REVIEW: Garbage, Version 2.0 (Almo Sounds)
- Joann D. Ball
Garbage is on the streets again, this time with record number two, the ambitious Version 2.0. The computer reference is especially appropriate given how important computer recording technology is to Garbage's creative process. The Madison, Wisconsin quartet skillfully enhance the lyrics and basic guitar, bass, keyboards and drums combination with a variety of loops, effects and scratching and sucessfully avoid the sophomore slump. Shirley Manson and her technical wizard counterparts Butch Vig, Duke Erikson and Steve Marker clearly immersed themselves in the studio while making this record, taking nearly all of last year to craft the follow-up to the 1995 debut record. Even though Garbage's eponymous first release had endless special effects, it still seemed like more of an adventurous rock effort with a punk edge and a few hip-hop moments. The follow-up, though, which is a full exploration of electronic, techno and industrial terrains, makes its predecessor seem relatively stripped-down in comparison.
Although it seemed to take forever for American commercial radio to pick up Garbage the first time around, alternative and Top 40 radio has already given "Push It" the momentum needed to make Version 2.0 click with the public. Manson slinks her way through this somewhat dark and moody lead single until it explodes into the chorus. "Push It" is also notable for its prominent use of what Garbage calls an "interpolation" of the Beach Boys' "Don't Worry Baby." On this and the other tracks, Shirley Manson is up front and center, but Garbage is clearly a fully functioning four piece. Her male partners lay the instrumental and technical foundation to support her stellar vocals and mature, slice-of-life lyrics.
While there's nothing on Version 2.0 that surpasses the raw energy and intensity of "Vow" (the best track on the debut album), Manson again sings of obsessions and extreme behavior on the first track "Temptation Waits." During the chorus of "Temptation Waits," Manson sounds a bit like Debbie Harry on the Blondie classic "Heart of Glass." There are nods to other female artists on this record, including Karen Carpenter on the hauntingly beautiful song "The Trick Is To Keep Breathing." But it is Chrissie Hynde of the Pretenders whose style seems to surface throughout the twelve-track compact disc.
It's common knowledge that Manson and Hynde admire each other's work, but Version 2.0 contains indisputable evidence that the Edinburgh, Scotland native has been positively influenced by Akron, Ohio's favorite rock 'n' roll daughter. Shirley Manson sings the opening lines of "I Think I'm Paranoid" with Hynde's trademark throaty sultriness. And on "Medication" Manson borrows again from Hynde's bag of tricks by making her deep breaths audible at the most strategic moments for full effect. But it is on "Special" where Manson does her best tribute to the great Pretender. The very title of this bright, upbeat song is a reference to the Pretenders' breakthrough single "Brass In Pocket (I'm Special)" and Manson sings the word "special" with intentional Hynde-infused flair. In the event this not-so-subtle tribute was somehow missed, "Special" ends with yet another nod to the Pretenders as Manson sings "talk of the town" in reference to that band's song of the same name.
The opening synthesizers on "When I Grow Up" make it sound like the theme to a psycho thriller film, but it soon bursts into an catchy pop song on which Manson swears that everything will change when she finally matures. The guitars and synthesizers create a childlike spinning sensation around Manson as she sings the chorus. One of the best songs on the record, this track has great potential for a hit single with its carefree spirit and summertime feel. "Hammering In My Head," "Dumb" and "Sleep Together," on the other hand, are all dancefloor burners with a techno-industrial feel. "Hammering In My Head" is a standout in part because of the 100-plus tracks of loops and noises that make their impact on the song. On "Dumb" Manson's melodic lines resemble those on "When I Grow Up" and "Special" but are dropped into the middle of an aggressive, high octane sonic assault. In the end, though, Garbage brings Version 2.0 to a gentle close with the potential hit "You Look So Fine."
Garbage spreads out a bit on Version 2.0 and comes up with yet another collection of great songs. The band is touring in Europe in support of the record and should turn up Stateside by the end of the summer. Visit the band's website at http://www.garbage.com for the latest on Garbage and more details on how to make the most of Version 2.0.
