THE TITLE of the second U.S. release by Trio, a new German rock group, sums up the entire album. Trio and Error is a sampling of musical styles ranging from European tavern songs through fifties rock 'n' roll up to '80s power riffing and synthopop. On the surface (which counts for a lot with most Europop bands like Trio,) Trio and Error is an enjoyable album with a lot of catchy melodies, some witty choruses, and a spare, deadpan sound. However, this album works only on that surface level, because Trio never tries to capture the depth of feeling or soul present in the rock forms they manipulate. Trio along with other European rock bands (like Flock of Seagulls, etc), is basically the abba of the '80s: they steal the style from other musical forms (i.e., New Wave minimalism) and take the inspiration and soul out of them, thus creating a set of catchy but lifeless imitations that provide easy listening on the radio.

Probably the most interesting thing about this group is the way they pare down the music to its basics without any resultant loss in force, especially guitarist Kralle Kawinkle, who rocks the songs out with his driving guitar riffs. The other two members of the band are also quite proficient: Stephan Remmier sings lead with his rough, clear voice as if he had just woken up with bad breath, and produces some nice synthesizer runs; while Peter Behren keeps up a steady (almost monotonous) drum beat.

Using these basic methods, Trio managers to come up with two songs that are surprisingly accomplished "Boom Boom" is a riff rocker that manages with its one guitar to be both heavier and more rocking than most heavy metal songs with their flurry of frenetic guitars. "Hearts are Trump" (get it?) is basically a silly love song, lifted by a fuzzy synth lead, and some shimmering backing vocals. And for those who didn't hear it the first time around. Trio has obligingly reprised their hit "Da Da Da etc." It's surprising how much mileage the band has gotten out of this incredibly simple song--most of it consists only of drums and whispery vocals.

UNFORTUNATELY ON THE REST of the album, Trio attempts to integrate a wide variety of rock styles into their deadpan, minimalist sound; and here their thinness really shows through. In fact, the farther Trio delves into the past, the more disastrous the results. On "Tooralooralooraloo--Is it Old &Is it New," they aim for a tavern European folk ballad, and end up sounding like Perry Como. In fact, this song is so pathetically and limply delivered that it can't even be savored as good camp. "Drei Mann in doppelbett," on the other hand, links a pub chant with a synthopop rhythm with slightly more successful results. Nevertheless, neither the hook nor the rhythm of this song is good enough to warrant its redundancy.

From tavern music, Trio then moves onto early fifties rock with a deadpan cover of "Tutti Frutti." Unfortunately, what Trio (as well as other synthopop groups) doesn't understand is that by taking the ragged, rough-shorn mania out of early rock 'n'foll, they take out its heart (and its greatness). Covers like "Tutti Frutti" don't reinterpret the originals; they lobotomise them. Trio fares a little better with "Ich Lieb den Rock'n' Roll" because it's a little faster paced, although the group should learn that power riffing does not equal energy.

"Anna-Letmeinletme out" moves into a late '60s rave up framework. Unfortunately, the music Trio tries to imitate has a much denser guitar sound than Krawinkle is able to provide.

Trio's imitations are also very spare and redundant lyrically. The lyrics are not just simple; they are also unimaginative. The imitations might have worked a little better if the lyrics had been original or inventive; instead the lines are contrived at best (e.g., "Drei Mann in doppelbett") and downright cliches at worst ("And then you call/and I feel like I am floating/I feel my batteries reloading.") Basically, this group has so little to say that all of their songs turn into uninteresting love songs.

Recently, Trio has been compared to the Ramones as "rock and roll naturalists," possibly because both groups combine silly, repetitive lyrics with strong, hooky rhythms. Otherwise, however, the Ramones and Trio are styles apart, for the Ramones are true rock purists. At their best, the Ramones create music with that Frantic energy: energy that keeps the listener excited so that the repetitions don't count, and lyrics that blend into the strong feel of the music. Trio however ever lacks this vibrant energy; and that's why instead of burning out, they just fade away.