Primitive--Soulfly.
4.33 out of 5
A LOT heavier, and a LOT more focused than the debut. They are carving a niche that is highly addictive. They have recorded one of the few hardocre albums that I have ever rated so highly. Not only do they excel at the basics, they have added tribal percussion and other instrumentation which adds depth and character which sets them apart from the rest of the crowd. There is even a beautiful piano ballad "Soulfy II" and some Hip-Hop as well.
The sincerity and honesty of the delivery is phenomenal. Anger is such a cheap emotion, but what vocalist Max Cavalera delivers is a passionate sense of frustration at both the apathy and injustice running roughshod over Western culture.
I still am in awe of their live show, and THIS does capture both the energy and shifting dynamic of their live presence both with the studio work and the live bonus tracks.
This is defintiely not for the weak-willed, but if you've ever nodded your head in traffic, then I bet you'll dig this. If you're trying to figure out the steps from "Oops, I Did It Again" then fuck off, you don't deserve to even read this.

Songs From An American Movie: Vol 2: Good Time for a Bad Attitude--Everclear.
3.25 out of 5
Ah...I am glad they're back.
This IS a little Pop-py, and in some places Art's lyrics seem a little forced, but fuck they know how to pump out great high-energy pop songs like no one else. If you're a fan, you probably alreay own this, and if not, it's a pretty safe bet for something you'll like.

Parachutes--Coldplay.
4.99 out of 5
I am so in love with this record on so many different levels. It is so melodic and so vital. It is REAL. The emotion present gushes from all around you when you listen to this. The music is exceptional, and the production is flawless. 20 listenings and even I can't think of a single thing to change. The composition matches the thematic concept so well, and the sound is engineered so damn well. OMG... I am such a fan-boy. The only thing keeping this from being a "5" is that it is just a pop record. A fucking brilliant pop record, but doesn't push much except in the way of emotional verite (which is off the scale).

Mission Accomplished--Tricky.
3.50 out of 5
Four-track EP from one of the masters of Trip-Hop. Organic, and some almost…egads…Hard-core elements. Pretty fun stuff, but without more material it kind of loses the impact. I like it but am left wanting more, which I guess is a good thing.

Hybrid Theory--Linkin Park.
1.25 out of 5
First time through--pretty boring...wanna be deftones. Not even good enough to be a wanna be LB.
Second time through--God this is such incredible horseshit.
I went to Live 105’s web page to see what I was missing in the cultural coma that is Sacramento, and these guys had two tracks in rotation. I figured "okay, this should be a safe bet".
Shit, I pity those of you in the Bay Area. This is the biggest load of uninspired bullshit I have heard in some while. The Backstreet Boys trying to cover 311 and Rage.
Fuck! this record absolutely sucks. “One Step Closer” hits...kinda…as does “By Myself” but the rest is so fucking offensive I would hope that you have napped these tracks to avoid the probable brain rot that the rest of the album will cause. My IQ dropped 10 points while writing this, so be forewarned.

Statement--Nonpoint.
3.95 out of 5
Hmm…when I first heard this the bad taste in my mouth from Hybrid Theory kind put me off. This is actually much better on a second listen.
Without the recent swell of hardcore on the airwaves, these guys might be pumping gas in South Florida; however the album does rock like a like a mother-fucking hurricane, and I would highly suggest picking it up.
They are tight as shit, the vocals kick ass the bass lines are chewy enough to make you want to floss when you’re done and the guitars run up and down your legs like a drunken frat boy, almost pulling you up off the couch to start thrashing. I had to stop typing this several times because I was banging my head so frequently. They beat the shit out of you harder than Pantera, AND can write songs that are under 6 minutes.
There is absolutely NO BULSHIT on this at all. The composition is pretty much straightforward hardcore, and so they do lose some points on creativity, but what they have produced is so very well executed and exceptionally focused that I have to give it up for them. I would expect that you’ll hear a LOT from this record as the year unfolds, and it most likely will survive onto the top ten at year end.

Dummy--Portishead.
4.50 out of 5
Coming out in '94, this must have caused quite a ruckus. This is pretty amazing. Kind of an "Electronic" jazz/chanteuse feel. Several big hits "Sour Times", "Wandering Star", "Numb" and "Strangers". The rest is incredibly strong. Potentially an exceptional sex record. I Really, Really recommend picking this up

Holy Wood (in the shadow of the valley of death)--Marilyn Manson.
3.90 out of 5
Shockingly enough this hits...and I’m not talking about one or two hits. Mr. Manson seems to have grown up a little bit as a musician since I last visited him with “Anti-Christ Superstar”. The Irony of Manson copp-ing the intro Blur’s “Song 2” in “The Fight Song” just makes me want to say “woo hoo”. "Disposable Teens"…duh…fodder for pissed off suburban 14-year olds, but the song DOES hit. This album DOES display a lot more depth than on previous efforts.
The lyrics which are often poorly-crafted at least have a thematic depth and character missing with most other pop bands. Instead of merely inciting his critics with inflammatory rhetoric, he actually reveals quite a lot of personality in their exposition.
In my mind he is still a poor-man’s Trent, but on this record has made a serious attempt to grow beyond an image and evolve into a real musician. I am impressed with the results. There is little of the fill that cluttered previous records and I suspect that as I listen to this more that the rating will actually increase.

Designs For Automation--Snapcase.
3.75 out of 5
I really dig this, and have been dying for some quality "no bullshit" hardcore for awhile. The structure and energy on this are outstanding, and I highly urge all that enjoy a guitar-led assault to pick this up. The only drawback is the vocals are all run through distortion, and have little variation in phrasing which is kind of disappointing.

Turn 21--The Donnas.
3.67 out of 5
Pop-Punk reminiscent of a PG-13 L7 or a new-age version of the Blackhearts. I think this is what Veruca Salt wanted to be, but that damn "Seether" thing fucked them up.
The Donnas don’t try to be anything else than post-modern punk girls wanting to have a little fun. All the songs are hook-driven, and the album has a garage/DIY feel to it that is so refreshing these days. Punk didn’t used to be about appearance and street-cred ONLY. These ladies seem to have gotten the message, and taken it to heart. In a sea of tatted, pierced up morons that can’t write for shit, The Donnas provide a much-needed breath of fresh air. Punk traditionalists will scoff, and most classic rock oriented folks will be offended by girls that turn the tables and objectify men in return for 40,000 years of the same. But fuck 'em, they deserve it, and it IS a really fun record.

Hello Friends--Jack Dangers.
3.60 out of 5
For those unfamiliar, Jack Dangers IS Meat Beat Manifesto. This anthology of loops and other material for his "Tino's" side project is a strong backbone of bass lines and grooves that will get you up and dancing. It is not for everyone though as some of the thematic is a little abstract, but I thought it was pretty creative. The stuff at times has a really interesting Latin-inspired Hip-Hop feel.

2000 Years Of Human Error--gODHEAD.
3.33 out of 5
Industrial fodder neutered for 13-year old sensibilities. Slower, Harder Stabbing Westward. A plodding, poppy 11-track effort though “I Sell Society” “Break You Down” are not bad. A pretty interesting cover of "Eleanor Rigby" does break up the monotony. Too much lame-assed 3rd-grade “pity-me” lyrical bullshit, and kind of a whiny “classical” vocal delivery for me.
Some people never get that less is more. They sound like they could be capable of doing a lot more but in my opinion are putting too energy much into image and fitting a temporal niche than in creating lasting art.
So for now Fuck 'Em.

Vegas--The Crystal Method.
4.67 out of 5
Pretty awesome all the way around. Not for everyone. The beats are fat, the grooves are tight and the vocals shine and are non-intrusive to the rhythms. The unaccompanied version of Trip Like I Do, Busy Child and Keep Hope Alive. If you like to dance, and haven't already picked this up, go buy it.

Music For All Persuasions--Renegade Soundwave.
4.25 out of 5
Fat grooves all around. A DJ-remix compilation. Pretty good work. If you like beat-driven dance mix, then you’ll really like this. Most of the tracks are stand-outs, and most likely you’ve already heard these in a club near you (if you live in Europe).

The Best Of Trance: Volume One--Various Artists.
3.33 out of 5
Fodder for the most part. Bought it for "Insomniac" by Faithless and "You're Not Alone" by Olive both of which are pretty strong. Some other interesting tracks, but for the most part, it's pretty "blah" but good enough to listen to while chilling.

...An Education In Rebellion--The Union Underground.
3.50 out of 5
They look like some kind of fetish band, but sound an awful lot like post-modern butt rock. Part Powerman 5000 and part Alice In Chains. Music is not awful at all, but is far from brilliant. Most of the songs are hook-y enough, and there are several stand-outs including the radio single “Turn Me On ‘Mr. Deadman’”. Pretty one-dimensional, but I think that's also part of the production which is muddy in some spots. I do hear enough good in what they’re doing on this that a follow up may not be so flat.

Paloalto--Paloalto.
4.85 out of 5
After only one listen, I can only say two words: Pablo Honey. Except this is BETTER.
I'm not shitting you, this sounds like it was a lost set of recordings from in between PH and The Bends.
Nowhere near as creative as what Thom et al are doing now, but after only one listen this record knocked my dick stiff.
Swelling vocals, edgy driven guitars, and an overwhelming power that defies description.
If music is something that sets you free from the mundane reality of life, then THIS IS AN ABSOLUTE MUST BUY.
And for those sitting in stunned amazement that I'm giving such a blatantly derivative record such a high rating, you need to buy this and tell me it doesn't deserve the rating.

Chamber Music--Coal Chamber.
3.33 out of 5
Pretty hard stuff here. Industrial Korn. Tight composition, heavy guitars, thick rhythms.
Pretty fun version of Shock The Monkey with Ozzy doing co-vocals. Some Dog-Barking, but offset quite well with traditional vocals. Interesting guitar fills and leads. I’ve only given this two listens, but it did stick pretty well, and judging from the fact that none of the songs sucked enough to make me fast-forward, I'm sure that this will only continue to grow on me.

American Hi-Fi--American Hi-Fi.
3.50 out of 5
Traditional American power pop. One cool hit "Flavor Of The Weak" and some other mainsream highly accessible material. Also like "Hi-Fi Killer" and "Scar". Overall it has a good feel though, and I would expect with a little maturity they could follow up strongly. It has much more depth than what I've heard from other pop acts (Matchbox 20, Eve 6 and Fuel)and if you're into middle of the road American rock, then you you'll like this.

Renegades--Rage Against The Machine.
3.10 out of 5.00
Eh...at least they're finally gone. Each successive release dulled the lustre of their incredible debut. I do like the studio version of MC5's "Kick Out The Jams" (there is a more traditional live version at he end of the disk as well). There are some decent tracks on here "How I Could Just Kill A Man" and "The Ghost Of Tom Joad" but like most everything else since the debut this album is pretty linear, and for the most part boring as shit.

Odysessy Number Five--PowderFinger.
3.95 out of 5.00
This is another blessing from the listening stations at Tower. I had heard they had been touring with Coldplay, and gave it a shot. This Aussie quintet managed to produce a very strong, creative, heavily-melodic pop record that softly embraces the instrumentation of Sgt. Pepper-era Beatles, the heavy harmonies of CSN&Y and emotional honesty of their tourmates. The material is fresh, and if only American bands could have the patience to write what they feel, there might be more bands that succeed like Powderfinger has on this album and our music scene wouldn’t suck ass as much as it does now. Standouts include “My Happiness” “Like A Dog” and “Up & Down & Back Again”.

Transit--Various Artists.
3.00 out of 5.00
If you’re not into trance at all, this may serve one of two purposes: Assure that you will never get into the scene or whet your curiosity enough to goad you into picking up some new CD’s.
For me this CD borders a little too much on the house side of things. Definitely good background music, but IS very up-tempo . If you like modern dance music--buy it, if not, go get Gwenmars or Stereophonics.

Mutter--Rammstein.
3.95 out of 5.00
If you don’t like that goofy six-string thingy, then stop reading this right now.
Okay, whew.
Mutter strongly reinforces my label for these guys as Wagner for the 21st Century. Vocalist Till Lindemann again makes masterful use of the operatic phrasing that sets Rammstein apart from the normal dog-barking of much modern metal. Don’t get me wrong, homes still has a growl, but it is so much more feral that any of his domestic counterparts.
These guys have such an incredible sense of subtlety and nuance that unfortunately is lost on most of their counterparts, and I feel that this comes from their classical background, as well as a cultural awareness prevalent in most every country except the US. This is a huge hard-hitting record, that thematically will simultaneously grabs your balls and shake your ass.
This record still has the huge wall of sound guitars, and funky bass that the fans expect, but has gotten a little bit more focused in its delivery. There is not as much rhythm-driven songs as on Sehnsucht which was kind of a drag, but on the whole this is still a very strong record.
Nine out of eleven tracks are above average, with six bordering on outstanding. Two power ballads round out the metallic onslaught.

Driving A Million--Gwenmars.
4.00 out of 5.00
REALLY like this. Brit-pop meets The Jesus and Mary Chain. Normally most shit-pop is a whiny mess of attitude, bad Beatles thievery and one hit. The vocals are a little on the tinny side, but these guys obviously have never worn tighty-whities because their sound is fucking huge in some places. If you can find a copy of this, pick it up. Great control of the melodic and emotional dynamic with distortion punctuating every phrase.
To find a band that can blend great vocal harmonies, thick groovy rhythms, acoustic instrumentation, and big distortion is rare. If you don’t buy this now, you’ll regret it in 3 years when American radio starts playing them.

Plastic Mutations: The Electronic Tribute To Radiohead--Various Artists.
2.75 out of 5.00
Eh, a novelty for only the true R-head fan. Most of this is wholly indulgent rubbish that I doubt even a hardcore fan (which I am) would like.

Hell Below/Stars Above--Toadies.
3.67 out of 5.00
Pixies meet Skynyrd.
Hard-driving punk pop with just a twinge of the south. I fell in love with their sophomore effort Rubberneck, and had thought they had broken up. Needless to say I was stoked to hear this release.
It is a much more mature record, but with even more of the auditory crush that was on Rubberneck Todd Lewis delivers his vocals with such an energetic sense of urgency that you don’t even need the crunchy guitars and driving bass to get your mosh on. They are not merely a punk band, and in fact one of my fav tunes on the record is the more down-tempo Pressed Against The Sky. Plane Crash, and the title track Hell Below/Stars Above are other standouts, the latter featuring a very Queen-esque chorus, with a pretty bad-ass gospel break down.

New Killer America--Skrape.
3.25 out of 5.00
Not great, but not shite. Probably the middling effect of a genre that is rapidly playing itself out, but with great marketing though. A little better than middle of the road musically but wholly average vocally. It doesn’t make me want to vomit, but is far from making want to see them. A pretty average metal/thrash record. They’ll probably milk two radio singles out of it: “Waste” and “Isolated”.

Headtrip To Nowhere--Flybanger.
3.33 out of 5.00
Huh-huh, he said “fly”… Up-tempo power metal. It hits in some places, but it’s still just a warm-over vocally-distorted dirt-head record that does nothing much else than lay there like a drunk sorority girl. Pretty to look at, but doesn’t really know what she’s doing.
Bass-driven metal like this will always draw me in, but most of the songs on this record fall sadly flat at the finish line. The playing is pretty solid but the composition is one-dimensional but does show a lot of promise. I really like “Cavalry” and “Weapon” is not bad at all.
They look a lot harder than they sound, which is kind of a fusion between 70’s stadium rock and late 80’s hardcore punk. That sounds like it would a cool blend, but the relatively linear composition and vocal clichés hurt them. I hope they’re around for a follow up.

Just Enough Education To Perform--Sterophonics.
4.33 out of 5.00
Somewhere between Lenny Kravitz and Oasis lie Stereophonics; kind of Britpop with a soul. The melodies are tight, the writing and production spartan, and the tunes are in some places very Beatle-esque. A solid record that is accessible enough for most everyone. This doesn’t break any new ground but does have a cool uniqueness that is very catchy.

Violence--Nothingface.
4.25 out of 5.00
Not Bad. The record definitely rocks. I think these guys could end up being the real deal. They’re pretty damn tight, and while vocalist Matt Holt does a good job varying the de riguer barking and pretty boy tenor delivery, he still needs to drop the crutch and develop his own style.
I picked this up because it was in the metal section AND on TVT, which normally means good things. Musically this shreds. They’ve got a really, really BIG sound that is exceptionally addictive for those with an ear tuned to the metallic frequency. 6 of the tracks on this are strong enough to get radio play on most alt/metal stations.

The Sickness--Disturbed.
3.95 out of 5.00
I like this record. Great fusion of Industrial and thrash. Questionable production is the only thing holding this record back from greatness. This record features beefy guitar work, with some cool leads, a tight groove-oriented bass-player, an athletic vocalist and a crushing drummer. The music is really interesting and extremely accessible, but I don’t know, there seems to be something missing. Call it thrash burn-out if you will, but I think these guys could put out brilliant music if what they did was just a little more focused. I still have rated this higher than most other metal/thrash stuff because of the creativity and honesty that is evident in record. It’s kinda like finding out that Gwenyth Paltrow gives lousy head. The rest of the package is awesome, but that one little piece holds her back from greatness.

Mayday--King Cobb Steelie.
4.25 out of 5.00
Sleeper Pick for album of the year. I really, REALLY dig this. It’s got a Manchester-meets-Bristol vibe that is quite infectious. In fact it sounds like Tim Burgess from the Charlatans is doing the vocals in some spots. I find myself playing this more and more often simply because it’s a fun listen, and makes me shake my ass whenever I throw it in. Tight production and creative writing help out blend the organic and electronic elements for a very interesting and well-done fusion. I’m not sure if this has made the airwaves near you (Being in Sacto, and since no one plays Electronic music here it has yet to debut in the River City) but there are several radio friendly songs on this album: The Situation, Below The Stars and Lady Toronto among them.

Songs From The Earth--Son Of Sam.
3.50 out of 5.00
I kinda dig this. In spite of the muddy production, this is a pretty cool record that fuses punk and metal fairly well, tempered in places with a little goth spice. Far from a great record, but is VERY high energy and for punk enthusiasts searching for a little something more the bullshit that has been churned out since I was 15, you might want to check this out.
Vocalist Davey Havok (formerly of A.F.I) teeters dangerously close to Mustaine-ian territory in places and some of the leads by ex Danzig Guitarist Todd Youth are straight-up hair metal, but not offensively so. With the rhythm section of London May and Steve Zing formerly of Samhain the album delivers a straightforward composition which is pretty fun to rock out to. No doubt purists from both extremes will scoff but for those in the middle you probably will like it. Not one bad tune out of the ten on the record, and this will grow on you the more opportunity you give it.

Digimortal--Fear Factory.
4.33 out of 5.00
This is growing on me. Definitely a departure from Obsolete. A much leaner record in places, and a lot meaner. As a result of the harder focus, a lot of operatic delivery by vocalist Burton C. Bell is gone, which is part of what drew me to these guys back in ’97. Guitarist Dino Cazares is still pretty much the shit, and they are the reigning masters of shifting time signatures mid-song. Some of the electronic elements seem obtrusive forced in some areas, and that holds the record back. There are several massive songs on this record including “What Will Become”, “Linchpin” and “Back The Fuck Up” all stand out. They are still the heaviest hitters in the metal field right now, and this is a very good record. I have no doubt that my rating of this will increase over the next month or two.

Premiers Symptomes--Air.
3.95 out of 5.00
Believe it or not, I actually heard a new song in a club in Sac that rocked my ass. Sure it was 3 years old, but nonetheless Brakes On Rocks. I mean it has an obese bass line that could make Rosie O’Donnell dance (not that I’d really care to see THAT) coupled with a melodic acoustic guitar and some cool sampling. This is a compilation of Air’s earlier demo work, and it’s not bad at all. Hovering somewhere between acid jazz, trance and trip-hop, this compilation has a nice groove that I doubt American artists will ever be able to replicate. I blame Wal-mart and Battlebots, but hey… This fuses organic and electronic elements seamlessly and falls into the ever-increasing category of stuff I’d love to listen to if I ever smoked pot again. Casanova 70 surfs the melody of Crystal Blue Persuasion, and for the most part the album has a very lounge-y, 60’s movie-soundtrack feel that is quite comfortable and soothing. I think this would be a great record to hump to as , and when (if) I do, will follow up. For those familiar with DAG, picture an electronic, European version of Righteous.

American Made Music To Strip By--Rob Zombie.
2.50 out of 5.00
Remixes from Hellbilly Deluxe.
Some are actually quite interesting in fact. Most are techno-oriented, and this contrast does make some of them relatively interesting.
The problem is that most of the original material was so uninspired, that the remixes go nowhere.
A "Wise Man" once said that you can sprinkle sugar on poop, but it'll still taste like shit.

Lateralus--Tool.
5.00 out of 5.00
I honestly can not say enough about this record. It is without a doubt one of the most powerful, honest, emotional, vital, gifted and amazing pieces of musical art that I have encountered in some while.

Weezer--Weezer.
3.50 out of 5.00
I have only listened to it a couple of times, and honestly, the material is so bland, timid and weak, I'm not sure if I will listen to it much more.
It's not horrible, rather it's so un-Weezer-esque. By that it is a very common record without much heart or soul, and is so linear and predictable as to to be painfully average. If I wanted average, I'd get Fuel.
Okay, I went back and gave this a second and third chance so to speak.  It's still not great, but I came away with a better impression of the record with a little time.  There are still plenty of poppy up-tempo tunes on this, but it's still far from what I saw on the Pinkerton, let alone the greatness of "The Blue Album".  

Black Market Music--Placebo.
4.20 out of 5.00
Am REALLY into this, have only given it about 6 quality listens, but from that I'd say a top notch effort. Will be back with more.
These guys still continue to impress.  Easily discounted by their glam appearance, most will overlook the actual music which is outstanding.  
The album is full of 14 tracks which elicit a genuine sense of sorrow without sounding totally whiny.  The rhythm section provides a heavy, heavy foundation for the crushing guitars and honest vocals.  I still like "Without you..." a little more, but this has grown on me quite well. 
Those of you in the scene will complain that these guys are a rehashed Suede, but Suede never rocked this hard, so fuck off.

Amnesiac--Radiohead.
(Click to read the full review)
4.90 out of 5.00

The brilliance of Amnesiac lies in its compositional diversity, and the amazing textures that The group have woven. From drum n’ bass to piano dirges to Dixieland this album has it all.
Radiohead have revisited their jazz roots triumphantly in Amnesiac, and the world must once again bow down before their greatness.

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10000hz--Air.
4.00 out of 5.00
I really got into this when it was released, and upon further review it still holds up well.
This is something to play and appreciate.  The material dwells somewhere between Kid A and Barry Adamson.  It's not a dance record by any stretch, however there are a couple of danceable, shoe-gazing type tunes on here (Radio #1 and The Vagabond featuring Beck Hanson on vocals).
It's a very dreamy, surreal album that most Americans would never be able to appreciate.  It does lose some focus at the end of the record, but given the soundscape they are trying to achieve it is understandable.
If you like chilled out, acoustically-edged, composition-oriented music, then this is a wet dream for you.
If not, Slayer has a new release out as well.

Confield--Autechre.
3.33 out of 5.00
Noise, I guess?
Minimalist electronic from the old school.
I picked this up because Thom had listed them as an inspiration.
I now understand Kid A and Amnesiac much more.  On the whole though it's pretty self-indulgent.  I could see myself playing this if I was doing something else and needed background music. Without vocals to counter the dry and often rambling songs, it loses a lot of the heart that the aforementioned R-head tunes possess.
Maybe I just haven't evolved, or more likely I just don't get it.
If you do electronic composition, then the odds are that you'll dig this at a conceptual level.  

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The Invisible Band--Travis.
4.25 out of 5.00
These guys put out such quintessentially great music that sadly so few people can appreciate.  I had the good fortune to see these guys, and was overjoyed to see an honest, fun upbeat group of guys who in spite of the Scottish speech impediment still managed to perform brilliantly.  This is a wonderfully well-crafted album of sweet melodies, unpretentious song-writing, and soft introspective lyrics.
They are one of the few bands you either "Get" or are into country.
They blend acoustic instrumentation with post-modern vocal effects seamlessly and the resulting sound is fresh and invigorating.  It by no means is rock, rather more of a melodic "smart" brand of pop.

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Professional Murder Music--Professional Murder Music.
3.67 out of 5.00
Not bad stuff here.  Post-industrial Industrial.  Part Korn, part Zombie.
Not a bad debut, and the album as a whole does rock it up pretty well.  There is some pretty good material on this, as well as a phenomenal cover of The Cure's "A Night like This".  A nice blend of material, and seemingly quality musicianship.  I would expect that any follow up will overcome the somewhat spotty production work on this.

Dirty Deeds Done Dirt Cheap--AC/DC.
4.75 out of 5.00
I am still enamored with these guys 22 years after I bought Highway to Hell.
Call it pub rock or whatever, but these guys knew how to tear shit up.  Given that this was released the same year Punk broke (10,000 miles away in London), it's pretty cool that they had a lot of the punk ethos in place (well musically anyway).
A solid 9 tracks of high energy fun, with the title track ad "Problem Child" among the Bastard's fav's.

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Blowback--Tricky.
4.90 out of 5.00
Wow...
Whoever said that E-music is linear and devoid of any character should be dick-slapped.
Oh wait, that was me.
This is a great record, That your  grandchildren will give to you.
If you can imagine an album that manages to be compositionally, thematically, instrumentally, rhythmically and vocally dynamic, that manages at once to step back and leap forward, then you have summed up Blowback perfectly.
The guestspots, the songwriting, the thick, ass-knocking groove, the cool almost jazz phrasing on the lyrics all make this a great, great album.
A trip-hop record that features the Chili's, a cover of a Nirvana tune, duets with Ed Kowalczyk and Cyndi Lauper, and a sample of Eurythmics!!!
Are you shitting me?
After far too many months of shitty thrash-core, this makes my nostrils flare, and my ass grind.
Top-fucking-notch

DJ Kicks--Kruder & Dorfmeister.
4.10 out of 5.00
This is an excellent set of remixes done by K & D.  It's pretty much the shizzie for those into  the E-thang.  Outstanding stylistic variety, and tight production work make this one of the more enjoyable "chill" records I got this year.  The material is really quite good, and would be an excellent choice for those new to the scene, or for those looking to explore the world of trance.

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Deep, Down and Dirty--Stereo MC's.
4.15 Out Of 5.00
Big Beats, heavy grooves and a definite dose of the Stone Roses.
A fairly strong record, that deviates only slightly from it's core of dance-oriented post-modern "Motown-meets-Manchester" funk.
This was in heavy rotation in my CD player, and still manages a weekly play or two.
The only downside is that the vocal phrasing varies about as much as I've gotten laid this year (which of course is that subset represented by the null). 

Spectators--Wolfsheim.
3.33 out of 5.00
Ugh.
When will the Depeche factor finally leave us?  Didn't Camouflage break up in '93?
These ball-less Krauts must be some kind of reaction to Rammstein.  My balls shrivel every time I play this disc, but one track (Künstliche Welten) does make my booty groove.  Okay, it's not THAT bad, but it's just a case of been there, done that, and it strikes me as wholly uninspired and cliché as fuck.  Does it mean the music sux?  Not at all, but unless you think Martin Gore is God, stay away from this.  Darkwave or Coldwave? I don't know, but whatever it is it's more like cold water because my balls crawl deep inside every time I hear these guys at a club.  The girlies do seem to like it though, so fellas, you may want to get familiar with it.

Danzig--Danzig.
4.15 out of 5.00
Duh.  It rocks.
Big heavy guitars, and a brooding attitude helped make Glen et al some of the baddest mo-fo's in music.
Smell that? You're right...it's actually passion.  A sweaty, dark alley kind of passion

Land Of The Free--Pennywise.
4.67 out of 5.00
Wow.  They tightened up a lot and also seem to have for the moment left the Bad Religion influence alone.  They try to be political, but like so many lately (Rage), the political rhetoric and lame phrasing gets in the way of the music. 
I never thought that the Clash would be palatable for middle America, but Pennywise have done an admirable job of emasculating the 70's Cockney vibe in favor of strip mall bumper-sticker sloganism.

Karma--Delerium.
4.33 out of 5.00
A fabulous, surreal expedition that skips the precarious borders of both trance and goth.
The dreamy nature of each tune carries the listener further and further away from the static and into a world of the possible.
Lush melodies and amazing vocals are the highlights of a record that effortlessly swims through thematic and stylistic waters to bring the listener a moment of calm reflection in a world often defined by chaos.
Christ what a fucking tool!
It is a cool record with some great vocals.  I have played this through 10 times, and all it does is make me want to hump, so it can't be all bad, right?

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Hot Shots II--The Beta Band.
4.33 out of 5.00
To say that this is Beatle-esque is a slight understatement.
11 dreamy, melodic pop songs that merge modern production with Mop Top sensibility.
Not much in the way of emotion in the delivery, but very dreamy.
Great album to gaze at your shoes on the dance floor, and to ignore the world with a good book.

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Closer--Better Than Ezra.
4.80 out of 5.00
I have been a huge fan of these guys since deluxe came out back in...  Previously, How Does Your Garden Grow saw BTE roaming down the uncharted waters of Electronica, with some pretty interesting results.
Closer is a 180° turn from that, and in fact shows a return to places almost a hardcore feel, well as much much as can be expected from 3 guys from New Orleans.
 
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Comfort Eagle--Cake.
4.33 out of 5.00
You either like Cake, or you hate them.
I like them a lot, and are in fact the only Sacto band that I do like.  Singer/Somgwriter imbues each of his songs with so much ironic wit that you can not help but love them.
The songs themselves groove, and the lo-fi funk sound that they pioneered is still as fresh as on Motorcade of Generosity.  Three of the songs on this are destined for rotation, and the rest are strong as hell.
They're too smart, and that is probably their greatest liability in American markets used to being fed heaping spoonfuls of moronic pop.

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Go Plastic--Squarepusher.
3.75 out of 5.00
I hate house...with a passion.
This record did little to change that feeling.  It's not a a horrible record, but the material is so thin, and the genre bores me so much that I really am challenged to come up with anything positive to say about the record.
If you have a straw in your nostril, a backpack or a pacifier in your mouth, you'll probably cum.
The beats aren't bad, it's just that the music does nothing, there's no compositional variety, and is devoid of any true emotion.

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Generation X (Original Import Debut)--Generation X.
4.50 Out Of 5.00
You never really realize how cool Billy was until you listen to the stuff that he did with these guys.
Kiss Me Deadly, Promises, Promises,  Ready Steady Go, Day By Day, One Hundred Punks all still get me misty.
It's a little rougher than the domestic release, but for a nostalgic son of a bitch like me, this was a much needed breath of fresh air.
For most purists, this is far too poppy, but most purists think that the shittier you sound the better you are. 
Tell that to Joe Strummer.

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Trust No One--Dave Navarro.
2.75 out of 5.00
Oh Dave where have thee gone?
The guy that single handedly made the Chili's creative has released a crappy Foo Fighters record.
I have great admiration that he did almost everything on the album by himself, but the material is SO boring.  The industry sux, but when it gets to the point that Dave-motherfucking Navarro puts out a load of shit this tame, we are in a dire state of affairs.  There are a couple of noteworthy tracks, but my God it's a struggle to listen to the whole album without cringing, or napping.

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Faith In The Future--Überzone.
4.75 Out Of 5.00
This is one of the most exciting records I've come across in some time.
Break Beat all the way with some immense beats and huge dance grooves.  Far from ordinary, this is by far the best breakbeat stuff I've heard in some time.  Two massive hits (Beat Bonic and Bounce) and heaps of other easily accessible tunes augment this gem.
If you like to dance, then buy it.  If you like old school hip-hop, then buy it.  If you like any genre of Electronic music, then buy it.

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Tweekend--The Crystal Method.
4.75 Out Of 5.00
Really, Really cool album.
Those unfamiliar with the Method's work will find the album easily accesible.  Guest spots by a variety of Non-Electronic artists (notably Tom Morello and Scott Weiland) add a texture not present on the debut Vegas.
Immense beats and great songwriting fill the album from start to end.  I think Vegas is a little stronger, but Tweekend does not disappoint in the slightest.

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13 Songs--Fugazi.
5.00 Out Of 5.00
Eh.  Ball-crushing punk from the days of my youth.
A couple of hours bouncing around to this album, and all seems right in the world.
Tight non-indulgent, non-cliché songs and inspirational lyrics fused into a non-stop aural fusillade guaranteed to to elicit sweat from every pore of your flesh.
Where have all the smart people gone?

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Odyssey Of The Mind--Die Krupps.
3.50 out of 5.00
Whte Zombie meets The Cult meets Rammstein.
I'm being far too kind in the comparisons, but it's not horrible at all.
Kind of a pretend industrial/metal/goth stock pot filled with Zombie-esque phrasing

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Somewhere--Systematic.
1.50 out of 5.00
Fucking butt-rock...Jesus mother-fucking Christ am I a tool or what for being duped by clever marketing, and doubly toolish for being a Sap and trying to support SF bands.  This is some of the most unoriginal uninspired shit since the Linkin' Park record.  I really need to be near a listening station when I buy music.
God, this is a load of shit.
Trey Parker mocking butt-rock does twice the job than these lame-asses.  The A/R puke that signed them should Chlamydia and rot.
Every fucking post-modern metal cliché in the books, and  simply adolescent composition, heartless production and droaning hair band vocals make an ingrown ass hair slightly more enjoyable than a second play of this disc.

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pete--pete.
unrated as of yet
When did butt-rock come back into Vogue?
The album art looks like it'd be hard as Hell, but sounds like distorted power pop with a wannabe Eddie Vedder on vocals.
Pretty God-damned boring

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Who's Next--The Who.
5.00 out of 5.00
You know, this is still a great album more than 25 years after I jacked the original LP from my Mom.
When the current crop of no-talent, attitude flinging baggy-pant wearing fucks can write anything even half as cool as Won't Get Fooled Again or Baba O'Reilly, I'll quit slagging them.
Being about as anti-classic rock as they come, it may shock some of you that this is one of my fav albums, but at the same time, so many of the themes prevalent in punk and even modern music have their origins in this album.
It's honest, powerful, creative (even 30 years later) and it rocks.

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V--LIVE.
3.25 out of 5.00
Pretty damned average record.
By far the quartets heaviest record, but were Secret Samadhi rocked plenty, it retained a dark mysterious edge throughout that gave it a feel that was unique and captivating.  V just pulls out its dick and calls it a day.  I may not be able to stomach these guys much longer as their compositional skills which were once unparalleled, have now become linear and boring.
V finds the band glomming onto trends in the industry rather than carving their own niche. 
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Toxicity--System Of A Down.
3.95 out of 5.00
I like this quite a lot.  After only three plays, I don't know if even I could listen to it all the time as it is pretty dissonant, but I also think that's part of its charm.  I suspect that after listen #5 I'll be in love with it.
Hardcore in concept is counter-balanced with a non-traditional vocal delivery by singer Serj Tankian.  It has in places Middle Eastern and even Russian elements which set it apart radically from contemporary metal acts on the scene.
A very creative album that not most will get.

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Sex, Drugs and Rap & Roll--Phunk Junkeez.
4.25 out of 5.00
I'm glad These guys are back.
The last time I visited these guys was on their 1995 major label debut Injected, which I immediately fell in love with.
Along with 311 they perfected the thrash/rap genre that now dominates the airwaves.  However like 311 they have a depth that most of the "Playa's"  on the scene today lack.  Their focus is more old-school funky grooves with low energy guitars as opposed to metal with crappy mic skills over the top.
It's a much more polished and deep record than Injected with some great blues and other thematic elements.
This is a pretty bad-ass record and if you dig hip-hop or have ever rode a skateboard you should like as well.
If not, you either drive a pickup or are a fucking bat, and would be much happier listening to some overproduced heartless bullshit at a vintage clothing store instead of even thinking about this record.

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Mastered The Art--Greyboy.
4.85 Out Of 5.00
Really dig this...a lot!
This such a cool record.  Jazz-y, acoustic, hip-hop feel.  This is what I've been waiting for in an electronic album: great grooves, beats that hit, and compositional and instrumental creativity.  So mellow, polished and just damn good.
I can recommend this for just about anyone except the hard-core dirt-head or the Über gear-head.
It's just so cool to hear a Latin guitar, a flute, reggae electric guitar, a phat rhyme over the top and DJ-scratching (Dealin' With the Archives).
That's just one example of the offerings on this exceptional album.

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Sound Dust--StereoLab.
4.25 Out Of 5.00
A very dreamy, ethereal Electronic soundscape created with both acoustic and synthetic elements.  A real strong mellow "60's" groove throughout which is augmented with a crispness of modern production and composition. 
This will no doubt make a great album to find a partner and screw madly by the fireplace.  It will not be for everyone, but if you even got close to understanding the genres above, then you'll like it. 
If not, you're a fucking dirthead, and should not be reading anything about an album with a pink cover.

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Let It Come Down--Spiritualized.
4.33 out of 5.00
Part big band, part gospel, part Bond soundtrack, part Arena rock, part Brit-pop.
A very ambitious album, that tries to push the envelope, and for that they get much love from this author.
In places I can see where some might feel that it's a bit much, and can carry on a bit too long.  However I also understand big dreams require a big space in order to come true.
I knew a little bit about these guys from my time in the Bay, and at the time they were being pushed as an E-act.  Hence my surprised to hear the above elements in concordance wit some country, and a little rockabilly as well.  not a bad effort at all, but for you 4 on the floor punks out there, you probably will burn the Disc before even having listened to it all the way through.

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Keep On Movin'--Soul II Soul.
4.33 out of 5.00
An essential album of the late 80's that is even more relevant now in 2001.
A presage of Bristol Trip-Hop in some of the dubbed out entrees and undeniable grooves make this an enjoyable listen, and a great boot-knockin' album.  The vocals are silky and the beats are soft and warm.

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Homework--Daft Punk.
3.33 out of 5.00
Revved-up disco for the new millennium.
A couple of solid hits, and some fodder.  It's not bad, and during a period of incredible stagnation in the industry these guys are a breath of fresh air.
The clerk at The Beat asked me if I wanted the current release, and having heard the new one, I replied, No thanks, I gave up disco for the 80's.  good thing I wasn't driving a truck, and that he wasn't really a deer in my headlights.
The album itself is a cross between light house, and some sporadic disco.

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Funk Odyssey--Jamiroquai.
3.75 out of 5.00
Kinda dig this.
I've always had a soft-spot for these guys because they blend old funk with a new vibe.  It just sux that so many fucking Ravers are into these guys.  The album itself has several high points, that if you're into dance music, you should find it worth your time.  The potential problem is that it vacillates between disco and funk, failing to find any kind of center ground other than the grooves which are pretty phat.

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Things Falling Apart--NIN.
3.00 out of 5.00
Pretty much only for the Über fan.  Some interesting remixes, but nothing earth-shattering.

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Silver Side Up--Nickleback.
2.00 out of 5.00
A little scared of this.  First three tracks sound like some shitty 70's rock.  Ended the disc.
Went back and tried it again.  Really shitty 70's stadium rock.  They hired Rick Parashar (Pearl Jam-10) to produce them.  It ends up sounding more like .38 Special than anything modern.  Doubtless there are a passel of fucking idiots that think they've heard the voice of God in this record, but all I can hear is the sound of a toilet flushing as I will this load of shit into the great void below me.
In fairness, there are a couple of average songs that stand out above of the swill of the rest, but I can only see MTV trying to make these guys guys into some kind of "Roots" rock heroes.
Christ, where did we go wrong?

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The Clash (Import)--The Clash.
5.00 out of 5.00
What can I say, I got hard up to hear Deny, Protex Blue and Cheat and didn't feel like cleaning the dust off my turntables.
God damn this is such a great fucking record.
for those of you that think that punk rock is Blink 182 or the Offspring, turn in your student body card and go by this fucking record today!

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Album--Artist.
unrated as of yet

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