Static-X

“Shadow Zone” (Warner Bros.)

Compare to: Godsmack, Orgy, Korn

If you popped in “Wisconsin Death Trip,” the debut release of n-metal rock mavens Static-X, and then listened to “Shadow Zone,” the band’s latest release, you’d notice something — they sound a whole heck of a lot alike.

Same growling. Same heavy riffs. Same techno influence. Same repetitive and often nonsense lyrics.

“Destroy All,” the opening track on the new album, has a faintly reminiscent ending. It ends the same way “Otsegolation” on “Wisconsin Death Trip” ended. Repeating a single word over and over, spacing it out with a nice heavy guitar solo.

Static-X set out to do something entirely different, to blend techno with metal to form a new kind of rock. It did create a new kind of rock, along with other n-metal pioneers, but it lost the creativity somewhere along the way.

Rock fans have long criticized n-metal of being overproduced and “Shadow Zone” proves their point. The depth and length of lead singer Wayne Static’s growls even seem to be strategically placed. The band has long since stopped being scary and the amount of hairspray in Static’s hair isn’t quite as impressive or frightening as Marilyn Manson.

However, as monotonous and produced as the “Shadow Zone” is, it does have its high points.

The repetitiveness of the album does almost sound good and purposeful at times. “The Only” has a throb of pain and the few verses that have words and short fragments instead of full statements stick in the listener’s head in an eerie way.

There are a few forays into something not expected of Static-X. “Invincible” and “So” sound more like a Stabbing Westward move with its slow, haunting sound and utterly depressing and dark lyrics: “Pushing you away/ Away from me/ Empty inside/ I’m dying, I’m crying/She makes me bad/ Betrays my head.”

The album as a whole is so much like the band’s previous releases, it immediately turns listeners away, wishing they hadn’t gotten a repeat of another CD. Even with the few gems found in “Shadow Zone,” it just isn’t worth it.

— P. Kim Bui

The Mood Elevator

“Married Alive” (Doppler)

Compare to: Gin Blossoms, Cheap Trick, Better Than Ezra

As an anti-depressant, The Mood Elevator may be all-natural, but the album is accompanied by several nasty side effects, including severe boredom and utter annoyance.

Chris Plum and Brendan Benson combine their solo talents to create The Mood Elevator, a band formally known as The Neptunes. In their new album, “Married Alive,” they show us how upbeat rock can be incredibly bland. While hitting a few high and low points, the majority of this album is overwhelmingly mediocre and not fun to listen to.

Many of the songs on this album rely on heavy guitar riffs and overpowering lyrics to create an energetic sound. The few songs in which this was done tastefully are actually quite uplifting.

The leading track, “Boycott,” is one of those songs. It is the most successful in its mood elevation qualities and is the high point of the entire album. Its crunchy melody and heavy rock sound make it particularly catchy.

However, like many other songs on “Married Alive,” “Boycott” displays The Mood Elevator’s tendency to play all the components of its music seemingly in unison. It’s as if the guitar, bass and drums are attempting to create the exact same sound at the same time.

Some songs use this annoying habit selectively. “Long Hard Look” and “Beginner’s Luck” tease the listener by incorporating some musical variation in the song, only to return in full force to the incessant in-sync strumming.

This musical strategy creates a major lack of depth in each song in which it is employed. Its ultimate result is tremendously dull and monotonous.

“Married Alive” experiences its low point during “Best Kept Secret,” a song encompassing just about every negative aspect on the entire album. The constant repetition of the phrase, “Best kept secret” with few other lyrics becomes extremely irritating by the conclusion of the track. Along with the heavy guitar and drums playing in a unison beat, this song is deficient of almost any positive qualities whatsoever.

Plum and Benson seem much better suited for their solo work.

— Annie Krumhardt

The Strokes

“Room On Fire” (RCA)

Compare to: Oasis, Maroon 5, Velvet Underground

Even if Julian Casablancas gave up the singing-through-a-pay-phone sound and stopped lamenting about drugs and broken love, The Strokes’ new album, “Room On Fire” would still be flying off the shelves.

Two years ago, this band supposedly revived rock as the world knew it.

The band took it back to the underground New York sound with the cocky debut album “Is This It” in 2001, which went on to sell two million copies worldwide.

Fans have been waiting for a bigger and better follow-up and it’s finally here. No pressure.

Luckily, The Strokes don’t seem to feel the heat.

Band members Casablancas (vocals), Nick Valensi (guitar), Albert Hammond, Jr. (guitar), Nikolai Fraiture (bass) and Fab Moretti (drums) try to prove that the second time around is just as good as the first.

In comparison to the heart-thumping, sneering debut, “Room On Fire” is a bit more subdued. But subdued doesn’t mean boring.

“What Ever Happened?” drops on a deliberate downbeat, setting the contradictory feeling mirrored by the following 10 tracks.

The album flirts with reggae beats, country guitar licks and self-appreciating lyrics like “So many fish there in the sea/ She wanted him, but he wanted me.”

One of the most profound works of The Strokes’ career occurs in the last third of the album. “Under Control” is a flawless showcase of Motown soul. Casablanca takes vocal risks by exploring a lower, more intimate range.

The only disappointment is that the new depth, styles and beats go nowhere.

There are a few amazing singles and one soulful rock ballad. The rest is just glorified filler.

The album’s chameleon feel ignites excitement but falls a bit short of pushing it all the way. It is pulsing and driving to a climax that never occurs.

“Room On Fire” doesn’t blow up with huge revelations of its patented garage rock sound, but it sneaks up on you and groans in your ear its ongoing theme from the beginning: “Whose culture is this and does anybody know?”

— Emily Cooper

Barenaked Ladies

“Everything To Everyone” (Reprise)

Compare to: Crash Test Dummies, Eagle Eye Cherry, Blessed Union of Souls

The Barenaked Ladies have returned to the radio and maybe to stereos of listeners everywhere with “Everything to Everyone.”

The album comes after the near commercial flop “Maroon” in 2000.

Old fans will find a nice surprise with some of the best work yet for the Canadian-native band. This album is a definite sign of life in pop music. It hinges both on mature testimony and the band’s trademark of charming lyricism.;

The Barenaked Ladies has always been known to use satirical wit in its lyrics to address societal issues. This album is no different, but they are more tasteful than ever before. The band pokes fun at problems and this style of writing is funny and Seinfeldishly thoughtful.

Many bands have mocked America’s consumer-driven society and the album takes a jab with a subtlety that teeters on polite questioning in songs like “Shopping.”

“Another Postcard” is a regular thumper, with the fun, upbeat techno edge of They Might Be Giants’ “Mink Car” and a taste of the standard kooky lyrical tone found throughout the Barenaked Ladies’ catalogue.

One immediate highlight is “War On Drugs,” a lovely ode to love itself.

It’s a strain to think of complaints about this album if you’re a fan of fun pop.

The melodies make up for any grumble about lyrics and may be enough to make this album more than a novelty act.

“Next Time,” for example, is strikingly different from the norm.

The song’s simple gospel-style honesty surprises you after three previous pop jigs. This is an obvious example of a newfound love and honest emotion in the band. Not to say sarcasm can’t be honest, but there’s less of it here than on any of the band’s previous recordings.

It’s not a complete surprise, but what keeps this album alive is not a breakthrough for music.

It’s melody.

These guys are getting older, settling down, becoming dads, growing up. Without a doubt, the album shows it.

“Everything to Everyone” reminds us that pop music can still be a lot of fun.

It’s a little way off of classic, but this is a real move deserving a real listen.

— Kyle Schmidt