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	The Hives, Tyrannosaurus Hives, Interscope Records - After their first record, it might have been easy to dismiss The Hives as a mere fad, with their look and straightforward sound. Tyrannosaurus Hives blows those theories clean out of the water. This record moves at a frenetic pace and ends up an infectious mix of surf punk guitars and Howlin’ Pelle Almqvist’s crazed energy. Filled with non-sensical themes and plenty of odd twists and turns, the disc may be twelve songs long, but before you know it, it’s over and you’re wishing there was more. “Two-Timing Touch and Broken Bones” and album opener “Abra Cadaver” are highlights, along with the first single “Walk Idiot Walk,” but the entire record smokes.
	tweaker, 2 a.m. wake up call, Waxploitation/iMUSIC - Ever find a record you really love, but you're not entirely sure why? This is really the essence of 2 a.m. wake up call - it keeps throwing really good, odd, thoughtful music your way, it's not all pretty or hook-driven, but it sticks to you, and makes you wonder what's around the next bend. All from the sleep-deprived mind of Chris Vrenna. "Truth Is," featuring The Cure's Robert Smith, is pure, perfect pop wonder, whereas "Pure Genius," with David Sylvian, pulls the listener into a dreamscape exploration that doesn't feel like it has a beginning...or an end. Once again, Vrenna crafts a record that contains elements of the terrain he's travelled, while being completely it's own animal. Worth repeated listens.
	*Sleep Station, After The War,* Eyeball Records - Conceptually, this records initially comes off as either a very topical record or a boring civics exam, when it's really neither; it's a record that shoots holes in preconceptions and is far better than most of the pop you're being fed on the radio. Singer and principal songwriter David Debiak has, with the rest of Sleep Station, crafted a record that is affecting, extremely deep and entirely beautiful, even at its saddest moments. Multi-instrumentalist Brad Paxton adds a layer of depth with a variety of unexpected sounds (including the glockenspiel) as well as handling guitar duties. The beautiful "Come Back Again" is a classic, as is "Silver In The Sun," which stays with you long after the music ends, but they are mere highlights on a record that seems to intentionally interrupt its own flow and keep you finely tuned in. This is easily one of the best we’ve heard this year. Very highly recommended.
	Pedro the Lion, Achilles Heel, Jade Tree Records - If this is your first brush with Pedro the Lion (aka David Bazan), then it’s the perfect time to get acquainted. On this, his fifth release, with long-time collaborator T.W. Walsh and new addition James McAlister on keyboards, Bazan takes a different approach from past works, structuring the record less on a thematic basis and more from a song-by-song, topical slant. Working through themes of middle-American melancholy and working stiff lives, the tracks stay pleasantly variable and vibrant in a John Steinbeck sort of way. “The Fleecing” is excellent in it's simplicity, with the entire record easy to listen in the background, but with further exploration, will have you thinking and wondering why you do what you do.
	Melissa Auf der Maur, Auf der Maur, Capitol Records – The cool thing about a record like this is that you don’t know what to expect. Having spent her career playing behind larger-than-life singers, she comes in an unknown quantity. She works that angle ever so well to her favor – from the opener, the quirky “Lightening Is My Girl” to the stunning “Real A Lie,” Auf Der Maur, joined by a variety of guests throughout the record, keeps you on your toes and never fails to deliver. She isn’t overly polished, and seems to have paid just enough attention to the singers she’s worked with to know not to take herself too seriously, and let her love of what she’s doing shine through. In the end, each of the twelve tracks is in itself a treat and it doesn’t take long to appreciate each one and the record as a whole. Recommended listening.
	*Fastball, Keep Your Wig On,* Rykodisc – It’s a wonder that Fastball haven’t cracked through to the ‘big time’ yet. They create wonderful melodies, witty lyrics, cool harmonies and generally make great music, but it hasn’t all come together…until now. Where Fastball’s prior releases have shown growth and progression, this takes it to another level of artistic freedom and exploration, from the down and dirty “Louie Louie,” to the soaring “Drifting Away,” to the jazz influences that are found throughout the record, Keep Your Wig On delivers on all the potential everyone said Fastball has. The Austin, Texas trio make perfect Brit-pop on the fantastic “Perfect World,” then move effortlessly into the dreamy Steely Dan world of “Our Misunderstanding.” This is truly a record that has something for everyone. Highly recommended.
	Rasputina, Frustration Plantation, Instinct Records - There is very little that can prepare you for records like Frustration Plantation - the only barometer for a Rasputina record is another Rasputina record. That being said, once you acquaint yourself with their beautiful, theatric chamber rock, it’s hard not to appreciate what they do or how they do it. Frustration Plantation is no exception. As the title implies, the trio melds a turn-of-the-century Southern influence into the mix, and they ride this horse all the way down the home stretch. The result is a record that a bit like going down the river in Deliverance – you know what lies at the end might scare the crap out of you, but there’s no way you’re getting off this raft. With lyrics that cover everything from women’s education in the 19^th century to man/cow love, nothing is sacred, but it all comes off so well, and so perfectly arranged, that it you’ll keep rewinding just to make sure you catch every little nuance. It may not be family-style fun, but it’s too good to pass by. We’ll be waiting to hear what they do next.
	Zebrahead, MFZB, Columbia/Red Ink Records - Though it's a record made for Zebrahead fans (the fanclub is called 'MFZB'), this is a disc for anyone who appreciates high-energy, balls out rock that doesn't try to take itself too seriously. From the opening moments of "Rescue Me" to the final strains of "Dear You (Far Away)," MFZB is full of crisp, ripping guitar that doesn't allow for a dull moment. "Over The Edge" and "Alone" probably account for the high points of the record, but there isn't a point where Zebrahead loses their collective way. And while this may be more melodic than their earlier work, the true-blue older fans won't be disappointed.
	The Crystal Method, Legion of Boom, V2 Records - In the cramped and sometimes chaotic world of electronic music, Ken Jordan and Scott Kirland, aka The Crystal Method, continue to innovate and set standards. Combining the industrial intensity of Front 242 with their own cutting-edge take on smoothness, TCM show that not all electronica has to sound the same. TCM actually create radio-ready electronic rock, with their single "Born Too Slow," and then move to the schizo "High & Low," and somehow create a sort of seam that holds it all together. As they've done on past records, Legion of Boom somehow all fits, from its deepest bass to the highest high, and it never falls apart. It may take a considerable amount of time for Jordan and Kirkland to release a new record, but they make it all worth the wait.
	Katy Rose, Because I Can, V2 Records - Yes, she can. And she does. Before everyone starts comparing her to the other young female singer/songwriters out there, first consider she actually does write her own lyrics and composes the music as well. Rose's debut is pure rock paradise - refined rock with loads of hooks without being too sweet. Rose isn't trying to be punk or anything else - the songs come straight from the heart and tell the tales of a girl growing up close to edge, yet having the brains to not fall over. They have that certain ring of truth surrounded by an understanding of song structure and completeness that most artists search a lifetime to find. If the first single, "Overdrive," doesn't grip you from the first listen, give the rest of the record a chance and you'll be hooked. Let it be known, Katy Rose is one of the future voices of modern music - you can say you heard it here first.
	Pearl Jam, Lost Dogs, Epic Records - After all these years, Pearl Jam deliver a two-disc set that moves the soul and activates the mind the same way it did years ago. It's hard to believe it's a collection of B-sides, since most of these songs are as good as it gets - 30 songs filled with Eddie Vedder's unbridled, gripping passion, and by the end of it, you just want more. Usually, a collection like this would be reserved for the die-hard fan, but in this case it's a more-than-worthy buy for even the casual fan. If you don't enjoy the strains of "Yellow Ledbetter," then we can't help you. "Dirty Frank" and "Hard to Imagine" are also highlight tracks. Simply put, a must-have.
	The Strokes, Room On Fire, RCA Records - Instead of trying to recreate themselves, The Strokes have here allowed their music to grow in an organic way, feeding upon what has come before and adding a broader, deeper hue to the canvas they began with the acclaimed Is This It. What may be the best thing is that they've taken some risks without abandoning what made them media darlings in the first place. Room On Fire won't have the same lasting effect that their debut did, but it stands up quite well on its own, like that old pair of jeans that feel too good to throw away but aren't as cool as the new ones you just picked up - it's comfortable, if unspectacular. And each time you take it in, it gets a little deeper in on you, you pick up some subtle nuance you didn't catch before, and you feel a little closer to it. "12:51," the debut single, is a good representation of the record as a whole, but "Reptilia" may be it's best track.
	Campfire Girls, Tell Them Hi, Interscope Records – Getting a career that was almost derailed back on track, Tell Them Hi effectively displays the Campfire Girls’ ability to combine gritty lyrics and thick riffs with undeniably good hooks that stick. The influence of executive producer Scott Weiland in impossible to miss, but tracks like the so, so wonderful “Day Before” and the easy-to-get-caught-up-in “Make It” make you happy Weiland took the time to get these guys back to the studio with super producers Dave Sardy and Josh Abraham. And if you can’t get taken in by the emotions of “Incomplete,” then we can’t help you. The rest of Tell Them Hi is full of high-quality post-grunge rock that needs to be heard. Highly recommended.
	Brookville, Wonderfully Nothing, Unfiltered Records – The semi-solo moniker for Ivy’s Andy Chase, Brookville allows him to more deeply explore some areas that Ivy touches on here and there, but not to the depths that Chase does on Wonderfully Nothing. Though it may or may not be an influence from Chase’s wife, Ivy singer Dominique Durand, Wonderfully Nothing finds him immersed in the French dream-pop sound that groups like Air and Goldfrapp have perfected, and he does a more than admirable job of creating a sound that is at once easy to get lost in and yet entirely engaging. Working with a number of artists, including guitarist James Iha, Chase excels on the beautiful “Walking on Moonlight,” the warm, jazz-infused “Justine” (named for his daughter), and the ambient perfection of “Beautiful View.” For those that enjoy Ivy’s work, Wonderfully Nothing will be a more-than-welcome diversion, and for the uninitiated, this will only encourage them to explore a little more. Highly recommended.
	Junior Senior, D-D-Don’t Don’t Stop the Beat, Atlantic Records – Look, if you have a hard time with records that are just plain fun, Junior Senior are certainly not for you. But if you enjoy the occasional romp of pure sugar-fortified bliss, than Junior Senior are your men. This dynamic Danish duo are all about a good time, with the brains of the operation, Junior, bent on finding girls while the brawn, the much-taller Senior, is looking for the man of his dreams. If tracks like “Move Your Feet” and “Shake Your Coconuts” make this sound like a party record, then they’re dead on, though it’s only a half-hour party, with the entire record at just over 30 minutes. Junior Senior aren’t here to give you their political views or tell you why war is bad, they just want to make you shake, well, your coconuts.
	The A.K.A.s (are everywhere!), White Doves and Smoking Guns, Fueled by Ramen Records – As the title of the record might indicate, the A.K.A.s work at nailing everyone who is part of the problem, and as they see it, if you’re not working to find the solution, you’re a part of the problem. “Freedom vs. the Perception of Necessity” says it all: “A lot of white guys in suits and ties write checks and break necks.” Full of more piss and vinegar that any band since the MC5, the A.K.A.s also rock and make the diatribes more than enjoyable, fueled by the classic farfisa expertly played by Nina Aron. Tracks like “Every Great Western” and “Generation Vexed” would make Zach de la Rocha proud and yet have a classic punk vibe that Rage couldn’t really approach instrumentally. Either way, the A.K.A.s will either make you stand up and take notice, or make you run and hide, soiled drawers and all.
	*The Stills, Rememberese,* Vice Records – Yes, there is the indisputable influence of Joy Division and Echo and the Bunnymen and they’ll draw instant comparisons to Interpol, with whom they share the scene, but The Stills have an ability to juxtapose tension and romance in just the right way to draw you completely in. Singer Tim Fletcher has the perfect voice for The Stills post-punk sound, and his voice alone is enough to get you caught up in their sound, all in only two proper songs, the perfect “Still in Love Song” and the roiling “Killer Bees.” Track three, “Talk to Me,” is a minute-and-a-half of Fountains of Wayne-style pop delight. The last track is the 12” Extended Remix of “Still in Love Song,” so it’s just more of that special goodness for you to enjoy. Still, in the end, the first two tracks are all you need to become an instant fan. All you’ll want is more.
IMAGE NOT YET AVAILABLE	*Hyaline, Hyaline,* NicePear Music – As their name would suggest, Hyaline work in an way that is easy to follow and look through, yet at the same time, their sound is a amalgamation of tones and styles that are quite unlike any other band in rock. With the heaviness of Godsmack, the melodic qualities of Alice in Chains and a little Jethro Tull thrown in for good measure, the LA-based quintet are able to create deep, rich undertones that flow in a groove that is irresistible. Overlay that with the throaty, guttural delivery of lead vocalist Danny Timko and plenty of driving guitars, and you’ll begin to get an idea of what the Hyaline sound contains. Highlights include “Candy Jar,” “Between the Lines,” and the over-eight minute “Muse,” with it’s tribal rhythms and multitude of styles. These LA vets show a great level of potential and talent.
IMAGE NOT YET AVAILABLE	*Matches F.C., [EP],* Fire Records – With a four-song sonic blast from this NYC trio, Matches F. C. work at combining the over the top sound of bands like Kiss with the gritty, straightforward sound of Marc Bolan and T. Rex, while maintaining the glaminess of both. The first single, “Hot Sugar,” is a Stones style love song, where love is anything but emotional. The other three songs work in that same, NY, raw, CBGB-on-a-Tuesday-night style. “Come On Over” has a great blues feel and solid groove. There is also a ‘hidden’ fifth track, which is a bombast of guitar solo and cymbal crashes that somehow works as a fitting end to four tracks that come before. Try and catch them live in NY and let us know what you think.
	The Agony Scene, The Agony Scene, Solid State Records – At first listen, the easy assumption would be that these guys are fresh out of the Scandinavian death metal scene, but they’re just gold old American boys with a penchant for brutal, punishing metal. With an uncanny ability to move from shrill scream to demonic growl, vocalist Michael Williams leads The Agony Scene through ten blistering tracks, highlighted by opener “We Bury Our Dead at Dawn,” “Shotgun Wedding” and a devastating cover of the Rolling Stones’ “Paint It Black” that would make Mick crap his ‘Depends.’ For fans of Cradle of Filth or In Thy Dreams, this is made especially for you. Ultra-intense, it’ll leave bruises all over you.
	Dashboard Confessional, A Mark, A Mission, A Brand, A Scar [w/ Bonus DVD], Vagrant Records – The most telling moment in this collection doesn’t even take place on the CD; pop the DVD in, and about 15 seconds in it hits you: Chris Carrabba, the heartthrob of countless girls and young women, is the voice of a fair part of a generation. With a roomful of fans – mostly young, of what appears to be all cultures and races, and a pretty even split along the gender line – singing along to every word, collectively louder than Carrabba and his acoustic guitar, it’s stunning. It’s the definition of what emo music has come to mean: inclusion and an honest account of the heart’s yearnings. A Mark itself is filled with Carrabba’s best work yet, and though it isn’t as genre defining as his previous full-length, The Places You Have Come to Fear the Most, it is far more accessible and widely appealing. Tracks like “Hands Down” and the sweet “As Lovers Go” are wonderful in not only their well-constructed melodies, but especially in their deep wordplay and gravity. No, Chris Carrabba doesn’t cut much new ground here, but he does show he’s the best at what he does.
	*Alien Ant Farm, truANT,* Dreamworks Records – After scoring their biggest hit via their cover of Michael Jackson’s “Smooth Criminal,” followed up by a deadly bus crash that almost took the life of AAF singer Dryden Mitchell, the question was whether the band would even produce a second record, let alone one that would prove to be nearly as memorable as truANT. Produced by Robert and Dean DeLeo of the Stone Temple Pilots, truANT shows remarkable growth and a clear sense of direction for the Southern California foursome. The fact is, the best songs from ANThology were never released as singles, so this will come as no surprise for AAF’s serious fans, but truANT clearly displays Mitchell’s development as a writer; their musicianship has always been outstanding. From the grippingly sad “Sarah Wynn” to the Latin-tinged “Tia Lupe” to the addictive first single “These Days,” truANT is the sort of complete record that you don’t often come across any more. Highly recommended.
	Bleu, Redhead, Aware/Columbia Records – Bleu McAuley may get placed in the singer/songwriter genre, and quite properly so, but he approaches things quite differently than the majority of the others out there, with more guitar work and heavy pop leanings. Taking four cuts from his initial offering, Headroom, and his stellar track from the 'Spiderman' soundtrack, “Somebody Else,” reworking them a bit, and seamlessly adding them to seven new tracks, Redhead ends up a record that’s great to listen to, from beginning to end. A wonderful highlight is “Could Be Worse,” co-written by Jellyfish’s Andy Sturmer, which contains just enough of Sturmer’s influence to make it interesting without making it a total tangent from the rest of the record. The epic, soaring guitar work on many of the tracks only enhances Bleu’s strong voice and his lyrics make for good listening and reading. For fans of modern singer/songwriter, guitar-based work, this is essential listening.
	Silverstein, When Broken is Easily Fixed, Victory Records – We know this record has been out for a while, but we had to tell you about it. Silverstein may have their beginnings in the thriving Ontario, Canada, emo-core scene, but to try and place them firmly in that genre would be far too restrictive. As singer Shane Told leads you through his own emotional minefield, it’s easy to initially miss the elements of metal and punk that exist within Silverstein’s music; it’s in subsequent listening that you discover the building blocks that make Told and his mates so much more than an emo band. On “Giving Up,” as Told moves back and forth from his vicious growl to his wonderful singing voice, the raw pain of his conversation with himself (“How can I say I love you back/You never made me happy”) is driven along by the guitar work of Neil Boshart and Josh Bradford, which sounds like vintage Metallica. Then, just as you get comfortable with the lilting strains of “Last Days of Summer,” the song explodes into a molten emo masterpiece. If you’re looking for the next step in rock music, let Silverstein take you by the hand and drag you through the neighborhood. Don’t say we didn’t warn you.
	Poleposition, XO Edition 2, Polar Music – Much like the cinematic pieces that Rui Guerreiro and Daniel De Silva, the men behind Poleposition, have become known for, XO Edition 2 is as much about mood as it is anything else. The aptly titled opener, “Boulevard,” is filled with the palpable angst of a piano line searching for its destination. The feeling of careening down narrow side streets, just ahead of the fuzz, is inescapable. Each of the five tracks on this amazing EP use the interplay between vocals and music to create mood shifts and swings that convey a message, even when it’s about “The Tragic Death of Porn Starz.” Poleposition’s cosmopolitan electronica is occasionally thrilling, often sublime and always engaging.
	Teitur, Poetry & Aeroplanes, Universal Records – Hailing from the Faeroe Islands (get a map), Teitur is a modern-day troubadour – his music holds a pristine beauty and, at the same time, a constant longing and palpable ache. At times sounding a bit like Paul Simon, at others recalling Sting, Teitur’s lyrical poetry is filled with glowing imagery and emotion. Working with the likes of bassist Pino Palladino, Matt Chamberlain on drums and Ruppert Hine playing a variety of instruments, Teitur has surrounded himself with more than ample musicianship and assured that his music will get the best treatment. The superb “Rough Around the Edges,” which deals with the realities of growing up, and the gripping title track, which explains the trials of being a traveling musician, are two outstanding examples - on a record packed with them - of songwriting at it’s best. For those who enjoy the singer/songwriter genre, Poetry & Aeroplanes is a necessary addition to your collection – and one you won’t stop enjoying any time soon.
	Yellowcard, Ocean Avenue, Columbia Records – Every band is looking for something that sets them apart from the crowd – something to make people notice. What sets Yellowcard firmly apart from the rest of the pop-punk logjam is that they have a violinist, Sean Mackin, who isn’t just there for show. Before you laugh and discount them, you have to give Yellowcard a chance. Somehow, they make it more than just work; the violin ends enhancing every song and adding a depth and feel that most of the other bands in the genre don’t possess. Even on their supercharged first single, “Way Away,” Mackin’s work expands the sound and plays well off singer Ryan Key’s vocals. Though most of the songs fit very well into the pop-punk formula, it’s that extra layer that makes a bit fresher than it otherwise would be. “Empty Apartment” is another standout that seems destined to be a single. Ocean Avenue provides a refreshing take on the current trend, and one that was much-needed.
	Spitalfield, Remember Right Now, Victory Music – You can always count on Victory Records to have their finger on the pulse of what’s next in punk. Though punk has morphed into a few different forms, Spitalfield are going in one direction we enjoy traveling: perfect hooks, thoughts about life that generally aren’t filled with misery, and plenty of crunch. As for Remember Right Now, what’s not to like? Songs like the reflective “Am I Ready” are easy to relate to; you’re on you way there, you’re there now, or you’ve been there. Each of the tracks work; you feel the connection. Fans of JEW, Further Seems Forever and Yellowcard, Spitalfield is band that you need to get familiar with. Recommended.
	Ben Lee, Hey You, Yes You, F2 Records – Breaking free from the moniker “Claire Danes’ Boyfriend” and following up the critical and popular success of Breathing Tornadoes, Ben Lee has it firing on all cylinders. Here working under the tutelage of producer Dan the Automator, Lee has put together a record that isn’t looking to hoe some new road, but instead solidify his place in the crowded singer/songwriter universe. The result is a smart record that functions on a few different levels, without reaching too far from the foundation, as on the intense-but-radio-friendly “Something Borrowed, Something Blue” and the very pretty “Chills.” They’re very different songs, but have a sort of commonality that holds it all together. Hey You flows nicely and works to make a cohesive unit filled with catchy tunes and wonderful guitar-oriented pop.
IMAGE NOT YET AVAILABLE	*Stunt Monkey, [self-titled],* UTR Music – Stunt Monkey have single-handedly created their own musical genre; we call it ‘spoof-punk.’ It’s got all the energy that the current pop-punk movement has, but these guys are funnier (and apparently more fun) than blink-182 and take the Sum41 experience to the extreme. Word is, they throw all sorts of odd stuff at the crowd in their live shows. Either way, the music hums along like a power saw, cutting grooves as it goes along. The first single, “Girlfriend Likes Girls,” with its subject matter and big-time hook, gives a good taste of what Stunt Monkey are all about. “Your Mom Is Hot” is set to be the new theme song for all the MILF hunters out there. If you’re looking for something undeniably fun, here it is.
	Damien Rice, O, Vector Records – Damien Rice must be a very giving guy, because this is quite a gift he’s given to the music world. With a keen ability to draw you completely in and have you believe he’s singing every lyric with total conviction, as though you’re hearing him sing it for the first time, Rice makes you a part of his own world. In the end, you feel like you’re his friend, and he’s selected your shoulder as the one he’s going to lean on. The exchange between Rice and Lisa Hannigan on “The Blower’s Daughter” is so intimate and exquisite, and is instantly a classic. Tracks like “Delicate,” the album opener, and “Amie,” with its superb grace, leave an indelible mark on your heart and soul. Damien Rice has made a record that doesn’t create a new genre or reinvent the wheel, but he’s so good at what he does that it sure feels that way. A must-have.
IMAGE NOT YET AVAILABLE	Tokyo Rose, Reinventing A Lost Art, SideCho Records – Instantly addictive, Reinventing A Lost Art is like a designer drug – you don’t know what got you hooked, and something feels so wrong about it, but you know you love it. Laden with massive hooks and a giant-size helping of the ubiquitous pop sensibilities, Tokyo Rose take more than a few pages from Jimmy Eat World’s book. Mixing sing along melodies with a sufficient amount of crunchy guitars yields radio ready tracks like opener “Saturday, Everyday” and “Word of Mouth,” which seem perfectly suited for summer pop-punk glory.
	*Various Artists, Warped Tour 2003 Compilation,* SideOneDummy Records – It’s that time of year again, kids! All your favorite punk and pseudo-punk bands hit the road for what has become the most revered and cohesive tour out there. What better way to capture the enthusiasm than 52 songs by the bands that have made Warped what it is? They’re all here: from The Used (“Just A Little”) to perennial Warped attendees Less Than Jake (“ASAOK”) to the amazing Dropkick Murphys (“Walk Away). It’s probably the best deal for the money out there as well.
IMAGE NOT YET AVAILABLE	Lucerin Blue, Tales of the Knife – Tooth & Nail Records – It may be easy to label them a Christian band, but Lucerin Blue don’t pummel you with their beliefs; it’s probably far more accurate to call their music spiritual in nature, rather than religious. While that may not please all of the fundamentalists, Lucerin Blue’s music goes a long way in not alienating the rocker kids they most want to appeal to, which in the end allows the message to spread further. Tales of the Knife is a diverse blend that moves from the emo-core of opener “Game” to the post-grunge of “Chorus of the Birds,” to the poignant and pretty closer, “This Letter.” In Tales of the Knife the Canadian quartet have a record that shows versatility and a great emotional touch.
IMAGE NOT YET AVAILABLE	Various Artists, The Animatrix- The Album – Warner Brothers Records – You can always rely on super DJ Jason Bentley, the music supervisor on this record, to put together the perfect soundtrack. Having done the same thing for 'The Matrix' Trilogy itself, Bentley knows what fits, and he does an expert job here, with tracks from Supreme Beings of Leisure, Meat Beat Manifesto, Juno Reactor and others. What you end with is the right music to match The Animatrix DVD, and also fit it in well with feature films. Tracks like “Conga Fury,” Juno Reactor’s contribution to the disc, are so in the vein of what 'The Matrix' and it’s offspring are all about, that it’s very easy to imagine a scene from the DVD while listening. In this combination of tracks, Bentley effectively communicates the flow and essence of what the visuals are all about.
	S.T.U.N., Evolution of Energy, Geffen Records – When you’re ready to get your ass kicked, get this record and crank it up. Evolution of Energy is one of the most incendiary, adrenaline-inducing albums to come along in some time; it brings to realization all the things you know Rage Against the Machine could have been and mixes it with the subversive energy and fire of Queens of the Stone Age to produce a sound that’s instantly addictive and will have you chanting right along. What you have is a record that incites you to pay attention, dares you to take action and blows the doors off of everything else. If tracks like the burning “Movement,” the brilliant “Here Comes the Underground” and the epic first single “Annihilation of the Generations” don’t make you a member of the S.T.U.N. movement, then we can’t help you. A must-have.
	*Fountains of Wayne, Welcome Interstate Managers,* S-Curve/Virgin Records – Our favorite quirky New Jersey pop gods make their return with a record that continues the FOW tradition: perfect melodies and interesting, thoughtful stories all wrapped inside of a three-minute pop song. On “Halley’s Waitress,” about half-way through one of the greatest melodies this side of the White Album, you laugh and realize the song is about an anonymous waitress and her poor career choice. Chris Collingwood and Adam Schlesinger write the sort of songs that make you want to delve in and find out more, yet are easy to get lost in. These guys even make a song called “Hackensack” sound good. Highlights are the amazing “Bright Future In Sales,” the anthem for every working stiff, and “Valley Winter Song,” a work that tugs at your heartstrings. Very highly recommended.
	Woven, 8 bit monk, Interscope Records – Drawing comparisons to Radiohead, among others, Woven make the sort of music that fuses drum and bass and rock, yet also ads some heady intangibles that push it along. There are elements of Nine Inch Nails in there, lurking, but never rising above the surface. Often brooding, occasionally mind-altering, 8 bit monk is a tenuous juxtaposition of organic and electronic that somehow never quite falls over to either side. With a sense of subdued chaos, tracks like “Sync or Swim” and “Astral Low” bend the mind to grasp the different elements as they coalesce and diverge. The fact is, after their previous EP, Eprime, and this release, we’re still left wanting, needing more. It’s the sort of music we wish we had made.
	Acceptance, Black Lines to Battlefields, The Militia Group – With much the same pop sense and emo flair as Jimmy Eat World, Acceptance’s semi-full length (7 songs, two of which are live) mixes up-tempo rock with soaring vocals and a focus on song development. The tracks all move fluidly, working from a point and seeming to travel their own natural journey. It makes for very easy listening, though not a lot of chances are being taken here. “Seeing Is Believing,” with its wonderful harmonies, is made for summertime radio as is as good as anything out there. Black Lines is certainly an emotional ride – “Permanent,” the opening track, is heart rending in its sincerity and the title track is equally as gripping.
	*Flashlight Brown, My Degeneration,* Hollywood Records – When you can write what is basically a punk song about playing Dungeons & Dragons, you know you’ve stumbled on to something. That’s what album opener “Ready To Roll” is all about: getting some platinum and picking up and elfin bar whore. Seriously. It works, though, as do most of the tracks on My Degeneration. A series of off-color love songs and geekish observations with lyrics that border on the bizarre, My Degeneration is the sort of record you end up listening to over and over, just to try and get the words. Combine that with surefire hooks, especially on “Lose the Shades” and “Butterball,” and you end with a debut (American, anyway) that’s more than worth the $10.
	Hot Hot Heat, Make Up The Breakdown, Sub Pop Records – Like the bastard son of Andy Partridge, Hot Hot Heat singer Steve Bays warbles his way through this collection of supremely catchy tunes. Mixing English Settlement-era XTC with indie flare, tracks like the ultra-angular “Bandages” are bursting at the edges with energy, yet somehow avoid spinning out of control and create a style that is exclusively Hot Hot Heat’s. Make Up The Breakdown is packed with miniature masterpieces, each moving in it’s own odd direction; “Aveda” works as a geek love song, while “Oh, Goddamnit” delivers it’s message musically, if not lyrically. Then, as if for good measure, Make Up The Breakdown ends with the wide open guitars and smooth piano of “In Cairo,” which shows there’s probably more amazing things to come from Hot Hot Heat. Highly recommended.
	Gob, Foot In Mouth Disease, Arista Records – It should first be noted that this record was produced by Mark Trombino, who produced blink-182 and Jimmy Eat World, which gives a good idea of where this record heads. Then take into account the record was “executive produced” by wizard/Arista boss L.A. Reid, and you’ll know what’s up here. Putting those two at the helm of a Gob record means hits, and Foot In Mouth Disease doesn’t disappoint. Considering Gob have always been known for sugary hooks, it’s a match made in hit heaven. Basically, Foot In Mouth Disease is a sequence of radio-ready tracks that should finally get them the breakthrough exposure they’ve been waiting for in the US. From the summer fun of album opener “Lemon Aid” to the very American Hi-Fi-ish “I Cut Myself, Too,” Gob should be in heavier rotation as the temperature rises. The high point of the record (there aren’t really any low points) is the profanity-laced “Give Up The Grudge,” which as close to Punk as this record comes.
	Suzanne Vega, Retrospective – The Best of Suzanne Vega – A&M Records – Most people seem to have had a love/hate relationship with Suzanne Vega. Maybe it’s her monotone sort of singing or the overexposure “Luka” received. The fact is, this record shows that there is so, so much more to Suzanne Vega than the casual fan would ever expect. The beauty of a track like “(I’ll Never Be) Your Maggie May” is eye opening, mostly because the majority of people probably have never heard it before! The required stuff is here, like “99.9F,” “Tom’s Diner” and “Blood Makes Noise,” but it’s the other songs that make this compilation wonderful. The jazzy feel of “Caramel,” the emotion of “Gypsy” and the pure pop sense of “Left Of Center” (from the Pretty In Pink soundtrack) should not be considered filler – they are what make Retrospective complete. Maybe it’s just been long enough for “Luka” to fade a bit, but whatever the case, hearing Vega again in this complete, easy-flowing set is a welcome refresher.
	Nada Surf, Let Go, Barsuk Records – Not to be confused with Avril Lavigne’s release, Nada Surf’s first release in four years is the sort of record that speaks to you from the initial listen, with emotions that run deep and exquisite songwriting. Where their other great release, Proximity Effect, may have had more classic indie rock moments, this record has a sense of maturity and importance that only comes via time. “Happy Kid” is the sort of song that speaks to everyone who has been through the awkwardness of early adulthood and survived intact, yet it also works as a primer for those just embarking on the journey. “Inside Of Love” has so much sad beauty and pain, but it offers a perspective not often available. Nada Surf have a knack for letting songs build on their own and letting them work themselves out, in a way that feels very organic. Recommended listening.
	Pete Yorn, Day I Forgot, Columbia Records – It’s hard to imagine not liking Pete Yorn. His debut, musicforthemorningafter, is a testament to abilities of the American singer/songwriter genre. Day I Forgot has many of the same qualities that made Yorn a critical success, but it shows a willingness to travel down some different roads and Yorn’s ability to mature in his own skin. The result is a more straightforward approach that, while it may not have the breakthrough impact that …morningafter had, offers up loads of emotional moments and catchy hooks. It’s Yorn’s clear vocals and yearning delivery that make him more than memorable. The sweeping hooks of “Come Back Home” and “All At Once” are standouts along with “Crystal Village.”
	*Folksongs for the Afterlife, Put Danger Back in Your Life,* Hidden Agenda Records – Like a pleasant mix of Ivy’s aesthetics and Ride’s shoegazer influences, Folksongs for the Afterlife produce indie pop that is at once immediate yet also lingers well after the songs have ended. Put Danger Back in Your Life, the band’s first full-length, is the sort of record you can listen to repeatedly. That is, after all, sort of the point, isn’t it? Singer Caroline Schutz’s perfectly-suited voice is easily addictive, especially on tracks like the 80’s throwback “Lockaway” and truly amazing “Summer Loop.” There’s not a bad moment on any of the eleven songs and you’ll find yourself rewinding over and over, just to hear certain sections and dig into the lyrics. Highly recommended.
	Vue, Babies Are For Petting [EP] - RCA Records - They're getting pushed into the garage rock category, but Vue have a knack for being a bit more polished and quite a bit less thrashy than their NY counterparts. At times, especially on "Hey Hey Not In Here," the band takes on a classic 70's Brit-infused rock sound. On "Find Your Home," featured here live, and on the title track, singer Rex Shelverton does an admirable job of channeling Jim Morrison's passion and delivery. Word on the street is that the Vue live show is what really sets them apart, so this should be considered a primer. A full-length is due mid-summer.
	The Androids, The Androids, Universal Records – Yeah, you’ve probably heard their hit, “Do It With Madonna,” but don’t judge them by that, though it does show the sorts of hooks this Australian quartet can create. Tracks like “Take It Too Far” and opener “Hey You” are much better examples of The Androids ability to follow lead vocalist and songwriter Tim Henwood’s direction and focus. Occasionally, the music gets a bit too over-processed and comes off sounding like it was constructed by record execs rather than four guys in a garage, but that may be the problem with lots of alternative rock these days. Hopefully The Androids will get another shot – this record shows promise.
	*Idlewild, The Remote Part,* Capitol Records - With a nod to the Brit punk movement as well as the Smiths & Cure, Idlewild pull it all together in this record that took far too long to reach US shores. The Remote Part has been out in the UK since July 2002, and has produced two massive hits, album opener "You Held The World In Your Arms" and the beautifully gripping "American English." Building on their previous release, 100 Broken Windows, the Scottish foursome continue to show musical growth. "Live In a Hiding Place" is another piece that deserves attention and airplay. Singer Roddy Woomble's lyrics are reminiscent of REM's Michael Stipe in their ability to pierce topics from a different angle and provide a view from inside Woomble's head.
	Taking Back Sunday, Tell All Your Friends, Victory Records - Filled with Adam Lazzara's hardcore vocals, the massive punch of guitarists Ed Reyes and John Nolan and breakneck time signature changes, Tell All Your Friends is not your typical emo/hardcore record. Though it has brought forth plenty of comparisons with another Victory band, Thursday, and there are some undeniable similarities, Taking Back Sunday have focused on their own strengths and delivered some classic hardcore tracks. "Cute With No 'E'" and "Ghost Man on Third" are standouts, with "You're So Last Summer" also of note.
	Switchfoot, The Beautiful Letdown, Red Ink/Columbia Records - Though they may get lumped in with other Christian rockers like Jars of Clay, the sugary hooks in tracks like "Ammunition," "Gone" or "Meant To Live" are undeniably good and deserve closer attention. Comprised of three San Diego-based surfers, Switchfoot broach spiritual topics in a way that isn't too preachy, allowing secular listeners to enjoy the music nonetheless. It's all good, clean fun. Don't let their getting tossed into the "gospel" genre fool you - Switchfoot rocks.
	*Marina V., Something of My Own* & "Simple Magick" CD-single**, Crazy Apples Records - Much more than just a pretty face, Marina will earn many comparisons with Tori Amos, though Marina's subject matter doesn't bear that sort of pained heaviness. The comparison is based on vocal tone and Marina's piano-based music, which is entrancing from it's opening strains. Some of Marina's most gripping work is when she sings in her native Russian, as on "Taet Sneg," which really brings out the sultriness of her voice. Her emotive qualities make the song work, even if you don't understand the words. "Simple Magick" is a wonderful song that bears repeated listening as well. Marina is a true talent on the rise.
IMAGE NOT YET AVAILABLE	Louden Swain, Overachiever [EP], 3 Car Wreckords - They tell you they're a cross between Weezer and the Foo Fighters, and the comparisons are valid, but Louden Swain are much more in the same vein and American Hi-Fi, with their rock and roll swagger and tongue-in-cheek deliveries. Overachiever is five tracks of top-notch indie rock. The title track, which closes the EP, is a standout, but none of the songs are disappointing. It won't be long and this LA-based trio will get major label support. Then you'll realize that frontman Rob Benedict looks familiar…oh, yeah! He's that guy from "Felicity"…
	Venus Hum, Big Beautiful Sky, MCA Records - An apt album title, considering how much area they cover with their dream-pop/electronica. Pulling from influences like Depeche Mode, Erasure, Kate Bush & The Cure, singer Annette Strean does her own cloudbusting, pushing her voice in a variety of directions. From the textured lushness of the first single, "Hummingbird," to the electro-funk of "Lumberjacks," Venus Hum take you on quite a ride. The beauty of "Wordless May" stays with you well after the song ends. This, their major-label debut, is a record they can be proud of.
	The Datsuns, The Datsuns [Bonus DVD], V2 Records - Please don't lump them with The Vines or The Hives. The Datsuns are better compared with fellow New Zealanders The D4, though they have a better grasp of dynamics. The Datsuns combine Deep Purple psychedelia with AC/DC energy to warp garage rock into something all their own - it's been years since a cow bell got spanked this much. The trippy "Sittin' Pretty" opens things up and lets you know that this isn't the polished stuff you've become used to. This is like taking a nice early-'70's rock record and throwing it on the turntable. If there's a downside, it's in the second half of the record, where the Datsuns fall under the spell of guitar solos and lose a little in the hook department.
	The D4, 6Twenty, Infectious/Flying Nun Records - Another quartet of throwback New Zealanders, The D4 start off with the volume at 11, and it never comes down. With their Ramones-meets-Motorhead onslaught, the D4 don't let their formulaic approach to rock become an impediment. In fact, the music has such a fun quality that it becomes irresistible, without every descending to the Andrew WK-ish goofball status. The rousing cover of Johnny Thunders' "Pirate Love" makes this a welcome release. "Mysterex" is very Ramones-ish, while "Party" is pure, easy bliss.
	*A.F.I., Sing The Sorrow,* Dreamworks Records - "This is my line/This is eternal," sings Davey Havok in "...but home is nowhere," and with Sing The Sorrow, Havok and his mates have created a record that has the potential to be the Appetite For Destruction of this decade. With their heavy punk influences (e.g. Misfits & Rancid) tinged with vintage Smiths and Depeche Mode flare, AFI has found the perfect middle ground of hook-laden goth-punk and hit the spot that Marilyn Manson aspires to. There's plenty of heaviness too, like the pit punishing "Dancing Through Sunday" and "Bleed Black." Adam Carson's drumming is the foundation for Jade Puget's textured riffs and bassist Hunter's solid low end work, which all outstandingly support Havok's amazing vocal abilities. This is a record that you need to have in your collection. Required listening.
	*Evanescence, Fallen,* Wind-Up Records - If there's one thing you'll take from this record, it's that Amy Lee's voice is simply stunning. The work of guitarist Ben Moody work perfectly with Lee's ability to move from the subtlest lullabies to cascading melodies to powerful, heavy-hitting rock and never sound out of place. The first single, "Bring Me To Life," which is also featured on the Daredevil soundtrack [see below], puts Lee's abilities on full display and serves notice that Evanescence is ready for the big time. Fallen covers a fair bit of ground sonically, with Lee and Moody showing what they can do. They build on territory paved for them by the likes of Curve, with plenty of success.
IMAGE NOT YET AVAILABLE	Various Artists, Atticus …dragging the lake II - SideOneDummy Records - This is really sort of 'who's who" in the skate punk/emo scene - you've got blink 182, their off-shoots, Box Car Racer and Transplants, Finch, Sparta, Alkaline Trio, and 20 others, all of which fit nicely into this package. What makes this really cool is the amount of great unreleased material there is: "Soleil" by Maxine is outstanding, as is "Misled" by Hot Rod Circuit and Sparta's "Vacant Skies." It's simple: if you're into this type of music, then you should get this compilation. You won't be disappointed.
	*Further Seems Forever, How To Start A Fire,* Tooth and Nail Records - The beauty of this record is that FSF doesn't sound like a band with something to prove. This isn't an answer to FSF's last record, The Moon Is Down, and they aren't trying to show they can survive without former front man Chris Carrabba. What FSF have done here is construct an amazing record that stands completely on it's own - the lyrical work is outstanding and emotionally gripping, especially on the JEW-ish "The Sound" and the cascading "On Legendary." The epic "Against My Better Judgement" is also an emo standout. Singer Jason Gleason's voice is perfect for their brand or emo rock - he makes you forget they ever had another singer. A great listen from beginning to end.
IMAGE NOT YET AVAILABLE	*mellowdrone, a demonstration of intellectual property* [ep],** ARTISTdirect Records - mellowdrone, a.k.a. Jonathan Bates, covers more sonic terrain on five songs than most records do in twelve. Working out of his bedroom on basic equipment, mellowdrome moves from the slight instrumental piece that opens the record, "Tinylittle," through to something akin to Badly Drawn Boy's brilliance on "Fashionable Uninvited]". He then moves on to "No More Options," in which his plaintive wail and guitar crunch is along the lines of Ours and their front man, Jimmy Gnecco. Nice first taste.
	Various Artists, Daredevil - OMPST, Wind-Up Records - This is impressive: 20 brand-new songs - no retreads - almost all of which are radio-ready. The spectrum here is pretty broad; there are established artists like Fuel ("Won't Back Down"), Nickelback ("Learn The Hard Way") and Moby ("Evening Rain") and some hard-charging up-and-comers like Evanescence (who have two tracks on the record), Chevelle ("Until You're Reformed") and Seether ("Hang On"). Likewise, there's everything from the harder stuff (Seether, Drowning Pool w/ Rob Zombie, Boysetsfire) to easy rock (Fuel, Nickelback, Hoobastank) and even some hip-hop with Nappy Roots featuring Marcos Curiel of P.O.D. The only real down point is the Nickelback track - you quickly realize that it sounds like everything else they've ever done. The high points are the Evanescence tracks, Chevelle, and long-awaited new music from Finger Eleven.
	Everclear, Slow Motion Daydream, Capitol Records - Fact is, Art Alexakis has learned the art of writing mainstream radio hits. "Volvo Driving Soccer Mom" has already gotten airplay and "TV Show" is a sure-fire hit, as is "Sunshine." The only problem is that most of the songs sound very much the same - Everclear have a pretty recognizable sound, but the variance between songs, at times, is almost imperceptible. It's never a bad listen, but it's not the sort of thing that strikes you as revolutionary. Alexakis' delivery is pretty much the same from song to song, which lends to the sameness of the tracks.
	The Music, Capitol Records - Rarely do you put a record on and think "progressive" and "classic" in the same moment, but The Music are just that. They recall the raw passion of early Led Zeppelin, the ethereal spirituality of Kula Shaker and mold it with a very modern electro vibe. Lead singer Robert Harvey does often evoke the same energy and quality that Crispian Mills did in the mid-90's, and there's just something here, that intangible thing, that sets it all apart. It just works on so many levels. The first single, "Take The Long Road And Walk It" is beautifully crafted guitar-oriented rock, courtesy of guitarist Adam Nutter. Nutter even works in some Edge-esque riffs on tracks like the superb "Human." "The Truth Is No Words," a song that should storm rock radio this summer, is unbridled passion and intensity that hits hard. Bassist Stuart Coleman and drummer Phil Jordan hold everything together admirably, which with all that's going on, is no easy task. It's understandable why labelmates Coldplay chose The Music to tour with them this spring. Very highly recommended.
	Johnny Marr & the Healers, Boomslang, imusic - Johnny Marr is already an established guitar legend - he's had as much effect on the classic Britpop sound as anyone has. On Boomslang, Marr takes another step forward as both singer and primary guitar player, the result being Britpop taken to whole different level. Boomslang's music is superbly catchy and Marr's vocals are impressive - it makes you wonder what took so long for him to make the move. Rounded out by former Kula Shaker member Alonza Bevin and Zak Starkey (Ringo Starr's son), the results are the memorable "You Are the Magic," which clocks in at over seven minutes, and the massive hook of "Bangin' On" and eight other wonderful songs. "Something To Shout About" is textbook, but it sounds like nothing Marr has done before. If you're a Britpop fan, or you have any appreciation for Marr's work, this is a must-have.
IMAGE NOT YET AVAILABLE	Damone, From The Attic, RCA Records - If you miss the good, strong, hook-laden rock of Belly or you have a hard time figuring out why Garbage isn't on the radio, chances are Damone is for you. The tracks are at once hard-core and hyper-melodic, typified by the sonic blasts of "Feel Bad Vibe" and "Frustrated Unnoticed." Amazingly this is a band of early twenty-somethings singing early twenty-something songs - the music is undeniably fun and catchy with plenty of angst thrown in. These Waltham, MA natives have what it takes to hit it big; singer Noelle (no last name, thank you) is at once polished and raw, evoking images of Kim Shattuck and Tanya Donelly in their youth. Guitarist and songwriter Dave Pino does something that's been missing from rock lately: he solos! His solo in "Driveway Blues" is classic material. Highly recommended.
	Burnley Vest, Laundromat, tiny e Records - The fun part of independent music is that you don't know what you're getting until you put the record on. What Burnley Vest delivers is a melange of sounds, rhythms and musical flavors that seems to play along a cogent theme: dealing with relationships and life in the very big city. The imagery is vivid and insightful, and it does a pretty nice job, intended or not, of working in the feeling of New York life. The music has a sense of uniqueness and purpose, and is rather odd, but in a good way. Records like Laundromat are what keep independent music exciting, refreshing and worth spending your cash on.
IMAGE NOT YET AVAILABLE	The All-American Rejects, Dreamworks Records - "Swing, Swing," the first single from The All-American Rejects self-titled release, is probably stuck in your head right now, considering the amount of airplay the track is receiving. It's a welcome surprise that the Rejects keep that epic feel working throughout the record - the songs flow effortlessly, the guitars stay crunchy, the keyboards fill things out and the sing-along melodies stick with you well after the music ends. One highlight of the record is "Happy Ending," bells and all, a track with sweet harmonies and a huge hook, but then again that covers pretty much every song on the record. The band edges toward an emo or pop/punk stance in places, without ever completely falling over the edge and getting away from their strengths. This record isn't revolutionary, but it delivers the goods and doesn't come up short anywhere - an excellent initial effort.
	System Of A Down, Steal This Album!, Columbia Records - Though forced by the Internet to release this record in the first place, SOAD show why those pirated versions you can pick up out there aren't always worthwhile. These properly mastered versions blow the stuff that floated out there away. System often get lumped into the metal genre, but this is yet another testament to why they belong in a class by themselves; tracks like "I-E-A-I-A-I-O," with its mix of metal and Middle Eastern chant, defy classification. Their expert harmonies, technical mastery and superb songwriting mix with the variety of styles they incorporate to create track that often rage and rant, but also occasionally humor or just plain confuse, yet all the time push at the limits of the genres they get lumped into. A track like "Fuck The System," even with it's erratic movements, ends up as a coherent theme. Then they come at you with the oddly poignant "Roulette," the SOAD equivalent of a love song, and really mess with your mind.
	Brendan Benson, Lapalco, Startime Records - Yet another chapter in the brilliance of Brendan Benson's musical career. Possibly the best singer/songwriter you've never heard of, Benson has been lauded repeatedly by fellow Detroit-ers The White Stripes, but shares very little in common with them musically - Benson's music and songwriting ability is much more akin to The Beatles or Fountains of Wayne. Album opener "Tiny Spark" has that classic feel that continues throughout the record. "Eventually" sounds like a leftover from the Sgt. Pepper sessions, and the pure, sweet longing of "You're Quiet" lingers well after it's over. Lapalco is one of those records you find yourself listening to over and over again. Highly recommended.
	The Dave Matthews Band, Live at Folsom Field, Boulder Colorado [DVD & Double CD], RCA Records - It's hard to conceive that the energy, enthusiasm and electricity of a DMB live show could be accurately captured on a DVD, let alone on CD, but with this effort, the improbable has been achieved. While it's not the same as the infectious vibe that comes from being with thousands of other people at a DMB show, which simply can't be achieved in any other way, the two-an-a-half-hours of jam-band fun goes a long way towards satisfying both bootleggers and casual fans alike. The essences that the CD couldn't recreate are masterfully caught on the companion DVD, with 22 cameras showing every possible angle and nuance. Many of the 21 songs (notably those from the now multi-platinum Everyday) are shown here live for the first time, and, when the concert was initially filmed/recorded, Busted Stuff had not yet been released, making the versions of those tracks all the more raw. It's not the same as being there, but it's pretty damn close.
	David Gray, A New Day At Midnight, RCA Records - Most people became familiar with David Gray in the same way they got to know Ryan Adams: it became fashionable to know who he is and having his previous release, White Ladder, was a requirement. This record, in stark contrast, focuses on Gray's superb voice and songwriting abilities and serves to get him back to what he did best before massive fame came along. Written mostly in response to the death of his father, many of he tracks move along like a man who has shed too many tears - slowly, knowingly and with a new sense of understanding. The hurt and hope of the barren "The Other Side" achieves its purpose through its lack of wasted space. Similarly, the deceptive hook of "Be Mine" works best because of the clarity of Gray's vocals and the serenity and understated pain he lets out. In the end, it is an unforgettable and entirely outstanding record.
	Lucky 7, Lucky 7, Omega Records - As members of the very strong San Diego punk-pop scene, Lucky 7 realize that luck is a small factor in success and that its hard work and great music that get you to the top. Having gotten plenty of recognition from endless touring (including the Warped Tour) and millions of downloads on mp3.com, this, their debut, finds them taking 15 of their strongest tunes and taking a shot at the title. The relentless energy and sugary hooks of tracks like "Where Are You?" and "One Track Mind" are prime examples of Lucky 7's potential to rise up the ranks of the punk-pop hierarchy.
	U2, The Best of 1990-2000 & B-Sides, Interscope Records - Alone, disc one, the "Best Of" portion of this package, is enough to make it worthwhile, but it's the rest of the deal that puts this way over the top. The first disc contain two great new tracks, "Electrical Storm" and "The Hands That Built America," and the fairly obvious set of hits, both major and minor, from Achtung Baby, Pop, Zooropa and All That You Can't Leave Behind, including excellently reworked versions of "Numb," "Staring at the Sun," "Discotheque" and "Gone." The b-side disc, which comes with the first run of CDs, adds a nice dimension to the set, with cool dance mixes and the amazing cover of "Happiness Is A Warm Gun." The limited edition DVD is superb, providing lots of behind-the-scenes footage and live performance footage - it's worth the price alone. This ends up as a must-have for your collection.
	The Wallflowers, Red Letter Days, Interscope Records - The vast majority of Red Letter Days will appeal to even the most casual of classic rock listeners. There isn't much new territory charted here, but in staying with the style that brought them stardom via 1996's Bringing Down The Horse, they've produced a record full of tunes filled with pretty melodies and lyrics made for karaoke. The style works perfectly for Jakob Dylan's distinctive, polished voice. "Too Late To Quit" is the sort of track that sticks with you, and "Everybody Out Of The Water" is a surefire hit. "When You're On Top" is the highlight of the record, but it can frustrate because it tells you there's more to The Wallflowers than Tom Petty-ish 'post-classic rock' - if only they would embrace it. Maybe Jakob Dylan hates the DJ, too.
	SR-71, Tomorrow, RCA Records - On their first record, Now You See Inside, SR-71 seemed to be trying to find their way and figure out what niche they belong in. Tomorrow brings their style more into focus and shows a band determined not be disregarded as a one-hit-wonder, though they've included their big hit, "Non-Toxic," seemingly as a reminder of who they are. Tomorrow does well all on its own - the record has more of a skater-rock feel, filled with energy and plenty of punch. "My World" and "Hello Hello" are standouts, though there really isn't a low point on the record. SR-71 may suffer more from the idea that much of their music follows a certain structure and lots of the songs sound similar.
	The Flaming Lips, Yoshimi Battles The Pink Robots, Warner Brothers Records - The masters of psychedelic rock are back with a record that, while not as perfect as 1999's The Soft Bulletin, holds it's own quite well. Melding odd French-style electronica with rock song structures and exquisite melodies in a way that is uniquely the Lips, Yoshimi ends up moving in lots of different directions, most of them successfully. Thought it occasionally loses focus, tracks like "It's Summertime," the title track (part1) and "Ego Tripping At The Gates of Hell" make the meandering moments all worthwhile. The lingering beauty of "Do You Realize?" and its textbook hook will stick in your head long after the song is over.
	Matthew Sweet, To Understand - The Early Recordings of Matthew Sweet, Hip-O Records - If you ask people if they're familiar with Matthew Sweet, what you'll usually hear is, "Yeah, but I'm not as familiar as I should be…" Most have heard of him, but few really know his work. This record is a perfect opportunity to get more acquainted with one of America's best singer/songwriters. The sweet and total pop perfection of tunes like "When I Feel Again" and "Briar Rose" is undeniable. Of the 22 tracks, there are six b-sides or demos to please Sweet's long-time fans, with the demo of "Good Friend," which eventually became "Girlfriend," Sweet's best-known song, the most appealing. To Understand is truly the perfect primer for getting familiar with some of the early 80's best pop and one of America's true musical treasures.
	Foo Fighters, One By One, RCA Records - Dave Grohl has surely proven incorrect Courtney Love's assertion that Curt Cobain had all the talent in Nirvana. With One By One, Grohl has put out more records with the Foo Fighters (4) than he did as a member of Nirvana. And while the Foos won't ever create the sort of paradigm shift that Nirvana did, they are extremely successful at creating cohesive arena rock that gets better with each record. One By One offers a decent range of music, from the power riffage of first single "All My Life" to the melodic rock of "Halo" to the heavier side with "Have It All," with each track offering up the sweet hooks that Grohl seems to create with ease. While the title may be an indication of the way Grohl has been dealing with life lately, it's obvious that his methods are working. This is a must-have.
	Tori Amos, Scarlet's Walk, Epic Records - Scarlet's Walk (an allusion to "Gone With The Wind"?) takes Tori's in a very different musical direction than her previous records; a mythical trip across the American landscape, both in terms of topography and our collective psyche from a singular perspective. Tori's ability to infuse sexuality, sensuality and scrutiny into her music is rare - this record shows her at her best in turning a phrase and juxtaposing images to not only view the post-9/11 world, but to take a long glance back over our collective shoulder and see how we got here. "A Sorta Fairytale" is a perfect opening single, but tracks like "Taxi Ride," "Virginia" and others will keep her on the radio throughout the new year. As an American now living in England, this seems to be Tori, who is at a new phase in her personal life, rediscovering her homeland and what it means to be an American. Occasionally Scarlet's Walk is painful, and Tori has never shied away from pain, but quite often the landscape is as vivid as can be - that pain and beauty have made us what we are, for better or worse.
	Sigur Ros, (), MCA Records - This isn't a record you just listen to; it's a record you experience, much like old Pink Floyd or Genesis, but in a very different way. Sigur Ros succeed in creating aural landscapes that match well with the wordless, simple liner notes - the mood of snowy Icelandic days and nights comes through, without ever feeling like odd New Age synthetics. The tracks have no titles, and the album has no proper name, other than the two parentheses, yet Sigur Ros don't come across as pretentious or contrived; anyone who got into their first release, 1999's Agaetis Byrjun, knows that this is just how they work: quirky yet beautiful. The lyrics are in what the band calls "Hopelandish," but you'll find yourself making sense of them, somehow, and creating the lyrics in your mind. That may be the greatest success of the record - they're able to get you so locked in that you end up ascribing your own special meanings to each song, and for many, in the end, that's what music is really all about anyway.
	*taproot, Welcome,* Atlantic Records - A huge, progressive step forward from 2000's Gift, taproot's first release, Welcome is indicative of a band that has grow in all aspects. While there's still some of the nu-metal foundation, Welcome has much more of an Alice In Chains feel in terms of phrasing and melody. Stephen Richards's writing has matured as well and taken on a deeper vibe - where many of today's rock songwriters get away with cool rhymes, Richards's depth is palpable and intense. The first single, "Poem," has made a major impact at radio and several other tracks (specifically, "Fault" and "Breathe") show as much promise. Guitarist Mike DeWolf was recognized early on as a force to be reckoned with, and Welcome shows much of that talent coming to the forefront. The Toby Wright (Alice In Chains, Korn) produced Welcome shows where so-called nu-metal bands can get and it sets the new standard. Highly recommended.
	Röyksopp, Melody A.M., Astralwerks Records - When we first heard Röyksopp, it was as part of an electronica compilation, and we knew we had to hear more. As European electronica gains greater exposure in America (via the likes of Air), this Nordic electro-phunk duo should see greater gains. The masterful "Poor Leno" is amazing, while the singsong-y "A Higher Place" is utterly entrancing. Mostly down-tempo, easy listening mood music, Röyksopp's vibe is a welcome addition to your collection. The bonus disc of remixes and three videos ("Poor Leno," "Remind Me" & "Eple") only enhances the experience.
IMAGE NOT YET AVAILABLE	Sprawl, Sarah Veladora, Imoj Records - Canada keeps producing quality artists, but here's one that doesn't sound like Nickelback! Sprawl sounds much more like The Flaming Lips, if Placebo's Brian Molko joined and they all listened to considerable amounts of The Cure. That sort of means it's post-punk with a heavy dose of British pop influence and a keen focus on song construction. Key track are "Faded," which actually sounds a bit Zep-ish, and "Bad Girl," the albums opener, as well as "Star In The Basement," with it's dark moodiness. Distortion is only used as an embellishment by Sprawl, and not a crutch, which is a welcome change from the norm, while their hooks are subtle and varied. Definitely worth a listen.
	Scapegoat Wax, SWAX, Hollywood Records - One thing's for sure, Marty James, the brains and brawn behind Scapegoat Wax, goes his own way. Since an early age, he's been pushing the edge of urban electronica, though unfortunately he got caught up in the rise and fall of Grand Royal Records and his brand of funked-up hip-pop hasn't received the notice it deserves. "Lost Cause," the first single, is a great display of James's seamless melding of a wide array of styles, while "Eardrum," featuring The Suspects, is pure rhyming pleasure. The question for Scapegoat Wax will still be whether they receive label and radio support - if they do, listeners will finally be exposed to the mix mastery that is Scapegoat Wax.
	*Sasha, Airdrawndagger,* Kinetic Records - The trend, of late, has been for superstar DJs to produce 'artist albums.' This means they actually create the music rather than just mix songs from other artists. Most have been met with mixed reviews, but on Airdrawndagger, Sasha's foray into the mix (minus his longtime partner John Digweed), he shows he can not only spin trance music with best of them, he can also create it. The down-tempo feel of most of the record is cool and easy, and though quite a bit of it won't work on the dance floor, it is great listening music. Maybe that's Sasha's goal here - to create music that is actually meant for listening rather than just pounding out a beat. If that's the case, he unexpectedly successful, with "Mr. Tiddles," "Immortal" and "Requiem" being the standouts. Airdrawndagger shows that although Sasha has been hugely successful as a DJ, he can also hold his own as an artist.
	3 Doors Down, Away From The Sun, Republic/Universal Records - After much anticipation, 3DD return with a record that may surprise many. By the time their first record, The Better Life, had finished its run, 3DD had sort of been branded as your basic radio rock outfit. This time around, listeners will find a band that's been hardened by the road, with more emphasis on guitars and writing. The lyrics are stronger [of special note are the title track and "Ticket"], with singer Brad Arnold mostly dealing with what the band probably knows best by now; life on the road and how to handle it when you're home. The heavier guitars are probably a result of the same thing, but the change is welcome - the songs are thicker and more substantial, with guitarists Matt Roberts and Chris Henderson seeming to have benefited from spending so much time playing on the road. Right from the opener, the smoking "When I'm Gone," the record cooks. The end result is a record that should prove to have an even greater impact that the first. Well worth the wait.
	Badly Drawn Boy, Have You Fed The Fish?, ARTISTdirect Records - Once again, Badly Drawn Boy (aka Damon Gough) leaves you speechless. His concept of melody, phrasing and mood are amazing, and Have You Fed The Fish? sees him at his best. "Born Again" finds him asking self-critical, introspective questions, ("Maybe there's a reason that I'm born again") while "You Were Right" may be his way of explaining the pop star life and his attempts to deal with it. The results are songs that have that Beatles-ish timeless quality. With beautiful pop arrangements occasionally tinged with jazz, this record, produced by Tom Rothrock and BDB, is one you will be listening to over and over again, for years to come. Built to last.
	Halo Friendlies, Get Real, Tooth & Nail Records - Every wonder what would've happened to The Bangles if Prince (or whatever he's called today) hadn't gotten to them and wrecked things? The Halo Friendlies are a good approximation, though they've gotten there much earlier on in the game. Produced by Kim Shattuck of The Muffs, Get Real opens with the sure-fire radio hit "Sellout," which features a great hook and plenty of crunchy guitars. The Long Beach, CA based quartet doesn't disappoint on the rest of the record either, with "Disappear" and "Milwaukee" displaying the great harmonies and hooks that the Halos will be known for. Considering this is just the beginning for these ladies, if they don't implode like the Go Go's, they're in for a long ride.
	*VA, Maybe This Christmas,* Nettwerk Records - How refreshing! A disc of Christmas music that is actually intended to celebrate the season, all done by some of today's best artists. No tasteless crap. There's some great stuff here, especially the 60's feel of Phantom Planet's "Winter Wonderland" and Vanessa Carlton's sweet version of "Greensleeves." And for those who aren't familiar with the amazing voice of Loreena McKennitt, "Snow," the album closer, will leave you stunned. The disc features a great variety of artists, with wonderful contributions from Coldplay, Jimmy Eat World, Jack Johnson, Ben Folds and many more, all done respectfully. This is sure to be the soundtrack for many parties and celebrations this holiday season.
IMAGE NOT YET AVAILABLE	*cribabi, Volume,* Fidela Records - Combining traditional Brit-pop influence with modern rock power, cribabi (say "cry baby") are an interesting mix. The brain child of Andy Cox (of FYC and English Beat fame) and his musical wizardry combined with the smooth vocals of Japanese singer Yukari Fujiu, cribabi's first release, Volume, has the promise of underground success. "I'm The One?," the albums first single, sizzles along, while other standout tracks include "Beautiful Mistake" and "Cry." Though the record may be hard to find, it's worth the search.
	*Ours, Precious,* Dreamworks Records - Occasionally, a record comes along that restores your faith in the music industry, and Precious is one of those records. Just listen to the all-too-short "In A Minute," and you'll be convinced, with ultra-charismatic front man Jimmy Gnecco evoking memories of Robert Smith and early David Bowie. The influence of The Cure is very evident. Precious will have you hooked from beginning to end, pulling at your heart with perfectly crafted songs like "Leaves" [listen / watch] and the exquisite "Broken" that make you remember how great rock music can be. Gnecco's phrasing is superb and his range and the pure emotive qualities of his voice are as great as anyone in rock music over the past generation. There just aren't enough good things that can be said about Precious - get this record!
	Dredg, El Cielo, Interscope Records - You may spend some of your time listening to El Cielo wondering how to classify it - with elements of progressive rock, Brit-pop, chant and a whole load of other stuff, it defies being segmented. What it definitely is: original, flowing, cosmic and quite unlike almost anything out there. Lead man Gavin Hayes & Co. toy with polyrhythmic phrases and odd time signatures like they're nothing. The beauty of a track like "Sanzen" is in the odd gait that it takes while still moving effortlessly along. "It Only Took A Day" has the most hit potential, though Dredg doesn't seem to be the sort of band built around hit generation. El Cielo is for those looking for something different and refreshing that most of their friends haven't heard of. Recommended listening.
	*Beck, Sea Change,* Geffen Records - For many of history's great artists, the inspiration for their best work is emotional pain, suffering and sadness. For Beck Hanson, the source is no different, with the inspiration for Sea Change coming from the ending of a very long relationship. Sea Change is so vastly different from any of his prior works that the first reaction is one of surprise - the lack of hip-hop and funk is almost mind-blowing. Beck's music is at it's most beautiful here, with him transforming into the pained singer/songwriter persona rather than the trippy ultra-slacker of old. This is the ultimate catharsis record, with Beck chronicling an emotional ride through his sadness; none of these songs could have come from Odelay or Midnight Vultures - the feel here is far more Jeff Buckley or Hank Williams Sr. The acoustic "Lost Cause" speaks to anyone who has been down the road of a failed relationship and right from opener "The Golden Age," Beck lays his heart bare. He pulls you along, draws you in, and creaties a complete and wonderful record that is easily his most personal and quite probably his finest.
IMAGE NOT YET AVAILABLE	Duke Fame, Regrets, Geeves Records - One thing you won't have after listening to this record is regrets. With energy to spare and plenty of catchy tunes, Duke Fame carry along the punk influences of bands like The Ramones and combine them with the sweetness of Neil Young's best lyrics, all in a DIY package that never stops rocking. "Junky" is a true post-punk rocker and the album closer "Sad But Beautiful" is just that. Though the majors haven't gotten wind of these guys yet, here's a bandwagon to get on early, especially if you're a fan of The Replacements and really good rock.
	Disturbed, Believe, Reprise Records - Creating a record that will stand the test of time is the goal of most artists, but it's no easy task. With Believe, Disturbed do just that - this is a record that should, over time, rank right up there as one of the top rock records of this generation. Where The Sickness, Disturbed's multi-platinum selling debut, gave us an indoctrination to the staccato, syncopated vocals and ultra-crunchy sounds of singer David Draiman and crew, Believe scales back on the noises and focuses on Draiman's ability to truly sing. From the ultra-aggressive "Awaken" through the heavy melodies of lead single "Prayer" to the acoustic-based "Darkness," Draiman's vocals shine through as the element that sets Disturbed apart from the other bands in the genre. This isn't so much a step in some new direction for Disturbed as it is a tightening, tweaking and strengthening of what was already there - a solid foundation on which to build. Believe is a must-have for heavy rock fans.
	*Various Artists, Electroburn* & Electrochill,** Surge Recordings - These, the first two volumes in the ElectroLiving series, offer up electronica that caters to generating and maintaining a specific vibe. What both discs do extremely well is mix tracks from well-established electronic artists like Moby, Air and Bent with lesser-known, but no less wonderful, artists like Royksopp and Airlock. Electroburn offers a much more up-tempo feel, with a fair amount of drum and bass mixed in the 16 tracks from Underworld ("Push Upstairs"), Smith & Mighty ("Life Has A Way"), Kosheen ("Hide U") and many others, without ever letting the tempo get too fast. Electrochill, on the other hand, works in a much smoother, sophisticated mode to create the ultimate "mood" disc, bringing relaxing electronica to a deeper level with the outstanding "Gloomy Sunday" by Heather Nova and Air's "Playground Love" as the centerpieces, surrounded by Bush, Faithless, Goldfrapp, Urban Dwellers and so much more. With the quality of music that's included in these two discs, we're wondering what the next chapter in the ElectroLiving series will offer.
	*NON, Children of the Black Sun,* Mute Records - NON, a.k.a. Boyd Rice, returns with another collection of noises that border on the bizarre but somehow maintain a sort of cohesion that turns them into strangely appealing compositions. The buzzing of what sounds like a million bees that opens "The Underground Stream" can be disconcerting, but it's that emotive quality that keeps you locked in. What makes this collection special, though, is the DVD 5.1 disc that comes packaged in the Special Edition version, which allows the tracks to be enjoyed in a manner that CDs just can't match - the multi-channel stereo is unbelievable; this simple addition is worth the price alone. For aficionados of avant-garde music, this is a must have.
	*OK Go, OK Go,* Capitol Records - It's a spirited ride that OK Go want to take you on, and they do it with plenty of success. Think of Weezer, without needing so much time to think about the lyrics, and you get close to what this Chicago quartet are all about. It's a roller coaster ride of power pop-rock, like The Cars circa Candy-O mixed with some current punk influences mixed in. Even in the slower moments, you just know there's some sonic blast coming 'round the corner. "You're So Damn Hot" is smoking, with tongue firmly planted in cheek, and the first single, "Get Over It," should get stuck in your head very, very soon. Be the first person on your block to get in on this bandwagon! Recommended listening.
	Sparta, Wiretap Scars, Dreamworks Records - Picking up were At The Drive In left off, Sparta maintains the musical intensity while moving in some different directions. Sparta's best moments are when they are at their most spartan, as on "Cataracts" and "Red Alibi," where melody takes over and wonderful song construction is at it's peak. Occasionally, singer/guitarist Jim Ward sounds more angst-ridden than the music seems to demand, and the tracks end up flat and meandering. The promise of what Sparta can do is clearly evident and is enough to keep us waiting for the next installment.
	*Aimee Mann, Lost In Space,* SuperEgo Records - Depression has never sounded this good. Aimee Mann has a keen ability to take melancholy and sadness and make it sound like wonderful pop goodness. Fact is, Mann's songwriting is so far beyond superb that she doesn't need major label help to see the music find an audience. The biggest difference between Lost In Space and Mann's prior releases is that this time her ire isn't directed at those monster labels or evil ex-boyfriends, but rather at the person in the mirror, which makes the songs take on a deeper feeling of pain and reality. The introspection and longing make each track all the more personal, with the symbolism of "Humpty Dumpty" and "Pavlov's Bell" (how's that for imagery?) and the other beautiful musical masterpieces hit home. Lost In Space doesn't contain any wasted space.
	*Filter, The Amalgamut,* Reprise Records - Richard Patrick says The Amagamut is a homage to America and its diversity, but it's also a good descriptive for Filter's music. Continuing on a path that began in earnest on Title of Record, this record is an amalgamation of industrial and radio rock, and the combination is outstanding. There are less of the bone-crunching beats and more of a focus on songwriting and melody than before. Some may call it a sell-out, but it sounds much more like progress and growth, with Patrick having penned his best material to date. "Where Do We Go From Here" is Filter's best, while "You Walk Away" and "It Can Never Be The Same" do well to evoke the depth of emotion and tension that Filter have become known for.
	Ben Kweller, Sha Sha, ATO Records - Working in the range between another superb piano-playing Ben (Folds) and Rivers Cuomo, Kweller puts together catchy sing-along lo-fi works just as well as he does neo-punk power trips. The trio of former Radish frontman Kweller, drummer John Kent and bassist Josh Lattanzi deliver tracks that take on a deep personal feel. Songs like "Make It Up" and "Family Tree" are songs we can relate to and reflect on. It's in that personal connection that Kweller is most successful. He's able to relate to all of us, at least a little bit, as he opens up and allows us to view these parts of himself. Sha Sha is an easy and pleasant listen that grows on you a little more with each successive listen.
	*TRUSTcompany, The Lonely Position of Neutral,* Geffen Records - It might be easy to brush these guys off as imitators, but it's hard to discard something when the result is this good. Having been selected by Korn to accompany them on their upcoming tour, it's obvious that TRUSTco are not a band to be disregarded. Beginning with the burning album opener and first single "Downfall," and working through the eye-opening "Figure" and "Drop To Zero" it’s obvious that these guys are looking to push the genre rather than just be immersed in it. TRUSTco bridges the gap between Linkin Park and Korn, with songs like the cascading "Hover," which shows that band can do much more than pummel you with sound. This is a band to look out for.
	*Mad At Gravity, Resonance,* Artist Direct Records - Let's face it, Mad At Gravity isn't doing anything that's really new, per se. The music is basically straight-ahead melodic rock, but they just do it so damn well that you have to take notice. The tunes end up stuck in your head, especially "Time And Time Again," "Letter To Myself," and the explosive first single, "Walk Away." Frontman J. Lynn Johnston's voice is perfect for the musical style and is very reminiscent of Alien Ant Farm's Dryden Mitchell. The quality of the compositions is marvelous, with cascading guitar lines counterbalanced by steady, driving rhythms. The tracks move very organically and you end getting pulled under by the tide of sound. And like drowning, you may fight it at first, but it ends up being quite appealing in the end.
	*The Vines, Highly Evolved,* Capitol Records - Combining all the angst, urgency and volume of grunge with the heady aplomb of Brit-pop, The Vines have moved to the forefront of today's modern rock movement. While the first single, the ultra-intense "Get Free" has been dominant at rock radio, it isn't a clear picture of the moves and mastery that exists on Highly Evolved. Tracks like "Sunshinin" and "Outtatheway" have a Beatles-like quality to them that displays The Vines songcraft abilities. "Country Yard," on the other hand, takes a completely different direction with a low-fi, easy-going vibe, but it feels like it could explode at any moment. Recommended listening.
	Fat Boy Slim, Live On Brighton Beach, Ministry of Sound Records - Norman Cook is widely acknowledged to be one of the premier DJs in the world, and while that makes for a great night at the clubs, it doesn't always translate to disc. There is a reason Mr. Cook called this the greatest night of his life, though. When you factor in that this is a live record with the brilliance of his spinning, you get a feel for just how great Fat Boy Slim is. Mixing some his best original tracks in with Basement Jaxx, Leftfield, Roland Clark and others, the CD rocks from start to finish. We can only wish we had been on Brighton Beach that glorious night.
	*Beth Orton, Daybreaker,* Astralwerks Records - Daybreaker is really two records in one. The first half has a wonderful jazz element, replete with horns and great deep bass lines. It has almost a French electronic vibe, as though Air prepped the tracks for Orton's vocals. Throughout the first 5 songs, Orton's vocal work sounds much like Natalie Merchant's latest efforts. The hook-laden "Concrete Sky," on which Ryan Adams guests, is outstanding. The second half of the record is much more folky and acoustic sounding, with Orton's beautiful vocals being the dominant feature. "God Song," with Emmylou Harris and Adams (who appears all over the record) backing Orton, while not something you're going to hear on the radio, is a great track. While Daybreaker comes in two movements, it works on the whole based on Beth Orton's superb writing and voice. She's a gift many have yet to discover.
	*Doves, The Last Broadcast,* Capitol Records - Mind-blowing and brilliant may be the best adjectives to describe The Last Broadcast, a record that deserves all the accolades possible. Doves often hearken back to Brit-pop's roots, with tinges of early Smiths and New Order, and they pull out some amazing hooks on the album's proper opener "Words" and the uplifting "Pounding." They're also not afraid to toss in expansive, trippy tracks like "Friday's Dust" and push the envelope. Mostly, though, it's one beautiful creation after the other on a record that demands your best hi-fi, with album closer "Caught By The River" showing that they saved the best for last. If you like Coldplay, step on up to Doves and meet the masters. Highest recommendation.
	Conjure One, Conjure One, Nettwerk Records - Rhys Fulber finally steps out from the shadows and delivers a record worthy of his considerable talents. His first solo work after years of being on the cutting edge as a member of Frontline Assembly and Delerium, Conjure One passionately explores Mediterranean and Middle Eastern themes in an electronic milieu. Tracks like the expressive and lush "Pandora" stay true and almost respectful of the ancient and beautiful cultures from which they are derived but are also expansive and offer a multi-faceted view that breathes intensity into the music. The beauty of "Center of the Sun" and "Make a Wish," which both feature Poe on vocals, is found in the enveloping layers and textures that emanate from a recording that truly comes to life. Mark Conjure One as another success in Fulber's wonderful career.
	Linkin Park, Reanimation, Warner Brothers Records - With the risk of sounding cliché, sometimes things are best left alone - especially great albums like Linkin Park’s mega-selling Hybrid Theory. Remixes like this can be cool and do at times breathe new life in the world of overplayed radio singles. The challenge... Click here to the rest of our review!
	The Mighty Mighty Bosstones, A Jackknife to a Swan, SideOneDummy Records - Those critics that lambaste the Bosstones for not keeping up with the trends really just don't get it - Dickey and the boys did this before ska-punk became trendy and they aren't going to change to satisfy the suits. Long-time fans (and there are plenty; you know who you are) will view this as one of the best Bosstones records ever - 13 of the best tracks the Bosstones have ever done, highlighted by the reggae groove of "Everybody Better," the heavy rocking "You Gotta Go" and the balls-out "Punchline." With Dickey's distinctive gravelly voice leading the way for those great horns and guitar riffs, maybe getting off a major label and returning to their indie roots was the best thing for Boston's favorite sons.
	Badly Drawn Boy, About A Boy OMPST, ArtistDirect Records - Combining the moody electronic wizardry of Air and the catchy, classic hooks of the Beatles, Badly Drawn Boy's soundtrack for the hit movie "About A Boy" is sheer brilliance. The music works on it's own, without need of the visual element, but also gives a deep insight to the feel of the film and only enhances the movie-going experience. The phrasing of tracks like the great "Silent Sigh," with its breathy delivery, and the sweeping "A Peak You Reach," get your toe tapping and convey the emotion of the portion of the film that the track coincides with. If you haven't been introduced to the genius of Badly Drawn Boy, get this record!
	Our Lady Peace, Gravity, Columbia Records - "One day/You'll have to let it go," sings Raine Maida on "Innocent," one of many great tracks on Gravity. It seems as though a weight has finally been lifted off of Maida's shoulders. Gravity brings a set of songs that are so much more positive than anything OLP has done before and a band that seems reborn and ready for a well-deserved breakthrough in the US. The entire record is loaded with one great track after another. "Somewhere Out There," the first single, has hit radio and gives a taste of what Gravity offers up, with OLP's typically great songwriting. But it's the uplifting feeling that pervades most of the songs that really pushes the album along and charges each of the tracks, especially the emotional "Not Enough" and the wide-open "Sorry". This is, without a doubt, the best OLP record yet.
	Lunatic Calm, Breaking Point, City of Angels Records - What a wait it's been. When Lunatic Calm first stormed America back in late '98 in support of their debut release, Metropol, which spawned the incredible "Leave You Far Behind," it seemed that they were destined to join the likes of Crystal Method and Propellerheads as dominating 'electronic' acts. Unfortunately, they were sad casualties of the fickle nature of the industry. Finally, after far too long, Lunatic Calm re-emerge with a disc well worth the wait. While the title may well indicate the way that sHack and Howie, the principals behind LC, were feeling, the music is as devastating as ever. Led by the smooth "Beatbox Burning" and the club-ready "Neverstop" and "Shockwave," Breaking Point is a well-constructed beacon for all that electronica can be. Breaking Point is original, crisp, varied and simply great. We were worried that LC would fade into recording oblivion; instead they've put the downtime to good use and delivered on the promise that Metropol started.
	Thursday, Full Collapse, Victory Records - Fans of Dashboard Confessional should have an immediate appreciation for Thursday. Though the sound is a bit fuller and crosses over into primal territory at times, the (scr)e(a)mocore foundation remains solid - it's sort of Linkin Park dukes it out with Saves The Day, and Saves The Day wins. Occasionally, the two get muddied, as on "Concealer," but for the most part, the juxtaposition works, especially on "Wind Up" and "A Hole In The World." Full Collapse provides a full day's supply of angst, energy and passion plus 8 essential minerals. Get it?
	Dream Theater, Six Degrees of Inner Turbulence, Elektra Records - Somewhere along the way, Dream Theater drummer Mike Portnoy was abducted by aliens and replaced by a cyborg. It's the only explanation. What he does just isn't possible for a normal human. Similarly, bassist John Myung and guitarist John Petrucci are amazing virtuosos at their craft. Six Degrees is a continuation of what Dream Theater have always been about; incredibly powerful heavy music matched with mind-expanding concepts in a way that doesn't cave in to some need for a radio hit. This two-disc set has something for everyone - for those new to Dream Theater, disc one offers the blistering "The Glass Prison" and the brain-bending "Disappear," which rival the classic "6:00" from 1994's Awake and "Pull Me Under" from '92's Images and Words. Disc two will be more than pleasing to long-time DT fans - it only contains the title track, a forty-two minute suite that is the top of the heap in the Dream Theater collection.
	Citizen Cope, Citizen Cope, Dreamworks Records - With a true sense of groove, Citizen Cope, a.k.a. Clarence Greenwood, creates heavy mellow music that has it's foundation in love as a tangible thing. With the album's opener, "Contact," Greenwood set a feeling for the rest of the record - he's reaching out, touching those inner feelings and emotions. With a taste of funk, syncopated reggae rhythms and vocals dripping with emotion, the songs just flow. The content is not always easy to deal with - in "Salvation" we hear about the deadly end that drugs bring. But the most difficult ideal is the one not spoken, that drugs rob you of your soul and thus your ability to love, which may be the greatest tragedy of all. The disc's first single, "If There's Love" is love from a much more positive perspective - the idea that it can take us to a higher place. While it may sound incredibly sappy, Citizen Cope delivers it with such smooth conviction and groovy excellence that you can take it lightly, just sit back, nod along and dig it just as much…until you start to pay attention.
	*Deepsky, In Silico,* Kinetic Records - As dance music comes out of the clubs and gets into more living rooms, the genre will be looking for some leadership. Stop looking; we've found them. Maybe it has something to do with them being American and thus knowing what the US crowd wants, but Deepsky (a.k.a. J. Scott Giaquinta and Jason Blum) have found the happy middle ground that runs between Crystal Method and Paul Oakenfold. It's a nice, albeit small, space to be in. "Jareth's Church" is already hot in the clubs, but the track, and the rest of the album, works as home chill-tunes just as well. Maybe it's time for electronic music to finally be received in the US like it has been in Europe. If so, who better than Deepsky to lead the way?
	Aria, Haze, Bleep Records - With all due respect to Bjork, our favorite Icelandic export of late is the brilliant Aria, who pushes the artistic limits of drum and bass on the one hand, then does the Enigma-esque thing as well as it's been done. With her often mesmerizing, occasionally haunting and always beautiful vocals, Aria doesn't get lost in the sea of rhythms and waves of deep bass. "Orange Meadows" is the sort of track that you just want to hear over and over, with each listen giving you a little more to think about and enjoy. Aria's first single, "Ariella," which was first released in 1998, and the superb "Bring Down the Lights" display the depth of Aria's abilities and are indicative of the true quality of the entire record.
	Various Artists, MTV2 Handpicked, Columbia Records - When you figure most of these songs have been radio darlings for most of the last year in addition to being in heavy rotation on M2, it's a given that a compilation CD like this will be a big seller. Opening with the pure pop paradise of Travis' "Sing" is a sure way to get listeners interested. Handpicked continues with some of rock's current staples (Radiohead, Coldplay, Crystal Method), new solo stars (David Gray, Pete Yorn, Ryan Adams) and artists that are destined for greater heights (Dashboard Confessional, Ours, Stereomud). There's much more here as well in the 18 tracks of varied but consistently excellent rock - this could have easily been called "The Best of 2001" and drawn very little criticism.
	Van Wilder Motion Picture Soundtrack, Ultimatum Music - Nowadays, having a hot soundtrack is as important to a movie as anything. The importance cannot be overstated. That being the case, the "Van Wilder" soundtrack comes fully loaded with some the best and brightest names in rock today, led by Jimmy Eat World ("Bleed American"), The Living End ("Roll On"), Sum41 ("Makes No Difference") and American Hi-Fi ("I'm A Fool"). Also included are a number of bands, like Sugurcult ("Bouncing Off The Walls"), Transmatic ("Blind Spot"), and Abandoned Pools ("Start Over") that are on the way up which will help to make this a memorable record. For a taste of what's hot now and what's coming on soon, this is one to pick up.
	Lo Fidelity Allstars, Don't Be Afraid of Love, Columbia Records - Considering that the first single, "Sleeping Faster," became a hit well before the record was released, it's easy to understand why the Lo Fi's have become posterboys for the post-everything era. Melding electronica, funk, rock, Brit-pop and lots more, Don't Be Afraid… deftly moves across a variety of genres with ease and precision. The Daft Punk-ish "Lo Fi's In Ibiza" should make for a dance floor hit while "Somebody Needs You," with Greg Dulli (!!) on vocals, should please the alt-whatever crowd and the Gorillaz fans, too. Whatever you're into, you'll most likely find Don't Be Afraid of Love a great listen, from beginning to end, and the best the Lo Fi's have done to date.
	Kosheen, Resist, Kinetic Records - What sets Kosheen apart from the crowd is summed up in two words: Sian Evans. Her dazzling vocals more than hold their own against the fine electronic musings of scene pioneers Darren Decoder and Markee Substance. Evans' ability to be emotive, enthralling and rhythmic makes this disc more than worth it's weight. Making it all the more interesting is Kosheen's ability to move from classic drum and bass, as on the "Hide U," to something akin to danceable jazz on the title track, then on to the pop/r&b-ish "Face In A Crowd." Whatever your scene is, Kosheen will appeal to you and keep your rump shaking.
	Earshot, Letting Go, Warner Brothers Records - With all the dynamic intensity of Tool and the hooks of Linkin Park packed into a radio-ready package, Earshot's debut release is a fierce ride through eleven tight tracks. With a potent amount of aggression tempered by a musical vision, Letting Go's passion is palpable. The superb "Ordinary Girl" has what it takes to put Earshot on the musical map, with "We Fall, We Stand" ready to provide more than enough backup. The foursome obviously knows how to work the dynamics and prove to be more than satisfactory musicians. Letting Go is a great debut.
	Coal Chamber, Dark Days, Roadrunner Records - Back with a vengeance after being off the scene for a bit, Coal Chamber return with their most well-developed and mature record to date. "Fiend," the album opener and first single, which has gone to radio and MTV (which will both probably ignore Coal Chamber like they always have), will thrill fans and only serve to make them beg for more. What they'll find on Dark Days is a rocket ride through lead throat B. Dez Fafara's imaginative mind. "Drove" and "Empty Jar," which fall near the end of the record, are Coal Chamber at their passionate and riveting best. Welcome back, CC. Try not to be gone so long next time.
	Various Artists, WWF Forceable Entry, Smackdown Records/Columbia - Imagine if all those little entry themes and snippets that are used by the WWF were given to a variety of rock's best, heaviest artists and left to their interpretation. What you would end up with is this record. A veritable who's who of the rock scene take their stab at it with amazing results. Breaking Point's "One of a Kind," "Whatever" by Our Lady Peace and Disturbed's "Glass Shatters" are incredible and must-have's for any collection. When you consider that the record also includes tracks by Creed, Limp Bizkit, Marilyn Manson and many other huge stars, this album will become required listening.
	Weezer, Maladroit, Interscope Records - Leaving the stories surrounding the release of the record alone for now, Maladroit is further evidence of Rivers Cuomo's grasp of the magic formula: the ability to write lots of songs that sound great, but don't all sound the same. From the Smiths-like opening of "Burndt Slab" to "Dope Nose," the first single, Maladroit is a collection of short bursts of guitar rock masterpieces. Cuomo possesses Brian Wilson's lyric writing ability with a keen sense of how to match it with distorted guitars. On a track like album closer "December," where most bands would opt for acoustic guitar and make it into a sappy tune, Weezer combines down-tempo fuzziness and volume with harmonies and superb song construction.
	Paul Oakenfold, Bunkka, Maverick Records - The ubiquitous Paul Oakenfold, who is still the DJ that other DJs aspire to be like, puts forth in the form of Bunkka what is probably his most adventurous and inspiring release to date. Just as everyone though Oakey had reached the pinnacle of his career, he delivers this awe-inspiring collection that transverses genres and raises the bar another ten feet. From his trademark sweeping trance ("Hypnotised") to the rocking break-beats of album opener "Ready Steady Go" through to the dramatic spoken-word portions of "Nixon's Spirit," Oakenfold shows no fear. Just the guest appearances alone (Hunter S. Thompson, Emiliana Torrini, Perry Farrell, Shifty Shellshock and more) is enough to make this a must-have.
	Quarashi, Jinx, Timebomb/Columbia - When the Beastie Boys went political a few years back and forgot about music, a lyrical niche was left unfilled. In steps Quarashi to fill the void as the new crew to beat. Forget for a moment that one of these songs is actually in Icelandic ("Tarfur"), which is a first, these boys bring the fun back into funky white-guy rap. "Stick 'Em Up" is a serious party song that's made for keggers at the frat house. If that and Jinx's other surefire party hits like "Transparent Parents" and "Weirdo" don't get you moving and shaking, you're quite probably dead.
	Rubyhorse, Rise, Island Records - On Rise, rubyhorse has achieved something that most bands wish they could do - create songs that are unique but have a certain familiarity to them that draws you in. The music, specifically the epic "Sparkle" and up-tempo "Bitter," has that sweeping, grand feel that pulls you along and is such an easy listen. The rubyhorse sound is defined by soaring guitars and a clean rock sound that producer Jay Joyce [Atticus Fault] has polished up. The band is lucky enough to count the late George Harrison as a fan, with Harrison contributing slide guitar duties to the beautifully melancholy "Punchdrunk."
	Seether, Disclaimer, Wind-Up Records [release date: 8/20/02] - Ladies and gentlemen, this is the proverbial ton o' bricks, and you're about to get hit. Seether's astonishing debut is a mix of Alice In Chains-infused rhythms and dirty metal guitars that production master Jay Baumgardner [Papa Roach] has smoothed into a record that spotlights the band's diversity and clear talent. This South African import is preparing to hit the road as part of Ozzfest 2002, which will give them a chance to build the buzz with the sure-fire hit "Sympathetic" and the churning "Gasoline" and "Your Bore." Singer Shaun Morgan's revealing and personal lyrics draw you in and pull you along on his emotional thrill ride. The first single, "Fine Again," is just a sample of what's in store.
IMAGE NOT YET AVAILABLE	Stage, Stage, Maverick Records [release date: 9/24/02] - As one of the premier bands coming out of the exploding New York rock scene, Stage's self-titled debut shows what the excitement is all about. Working in a more open mode, Stage seem more concerned with having complete, full-formed songs than easy radio-ready hits - only two of the songs clock in at under four minutes. Yet it's on the longer tracks that Stage is at their best, when they're able to let the music chart it's own course, such as on the superb "The World Has Come Between Us" and the ten minute long "The Scientist's Canvas.' At no time in the ten minutes does the song meander or lose its way.
	30 Seconds To Mars, 30 Seconds to Mars, Immortal Records - [release date: Summer 2002] - With a musical ability and intensity rarely seen, 30STM combine the pure ability of progressive rock bands like Dream Theater and Tool with the more mainstream rock song construction of a Linkin Park (sans the rap). What you end up with are four- to five-minute bursts of extreme intensity and the thick grooves that takes some hairpin turns. "Capricorn," the opener, is a primer to rocket ride that follows to such lyrically and musically mind-blowing tracks as "Oblivion" and "Welcome To The Universe." These guys are musical monsters. With 30STM, expect the unexpected.
	Atticus Fault, Atticus Fault, MCA Records - If the beautiful cover art doesn't get you interested, the music on this Jay Joyce [Wallflowers] produced album will. With a fair amount of classic rock influence, Atticus Fault paint a captivating musical landscape that leads the listener in a variety of directions - all enjoyable and each with it's own distinct view. Opening with the airy and coalescent "Soundtrack," and perfect summertime rocker "My First Trip to Mars," AF show a great amount of diversity and ability. "Once Around the Sun," the album closer, is a perfectly composed rock song that leaves you wanting more and rounds out an album that offers plenty to please listeners now and the promise of things to come.
	*Incubus, Morning View,* Epic Records - In the Incubus bio, singer Brandon Boyd recommends listening to Morning View "while driving down your friendly, neighborhood Highway." So, we did just that, putting the record on near Boyd's hometown of Calabasas, CA, whilst heading up Hwy 101. He was right - as we cruised up the coast, Incubus' music changed as much as the weather along the coastline. "Nice To Know You" offered the perfect complement to the sunny, warm feel of the Calabasas air, with the knowledge that just over hills lay the ocean and a cool breeze. more...
	*Bush, Golden State,* Atlantic Records - As one of the few true 'alternative' rock bands to persevere and remain relevant, Bush have stayed with what got them here. Golden State contains the guitar-based punch that they showed on their first two albums, 1994's Sixteen Stone and 1996's Razorblade Suitcase, but had been somewhat missing since. That being said, Golden State isn't a step down - its Bush taking their strengths and honing them to perfection. The focus is more on the lyrics, melody and guitar, with much less loops and programming. The current radio hit, "The Things We Do" (formerly called "Speed Kills") along with the excellent "Inflatable " and "My Engine Is With You" are quite simply some the best material Bush has ever produced. While rock music has changed quite a bit since the mid-nineties, there is always a place in the musical landscape for a record this good. Like any great band, Bush continue to develop and refine themselves. Where Razorblade Suitcase established Bush as much more than just another rock band, Golden State will establish Bush as one of the best of the generation.
	*Radiohead, Amnesiac,* Capitol Records - First, this is Radiohead. Right now, that speaks volumes. While Thom Yorke and his mates have shown an amazing ability to dive into new musical territory and remain media darlings, Radiohead does it by keeping it musically interesting and not going so far off the deep end that their fans are lost. Where a track like "Life In A Glasshouse" is as much Dixieland Jazz slowed way down as it is rock, the music works with Yorke's warbling vocals. While the tracks were recorded at the same time as Kid A, Amnesiac doesn't really come across as a second volume to the previous record. Rather, it makes sense as it's own body of work and achievement - it's obvious why the tracks on Kid A ended up together, and why these tracks ended up on Amnesiac. Radiohead have never stuck to some path or pattern, so Amnesiac's wanderings shouldn't surprise anyone. The mix of piano, orchestral parts and noise thrown over an odd time signature on "Pyramid Song," though somewhat disturbing and halting, works, and it continues throughout the record. While it tends to not fit the mold of traditional rock music, these guys have never been confined to the mold. After all, this is Radiohead.
	*Tori Amos, StrangeLittleGirls,* Atlantic Records - Rock's favorite strange little girl, Tori Amos shows no fear in embarking on a journey through a cycle of cover songs that don't fit together in and of themselves, but take on a cohesive bond in the delivery and tact that Amos takes. Amos doesn't seem to be concerned with making radio hits here - it's about the concept and ideals. Amos takes a group of songs that were done by male singers with a male perspective from a wide time period and tweaks them over to a woman's point of view. She assumes a number of disparate rolls as she moves through covers such as Depeche Mode's "Enjoy The Silence," The Velvet Underground's "New Age" and a great rendition of Neil Young's "Heart of Gold." Whether you "get it" or not, Amos continues to be a musical revolutionary of sorts without scaring the children and make the elderly move to the other side of the street. That subversiveness is what has always endeared her to her fans.
	*The Cranberries, Wake Up and Smell the Coffee,* MCA Records - It seems The Cranberries woke up and came to the realization that life wasn't so bad, after all. While Dolores O'Riordan's vocals remain as distinctive as ever, the songs here are lighter in their feel and flow. It seems The Cranberries have undergone much the same change Live has in recent years (and records) - they're able to write songs that just feel better. O'Riordan's lyrics seem much more about appreciating life and enjoying what's there. The first single, "Analyse" reflects this new vibe, while "This Is The Day," with it's refrain of 'Let me save you" spins a positive view of the angst that the Cranberries have always played with. Wake Up and Smell the Coffee is by far the most developed and complete Cranberries record to date.
	*Curve, Gift,* Hip-O Records - With Toni Halliday's lusty Madonna-meets-Shirley Manson vocals backed with the vibrant, thick and undulating sounds she and bandmate Dean Garcia create, this is truly a Gift for the aural sense. The first single, the KMFDM-ish "Hell Above Water" is quite a greeting to the record - it's a track that demands to be repeated over and over. Kevin Shields' (My Bloody Valentine) guitar work on "Want More Need Less" and "Perish" push both tracks over the top and mark the high points of a well-balanced record, with "Perish" being the knockout blow - the track that makes you say "Wow."
	*Perry Farrell, Song Yet To Be Sung,* Virgin Records - Few people have the ability to move from drum 'n bass to exotic electronic to industrial rock and make it all somehow work out. Perry Farrell is one of those people. His distinctive voice is prominent, but the most outstanding trait of Song Yet To Be Sung is the variety of sounds and nuances that he's able to string together into a cohesive unit. From the up-tempo, very Perry-ish "Happy Birthday Jubilee" to the ethereal "Our Song" to the reggae influenced "To Me," Farrell is has produced some of his best music to date, and considering his catalogue of work, that's a considerable statement.
	*Weezer, Weezer ("The Green Album"),* Geffen Records - Weezer have succeeded by doing something not many bands have figured out how to do: meld crunchy, thick guitar riffs with sugar-sweet melodies and harmonies. Combine that with the geeky image they perpetuate on themselves, and you get a band with an absolutely die hard following. While "Hash Pipe," the record's first single has hit radio hard, The Green Album promises many worthwhile follow-ups - the fabulous "Don't Let Go" and the upbeat "Glorious Day" being single-worthy. It may take a while to "get" Weezer, but once you give them a chance, the hooks will be hard to let go of. This stuff sticks in your head…
	*Manic Street Preachers, Know Your Enemy,* Virgin Records - If you haven't become familiar with the superb Brit-pop melodies of the Welsh trio, you're probably in America. Know Your Enemy may be the first MSP record to see much press in the US, but they have achieved mega-stardom everywhere else. The longing strains of "Ocean Spray" or the political torch bearing of "Let Robeson Sing" counterweighted by the power funk of "Miss Europa Disco Dancer" and the power buzz of "The Year Of Purification" and "Intravenous Agnostic" will quickly place MSP high on your list of superb Brit-pop bands. Know Your Enemy is an excellent introduction to the band, and should spur you on to pick up some of their catalogue. While it's a bit long at 16 tracks and doesn't have as consistent a flow as past offerings, it's an excellent introduction to an import we've been waiting to cross the Atlantic in earnest.
	*Fluke, Progressive History X,* Astralwerks Records - Considering that they work within a genre where the music is generally far more important than the artists, Fluke's success and impact on electronica is all the more impressive. Hits like "Absurd" and "Atom Bomb" have been heard everywhere - from commercials to video games to movies and all places in between - and have made Fluke one of the most influential electronic acts around. Progressive History X provides exactly what it sets out to do, from Fluke's first release, "Thumper," to superb mixes of the aforementioned American hits with a logical and concise map from one point to the other. If you're looking for a electronic music compilation worth picking up, this is it.
	*Alice In Chains, Greatest Hits,* Columbia Records - While AIC may be one of the greatest grunge bands ever, leaving an indelible mark on rock music, the sad part is that there isn't anything new here. Even one new track would make this a must for fans, and at least the live album released last year had the live angle going for it. We would much rather pull out the complete albums from which these 10 tracks were taken and listen to the other great tracks that, while never making it to radio, were the essence of what rock in the early 90's was all about. If we could have anything we want for Christmas, it would be an AIC reunion tour and a new record.
	*Beulah, The Coast Is Never Clear,* Velocette Records - While Beulah is enjoyable listening, you'll be wondering just what the hell it is. At times, it's great porno-jazz, then it's lilting fuzz-pop, then again, it's something else totally indescribable. Beulah defies description, in a good way. With varied arrangements and instrumentation that is uncommon in pop-rock music, its breath of fresh air that is perfect for sitting in a lawn chair on a Sunday afternoon, glass of wine in hand, watching the world go by.
	*The Crystal Method, Tweekend,* Geffen/Interscope Records - With what is easily one of the most anticipated releases of the year, the duo of Ken Jordan and Scott Kirkland return with an amazing record that shows why The Crystal Method are one of the few American acts with a substantial impact on the electronic music scene. By doing something few thought they could do in improving on the groundbreaking Vegas, TCM have rewarded fans with some amazing tracks - the first single, "Name Of The Game" is already impacting and "Wild, Sweet & Cool," which features Tom Morello, should be hot very soon. "Murder," which features Scott Weiland on vocals and guitar, is a an incredible track that shows TCM at their best in merging sounds and musical styles into an aural landscape that even the Brits are hard-pressed to match. This is as good as it gets.
	*Ivy, Long Distance,* Nettwerk Records - Dominique Durand has the uncanny ability to sound supremely cool regardless of what she's singing about. Her dreamy voice and easy delivery could make torture sound inviting. Ivy (Durand, Andy Chase & Adam Schlesinger) continues to deliver the mesmerizing dream-pop they've become known for. The catchy chorus of "Blame It On Yourself" sticks in your head long after the song is done, while "Disappointed" leaves you feeling that you would be happy to be put in such a state by Durand. Ivy has found a solid formula for creating music that is easy to listen to without getting repetitive and boring. Much like Monet found his perfect style, Ivy create Impressionist Pop - it's got a certain style, but each creation has it's own beauty.
	*Adema, Adema,* Arista Records - A great fuss has been made about Adema. They had a world of expectations heaped upon them even before their first record has hit shelves. Lucky for them, they deliver. Adema is filled with numerous single-quality tracks, with "Giving In," the first single, already getting heavy play at a number of prominent radio stations. With singer Mark (half-brother of Korn's Jonathan Davis) Chavez's good looks to lead the way, Adema find themselves in a great position as a band poised to take nu-metal in a nu direction. This is a band to watch out for - they are going to be here for some time.
	*tweaker, The Attraction to All Things Uncertain,* Six Degrees Records - Chris Vrenna has had his hands in many cookie jars over time, and his solo work is much of the same - a trip through a number of different styles, from shoe-gazer pop to frenetic d'n'b. The record is aptly titled, as Vrenna seems attracted to tenuously melding styles and sounds and ending up with a cohesive product. The record is daring in its mixture of traditional and abstract. When a track does offer more structured vocals, Vrenna brings in singers that, while great, haven't received the notoriety that they have deserved, like David Sylvian, Will Oldham (Palace Music) & Craig Wedren (Shudder to Think). The mixes of indie-rock realism with electronica on great tracks like "After All," with Wedren's superb vocals, are the highlights of an outstanding album.
	*Orbital, The Altogether,* London-Sire Records - These guys are unstoppable. As one of the most innovative, fearless and determined dance/rave acts ever, Orbital continue to push the envelope and demand more of themselves. Sometimes, they get there by stripping down to a very simple, bare framework ("Meltdown"); other times. It's by working behind great vocals, as on "Illuminate," which features David Gray's prefect vocals. With a second disk that contains remixes, unreleased tracks and b-sides, this is a must-have for fans of Orbital's sound. "Bigpipe Style" may be the only dance track ever to successfully combine the sound of bagpipes with electronic music. The Altogether is a feast for the ears.
COVER ART COMING SOON	*Bad Ronald, Bad Ronald,* Reprise Records - Remember the Beastie Boys before they decided to become political icons? Imagine Eminem if he wasn't completely misogynistic and crude. Well, somewhere between all that fits Bad Ronald. With funky beats, slick jams and tasty lyrics, Bad Ronald create good vibes. It's easy to imagine the four guys who make up Bad Ronald (DJ Deetalx, White Owl, Doug Ray & Kaz Gamble) being serious pranksters. The tunes, even at their filthiest and most profane, are undeniably fun and smooth. The deliveries are ultra cool and there is no pretentiousness or heavy attitude. Bad Ronald are irreverent, fun and a breath of fresh air.
	*System Of A Down, Toxicity,* Columbia Records - If you're looking for anything predictable, forget it. SOAD are risk-takers, and Toxicity is chock-full of the unexpected. "Chop Suey," which is getting play from radio already, is a prime example of the twists and turns that SOAD make throughout the record. With fierce metal chops matched with Serj Tankian's varied deliveries and the undeniable Armenian influence, Toxicity is incredibly original and a true triumph for a band that shows no fear. Equal to the music is the lyrical content - "Prison Song" offers a political view of the American penal system while the brilliant "Atwa" showcases System at their best in composing. Toxicity is a huge step ahead for heavy music.
COVER ART COMING SOON	*VPN, For Nearby Stars,* Evil Teen Records - Though this release won't generate lots of noise or blow through the charts, For Nearby Stars has all the elements of a wonderful record in a tight package. Working with textured sounds and very well written songs, VPN pull together post-punk vibe and shoegazer pop rhythms and turn it into a ride that doesn't give you any indication of what's coming 'round the next corner. "From The Ceiling" pulls beautifully haunting vocal sounds from out of nowhere and makes it fit, while the truly pleasurable oddity of "Flypaper" leaves you wondering well after the song ends. For Nearby Stars just may end up as a surprise success.
	*New Order, Get Ready,* Reprise Records - With their first album of new material in eight years, the question is, Can New Order remain relevant to the music masses? The answer is a resounding "Yes!" Bernard Sumner's nasal drawl remains as addictive and recognizable as ever, and the music fits in as well as anything going on today. The sound is a bit updated but then New Order (and Joy Division before them) where always a bit ahead of their time. "Primitive Notion" and the up-tempo "Rock The Shack" are reminiscent of classic New Order, while the album's first single, "Crystal," is so good it makes us forget it took eight years to get it.
	*Machine Head, Supercharger,* Roadrunner Records - Machine Head have grasped a fact that Metallica came to terms with long ago - if you really want to sell records, melody is key. On Machine Head's past recordings, while they were amazing records (especially The Burning Red), the focus was aggression and pounding you into submission. It worked on their core audience, but wasn't going to get them any airplay. Supercharger stays true to Machine Head's diehard fans, but will also bring in some new listeners. Tracks like the album's first single, "Crashing Around You" and "Nausea" show immense growth for Machine Head, and shows that lead singer Robert Flynn can do much more than growl. The songwriting retains the depth that Flynn has always displayed, but musically, Supercharger is huge step forward to Machine Head becoming a truly dominating metal band.
	*Air, 10,000 Hz Legend,* Astralwerks Records - After the success of the amazing Moon Safari and The Virgin Suicides Soundtrack, we had to wonder what the duo could possibly do to follow it all up. The answer is one of brilliance and beauty. This isn't an attempt to duplicate the formula of Moon Safari, it's expansion and renovation. Nicolas Godin and Jean-Benoit Dunckel have taken their sound and tweaked it around, with the kind assistance of the tweak king, Beck, showing up here and there. While it seems that, according to Godin and Dunckel that a recurrent theme is blow jobs, the music isn't that simple, nor is it as relaxing as a good bj - the tunes are often odd, occasionally disturbing, always interesting, yet never boring - it's French, after all.
	*Big Wreck, The Pleasure & The Greed,* Atlantic Records - Sounding much like a refined Soundgarden, Big Wreck are all about rock. Singer Ian Thornley and company aren't afraid to take chances, and it all comes together as a resounding success. On the beautiful "Undersold" Thornley soars and cruises in classic Chris Cornell fashion - and Cornell was hailed by many as the "best singer in rock," so it's a not a bad comparison to have made about you. Then, on a tune like "Everything Is Fine" Thornley works it in his best Zep-ish fashion. What really makes it work is that once you get past the comparisons, the songs really work, and what Big Wreck do is make really good rock music, in a rather pure form, and it's not bubblegum. The guitar work of Thornley and Brian Doherty are solidly backed by drummer Forrest Williams and bassist David Henning to create rock gems like "Ladylike" and the intense album closer "Defined By What We Steal."
	*Prime sth, Underneath The Surface,* Giant/Reprise Records - Prepare for the Swedish Invasion! Not to be confused with Drain sth, the four guys in Prime sth exhibit a sense of melody and songcraft that most bands strive to achieve. The first single, "I'm Stupid (Don't Worry 'Bout Me)" is the sort of massive, loaded song hits you from the first listen - a cascade of sound that carries you along without burying you or itself. No small achievement, that. All the more impressive is that the display of musical aptitude is shown repeatedly throughout the record. Having developed a rabid following in their native Sweden, tracks like the brooding "She," the melodic "Let Me Bleed" and the heavy grind of "24 Song" will make quick converts of many, many Americans.
	Depeche Mode, Exciter, Reprise Records - It's Exciter, and what better way to celebrate the traditional moody and electronic elements of Depeche Mode? Throw in producer Mark Bell with the charge of leading a vocally ambitious collection by moshing strums of acoustic guitars and synth bass beats sliced and diced with the familiar melodies that songwriter Martin Gore describes as "simultaneously dark and uplifting." Blues-y and frequently surprising, songs like "Freelove" flash singer Dave Gahan's expressive and dominating tones contrasted with Gore's fluid ballads like "Breathe," bringing passion on delivery. The first single, "Dream On," is reminiscent of the acoustic "Personal Jesus" and a pinch of "Pleasure Little Treasure" with the flow of "Get the Balance Right." Gahan claims, "It could have been songs from various years of DM." With D'Mode it is always something so familiar yet something so strange.
	*Placebo, Black Market Music,* Virgin Records - With singer Brian Molko's distinctive plaintive vocals and Placebo's unique sound, Black Market Music is more of the sexy, somewhat vague and ambiguous glam-rock that Placebo are known and fans have longed for. Sounding much like Neil Tennant without the heavy synthesizers, Molko and bandmates Stefan Olsdal and Steve Hewitt tell tales that take innuendo, drugs and relationship issues and make them melodic and oddly beautiful. It's the gravity of songs like "Commercial For Levi" in which Molko appeals to a friend and/or lover "Please don't die" after detailing his own previous ventures into the darker elements that reach out to claim the friend. "Taste In Men" and "Slave to the Wage" have become hits overseas and undoubtedly will do the same in America. Black Market Music is a fitting follow up to Without You I'm Nothing, and will continue to grow the Placebo mystique.
	pete., Warner Brothers Records - Hitting with ground with stunning force and impact, pete's self-title debut packs the intensity, diversity and quality of Pearl Jam's 11…except that unlike Eddie Vedder, pete's vocalist, David Terrana is pretty much intelligible the entire time. At their quietest, at the beginning of "Is She Coming Up," the tension is palpable, with pete seeming on the verge of exploding, but somehow holding back. All ten tracks are filled with emotion and power, yet pete fully grasp the power of melody and how to work in the crunchy roar of Rich Andruska's guitar and the pulsing rhythms of bassist Lars Alverson and drummer Scott Anderson. Take that PJ sound and mix in some of the raw intensity of something like Living Colour plus some Creed-like arrangements and you get the idea of what pete is all about. "Sweet Daze," the album's opener, is a fitting introduction to the pete sound, and "Burn" should end up as a late-summer radio regular.
	*No Motiv, Diagram for Healing,* Vagrant Records - This is a record that will you have you singing along and rocking out. No Motiv's catchy hooks are evenly balanced with crunchy guitars to create perfectly crafted pop-punk tunes that are reminiscent of the best Offspring or MxPx have to offer. Like MxPx, No Motiv's vibe is entirely positive - tracks like "Celebrate," the album opener, get you prepped for a record filled with good times. "Make the best of a good time," sings Jeremy Palaszewski on "So Long," and based on the tracks here, it's a mantra he lives by. The Trever Keith (of face to face)-produced disk is one party tune after another, with maximum energy that'll have you singing "Yeah, you gotta rock and roll/Yeah, you gotta take control" (from "To The Roots") long after the CD is done.
	Action Figure Party, Blue Thumb/Universal Records - Is it jazz? Is it pop? Is it fusion? What is it? It's really some of all those and much more. If Steely Dan & Incubus had a love child, this would be it's genetically altered carbon copy. Greg Kurstin, the mastermind behind Action Figure Party has brought in all his friends, including Flea, Yogi from Buckcherry, Jose Pasillas from Incubus and Sean Lennon, and created a record that sounds like nothing they've ever done before. Kurstin has melded the sounds of jazz, electronica, 70's rock and more to create a series of jams that seem to just flow and follow their own natural course - the songs don't really seem to end; they just sound like they move off in another direction and flow away. Tunes like "Gamera" and the nearly seven minute "Green" don't really have a beginning or ending. It's like you're just privileged enough to catch a little bit of them as they pass on through.
	*Trans-Global Underground, Yes Boss Food Corner,* Mondo Rhythmica/Ark21 Records - Known for combining disparate styles and textures, Trans-Global Underground again plow into new territory here - tunes like "Pomegranate" mix African & Indian vibes with electronic beats and allow it all to gel into a cohesive composition. The key to Trans-Global Underground's sound is to take anything and everything and bridge the gaps in between. They do it about as well as anybody, pushing limits and knocking down walls by overlaying a dance beat with the sounds of Old World instrumentation and thought provoking vocals. The combination of these elements takes you on a metaphysical Yes Boss Food Corner journey, even without the help of mind-altering substances, though those are always a nice addition…
	*Powderfinger, Odyssey Number Five,* Republic/Universal Records - Powderfinger has been getting lots of play lately - they've done the US opening for Coldplay and Los Angeles' KROQ has "My Happiness" in heavy rotation. This after becoming stars in their native Australia. The attention is well-deserved. With the return to favor of melodic, well-constructed songs with signing rather than rapping, Odyssey Number Five is an album that begs to be listened to repeatedly, with singer Bernard Fanning's lush and evocative vocals leading the way. Odyssey Number Five is the sort of record that renews your faith in rock's ability to survive and thrive. The soaring guitars of "These Days" juxtapose with Fanning's searching and pensive lyrics while Powderfinger take and entirely different stance on the rocking "We Should Be Together Now," Odyssey Number Five will be on many "best of" lists for 2001.
	*Sepultura, Nation,* Roadrunner Records - Nation is an immense step forward for Sepultura - emotionally, musically and lyrically. Where 1998's Against seemed to be more of a "We can do this without Max" record, Nation displays a solidity that moves far beyond the need to prove anything. Derrick Green's vocal prowess is the feature here - his dynamic ability to be plaintive ("Water") or rend the world in two ("Vox Populi") or even do a "duet" with punk deity Jello Biafra ("Politricks"). Nation is far and above a record that will re-establish Sepultura as a major force in heavy music and make those who wrote them off take notice again. While the thunder that guitarist Andreas Kisser, drummer Igor Cavalera and bassist Paulo Pinto provide has never wavered, Nation displays a unity of force and spirit that some feared Sepultura had lost. Not to worry - these Brazilian metal masters are back strong.
	Buckcherry, Time Bomb, Dreamworks Records - With a sharper edge and hard-earned experience, yet the same desire to take chances, Buckcherry come back with a sophomore release that doesn't disappoint. Where the lead single "Ridin'", the profanity-filled "Porno Star" and the title track are jam-packed with the sexuality that Buckcherry and front man Josh Todd have never kept hidden, it's the second half of the record that is filled with the gems of the album. Keith Nelson's superb axe-work is reminiscent of classic GN'R, with "Slammin'" belonging in the "instant classic" section. Where Buckcherry's self-titled debut got people to take a look and spawned videos that brought some notoriety, Time Bomb will get the serious rockers to take notice and show that these boys are just starting to go off. The bare beauty of the piano-and-vocal-only "Open My Eyes," which is a hidden track on the record and features guitarist Yogi at the keys, is truly an amazing accomplishment.
	*Alkaline Trio, From Here to Infirmary,* Vagrant Records - There's a reason that Alkaline Trio are one of the most talked-about pop-punk bands out there and the reason is their music. With the resurgence of the pop-punk genre (see Sum 41, New Found Glory, et al), bands like Alkaline Trio who are putting out stunning releases like From Here to Infirmary are getting plenty of notice. This is a record that is sure to make these guys stars, so get on the bandwagon now. "Mr. Chainsaw" and "Steamer Trunk" are superbly crafted songs that do a great job explaining the angst of growing up and the process of looking back. What may be the most promising aspect of From Here to Infirmary is that it doesn't sound like everything else out there now - Matt Skiba's vocals are distinctive and perfectly suited to Alkaline Trio's music. The guys are able to be a strong pop-punk power trio without sounding like a Green Day knock-off.
	*The Living End, Roll On,* Reprise Records - Having made a dent in the US with their debut release, The Living End are back with Roll On, a record that will make even greater inroads now that most of America is over the rap/rock genre and ready for more punk rawk energy. TLE mix The Stray Cats rockabilly flair with Green Day's punk ideals and an Aussie attitude that makes them like no other. "Pictures In The Mirror" could easily be mistaken for Green Day, with The Living End having mastered the ability to write rebel songs with a hook. It's radio-friendly angst. Each of the 14 new tracks is ready to be sung along to, and the last track, a live version of their hit "Prisoner Of Society," is a worthy end piece. Roll On should keep things moving in the right direction for TLE.
	*Powerman 5000, Backstage And Beyond The Infinite* (DVD),** Dreamworks Records - Worlds do collide on this DVD with a mesh of homemade video contrasted with the polished MTV world of Powerman 5000. It’s highly entertaining at minimum, crystal loud at best, while not so subtlely offering a fisheye view of the rough and tumble life of touring and the nutty fans that they tour for. Charisma and humour do radiate from the band, carrying you through 60 fast-paced minutes featuring all their videos and live footage from Asia and America chock-full of edits and sound effects manipulated over a celestial theme.
	*Oleander, unwind,* Republic/Universal Records - Picking up right where 1999's February Son left off, Oleander front man Thomas Flowers and crew return with an album that, while showing growth, enhanced production values and a firmer footing, still has at it's core the groove-based heavy rock that Oleander does so well. While February Son was filled with promise and potential, the Rich Mouser-produced unwind takes Oleander to the upper echelon of guitar-based rockers, right alongside tour mates Fuel and 3 Doors Down. The album's first single, "Are You There?" should get lots of attention and plant Oleander firmly in the spotlight. 2001 should be a breakthrough year for Oleander.
	*SUM 41, All Killer No Filler,* Island Records - Wow. If SUM 41's EP Half Hour Of Power had you interested, All Killer No Filler will have you hooked for good. These guys combine the best elements of Blink-182, Offspring and Green Day with maybe even a little Beastie Boys thrown in to build a sound that works and works well. In the pop/punk tradition, of the 13 songs, only two, the great "In Too Deep" and "Handle This" are over three minutes in length. Each tune is a quick, power-packed shot of pure adrenaline - there isn't a weak link to the musical chain. The guys are still having all the fun they can; the Spinal Tap-esque "Pain For Pleasure" is good while being a fit and hilarious ending to the disk. All in all this is one record that is perfectly named.
	*Daft Punk, Discovery,* Virgin Records - With "One More Time," the first single from Discovery, already number one on dance charts worldwide, Daft Punk are ready to further establish themselves as one the most daring electronic acts around. Along with French duo Air, Daft Punk are tops in their ability to meld funk, house and disco into a sound that is perfect for a hot night out at the clubs, or a hotter night in. Romanthony is featured on two tracks: the aforementioned "One More Time" and "Too Long" with Todd Edwards providing vocals on "Face To Face." Discovery will provide those who haven't gotten into Daft Punk's music a chance to discover what they've been missing.
	Semisonic, All about Chemistry, MCA Records - Semisonic show it is all about chemistry, as they blend the elements of quality pop rock and roll into a very different, but equally good, second record. The album consists of well crafted melodic songs equipped with excellent vocals, harmonies, catchy innuendo-filled lyrics and musicianship. After listening to All About Chemistry it would appear these Minnesota natives have a good chance to capitalize on the success gained from their mega-hit "Closing Time". The ex-Tripsters done good.
COVER ART COMING SOON	*Various Artists, Pagan Dance Anthems,* Pagan Records - Perfect music for the clubs or for dancing around the fire worshiping the god(ess) of your choice. Whatever your lifestyle preference, this is the type of music you'd hear in all the good Chelsea clubs. Featuring Cevin Fisher's awesome remix of House of 909's "Beautiful Day," this record is one deep dance groove after another. The beats are irresistible, beginning with differentGear vs The Police on "When The World Is Running Down" and continuing through all 10 phat tracks. In the dance music scene, the cuts always take precedence over the artists, so while you might not recognize any of the names on the record, the disc will quickly become a fixture in your party music set. The only downside is that the tracks aren't all mixed together to be one long dance party.
	*The Churchills, You Are Here,** Universal Records - Packing exquisite harmonies, The Churchills are well on their way to stardom. You Are Here* is one superb pop song after another, with a mix of Beach Boys-quality vocals, Fountains of Wayne-quality song writing, and a melodic sense not often heard in music today. Their music isn't too heavy, and they won't be touring with Korn any time soon, but The Churchills know how to rock when they need to. "Mysticated Girl" shows off the band's talents, while "Beautiful," "Ex #1 Fan" and "Maybe Make Me Okay" show The Churchills' ability to trade off on vocals and show new angles to their sound. If that sounds like your bag, You Are Here* is a debut well worth taking a chance on.
	*Our Lady Peace, Spiritual Machines,* Columbia Records - Maybe too much was expected of Raine Maida and his OLP mates on their second album. They seem to have fallen victim to the dreaded sophomore slump, and Happiness… (which was really OLP's third album, but the first record didn't go far in the US) never delivered on the OLP potential. Spiritual Machines, then, is huge redemption. Though filled with interesting interludes from author Ray Kurzweil, who is the source of the title, this is a record that fulfills on the OLP promise and is by far the most musically developed and melodically appealing record the band has produced. The first single, "Life" is a good choice, but is far from the best song on the record, with "Right Behind You" and "Are You Sad?" as two of our top picks from the record, with "Made to Heal" as the highlight. In short, this is the best OLP record to date.
	*The Orb, Cydonia,* MCA Records - Alex Paterson is from Mars, or so it would seem, considering the otherworldly music he produces. In legend, Cydonia was the grandest of the cities on ancient Mars, and here Paterson creates the grandest Orb release to date. From the mesmerizing opener "Once More" to the trippy but entrancing "Ghostdancing" to "Terminus," which features guitar legend Robert Fripp, Paterson deftly moves from one soundscape to another to create a record that while nearly inaccessible to radio, will have many of the songs show up in various forms at your club of choice (as "Once More" already has). Cydonia is the stuff of legend, and Paterson delivers.
	*Flybanger, Headtrip to Nowhere,* Columbia Records - With a title that belies it's contents, Headtrip to Nowhere is really a groove-fest all over the metal map. The Canadian foursome is like a blast of northern wind - stinging, cutting to the bone, but all the same it snaps you to attention and makes you take notice. "Pull" does just that, reaching up through the ice, grabbing you by the ankles and hauling you under. Headtrip is raw metal, without moving off in some hybrid direction. Lead throat Garth's beefy vocals are exactly what the metal needs. Creating the punishing sound is guitarist Bryan Fratesi (who will have an impact on the guitar scene) along with bassist Tom MacDonald and drummer Rob Wade, who provide the thickest, heaviest grooves possible. With well-written, intelligent and intelligible lyrics and aggressive but melodic metal, Flybanger are poised for success.
	*Lords of Acid, Farstucker,* Antler Subway Records - Lords of Acid make music to have intense, carnal sex to, plain and simple. They don’t pretend to hide anything, and as the record's title shows, Lords of Acid will only put up the thinnest of veils. Each song on Farstucker is filled with sexual elements or flat-out demands. On "Rover Take Over," Nikkie van Lierop proclaims "I feel so alive/When I take it from behind/I feel wet and wild/When I do it doggie style," and she's very convincing. If there is any question about what she's referring to, then you are beyond our help. While most of the songs have little chance to come to radio due to content, the album is some the best music Lords of Acid has created, and all 19 (!) songs are burgeoning with pleasure and pain, with each song offering it’s own special moments. You may need some time alone with it…
	Uptown Sinclair, 8 Songs - These guys are considered legendary hot rock gods in some Cleveland music circles, and possibly entire neighborhoods. Rightly so. Considering that most of this is better than much of the stuff that's coming over the air waves right now, it's amazing that their godliness hasn't spread to Chicago and St. Louis at least. In good time, Uptown Sinclair will make their way into your radio. "Intermediate" and "Whatever U Want" are standout tracks, but the other 6 tracks are hot rock as well.
	*Various Artists, Ozzfest Second Stage Live,* Divine Recordings/Priority Records - This double CD release is a true testament to the caliber of artists that Ozzfest has featured and have went from the second stage to mega stardom. Disk one is from the Ozzfest 2000 tour. Recorded in Phoenix, it contains the likes of Soulfly, Kittie, Pitchshifter and others, and features the Disturbed hit "Voices." Disk two was recorded in Devore, CA on the first Ozzfest tour in 1996 and features Coal Chamber, Powerman 5000, Fear Factory and Slayer. The disks effectively display how the exposure of being on the Ozzfest tour can help newer bands attain the success they deserve. All that aside, the music is awesome and really captures to live vibe and energy of each of the bands.
	*Hardcore Superstar, Bad Sneakers and a Pina Colada,* Koch Records - It looks like the only four dark-haired guys in Sweden got together and decided to form a rock band. Not a bad idea. With a blend of Buckcherry and AC/DC, Hardcore Superstar look like a bunch of models who gave up the catwalks for tattoos and decided to make hard rock laced with all the sexual innuendo possible. Somehow, it worked, though we have no idea what the title is all about. All of the songs rock, with "Strapped" and "So Deep Inside" as highlights. "Bubblecum Ride" is another hot song, though the title is just a bit too much. Thankfully, there are no power ballads, just straight-ahead rock.
	*Spiritual Beggars, Ad Astra,* Koch Records - Another Swedish import, though Spiritual Beggars are from a different area of the rock spectrum, updating the late '70's/early '80's rock sound and adding a few twists and turns of their own. Per Wiberg's Hammond playing is a perfect complement to the superb guitar work of Michael Amott. Vocalist Spice brings an updated Krokus sound that works perfectly with the sound - it's a real revival of the European metal invasion. "Save Your Soul" is a great example of the band's musical prowess, sounding like vintage Dio. You won't need to pull out your old metal cassettes - the depth of Ad Astra will be all you need.
	American Hi-Fi, Island Records - Are you looking for the 'next big thing'? Here it is. American Hi-Fi are destined to become stars. "Flavor of the Weak", the first single from American Hi-Fi's self-titled debut, is as near to a perfect rock single as there is. The rest of the record is nearly as flawless. Lead man Stacy Jones (the former drummer for Veruca Salt) and crew have created songs that flat out rock, but are radio-friendly as well. The quality of the songwriting is similar to Fountains of Wayne, but with more of a heavy rock edge. Working without a DJ, no rapping and little or nothing in the way of keyboards and samples, American Hi-Fi is a record that can be listened to from beginning to end. They move from perfect pop to the heavy edge with "My Only Enemy" and back again. Be sure to check out the VOX feature!
	*Matthew Good Band, Beautiful Midnight,* Atlantic Records - Long-time fixtures on MUCH Music (remember music videos?), MGB are not new to the scene, though they may be new to most Americans. These brilliant Canadian rockers have, in the form of Beautiful Midnight, produced a record that should finally garner the American success they deserve. Displaying amazing versatility by moving from the blistering "Hello Time Bomb" and the superb "Deep 6ix" to the mellower "Suburbia" and points in between, the Warne Livesey-produced disc should end up producing a number of state-side hits for MGB. Matthew Good's voice is at once soothing and powerful, and his vocal abilities are on full display on the passionate " Apparitions" and "Everything Is Automatic." Beautiful Midnight promises to be one of 2001's best.
	*Pepe Deluxe, Super Sound,* Emperor Norton Records - Straight out of Helsinki, Finland, comes everything, including the kitchen sink, that Pepe Deluxe can offer. A melange of textures and aural landscapes offer tunes that contain bits and pieces of nearly every type imaginable. While the title track offers an updated early 70's sound with a twist, "Everybody Pass Me By" harkens back to the origins of blues, with a distinctively electronic rhythm backing it up. This trio of Finnish electro-masters treat each style and approach with care and produce a product that is fun, entrancing and somehow takes the old and makes it all seem new again. Instead of being mood music, Super Sound keeps you intrigued and keenly waiting for what will come next.
	*U2, All That You Can't Leave Behind,* Interscope Records - If Zooropa and Pop are to be considered less than stellar entries in the U2 catalogue, All That You Can't Leave Behind must be see a resounding success. In fact, it is quite possibly the best U2 effort since The Joshua Tree. Bono once again sounds like the hopeful, plaintive and passionate Irish lad that has made U2 one of the best rock bands of all time. He and his mates, while still progressing as a band, seem to have lost some of the cynicism and aloofness that pervaded the previous two albums. "Elevation" is a soaring, beautiful and positive song that combines electronic elements with the traditional U2 sound and may be the most danceable U2 tune since "Two Hearts Beat As One." "Elevation" simply has "hit" written all over it, and is one of the high points of a great album. All That You Can't Leave Behind is a moving set of compositions that work especially well when listened to as a whole - they work to make a complete poem of sorts. Radio hit "Beautiful Day" starts the record with that good feeling, and Bono, The Edge, Larry Mullen, Jr. and Adam Clayton take us through the complete range of emotions, leaving us teary-eyed with the amazing and exquisite "Grace."

Here are some reviews from previous years...
	*Rage Against The Machine, Renegades,* Epic Records - Sadly, it sounds like this will be one of the last offerings we'll get from the original RATM lineup now that Zack De La Rocha has moved on. Recorded on the side while Rage prepped the release of their forth-coming live album, Renegades is an appropriate final offering in the sense that while they are here offering up their own respectful and amazingly well-executed versions of songs from those artists that influenced them as well as the movement they championed, they are themselves the renegades that have spawned an entire generation of progeny. The likes of Limp Bizkit, Korn and others owe much of the trailblazing to Rage, and through them to the great artists covered on Renegades, like Afrika Bambaataa ("Renegades of Funk"), MC5 ("Kick Out The Jams"), Erik B & Rakim ("Microphone Fiend") and many others. But while Rage has remained true to what they believe, the others have done whatever they needed to get on TRL. It's just not the RATM way. On Renegades, Zack De La Rocha deals out the rhymes as well as he ever has, that trademarked passion ever present and gripping, and Tom Morello furthers the argument that he is one of the most underrated guitarists of the generation. Someday, the bands that owe their success to the toil of Rage will come together and pay their respects to one of the bands that blasted down the doors and opened up the minds of the people who heard and listened.
	*Type O Negative, The Least Worst Of Type O Negative,* Roadrunner Records - The deacons of darkness return with, well, a "best of" compilation of sorts to keep the fans at bay for a while longer. Type O Negative are a deceptive bunch - you may, from what you read, think that these guys generate speed/death metal of some sort, but in reality, they work on a much more subliminal level. The music of Type O Negative often moves at a mellow pace, but what Peter Steel and company do is reach into the dark recesses of your mind and perform an aural lobotomy on you. Steele's incredibly deep voice works its way into you and takes hold, then works like a remora on your psyche. While most of the music contained on the disk has never seen the light of radio, it's all great shit. "My Girlfriend's Girlfriend" is classic, and "Everyone I Love is Dead" is Type O at their least worst. "Cinnamon Girl" is a fan favorite, and the mix on this disk is the best we've heard. Check it out when you're not feeling suicidal.
	*Kittie, Paperdoll (EP),* Artemis Records - Here's little something to keep the Kittie fans happy until their new studio album is released in early 2001. Paperdoll provides plenty of quick enjoyment, all in one easy package; it contains the full-screen video for their hit "Charlotte", a new version of "Paperdoll" and five live tracks, all of which are favorites from Kittie's first album, Spit. The raw and intense Kittie energy come across well, and the difference from the studio track to the live material is startling. The loud and lean "Brackish" gives you all Kittie can throw your way, all in less than three minutes! All five of the live tracks were recorded at the Hultsfred Festival in Sweden on June 15^th, 2000. In keeping with the festival theme, Kittie will be on the Sno-Core tour in 2001 as well. Be ready!
	*Various Artists, Dracula 2000 - Music from the Dimension Motion Picture,* Columbia Records - Devious and diabolic not only describe the subject of the film that this is the soundtrack to, but to the soundtrack itself. With metal gods Slayer and Pantera leading an all-star list of rock masters and some great new bands as well, this album provides a showcase for the best of what heavy rock has to offer. Powerman 5000's "Ultra Mega", the album's first single, marks the long-awaited return of Spider and crew, while System of a Down's cover of Berlin's "Metro" kicks ass. Also highlighted are blistering tracks from some of the hottest new bands on the scene: Tap Root, Linkin Park and the much-awaited debut of Half Cocked. They do not disappoint, with their track, "Sober", being one of the high points of the record. This is definitely a "must-have" for heavy rock fans.
	*Cowboy Mouth, easy,* Blackbird Records - With music that transcends styles or categories, Cowboy Mouth definitely do rock, in the more traditional sense of the word. Paving their own road and defying comparison, Fred LeBlanc and crew generate positive vibes and smooth grooves by combining alternative rock, blues and a little country, all with a New Orleans flair. Tunes like "Everything You Do", "I Know It Shows" and the dynamic title track will get you moving and into the Cowboy Mouth groove. For fans of Barenaked Ladies, Better Than Ezra and the like, Cowboy Mouth will be a welcome and wonderful diversion from the norm.
	*Alice in Chains, Live,* Columbia Records - While most live albums fall well short of the desired effect, this is one disc that really allows the intensity and quality of an Alice In Chains live show to shine through. Of course, we would love to get some new AIC tunes, but Live is raw enough to keep us satisfied for a while. With Jerry Cantrell's underrated guitar work and Layne Staley's awesome vocals on display, Live contains all the radio hits, including the awesome "Would?" plus "Man In The Box", "Rooster" and the crushing "Them Bones". Plus it showcases tunes that didn't make radio but effectively show the gut-wrenching energy of AIC in concert such as "Bleed The Freak", "God Am" and "Love, Hate, Love". After these fourteen (yeah!) tunes, you'll feel like you did that many rounds with Holyfield, and you'll make sure you get tickets the next time Alice In Chains come through town so you can experience them first-hand.
	*Various Artists, Dude, Where's My Car - Motion Picture Soundtrack,* London Records - Taking some great tunes from some of the best alternative rock bands and putting them together should drive the soundtrack to Dude, Where's My Car, even if the movie goes nowhere. Opening with the awesome "Stoopid Ass" from newcomers Grand Theft Audio [VOX feature coming soon!] and "Playmate of the Year" from Zebrahead and continuing with offerings from Harvey Danger, Ween and Sprung Monkey, this record dishes out plenty of great alt-rock. "I'm Afraid of Britney Spears" from LiveonRelease is hilarious and Spy's "Sorry About Your Luck" is an interesting tune. We assume that Young MC's "Bust A Move" was inserted for nostalgic effect. Either way, the record flows well, and if the movie flows nearly as easy, it'll be a hit, too.
	*Lefty, 4321,* Interscope Records - Beginning with the anthemic "Girls", Lefty's Interscope debut 4321 sounds like a fair mix of Blink-182 (complete with the Hurley attire) and Stroke 9. It's really great basic rock - guitar, bass, drums and vocals. No rap, no loops, no scratching. There's just enough punk to keep it aggressive, and plenty of hooks to get the radio heads listening in, and if they do listen, Lefty will make some major radio impact. "Good As It Gets" is a track that will also turn heads, and "Addiction" is an emotional, sad testimony to the downside of drugs. For fans of Blink, Lit, S9 and the like, this will be a winner. Now all they need is a Hurley sponsorship…
	*Coldplay, Parachutes,* Nettwerk Records - With a voice that is instantly addictive, Coldplay singer/guitarist Chris Martin has the vocal quality of Dave Matthews, which he and band mates Guy Berryman (bass), Jonny Buckland (lead guitar) and Will Champion (drums) mix with some of that good old Brit-pop feel to create a sound that is distinctively their own. While "Yellow" has received much-deserved radio attention, the entire album is exquisite, with songs that are strong on emotion, Martin's passionate vocals leading the way. "Shiver" will send chills up your spine with Martin's beautiful falsetto parts being completely intoxicating. Coldplay have the ability to be a huge band and really have an impact on the rock music scene.
	*Godsmack, Awake,* Republic/Universal Records - This, the second offering from Boston-based Godsmack, is superior in many ways to their stellar self-titled debut album. Lead 'Smacker Sully Erna's songwriting has gotten even stronger and the tunes are a bit more melodic without losing any of the heaviness. It would seem that the success of Godsmack has allowed Sully and his mates Robbie, Tony and Tommy to grow as musicians and create tunes that will only guarantee them further success and garner new fans. The title track rocks hard, and "Bad Magick" and "Vampires" are also standouts on the record, containing that driving Pantera-like groove and energy. If you liked the first Godsmack record, you'll love the second one.
	*A3, La Peste,* Columbia Records - In standard A3 fashion, La Peste is a melding of samples, singing, a bit of rap and plenty of Hammond organ, all with a Country feel. What A3 has been able to do on a consistent basis is create songs that create the expectation that at some point they'll accelerate, but they never do. They stay true to their construction and tempo, but leave you with that sense of anticipation. Tunes such as "Too Sick To Pray" and "The Thrills Have Gone" perfectly exemplify the A3 style - excellent songwriting and construction, but so exquisite in their mellow-ness. A3 have created their genre of music, and La Peste is yet further testimony to that. Expect the unexpected.
	Electrasy, In Here We Fall, Arista Records - If anything, In Here We Fall's first impression is a confusing one; everything from rap to funk to alternative to blues is incorporated in this 11-song collection. That feeling of confusion, however, eventually gives way to one of endearment and sheer enjoyment as the six-man band from the U.K. craft an amazing sophomore album. Arista was smart enough to snatch up the group after a fall-out with MCA, but switching labels only seems to have helped Electrasy's growth. Though still comparable to the sounds of Oasis, Electrasy has its own distinct style that uses almost every genre of music in ways that the complement and enhance each other. Standouts include "Renegade," "Cosmic Castaway" and "Morning Afterglow." -Anlynn Truong, VOX Staff Writer
	Doves, Lost Souls, Astralwerks Records - Mainly a showcase of musicianship and instrumental prowess, Lost Souls unflinchingly puts lyrics on the back burner to let amazingly soothing and sensual beats, strumming and samples saturate the album. Doves, a three-man outfit from Manchester, England, creates a smooth and drowsy 15-song compilation that simply pulsates with beauty. Toe-tapping drum beats and catchy guitar hooks marry eccentric piano and keyboard pounds, best displayed in the lounge-y "Here It Comes," and the upbeat "Melody Calls" and "Catch the Sun." Lead singer Jimi Goodwin (think The Bends-era Thom Yorke) lends vocals to a few songs, adding depth to already epic-like pieces. Though sometimes criticized for paying a bit too much homage to other bands, the trio and guest players weave a memorable album that's easy to fall in love with. -Anlynn Truong, VOX Staff Writer
	*Dust For Life, Dust For Life,* Wind-Up Records - In the same vein as Alice In Chains and Stone Temple Pilots, Dust For Life aren't about screaming or rapping. This is really top-notch melodic rock, great song writing and quality musicianship. The first single, "Step Into The Light," is a great rock song, with "Dragonfly" and "I Don't Mind" also being standout tracks on the record. With a few breaks from radio, Dust For Life have a chance to be the next big rock band. What makes the record distinctive is that each of the tunes has it's own sound and feel - there isn't some magic formula that Dust For Life is toying with. Jason Hughes' masterful guitar work stands out on the record, but doesn’t distract from the quality of the songs themselves. The record demands to be listened to again and again.
	*Various Artists, Bounce - Soundtrack, Arista Records* - Filled with some of the current and future top female voices in rock, along with some nice extras, Arista has done you the favor of putting it all together in one package. With names like Dido (her smash hit "Here With Me"), Sophie B. Hawkins ("Lose Your Way") and Sarah McLachlan (fronting Delerium on "Silence") to draw you in, we were equally impressed with the superb voice of Sixpence None The Richer's Leigh Nash ("Need To Be Next To You"), Beth Orton's beautiful "Central Reservation" and Sister Seven's "The Only Thing That's Real." Also included is "Divided" from star-in-waiting Tara MacLean. Throw in BT's contagious hit track "Never Gonna Come Back Down," with Soul Coughing's M. Doughty on vocals, along with tunes from Carly Simon, Morcheeba and others, and you get a record that's great from start to finish, as movie compilations should be.
	*Lifehouse, No Name Face, Dreamworks Records* - With what looks like a turn away from the rap/metal hybrid, rock bands who base their music on melody are getting more of a look. Following more along the path of Matchbox Twenty, Lifehouse's No Name Face is twelve strong rock songs that you'll be able to sing along to. The stripped down guitar tracks and easy rhythms complement singer/guitarist Jason Wade's smooth voice. With lyrics that are at once haunting and hopeful, cloudy but beautiful, serene yet passionate, songs such as "Hanging By A Moment" and "Breathing" should garner plenty of radio play and fan following. Showing plenty of versatility in song styles, No Name Face could be this year's Yourself Or Someone Like You.
	Green Day, Warning:, Reprise Records - Ahhh...all is right with the world again; there is new music from Green Day. True to form, Billie Joe Armstrong has penned some great lyrics and, along with bassist Mike Dirnt and drummer Tre Cool, has put together some classic Green Day material. While they push the envelope a bit by using some accordion and sax ( on "Jackass"), the distinctive Green Day sound shines through. "Minority," the first single from Warning:, is probably the most radio-ready song on the album, but "Misery," "Hold On" and the title track are also phenomenal tunes. Warning: will please all the listeners, both old fans and new.
	*Collective Soul, Blender,* Atlantic Records - One thing that has marked Collective Soul's career is that each successive album has shown musical growth and an entry into new territory for the band. Blender is further proof of the band's desire to mature and grow as musicians while being true to the fact that they are a rock band. Ross Childress has emerged as a great lead guitarist and drummer Shane Evans' use of loops has really progressed to become an important part of the Collective Soul sound. Will Turpin is an excellent bassist and Dean Roland will always be underrated as a guitarist due to Childress' prowess. Co-produced by lead singer Ed Roland, Blender offers lots of variety, from the grinding rock of "You Speak My Language" to the soon-to-be-radio-hits "Why Pt. 2" and "Boast." Some fans may be surprised by "Perfect Day," which features Elton John, but lets face it, if you have the chance to work with a legend, you take it. Collective Soul shows that they have the ability to move all over the musical map and do it well. Blender is their best and most adventurous album to date, and that says quite a bit.
	*Orgy, Vapor Transmission,* Reprise Records - The question everyone had after Orgy's first album, Candyass, was would they ever be able to follow up their smash hit cover of New Order's "Blue Monday?" Produced by Josh Abraham and Orgy, Vapor Transmission should go far in quieting the critics, with Orgy expanding on their distinctive electro-metal sound and singer Jay Gordon's very recognizable vocals sounding more mature and smooth. Orgy succeed by taking something others have done, enhancing it and make it easily embraceable without alienating fans. "Fiction (Dreams In Digital)," the first single from Vapor Transmission, is a great song, but "Eva" may be the high point of a record filled with tunes that will please Orgy's old fans and garner them many new ones as well. "Re-Creation" is a track of epic proportions that is at it's most dramatic in its periods of silence before it flows into a mixture of well-textured layers of sound.
	*Fuel, Something Like Human,* Sony/550 Records - There will be no "sophomore slump" for Fuel! If anything, Something Like Human soars further and higher than Fuel's multi-platinum first release, Sunburn. Carl Bell's writing and guitar work, already of much note, has only gotten better and Fuel as a band sound tighter and much more cohesive. Where many bands try to venture out and get into trouble by forgetting what made their first record notable, Fuel took what worked on Sunburn and made it even better. "Hemorrhage (In My Hands)" is a great first single, but "Prove" "Easy" and "Down" may be even better and are worthy of radio release. Something Like Human will be an even bigger success for Fuel (whom VOX has been behind since very early on). Brett Scallions sounds even better, and his voice is perfect for Fuel's aggressive, intoxicating and powerful sound. Drummer Kevin Miller and bassist Jeff Abercrombie sound like they've been playing together for a decade and are locked in. Fuel is destined to be a rock band that ends up defining a generation of music.
	*Grand Theft Audio, Blame Everyone,* London/Sire Records - So, punk is not dead, it seems. It's just been modified, lowered, overhauled and given a nitrous booster, just for fun. GTA take the best of punk/heavy rock, throw in some samples, soaring guitar solos and see if they can cram it right down your throat, smiling the whole time. Blame Everyone rocks from opening track "Death To The Infidels" right on through to "Dead Man Leaving," tongue firmly in cheek the whole time. Please do not expect ballads of any sort on this record. Think of GTA as taking the best parts from what you've been listening to and mashing it all together in some sort of cohesive form. It's fun, that's for sure. "As Good As It Gets," with its G'nR opening and Lou Reed-ish spoken vocals is a highlight along with "Drugs And Girls."
	*Various Artists, Straight Up,* Immortal Records - James Lynn Strait, the singer of Santa Barbara-based rock outfit Snot, who was tragically killed in a car wreck on December 11, 1998, will, like many great artists, receive more notoriety after his passing then before. What is sure, Strait had a profound effect on the artists around him, as is evidenced by the songs that were written for the record. Strait Up is a moving and intense compilation of what can only be described as beautiful songs. Most people will have a hard time thinking that songs this heavy can be called beautiful, but they are. The record features singers from some of today's best new rock bands fronting the remaining members of Snot, and their love for the man they called Lynn is evident. M.C.U.D. of hed (p.e.) talks about the inspiration and love he received from Strait on "I Know Where You're At," and the pure emotion of the song is amazing. Jonathan Davis of Korn pays great homage to Strait on "Take It Back" and System Of A Down's Serj Tankian has never sounded better than he does on "Starlit Eyes." The compilation also features the likes of Brandon Boyd of Incubus, Coal Chamber's Dez Fafara and the ubiquitous Fred Durst, among others. Not only is this a "must have" for new rock fans, Straight Up is also a shining and profound tribute to a man who will remain a legend in the Southern California rock scene forever.
	*Underworld, Live; Everything, Everything,* V2 Records - Most live records lose something in the translation - either they don't truly feel "live" or the music is so much worse than the album version that no one wants to listen anyway. Everything, Everything defies that. It's like having your own personal rave happening right there in your car, house or headphones. The production work of Rick Smith, who along with Darren Emerson and Karl Hyde makes up Underworld, is superb. There is enough crowd noise and variation to keep it sounding live, but the music maintains its energy and vibe. All the great tracks are here; "Born Slippy," "Push Upstairs" and the epic "Shudder/King of Snake." It's enough to make you want to go and see them live and partake in the event of it.
	*Amen, We Have Come For Your Parents,* Virgin Records - If seems as though everything über-producer Ross Robinson touches turns to gold. If not, at least it turns into some sort of heavy metal. This is about as heavy as you could ever want. Amen doesn't care if you like them, because chances are they don't like you. We wonder if frontman Casey Chaos likes anyone, for that matter. Either way, We Have Come For You Parents will please aggro-rock fans and keep them moshing. "The Waiting" is a really well constructed song that is reminiscent of The Ramones, while "CK Killer" just burns. For those who want to frighten the neighbors or your parents, this is one for the collection. Enjoy!
ARTWORK NOT CURRENTLY AVAILABLE!	*Phoenix, United,* Astralwerks Records - When people talk about having an "eclectic taste" in music, this must be what they're listening to. Phoenix deftly move from 70's-ish smooth rock ("Honeymoon") to disco ("Too Young") to the Brit-popish "Party Time" without seeming contrived or out of place. It's an interesting record that never gets boring, never lets your ear wander and doesn't have any songs that demand to be skipped over. Even the truly odd "Funky Squaredance" is funny enough to keep you listening. Think Boz Scaggs classics getting refurbished and retooled in modern club style without loosing the style that made them classics in the first place, and you'll get a close approximation.
	Devah Fontana, Subject To Change - With a mix of 10,000 Maniacs and mellow jazz, Devah Fontana flows from place to place on the musical map - at one moment hitting soaring highs, then moving to near-whispering spoken word seductiveness. Leaving convention ashore, Devah hits the musical high seas, sounding at times like Nathalie Merchant ("Into The Unknown"), at others like Karen Carpenter ("Why Can't You Say It"), and ending up with a sound all her own. The vocals are the focus on Subject To Changes, with the music, while well arranged, kept mostly to the background. Devah shows excellent flexibility, emotion and range. Well worth taking a listen to.
ARTWORK NOT CURRENTLY AVAILABLE!	*Gomez, Abandoned Shopping Trolley Hotline,* Virgin Records - We're not even going to try to figure out the title, but we can tell you that this collection of 15 outtakes, live versions and other previously unreleased tracks will be a treasure for all fans of the English quintet. Especially attractive is the fan-favorite cover of The Beatles "Getting Better." The lo-fi sound that Gomez is known for sounds especially good on the almost-nine minute "Buena Vista" and "Bring Your Lovin' Back Here." The live version of "Rosemary" is wonderfully done, full of emotion and very moving. If we could just figure out the title…
	*Wallflowers, Breach,* Interscope Records - Breach allows a much more personal view of Jakob Dylan than the Wallflower's multiplatinum Bringing Down the Horse, but the musical side of things is much the same. The easy pop hooks and melodies are still here, with the album opener, "Letters From The Wasteland" sounding like a leftover track from Bringing Down the Horse. While the emotion is welcome and refreshing, the music doesn't venture far from the "One Headlight" formula. The album's first single, "Sleepwalker," will do well in radio play, but fans will be wondering if it's a new song or something old getting some airtime. With Breach, the Wallflowers establish that they do something and they do it well, but aren't going to be getting too far away from what they know.
	*Photek, Solaris,* Astralwerks Records - Photek (aka Rupert Parkes) continues to push the boundaries of drum and bass music. The follow up to the amazing Form + Function, Solaris continues to build on the legacy of Mr. Parkes ability to meld elements of trip hop, house music and vocals with the traditional drum and bass vibe. As with most drum and bass artists, for Photek, the art is the thing. Beautiful and complex rhythms create a soundscape of color and emotion throughout the record, with "Terminus" and "Mine To Give" as highlights. A must for anyone with a drum and bass jones to satisfy.
	*Electronic, Twisted Tenderness,* Koch Entertainment - It has been nearly a decade since Electronic’s self-titled debut album hit the radio airwaves with the sweet and mellow hit, "Getting Away With It." Now promoting their third album, Twisted Tenderness, New Order’s Bernard Sumner and legendary former Smiths guitarist Johnny Marr, have meshed elements of their early 90’s electronic dance with artfully crafted modern rock arrangements. It’s even-handed though, delicately balancing melodic riffs with the title track and "When She’s Gone," yet totally rocking in "Like No Other." It’s aggressive, bold and certainly will make you move with sweet and tender melodies, crisp guitar and the ice-cold post-modern vocals of Sumner. Undoubtedly, a gallant effort - a gallant record "which neither New Order or The Smiths could have made."
	A Perfect Circle, Mer De Noms, Virgin Records - This is very simply the best album to come along in many years. The genius of Billy Howerdel and Maynard James Keenan (of Tool) is self-evident, with songs that easily bridge the gap between the near-aggro feel of radio hit "Judith" and the lilting, entrancing melodies of "Orestes." With bassist Paz Lenchantin, guitarist Troy Van Leeuwen and drummer Josh Freese, A Perfect Circle set a formidable standard. While the entire collection is incredible, "The Hollow" and "3 Libras" are also standout tracks. Keenan's dark, mystical lyrics juxtapose perfectly with Howerdel's intricate and aurally pleasing arrangements. This is what others aspire to. The Circle is perfect.
	*Vibrolush, Touch and Go,* V2 Records - It's an appropriate name - Vibrolush create a very thick and lush sound that's complemented by a deep, groovy vibe. Their music will get your head nodding to the beat but thinking more of the textures and tones of such obviously Brit-pop influenced tunes as "Long Way Down," "Right On Time" and the great title track. It's alternative rock in fine form - plenty of guitars mixed with a good bit of electronica and even some scratching thrown in - with addictive melodies. The album flows very well, taking the listener on a winding path that offers many different views without straying too far from the middle.
	*Fisher, One,* Rawfish Records - Forget for a moment that she's smoking hot, and listen to this record. Fisher is a great singer and songwriter, and at times, you would swear that you were listening to Tori Amos. One is that good. "Any Way", the album opener, is a great tune, and it just gets better from there. For fans of Tori, Sarah and the like, Fisher is one to catch on the rise.
	*ON, Shifting Skin,* Epic Records - Ken Andrews is a musical genius. Andrews' skin shifts though the high tech electronica of "Slingshot," which is as infectious a song as there is, to the transition from 80's dance pop to easy rock that all takes place in "Soluble Words." Filled with textures and sonic gymnastics, Shifting Skin is at times equally as daring in it's simplicity as it is when Andrews layers strings behind guitars and various other noises. Mr. Andrews is able to more than hold his own as a vocalist, lyricist, musician and producer.
	Modest Mouse, The Moon & Antarctica, Epic Records – The Washington-based band’s first major label release is a haunting and intoxicating album. This latest production broods with a quiet anger that’ll shake you from head to toe, which makes the occasional, more fast-paced pieces a welcome contrast. The abstract lyrics of singer/songwriter Isaac Brock are complemented perfectly with smoky tunes that manage to also carry a crisp twang. Standouts include "Tiny Cities Made of Ashes," "Paper Thin Walls," and "I Came As A Rat." --Anlynn Truong, VOXwriter
	*Framing Amy, Eureka Phenom* -** Filled with well-constructed songs and the beautiful, powerful voice of front-person Amy Pierce "framed" by her excellent cohorts, Eureka Phenom makes you wonder what the record labels are thinking. How does something this good get looked over? While all of the 14 songs (yes, 14!) are quite good, "Pray For Rain," "Makin' Up" and "The Day Before" ranked as our favorites on the album. Eureka Phenom provides an excellent opportunity to see what Framing Amy can do. Hopefully, a label will wise up, sign them and give them the chance to take it to the next level - full-fledged stardom.
	Vagabond Lovers, When I Was You, Monarch Records - With a voice (and look) that is somewhere between Sarah McLachlan and Natalie Merchant, Patty Spiglanin and the rest of the Vagabond Lovers make listening easy. "Junkie" has received some well-deserved attention, and while it is the highlight of the album, there is plenty more to keep you listening and attentive.
	Elisa Peimer, EP, Hope Tunes - Singer/songwriter Elisa Peimer shines in the four-song journey through some very personal territory. Each tune is a beautifully crafted vignette that left us wondering why there were only four songs! We weren't prepared for it to end. This is a pleasant beginning, and we're looking forward to more…
	*The Nixons, Latest Thing, Koch Records* - With what may very well be their best album yet, The Nixons' Latest Thing is also their greatest thing. Long known for their live shows (for good reason) and endless touring, this is the album that should finally bring The Nixons all the attention they deserve. "The One," "First Trip" and "Don't Cry" are standout tracks on a truly great album that shows the versatility and energy that The Nixons possess. Of course they are on tour now, so go catch them live!
	*The Urge, Too Much Stereo,* Immortal/Virgin Records - An interesting mix of the funkiness and flavor of 311 crossed with some Madness horns and some RATM heaviness thrown in for good measure is what you get with Too Much Stereo. "What Is This" funks with the best of them while "I Go Home" moves between groove rock and reggae syncopation with ease. In contrast to earlier efforts, Too Much Stereo contain far more singing and vibe than screams and yells. While the subject matter stays away from anything too controversial, the album is an easy listen and is easy to get in to a groove with. Smoke 'em if ya' got 'em.
	*The Forty Fives, Get It Together, Ng Records* - This record can only be described as really good, fun rock and roll. There's some Dick Dale, some Beatles and even some MC-5 in there and it's all good. These guys are the masters of the old-style two- to three-minute rock song, each of which would have fit perfectly in the Austin Powers movies. "When You Least Expect It" brings out some mean slide guitar, while "Get Out" and "More Than Ever" are there to push the metronome to it's limits. After a while, it seems like they have to keep the songs short or they will simply crash and burn. How long can any band keep up such a mad pace? Get It Together is as fun as album as we've heard in some time.
	Eleven, avantgardedog, A&M Records (release date 4/25/00) - If you've been pleased, as we have, with the music that Chris Cornell has released lately, then look no further for the source of much of that music. Eleven has basically spent the last little while being the Chris Cornell Band, and avantgardedog gives a sweet taste of what Eleven can really do. Alain Johannes & Natasha Shneider possess voices that, while wonderful on their own, mix together and play off of each other so exquisitely. The album is a real find. "You're Not Alone" is a standout track.
ARTWORK NOT CURRENTLY AVAILABLE!	the Glands, self-titled, Capricorn Records - Combining the perfect mix of production and that indie-rock vibe, Ross Shapiro, head Gland, has put together a record that is at once easy to listen to and appropriately complex. At times campy, others Beatlesque and still others totally GBV-ish, the Glands offer a little something for almost everyone. From the sweetly melancholy "Mayflower" to the introspective "Livin' Was Easy" to rocking "Straight Down," the entire album is quality and quantity (14 songs!) rock.
	*taproot, Gift, Velvet Hammer/Atlantic* - Highlighted by frontman Stephen Richard's vocals and his lyrical prowess, taproot's debut is truly a gift to the ears. Taproot shows the ability to move from a blues-rock feel to heavy rock to full-on aggro, and they do it all in the same song! "Emotional Times" is as intense a song as there is and "Dragged Down" is another winner as well. Gift is a great debut that offers much promise of things to come.
	*Ultraspank, Progress, Epic Records* - Get ready for a million volts of raw energy from Ultraspank. Beginning with "Push," we were treated to bruising ride through the glorious and twisted mind of singer Pete Murray, who can growl with the best of 'em and can sing. Add that to the guitar theatrics of Neil Godfrey and Jerry Oliviera who are in turn backed up by the potent rhythms of bassist Dan Ogden and monster drummer James Carroll, and you get the blistering sound of Ultraspank. "Stuck," featuring Incubus DJ Chris Kilmore, is the highlight, but the album rocks from start to finish.
	The Catherine Wheel, Wishville, Columbia Records - With their latest release, The Catherine Wheel might finally get some of the attention they have so long deserved. Wishville is filled with the same brand of rock that Rob Dickenson and crew have been known for, but with an elevated sense of purpose and style. "Gasoline" harkens back to the days of "Black Metallic" (from 1992's Ferment) in its passion and intensity, but the band has matured both lyrically and musically. That maturity flows throughout the record, and will please both long-time Wheelies and new converts alike.
ARTWORK NOT CURRENTLY AVAILABLE!	Goudie, Peep Show, Elektra Records - This is not your ordinary rock record. Johnny Goudie and his mates have created, for your listening pleasure, one of the hottest debut records of the year. The quartet have major hits on their hands in the form of "Baby Hello," "Julia" and many others. The music is irresistible, and you'll find yourself dancing and groovin' right along to Goudie's infectious rock. Hailing from Austin, Texas, the Southern flavor and influence is readily evident and welcome. Even better, catch them live! It's a real treat.
	The Mighty Mighty Bosstones, *Pay Attention, Island/Def Jam Records - The heroes of the ska-core scene are back with a 16-track album that addresses all kinds of emotional subjects, from feelings of constraint to the unpredictability of love, while always remaining true to that fun and skank-able sound characteristic of ska. While the drums, guitar, and bass are the backbones of the songs, the melodies of the brass section provide the extra kick that will make you listen to the album time and again. With Dicky Barrett’s trademark grainy voice and the talented musicians beside him, their latest album is rich with meaning and* opportunities for some well-intentioned slam-dancing. "So Sad To Say" is the first single, but other notable tracks include "She Just Happened," "All Things Considered," and "The Skeleton Song." --Anlynn Truong, VOXwriter
	Boiler Room, Can't Breathe, Roadrunner Records - Following in the tradition of past Roadrunner successes, Boiler Room put up an onslaught of sound that will leave you gasping for air. Featuring a groove so thick it'll have you swimming through their sea of molten rock, Boiler Room's debut release features the soon-to-be-a-hit "Do It Again," "Insomnia" and the title track, "Can't Breathe." Filled with passion and fueled with the vocal intensity of frontman Chris Lino, Boiler Room lay the cards on the table right here and now.
	Travis, The Man Who, Epic Records - Really good British pop is very hard to resist, and this is superlative. Travis ranks right up there with Radiohead in their ability to craft delicious pop melodies and lyrics. "Writing To Reach You" and "Why Does It Always Rain On Me?" are consummate pop songs in every facet. The rest of the album isn't short on quality, either, with "Driftwood" being another standout track. If they can somehow get enough airplay in the U.S., they are sure to break through and attain the success that bands like Radiohead and Oasis have achieved.
	Speedy J, a shocking hobby, NovaMute - A thought: urban music is really the sounds of the city, no? If so, then this is true urban music. No hip-hop or rap here, but industrial sounds, without this being what one could call industrial music. Speedy J (Jochem Paap) moves between screeching halts and pulsating engines with ease and somehow melds the sounds that come along into a cohesive and enjoyable substance. So what is this? That is question you will have to answer for yourselves. We're just going to listen and enjoy, without boundaries.
	The Step Kings, Let's Get It On!, Roadrunner Records (release date 4/25/00) - "Come on!" beckons vocalist Bob McLynn on the album opener "Vibe," and he means it. We went along for the ride and came away sweaty and ready to go around again. "Get It!" is another rocker that should get some notice. McLynn, along with guitarist Fern and drummer Mike Watt, really know how to groove. Take some of that hard-earned music dollar and make it go a long way with some great hard rock.
	MDFMK, MDFMK, Republic Records (release date 3/28/00) - These gods of industrial music, formerly known as KMFDM, return with an explosive release. While they maintain the fire and intensity that marked KMFDM, this new incarnation pushes the envelope and crosses the boundaries that Sascha Konietzko and Tim Skold, now with the addition of Lucia Cifarelli, had previously not crossed. "Torpedoes" is a track that will please old listeners and bring MDFMK a new crop of fans as well. This release will ensure that Konietzko and Skold maintain their place as leaders of the industrial revolution.
	Radford, Radford, RCA Records (release date 3/21/00) - This is really potent modern rock, with a healthy tinge of Brit-pop mixed in just for fun. Oxford, England native and lead singer Jonathan Mead is the source of that British influence, but Radford steps quite far beyond that, without screaming or pulling on some sort of rap influence to carve their niche. Songs such as "Closer To Myself," "Come On" and "Over You" are radio-ready and will evoke thoughts of Bush in terms of song quality. If radio gives them a chance, they'll have some hits on their hands. Definitely worth a listen.
	*Robin Pearl, Wisteria,* Caleigho Records - Robin Pearl combines her wonderful, sultry voice with quality songwriting and mellow folk-rock to put forth an effort that is not run-of-the-mill and is very pleasing to the ear. As she says, her story is one that commands attention, and we're listening.
	Elliott Smith, Figure 8, Dreamworks SKG (release date 4/18/00) - Smith has been called a folk-punk icon. While we're not sure just what folk-punk is, we will say that if someone told us Smith was the lost 5^th Beatle, we would believe them. That is no slight. Elliott Smith is a truly gifted songwriter and musician, and this album speaks volumes about his prowess. He has the ability to take depressing subject matter and somehow make it all very pleasant to listen to. That is a gift. Start with Smith's take on "Happiness" and proceed from there.
	Eight Stops Seven, In Moderation, Reprise Records - Who are these guys kidding? Moderation? Fuck no. This is full-on rock, from the word go. "Satisfied" leads off the record and introduces you to the distinctive voice of Evan Sula-Goff. The song deserves some time in rock radio rotation. "Wider" is a tune overflowing with passion and intensity that is a perfect showcase for the Eight Stops Seven sound. But moderation? Nah, sorry, none here.
	P.O.D., The Fundamental Elements of Southtown, Atlantic Records - This is the next bandwagon to be on, so jump on now and get a good seat. P.O.D. is for real. These guys meld funk, metal, hip-hop and whatever else you can throw in to bring forth a vibe so thick and deep that you can't help but rock along and feel it. "Set Your Eyes To Zion" has such a fat groove, and their cover of U2's "Bullet The Blue Sky" is done with such fierce intensity and conviction, you forget it's a cover. This may be the deepest and most original album to come along since Queensryche's Operation: Mindcrime. Time to learn your elements.
	*Recoil, Liquid,* Mute Records - We aren't sure we want to know Alan Wilder's (formerly of Depeche Mode) motivation for Liquid. Prepare for serious introspection - imagine your soul is a violent car wreck of experiences and emotions; you don't want to know what's there, but you can't look away. Liquid provides an intense, violent and beautiful tour of your psyche that you might not have wanted, but it's too late to turn back now. While unsettling in its ideas, Liquid is a great accomplishment musically. When it hits records stores on March 21, pick up Liquid, if you dare.
	Machine Head, The Burning Red, Roadrunner Records - First off, singer/guitarist Robert Flynn is one of the best frontmen in rock today. Secondly, this record smokes from start to finish. The worst thing is that there aren't many radio stations with the balls to play Machine Head. Even if they did, the best thing you can do is see them live, stand close a big speaker, and feel it. "The Blood, The Sweat, The Tears" is one of the highlights of the CD, but it's even better live. Coming soon, we'll have an interview with Mr. Flynn, with a contest, too.
	Coal Chamber, Chamber Music, Roadrunner Records - Once again, the formula holds true: great band, great music, and nary a radio station with the balls to play the songs! From "Tragedy" to their amazing cover of Peter Gabriel's "Shock The Monkey," if intense, heavy rock is your thing, this is a must-have for your CD collection. Since you're not going to hear it on the radio, pick it up and let Coal Chamber smack you upside the head with the goods. A concussion never felt so good.
	Non, Receive The Flame, Mute Records - At first blush, this appears to be a cacophony of various noises with no particular direction. As we proceeded, unable to turn away, we discovered a perverse, sensual and at times mesmerizing mesh of sounds that move in to infiltrate the darker recesses of your mind. Listen to this with your significant other(s), perhaps some wine, possibly some ice cream, and definitely some leather.
	Various Artists, Scream 3 The Album, Wind-Up Records - I doubt that we'll spend the coin to actually see the movie, but this is easily one of the hottest soundtracks to come along in years. The line up is a virtual who's who in heavy rock today: Creed, Slipknot, Finger Eleven, System of a Down, Godsmack, Coal Chamber...the list keeps going from there. If there is any justice in the world, this record will sell more copies than tickets to the film get bought. It's like someone made you a CD to take along in the car, with all the best stuff on it. Do yourself a favor and pick this up.
	Stroke9, Nasty Little Thoughts, Cherry/Universal - Unless you've been living under a rock, you've heard "Little Black Backpack" tearing up the airwaves. What's fortunate for these guys is that this record contains plenty of other radio-friendly tunes. It's also nice that even though these guys all look like models, they made sure that the focus has been on the music, which is how it's supposed to be. Check out the VOX interview and contest coming soon.
	Rob Zombie, American Made Music To Strip By, Geffen Records - The inside sleeve is adorned with the warning ‘Get Down Muthafucker,’ which pretty much sums up Rob Zombie’s latest Electro-rock remixed release, American Made Music To Strip By. Twelve tight remixes are colorfully packaged with naked chicks, and devilish, green beasts (illustrated by Zombie), plus a 28 page booklet full of artwork and live shots from this past year of touring. Plenty of club style beats, sampled guitar distortions and other dark effects highlight the album . “How to Make a Monster,” artfully remixed by God Lives Underwater, and the explosive album opener, "Dragula," remixed by Charlie (NIN) Clouser, will turn any listener into one bad ‘muthafucker.’
	Incubus, Make Yourself, Epic Records - Following up the success of S.C.I.E.N.C.E., Incubus returns with an effort that completely amazes. While the sticker on the cover states that the album features "Pardon Me," "Stellar" and "Drive," the best song in our opinion is "The Warmth." Either way, Make Yourself emits one tasty morsel after another, leaving you hungry for the next tune. "Clean" is an another track that begs for radio time. With intense, personal lyrics and tight, hard rhythms, Make Yourself should be made to reside in your cd player for some time.
	Russell Mills/Undark, Pearl + Umbra, Instinct Records - Creating art, in any of it's forms, is special. Having the ability to excel at two different art forms is exceptional. Russell Mills goes far beyond exceptional. Having designed cover art for Nine Inch Nails, Brian Eno, Cocteau Twins and many others, Mills now takes his mesmerizing organic style and applies it to music of his own, with help from the likes of Peter Gabriel, David Sylvian, Thurston Moore and the aforementioned Mr. Eno. Pearl + Umbra is one of the most aurally pleasing records we've heard in some time.
	The Frames, Dance The Devil..., ZZT Records/Universal Records - The Frames bring their Irish-tinged rock to America, and the're sure to make a splash. The lyrics and music of songs like "Perfect Opening Line," "Plateau" and "The Stars are Underground" linger long after the record has ended with the line, "There is no life I know that compares to pure imagination." This is a wonderful first effort. If you're looking for something new, refreshing and truly good to listen to, pick this up.
	Laura Diamond, Adonis...and other romantic delusions, 3 Wishes Records - Leaving nothing hidden, Laura Diamond does what every great songwriter does - gives us a full view of her soul and the range of emotions that exists within. Moreso, with her duclet tones, she conveys those emotions and tells each story with unmasked honesty and grace. We become familiar with "Adonis" and hear the pain of losing in "Alone and Standing." Ms. Diamond lets us all know where she has been, and we come to realize that most of us have been there, too.
	Billionaire, Ascension, Slash Records - With no appologies, these Atlanta natives will blast holes in your speakers with their kick-ass rock and roll. Hit the road, put the windows down, and crank it up. It may piss off the neighbors, but who cares? Each one of the 13 tracks comes at you with both barrels, so be ready. Ascension will remind you of the classics (get the Foghat out), while letting you know that Billionaire means business. The name may sound high and mighty, but these guys have no problem getting down and dirty. Pop a cold one and enjoy.

	Filter, Title of Record, Reprise Records - Richard Patrick and cohorts return with an album that careens off the inside of your brain and explodes out of your eyes. Patrick's intense vocals are highlighted on "Welcome To The Fold" but the versatility of his voice and the band in general show through more on tracks such as "It's Gonna Kill Me" and "I'm Not The Only One." The only thing we wanted after listening to Title of Record was (a) a towel to dry the sweat and (b) more. More, yes, please, more...
	Taxiride, Imaginate, Sire Records - Once in a great while, a record comes through here that makes us stop and really take notice. Taxiride's Imaginate is one of those records. With glorious harmonies and great vocal textures, we couldn't help but listen over and over. "Get Set," the first single from the record has been picked up by MTV and promises to be one of the best hits of the summer. "Ice Cream" is a fun and playful tune that begs to be played with the top down on the open road. These Melbourne, Australia natives produce a sound that is reminiscent of the Eagles, CSNY and Journey in the quality of their harmonies. Definitely worth the time.
	Steadman, Loser Friendly, Freeloader Recordings - Another one that gets lots of play here at the VOXHQ. This is a great, moving record that we listen to over and over. "Life of Leisure" is the highlight of an album that doesn't really have any low points. This is an album that is only available on-line, and mp3 samples are available as well. Loser Friendly is a winner album. If you liked The Dharmas and the great Britpop they produced, then this is a record for you, since these are the same folks.