May. A sparse month for quality singles, but after a wait of around 2 and a half years since their eponymous debut, Garbage finally return with Version 2.0, the title being in reference to the modern computerised recording methods used in its making. ProTools is the package in question, which enabled them to use over 100 tracks on some of the songs, but is it better, quicker recording? This evidence says no, not much of an improvement on the old tried and tested methods. Garbage do do a lot of their writing in the studio, but this record took them 364 days (!) to record, which must represent a monumental amount of pissing about, especially for such slick, experienced producers. The results are not too spectacular either. Garbage plainly weren't paying attention when Blur sent the world a message with their horribly over-produced LP The Great Escape (not for no reason have they since departed in a lo-fi direction). Likewise Version 2.0 has had most of its features smoothed out into blandness. It's very pop too. Mostly gone is the "dark, moody, industrial sound" of old and in is a new mixture of thin breezy textures and the occasional hip-hop influence. That said, tracks such as Dumb, last single Push It and one or two others thankfully retain some of the favourite characteristics of "Garbage". Hammering in My Head is outstanding with its rock'n'roll/techno crossover, while opening and closing tracks Temptation Waits and You Look So Fine shine as quality songs through the gloss. Of the rest though little can be said except they each involve about one idea stretched over four minutes or so. Medication is flat and dull rather than delicate and sparkling, and Special is simply a sorry attempt at paying homage to The Pretenders - write a song that reflects on them, or just do a cover version, but please don't try to be them! It isn't cute, it's just sad.

Perhaps Garbage should cast an ear over this and take a leaf out of Urusei Yatsura's book. They may not quite be the sophisticated set-up that Garbage are, but their latest single Slain By Elf displays a few features sorely lacking on Version 2.0. It's a catchy tune to say the least and the guitars kick from the speakers with a snarl like they're alive and played with passion. It's said their latest LP is full of more of the same, so should definitely be worth a listen.

Curve always had a lot of good material, and this 2nd single from the album and third since they made their comeback is no exception. Coming Up Roses is a slow rhythmic beast that grows and grows and is unmistakably Curve in character. They may not have masses of new fans, but this is what those who know them have come to love. There's the rarity of a good remix on the b-side (where most remixes should generally be dumped straight in the dustbin), and almost needless to say it's by Danny Saber. A winner!

Single of the month though must go to the first posthumous release from Jeff Buckley. Everybody Here Wants You is a wonderful showcase for his tragically lost talent. A smooth, slow groove is kept flowing by sparse guitar, bass and piano backing his almost mournful melody as he tries to win over his girl's heart. It's a tune of softly spoken beauty and speaks volumes of the treasure his new record could have been had it been finished properly before his accident. His voice is unique and crystal, and will be sadly missed.


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