Orgy

Vapor Transmission (Warner)

Orgy made its name with their debut album Candyass and hit cover "Blue Monday." But Orgy is a strange breed, mixing alternative angst with a dramatically unique science fiction sound that harks back to the '80s, aux accents and all. This brand of self-labelled "death-pop" makes references to the "Message from Opticon/Blast from the fashion bomb" almost believable. This is the new millennium after all, right? But while Orgy's new album Vapor Transmission is nothing but innovative, the novelty soon wears after their deservedly well-made hit "Fiction (Dreams in Digital)," which brings the issue of permanent digital stasis to the forefront of music. Apparently, though, music lacks a certain amount of diversity even in the year 3000. While themes differ from the admiration found in "Eva" to the derision in "Suckerface," soon the production values of death-pop overtake whatever substance is to be found in the album: one can take a rehash of New Wave for only so long.

Nevertheless, sweep away all the polish and the result is a servicable alternative album for the Goth-set crowd, with nihilistic overtones to suit the so inclined. However, for those who view New Order as an unfortunate bump in the road during the Reagan era may want to stay away from Orgy's sophomore effort. B- -Jimmy Zha

Bruce Hornsby

Here Come the Noise Makers (RCA)

Bruce Hornsby's new live album Here Come the Noise Makers combines his classic hits such as "The Way It Is" and "Mandolin Rain" with an entirely new sound. Although parts of the Bruce Hornsby and the Range signature style still remain, the backing band has changed dramatically, with more brass and a little bit more edge to the rhythm section. (For those of you who have no clue who Bruce Hornsby is, the piano line in Tupac's "Changes" is a sample from "The Way It Is.") Also, Hornsby's singing style has become much looser and much more soulful.

The live sound (recorded last year) and the piano improvisations before almost every song bring energy and freshness to old favorites such as "Mandolin Rain" and the poignant "Road Not Taken." And the combination of piano artistry and heavy lyrics on "The Way It Is" that won Hornsby a Grammy in 1986 still delivers a powerful punch. New additions to the Hornsby repertoire include "The End of the Innocence," which, although co-penned by Hornsby, was originally recorded by Don Henley. Overall, Here Come the Noise Makers presents both a retrospective of Hornsby's 15-year musical career and puts an old friend in a whole new light. B+ -Krisa R. Benskin

Sonny Rollins

This Is What I Do (Fantasy Jazz)

At the beginning of his 70th year, jazz saxophone colossus Sonny Rollins has released the modestly titled This is What I Do. As its name suggests, this album documents the present state of Rollins' traveling band.

Every Sonny Rollins album contains the obligatory calypso number and this album opens with an original titled "Salvador." Though entertaining, this piece lacks some of the joyous swagger associated with Rollins' other Caribbean interpretations. Rollins digs marginally further into his improvisatory bag on the two other originals, the funk-infused "Did You See Harold Vick?" and the slow blues "Charles M." to greater effect. Just as in his live performances, the standout sideman on this album is pianist Stephen Scott. The vibrancy of Scott's solos safeguard the moderate pace of the album from becoming sluggish. His swinging, soulful contribution to the '30s chestnut "A Nightingale Sang In Berkeley Square," combined with the lyrical opening statement and driving improvisation of Rollins, make this performance the highlight of the album.

If Rollins in concert is kung fu, then This is What I Do is tai chi; reserved, but masterful nonetheless. Rollins is one of jazz's last living legends; this album reveals an artist comfortable with that mystique. B -Malik B. Ali

Linkin Park

Hybrid Theory (Warner)

If Linkin Park's debut came with instructions, they might read something like this: 1. Argue with your mother. 2. Stomp off to your room. 3. Slam the door, crank up the stereo and sulk. Fitting this much angst into one album should be impossible, but this southern California quintet (vocalists Chester Bennington and Mike Shinoda, drummer Rob Bourdon, guitarist Brad Delson and DJ Joseph Hahn) proves conventional wisdom wrong on track after track of an album destined for heavy rotation in the stereos of disaffected suburbanites everywhere.

Linkin Park's sound is the sort of sonic soup their audience hungers for: a handful of metal, a sprinkle of hip-hop and just a pinch of ambient. But the name of the game is consistency, and Bennington and Shinoda deftly pull together the squall of tracks like "Crawling" and "One Step Closer." Indeed, picking a first single must have been near-impossible, as there are no real duds on Hybrid Theory-each track offers something to hum or shout along with. At the same time, it's hard to ignore Linkin Park's packaged feel, from their myriad faux-industrial logos to their carefully coiffed scruffiness. But go ahead, pop in Hybrid Theory and indulge in some good old teen angst. You're alone in your room, after all. B -Tom Clarke

Granian

Hang Around (Granian)

Since the release of their debut album Without Change in 1996, the indie rock band Granian has been continually on the move, at some times playing over 15 shows a month on their whirlwind tour. Granian's hectic tour schedule and the year that they spent in the recording studio have led to one major result: the release of a sophomore album that represents Granian in top form.

Hang Around is one of those albums in which you can easily lose yourself. While every track harnesses Granian's unique, laid-back style, each has a distinguishing personality, avoiding one of the major downfalls of up and coming bands-what could be dubbed "the CD of one song." Instead, the band uses the variety of songs to showcase lead singer Garen Gueyikian's incredibly wide-ranging voice and a never-ending variety of solid drum rhythms. Personal favorites include "Far From Saved" and the title track, which picks up the very live-sounding tempo of this album.

Granian is truly making a name for itself and this album comes highly recommended, especially as a first introduction to Granian. For those of you who are into live music, there may even be a chance of spotting the band itself in the very near future somewhere in Cambridge. A -Laura Dichtel