Daily Staff Writer

“Feeling Strangely Fine”

Semisonic

If CDs could be different thicknesses, Semisonic’s “Feeling Strangely Fine” would be about two inches thick.

Every song on the record is multi-layered in pop fantasia, sprinkled with the sing-along choruses that made Semisonic’s 1996 debut “Great Divide” a treasure.

But the overlying frosting provided by lead vocalist and guitarist Dan Wilson, bassist John Munson and drummer Jacob Slichter is not so thick as to blanket the original and most significant layer of Semisonic — heartfelt songs.

“Closing Time,” the first single off “Feeling Strangely Fine,” is arguably the best pop rock song to hit the airwaves this year.

The tune’s piano line alone is enough to draw you into Wilson’s lyrics about when the bar closes and another part of the night begins. “I know who I want to take me home,” Wilson sings in his Beatles-esque style.

“DND” uses a montage of string instruments to create a beautiful lullaby comparable to the “Great Divide” gem, “Down In Flames.”

About how a long distance relationship is kept alive by the exchange of a cassette of love songs, “Singing In My Flames” is Semisonic’s best lyrical work ever.

“Completely Pleased” is a funky, fun tune with a rhythm section strikingly familiar to Bob Marley’s “No Woman No Cry.”

“Gone To The Movies” closes out “Feeling Strangely Fine” in perfect fashion. Comparable to Ben Folds Five’s “Brick,” the tune is one you put on repeat for a few hours until you can pin-point what it is about the song that gives you the goose bumps.

Wilson’s falsetto vocal talents are superb throughout the disc, with “Gone To The Movies” serving as the grand finale.

At a time when rock music is criticized for having little pop appeal, comes a band that, in two years, has brought pop-rock back to life.

4 1/2 stars out of five

— Corey Moss

“Water and Solutions”

Far

Here’s an album for those who can’t decide between 107.5 KKDM or 103.3 KAZR. Turn off the radio and pick up

Far’s “Water and Solutions” — a decidedly happy medium between the two stations.

From the huge-sounding heaviness of the song “Bury White” and its screams of “No! Never!” to the peaceful, melodic, string-pluckin’ song “Waiting For Sunday,” there’s something for everyone to enjoy.

Far is a band unlike many others while sounding heavily influenced by the barnburner bands. For example, it sounds a lot like Smashing Pumpkins “Mellon Collie” era.

Take “Really Here,” for instance. It is filled with guitar lines that are easily mistaken for the Pumpkins. The only difference is that lead singer Jonah Matranga isn’t quite up there in Billy Corgan’s league.

In “I Like It,” a song about a guy who likes the torture he is receiving from his lover, both the guitar riffs and drumming are found in recent Smashing Pumpkins’ music.

Far has an awesome sound in the title song “Water and Solutions.” It’s sung by a guy with a lot of problems and sounds like it is being sung from a water pipe below ground.

The song explores death and how we live on in pictures and paperbacks, but is a little weak at times.

It is saved by “The System,” an angst-ridden song that is basically against the system. Matranga screams his rage for all to know.

Matranga has a special lyrical ability. His shocking story from “In 2 Again” is a prime example.

This song paints a picture of a boy who rode his horse too hard, and broke its leg. The storyteller says the two should be taken behind the barn and shot.

There are also many spiritual undertones throughout several of Far’s songs, however, just like Creed, it isn’t trying to push its beliefs onto anybody. Far just wants people to hear its music.

Far’s “Water and Solutions” is mesmerizing. From armageddon-inducing bass lines to peaceful dynamic changes awaiting a scream, this CD is a must own.

5 stars out of five

— Kevin Hosbond

“Generation EFX”

Das EFX

Diggidy does anybody in nine-ocho care about tiggidy-tongue twisting anymore?

Das EFX was fresh in the early ’90s; so fresh that you could see Brian Austin Green rapping along to the words of “They Want EFX” on “Beverly Hills 90210.”

Popular acclaim abounded for their unique style of rolling rhymes by repeating words and substituting “iggidy” for the last syllable.

Some even said they did for rap what Miles Davis did for jazz.

This is 1998, though. Master P is “Bout It Bout It” and Puff Daddy is “All About The Benjamins.” Where does Diggidy Das fit?

Das obviously thought about this, which is to credit their business acumen; however, the abundance of very familiar disco samples give the album a recycled/pop-rap music feel.

How many times can you hear Dazz (“Rap Scholar”) and Brothers Johnson (“Whut Goes Around”) sampled in rap?

How many old ’80’s songs can be remade into hip-hop? This time, “Eye of the Tiger” gets resurrected for the title track, with a disappointingly less than stellar guest appearance by EPMD.

Das EFX may win the marketing award for best “radio-friendly” format shift, but the Iggidy Izms just aren’t as fresh without hardcore beats.

This time around, the Sewer Rats are gonna drown.

2 stars out of five

— Steve “Flash” Juon

“Where Have All the Merrymakers Gone?”

Harvey Danger

There’s still some good music seeping out of Seattle. The four men of Harvey Danger agree to that but believe they are not participants, but rather observers and admirers.

Guitarist Jeff Lin wouldn’t have even picked up the guitar if he had never heard Nirvana. Other influences noticeable on this album, “Where Have All the Merrymakers Gone?,” stem from The Beatles, Pavement and R.E.M.

Harvey Danger has a typical college band sound, the kind of sound that might be heard on Conan O’Brien’s “College Band Contest.”

From the pop hooks of “Carlotta Valdez” to the mindful lyrics, “I wish I was the wooly muffler on your naked neck,” in the song “Wooly Muffler,” Harvey Danger is musically-compelling.

Amazing in and of itself is lead singer Sean Nelson’s voice. He belts out the songs with the same raw energy as of Goldfinger’s John Feldman.

Nelson also shows off his adept lyrical ability. He is simply an amazing writer.

A good example comes from the Seattle radio hit “Flagpole Sitta.” Nelson sings, “They put me in a hospital for my nerves. You told them I was crazy. They cut off my legs and now I’m an amputee, Goddamn you. Well I’m not sick, but I’m not well …” This striking song is sheer greatness.

“Problems and Bigger Ones” and “Jack the Lion” are two solid songs with nothing but pure talent and lots of power pouring forth from them.

Following these sophisticated songs come two more greats pulsing with life. “Old Hat” has inviting riffs that beg the listener to move along with them, while “Terminal Annex” has a driving force like none other.

Closing out the album are the lamenting ballads “Wrecking Ball” and “Radio Silence.” These two powerful works prove that Harvey Danger is a full circle band that can also showcase its amazing talent with slow songs as compared to its usual peppy sound.

To sum it up, Harvey Danger’s “Where Have All the Merrymakers Gone?” is a full-fledged impressive collection of great songs.

4 stars out of five

— Kevin Hosbond

“Retaliation, Revenge and Get Back”

Daz Dillinger

There’s still one inmate left stranded on Death Row.

In what may be the final hurrah of Suge Knight’s post-apocalyptic gangsta rap empire, former Dogg Pound member Daz Dillinger releases his solo rap album.

Considering the turmoil at Death Row with their CEO in prison, their best-selling artist (Snoop Doggy Dogg) defecting to No Limit Records, and their loss of Tupac Shakur’s catalogue in a lawsuit, this is a surprisingly good album.

Seemingly oblivious to everything going on, Daz lays down respectable raps which show improvement and growth since his days of cameo appearances on Dr. Dre’s “The Chronic.”

Cameo appearances abound: ex-homie Kurupt shows up on “It’s Going Down,” B-Legit and E-40 appear on “Playa Partners” and Tupac makes a post-mortem appearance on “Initiated.”

Daz remains the focal point at the center of each song — never allowing himself to be upstaged or knocked off. His debut single “In California” is an upbeat tale of party life.

“You know I ride the neighborhood slow; floss on you and let the wind blow/true indeed I’m havin a ball,” Daz raps.

Daz talks about gunplay and ghetto drama, but he’s out to enjoy rhyming instead of to preach or teach.

As such, the vibe comes through, and his self-produced beats are surprisingly good. For their final hurrah, Death Row delivers a death blow to the competition.

3 stars out of five

— Steve “Flash” Juon