Album:’Up Off the Floor’

Gusheads:2 out of 4

“Up Off the Floor,” the new CD by God Lives Underwater, is a lively mix of techno-pop and dance beats intertwined with emotionally thoughtful lyrics. But instead of relying solely on a synthesizer, the group makes good use of electric guitars to give their sound a much-needed fullness that a synthesizer can’t always produce. Basically, it’s like Marilyn Manson but without the gothic overtones and the deeply depressing themes.

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The tracks, “Whatever You’ve Got” and “History” are interesting deviations from the rest of the album’s dance club sound, showing an ability to write more thoughtful songwriting. It at least shows that God Lives Underwater isn’t the typical cookie-cutter techno pop group.

Gusheads:2 1/2 out of 4

The first thing that comes to mind when listening to Keaton Simons’ “Currently” EP is how relaxing and easy it is to listen to. His lyrics and music are as smooth as the September breeze, and with only five songs on the disc this makes for too quick of a listen. Since this is some of the most inoffensive music in existence, it’s ideal for almost everything under the sun – from snuggling with the special someone, to doing homework or driving around town on a sunny morning.

Gusheads:3 out of 4

Just as one might expect, Velvet Revolver’s “Contraband” sounds just like what it’s composite elements have brought to the table – a little Guns ‘n’ Roses and a little Stone Temple Pilots.

For those who consider themselves Guns ‘n’ Roses fans, but haven’t been keeping up with Slash’s group, the Snake Pit, his playing style still features some of the licks that made him famous in G’n’R, but there’s definitely a certain heaviness behind his playing now. Perhaps it’s singer Scott Weiland’s lyrics that command this heaviness, or maybe it’s happened out of Slash’s own natural progression that has altered his trademark sound.

As far as lyrics are concerned, it’s the typical fare one might expect from musicians whose lives have been dominated by emotional turmoil and severe drug abuse. That is to say there’s a lot of reference to drug use and emotional healing. In the song “Big Machine,” Weiland sings about how he hopes some day he’ll be able to teach his son how to be a man, and about how the rock ‘n’ roll lifestyle is just one big, consuming machine.

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What’s good about this album is that finally bassist Duff McKagan’s abilities are put to use beyond serving as a backbone for the group. Whereas G’n’R focused mainly on his bad boy image and his colorblind grittiness (he really is color blind, that’s why he always wears black), Velvet Revolver finally gives McKagan a chance to shine.

In all, “Contraband” is a solid effort, but one that’s not quite as good as it was trumped up to be prior to its release or as good as Rolling Stone would have the public believe. It is a good start though, and demonstrates some elements of good songwriting and musical ability. This album certainly is worth buying, and is probably the closest thing to a new G’n’R album the world will ever see, considering former G’n’R singer Axl Rose is a lost cause and can’t even show up to a gig.