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Filter appeals to fans, breaks little ground by Ben Triana Gamecock Critic It’s been four years since Filter’s de but album, Short Bus. Filter tem porarily quenched the appitites of every one who identified with their sounds with single releases such as "Jurassitol" from “The Crow 2” soundtrack, "Can You Trip Like I Do" for the “Spawn” soundtrack (with the help of Crystal Method) and "One" for the “X-Files” soundtrack (it was originally a Three Dog Night song). For the most part, the songs Filter released were easily identi fiable as their own. They had produced a sound for themselves. Whether Richard Patrick would ever admit this, produc ing a definable sound of their own was important for the band. Patrick left Nine Inch Nails for personal and creative rea sons, and the only way he would ever break from Trent Reznor’s shadow would be to create a sound of his own. Filter’s sound is dark, powerful and angry. Top ically, it is similar to Nine Inch Nails, so whether Richard Patrick has actually created his own sound is up to the lis tener and fan. Much has happened since the re lease of their first album. Filter’s key programmer and producer, Brian Liesegang left the band. Apparently, he wanted more creative control in the band. Patrick felt Brian Liesegang’s mu sic was too experimental for Filter. Co incidentally, like Patrick leaving Reznor, Liesegang left Patrick. So Patrick went back to Chicago. He built his own stu dio, found a new drummer, wrote new songs and recorded again. Of Filter and songwriting, Patrick has said, "Fans of Filter are fans because I am my own person." He elaborated on this by saying, "I think records should be like biographtes." So taking Patrick’s quote and looking at what he has be come lately, it is hard to discern what his record would be like.. Patrick has changed his image from small-glass es-wearing screamer of "Hey Man Nice Shot" to a leather-wearing GQ front man. From their first radio release, “Wfel come to the Fold,” it seems that Filter has succumbed to the mainstream sound of music (had Patrick taken on the pretentions of rock stars like Michael Stipe?). The song is weak; it does not have the hard bass, loud guitar and mas sive feedback found in their other songs. However, the radio doesn’t play the same breakdown that is on the album. The breakdown begins with the lyrics "Mom ma give me my medicine." On the al bum, the background music produces an ambient beat that enriches the song, which is nothing like the radio version. Nevertheless, the mediocre guitar riffs contradict the satirical lyrics of Patrick. It doesn’t work here. A person can’t be openly critical of a society, yet conform to the mediocre sound of a genre. But as you listen, you wonder, perhaps he can. Maybe he’s saying something more underneath the topical impression; his breakdown would imply there was much more going on here. The next couple of songs on the album produce the average sound thqt can be found on any alt-rock album. However, Patrick’s lyrics are strong. He produces the story of Captain Bligh with self-depracating lines like "I’m a blood soaked man." The band fully blossoms toward the end of the album. Filter slow ly reveals the next step in their pro gression. Patrick demonstrates his lull vocal range. It’s completely fitting. The anger so prevalent in him has to be quenched, and when it is, there is a pas sionate, melodic, overwhelmingly pow erful sound. Filter exchanges the hard bass and guitar for slowly developing, slowly erupting sounds. In the song "Skinny," Filter reaches the height 0/ the album. A sound muted with an articu late lead guitar and a distorted rhythm, Patrick preaches, "Don’t ever let them see you cheat, don’t ever let them see you bleed." And for a minute, Patrick’s pretentions are dropped, he’s revealing a part of himself, and the album redeems itself. For the die-hard Filter fan, Patrick remains strong with his famous screech at intermittent moments. Filter’s mu sic mirrors their current image. They go between the glam of rock stardom and the real-life outlook of their fans. In the end, if you’re a Filter fan, you’ll most likely like the album. Song that will convince you to buy the album or not: "Skinny" Overall: Fifty percent crap. Special to The Gamecock Fitter. Charts: - Billboard 200: Top Albums 1. “Christina Aguilera,” Christina Aguilera. RCA. 2. “Forever,” Puff Daddy. Bad Boy. 3. “Millennium,” Backstreet Boys. Jive. (Platinum) 4. “Significant Other,” Limp Bizkit. Flip. (Platinum) 5. “Mary,” Mary J. Blige. MCA. 6. “...Baby One More Time,” Britney Spears. Jive. (Platinum) 7. “Supernatural,” Santana. Arista. (Platinum) 8. “Devil Without A Cause,” Kid Rock. Lava. (Platinum) 9. “Melvin Flynt — Da Hustler,” Noreaga. Penalty. 10. “Ricky Martin,” Ricky Martin. C2. (Platinum) Copyright 1999, BPI Communications Inc. and SoundScan Inc. Com piled FROM A NATIONAL SAMPLE OF SALES REPORTS COLLECTED, COMPILED AND PROVIDED BY SOUNDSCAN Mainstream Pock Singles 1. “Scar Tissue,” Red Hot Chili Peppers. Warner Bros. 2. “Enemy,” Days Of The Hew. Outpost. 3. “Higher,” Creed. Wind-up. 4. “You Wanted More,” Tonic. Universal. 5. “Keep Away,” Godsmack. Republic. 6. “Can’t Change Me,” Chris Cornell. A&M. 7. “The Dolphin’s Cry,” Live. Radioactive. 8. “Hookie,” Limp Bizkit. Flip. 9. “Get Bom Again,” Alice In Chains. Columbia. 10. “Welcome To The Fold,” Filter. Reprise. Compiled from a national sample of airplay supplied by Broadcast Data Systems WUSC Top 10 Albums 1. "The Beta Band," The Beta Band. Astralwerks. 2. "Remedy," Basement Jaxx, Astralwerks. 3. "The Golden Band," American Analos Set. Emperor Jones. 4. "See It Another Why," Macha. Jet Set. 5. "Do the Collapse," Guided by Voices. TVT. 6. "Silur," Tarwater. Mule. 7. "Soul Ecstasy," Inner Thumbs. Emperor Norton. 8. "Black Elvis," Kool Keith. Ruffhouse. 9. "Avenue B," Iggy Pop. Virgin. 10. "The Soft Bulletin," Flaming Lips. Whmer Bros. I