Moby is an ambitious man, both musically and philosophically, and that quality seeps into every aspect of Everything Is Wrong, from the wunderkind DJing that stretches the genre limits of techno to the angry, antiestablishment manifesto on the CD sleeve. The record's opening salvo of dancey club music sets the listener up for "All That I Need Is to Be Loved", which, out of nowhere, bludgeons would-be club kids with tuneless, mad vocals and punked-out guitar solos. The same bait-and-switch formula repeats twice on the CD at almost regular intervals in the industrial shriek of "What Love" and the sudden, slow, and acoustic bent and folksy vocals of "Into the Blue". All three shifts are jarringly abrupt. However, dance-floor continuity is in Moby's blood, and he uses these songs as parts one, two, and three of the underlying rage that drives the record's concept. Without these three tracks, in fact, you'd have a moody yet convincingly cohesive danceathon, bouncing between house breakbeats ("Feeling So Real", "Bring Back My Happiness") and blissed-out trance ("God Moving Over the Face of the Waters"). Instead, Moby expresses his bewildered and desperate view of modern life by periodically yanking away the escape of blind, danceable ecstasy, using that discontinuity to express the eyes-wide-open ruminations of a furious idealist. -Matthew Cooke.

If you've been following the career of this Belgian trio, you've seen them go from trip-hop (on their debut, A New Stereophonic Sound Spectacular) to trip-pop (1998's Blue Wonder Power Milk), pitting fan against fan in the process. One thing's for sure: The Magnificent Tree only adds fuel to the fire. The "trip" has all but left the pop, leaving behind an assortment of solid, radio-friendly tunes, but hardly anything with the character and charm of their earlier work. It's too bad, really, because though there's some real ear candy here, it's lost in the crinkly wrapper of predictable arrangements and vapid lyrics. Geike Arnaert, given to ethereal coolness on "Milk", chooses a more out-front, sultry vocal style on "Tree", and while it works on the uncharacteristically rockin' "Jacky Cane" and the torchy "Vinegar & Salt", elsewhere ("Mad About You", "Everytime We Live Together" and the embarrassingly treacly "Out of Sight") it just rings false-too slick for its own good. Touches of the old style appear here and there, notably on the atmospheric, sample-infused "Autoharp" and the dreamy, Dubstar-like "Waves", but they promise more than the rest of the album can deliver. It may be a solid, sturdy Tree, but it's a few branches short of magnificence. -Steve Landau.