Transmissions From Eville--Acument Nation.
2.5 out of 5
Pretty cool record. Good mix of the Metal edge and the Industrial groove and intensity. Gun Lover is hard as nails, and there are several other tracks that show great promise.

Tuonela--Amorphis.
2 out of 5
Of the metal albums that I've purchased recently this is one of the least boring. This is probably because they're more "pop" oriented, and rely less on the normal metal conventions.
They try to be interesting, and have some minor success. Some of the old hair-farmer bullshit still creeps in at times.
If you like metal, give it a shot, if not go rent a movie.

Juju--Siouxsie And The Banshees.
4 out of 5
A classic--almost. I was never a huge fan, and only had a passing familiarity with Siouxsie--mostly the hits.
I bought this because I heard Monitor at Bondage A Go Go, and fell in love with it.
Truth be told I bought three Siouxsie records trying to find the song, limited by the fact that I didn't know the title.
This record rips!
The textures are rich and bass-y. The guitars are edgy, and Siouxsie screaming is eerie as hell.
There are no superfluous tracks on the record, and almost all of them are great tunes.
If the dark side appeals to you, I would suggest buying this.
If you like metal, go beat off--WWF will be on in awhile.

Adios--KMFDM.
2 out of 5
I really want to rate the final record by these guys a lot higher. But I can't.
I also want to rip it mercilessly, but I can't.
Most of the material is so boring and heartless. The stuff that is interesting is so poorly mixed that you lose the guitar (and the energy) underneath at least 30-40 layers of synth.
So much of this sounds forced (mostly the vocal phrasing). They're making the fundamental mistake involved with trying to do Electronic music, which in my mind is adding lyrics. E-music is dance music, and lyrics need to be contracted and applied with great discretion over the rhythms. If not, as is the case here, the song gets jumbled.
The lyrics themselves are immature for the most part; Pretense and bombast delivering nothing.
At points, Adios is just plain annoying. Anyone who tells you differently is either too big of a fan to be honest, or is thinking too much about spinning on their head to be truly objective.
KMFDM were, in the latter stages of their career, trying to be a crossover band. This record falls more on the side of techno than industrial.
This "darkwave" shit makes me want to hurl: all fast-rhythm, and no low-end groove. D.I.Y., R.U.OK? That's All and Bereit could all be great songs, but they're just too damned disco. Maybe re-mixes will save these songs from a life of mediocrity.

Dark side Of The Spoon--Ministry.
3.75 out of 5
I dig some of the stuff on here. It's got a lo-fi edge much like The Land of Rape and Honey but in addition to the metal edge, there are some jazz elements thrown in to give depth. There are a couple of uptempo hateful songs, but what is truly interesting are these more experimental tunes.
Some of these are a little self-indulgent, but if you like experimentation then this is a record for you. If on the other hand you're a radio sheep, go buy Creed.
I've only listened to it about five or six times, but I've liked what I've heard so far. That is not to say that I loved it right away , as was the case with Psalm 69. I'll update this after a few more listens, but it still beats the shit out of most of the mindless "New Rock" that is on the air. This is probably why Wal-Mart pulled the record off of its shelves. They no doubt needed the room for BSB's new record.

Filter: Elvis Never Meant Shit To Me--Various Artists.
2 out of 5
I bought this thinking it was from the band Filter. What a fucking nightmare-- I opened it and hit play. This is an Electronic compilation.
It's not bad, and there are some pretty cool tracks. Some decent background music, but nothing revolutionary.
It has more of a edgy hip-hop feel in places than most other E-stuff. This is its only redeeming grace.
If you're really into Electronic music than I would say to buy this, if not take a walk and enjoy the sunshine.

How To Operate With A Blown Mind--Lo Fidelity All Stars.
1.5 out of 5
Absolute rubbish. A garage Electronic band.
I think I get what they're trying to do, which is to add some grittiness and minimalism to the E-scene. Conceptually this is a pretty cool idea.
It just doesn't work that well on this record.
The vocals sound like a poor man's Prodigy, and the music sounds like a failed attempt at Death In Vegas.
Aside from the collaboration with Pigeonhead (Battle Flag), there's maybe one other song that's not wholly cliche.
Other than that--nada. If you like Battle Flag, go buy the AMP 2 Compilation.

Confessions Of A Knife--My Life With The Thrill Kill Kult.
3.5 out of 5
Old School Industrial at it's best.
This is a classic in the genre. A Daisy Chain For Satan, The Days Of Swine And Roses and Kooler Than Jesus are all classics. Though if you don't like Industrial you'll probably hate this record.
If you're curious, I'd recommend it, as well as The Mind Is A Terrible Thing to Taste by Ministry or Headhunter by Front 242.

AGOGO--KMFDM.
3.25 out of 5
It's a greatest hits record. Most of the material is either out of print, or was previously unavailable in the US.
There are several great tracks on this record, most notably the original mix of Godlike which would make even uber-moron Rosie want to go get a shotgun and fuck shit up.
Also included is an interesting and humourous version of (ugh!) U2's Mysterious Ways. I enjoy this track as it sealed the end of my love affair with the Irish Saviours, when the Great Sell-Outs originally released it on Sieg Heil, Baby!
This is one of the great industrial/metal bands of the modern era, and is not a bad record for the uninitiated to experience their work.

Black Earth--Arch Enemy.
1.5 out of 5
Every shitty metal cliche in the books.
If you're a dirt-head, go buy it...you'll love it. They are pretty fucking heavy.
If on the other hand you think Beavis and Butt-head are cute, but not worthy of emulating, then stay at least 10 feet away from this CD at all times.
They do some intersting stuff with instrumentaion, but gawd, this is such a spanker record.

Dreaming Neon Black--Nevermore.
1 out of 5
Not bad. Pretty tight, but I still hear the singer stumbling to put his foot on the monitor, as he screams (needs looser pants) to the crowd. Not as much dog barking on the vocals, but still a lot of Ozzy screaching.

And The Sadness Prevails--No Motiv.
2 out of 5
High energy skate punk. Anthemic, cliche and not overly thrilling. They sound a lot like a juvenile Face To Face. Not bad, but like their mentors not brilliant either.

Californication--Red Hot Chili Peppers.
3 out of 5
The ballads of Blood, Sugar with the frat rock of Mothers Milk. Not a horrible record, but not great either. Instead of reinventing themselves as something new which is sort of the bands trademark, they've morphed into caricatures of their former musical lives.
I thought the reunion of guitarist John Frusciante with the band would yield something a little more creative than cliche.
Sadly I was let down.
This is still a very good record, but it's been done before, and better.
It did make me play One Hot Minute, and long for Navarro's creativity.
Die hard Chili's fans will like this record a lot (because they've already heard it on earlier albums), and new fans will probably think they've found Valhalla in funk.
The lyrics are often tentative and lack much of the attitude that has heretofore been Keidis' niche. Anthony is hung up on the Cali lifestyle (with much validity), and its impact globally, but this theme gets old quickly. The same is true of his relationship with one of the Spice Sluts (remember them?).
This is not a slag session though. I do like much of the material on the album, and Rick Rubin did a very good job producing it.
The problem is that it is very difficult to be consistantly awesome. Blood, Sugar is an amazing album, and One Hot Minute took them in an entirely new direction, showing growth and was outstanding in its own right. Californication however is a safety net where the band falls back on what it knows, without risking much of anything.
Buy it, and have fun dancing your ass off.

Play--Moby.
4.50 out of 5
An early contender for Album Of The Year.
More drum 'n bass than some of his earlier high energy material. There is not one bad track on the record. It's creative, fresh and a very interesting listen.
Moody Ambient, and some Trance rhythms with Gospel, Folk and R&B vocals laid over the top.
It is very minimalist in composition, which allows the mood to sweep over the listener. It has at times a very "Massive Attack" feel, but he's added some interesting "organic" elements, like great guitars, and beautiful piano lines.
This is a great album, but is limited by the Electronic genre. It has a pouty vibe in some places, that'll make it great to screw to, but lacks intensity overall. I know not everyone has to have high emotional energy within them, but it is my belief that is what separates Great from Exceptional in the world of art (Remember, this is a pompous review).
This is by far the best "Album" I've bought this year, and must recommend it highly. Some of you may not get it, but this is why Semisonic is so popular.
Buy this and if you're lucky enough to have a partner, screw your brains out while listening.
On an unrelated note, he and Heather Nova do a great version of "Straight To Hell" on The Clash tribute album soon to be reviewed by "His Obeseness" in this space.

Straight Ahead--Pennywise.
3 out of 5
I got into these guys back when Lisa Carr was at Evil (LIVE 105). Call me a poseur, but I'd never heard of them until Full Circle was released in '97.
I was so relieved that someone was recording punk that didn't have fucking horns in it. Don't get me wrong, I love horns, but it seemed that EVERYONE was going sk-unk that particular summer.
These guys have a thick (but clean) tone and that seems structurally very close to label-mates Bad Religion. Lyrically they are more base, perhaps feral is a better term here, than BR and their energy level is more like a knife fight to BR's subdued verbal disagreement.
I was kinda bummed out because the cover art looks like a Brute rip-off (see artwork for KMFDM's Adios above), and I thought they might be slipping into the Offspring's well of thievery.
The music on the record is perfectly summed up by the album title. It grabs your nuts immediately and doesn't let go until about 10 minutes after the disc is done.
For those unfamiliar with the Pennywise sound it is driven by a thick bass, terminally energetic guitars and crushing drums all supporting urgently delivered vocals.
Potentially this is a great album but with 17 tracks on the disc and little variation in their sound, the album drags a bit at the end.

Good To Go--7 Seconds.
4 out of 5
This is a great punk record. In fact it's one of the most fun listens I've had in awhile.
I bought this out of loyalty to the Sacramento music scene, and was surprised. Unlike much other music in the punk/hardcore genre, it sounds so fresh, and so honest. In the 70's punk was nothing except honesty, and this record finds the band still delivering on that promise. There is not one bad track on the record, and the production is top notch.
Sadly, I doubt this record will get much airplay because it has little of the bullshit pretense that is required to get on the airwaves these days (insert image of any bullshit-spewing corn-rowed, pierced up, baggy pant-wearing lame-ass in this space).
This record reminds me of why I got into punk in the first place. It's fun as hell, and makes me forget about how much every band on the radio sound like Zeppelin, or Rage or a surfed-out "gangsta" Dylan.
For those from the Sac scene back in the day; picture Club Minimal packed to the rafters, the smell of cloves in the air, skaters going nuts in the half-pipe, and the electricity of something truly fun, and somewhat subversive in the air. That's what this record is.
Thanks Kevin.

Pretend I'm Human--Orange 9mm.
3 out of 5
God, I miss Quicksand.
Orange 9mm fills the bill somewhat though, and their fourth record Pretend I'm Human does help my trauma.
One of many bands that emerged in the path of Helmet in the New York Hardcore scene, Orange 9mm have survived and produced a record that hopefully will give them the recognition that they and the scene deserve.
This record is far more accesible than previous offerings, and in some ways far more creative as they too delve (lightly) into the world of Electronica/Industrial.
In many ways they always were a "poor man's Quicksand", but Pretend... shows that the band is evolving more into their own. The material is interesting and very gritty at an emotional level. Their sound is a fusion of Hardcore music and Hip/Hop vocal delivery. The result is a very interesting, refreshing mix that makes you want to thrash around your home.

Mastermix--Various Artists: Wax Trax Records.
2.75 out of 5
This compilation of Electronic artists is intriguing, and a very good listen.
I bought it because of a Front 242 remix of Juno Reactor's God Is God.
The rest of the material on the record is very good, and not redundant in the least.
Wax Trax has a history of supporting Industrial and Electronic artists, having helped artists such as Ministry, KMFDM, and NIN get their start in the industry.
If you're into the dance scene, I'd reccommend picking it up, if not save your money for next year's Oz-fest.

Burning London:The Clash Tribute--Various Artists.
4 out of 5
Bought this with extreme trepidation. My nightmare was that these lame-assed Gen X fucks (No Doubt or 3rd Eye Blind) would tarnish the legacy of one of the turly great bands of my lifetime. Thankfully, most of this fear was unfounded.
There were some exceptionally creative tracks on here. Ice Cube and Mack 10 doing "Should I Stay..." was an interesting interpreation, as was Cracker's country version of "White Riot". One of the coolest tracks was a collaboration between Heather Nova and Moby on "Straght to Hell." Also notable was The Indigo Girls version of "Clampdown". Some of the material is about what you'd expect. Rancid doing the Clash, now THAT's a stretch. Same can be said of Silverchair. Both of the latter bands miss the point, though. They tried to make their tracks sound raw. The Clash set themselves apart from the rest of the lot by bringing polish to punk.
It was cool to see how many bands were influenced by The Clash, and if you are a fan, this is one you'll want to add to your collection

Title Of Record--Filter.
4.33 out of 5
Jesus Christ this album will not stop growing on me. It is so hard, and so tight, and so absolutely brilliant. Nowhere near as threatening as "Short Bus". It's a lot more accesible without losing any of its edge. Okay all of you that boo'd this when "Take A Picture" got big, can lick my ass. It's still a great song. "Title..." benefits from the collaboration that the band did with the Crystal Method on the "Spawn" soundtrack. The record is not as brooding as the earlier material (which will no doubt piss off the shoe-gazers), but sounds a lot more open, and the visceral nature of the music oozes out of your speakers and firmly grips your throat in the process. Exceptional effort.

The Fragile--Nine Inch Nails.
5 out of 5
Trent, I apologize for publicly slagging you. You are God, and I need to bow down before you.
To all the Gear-Heads that thought he sold out after "Broken"...Fuck Off!
I listened to this non-stop for 3 months, and EVERY time I put it on, I was blown away. I don't use the "G" word that often, but Mr. Reznor this work continues to prove your creative Genius.
"The Fraigle" is exactly what the title dictates. There is a frailty that comes across at a strutural level, but there is a rhythmic strength that unifies and protects each melody as well.
The instrunmentation is dynamic, and his vocal and compositional power on this record are unparalleled.
5% of the public will actually have the patience and the intellect to understand how amazing this album is. The other 95% are livin La Vida Loca.

Issues--KORN.
3.5 out of 5
A much darker and unified record than KORN have produced. A lot more subdued that "Follow The Leader" and lyrically a lot more personal. The band seems to have accepted the fact that they kick ass, and now no longer feel compelled to have to prove it on every track. I think the focus may have hurt the record though as it seems to have stifled their creativity somewhat. I think it's a very strong album, but one that lacks much of the mass appeal that "FTL" had, and as such the rating reflects this.

Battle Of Los Angeles--Rage Against The Machine.
3 out of 5
Uninpsired Bullshit...I Remember the first time I heard Zeppelin.
Fucking Hypocrites.
Okay those were my original thoughts on this record. I still stand behind them.Aside from the three radio tracks (one of which was only really deserving), this is a load of fodder. They try to go lo-fi, which I thought was kinda cool, but the radical journeys that the debut yielded have been diverted and stunted into the land of radio-friendliness.
Zack forgot that he is an intelligent guy, and now finds himself pandering to the lowest common lyrical denominator.
My fav track on here is "Born Of A Broken Man", but sadly it is another straight-up Zep rip off.
Sorry Guys, I'm still a fan. I let you get away with "Evil Empire", but I have to call bullshit on this one.

The Contino Sessions-Death In Vegas
4.25 out of 5
Wow...This record kinda defies description. Electronic Goth, but without the bats...that make sense? This is such a heavy record, but paradoxically very bright as well. The contrast in styles is what I find compelling here.
These guys have always been about pushing divergent genres together, and have succeeded masterfully on this album. Hammond organs, Drum 'n bass rhythms and Iggy Pop...are you shitting me?
This has been a highlight of the year, and as much as I anticapted the release, was shocked by the content and stylistic shifts made from "Dead Elvis."
For people that claim that Electronic is nothing but "techno bullshit", you really may want to check out this record.
Thpooky as hell and Tres bad ass.

The Distance To Here--Live
3.25 out of 5
I had expected a lot more from this record, and feel somewhat let down. It's not a bad record by any stretch. In fact it's one of the better record I've listened to this year. Ed's vocals are still strong, the rhythm section still kicks ass and is thick as ever.
The material is just not that compelling. I find the the songs drag on, and never really build to anything. It is good ear candy, but eh, I dunno, it just didn't blow anything up my skirt.

Significant Other--Limp Bizkit
4.00 out of 5
Fun. A Pleasant suprise. Fresh, very creative and awesome to rock out to. Not a classic, but this WILL be remembered as a defining album of the 90's. A pop version of Rage mixing the street cred bullshit of hip-hop (which made it incredibly marketable to to the idiots that think Rap is actually relelvent anymore) with crushing guitars and "heavy-as-fuck" rhythms.
Fred's got some fat mic skills, and some of the duets are pretty cool.
I REALLY hate what this band stands for in the grand scheme of things (sucking MTV's dick on TRL), but in honesty I have to give it for the LB.

2.75 out of 5
Eh...It's Zombie...a couple of very good dance tracks, a bunch of bullshit Scary-Guy posturing for the kids, some interesting loops between tracks, and unfortunately not much else...oh whoa is me...where are the halcyon days of Thunder Kiss '65?

My Dog Writes Better Than You
Take Me Back To The Pompous Bastard...NOW!!!

Hey Baldy...You're...You're...You're Not Good
Take Me Back To The Truth