Yes! Yes! Yes! These were the thoughts flowing through my head as I gave the Scissor Sister’s debut album a first listen. The music is an amalgam of sound reminiscent of peak era Elton John, Bowie, Beck, disco, electroclash and more. They are not a mere pastiche flaunting their dexterous musical muscle as they shift through genres—nor are they a parody band attempting to make money br trailing after the final entrails of glam rock and disco. On the contrary, they celebrate the lascivious freedom of the aforementioned influences with wry and colorful musicianship.

This record is purely entertaining. With songs such as, "Take your Mama" where they tell you that they’ll get her jacked up on some cheap champagne" you know something great is being presented to you. They are even brave enough to cover Pink Floyd’s "Comfortably Numb" as a disco-fied romp filled with sexed-up abandon. Scissor Sisters moves swiftly and brilliantly over the course of 43 minutes. Listening to it is like a party enjoyed by all except where time passes all too quickly. The latter half of the album is a tour de force starting with "Tits on the Radio" and following with the fanciful falsetto of "Filthy/Gorgeous" and so on until the Bowie-esque closer, "Return to Oz."

If you are a dance music fan, Scissor Sisters will be the necessary injection to keep your feet moving without listening to sterile and uninspired beats. And if you are a fan of colorful lyrics and subject matter that is off the beaten track then you will have hit pay dirt here.

Artist: The Cure
Album: The Cure
Record Label: Geffen Records

The Cure have returned this summer with one of their better albums in a long time. Their eponymous 12th record after twenty five years is as refreshing and invigorating as any of their earlier work. The Cure avoids the roughly stark and often droning sound of their last outing from 2000. With help from hard-rock producer Ross Robinson, (Korn, Limp Biskit, Deftones) the band has renewed and refitted their sound which is more similar to current rock. Yet, unlike the awkwardness or embarrassing nature of seeing a middle aged man running out to buy a Vespa, the Cure are able to adorn themselves with new musical accoutrements without selling out or sounding ridiculous.

The themes on The Cure are nothing new, though. They are continuations of the thick veins of brooding over love-lost, confusion, anger, self-hatred, and the celebration and discovery of love and regret. There are a few pop gems here "The End of the World, (I don’t know what’s going) On," among the deeper tracks. Yet, the rest of the album relies on heavier passages of cathartic energy. Even lead singer Robert Smith’s voice seems more impassioned as he soars over the contagious crunch of guitar. "Us or Them" sounds the closest The Cure has gotten to sounding like Black Sabbath. "Anniversary" is evocative of the forlorn atmosphere familiar to most fans. Even ten minutes into "The Promise" proves to be an enjoyable dirge—if there is such a thing. Overall, if you care for music such as I have described above or are looking for music to vent over, The Cure may be what you need.

Artist: Athens Boys Choir
Record: Rhapsody in T
Record Label: Daemon Records

For those intrigued or passionate about spoken word should definitely check this record out! The Athens Boys Choir is comprised of the duo of Rocket and Katz who are an anxious and angry pair who make quick witted and harsh statements about gender inequality, queer issues, the government and so on. Their style is abrasive and their disc covers a lot of ground.

Unfortunately, their rhythm scheme becomes quite redundant a few tracks into Rhapsody In T. Also, much of their work sounds like Ani Difranco. This is a compliment, yet the Athens Boys Choir should focus more on individuality of sound. Once they have mastered that, Watch Out!!