Additional personnel: Don Gilmore (keyboards).

Recorded at NRG Recording Services, North Hollywood, California.

Eve 6: Max Collins (vocals, bass); Jon Siebels (guitar, background vocals); Tony Fagenson (keyboards, drums, background vocals).

Additional personnel: Don Gilmore (keyboards).

Recorded at NRG Recording Services, North Hollywood, California.

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.

Personnel: Max Collins (vocals); Jonathan Siebels (guitar, background vocals); Tony Fagenson (keyboards, drums, background vocals); Don Gilmore (keyboards).

Audio Mixer: Tom Lord-Alge.

Recording information: NRG Recording Sevices, North Hollywood, CA.

Photographer: Marina Chavez.

Eve 6 was naturally tossed into the mid-'90s hutch of generic post-grunge alterna-rock (think Everclear, Third Eye Blind, Marcy Playground), and their 1998 self-titled debut went platinum thanks to the heavy spin of single "Inside Out." Their brash attitude was certainly apparent, cheeky pop rock was in the full throw, and two years later Eve 6 flaunted their fiery rock demeanor once again on Horrorscope. It's another conventional rock record with thrashing guitar hooks and throbbing basslines firmly in place, but frontman Max Collins has lyrically improved. There isn't anything intellectually impressive and the hyperactive little boy excitement is still present, but a lush sweet side also shines through the album, specifically on songs like "Here's to the Night." The swooning ballad-esque atmosphere doesn't last long, for the dozen song set list is primarily hard rock layers of old school metal rock. "Rescue" is vibrant and twitching, glossed with electronic tinges, and "On the Roof Again" is the typical post-break up swan song cast for the pop kids leading the millennial punk revival. It's a nice switch from the angst-ridden insensibility of rockers like Fred Durst and the frilly fluff of the Britneys and Christinas. Horrorscope is a decent move for Eve 6, neither slumping nor skyrocketing. And like their modern pop/rock counterparts, Eve 6 keep it basic. ~ MacKenzie Wilson

The sophomore effort by these L.A. kids (RCA actually signed them while they were still in high school) is solid, melodic pop-punk, with hints of Material Issue, Green Day, and even Cheap Trick if you listen hard enough. It's saved from being just this side of generic by bassist/lead singer Jon Siegel's sharp, almost stream-of-consciousness lyrical wordplay, the likes of "Your heinous highness broke her hymen/hey man try to quit your cryin'," from the amusing attempted suicide song "On the Roof Again".

Besides this lyrical banter, HORRORSCOPE has some surprisingly imaginative arrangements, such as the gorgeous yet understated string section on the Police-ish "Here's to the Night," that sustain interest and point to an astute songcraft behind the pop hooks that bodes well for the futures of at least some of the members of Eve 6.

The sophomore effort by these L.A. kids (RCA actually signed them while they were still in high school) is solid, melodic pop-punk, with hints of Material Issue, Green Day, and even Cheap Trick if you listen hard enough. It's saved from being just this side of generic by bassist/lead singer Jon Siegel's sharp, almost stream-of-consciousness lyrical wordplay, the likes of "Your heinous highness broke her hymen/hey man try to quit your cryin'," from the amusing attempted suicide song "On the Roof Again".

Besides this lyrical banter, HORRORSCOPE has some surprisingly imaginative arrangements, such as the gorgeous yet understated string section on the Police-ish "Here's to the Night," that sustain interest and point to an astute songcraft behind the pop hooks that bodes well for the futures of at least some of the members of Eve 6.