Riffing through much of today's popular sounds, Angelique trots out a set of tough-chick tunes enveloped in a cocoon of electronic excess. What emotional impact or thoughtful content that might have been gleaned from lyrics is washed away by a surfeit of noise.

Unnecessary noise, really. The songs aren't great, but they're a lot better than the backbeat trip laid that is laid underneath them. I'm not sure when producers and artists will realize that when you use the same rhythm track as everyone else, eventually folks get bored. Even U2 is coming to grips with this notion.

Angelique sounds like she wants to be an electronic Sarah McLachlan, or at least an electronic Liz Phair (I differentiate the two by level of polish, not material). But there is simply too much "other" here, and not enough Angelique. She's hidden behind the trickery, her thoughts lost in the waves of generic beats. Even on a catchy little track "Rose Colored Glasses", the music eventually peters out into a tsunami of tedium.

I know, I'm the person who called Natalie Imbruglia unlistenable. Pop culture creatures will want to take my opinion with a pillar of salt. This disc is somewhat different than the Imbruglia one, though, as Angelique wrote the songs and played a big part in the orchestration. It's her own damned fault she can't be found on this disc. Simple as that.

The more acoustic side of gothic music. You know, drawing more from European folk music than showers of gloom and doom. In fact, the songs often sound like they're constructed in round format (you know, "Row, Row, Row Your Boat"). Though without actually kicking into the rounds most of the time. I'm hoping that makes some sense.

Pretty and haunting, which I figure is what the folks were going for here. There are electronic elements (particularly synth strings and a sort of synth choral accompaniment), but the sound is generally organic. contemplative and free-flowing.

The first six tracks are studio recordings, and the last three are live tracks. The main difference is an emphasis on vocal work in the live set. And the voices are more than up to the challenge. In fact, I like that sound better than the studio.

Music that would fit right in at a renaissance fair, but don't let that scare you off. This project is more than accessible enough for year-round listening.

Dreamy power pop from across the sea. With the advent of Semisonic and the full-fledged popular acceptance of pop music (at least for the moment), the Candyskins sound like they're ready for the big time.

Thoroughly punchy production kicks the tunes out one right after another, though this power is somewhat offset by languid pacing within even the uptempo songs. You know, like the Posies without sounding much like the Posies. I've got a feeling I'm just not making myself clear at all...

What this does sound like is Semisonic, without cribbing excessively (can you really steal anything when it comes to power pop?). And since Semisonic does its best to sound like a Britpop band, I guess it's only fitting that a Brit band comes along to lay proper claim to the sound.

One of a million doing it, I know, but the Candyskins do it well. The songs are delicately written and then bashed out with a certain fury. A number of sonic paradoxes, all of which makes for good music. Which is what anyone will find on this disc.

I know it's just a function of the press process, but I have been getting a lot of albums which feature Steve Smith on drums. I'm not complaining about that. Smith is not only talented, he manages to make highly technical drumming actually sound interesting (having grown up with a brother who's a drummer and having heard many of his drummer friends, I know the difficulty involved). He's joined here by Larry Coryell on guitar and Tom Coster on keys. A nice fusion trio outing.

Most of the tunes also have some fine bass work, mostly by Benny Reitveld, though Victor Wooten plays on the first track. All that is secondary to the interplay between the members of the trio. No one instrument dominates throughout, though solos are passed off in most songs.

Coryell has a nice touch, able to rip off some nice speed runs and still impart a bluesy feel. Yeah, this is a jazz record (vaguely), but his down-home sound is more than welcome. Coster's keyboard work comes straight out of the prog field, though he also keeps a light touch to his sound. Smith simply does what he does, adapting perfectly to the needs of the moment.

A nicely varied outing, great playing that really connects. These guys know how to connect thoughts to notes, and they have the skill and experience necessary to make the music relevant. Well-conceived stuff that sounds good. Not nearly as easy as it sounds, my friends.

There's Melissa Etheridge, Jewel, Ani DiFranco and a whole host of rockin' folky rock singers. Women, of course. Mary Dolan is one of those. A woman, I mean.

Can I start over?

Alright, so what Dolan does is sing impassioned songs, sounding a lot like Janis Joplin (or Etheridge, or whatever). Not so ragged, more of a practiced voice, but husky when she wants it to be. She's got three songs with lyrics by Bernie Taupin and a nice backing band. The songs have a nice lilt to them, even though that lilt often lurches into excess from time to time.

You know, like Vonda Shepard does when she's singing some syrupy oldie on Ally McBeal. Dolan doesn't seem to have any other way to really get down but to lapse into voice hurling.

Apart from the unfortunate dips into anthemitis, Dolan does a good job of presenting her ideas and her voice. She does have a nice range, in general, and she has plenty to say. I'm still not sure how she's gonna jump out from the ever-enlarged pack of singers practicing her particular sound, but at least she does the trick well enough.

Kinda like the Clay People, though more into the metalcore and more restrained. The musical carnage goes on somewhat behind the veil. It's audible, but not really cranked up.

And while it's a bit disconcerting at first, I really hooked into the style. I like the "throttle back" maneuver loads. Drown's songwriting style works very well with the sound, utilizing a basic, sparse beat structure and lean riffage. Plenty of rap and electronic influences, but basically this is metalcore dressed up in fancy clothes.

And that's just fine with me. Instead of emphasizing silly hair dance moments, Drown chooses to hit on things that really matter. Like ideas. Addictive and far too tasty to ignore. If you want to figure out for yourself how Drown does what it does, check out the cover of "Kerosene". It's not nearly as over the top as the original (one of the faves from my college days), but it is impressive nonetheless.

Well, consider me a fan. It's so easy to fuck this sound up, I'm always amazed when a band is able to sling it out so well. And really, Drown has everything down pat. Well thought out, with superior execution. Product of a Two Faced World is a truly fine accomplishment.

The music is certainly trans...fixing. Ebeling Hughes (that's Bob and Chuck, respectively) works through many different moods, from sparsely populated minimalist gems to shimmering, flowing symphonies.

All done with deliberate motion and finely-crafted accumulation. These are not the warblings of some spirited garage band, but the fully-constructed dreams of two guys. Always gorgeous, no matter the particular sound.

There is no adherence to any particular theme. Ebeling Hughes simply wanders wherever the muse might lay, and I'm happy to skip along behind. The lyrics are that rare example of simple words expressing complex ideas.

Simply a wonderful experience. Contemplative and intriguing, the music doesn't let go until the final note sounds. Can't say any more; I want to go back and listen.

The thing I like most about the current electronic trend is that some folks use the technology to do some seriously innovative beat work. For me, the percussion is the key, particularly in electronic music. As he has shown innumerable times, Alec Empire "gets it".

He cycles through a number of styles on this disc, though all of them fit the hardcore notion, more or less. And each song presents a wondrous exploration of the furtherance of the groove.

I love dancing to this shit. When created by a master like Empire, beats can be interpreted many ways, at different speeds and different moods by different people. Makes for a chaotic and exciting dance floor. Each track here is something that would draw me right out into the fray.

When he recorded this in 1996, Empire worried it might be too much. Well, it sounds just great today. and that's all I'm gonna worry about.

Sounds a lot like Chemical People, except for the odd ska undercurrent. Not quite a full skank, mind you, but enough of the horns and back beat to add some flavor. A good way to use the feel, if you ask me.

And the rest is power punk pop. Thick in the harmonies and tight in the hooks. Real enjoyable, nice kick back and smile music. Or, if you're so inclined, nice party tuneage. It's adaptable that way.

At times the slow intros are a bit pretentious, but once the songs shift into gear, I'm not complaining. Good stuff, the sort of thing no one need apologize for. Ever.

Hey, basic works. for me just fine. Fiendz Cole don't do anything particularly innovative, but the fundamentals are solid. Good work, indeed.

Metalcore grooves with the edges shaved off. Sounds kinda like Living Colour at times. And that's a sound I don't expect to hear every day.

Yeah, so it's arty loud stuff. Finger Eleven likes to crank up the noise often enough, but there are lots of strange little bits dancing around the edges. The slightest hint of a Bowie influence (that would be late 70s) in the quieter moments. Perhaps. I can't quite put my finger on what I'm hearing.

In any case, the band manages to craft some nice songs. And despite the volume and intent, these songs are highly planned. Lots of hard work, and not all of it erased. I can hear the band trying every once in a while. Maybe it's a slipped fret or the slight shift of the groove from tight to deliberate. I never like to lose the illusion.

Still, fairly good stuff. Not exactly my sort of thing, but Finger Eleven is in the right ballpark. Lots of good ideas and a good work ethic should only lead to greater things.

Reminds me a lot of those late 80s glam metal albums, even though Fleming's music is a lot more early 80s Pat Benatar style. Anyway, the stuff is technically correct, but played without any passion. Fleming's voice is pretty weak, and she doesn't push it. The result is songs that don't really click.

She can toss off the lyrics, but she can't belt them. and when you're dealing with material this lightweight, you've got to give it a bit of a ride. Inject some personality. Work, in other words. I can't hear it here.

I think that Fleming is trying to play some sort of blues, but the soul dropped out. All the notes are in the right place, but they don't sing. And Fleming's personality isn't enough to drag the stuff out of the hole.

Free jazz? New age soundscapes? Strange stuff? Yeah. All that.

Forever Sharp and Vivid is David Castiglione (reeds) Chris Massey (percussion) and David Torn (guitar and assorted effects). As that lineup might tell you, the sound is mostly acoustic. Although there are plenty of tiny bits sprinkled in here and there.

The parts I don't like are the ones which can most easily be identified as new age. The overly-languid openings, with excessive cymbal rolls and the like. That stuff isn't necessary to introduce the fine sound. But the songs generally explore, and I like many of the journeys.

I still have to say that Dirty Three does this best (substituting a violin for the reeds, of course). Forever Sharp and Vivid takes the road more traveled more often that I would like, but I'm still around at the end of the trip. And happy about it.

I'm beginning to get the idea that the shiny happy pop days in the U.K. are beginning to wind down. Gomez has written songs which could easily have been interpreted in a power pop format. Instead, the members decided to got he other way, drawing on lots of folk and country roots, with more than a little dip in the psychedelic tank.

A low key (and often acoustic) My Bloody Valentine, perhaps. With as much reverence for Jefferson Airplane, the Dead and Exile on Main Street as anyone should have. Indeed, my only real complaint is that the band wallows a bit too much in the moment and doesn't move on at appropriate times.

But it's hard to complain a lot about such an effective album. Gomez has taken the last 30 years of rock and spun it down into this sound. That there are so many points of reference so deftly presented is a credit to the band. And that the band doesn't resort to cheap hooks to make its point is refreshing, considering what's going around these days.

And while Gomez never really gets the bash machine moving, the points are accepted nonetheless. Most definitely worth many listens.

Tortured pop music which brings to mind the excesses of June Panic or the Brian Jonestown Massacre. Stuff that I listen to an awful lot.

Vocals which don't really find the melody lines, meandering lyric thoughts and slightly-off kilter tuneage. This is a recipe for disaster, but in the hands of someone truly insane it works out. Much of the time, anyway.

And near as I can tell, the Laces is mostly Doug Kabourek, recorded at home to four track. Obsessive, yes, and not particularly detail oriented. Some really wild music. Mainline emotion, with not much lost in translation.

I'm simply a sucker for idiosyncratic pop stuff. It's not commercially viable and most folks might compare the Laces to a dog howling in pain (well, maybe not something that severe). But no matter. I happen to like the sound of a soul being bared.

My favorite Posies soundalike band is back, even if only with three songs. This CD single is from the U.K., so you might not be able to find it right away. If that info makes any difference or not.

I like the Posies (which you probably knew) and while Libido is a complete rip-off (this is objective truth; even the harmonies are identical), I still like the stuff.

Solid. There is a cover of Kate Bush's "Running Up that Hill" which is more than a bit overwrought, but the single and the third track sounds good to me. I guess an album is forthcoming. Bring it on.

A steel pan jazz album. You, know, steel drums. I know you know what I'm talking about here. Anyway, Narell (who is also a member of the Caribbean Jazz Project) does a good job with what to my mind is one of the more limiting instruments in the world.

Yes, it takes a good amount of skill to play the steel pans well, and it takes an obscene amount of dedication to do what Narell does, but the fact remains that steel pans are not versatile. When I hear them, I always get transported either to New York (where they are played by some street musicians) or some tropical isle.

The only way to combat this is to utilize some skilled sides. Narell is usually joined by a percussionist and a pianist, and he allows those players to do the attacking work. There is simply no way to make a steel pan give off a terribly percussive sound. That would require damaging the instrument.

And despite the weakness I described, Narell has created an enjoyable album which doesn't always bring thoughts of some deserted island. Almost by definition this is accessible, but Narell's skill and artistry are more than enough to endow this album with the enduring mark of quality as well.

The Notwist likes to start its songs off with unusual sounds. Sometimes a scratchy beat, sometimes an emo-style instrumental lead-in. Almost always, however, the basic song itself is a bit more mundane. Kinda lounge-pop with a kick, though the more intriguing elements usually loll about in the background.

I'm not sure what purpose of the explorations at the beginning of the songs serve, but then, this is a band whose liner booklet consists solely of extreme close-ups of a computer chip, shot in a blue duotone. Interestingly, when the song is an instrumental, the unusual styles persist throughout the piece. But when there's singing, eventually the creative elements of the song head a bit south.

Not too far, at least, not always. Like I said, the more creative elements do stick around, if only in a reduced role. But these intros are very inventive. Really good stuff. The sort of thing I'd like to hear comprising a whole album. That's not to denigrate the lyric content, really, but the instrumental moments on this album are brilliant. The rest is merely good.

If the Notwist can reconcile some of its conflicting impulses (and stick with the more adventurous ones), it might be truly great. Of course, very good isn't exactly a failure. There is so much potential here, though, I just wish the band had fully followed through.

Led by Donnie van Stavern (once of Riot, a band which was at once ahead of its time and too incoherent to quite realize its vision), Pitbull Daycare finds itself running through the increasingly crowded goth/industrial/metal waters.

This project, like Riot, never quite lives up to what its members want to do. Each song contains a number of rhythmic and melodic themes, dotted with the requisite samples. There is no concept of coherence at all.

And the sound is bad. Very top-heavy, almost a complete lack of bass. Part of this is by design (there is no full-time bass player), but part of it is simply a sloppy production job. This sounds cheap. A notch above demo quality, but not up to commercial standards. And I know these boys want to sell these discs.

And despite these flaws, there are some fine moments. But the band is unable to tie them together for whole song, much less an album. I can imagine what Pitbull Daycare wanted to do. I can hear it right now, in my head. But those sounds aren't on this disc.

When I got a call from Fat Wreck asking if they might send me the new Screeching Weasel, I responded with "Screeching Weasel is still around?" I mean, this band has staying power. While never hitting the big time, it has secured a spot in the pop punk pantheon of greats. Since first recording ages ago, when no one was buying this stuff, Screeching Weasel has consistently put out tuneful, fun records.

And no break to the streak here. The lyrics are as caustic and funny as ever, and while I'm sure the hooks are somewhat well-worn, I still salivated over each song. Oh, sure, you can hear the Buzzcocks and the Ramones all over the place. That's the point, boyo.

What's probably more amazing is that Ben Weasel isn't quite 30. I mean, he's not old, no matter how long he's been at this game. The music is as timeless as ever.

For the record, I also told the kind folks at Fat Wreck that I was happy Screeching Weasel is still a going concern. With albums like this, I think I'll be happy on that account for a good time to come.

Silver Jews doesn't record often, but when an album trickles out, a big ol' load of folks "in the know" get really excited. Comparisons to the Velvet and Pavement (yeah, yeah, I know...) abound, but what is really impressive is that Silver Jews has always been master of its own sound.

Like many Drag City concoctions, the Silver Jews is pretty much the brainchild of one person, in this case David Berman. But instead of obsessively recording each instrument and crafting a wonderful self-crafted album, Berman surrounds himself with talented bandmates (the only repeater has been Steve Malkmus, who appeared on the first album and this one, the band's third) and pounds out song after song.

Berman also doesn't like to stick to any one mood. Well, the first album, Starlite Walker, was pretty melancholy. But this album follows well in the footsteps of The Natural Bridge, which was a much more diverse outing. Silver Jews careens from moody wail (it's impossible to completely avoid that, I'm afraid) to bluesy howl. The band, as ever, has a wonderful consistency, intuitively bringing out the best in the songs.

An immensely powerful album. There is a reason Silver Jews albums attract a load of critical acclaim. They are great. And there's not much more to say than that.

A duo, yes, but with the names of Tomkins and Taylor. Doesn't sound as cool as Sutcliffe Jugend, I agree. As for the music, well, it's on the edge. Squalls of electronic disturbance (like the less hectic moments of Merzbow) and truly disturbing screeched vocals. Misanthropy has a new champion.

You know, like American Psycho kind of stuff. Each song is a detailed description of torture and, occasionally, murder. Not the sort of thing to play while eating dinner with your girlfriend.

If "Darling Nikki" apalled Tipper Gore, I think this stuff might make her apoplectic. Even I'm a little concerned about the sanity of the boys. I'm struggling to find the redeeming social value in these songs.

Ahh, why try? I do like the sound, nice and violent. And I guess the lyrics simply express what has always been in the music. Intense and cruel, inutterably mean. Sometimes that's just what it takes.

What might be expected from an ambient album on a major label. Fairly decent soundscape work, but when it comes to the beats, well, just basic does it.

Flipper Dalton is the man behind Twelvetrees, and he creates some really lush sounds. He does have a penchant for using a variety of chant singing styles in the backgrounds (some vaguely American Indian, some middle eastern, some, um, other). All very nicely done. And a little bit tame.

I want to hear just a little bit of experimentation. I want to hear Dalton stretch himself. Even a little bit of unusual beat work might pull the trick. But at the moments where Twelvetrees just might say something, the music always lurches into the mundane.

Nice background music. And I don't like my music in the background. This is missing that extra bit of oomph.

A host of stuff licensed from One Records in England. Like, say, Primal Scream and St. Etienne remixed by the Chemical Brothers. Actually, there are six Chemical Brothers remixes, and the other five tracks borrow heavily from the big beats laid down by Rowlands and Simons.

And once again, my favorite kind of electronic music, stuff which relies on innovative beat work. Rather than using a drum machine, most of the tracks here are sampled and reassembled, leaving the sound somewhat more organic.

The sounds are so similar that it's hard to distinguish one act from another. It all sounds like lesser Chemical Brothers work. Still good, but without the highest spark of genius which characterizes the real thing. Remixes are nice, but not the best part of the story.

A pretty cool collection. If you're having troubles finding big beat stuff in your area, chances are this puppy will be in stores. And maybe it will lead to greener pastures.

Alright, this is high concept. Pulp Fiction dialogue and songs reworked in a cyberpunk context. For example, the "Royale with Cheese" segment is reworked into a discussion of German music terminology (industrial vs. electro body music, etc.). The music is typical Reconstriction fare from the likes of 16 Volt, Society Burning, Christ Analogue and many more.

The spoken parts sound a little hokey. The folks aren't great actors, and they overwork the stuff. Though I did like the Gibson-esque patter. An interesting interpretation.

And while some of the music sounds like rote walkthroughs, Collide's take on "Son of a Preacher Man" is thoroughly original. I still prefer Dusty myself, but this is complete makeover.

There are a few glitches. Some songs get done twice (including "Girl, You'll Be a Woman Soon", which was already a cover on the soundtrack), and like I said, some of the stuff isn't particularly overwhelming. Still, I like the idea, and in general, the execution. I don't know what inspired this, but it sounds good to me.

More tunes from the Kk roster. This time, a set of remixes. Lots of hard techno, amped up for your dancing pleasure.

I'm not the biggest fan of faceless techno compilations. And while the stuff here is better than average, it doesn't have the stamp of individual vision. These songs do not relate to each other, except that they're all here on this disc. And that's not enough for me.

If you like going out and buying loads of compilations, well, this is one you might want to consider. Personally, this is all a little too disconnected for me. Give me an album by a single artist any day.

Most of the trendy names are here. There's Big Bad Voodoo Daddy (of "Swingers" fame), Cherry Poppin' Daddies, Royal Crown Revue (not to be confused with the rockabilly Amazing Royal Crowns, who recently had to change their name), Brian Setzer Orchestra and more.

And still, all I can think of is Artie Shaw, who laid down his clarinet more than 50 years ago (never to pick it up again) because he was tired of playing this music. An extreme reaction to artistic frustration (imagine Eddie Vedder deciding he'd rather sing opera, and then chucking music altogether to write paperback novels, and you might begin to understand), but I can dig it. In the end, this music has no soul.

Dance music can have soul, of course, but for a sound which was greatly influenced by jazz (some consider it jazz, and that's just not right) and blues, even Glen Miller's stuff sounds considerably lightweight. Today's swing bands bring some of the worst elements of rock music into the sound (even more pat song construction, for example) and everything suffers.

I'll be the first to admit that I'm tired of the swing craze. This stuff was the equivalent of Madonna and Whitney Houston fifty years ago, and it is music dumbed down for people who don't really like music. This collection is just a cheap attempt to cash in (I mean, I know that's what major labels do, but still), and another layer on the house of cards this trend represents. One day, swing will disappear into the sunset once again. And the world will be safe for humanity once more.

An eight-track compilation (eight songs, that is) featuring stuff from recent Digital Hardcore releases. Like Atari Teenage Riot, Bomb 20, Ec8or and the Alec Empire reviewed earlier in this issue.

This is stuff is available, and while I'm usually not disposed to liking such cheap samplers (particularly one with so few tracks), the $1.98 selling price makes up for my concerns.

If you're at all interested in the hardcore side of the current electronic trend and you're not familiar with this label, then two bucks is a small price to pay for an introduction. I wouldn't be so positive, except that the stuff included is good, and the price is right. Enjoy.

Eraldo Bernocci. Bill Laswell. Mick Harris. I mean, that says a lot right there. Innovative beat work, creative bass lines and the best in spatial electronic programming. Ambient space dub, anyone?

Or something like that, anyway. The sound structures form in front of and behind the rhythm section. A constantly changing reality, moving in and around the solid base. Beautiful and alluring, sweeping in grandeur.

Best of all, there is no rush, no hurry. All things come in good time, and the Vevè project exhibits masterful self-control. Nothing excessive or self-indulgent, but revelatory instead. The songs just keep unfolding.

I just love the way Laswell lays down bass lines. He's able to adapt to any number of styles, and here he takes on Harris's beat constructions and fleshes them out. A most worthy endeavor.

The use of the old Stranglers song as the title of the album is, of course, a double entendre. Cute. The music inside is basic power pop, with some Replacements-style punk sloppiness added in for flavor.

Overproduced, though not as bad as many major label projects. There is too much bass in the mix, lending a bottom-heavy feel to the songs. These are pieces which need to be bouncy, and they're weighted down by the mix.

As for the stuff, well, it's decent. A notch above workmanlike, but often a nice pop song gets worked into an overwrought anthem. A band called Wank thinks it's going to make some great statements about society? Come on. If that was the intent, the guys should call themselves The Starr Chamber or something.

I think there's a nugget of something good here. But in the attempt to produce a mega-seller, the band lost the soul of its songs. An old story. Of course, if you want to sell a few million, your soul is the first thing to go.

On the techno side of electronic music, with lots of beat manipulation. In fact, the beat's the thing here, and all of the overlays just that. Secondary notions which dress up the overall picture.

And boy, what beats. Not slammin' stuff, but fast and furious all the same. Yellowcake (a guy with the quaint name of Spartaco Cortesi) specializes speedy beats, with lots of flourishes. As other reviews in this issue have revealed, I like polyrhythmic dance music. Mainly because I can always find some way to be on the beat. Even if I look like I'm suffering from a grand mal seizure or something.

Cortesi adds brushstrokes of techno melodies and some ambient sound as well. But he never forgets what lies at the heart of his compositions: the beat. And the beat is paramount.

A treasure trove of creative rhythms. The rest of the package is just as solid. Yellowcake is a real find.