"Urban Observer," the debut album by the Canadian five-man band "DDT," is a wildly gyrating amalgum of post-grunge alternative rock and roll. "DDT" is the first band signed to Lars Ulrich's vanity label The Music Company, owned by Elektra Entertainment.

Founded in 1992 by singer Brian Howes and drummer Bobby James in Vancouver, "DDT" quickly garnered a following and took on a second front-man in former radio DJ Cory Perry White. After the release of a seven song EP in 1995, tours of Canada, the U.S. West Coast, Sweden and Germany, they claimed a stage on the Vancouver Lollapalooza show. Following interest from record labels big and small, Lars Ulrich signed the band to his new label.

"Hey Steve" kick starts "Urban Observer" off with slamming Foo Fighter style riffs and punk rock sing-along lyrics about TV's six million dollar bionic man Steve Austin. "Walkabout," their infectious hit currently wafting its way across American alternative rock radio stations follows "Hey Steve" with a groovy guitar line wah-wah sound that is really a vocal provided by Brian Howes, snakes its way through the song. "Walkabout's" Bootsy Collins funk meets Foo Fighters energy is the rare alternative rock single that can appeal just as easily to club kids as it can to hard rockers and punks.

The third song, "Lie Detector," finds me sinking further into a liking of this band. Great rock vocals and a massive mix of guitar textures, grinding riffs, and swirling chords are the perfect backdrop for lines like, "Where were you with all the answers? Turn on my lie detector." Drummer Bobby James' incredible percussion rhythm and impeccable timing is every bass player's dream. "Blue Hair Crimes" screeches in as a modern version of early 80's Social Distortion/power punk. "Blue Hair Crimes" is undoubtedly 10 times as rocking and punkish live on stage. A wild, slightly out-of-tune guitar solo and weird guitar moaning near the end segue into "Liquid," a slinky effects pedal enhanced guitar song with ska-like rhythm chords chiming in. An almost David Bowie feel to "Liquid" seeps out with synth heavy guitar, unusual timing and Bowie vocals.

The pyschedelic guitar oddity "Elephants" plays about 30 seconds long before "Pistol Whip's" spanking guitar lends itself to the humorous S&M influenced lyrics "It's fun to be pistol whipped." Spooky electronic gurglings and samples bubble just under the surface and build to a writhing alternative rock beast of a song. "Unsaid" is exactly what is missing from alternative and pop these days - catchy lyrics, head-bobbing guitar lines and bubble gum sing-alongs. "All the things you thought about are swimming in your head. . .some things are better left unsaid," Howes sings as the band rocks on.

Some damn funky drum and bass interplay on "Can't Take My Eyes Off You" roars out of the speakers with just the right amount of distortion on the guitar. I can tell that they wore their record players out with Cheap Trick and punk rock, but it's OK to show your influences if you have something unique like "DDT" has to put out.

"Styrofoam's" sappy and wistful acoustic guitar opening and distorted vocals make for the most unusual song on "Urban Observer." The one mouth-dropping song is "Mc DDT," one monstrously heavy riff-monger of a song reminiscent of the guitar heavy Bulls on Parade by Rage Against the Machine. The raucous humor and demonic guitar chords caught me off guard with the pretty ending of "Styrofoam." Singer Brian Howes has an amusing interchange with a moronic drive thru employee that leads to a flurry of expletives and middle fingers. The next two stinkers in a row don't spoil the pop punch and alt-rock coolness of "DDT's" major label debut. "Chlorine," a slightly generic alternative rock song, suffers from an overdose of effects and textures. Then the weird "Elephants 2" is a 57 second reprise of "Elephants." Reminiscent of early Pink Floyd musical experimentation, combined with throbbing club music, it's interesting once, but I'm grateful it is only a minute long.

The song "Boring" is not an entirely deceptive song title. Maybe "DDT" should have cut songs 12-14 to make a good album border on great. "Overripe" starts off on a bland ska shuffle that seems out of place, but then the band kicks into a full tilt alt-rocker and you forget about the pseudo-ska opening. This one's got it all in one song - a little rap, a little punk, a lot of pop hooks and energy, but "Overripe" sticks out as over done.

Now, I'm sure the album ending "Hounds" make perfect sense to the guys in "DDT." "Hounds" is a silly drunken recording of dog moans and howls that is not actually a song at all. It is incredibly funny, but it's an odd choice to end an otherwise great debut album. It reminds me of Eddie Vedder's wanker masterpiece "Bugs" on Vitalogy. Perhaps I would see the humor in grown men howling like intoxicated dogs if I had been in the studio and been just as plastered as "DDT."