Liberation Transmission

One of the most fun summer albums from 2006 is by the Lostprophets even though you'd never know by looking at the cover. Liberation Transmission's cover art is of an imperial crest with blood spattered across it -- it's an image that suggests violent revolution... as does the title itself and the photos of band members frowning in trendy black-and-white outfits with Communist-looking skinny ties and overcoats.

The biggest revolution going on here, though, is musical: where this Welsh five-piece -- Mike Chiplin left the band and was replaced in the studio by ex-Perfect Circle drummer Josh Freese -- takes today's goth-laden, angst-filled rock, punk and metal and turns it upside down with good-time riffs inspired by the danceable music of the '60s, '70s and '80s.

Liberation Transmission broadcasts an original post-modern power pop that fuses the best of the past with the sonics of the present, delivered in a straightforward, organic drums-guitar-bass (and modest keyboards) format. Not unlike The Killers, the result is some of the best and unabashedly FUN (and loud) party hybrids a guitar band could possibly make.

The hook from the debut single "Rooftops (A Liberation Broadcast)" mines the traditions of decades of radio hits. And the chorus is a celebration of youth and love in troubled times. It's as goosebump-raising and Bic-flick inducing as it is a commentary on the state of the world. And you can dance to it! The unabashedly poppy "A Town Called Hypocrisy" has an intro that fuses a Jimi Hendrix approach to the guitar with angular late-'70s new wave and an infectious hook that will remind Gen Xers of Pat Benatar.

"Can't Catch Tomorrow (Good Shoes Won't Save You This Time)" has an intro powered by The Cure that gives way to pure pop-rock bliss in a chorus that would make Cheap Trick jealous. Brilliant. The next track, "Everybody's Screaming!!!" combines '80s rock with the neo garage punk bands like The Strokes. "For All These Times Son, For All These Times" opens like a dark nue-metal ballad (complete with a shameless, incongruent "woo!" from lead singer Ian Watkins) then a pogo-worthy punk snarl and then onto a sugar-sweet pop-rock chorus complete with handclaps. Wow. What could have been a train wreck, Lostprophets turns into a wild, slobber-worthy roller-coaster ride. "4:AM Forever" is the album's most different sounding song, like an '80s ballad from Spandau Ballet or Naked Eyes minus the dated guitars, synths and effects.

The great thing about Lostprophets is that while they borrow liberally, they cast their nets widely. So widely that it's nothing like you've heard before. The other great thing is how "organic" the band is. No special effects, minimal synthesizers. Just full-frontal bass-guitar-drums rock that takes full advantage of studio wizardry without bringing any extra instruments into the studio.

Lostprophets has something to say lyrically, which is alluded to on the cover and in songs like "Everyday Combat," but they also have the best arena rock record collection in the world, and have a great time exploring it.