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26 of 27 people found the following review helpful:
5.0 out of 5 stars
still good after all these years, November 1, 2003
I may not be as passionate about this group as I once was but they're still, and always will be, one of my all-time favorite rock bands. I've seen them in concert twice now and they're just as good, if not better, live, and I absolutely love listening to Shirley Manson breathlessly speak to the hyped up crowd with her heavy English accent after jumping around the stage while singing a familiar tune. The self-titled debut album by Garbage was my first actual record (the "Queer" video beckoned me to follow) and I've been hooked ever since. Despite the less-than-cheery lyrics, their music helped me through some tough times in my life and kept me sane as my parents moved me from place to place in my early teens. I'm older now and can easily account for the fact that my tastes have broadened over the years (I've got a huge CD collection to prove it) but I always return to 'Version 2.0' when everything else becomes yesterday's news, so to speak. Their sophomore release passed the tragic curse so many groups befall after a successful beginning (or so I should think with all these 5 star reviews), and while their journey forward looks humble indeed, I'm certainly not the only one to think that they deserved the Grammy over Sheryl Crow for best Rock album a few years back. I'm still bitter over that undeserved loss but I'm grateful they were at least nominated for the prestigious award. I do not wish to dwell on the past though. I'm just so impressed with this record and believe it to be their best work to date. Not only did they dodge the possibility of failure their second time around but they also shut the bashful critics up for a while who claimed that Butch Vig was the real genius keeping Garbage together and that Shirley was holding the group back from their true abilities, which is ridiculous because Garbage wouldn't be the same without her special touch. Growth in all corners is evident on 'Version 2.0' and the songs are more refined here. Their hypnotic blend of rock and electronica - not to mention Manson's punk-like attitude - quickly sucks the listener in and keeps them coming back for more. When I first saw them perform live, I couldn't help but notice what an eclectic array of people they draw in, and that's likely the reason for their international fame because so many individuals can identify with their preferred style. I've been putting off writing a review on this for quite some time now because I've always found it difficult to put words together to give this album justice but 'Version 2.0' should be in everyone's collection. This will be with me forever. I even had to replace it once because I wore it out from excessive playing.
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11 of 11 people found the following review helpful:
4.0 out of 5 stars
Sleek, Seductive, and Sexy, April 17, 2000
Version 2.0 is easily one of the best albums of the past decade. The electronic rhythms blend seamlessly with Shirley Manson's voice. Possessing one of the sexiest voices in music today, Manson is a calculating seductress. In fact, Manson's vocals are the only thing that remains consistent from the band's self-titled debut. The sonic assault of the rest of Garbage is noticeably shiny and polished. This doesn't mean that they've lost their edge though. The songs on Version 2.0 are better than those of the debut, whereas the debut's seemed incomplete and inrealized, Verison 2.0's are complete and competent.
The album's best tracks happen to be the slower songs. "The Trick is to Keep Breathing" and "You Look So Fine" showcase Manson's voice at its most wistful, and quietly sexy. Somehow though, the listener gets the impression that she's hiding her freaky side on "You Look So Fine." For Garbage, the arrangement on "Medication" is relatively sparse, giving it a barren, desolate feel that suits Garbage well. Manson accents "Medication" with gut-wrenching vocals.
The faster numbers are absolute stunners. "Sleep Together" resonates with an intoxicating mix of electronic bleeps and guitars, but it still can't compete with the album's opener, "Temptation Waits," which starts with a wintery aura, and features a blisteringly cold chorus. One of the album's surprise highlights is "Hammering in My Head," with its whirlwind of sonic flourishes and breakneck pace, it also has an unrelenting and memorable guitar riff.
It goes without saying that the four singles from this album combine Garbage's rock-meets-electronic formula with fantastic results. All of their songs combine aggression, sleek sexiness, and sonic polish. Their intricate soundscapes are magnificently assembled collages of sound. Not many bands can pull off such a stunning album in their careers, but Garbage already have a perfect 2.0 record.
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7 of 7 people found the following review helpful:
5.0 out of 5 stars
Garbage does what no other 90's bands could do, July 5, 2004
Garbage's self-titled debut was a critically hailed triumph. It was a combination of sleek neo-feminism, gothic undertones, and alt-pop rhythms. Vocalist Shirley Manson could do it all -- she was Debbie Harry of Blondie, Dolores O'Riordan of the Cranberries, she was Chrissy Hynde of the Pretenders -- but she was still a leather-clad skanking flirt with a mean growl and a playful attitude. Her familiar yet simultaneously unique personality helped usher in the new era of alt-rock that dominated the late 90s. Despite Manson's in-your-face affectations, their first effort, while remarkable and refreshing, wasn't altogether groundbreaking. After nearly 3 years of intense recording and polishing, Garbage returned with a newer, glossier, and more catty version of their former selves.Sidelining -- although not totally adbandoning -- their grittier roots was a shrewd choice in the 90s, when a long attention span was hard to find. Garbage is still in all of their glory here -- the insane guitar riffs and acidic lyrics are intact. Here, it's just done better. They take the guitar riffs and skewer them until they're nearly indistinguishable, they take Manson's growl and strecth it out to elastic proportions. Such intense experimentation is usually suicidal -- here, it's more like a steroid shot to an ailing genre. Perhaps the most effective revelation on 2.0 was the full-on implementation of technopop. It's everywhere here -- in between the beats of the punk chorus in "I Think I'm Paranoid," backing the ingeniously distorted guitars of "Push It." Garbage didn't only write the book on crossover alternative pop/rock, they have it memorized and, for all intents and purposes, copywritten. Garbage is sugared up on romps like "When I Grow Up" and the double-entendre laden "Hammering In My Head" -- they're echoic and icily profound on "The Trick Is To Keep Breathing" and "You Look So Fine" -- they even manage to combine caustic wit and catty come-on with "Sleep Together." Manson and Co. know no limitations when it comes to musical stylings, and this sort of unpredictability is what rock was meant to sound like.
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