Bleed Like Me [Explicit Lyrics]

Despite making it through a difficult four-year stretch in which the band temporarily broke up, singer Shirley Manson left her husband, and new technologies made the sleek electro-rock sound of its first three albums feel passé, Garbage resurfaces in rude health on Bleed Like Me. Manson is still kickboxing the air and stomping the glitter under her heels, as she channels Debbie Harry and Chrissie Hynde on edgy glam-rock anthems like "Run Baby Run" and "Metal Heart." All the while three bookish producers in the background--including Butch Vig, who famously helmed Nirvana's Nevermind--turn up the sleazy machine-like rhythms. Foo Fighters front man Dave Grohl sits in on the drums for the menacing "Bad Boyfriend," but it's the confessional title track Bleed Like Me"--part "Walk on the Wild Side," part therapy session for former cutter Manson--that shatters Garbage's image as the ultimate non-stick studio band. "You should see my scars," goes the chorus. And, for once, Manson is actually willing to reveal them. --Aidin Vaziri

What with a glut of rough-shod boingy synth-rock-touting scamps regularly bothering charts and NME covers alike, it's easy to forget how long Garbage have been at this game. And you'd think that after four years away (quite tumultuous ones at that), Shirley and co would have concocted all manner of new sonic frippery. Seems not.

The good news is, if you're already a Garbage fan, there's probably not a lot here to put you off. Songs are split unevenly between nice-side-of-thrashy synth rock and a couple of chilly slowies. Batting first for the former is the Dave Grohl-driven "Bad Boyfriend" which naturally, rattles along in grand fashion. From then on in, there are some great new songs, ("Run Baby Run", "Right Between The Eyes", "Metal Heart") and some that you might think you've heard before (possibly by The Smashing Pumpkins or even The Bravery).

Still, you won't be short of reasons to jump up and down. However, both tone and tune take a darker turn on the title track, as Shirley becomes the scary storyteller from hell. It's effective stuff, and if there had been more songs like this the album would have felt more balanced, rather than leaning overly towards thesynth-rock sound.

There's little to rival the butt-kicking single, "Why Do You Love Me", and although some of this is samey, it's a long way from being rubbish.

Review courtesy of Top of the Pops --Jack Smith

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