In reviewing Michael Hutchence's eponymous and posthumous album, it would be too easy to compare his efforts with that of his former glory as the leader of INXS. Frequently topping the pop charts in their native Australia, the band broke into American consciousness in 1987 with their album Kick, an artistic and multi-platinum commercial success that spawned such hit singles as "Need You Tonight" and "Devil Inside."

Unfortunately, INXS's fame coincided with a Northern Hemisphere boom where anything tagged with a "Made in Australia" leapt off the shelves. While a talented band, the group faded from American consciousness as quickly as Crocodile Dundee. They were again--if only briefly--thrust to the forefront two years when lead singer Michael Hutchence was found dead in a Sydney hotel room, apparently having hung himself, which sparked off a flourish of tabloid-induced controversy.

After plans for a solo excursion were shelved upon Hutchence's death, his producers cracked open source tapes from a solo effort he recorded back in 1995, and after some creative processing, the album is slated for release on Tuesday.

Easy or not, in light of the creative energy that Hutchence invested in his original performing days, a comparison is certainly warranted. Pegged as an electronic based pop band in early days, the INXS sound spanned the spectrum from edgy subdued funk with distinct R&B roots to folky hard rock evocative of the Rolling Stones; it even dabbled in carefully orchestrated power pop. It is not clear that the band's eclecticism was largely due to their departed bandleader's impetus. On this solo effort, Hutchence is a veritable vocal chameleon, at times crooning dead on impressions of U2 lead singer Bono's scratchy, unearthly vocals (who ironically provides backup vocals on one track) and others growling with enough intensity to put a pit bull to shame.

Accordingly, the album is a loose collection of tracks that seem to be the musical equivalent of an artist's sketchbook--it contains an array of self-contained and varying ideas--rather than a fully flushed-out concept album. Hutchence was obviously allowed significant creative license to experiment with different textures, because there are scarcely two tracks that sound similar, which is hardly a drawback. Heavily distorted guitars are on assault on the opening track "Let Me Show You," but are immediately contrasted with ethereal and richly textured multi-layered sonics on the ballad "Possibilities." Radio ready hits jostle for space with heavily funk-influenced grooves, as do rolling rhythm and blues beats, all of which are pulled off with considerable ease considering the great diversity of styles. It's difficult to ascribe credit in this case because we don't know where Hutchence ends and his posthumous producing team begins. Regardless, the work rarely falters, except occasionally in the lyrics' poetic expression. It's very eerie, considering the scandal and controversy surrounding Hutchence's death to hear him wail "I just wanna slide away and come alive again" on the parting "Slide Away," but fortunately, the music makes you celebrate his art rather than lament the man's death. It's definitely a keeper. A