Alibi V.13 No.38 • Sept 16-22, 2004 

Sonic Reducer

Styx Come Sail Away: The Styx Anthology (A & M Records)

Styx is theatrical rock at its greatest, similar to the complexity and intricacy of Yes and the theatrical melodies and harmonies of Queen. This anthology is the most complete of Styx greatest hits compilations featuring their early, more obscure works and some recent tunes. Styx was a power force in the glory days of front man Dennis De Young (admit, even “Mr. Roboto” was pretty damn cool for its time). Often times considered a guilty pleasure, Styx is a lot more intricate than modern bands that dominate the airwaves. Revisit the magic or experience it for the first time.

The Cure The Cure (Geffen Records)

The Cure's self-titled release is like a manic-depressive, self-loathing person's diary set to havoc-sounding music. What on Earth happened to Robert Smith in the process of making this dark, empty album? A major disappointment for cure fans, the album offers nothing to its audience except severe depression and the urge to scream "Enough!" Smith's whiny voice is over the top this time and reaches the point of being absolutely annoying. Hopefully this is just a passing phase and those good ol' days of "Love Song," "Friday I'm in Love" and “Just Like Heaven" will be revived.

Cowboy Junkies One Soul Now (Zoë Records)

Listening to One Soul Now is like traveling through a beautiful countryside that is visually appealing at first but soon leads to nowhere. Margo Timmins has a smooth, bluesy voice that is restricted by the music that accompanies it. Most of the songs in this album are unbearably slow. Timmins' sexy, sultry voice can do unspeakable things if given the right music. The album would be quite enjoyable if the band upped their tempo a bit and became more versatile in their style. As it stands, however, this album could be a miracle cure for insomnia.