Big beats, loud guitars & an irresistible dance groove

Junkie XL. A band which presents itself so self-assuredly, and in its own inimitable way, on "Saturday Teenage Kick" that
it's almost impossible to believe that this is a new group's very first record. The sound created on the album is hot, the
tracks storm out of the loudspeakers and the song material is varied but always strong.

Over the years Tom Holkenborg (renowned for his production and remix work with Nerve, Kong, Fear Factory and Dog Eat
Dog) has built up a reputation for himself as a popular producer in the international metal and rock world. But his more
recent projects have shown a definite leaning towards dance. In 1996 he won the Grand Prix of The Netherlands in the
category Dance Music (as best house producer and best sounding act) more or less by chance with his first series of
experiments. This success was followed by an album with Lords of Mulu, a project which allowed Holkenborg to elaborate
his ideas even further and one which served as a bridging link between his musical past and the next step: Junkie XL.

Without doubt, Junkie XL is the best Holkenborg has done to date. While many electronic dance groups have recently
begun to include more and more rock elements in their music, the Amsterdam producer approaches the same dance-rock
territory from a completely different angle. On "Saturday Teenage Kick" his tried and tested energetic rock sound has been
moulded into an uncompromising dance groove, with a heavy hip-hop beat as the power source. The result is alluring and
compelling, and international.

The nervous energy of Junkie XL reflects Holkenborg's own character, he's a hopeless workaholic who almost lives in his
studio, where you will find him working on new ideas and upcoming releases until the early hours. But above all he is an
inspired musician with boundless energy and infectious enthusiasm, which comes through loud and clear in the music on
"Saturday Teenage Kick".

In contrast to many dance producers, Holkenborg did not need to rely on samples of music by others to create Junkie XL's
special sound. He not only played keyboards, guitar and bass on "Saturday Teenage Kick", but also provided a number
of live drumbeat patches. He was ably assisted by guitarist Dino Cazares (Fear Factory) and Urban Dance Squad's
frontman Rude Boy, his funky rap complementing the Junkie XL sound and producing an effect in this new environment
which is quite different to the Dance Squad sound.

The tracks on "Saturday Teenage Kick" (the first release on the new MEDCOM label) have already had successful try-outs
on the stages of clubs such as the "Roxy" and "Melkweg" in Amsterdam before the record even was released. In
December 1997 Junkie XL won the "Heineken Crossover Award" which gives them the opportunity to do a showcase in
New York around March '98. In the same period Junkie XL sets out on its first European tour, one on which Holkenborg will
be backed by a full band including DJ Frankie D. (one of The Netherlands' best known funky trip-hop DJs), Rudeboy
(Vocals/Raps), René van der Zee (Guitars) and Baz Mattie (Drums).
CDNOW Review by Brain O'Neill >>
 
 

When Urban Dance Squad called it quits, turning a once-promising career outlook
to one-hit-wonder status, rumors flew about the reasons. The most frequently
contended was that vocalist Rude Boy was tiring of the rock/rap hybrid the band
helped spawn to a degree (even though it's sound was closer to Pop Will Eat
Itself with real soul as opposed to, say, Fishbone), opting instead to relegate
his musical output to more traditional rap music. After several years of
semi-obscurity, Rude Boy seems to have had another mood swing, this time
merging hip-hop with trip-hop dance beats on Saturday Teenage Kick, the debut
for Junkie XL, his new project. Vestiges of his rock-inspired past turn up
frequently on the album, with samples from Hüsker Dü and New Bomb Turks leading
the way on two tracks, and even on the remainder of the record the
studio-mettle melds with electronica-metal, leaving only a small percentage
totally "disco" in the '90s sense of the word. Combining this with his
enigmatic rapping (often spliced nicely), it makes the disc fit for both
dance-halls and concert halls.
BBC Radio 1 Review (February 10th, 2000) >>
 
 

The term 'alternative dance' often conjures up images of dreadlocked crusties
swigging out of a cider bottle with a skinny dog by their side. That was until
the end of last year when Dutch outfit Junkie XL caught the imagination of DJs
such as Sasha, Nick Warren and Pete Tong.

Junkie XL is producer Tom Holkenborg, occasionally assisted by Urban Dance
Squad's Rudeboy. Like Sander Kleinenberg and Timo Maas, Junkie XL became
one of the foreign imports that all the big names seemed to be shouting about
as 1999 drew to a close. Pete Tong made his 'Future Computer Hell' track an
Essential New Tune and has since signed him to his FFRR label. Despite coming
from the same country as the Venga Boys and where Eurotrance rules,
Holkenborg's musical heritage owes more to the electric guitar than the
keyboard. Having spent years playing in rock bands, Tom fancied the freedom of
a solo career and got into dance production. He released his first solo album,
'Saturday Teenage Kicks', in 1997 and went on tour with the Prodigy, after
which Liam Howlett told him he thought it was one of the best shows he'd seen
in years.

His sound combines rock and dance with phat and futuristic beats, it doesn't
have cheesy guitar samples or token rock references, this is the real deal. His
follow up album, 'The Big Sounds Of The Drags' draws its influences
from?wait for it?drag racing. "I really like drag racing cars because they
sound big, yet they're so... funny," says Holkenborg. "They look funny, and
they only drive a couple of hundred yards"?hmmm. The album has been described
as sounding half house and half like The Offspring, but that hasn't deterred a
glut off British labels trying to get his signature. Like former Essential New
Tune 'Future Computer Hell', the track 'Check Your Basic Groove' has also
become a bit of a favorite amongst British DJs and the Sander Kleinenberg
remix is about to feature on the soundtrack of Alex Garland's 'The Beach'.

When asked, Tom Holkenborg profiles his audience as "people who are into bands
like Nirvana, Smashing Pumpkins, Foo Fighters, Chemical Brothers,
Underworld and The Prodigy", however, with the likes of Sasha and Tong giving
him props, it won't be long before his fans trade their air guitars for glow
sticks.

'Big Sounds Of The Drags' is available on import now.
AMZ MusicZine Review by Jill Williams >>
 
 

Tom Holkenborg is "Junkie XL," with the XL standing for "expanding limits."
He's done remix work with bands like "Fear Factory" and "Nerve" and toured with
"The Prodigy" just last year. Rude Boy of "Urban Dance Squad" and Dino from
"Fear Factory" supply some vocals on the album.

Holkenborg began his musical career at age 14, playing in funk and reggae
bands, which eventually led to new wave and alternative interests. Ten years
ago, as a computer and synthesizer salesman, he learned more about electronic
music applications and got himself into the house music scene. He won the Grand
Prix of The Netherlands award for "Best House Producer" in the dance music
category.

All of this experience would lead you to believe that this guy would have a
seriously kickin' album. A good deal of the music is that rap/techno
combination that drives me up a wall. I try to be objective, and I think I do a
good job, but I'm never going to be a fan of this type of music.

"Underachievers" starts the album out with a yuck. As far as I could tell it
was just noise with a few cool sounds thrown in. The sampling is all right, but
so many other bands do it much more effectively than has been done with this
song. Fortunately, "Billy Club" kicks in soon enough with really terrific music
and much better and more interesting vocals. The only bad thing about this song
is that it's so much shorter than the others. It's a little slow for dance
music, maybe, but it's really wonderful in that sit back and space out kind of
way.

Ahhh, "No Remorse" is another terrific song on this album. Repetitive, but not
in a bad way. It's funny, the first comparison that came to mind when I heard
this song was that it sounds like something from Pink Floyd's "The Wall," if
Floyd did techno. I guess it's just the atmosphere and the sampling that remind
me of it because I can't really say that it sounds like "Pink Floyd." Again,
this is more one of those down-time dance songs. Doesn't work you into a
frenzy, but rather makes you stick with the beat and zone out a bit.

In general, I'm not terribly impressed with the lyrics on this cd. "Metrolike"
is no exception. The music is fantastic but the vocals are almost monotone and
their content doesn't help. If we could take the talk out of it, this would be
an average, but very fun dance song.

"X-panding Limits" is probably the wildest song to be found here. The music is
slow but with a ton of pretty freaky sounds every so often. Some similar to
records scratching and some just odd and out of nowhere. Again, I can't say I
like the vocals, but I suppose I could always buy an expensive karaoke machine
and filter them out . . . hehe.

Hey, it's a song where I like the vocals! "Saturday Teenage Kick" is, more than
the others, a really great dance song. By that I mean that it's pretty upbeat
and very easy to work up a sweat to. The singing is pretty varied and actually
adds to the music rather than detracting from it.

The last song is one of those "hidden tracks" where you wait through a bunch of
silence at the end of what you think is the last song and finally something
else comes on. I have no idea what it's called, but it may be the best song on
here! There's a little of everything mixed in with this tune, so much so, that
it's nearly impossible to explain, and the effect is stellar. If you do pick up
this cd, make sure you don't shut it off too soon.

There are many more songs on the album, of course, but it's easier to say that
I either didn't like them or they were about average. Not really worth another
few paragraphs of writing. It seems like with just the music and the sampling
this album could be really good, but most of the vocals come close to ruining
it for me. Overall this is a worthwhile venture, but I can't really recommend
it to everyone. Serious techno fans should probably find this one, the
occasional techno listener or newcomer should start with something better like
"My Life With The Thrill Kill Kult," "Orbital," or "Meat Beat Manifesto."

MTV Review by Dave Kendall >>
 
 

Junkie XL writes the next chapter in the history of dance music... a story that
started as a lightweight comic, bloomed into a cheap romance novel, and is now
developing the depth of a tragedy and the excitement of a thriller.

It's a late bloomer. While rock'n'roll gained substance in the early '60s, when
Bill Haley and Elvis Presley were counterpointed by Iggy Pop and Lou Reed,
dance music has been pretty steadfast in its addiction to fluff. The exception
has been industrial music, the form founded by Einstürzende Neubauten and Test
Department, and taken into the electronic realm by Killing Joke and Skinny
Puppy. But industrial soon developed a rigid archetype -- a self-absorbed
standard of synthesizer sounds, drum loops, and distorted, sub-heavy-metal
lyrics -- that hampered its growth and ability to cross formats.

And now, here comes Junkie XL: the brainchild of Amsterdammer Tom Holkenborg, a
former new wave kid best known for his award as "Best House Remixer" and his
subsequent remix work with Fear Factory. It's these multiple musical bases that
form the foundation of Junkie XL (the XL stands for "Expanding Limits");
Holkenborg succeeds by integrating the violence and energy of fuzz guitar into
a dynamic architecture of beats and sounds, and doing it better than anyone
else. The music draws fluently from hip-hop, techno, and industrial; each drum
sound carefully chosen, processed and honed; each effect polished, poised and
positioned. Rudeboy of Urban Dance Squad supplies the lyrics and raps, and Dino
Cazares of Fear Factory injects the guitars. But it's Holkenborg, songwriter
and programmer, who has so artfully put the pieces together.

"Saturday Teenage Kick" simply has no weak points. "Underachievers" mines a
hip-hop groove. "Billy Club" (remixed with elements of "Dealing With The
Roster" on a wicked 12-inch last year) upgrades to house speed and glistens
with malevolence. "Melange" is minimalist techno-industrial. "No Remorse"
starts ambient and mutates into a monstrous funk jam. "Fight" is a sparse
trance outing. The album varies in pace and nuance, but never in power or
intensity.

Lyrically, too, the album is a cut above the genre. Rude Boy follows his stream
of consciousness, accented with wordplay and an overall obsession with
sociopolitics, personal integrity, and alienation. "Saturday Teenage Kick"
describes a 9-5er's weekend escapism. "X-Panding Limits" charts that escapism
in the form of a drug trip. "Metrolike" is losing the rat race. "Billy Club"
tracks white collar outlaws.

The final track, "Future In Computer Hell," is less a sociological observation
than a condemnation of an authoritarian musical trend. But if dance music with
energy, aggression, and invention transcends trend and grows into a genre,
Junkie XL is the unquestioned leader.

NewMusic Review by Danny Housman >>
 
 

TOM HOLKENBORG IS A DUTCH REMIX DJ GOING international with a blend of dance
floor electronica, meaty guitar riffs and the muscular raps of Rudeboy. And
while you'd think artists from Amsterdam would avoid casual jokes about
junkies, Holkenborg's friends ironically call him a "junkie" because he's a
workaholic; XL stands for "expanding limits," also the title for a mid-tempo
strut which boasts turntable scratching and a cruising-in-a -Camaro groove.
Holkenborg has studied dance floor psychology, and knows how to structure
effects and when to pull a fast sonic switch. "Billy Club" is an irresistible,
stoopid rave tune cut with zooming guitars and a slice of wah-wah. On the title
track and several others, Holkenborg unabashedly models arena-ready anthems,
layering fat beats, churning big guitars and undulating synthesizers. But more
isn't always more. Holkenborg flirts with melodies but trades on maxed-out
dynamics, which can grow tiresome. But he has an ace in the hole: Rudeboy, who
contributes his hyper, and decidedly nonlinear raps to tracks like the furious
"Underachievers" and "Melange." As leader of the underrated Dutch group Urban
Dance Squad, Rudeboy is well versed in crossover funk. His anarchic energy
elevates the project. The smart, salty groove of "Metrolike" takes its cue from
Rudeboy's insinuating wordgame-seemingly on-the-spot lyrics that lance the
music industry. When the two tastes go well together, it suggests Junkie XL
could "expand" into a band and really pack a pump.

Review by Greg Corrao >>
 
 

Tom Holkenborg is a musical craftsman of the highest order. At work on his
musical vision of rampaging guitars and hip-hop beats since the age of 14,
Holkenborg's work has previously been available only in remix form. Though his
work on Fear Factory's 1997 remix album, Remanufacture, was well received among
groove-oriented metal heads, that record didn't give Holkenborg the creative
space he needed to bring the madness heard in his head to life. Enter Junkie XL
and Saturday Teenage Kick, a ferociously-charged project that finds the
producer using monstrous beats and relentless techno-rock energy to create a
transportive, three-dimensional sound excursion. To insure the full realization
of his sonic chaos, Holkenborg enlisted the aide of Fear Factory's Dino Cazares
and former Urban Dance Squad-er Rude Boy (who sings almost exactly like Rage
Against The Machine's Zach De La Rocha). Together, the three barrel through
highly-charged realms of electronic music, splattering guitar noise and
screaming rap vocals over jungle break beats, old school hip-hop, and metallic
riffs with a force that moves past aggressive towards murderous. Try to hang on
during "Underachievers," "War" and "Future In Computer Hell."

SpinalColumn Review by Andrew Rackauskas >>
 
 

Hailing from the electronica scene from Europe comes Junkie XL. Coming off like
the bastard son of Prodigy and Ministry with some genetic information from old
school hip hoppers, Junkie XL is a genuinely fresh face. Junkie XL's sound is
very dance-oriented with rap vocals by Rudeboy from Urban Dance Squad. However,
the kicker is that Junkie XL's music is infused with some rippin' guitar by
Dino Cazares of Fear Factory. When Junkie XL is on, it's really electronica at
its finest. When Junkie XL is off the mark, they sound fairly run of the mill.
Saturday Teenage Kick sounds strong overall. There are good amount of solid
jams, and just a few lackluster ones. The boldest track on the album in
undoubtedly "Underachievers". It starts the album off appropriately with a big
bang. The beats are heavy and the guitar is even heavier. Some other tough
tracks on Saturday Teenage Kick include "Billy Club" (which is currently
available as a CD single with some cool remixes), the slow jam of "X-Panding
Limits", and "Saturday Teenage Kick" (a kind of epic pop feel to it), and. The
only real disappointments on the album are "Metrolike" (it just goes on for too
long), "Fight" (it sound too much like Prodigy), and "No Remorse". Generally
speaking, when Junkie XL utilizes the guitar and the vocals throughout most of
a song, the song works well. Without the guitar and vocal additions, the songs
sound a bit too typical. But as a whole, Saturday Teenage Kick kicks and gives
Prodigy a definite run for their money.

Spinme Review (March 27th, 1998) >>
 
 

Let yourself succumb for one hour to the amazing beats of Amsterdam's Junkie
XL. A new project from noted remixer Tom Holkenborg, this outfit employs many
aggressive rock guitars and new edgy computerized sound to let you rock while
you dance. If anything, the group sounds like a Prodigy ripoff without Keith,
which it is at times. Please, "Dealing With The Roster" is a DIRECT ripoff of
"Smack My Bitch Up". In the end, this doesn't matter as the energy they put
forth overcomes any comparison. As a matter of fact, I think Junkie XL exudes
more aggressive energy than the Prodigy hands down! Songs like "Billy Club" or
the title track (which takes a Bob Mould guitar lick, thankyouverymuch) could
find themselves right at home on radio, video, or club. They are that catchy,
aggressive, innovative and fun. What makes the record more enjoyable is that
the rhythms can go from a slow funky beat ("Underachievers") to a hyper-intense
fast beat ("Billy Club") in less than a minute and it flows perfectly. An
ecstatic blend of guitars and computers to create an enjoyable record through
and through.

PS: Some of the raps are done by Rude Boy from Urban Dance Squad.

Shmooze Review (April, 1998) >>
 
 

The post-Chemical Brothers big beatathon is on, with similar-sounding acts like
Japan's Boom Boom Satellites coming up around the world. From Amsterdam arrives
Junkie XL with an in-yer-face funky breaks tune previewing his Saturday Teenage
Kick album. This Dutch producer, Tom Holkenborg, has produced award-winning
house tracks and bands like Fear Factory and Kong, so naturally "Billy Club"
mixes things up, rocking hard with samples of Fear Factory's guitarist Dino
Cazares. This block-rocking single also features a harder acid-breaks mix by
the Toxik Twins, a rap-less "Rotten Beats Mix" and a second kicking track "Def
Beat." Now Junkie XL has become a band, featuring rapper Rude Boy from Urban
Dance Squad, and they've recently opened for the Prodigy in Europe.

The Metal Mongrel Review by Paul Hanson >>
 
 

Since the arrival of Nine Inch Nails and Ministry, industrial music has
basically been lumped in with heavy metal. Why, I have never been able to
determine. Junkie XL uses a lot of sound effects, drum machines and samples to
make their music. Saturday Teenage Kick puts me in the mood to go to a dance
club and do my best John Travolta impersonation. For music like this, it's
difficult for me to pick one track over another. Even though the same has been
written about metal, the songs all seem to mesh together and, before I realize
it, my CD player stops and the disc is over. Since it makes my feet tap and my
head bob, I would call it a successful disc. Not one of my favorites, but
decent.

Ink 19 Review by Carole Jaszewski (June, 1998) >>
 
 

It's good to have friends in high places, especially if a little extra
attention can be garnered by the Superstar makeover of His DJ-ship Keoki on a
couple of this release's tracks. "X-Panding Limits" is typical of Tom
Holkenborg's style (not to mention part of his moniker). Consider the
scratching, the prerequisite build-ups, the rock guitar loops, the hard Rude
Boy rap. Thoughts could easily turn to Death in Vegas and Fear Factory. Could
it be mere coincidence that Dino Cazares plays a part in the proceedings?
Brash, funky, fast and loud -- Dam rock rules!

Review by Lang Whitaker >>
 
 

If the term "crossover" doesn't sound like a viable music genre to you, then
you've obviously never listened to Tom Holkenborg's latest project, Junkie XL.

"For me, crossover has always been the ultimate musical direction," says
Holkenborg. "Bands don't usually blend Rock and Electronica well...what I try
is to blend the guitars and dance elements into something new so they don't
lose their original strengths."

And blend he does, like Isaac behind the bar on the Promenade Deck. The best
way to describe the sound of Junkie XL is to think of Prodigy minus the
psuedo-punk posturing and multiple piercings. Dance floor beats thump
underneath crunching guitars and pulsating sine waves. On top of it all,
rappers RudeBoy (Urban Dance Squad) and Dino Cazares (Fear Factory) tag team on
a stream of consciousness about pride, underachievers, and even billy clubs.

"Metrolike", with a lyrical flow reminiscient of U2's "Numb", eventually
decomposes into a sea of beeps and pops. It is immediately followed by the
funky, fuzzy guitar and clean drums of "X-panding Limits". "War"'s first shots
are a totally dissected drum loop that explodes into a Roni Size-d trip-hop
fury. The title track is a rollicking blast fueled by Mountian Dew and
nicotine, an ode to pre-pubescent weekends spent chasing tail.

There are plenty of other people out there trying to do what Junkie XL does.
The difference between those posers and these players? Junkie XL does it well.
Really well. There are no let downs on the CD, save for the 18-minute long
"Future in Computer Hell", for which a more apt title might be "Present in
Computer Hell". From the first few seconds of the album, beats flow forth like
sexual harassment allegations against Bill Clinton. It's easy to see how one
could become a junkie listening to addictive music like this.

Electronic Music Review >>
 
 

With enough energy to power a small town Junkie XL have produced an album that
should challenge the notion that bands using electronics in a big way are apt
to let the samples do the talking.

From the opening of Underachievers, which will no doubt be a big hit somewhere
in the world this year, to the closing bars of the seventeen minutes plus (yep
seventeen minutes plus) Future In Computer Hell, there are ever present and
unrelenting manic vocals which supercharge the whole album.

We ran a basic word search to find out more about the band/entity and soon
realized that Junkie XL is in fact Netherlands based. The English language
soundbites on the first couple of tracks may make you think otherwise but after
listening through to the whole album there is definitely a north Europe "feel"
to the whole thing.

Drum samples are unceremoniously chopped up into little pieces and
re-assembled, there's heavy use of an Ensoniquesqe (it's a word now - ed)
guitar sample and some decidedly spacey processed loops and SFX which all come
together to produce a rather unique collection of songs.

For lucky owners of the compact disc there's an OMMUS compatible program
embedded into the CD itself. You'll need 4BLADE and B.Noise drivers to get the
most out of the software.

Listen out for Junkie XL.

Rating - 822,907 (out of a possible 1,000,000)

Roadrunner Review by Katherine Brown >>
 
 

The Amsterdam-based techno outfit Junkie XL deliver innovative, hard-hitting
beats on their debut CD, scoring in spite of the annoying atonal raps of former
Urban Dance Squad dude Silver Surfering Rudeboy. At his best, Rudeboy comes
across as a low-grade Mike D. He manages the low-intensity tracks, but Saturday
Teenage Kick opens by highlighting his worst tendencies -- the screeching vocal
performance of "Underachievers." And Rudeboy's lyrics are just as bad: "Be the
coolest, Mr. Nuisance/Mogul cruisin'/Limo usin'/Tax-rate abusin'/Counterfeit
usin'/Snake-attack impostor," he spits on "Billy Club." Fortunately, the
controlling force behind Junkie XL is mixman Tom Holkenborg, a capable DJ whose
bass-boosted beats have caught the ear of techno luminary DJ Keoki. Holkenborg
weds trance and hardcore beats with extraordinary intuition, keeping the mix
fresh with underwater effects, backwards tape loops, and other sonic
embellishments. The best way to save this package would be to throw away the
rapper.

Playlouder Review by Iain Moffat (July 24, 2000) >>
 
 

And he's scored! Dutch producer Tom "Junkie XL" Holkenborg may claim to be
heavily influenced by the music of the 60s and 70s, but he's turned out an
album here that appears equally indebted to the graceful grandeur of techno's
intelligent-era heyday and the irresistible funksome stoopidity of the big beat
brigade. Evidently the work he did at Roadrunner (invariably tagged with the
unkind epithet "sub-Prodigy") was something of a red herring, as indeed is
'Zerotonine', the alternative-dance-by-numbers post-Verve stringathon that's
mauled Radio One of late - our Mr XL may be no stranger to the wearing of
commercial shoes, but 'Big Sounds Of The Drags' is almost symphonic in its
intent.

It works for the same reasons 'Screamadelica' and 'Weekender' worked; it takes
the business of soundtracking the most defining of nights very seriously
indeed. For every upside - the bouncing Bentley bassline of 'Check Your Basic
Groove', the manic pop rush of 'Legion' - there's a perilous price, evidenced
by titles like 'Love Like Razorblade' and the creeping disquiet of 'Black
Jack', and, glueing the whole lot together, there's an almost-twenty-minute
connected trilogy that wouldn't have sounded out of place on the first
Leftfield album. Slightly untimely, perhaps, but still the sort of record that,
in a fairer world, ought to go, er, shooting up the charts at a cracking rate.

Fang Magazine Review >>
 
 

Not really what I was expecting at all. The new album from JUNKIE XL is a much
more relaxed and stripped down version of the big beat sound.

Yes, there's a few singles much along the same lines as the previous album's
lead off single BILLYCLUB. And yes, there's some great songs that are brought
to life (again) by former URBAN DANCE SQUAD vocalist RUDE BOY. But, the
emphasis seems to be more on simple driving beats and loops than guitar fueled
techno. Certainly more LIFE IS SWEET era CHEMICAL BROTHERS than say, a
FIRESTARTER type PRODIGY vibe.

It sounds great played really f#@!ing loud, and lets be honest, that's more
than can be said about most rock records.