Pavement's first full-length album, 1992's Slanted and Enchanted, starts in what would soon become classic Pavement fashion.

Guitars groan and buzz creating near white noise as laconic, deadpan lyrics glide through the murky haze of music.

The opening track, "Summer Babe (Winter Version)," presents a perfect example of Pavement's lo-fi style.

At first, the song might not sound brilliant as much as it sounds disorganized, unpolished and perhaps even just plain sloppy.

But after a few listens the sound begins to open up, and suddenly what once sounded potentially sloppy and unpolished sounds incredible.

Most of the songs are short and enormously catchy.

Only two of the 14 songs don't completely disregard conventional song structure.

"Trigger Cut/Wounded-Kite at :17" has less musical weirdness to it. The lyrics are clearer, and as a whole the song is remarkably catchy.

On "Here," the music is slow and essentially normal. Singer/guitarist Stephen Malkmus' vocals are quiet and sound nearly heartfelt. The low, repetitive music lends a hypnotic aura to the song, encompassing the listener.

The rest of the songs blast, squeal and rattle away in often odd and always intriguing ways.

"In the Mouth a Desert" starts slowly and sounds fairly normal, until guitars begin to explode alongside Malkmus' droning vocals.

"Conduit for Sale!" opens with repeated yelling then segues into a spoken word story then dissolves back into the yelling, which eventually ends in high pitched screaming, all the while remaining disturbingly catchy.

The loud, harshness of "Conduit for Sale" blends into the next track, "Zurich is Stained," which begins quietly in the opposite fashion of how the previous song closed.

The variety shows that although Pavement is able to create a signature style on Slanted and Enchanted, they are still able to resist the urge to be repetitive.

"Chesley's Little Wrists" begins with noodling guitars seemingly wiggling through the music. Malkmus' vocals sound deliriously strained and eventually become pure nonsense by the end of the song.

Even when a song sounds like it could come from any sort of typical modern rock source, it eventually turns into increasingly atypical music.

"Two States" sounds plain enough, but the chorus of "40 million daggers," yelled over and over again, reveals it as fairly abnormal. Especially when it's so catchy that you end up singing it all day afterwards.

The appeal of Pavement is hard to explain.

They sound like no one else.

Every song is different and original and strange.

It takes about three listens to get hooked, and, after that, Slanted and Enchanted presents a veritable musical kaleidoscope that changes and (for lack of a better word) enchants with each subsequent listen.

It's a completely, sonically uninhibited masterpiece.