Horrorscope Eve 6 RCA, 2000 Buy it online Tracks 1: Rescue 2: Promise 3: On the Roof Again 4: Sunset Strip Bitch 5: Here's to the Night 6: Amphetamines 7: Enemy 8: Nocturnal 9: Jet Pack 10 Nightmare 11: Bang 12 Girl Eyes   Reviewed by Aaron Blanton	Through the first listen of Eve 6's second album Horrorscope you are struck with a solid wall of sound that would make Phil Spector envious. The second listen through and you start to notice more -- maybe the irony of a lyric here or the influence of another time there. Hovering somewhere between an early 70s mod-rock sound, an 80s electronic Euro-pop edge and a mid-90s retro post-punk revival a la Green Day on speed, Eve 6 somehow manages to turn all this influence into something both familiar and unique. For example, Horrorscope occasionally reminds one of early 80s Ultravox. But where Ultravox songs had a dour, over-serious and almost Teutonic air about them, Eve 6's tunesmithing is far more upbeat and filled with humor and youthful exuberance. And exuberance is definitely what Horrorscope is all about, it crackles with high-energy and bouncing-off-the-walls intensity. Propelled by bassist and lead singer Max Collins, drummer Tony Fagenson and guitarist Jon Siebels, Eve 6 practically rockets through all 12 album tracks. Strong hooks, sharp melodies and solid vocals and playing emphasize the tight musicianship and give Horrorscope a consistency not often found in such a young band (RCA signed the trio while they were still attending high school). Those who have heard Horrorscope's first single, "Promise," can expect much of the same kind of full throttle pop sound. There is not a bit of dead or unused space on Horrorscope. All the potential voids are filled either by the guitar driven power chording, ribcage distorting drums or by Max Collins' powerful -- and what often sounds like vocal chord shredding -- singing. In terms of lyrics, Eve 6 tells their stories in evocative, bold strokes with quick sketches of youthful angst, relationships and basic this-is-life stuff. This combined with a well-honed sense of irony stops Horrorscope from becoming too lyrically overbearing or pretentious. You gotta know that with a lyric like, "Your heinous highness broke her hymen hey man try to quit your crying" that this is a band that is neither somber or overly concerned with political correctness. The album cover even sports one of those Explicit Lyrics/Parental Advisory labels. When I see this I automatically know that the "F" word is being used and that there might be some ideas in here that -- when you get right down to it -- 14-year-olds have already thought of. But Horrorscope is neither subversive nor "dangerous." The sense of fun on Horrorscope is enhanced by the cover art. Designed and illustrated by Randy Green -- who also designed Lara Croft -- it reflects Eve 6's love for and addiction to video games (now there's something subversive). While all of the songs on Horrorscope are well polished, animated slices of life, they have a bit of sameness about them. Unless you are prepared to slam dance, pogo or mosh for close to 45 minutes, Horrorscope can be a bit relentless and over-the-top in the kinetics department -- with the exception of "Here's to the Night," which slows down only enough to allow you to get a second wind. The album is also on the verge of being (if ever so slightly) overproduced. But, fortunately, none of the songs ever gets near anything truly "slick." With all of the energy Eve 6 puts out, it's good to know that producer Don Gilmore (Pearl Jam, Lit) has kept a bit of a rough edge on the music. The digital voice synth shows up on a couple of songs which, though unnecessary, isn't used enough to be annoying. But these are minor quibbles. Horrorscope may be relentless, but it is a boundless kick-ass collection of no-holds-barred, adrenaline-fueled and well -- though barely -- controlled musical rants. | September 2000 Aaron Blanton is a writer and musician. During the 80s he listened to more Bauhaus than was considered good for him. He is also a Taurus.	Those who have heard Horrorscope's first single, "Promise," can expect much of the same kind of full throttle pop sound. There is not a bit of dead or unused space on Horrorscope. All the potential voids are filled either by the guitar driven power chording, ribcage distorting drums or by Max Collins' powerful -- and what often sounds like vocal chord shredding -- singing.