. Title TK, which was written mostly by Kim Deal, has a sound more like Pacer than Last Splash.

    On first listen, the songs of Title TK seem like random and unemotional chatter. But as this set of songs is unravelled, the depth and creativity shines. If there is a song that would be an equivalent single to "Cannonball" from Last Splash, it would be "Huffer", a fight song for the "toiled and troubled". "The She" is a sorrow-ridden masterpiece invoking lyrics such as "You say you gotta burn to shine/but every prism unwinds/a road to ruin/and this ticket's mine". One can almost feel the high of the night of recreational drug use described in "Son of Three".

    There are a couple songs that don't seem complete or seem like half a thought, like "Put on a Side", in which the entire song seems to be about the decision to stay up drunk instead of risking vomiting in one's sleep. Some of the lyrics of some of the songs are a bit stilted, and make it hard to determine their meaning, which is another drawback, as in "Sinister Foxx"; Kim, Kelley, and friends may be the only ones able to decrypt its meaning. However, the good outweighs the bad more often than not. Deal also does a remake of Pacer's "Full On Idle" (oddly enough, track 8 on both albums), which has been cleaned up, making it more enjoyable than the original.

    Recorded by Steve Albini (who also engineered Pacer and The Breeders' first album Pod) in his studio over the course of 2 years, this album has classic Albini lo-fi analog production. Title TK is a hard album to get into, but once inside, there is a wealth of sonic interest. It won't sell millions and millions, but it wipes the floor with other "lo-fi alternative" groups such as The Strokes. And for a Pixies or Kim Deal fan, this album is a wonder that will leave you in awe.

Grade: B

Original Release Date: April 30, 2002
Review Date: June 28, 2002

"Sold my body to the company so
 I got the money now away I go
 and I say thank you Mr. CEO."
 -- from "Die, All Right!"

    The Swedish quintet The Hives finally broke into the United States with their new album Veni Vidi Vicious. Being a band that mimics music of the 60's and 70's, it took the breakthrough of other groups doing a similar thing, like The Strokes, to bring The Hives to American radio. However, unlike some of the other bands, The Hives do try combine different sounds, pulling from the Rolling Stones' repetoire as much as The Stooges.

    Veni Vidi Vicious is constructed with a punk spirit, with the 12 songs totalling just over 28 minutes of music. They jump in quickly, occasionally make a point, then get out just as fast. The anthem of self-determination, "Hate To Say I Told You So" is punk rock in its purest form, "I do what I want ... because I wanna." "Supply and Demand" evokes, though to a much lesser degree, the same disgust with working for the company and making little to show for it, as the Sex Pistols or The Clash once protested in their works. Not quite with the same gusto as the aforementioned bands, but still effective. "Die, All Right!" also takes a stab at capitalism, but perhaps may more be taking a jab at society's desire for wealth. With this dual meaning, the simple lyrics create some interesting depth.

    Though not all of the songs on the album are so high brow. "The Hives - Introduce The Metric System In Time" is a silly rant about converting to the metric system, not quite at the forefront of the punk movement. The rhyme is more important than the reason for the inane lyrics in "The Hives - Declare Guerre Nucleaire". "Find Another Girl" is a poor knock-off of a 60's boy-band broken heart song. And that's just when the album really hits you as just being a rip-off of so many bands of the past. Sure, there's the occasional original decent lyric, but overall, it just sounds like material other bands have done.

    The songs on Veni Vidi Vicious are catchy, they've studied their influences well and selected the best hooks available. While there's a great energy to the album, most of the time, they've merely put a new shine on old sounds. You won't get bored with this album quickly, but at the same you won't be challenged by it.

Grade: C+

Original Release Date: June 11, 2002
Review Date: July 5, 2002

"In a future time children will work together to build a giant cyborg
 Robot Parade, Robot Parade
 Wave the flags that the robots made"
 -- from "Robot Parade"

    They Might Be Giants for years have made fun music for all to enjoy. With No!, they are emphasizing songs "for the entire family", as the back of the CD indicates. This album is indeed made for all ages, but in particular appears to be meant for children. This CD is more than just songs, throw it into your computer (PC or Mac), and it becomes an interactive activity center, with the words displayed sing-a-long style, and other fun clickable Flash animations.

    While the band has tried to do something new with this album, it is unmistakeably They Might Be Giants. The tale of someone who is meeting a date at two, only to be waiting at the corner, staring at a clock which always says it is "Four of Two" is something you'd expect TMBG to create. "Bed Bed Bed" is a TMBG march, sure to be enjoyed by fans, with a frentic animated video when selected on your computer. "In the Middle, In the Middle, In the Middle" combines fun with learning, telling us to only cross the street at the stoplight, demonstrated with interactive clickable stoplights on the computer, and sung with a tune that is reminiscent of "The Muppet Show" theme song.

    There's also a fair share of strange voices ("Fibber Island" and the broom in "I Am Not Your Broom"). "Robot Parade", played in concert during the Mink Car tour, finds its way onto the album as the slower, robot-voiced version of the song. The historical song on the album, "The Edison Museum", is filled with facts about Thomas Alva Edison in the interactive animation on the computer.

    As a set of songs, No! is a fun album for the whole family. As an interactive computer activity center, it is hours of entertainment for kids. If you are a fan of They Might Be Giants and have young children, you've probably already exposed them to TMBG. With this album, kids can enjoy it as much, if not even more than, their parents.

Grade: A-

Original Release Date: April 9, 2002
Review Date: July 12, 2002

"All of this in a brief stare
 A fleeting glimpse of happiness shared
 That made our bodies burn and shiver"
 -- from "While I'm Still Young"

    Azure Ray may never have been known outside a small circle of artists and fans had a certain one not given them an opportunity. Of the many songs Moby wrote for his album 18, the one he co-wrote with Orenda Fink and Maria Taylor of Azure Ray, "Great Escape", made it onto the album. It may have been the kinship he felt for them, making art for art's sake, that drew him to that track, or it may have just been its striking beauty. In either case, Azure Ray's Burn and Shiver, released a month before Moby's, is a canvas upon which they paint using various styles and forms to create their brand of art.

    Many of the tracks have lyrics that are stylistically similar to Sarah McLachlan, deep and very personal, and therefore greatly meaningful words strung together like a necklace of pearls. The vocal delivery alternates between the two women, some similar to McLachlan, some closer to Nina Gordon. All of it is etherial, which is complimented by the choice of instruments: acoustic guitar, cello, trumpet, and even melodica. When combined with some of the experimental keyboard work, it all makes for art with impact.

    "Favorite Cities" opens the album by pitting the feelings of joy and warmth against the feeling that the time to experience it is short. Taking a page from Bjork's Vespertine, "The New Year" has a music box quality to it. Feelings of love and caring recur throughout many of the songs, including "Home" and "Trees Keep Growing", with the latter being an epiphany of understanding how the one you love also loves you the same way. However, not all of the songs are happy, as "While I'm Still Young" sadly relates a longing for another, "I'm not to think of your face, of your name/For when I do you are there lying next to another". The rain, beautifully represented on the piano, is a metaphor for her melancholy in "Raining in Athens".

    Azure Ray probably won't sell a million copies of Burn and Shiver, and may be lucky if it goes gold, but they've put forth a great effort to bring you their souls made into music. The music is art, of that there is no doubt, and the lyrics are a look into Fink's and Taylor's hearts. The emotions run the gamut, but are always strong, and that strength helps make this a very good album.

Grade: B

Original Release Date: 2001 / July 9, 2002 (re-release)
Review Date: July 19, 2002

"I've been working on a piece
 That speaks of sex and desperation
 I've been screwing on the tracks
 Of abandoned train stations"
 -- from "Art Star"

    The Yeah Yeah Yeahs have been caught up in the New York City hype that brought us The Strokes. The band is a 3-piece with Karen O singing, Brian Chase on drums, and Nick Zinner on guitar. Being a 3-piece, the sound is very much stripped down to the bone, which isn't a detriment to the dirty, crunchy music they deliver. With this being a 5 song EP, there isn't a large amount of material in which to form an opinion, however, fortunately, none of the songs sound the same and each has its own flavor.

    Since there's only 5 songs, there's no harm in going over each of them. The EP opens with the sexually-charged, rocking "Bang". It's got a great riff and it's hard to beat a woman singing about sex. This song owes a lot to The Pretenders, with the influences of Chrissie Hynde readily apparent. "Mystery Girl" is an almost punk version of "girl power", as the lyrics relate "mystery boys will be your toys, yeah girl". "Art Star" is a nice little song with an infectious "do do do" in it. But this song has a problem, Karen O screams "art star" throughout the song, which doesn't do the rest of the song justice. "Miles Away" is driven by the furious guitar work of Zinner. If the YYY's have a song for their generation, it would be "Our Time", expressing the feeling of being abandoned by society and rebelling against it, "come on kids, it's our time to be hated".

    I am going to diverge from my normal review process and speak candidly about this band. The Yeah Yeah Yeahs have potential, yes, they do. However, I haven't seen worse hype since Veruca Salt were courted after only releasing the single for "Seether". They too, had potential, but where are they now? Do you know? No you probably don't, unless you were a big fan. Early success usually does not make for a great formula, most bands need some time to develop before they hit it big. It is great that Touch and Go signed them up and re-released their EP, which would not have been available to as many people as it is with their distribution. Hopefully they will use this time on one of the larger indie labels to grow before trying to take over the world.

Grade: B-

Original Release Date: July 2, 2002
Review Date: August 2, 2002

"'Cause all of the stars are fading away
 Just try not to worry
 You'll see them someday
 Take what you need and be on your way
 And stop crying you heart out"
 -- from "Stop Crying Your Heart Out"

    Oasis once declared themselves the biggest band in the world, better than The Beatles. Well, it's a little hard to be greater than something one tries so hard to imitate. After taking years off because of internal band strife, Oasis is back with Heathen Chemistry (oh, wait a second, they did release Standing on the Shoulder of Giants back in 2000, which didn't sell well at all). The Gallagher brothers seem to have come up with a formula to allow them to work together as they did back in the mid-90's, and the music at times shows some of the sparks it once did.

    The references to and influences from The Beatles, including in the hidden track, placed annoyingly almost 30 minutes after the last track, are all too easy to spot, so they will not be dealt with here. Have fun making those observations for yourself. There are a couple catchy, (What's the Story) Morning Glory?-era quality songs, like opener "The Hindu Times". "Little by Little" combines a good riff with some good lyrics in a song about a relationship in strife. "Stop Crying Your Heart Out" is the emotional high of the album, though it doesn't quite hit the mark as "Wonderwall" or "Don't Look Back in Anger" did on the aforementioned Morning Glory. The album closes with the great funky rock beat of "Better Man", one of the better songs on the album. Besides these, most of the rest of the songs are fairly average or merely decent.

    This Oasis album tries to be a straight-out rock n' roll album, and for the most part, it succeeds. The more than obvious influences to 1960's British rock can be distracting at times, but it is by far better than the dull rock n' roll being created by most rock bands in America these days. Supposedly, Oasis has already announced that their next album will be (even) better than this one, poised to once again help the band take over the world (paraphrasing their quote). I guess they can only hope to get back in the spotlight somehow...

Grade: C+

Original Release Date: June 4, 2002
Review Date: August 9, 2002

"What's wrong with my tongue
 These words keep slipping away
 I stutter, I stumble like I've got nothing to say
 'Cause I'm feeling nervous
 Trying to be so perfect
 'Cause I know you're worth it"
 -- from "Things I'll Never Say"

    Sometimes one can't help but to feel sorry for Britney Spears. The sentiment against her and her music seems to grow ever greater as time goes by. Recently, the term "anti-Britney" was coined for a few young up and coming female artists that are being lauded as having a lot of talent (insinuating, of course, that Britney has none). Avril Lavigne has been mentioned in the same breath as Michelle Branch as being one of the anti-Britneys. Lavigne is a self-proclaimed skater-punk, which seems to fit this image well. Speaking of image, Antonio "LA" Reid was the executive producer of Let Go, the very same "LA" that brought about Pink's new image (any surprise that it was also anti-Britney?) on her album Missundaztood.

    For trying to be so different from Britney Spears, Avril Lavigne's music is more similar than not. Sure, it's not dripping with dance beats, but it's the same old teenage pop, but with more challenging lyrics. "Complicated" deals with a typical teen situation, the peer pressure to act a certain way with certain people. The power ballad "I'm With You" shows Lavigne's vocal range and that she actually does have talent singing. "Mobile" is likely destined for single status, with its cheesy guitar riffs and backbeat. "Sk8er Boi" is a rockin' class struggle, ballet girl turns down skater boy, but lives to regret it (beat us over the head with the moral, why don't you?). "Nobody's Fool" is Lavigne's embarrassing attempt at rap.

    By the time you get to the last track, you begin to think that this girl has a great career ahead of her, the lyrics are very mature for her age, and the production is outstanding. However, if you dig just a little bit, you find that a "production and writing team" called The Matrix "co-wrote" (aka did most of the work on) half the songs on the album. Peeking inside the studio, you find a dozen people other than Lavigne were there to make her music. Perhaps Lavigne will strike out on her own and stake her own claim in the music industry after Arista drops her for the next flavor of the month, but at this point, it's really hard to say. The real sad part is the insidiousness of the record industry to create an image (hell, "LA" Reid didn't even bother to create a new image, he just photocopied the one he made for Pink) and back it with professional studio talent just to be able to sell copy to the masses. I only wish I had bought the Michelle Branch album instead, from the music I've heard from her, it's certainly superior, and probably more real than this album.

    I think the most ironic, yet most true, quote I've seen related to Let Go, was something I read on the internet, "If you like Britney Spears and Pink, you'll love Avril Lavigne." There are a couple good pop songs on this album, but the whole thing is so contrived, it's hard to determine what parts of it are really Avril Lavigne.

Grade: D+

Original Release Date: September 25, 2001
Review Date: August 16, 2002

"Then you can be the rememdy
 And I can be the enemy
 And he can go and live as nothing
 Then you can be the wannabe
 And I can be the rememdy
 And he can go to hell for all I care"
 -- from "The Remedy"

    Tommy Walter, ex-member of The Eels, struck out on his own when he decided he couldn't be with his former band. He set out to create music that was meaningful to him, and hopefully to others who listened to it, calling his project Abandoned Pools. Like Billy Corgan of the Smashing Pumpkins, Walter wrote all of the songs and played many of the instruments himself. He combines the flavors of driving rock, electronica, and guitar ballads with the alternative sensibilities of the aforementioned Corgan's Pumpkins.

    Walter chose the title Humanistic because he wanted all of the songs to be about what it is like to be human, obviously with a bent towards his own life. "The Remedy" opens the album with a Nirvana-esque soft verse-loud chorus-soft verse and with beautiful angry lyrics. "Mercy Kiss" continues the rocking progression with its request to not be patronized "You lead me on/I don't need your mercy kiss". "Start Over" shifts gears with a slower, more somber, backbeat-paced tune, helped by backing vocals by Angie Hart (Frente), about seeking to begin a relationship anew, leaving behind all the problems of the past. The song that draws the most comparison to the Smashing Pumpkins is the ironic "Sunny Day", where, like the Pumpkin's "Today", on the surface everything is allright, but upon deeper investigation, it isn't. Walter out-Filter's Filter with the driving "L.V.B.D."

    What makes Humanistic stand out is the variety of musical styles and instruments that makes all of the songs unique. From the piano in "The Remedy" to the acoustic guitar in "Never", Walter keeps things interesting. He shows his appreciation for Star Wars by beginning and ending "Blood" with what sounds like it could be a clarinet sample from any of the John Williams' soundtracks. The pleasant "la la la"s soften the blow when Walter wants to "Ruin You Life". Samples and tape loops appear throughout the songs, but are not overused or the sole focus of the music.

    Walter has succeeded in making an album he is proud of, and certainly one he should be. The opening of the album is so incredibly strong, biting, and full of energy it carries the rest when things slow down a little near the end. None of the songs sound the same, making an interesting listen. This originality spits in the face of the cookie cutter "alternative rock" that has infested radio these days. One can only hope that Abandoned Pools gets more airplay and drowns that music out.

Grade: B+

Original Release Date: August 14, 2001
Review Date: August 23, 2002

"Now my reflection's getting clearer
 Now that you're gone things will never be the same again
 There's not a minute that goes by every hour of every day
 You're such a part of me
 But I just pulled away
 Well, I'm not the same girl you used to know
 I wish I said the words I never showed
 I know you had to go away
 I died just a little, and I feel it now
 You're the one I need
 I believe that I would cry just a little
 Just to have you back now"
 -- from "Here With Me"

    Michelle Branch is the teenage singer-songwriter that paved the way, or perhaps rather spawned, the likes of Vanessa Carlton and Avril Levigne. As skilled with a guitar as with her voice, Branch set out to bring her music to people. She found a manager, Jeff Rabban, who brought her to Maverick Records and hooked her up with producer John Shanks, who has worked with Sheryl Crow and Melissa Etheridge. The Spirit Room was originally recorded as an independent album in 2000 called Broken Bracelet, which Shanks buffed up and probably added some extra pop sensibility.

    The Spirit Room is a very emotional album. It runs the gamut from anguish and despair to happy hopefulness. Branch has apparently had a very rich life, with the depth of lyrics about relationships in the songs. The break up song "Goodbye To You" just tears your heart out. The added production to the simple guitar of "You Set Me Free" gives this carefree love song the life it deserves. "Something To Sleep To" starts with a Sgt. Pepper-y intro, showing some of Branch's pop influences. Her regret and longing for a relationship that is over are no more apparent than on "Here With Me", which features her voice and little else, emphasizing her loneliness. The mechanical electronia backbeat on "Drop In The Ocean" is out of place, but it's not so obtrusive as to ruin this happy song.

    By now, you may have noticed that I haven't mentioned the top 40 hits from this album. If you've heard "Everywhere" or "All You Wanted", you know these are good songs ("All You Wanted" seems to be little changed from what Branch originally recorded). This shows the breadth of material this young artist has presented us. There really isn't a bad song on this album, all of the lyrics are well-written. Branch's guitar work is not outstanding, but it certainly isn't bad either.

    Perhaps it was fortunate that Michelle Branch had to release this album independently first, and then take the time to re-record it. Having the opportunity to polish the songs allowed them to shine that much more, and Shanks was good enough as a producer to not over-polish the songs. Branch thanks Shanks for all that she learned in the process of making The Spirit Room, it is almost a certainty that she will create something even better next time. But for now, we can enjoy it for what it is, a great pop album.

Grade: A-

Original Release Date: August 27, 2002
Review Date: September 6, 2002

"We look good at the gate
 But you'll agree
 With the odds on the slate
 And put your money on a bona fide
 Heavyweight
 And take it off guys like me."
 -- from "Guys Like Me"

    Lost in Space is the second album that veteran singer-songwriter Aimee Mann has released on her independent label Superego Records. Previous to that, she wrote and performed most of the music on the Magnolia soundtrack. Geffen dropped her from the label in the late 90's after two albums. And of course, Mann was the lead singer of the 80's pop band 'Til Tuesday.

    Mann obviously has issues with her life and relationships. Lost in Space is a melancholy search for stability. From the opening Wurlitzer setting the tone to the subdued yet ethereal electric guitar solo in the bridge of the title track, one can feel the longing to be found. Themes of addiction appear in multiple songs, including the slow and somber "This Is How It Goes" and "High on Sunday 51", where she adds a twist of codependency when she sings "Hate the sinner but love the sin/Let me be your heroin." The album closes with another tale of codependency, "It's Not", which seems to also include a cut on the music industry, "you can't afford to show/anything risky, anything they don't know/the moment you try/well, kiss it goodbye".

    Lyrics are Mann's bread and butter. She is a genuine wordsmith and uses her best abilities to create complex concepts and feelings via her choice of words. "Guys Like Me" is one of the most self-deprecating songs you'll ever hear that doesn't use anger or sadness to convey its point. Lack of communication being the root of problems in a relationship can not be more simply described than in "Pavlov's Bell". "The Moth" is a finely crafted mataphor for our self-destructive tendencies. The warm melodies of "Today's the Day" emphasize the hopeful lyrics of encouragement.

    Experience has done Aimee Mann well. Having a hand in the entire process of creating the album, this album is truly the result of that experience. Whether a song is simply her vocals with an acoustic guitar, or whether an elaborate string arrangement accompanies her voice, each track is a carefully constructed story. As mentioned earlier, the lyrics are so well-written they pull the heartstrings tight. Mann is a true talent that deserves more notoriety than she receives, and Lost in Space underscores that point.

Grade: A

Original Release Date: June 4, 2002
Review Date: September 20, 2002

"So I cursed at mother nature
 for making me look like such a jerk
 And thought of sticks snd bricks and pushing pins
 but nothing seemed to work
 Then with the prettiest of smiles she walked up and said "hello"
 Then I watched her as her eyes gazed down on me below"
 -- from "In The Middle There"

    Luce (pronounced "loose") is the creation of singer/songwriter/guitarist Tom Luce. Luce gathered resources in San Francisco to help him record his songs. Steve Bowman (drums on the Counting Crow's August and Everything After), engineer and producer Adam Rossi, and members of the San Francisco Symphony were among those sequestered for this self-titled album, which Luce has said is about his life and his friends.

    The music on the album is more than the typical singer/guitarist formula. Many of the songs are lush with horn grooves, symphonic strings, and the occasional "freaky sample" (as attributed in the liner notes). "Good Day" is a prime example of this, with its funky bassline and horns for emphasis, the song is great summer cruising music. The humorous "In The Middle There" features a trumpet which acts as the mood of the singer when there are no vocals. And the mood, well, it is best described in the song as he felt his "blood begin to rise" after having the "mutual attraction of a woman and a man". Luce's mood also plays an important role in the opener, "Long Way Down", in which he wants to share his sky-high feelings.

    However, in the songs that are primarily vocals and guitar, the average lyrics prevent the songs from standing out. The "I am what you need" love song "Here", while not expressly bad, has been done better by others. "Electric Chair" is slow and plodding, which makes the weak metaphor in the lyrics more apparent. But mostly, the songs that are not good are merely average, and do not add or detract from the whole.

    Luce was originally released last October on independent label What Are Records. For being a first effort in which Tom Luce had a large hand in creating, it is not at all bad, which would be why Nettwerk picked it up in the first place. Luce has the potential to create some truly great music, if the flashes of creativity and originality shown on this album are fully developed.

Grade: B-

Original Release Date: September 24, 2002
Review Date: October 11, 2002

"It's only lies that I'm living
 It's only tears that I'm crying
 It's only you that I'm losing
 Guess I'm doing fine."
 -- from "Guess I'm Doing Fine"

    Beck Hansen hit the spotlight as the eclectic and strange, if not crazy, artist that more often than not used strange indie creativity and humor to create pop songs. In 1998, he recorded his first "serious" album, Mutations, that didn't garner much commercial success, but was a critics' favorite. Beck continues the solemn seriousness with his 2002 release Sea Change. He channels his creativity into taking very simple songs and arrangements to a higher level.

    This release for Beck is a very somber, in fact, very sad one. All of the songs on the album are slow and morose. The album opens with a very etherial and twangy day dream of "The Golden Age", an attempt to escape his dreary existence via a drive far, far away. One does not figure out that Beck is the "Paper Tiger" until the last few seconds of the song where he sings, "There's one road to the morning/There's one road to the truth/There's one road back to civilization/But there's no road back to you", revealing the source of his weakness, a loss of someone he cared deeply about. The theme of loss is no more apparent than in "Gusss I'm Doing Fine", a simple folksy acoustic song caught between denial and acceptance.

    The production around these mostly simple songs is superb. The string arrangement, rising to a crescendo at the end of "Lonesome Tears" coincides with the emotional distress in the lyrics of the song. The supporting piano in "Little One" reflects the torment of the angry sea that seems haunt Beck from his childhood.

    Beck lays his vulnerable self out in each of the songs on Sea Change. For someone who has been so silly in the past, this is a stunning work of self-exploration. Beck has channeled his talents and energy to exorcise his demons and create some compelling songs while he was at it. This release has absolutely no radio friendly songs, so it is not likely this album will be very successful in the commmercial sense, but it will likely be considered "essential" by fans of Beck.

Grade: B+/A-

Original Release Date: June 4, 2002
Review Date: October 18, 2002

Detailed review yet to come...

Grade: B

Original Release Date: October 22, 2002
Review Date: November 1, 2002

"It's times like these you learn to live again
 It's times like these you give and give again
 It's times like these you learn to love again
 It's times like these time and time again"
 -- from "Times Like These"

    One by One is the Foo Fighters' fourth album. Dave Grohl is the central driving force for the band, writing all of the songs, singing lead vocals, and playing guitar. Grohl had written the album back in the summer of 2001 and recorded most of it at that time, only to scrap all of the work he had done and join the band Queens of the Stone Age on tour as their drummer (taking on his old role from Nirvana). This May, Grohl brought his bandmates into the studio and re-recorded the entire album in 2 just weeks. This aggressive schedule just may have been the motivating factor that the band used to kick out the songs with an energy that may have been lacking when Grohl first recorded them.

    One by One is a driving rock album, seemly inspired by Grohl's stint with Queens of the Stone Age (which he calls the best rock band today). The album jumps into high gear straight out with the single, "All My Life". The rocking pace continues with the next couple tracks, and would start to get repetetive if not on the fourth track, "Times Like These", Grohl throws some slower, more melodic lyrics on top of the quieter, yet still rocking, guitars. At that point, the shift in pace is beautifully continued into the slower "Disenchanted Lullaby", in which Grohl breaks the softer, fuzzy guitars with a screaming chorus with its intelligent play on words, "No one has a fit like I do/I'm the only one that fits you". The album then hits its emotional low, not surprisingly with a relationship song, "Tired of You".

    With the carefully-constructed path from a high energy start to the low energy middle of the album, One by One has no place to go but up. "Halo" picks up energy as it progresses, and the buddy song, "Lonely as You" uses this energy as hope for the future. By the end of the album, the last two songs have climbed up to the peak again with their grungy guitar licks. The rollercoaster ride keeps ones interest from beginning to end. This change of pacing throughout the album shows that Grohl and company really know not only how to write songs, but also how to create a cohesive album. If not for Grohl's sometimes cryptic lyrics and the tendency for each song individually to use as few chords as possible, this album would be a masterful work. Also, considering the lack of pop hooks that previous Foo Fighters albums have contained, there are few tracks on the album that could translate to the radio today, though that is more a shortcoming of today's radio than the album.

    As it stands, One by One is a very mature album from a band that has had its share of lineup changes. The maturity is no doubt due to the power of Dave Grohl himself, who is arguably one of the premiere active rock artists of today. The album includes a bonus DVD which has the video for "All My Life" and the audio track "The One" and the previously unreleased song, "Walking a Line". The album doesn't require the extra material to be good, so this is a true bonus. The success of this album should insure that Grohl and the rest will continue the fight against Foo for some time to come.

Grade: B+

Original Release Date: October 29, 2002
Review Date: November 8, 2002

"The part of you
 That's part of me
 Will never die
 Will never leave
 And it's nobody else's but mine"
 -- from "Breathe Your Name"

    Sixpence None the Richer broke out of the Christian contemporary music scene back in 1998 with the smash hit "Kiss Me" off of their self-titled album. The Nashville-based band brings a modern pop folk sound with a bit of country twang and a bit of an etherial air. Leigh Nash's vocals delicately glide across this audio mixture like a swan swimming across a lake.

    Many of the songs on Divine Discontent sound like a cross between the kinder, gentler side of The Cranberries and a fuller, less etherial version of The Sundays. Many of the tracks are sweet descriptions of one's faith in another. "Breathe Your Name" starts this theme of faith with its simple pop styling that, like "Kiss Me" before it, will get Sixpence on the radio. The strings in "Melody of You" help capture the longing for divine inspiration. "Eyes Wide Open" mixes fast-paced and slow-paced music and lyrics for a pleasant toe-tapping experience.

    While the electric guitar in "Paralyzed" adds flavor to the album, the song shows the band's inexperience in writing politically-driven songs, which ends up being a less effectual cousin of The Cranberries' "Zombie". The album also has a cover of Crowded House's "Don't Dream It's Over", which, like their earlier cover of The La's "There She Goes", is neither better or worse than the original, just an interesting take of putting female vocals to an 80's hit. The album closes with "A Million Parachutes", a metaphor for the falling snow, which triggers the memory of another place and another time.

    Sixpence None the Richer don't aspire to be famous artists, they merely wish to create music they believe in. With Divine Discontent Sixpence has undoubtedly created something of which they are proud. The album isn't groundbreaking, but it is compelling and refreshing. As both Christian contemporary and pop music, this album is worthy of respect for the band not compromising their principles to put out a good album.

Grade: B

Original Release Date: July 9, 2002
Review Date: November 15, 2002

"Throw away your television
 Time to make this clean decision
 Master waits for it's collision now
 It's a repeat of a story told
 It's a repeat and it's getting old"
 -- from "Throw Away Your Television"

    Veteran quartet Red Hot Chili Peppers have been making their own kind of music for two decades in an industry where it is rare for artist to have more than one quality album. Their eighth elbum, By the Way, follows the same unique style of music they have been honing since their first, a fusion of funk, rock, soul, and punk. The album is packed with 16 songs, the Chili Peppers don't skimp on the content.

    The primary reason for the Chili Peppers' longevity is their unique style. The mixture of diverse sounds and genres begins straight off on the first track, which is also the title track. "By the Way" is classic Chili Peppers with its funky bassline, punk guitar, and Anthony Kiedis' signature stilted "rap" vocals. This same type of "rap" vocals drive the beat to "Can't Stop". Kiedis' smooth delivery of the lyrics to "The Zephyr Song" flows like the air in a gentle wind over the funky bass and rhythmic guitar. Putting an interesting spin on a classic punk theme of thinking for oneself, the Chili Peppers suggest you "Throw Away Your Television", citing it to be a barrier to creativity and a drain on ambition (wouldn't their mothers be proud?).

    As on Blood Sugar Sex Magik's "Under the Bridge", the Chili Peppers can slow it down as they demonstrate on mournful, "Tear", where the guitar solo is a work of intricate beauty rather than a driving chainsaw. Displaying their diverse talents once again, the Chili Peppers whip out the ska-like tune, "On Mercury" just to show you they can. And not to be left out, a distinct Latin flavor is added in the love song "Cabron".

    It is not often that a band can succeed in blending such an eclectic array of genres, but this is something the Red Hot Chili Peppers have been doing for years. After eight albums, it is obvious they know what they are doing. There isn't any groundbreaking material on this album, the Chili Peppers paved that way nearly 20 years ago, but this album does live up to the consistent quality of their previous works. By the Way is yet further proof why the Red Hot Chili Peppers are still around today, they make good music.

Grade: B

Original Release Date: August 13, 2002
Review Date: December 6, 2002

"So don't tell me I'm cool and say that I'm strong
 Everyone thinks it's better now
 That you're gone
 Well, I think everyone is wrong"
 -- from "Everything Feels Wrong"

    Singer-songwriter Bree Sharp was thrust into the spotlight in 1999 with a novelty song from her first album Cheap & Evil Girl called "David Duchovny". Novelty is not enough to make one a big star, so Sharp toured to support the album, and then took time off to write her second album, the title of which, More B.S., is an indication of the clever lyrics contained within.

    Cutting straight to the heart of her music, Sharp creates fairly simple arrangements to complement and not overshadow her well-crafted lyrics. The opening song, and first single, "Lazy Afternoon" is laced with pop sensibility in a radio-friendly groove, but is at the same time a scathing social commentary on the fur and fast food industries' inhumane treatment of animals. Lovesick after a breakup, "Everthing Feels Wrong" has heart-wrenching lyrics over a simple drum beat and soft rhythm guitar. "Galaxy Song" is an acoustic geek lullaby embellished by a mellotron synthesizer about space travel. The epic story of a Bonnie and Clyde-style gangsters, "The Ballad of Grim and Lily" sucks you in, with its melancholy tale.

    But while Sharp can create some great lyrics, the simplicity of her music can work against her. In "The Last of Me", her declaration of vengeance is too meek against the folksy guitar, the song doesn't have the bite that was intended. And where the lyrics are not as good, as in "Dirty Magazine", the sparce arrangement cannot save the song. A cover of Don Henley's "Boys of Summer" is not as good as the original, and while it is meant to be an angrier version, it too falls short.

    Bree Sharp's lyrics are her strongest asset. On some songs she is able to leverage this ability with simple instrumentation that makes the lyrics the star of the show. But on others, where the song would benefit from the music becoming the emotion she is trying to portray in the lyrics, the combination isn't as successful. Sharp has talent, that is certain, but not every song is a shining stone. More B.S. is a collection of a few gems, with some plain rocks throw in.

Grade: B-

Original Release Date: November 12, 2002
Review Date: December 13, 2002

"Hold me and make it the truth
 That when all is lost there will be you
 Cause to the universe I don't mean a thing
 And there's just one word I still believe
 And it's love"
 -- from "Love Boat Captain"

    Riot Act is the eighth album to be released by Seattle band Pearl Jam. Not having produced a video in a few albums, the popularity of the band has waned with no MTV time and reduced radio airplay. However unfortunate that may be, Pearl Jam has continued to evolve their sound to something much greater than the simple grunge of their debut album, Ten. On Riot Act the members of Pearl Jam are making the music they want to make, not trying to echo the their sound of the past, which so many so-called "popular" bands are doing today.

    In the mid-90's, Eddie Vedder led charges against Ticketmaster and other social issues. Those events galvanized a spirit within many of the songs of previous albums. This album is no different. Social and political commentary make up some of the stronger tracks, including a scathing slash at the president, "He's not a leader, he's a Texas Leaguer," Vedder sings in "Bushleaguer". "1/2 Full" comments on the decline of the middle class as the rich get richer. In a grungy guitar-led "Cropduster", a song against the use of pasticides, Vedder creates the incredibly insightful lyrics, "I was the fool because I thought the world/turns out the world thought me".

    Vedder sings of love and pain in a turn towards the personal side of Riot Act when "Love Boat Captain" becomes almost spiritual with the Hammond Organ playing the melody throughout the ballad. The organ makes another appearance in the acoustic "Thumbing My Way", a touching hitchhiking metaphor for life and regret. Vedder wants to help a friend who won't help himself in the fast-pacer rocker, "Save You". Speaking of rocking, Pearl Jam haven't forgotten how to do it, from the fuzzed guitars on "Help Help" to slow forboding grunge of "You Are" and the fast straight ahead driving lead guitar in "Get Right", there is something new with each song.

    It may seem strange for a band that has only around 11 years to have its members become the elder statesmen of the music industry, but that is in fact what Eddie Vedder and bandmates have done. The band has combined their grunge roots with strong, meaningful lyrics, and solid variety of musical guitar styles into something. There is social commentary, rock, emotion, and art all rolled up into Riot Act. The guys of Pearl Jam are perfecting their craft and this album proves it.

Grade: B+/A-

Original Release Date: October 22, 2002
Review Date: December 20, 2002

"Need your love 1, 2, 3
 Stop starin' at my D cup
 Don't waste time, just give it to me
 C'mon baby, just feel me up"
 -- from "Take It Off"

    Sherman, set the Wayback Machine for 1987. No, we're not going back to explore that horrifying time called "high school", but rather to discover the music that so much influenced the quartet The Donnas. There the girls are, in their formative years, listening to the likes of Ratt, Motley Crue and Twisted Sister. Now watch them a few years later as they pick up guitars and microphones, forming bands called Raggedy Ann and Eletrocutes, finally settling on The Donnas, to be signed by Lookout! Records and eventually Atlantic.

    If you've heard any sort of 80's hair metal (especially the aforementioned), you've pretty much heard what The Donnas dish out. Packaged as ready to consume pop metal, they play it by the numbers. Spend the Night is all about the typical rock topics, sex, drugs, and rock n' roll. Is it that special that young women are taking up these topics? In 2002, certainly not. "Take Me to the Backseat" and "Take It Off" would have been shocking with the woman in control of the sexual situation back in the '80's, but today are just another song. Many of the other songs are party songs, in the manner of Andrew W.K.'s "Party Hard", pretty low quality lyrics, but could be fun in the right mood.

    The thing that saves this album from complete schlock is the fact that The Donnas know how to rock, and rock hard. From the power chords in the love song, "All Messed Up", to the furious guitar solo in "5 O'Clock in the Morning", these women give it everything they have, which is a significant amount of musical talent. If the lyrics weren't so simple, and their whole style of cheesy metal was channeled to something more serious, The Donnas could be superstars. But until then, they don't quite earn a passing grade.

Grade: D+