Dummy
Portishead

With the imminent approach of a new James Bond flick, the big question isn't what sexy foreign model has become the new "Bond girl," but rather who will perform the traditional "Bond song."

In years past, the series has run the gamut of musical acts, from Duran Duran to Gladys Knight. But if there was a band perfectly matched to the world's smoothest spy it would have to be England's Portishead.

On their debut album Dummy, the band meanders through a moody landscape of atmospheric dance tracks that would leave even the usually suave 007 with a little swing to his booty.

With Adrian Utley's seductive guitar weaving around samples from the likes of Lalo Schifrin and Isaac Hayes, Portishead's music creates a world of danger and mystery on tracks like "Mysterons," "Glory Box" and the lingering "Pedestal."

Yet while the music is the band's strong point in its ambiguity, Beth Gibbons vocals are a bit of a downer. Her whine of female angst is a counterpoint that pulls the group back a step, especially on their first single "Sour Times." Gibbons cry of "but nobody loves me" is catchy but wears off after the first spin.

Overall though, Portishead's is a find, especially in a world of dance music ruled by simpletons like Ace of Base. Relaxing and intricate, Dummy is like 007's drink of choice, a martini shaken, not stirred.

Chock full of angst and underground noise, the compilation titled Tonnage weighs in with 18 hefty tracks. Essentially a spotlight for bands on Sony or Sony-related labels, Tonnage completes its mission with style.

The established bands such as Rage Against the Machine and The The set the tone for upstarts including Velvet Crush, G. Love and Special Sauce and Sandra Bernhard.

Although the opening live version of Rage Against the Machine's "Freedom," sinks itself in self-important screeching, the majority of the album is full of the vitality that has become a trademark of rock's resurrection in recent years.

Take the song "Mr. Pink," by Satchel -- inspired by the blood-drenched movie Reservoir Dogs, or UK darlings Oasis with their contribution "Fadeaway." Both tracks beg for video rotation.

On the quieter side, bluesman Keb' Mo' contributes the catchy "Tell Everybody I Know," a blend of Motown and Mississippi Delta yearning. And G. Love and Special Sauce send the live version of "The Things I Used To Do" straight to the acoustic blues roots that run through the hook-laden beats.

Sandra Bernhard closes the album with the surprisingly good "Manic Superstar," a combination of Hendrix's "Manic Depression" and Andrew Lloyd Webber's "Everything's All Right" from Jesus Christ Superstar. She makes it work.

Bernhard's song sums up Tonnage, a strange brew of different styles supported by 1990s vitality.

Ireland has spawned many-a-kickin'-band. From U2 to the Pogues to the Cranberries, we have seen a consistent clan of innovative, inspired, daring artists channel themselves into highly productive careers from this common point of origin.

Now, indie record label What Are Records? has picked up what may be the next rocket out of Ireland, LiR. Ignore the fact that you cannot pronounce the band's name and just listen to the album, titled magico magico! -- it is a true gem.

There is really no way to categorize the musical style, for the tracks are about as diverse as can be. Some, such as "Dog Rythms," which contains a heavy organ tune used as the driving force of the song serve as a reminder of Manchester's ecstasy-influenced rave-olution of the late 1980s.

Others include slow, dreamy, melancholy styles, most outstanding on "Some Folks are Truly Evil." There are some heavy, beat-oriented tunes, and a few, such as "Traveller," the shining opening track, which shift cunningly between intensity and tranquility. Other songs are slow but poppy and the closing track, "In the Parlour," is pure funk.

But between all the varying styles assimilated by this clever newcomer, there is one unified underlying core: groove. Fast or slow, overt or hidden, every song has a pulsating, relentless groove to it, making this album tremendously compelling.

The basic composition is guitar riffs both dreamy and forceful, gripping keyboard melodies and funky rhythms, topped with soft, slurring vocals, which reach a harder, more energetic level when necessary. LiR have set their table nicely with this diverse and masterful work, proving that they are worthy of carrying Ireland's proverbial torch.