When I was 10 years old, there were a few brief months between when my house got cable and when Nirvana’s Nevermind was released. For that time after first discovering MTV, I was a dyed-in-the-wool metalhead. From drawing Motley Crue logos on my Trapper Keeper, to slamming my bowl haircut in time with that G-n-R song from Terminator 2, to secretly being terrified of the "Enter Sandman" video I stayed up late to watch, metal was my life. Then, just as soon as it happened, music and the whole world more or less changed forever. Yet as I became exposed to an increasingly larger variety of artists, and watched my tastes grow more "refined," I found few things that matched the levels of excitedly dumb happiness I found on those early episodes of Headbanger’s Ball ...until the Andrew W.K. album, that is. Put bluntly, I Get Wet is a laser-focused science equation adding together everything that "rocks," while subtracting everything that "sucks" (Beavis’ oversized skull would self-combust in amazement at mere listen to this album). Precision drumbeats meet track after track of metal distortion. Surprisingly melodic guitar leads are intertwined with keyboard synth squiggles and plunked out single note piano. On top of all this, heavily compressed vocals exhort the listener – in complete seriousness – to "Take It Off," "Party Hard," and "Don’t Stop Living in The Red." Roaring along like every ride at Great Adventure at once, I Get Wet made my inner metalhead smile contentedly for the first time in years. Yet that’s exactly where the problem comes in. While I love the album, and think it’s finely crafted and absolutely perfect for what it is, I can easily see where another listener could almost justifiably dismiss it as a joke. From "Party Hard," to "It’s Time To Party," to "Party Till You Puke," AWK’s lyrical repetition is fairly formulaic, and the relentlessness of it’s jackhammer audio accompaniment can be just as repetitive. Yet in spite of these caveats, I Get Wet is a worthy disc on power and enthusiasm alone (and, clocking in at just over a half-hour, you really don’t have time to complain). So suck it up, let it out, and bang your head to this. [www.andrewwk.com]

Supermodified is the follow up to Amon Tobin's 1998 album Permutation, which is equally as impressive as it is just plain awesome. Supermodified does however, step beyond his previous albums in many ways. The songs on this album seem to feature more layered samples that create a total listening environment instead of just a "cool beat". Furthermore, all of the songs on the album have one foot in firmly stuck in many styles of jazz, which is a plus if you are a fan. From the first song, 'Get Your Snack On', to 'Sabtouer' layers of horn samples and jazzy drum breaks accentuate the main loops. The album also sports songs like 'Marine Machines', which seems like a tranquilized concerto with a heavy beat. Regardless of the respective elements each song is structured similarly, with the samples and loops being introduced and intermingled with buzzes and pops until the pinnacle of the song is reached. (About that time you will probably be completely lost in all that's coming out of your speakers). Nevertheless, Amon Tobin's musical choices on this album set him apart from the many, many electronic musicians out there today. I mean, the song 'Precursor' features a rubbery upright bass line accompanied by a vocal percussion performance from a group called Quadraceptor that sounds like Daffy Duck on massive amphetamines. In closing, Supermodified is definitely for those who want a well-made, completely original, rhythmically layered album -- I give it 4.75 manstyle points. There are just some albums that need to be listened to in headphones late at night or while your working, and this is definitely one of them. Otherwise, you'll just miss everything the artist was trying to get you to hear. And for crying out loud, go to amontobin.com and check out his swanky website. [www.amontobin.com]

AIR accomplished on their second official full-length what Daft Punk should have accomplished on theirs. They've taken a mix of their sounds and blended them together into an album that is interesting from start to finish. To understand how accomplished this album is, a little history is needed. Moon Safari was a great album in it's own time, mostly upbeat songs with a slight undertone of some mysterious dark tones. "Kelly Watch The Stars" is a great example of the optimism through pessimism that AIR is quite good at. However, Moon Safari didn't have the right sound for AIR, not yet. When members Godin and Dunkel put together the score for The Virgin Suicides it seemed they had found their niche by constructing songs with an overall darker tone, but with a hint of optimism, like "Playground Love." However, "Suicide Underground" was the epitome of dark and downright eerie for the band. So then 10,000 Hz Legend is released, and AIR has taken their style from Moon Safari and The Virgin Suicidesand melded it together into the next step of their sound. Songs like "How Does It Make You Feel" bring the feeling of longing that "Kelly Watch The Stars" hinted at, but has the dark tone of the likes of "The Hurricane" from Virgin Suicides. That's not to say that this album requires an experienced AIR listener to enjoy it, but it may bring another level of appreciation. "Radio #1" is the most upbeat track on the album, poking fun at lack of artistic merit found on today's radio dial. "People In The City" is the other upbeat track, though it takes alot longer to build up to it, with it's gentle keyboard tones and droning vocals. The most interesting aspect of this album is guest appearances by several somewhat famous vocalists. Jason Falkner appears on several tracks, Beck appears on two, and Buffalo Daughter makes an appearance as well. This seems like a cheesy way to get press at first, but the choice of vocalists was intelligent and works for the parts they were chosen for. When "real" vocalists aren't needed, AIR opts for the vocoder, and it really fits the mood. This album is a great listen from start to finish, but isn't an album you're going to cruise the Interstate with, it's more of a sit back, relax, and let it consume you kind of album. [www.10000hzlegend.com]

Ever since I found Autechre's 1994 album Amber I have been an avid fan of their music. Confield, the newest offering from Rob Brown and Sean Booth, take Autechre deeper into their world of ambience and electronic experimentation. The album's opener 'VI scose poise' begins with a beat that sounds like it is being reverberated inside a metal canister and then slides into their a wash of ambient melody. The next track, 'cfern', brings a more accustomed beat accompanied by a looping keyboard line, but the rhythm begins to trail off into more difficult areas around the two-minute mark. In short, within the nine tracks that make up the album you'll find spastic drum machine beats, distorted video game soundtracks, pings, pops, and lots of other kinds of electronic decay. The album falls short of the ambient genre the duo get labeled to quite often, but challenging expectations laid upon you is what music is all about. While the album may be hard to listen to for some, electronic music fans with a background in Warp Records will find this album easy to swallow. In my opinion, this album is made up of very intelligent, extremely well crafted music that can inspire you and challenge your notions of electronic music. This is not an album that would feel at home at Astralwerks, if you know what I mean. I give the album 3.5 manstyle points simply because I'm still waiting for Autechre to make an album better that Amber. I'm going to wear that CD out one day if they don't. [www.warprecords.com]

Well as you may have been able to tell from our occasional rants in the news, I am not much of a Limp Bizkit fan. However, the reason I don't like Limp Bizkit has nothing to do with the band, and everything to do with Fred. I have always thought Wes in particular was very talented, and always wondered what he would be like in another band. Well Duke Lion Fights the Terror is the closest thing we will get to that, at least for now. I think it is great that Limp Bizkit's success has enabled Wes to record an album, release it on a major label, and have it distributed globally. As far as the album itself, I have to admit that if it wasn't from Wes, I would be like, "What the hell is that." The album is full of comedic tunes such as "Duke Lion…" as well as full-on death metal songs like the opening "Burgalveist", but then there is the just weird tracks like "Space Adventure" and the great "Mighty Penis Laser". The best part is probably the lyrics, which are hilarious. I don't think there is one serious line on this album, and it is truly Wes just having fun. As far as the sound of the material, well imagine Ween combined death metal, with a little Barry Manilow mixed up in there (just kidding about the Barry part), and you have Big Dumb Face. In conclusion, well I don't really know what to say. I definitely don't think Wes meant for you to take this album seriously, and if you don't, then it is enjoyable. If you are looking for a brilliant album from the amazing Wes, then you will have to wait. However, if you are looking for an occasional humorous listen, then pick this album up. Although I don't think I will listen to it much, Duke Lion… definitely has a place in my collection. I would go buy this album again if for no other reason, then to support Wes, and when taken in context it is quite interesting. [www.bigdumbface.com]

Big Wreck’s “The Pleasure and the Greed”, in its entirely, is a magnificent collection of songs. For those of you coming from the grunge generation that are getting a bit tired of the recent rock clichés (and those numbers are growing), “The Pleasure and the Greed”, is a terrific album, guaranteed to revive your faith in rock music. To sum up the sound, I would compare it most to Chris Cornell’s solo attempt, “Euphoria Morning” but with a little more energy and experiment. Ian Thornley produces a range that rivals that of Cornell with just as much power, which is hard to imagine, but true. Being a graduate of Berkley, the complicated music you might expect does not show at all. His studies must have been in composition. Even though it’s far from technical, these powerful and creative songs are never predictable. His chord progressions and simple “riffs” don’t sound like anything I’ve heard recently, and his talent surely shows up with the delayed banjo and mandolin runs that sort of show up in the middle of something heavy. The album is extremely thick, covered in three part harmony’s (where needed), really solid and simple beats, and songs that are catchy in the best kinda way. No song sounds the same, and the album tumbles over power ballads, crunchy supertunes, and even a little acoustic jam near the end to show off. If the single, “Inhale” makes it to the radio, it will surely push itself. Luckily, Big Wreck has totally avoided the sophomore jinx, and has produced a well written, well produced pile of really good rock songs. For the starving Soundgarden, Brother Cane, or early nineties hard rock fan, this album is a big, big relief. I don’t believe in perfect scores. I’m like that professor that refuses to give them to anyone. And I’m pretty sure Simple feels the same way. [www.bigwreck.com]

One afternoon while I was down in Chapel Hill, NC visiting my friend Robby, I visited the Schoolkids Records on Franklin. As anyone who's been to Schoolkids knows, they have bargain racks full of promo EP's and LP's. Well, this particular afternoon I came across a $0.99 copy of the Live (EP) by Phantom Planet. "Who the hell is Phantom Planet," I asked myself? Then I looked on the back to find that none other than Ken Andrews mixed the EP. So, I bought it. I mean, it's only a buck right? On the way home, driving down highway 49, I decide that I'll throw that sucker in the CD player and give it a go. Well, it's the most incredible, accessible rock music I've heard in long, long time. "They are going to be huge," I say as I listen to the first track, 'Lonely Day.' So, I finish up the CD, which is made up of two tracks taken from their upcoming debut on Epic, The Guest, and three live tracks. The selection of songs on the EP revealed two things to me: 1) they have their fingers in a lot of different music and use those influences in their own songs, 2) they can play that shit live as well as they can play it in the studio. Also, the band is made up of … well, why don't you find that out for yourself. Phantom Planet isn't new. They've released two albums prior to their upcoming release. Phantom Planet Is Missing was released in 1998 on Geffen Records and it must not have gotten too much press, because I and none of my friends have ever heard of it. Then in 1999, they released Polaroid independently ... haven't heard of that one either. Also, if that wasn't enough, they've been on several compilations and soundtracks, most recently on the soundtrack for "Orange County". Needless to say, Phantom Planet's time has come. They get an "A" for effort. All I have to say is that you need to check out Phantom Planet. Find a copy of the Live (EP) or go grab a copy of their Epic debut The Guest on February 26th (or one of their older albums). Also, keep an ear peeled for their first single, 'California,' on the radio. You owe it to yourself to find out if this is the band you've been looking for or not. Please, help me help you. [www.phantomplanetfamily.com]

Lord knows Nelly Furtado doesn't need my support. After winning a Grammy and selling a whole hell of a lot of Whoa, Nelly!, she probably doesn't need anyone's support really. People do genuinely enjoy Nelly Furtado. Even people who make music thinks she is talented; she's worked with The Roots, Jurassic 5, Paul Oakenfold, and Missy Elliott, among others. Heck, she used to be a trip-hop band called Nelstar, and it was actually pretty good. Yes, Nelly Furtado is on her way and it seems nothing can really stop her ascent to stardom. If you haven't heard her album, maybe it's time you give it shot. The first track, "Hey Man", starts out with an uncomplicated strings loop accompanied by a very humble, yet appropriate beat and strummed chords from an acoustic guitar. While this sounds like the beginning to countless songs, something about the arrangement is undeniably different - then Nelly Furtado starts to sing. There is just something about Canadian vocalists, they always have very unique voices. I think Furtado's voice fits nicely between "pleasant at times" and "a bit nasally" - for two great examples, see "I Will Make You Cry" and "Scared Of You". It's true that some people can't stand her voice, but then again some people can't stand the way a lot of people sing; it's just a matter of opinion. The way I see it, Nelly Furtado's voice is perfect for her style of music and just made me like her that much more. The second track is her new single, "Shit On The Radio", and begins to set the pace for the rest of the album: simple but effective beats, tasteful acoustic guitar for flavor, supportive bass lines, great melodies, and Portuguese, Brazilian, and Cuban influences - all with a tinge of hip-hop/R&B flair. Nelly Furtado celebrates diversity, and it's easy to see that with range of styles this album covers. There's something about accessible music, more specifically the music made by Nelly Furtado. People shouldn't be scared of it just because it is on MTV or it is fun. When people who listen to different genres, who have differing tastes, can come together because of something as simple as music, it's a lovely thing. I give Whoa, Nelly! 4.2 manstyle points. It's a wonderful album and the brilliance displayed in the tracks "Well, Well" and "Legend" will keep me coming back for more, but I'd like to see just how much farther she can push it. [www.nellyfurtado.com]

Well many No Doubt fans may not even be aware that this album exists due to its low-profile release. The album was released on No Doubt's own Beacon Street Records, and can be found new for about $5. In fact, the front of it even has a sticker that says don't pay more than $5. Anyway, fortunately the price is not the only good thing about this CD. The album consist of 10 songs records between 1993 and 1995, and combines classic No Doubt ska with the keyboard playing and backup vocals of former No Doubt keyboardist Eric Stefani. It is interesting how different the band's sound is with the keyboards incorporated. A lot of the songs have slower parts that allow Gwen to show of her voice, and her brother to accompany her with the keyboard. On the other hand, some of the tracks have a more raw, and at times reggae feel. This is most obvious on the song 'Total Hate 95' which features additional vocals by the late Bradley Noel. Another thing of note is that fans of "Return to Saturn" will probably not enjoy this album as much as those who are partial to "Tragic Kingdom". The sound is definitely more of a ska album than, the almost pop, "Return to Saturn". Don't get me wrong, I love RTS too, but it is a very different sound. The band even got a little help from 311 on the last 3 tracks which were mixed at the "311 House", with assistance from Nick Hexum and their sound guy Scott. All together, this is a very good album that captures the sound of No Doubt during their early years. Even though the style of their songs has changed today, even the new No Doubt fan should be able to appreciate this album and find a place for it in their collection. [www.nodoubt.com]

I first heard Mudvayne on a sample tape and was far from impressed. Nothing about the music sounded original, and it didn't seem like they had anything I liked. A couple weeks later I heard a couple tracks off the CD itself, and started to like their sound a little more. I decided to buy the album, and it hasn't left my changer since that day. From the first listen, I knew the demo tapes weren't doing the band justice. The music on this album is very complex, and there is so much going on in each song. One of the things I found most impressive about the album was the voice of the singer, Kud. Not only can he scream with the best of them, but he also has a really nice singing voice, and shows he isn't afraid to use it. If you listen closely, you will also find several times when Kud sounds like Jonathon Davis. However, this clearly comes through as an influence rather than imitation. Summing things up, this album was no doubt one of the best albums of 2000. I can not seem to wear it out, and listen to it a lot more than what's healthy. In Lamen's terms, it is a sonic assault of audibly pleasing music. [www.mudvayne.com]

Dan the Automator puts his hands into so much music that some of it is bound to be less successful. Lovage pits Jennifer Charles from Elysian Fields up against Mike Patton on the microphone, in a sexual battle of sorts. While the delivery of the lines is done quite well on the part of Patton and Charles most of the time, the lyrics are just a little too stupid and tend to conflict with the so-called mood created by the album. For an example, while 'Book of the Month' has the ability of to be one of contenders on the record, lines like "use me like Listerine / keeping your breath fresher, "you are the griddle / I am the meat," and "turned on like the electric company" are just a little too silly to endure. Some of the instrumentals on the album, such as 'Everyone Has A Summer' and 'Koala's Lament', are done quite well, thanks to the additions of Kid Koala and Dan the Automator's continuing ability to construct beats. Now don't get me wrong, there are great songs on this album: 'Pit Stop (Take Me Home)', 'To Catch A Thief', and 'Sex (I'm A)'. Overall, I just think it's hard to interpret the vocal delivery of Mike Patton to be sexy. Mike Patton scares me more than he would turn me on. You know … if I was a girl. On the other hand, Jennifer Charles does a good job moaning and breathing on a couple songs (which just sounds ridiculous after writing that sentence). However, when it's pretty much in every song in the set, it gets a little old. In the end, Lovage just doesn't cut it for me. The songs are just too similar in tempo and style and the album pretty much just lulls me into a lethargic state after a couple of tracks. I want to say it's good music to put on and ignore while your working or cooking dinner (or making love to your old lady). However, how good is an album if you can ignore it? One thing to look out for is 'Herbs, Good Hygiene & Socks'. It is so bizarre and random that's it just ends up being funny. I give the album 2.8 manstyle points. Sorry guys, it ain't no Sade. [www.lovage.co.uk]

Local H consists of two members, so when drummer Joe Daniels left the band it seemed like it could be the end. Fortunately, it turned out to be a complete re-invigoration of the band (or at that point a re-invigoration of guitarist/bassist/vox frontman Scott Lucas). New drummer Brian St. Clair (Triplefastaction, Political Justice) joined the ranks and production on Here Comes The Zoo began. It's obvious from the first track "Hands On The Bible" that the combination of a drummer with a punk background and the slight lack of success for 1998's Pack Up The Cats put the rock back into the band. That's not to say that all the albums have that terrible standard punk beat, or that the band is rehashing old material but they definetly picked up where they left off with As Good As Dead and progressed to a whole new level. Here Comes The Zoo has no evidence of rap rock, or sampling, or drum-machine beats, or anything not having to do with pure rock. The album is filled with hard rock riffs, intricate lead guitar (though not over the top), beating drums, and intense vocals that somehow remain memorable and catchy. Amazingly enough, this album is reminiscent of early to mid 90's alternative rock, but it doesn't feel or sound stale at all. "Hands On The Bible" starts off the album with a build up into a forceful chanting chorus (strings and rock guitar have never sounded better). The album continues in this vein of pure rock up until it's one weak point "Keep Your Girlfriend Away From Me," which is just a bit too much pop and not enough rock. So I've used the word "rock" to describe this album a ridiculous number of times but it's really the only way to sum it up. Local H has always been a rock band, but they hadn't gotten it down quite right until now. As Good As Dead has it's moments of greatness but it also has some moments that are a bit over the top. Pack Up The Cats seemed like the transitional phase of finding out what worked and what didn't, unfortunately a majority of it didn't work. With Here Comes The Zoo, they got it right. The final track "What Would You Have Me Do?" is destined for Rock Epic status. "Rock & Roll Professionals" sums up almost every "hard rock" band on the radio, and "Bryn-Mawr Stomp" is obviously designed to knock a few heads at your local moshpit. Along with the rest of the album, Local H's Here Comes the Zoo will surely be a worthy purchase for any rock fans CD collection and will more than likely remain in your CD player for a few weeks (and always sound good whenever you're in need of a pick me up). [www.localh.com]

What do I know about R&B? Let alone R&B from the perspective of a young African American woman? Well, nothing really (I'm a middle class, white boy), but it sure is fun to listen to. The debut CD from Lina, "Stranger On Earth", takes me two places instantaneously. From the first track to the end of the album I'm torn between the sounds of the present decade and the 30's, 40's, and the 60's. Lina has a gift for taking familiar sounds from past decades and placing them into her music without it sounding clichéd or gimmicky. From the opening track, 'Playa No Mo'', and the last line 'Ya'll players can't fuck with me," it's obviously apparent what the CD is about. All women thinking and living independently from men, being your own person, and giving Lina her fucking props (which she deserves)! This is just a fun CD that you don't have to think about too much. Like the music it's influenced by, this album is all about entertainment and getting out on that dance floor and shakin' that ass (watch yo'self). So go grab this album and immediately track to 'It's Alright', 'Playa No Mo'', 'Don't Say Nothin'', 'I'm Not The Enemy', or 'Batches' and taste a different R&B recipe. Since manstyle points are once again useless in a review like this, I give "Stranger On Earth" 3.0 womanstyle points. It's a good album, but it has it's flaws and definitely has room for improvement. Hey! Hey! It's just the first album though, she's gonna be around for awhile ya'll. Keep your eye on Lina for some time to come. [www.lina-online.com]

If this record is any indication of where pop music is going, then I'm happy. It takes a good deal of chutzpah to establish yourself as a hard rock band, but perhaps it takes even more guts to take that reputation to a more mellow and emotional level. Rock is, in its purest form, emotional. Few bands have been able to retain their rock sensibilities while delving further than angst on the emotional coil, and Incubus' "Morning View" teeters just at the border. If you've just recently discovered Incubus via their last album, "Make Yourself," then this album will be another lovely addition to your collection. But, for those of us who latched on around "SCIENCE" and "Enjoy Incubus," then we may have to adapt with a bit more hesitation. The rock of the early Incubus triumvirate is dead. If you're still longing for the earlier, edgier sound, then songs like "Circles", "Under My Umbrella", and "Have You Ever" are your best bets for "Morning View." Mr. Boyd still throws out intellectual "tangerine of multiplicity"-like lyrics on "Circles", where life's "existential carousel" throws us for a loop, but lyrically, the album lacks the outré ingenuity of Incubus' previous efforts. The overall gamut of the album's vibe is no longer as aggressive as before: There's lamenting of human nature (the measured "Mexico"), petulant romantic repose ("Blood on the Ground") to content yet hopeful confusion (the waltzing "11 AM", the suffering "Echo" and "Nice to Know You"). As a whole, Incubus seems more mature and comfortable, their So-Cal aging issues bleeding bleeding through beautifully on their funky "Are You In?" and the acoustic, Zeppelin-broken "Just a Phase." Singer Brandon Boyd even goes as far to ask "What's so wrong with being happy?" on the melodic "Warning", which is destined for adoration among the elders of the TRL tribe. Incubus is still unique: They've become raisin nuts among the soggy pop corn flakes and the crunchy almond clusters. The musicianship of the band has never been more impeccable: The Earthy tempos conjured by drummer Jose Pasillas and DJ Kilmore fizzle and carry the album's undeniable charm. The fanciful and gorgeous "Aqueous Transmission" makes up for the album's prior saccharine earnestness by obtaining an almost Zen closure- It's the only track on the album I've instated on "repeat". This is Incubus' most humanistic and sweet album, and it is irrefutably catchy and calming but, sadly, not very addictive. [www.enjoyincubus.com]

Got brass... in pocket, so I'm gonna make you, make you, make you buy this Pretenders cover album... Okay, if you didn't get my reference, then don't sweat it. BeautifulGarbage is the newest album by the seminal proto-pop band Garbage, their third album to date. Garbage scoffed at all the critics with an excellent sophomore album, "Version2.0" and has continued sowing a great fanbase, largely because of the undeniable sexiness of front woman Shirley Manson, also of Angelfish. Understandably, this great fanbase was clamoring for this new album, and I, being part of the fanbase, bought it today as soon as I could, and spent many a winding, out-of-my-way road listening to it. My conclusions leave me disheartened, I hate to say... beautifulgarbage starts with a bang: Songs "Shut Your Mouth" and "Androgyny" tackle the ears like an ocular dominatrix. These songs boast seamless production and a more techno-y feel without loosing itself behind Shirley's Scottish purr. Garbage then show their hand in "Can't Cry These Tears", which latches onto doo-whop and Billy Ocean, moving around like only the best pop songs can. You must fight the urge to replay it when it's finished, it's that catchy and through its antique rhythms almost cataclysmically unique. "Til the Day that I Die" is obviously a salute to Chrissie Hynde, but since I don't care for the Pretenders I didn't really embrace this song fully, nor did I particularly do much but wade in the tear-jerking "Cup Of Coffee", which was not so Chrissie Hynde as it was Susana Hoff's "Eternal Flame" lament, but both songs were catchy and quirky in their own way. Mr. Vig, who usually gets heavy-handed with the glossy coat of production, seems to only daub at the edges of "Cup of Coffee", so it comes out a bit more heartfelt, but I couldn't help feeling as though I was hearing someone's high school poetry. The avalanche of "eehh, it was okay" songs suddenly climb into a mountain-top, where Ms. Manson is snatching sexual entende and undertone and lying it out for you in the thrash-core pop of "Cherry Lips (Go Baby Go)." Blondie would be proud, and this song is genuinely fun to listen to, as though you're back on the water-skis with the Go-Go's. "Parade", the tenth track, follows a similar mood but without the infectious chorus or bounce-on-your-bed energy. Then Shirley's obvious sadness with everything, which was painstakingly posted on the Garbage web site throughout recording, decides to float on its back through the rest of the album. The only standout is "So Like a Rose", which is a beautiful and shimmering portrait of the beauty of pain. "Drive You Home", "Breaking Up the Girl", and "Nobody Loves You" carry the album, but not in a flattering way... They are like the the cousin you have to be nice to, who's not a bad person actually, but that you simply don't want to socialize with unless you must. Garbage has made a pretty good album, even though Shirley seems to think she's in the Pretenders, she does surface a bit with her old self in "Untouchable." It's a tribute to the 80's, the 50's, and the future. Garbage has grown melodically and they've gotten older, as they've slowed down a bit since their debut album. This is a good effort, especially for their third album, and it must be admired that they didn't stick to what they knew. By changing their sound's direction to a more treble path, Garbage may open themselves up to more obscurity, rather than suddenly go superstar like Incubus. All in all, a good record, a concert-worthy record, but I'm not buying the T-shirt, because, by the sound of the lyrics and production, Garbage is starting to feel the pain of fame, and I'd rather not indulge their aches, but the album rocks in a way lots of music today is incapable of doing, so I recommended it. [www.garbage.com]

This review is written strictly from a fan perspective. If you're not into bio-mechanical metal with a drummer who isn't human, don't buy the album. Take a listen first. I would safely say from a few times through it that every song is good on this release. The "Back the Fuck Up" track could be done without, but the ">>" button on my CD player isn't that far away. They went all out with the production, being one of the most tightly mixed albums I've purchased in a long, long time. I'm a fan of this mix job more than "Obsolete's". The album is much more bass heavy than previous releases. The click of the bass drum is still there, but there's a little more punch this time, which is important in my opinion to music like this. So you could say they've abandoned the traditional bassless style of metal mixing. The drummer is even faster this time (can you believe it), and the singer's choruses are even more melodic, not as stagnant and simple as "Obsolete". The title track, Digimortal, sort of sums up the entire album. It's got the mechanical drum grooves with the speedy double bass, and the unexpected jump into melody that FF is famous for. The band hasn't changed for anyone, which makes me happy. Harmony flutters through the entire album, and there are several tracks that make a call back to "Soul of a New Machine" for sure. All the songs contain the traditional FF stucture with breaks where they need to be, and cool riffs worth playing for fun. There's even a little more keyboard work in this release making it a bit more futuristic. If they are still available, get the Digipak to get the extra four tracks. It's worth the search for "Dean Man Walking". Being a fan of Fear Factory, and having high expectations of this release, I would say it's a great CD for fans, and people who liked the new single would enjoy it as well - a very solid 4.0 manstyle points. [www.fearfactory.com]

Something has happened to The Eels. When I first listened to Souljacker (released Sept. 24th internationally) I thought to myself "What the hell is this!?" Aside from frontman E obviously having gone crazy and grown one hell of a beard, where was the style of music that I had grown to love from The Eels? Where were the intensely introspective lyrics? Where were the songs that were so quiet that I thought E was going to bust into tears. Or the songs that turned the whole feel of the album around and left you with an uplifting feeling instead of the dark almost morbidness that permeated the album. These factors were not present, and I was a bit ticked. But that was at first. I was calmed down a bit when I heard "Woman Driving, Man Sleeping" and "World of Shit" (and even "Souljacker (Pt II)"). They seemed to play off the old Eels sound. I put the album down for a few weeks and thought maybe some distance between us would be the best thing for this relationship. Even Daises Of The Galaxy, though upbeat, had a bit of an overall darkness to it.. a concept record almost. But this new album, Souljacker, I just did not understand. Then it dawned on me. The Eels are having fun.. and they are having it with some heavy guitars. Maybe that's a bit of an overstatement but this album is definetly alot more guitar intense than any other previous effort from them. The first single "Souljacker (Pt. I)" sums up the feel of the album almost perfectly. The guitars are heavy and in front, the lyrics are catchy but somewhat silly. Even the way the vocals are treated in the recording is kind of fun and light with the hyper-pitching of E's voice on the "oh yea!" 's. So after having some time apart from Souljacker I've rekindled my love for the Eels. I always knew they were goofy guys, but it never seemed to show so much in their music. Where Electro-Shock Blues was a slow painful ride through E's personal life, and Daises Of The Galaxy was his emergence from that dark place, Souljacker is E's way of showing that everything is okay and it's time to have some fun. The album is full of little quips of stories written to entertain, and from time to time.. rock you. The album starts off with "Dog Faced Boy" where E screams "Life ain't pretty for a dog faced boy." Truer words were never spoken (he even mentions his incredible beard). The high points of the album continue with "Fresh Feeling" where The Eels delve into sampling, and sample... themselves. The string arrangements were compiled from the Daises Of The Galaxy sessions but stand out as completely unique. "Friendly Ghost", "Teenage Witch", "and "Bus Stop Boxer" all tell the tale of some random unique individual. "What Is This Note?" ends the album, and in a seriously odd way. Definetly one of the strangest Eels tracks to date. Overall, I'd say it's nice to see The Eels in high spirits. I will, however, say that it took some getting used to. Electro-Shock Blues will forever remain in my Top Ten list of albums, but Souljacker would be an honorable mention. [www.eelstheband.com]

The Dismemberment Plan surprised alot of people last year with their release Emergency & I (Desoto). Aside from the critical acclaims and the opening slot for Pearl Jam on their European tour, Dismemberment Plan really made a mark for themselves. Typically a band would crack under the pressure of such success and follow it up with an album of predictable crap. This is, fortunately, not the case with the latest release from The Dismemberment Plan entitled Change. The album is, as the title suggests, a subtle Change from their earlier style. This album seems more mature in it's songwriting style. Where Emergency & I told stories of experiences and observations, Change is more introspective and personal. The beginning track "Sentimental Man" starts the album off with the lyrics "There's no heaven, and there's no hell." Frontman and lead writer Travis Morrison continues to look inwardly throughtout the album on songs like "Time Bomb", "Following Through", and "Superpowers." However, the bands nack for writing stories through song hasn't been lost, as is evident on the closer track "Ellen & Ben" - which is quite reminscent of the way all Dismemberment Plan albums end, with a song that just screams to be played out for hours on end in concert. Other songs like "Pay For the Piano" lyrically have the mild introspective feel that most of their songs do, mixed with some sort of observation on the world. But what about musically? It's nice to hear that lyrically they haven't lost it, and have in fact probably taken their skills to the next level but does this album compare to the aforementioned critically acclaimed Emergency & I? I can honestly say that, in my opinion, it most certainly does. Any Plan fan who is familiar with their musical history can see the trend of them relying less and less on crazy sounds and samples and more on interesting rhythmns, harmonies, and overall flow. (Sure, they put out the single "The Dismemberment Plan Gets Rich" that had more insane samples than any other song they've done, but that one didn't make the album.) Songs like "Time Bomb" use subtle off-key harmonies that fit the mood of the song perfectly. "Following Through" creates an easy going flow that begs your head to nod. Whereas "The Other Side" and "Secret Curse" get you a bit more pumped up. These descriptions may sound a bit cheesy (okay, overly cheesy) but thats the simplest way to describe the way that this album pulls you in. It is as if the group has gone from being a hyperactive six-year old to being a concerned adult. Not to say that the album is boring, but it's not as kitschy as the previous, mature is the only word that captures its essence. Change is a shining example of a band growing and improving by leaps and bounds throughout their career. If they had an A&R agent, I'm sure he'd be proud. Overall the album isn't as intense or humorous as the previous efforts, but the subtle harmonies, catchy lyrics, and overall flow of the album set The Dismemberment Plan up to be among the list of "Underappreciated Indie Bands Of The Year." [www.dismembermentplan.com]

With hip-hop today in state of complete disarray, it's nice to find album's like Dilated Peoples "Expansion Team". DJ Babu with the help of Beat Minerz, Alchemist, and DJ Premiere, among others laid the foundation for Evidence, Rakaa, and guests to put down some of the freshest rhymes and verses I've heard in awhile. From the first track, 'Live On Stage', you know Dilated Peoples don't come soft. I mean this isn't that crappy gangsta rap, it's just hip-hop in its truest form; a kick ass DJ and two talented MCs. While you may have heard similar albums from Jurassic 5, The Roots, and The Alkaholics, Dilated isn't just another "underground" clone. Spend some time with this album and you'll realize the orchestration of the samples, scratches, and verses throughout this collection of tracks. I'd have to say the formula on this album was perfected on the tracks 'Clockwork', 'Proper Propaganda', and 'Panic', however every track offers something that the others don't. Dilated Peoples also play with some abstract arrangements with their interludes on this album, especially in the 'Phil Da Agony Interlude' (possibly my favorite track of the CD). Overall, this CD brings hip-hop to another plateau and it's up to the next group to take it higher, but they have to compete with Dilated for the crown now. I would like to see some more experimentation and tracks that tackle the ideas developed in the interludes on the album, so I can't give the album a "brilliant" score, but this album definitely deserves every bit of 4.0 manstyle points. [www.dilatedpeoples.com]

Have you heard Cursive? Chances are you probably haven't, and that is why you are missing out. Even though the band has been around since 1995, I had not heard of the band until just recently. Burst and Bloom is the band's latest release, and although I have gone back and listened to all their old material, I still think it is their best material yet. The EP starts out with the amazing song "Sink to the Beat," which sets the mood for the whole album. I don't really know how to describe their sound, I guess if you had to pick a genre you would say indie rock, but it is so much more than that. The band features the agressive vocals of Tim Kasher which remind me a lot of At the Drive In mixed with with a less aggressive Daryl from Glassjaw. The music itself is also great and features a wide range of styles all rooted in rock. Another noticeable musical presence is that of cello player Gretta Cohn who plays on the album. This is a new addition to the bands songs, and the cello adds a nice touch to the music without distracting you from the overall musical scope. I am really impressed with Cursive, and the Burst and Bloom EP in particular. I give this album 5.0 manstyle points, and really hope you check it out. Once again, this is another album that has given me a nice break from the crap on radio and all the rap/rock releases that have been coming out lately. If you are looking for a new band to get into, be sure to check out Cursive. [www.cursivearmy.com]