Fearless Records and their stable of artists recently released multiple “Punk Does …” albums. The general idea of each of these albums is the same; each one contains fifteen or so punk bands covering well-known songs from outside their genre.

For the most part the bands are unknowns (at least to me), and fans of “punk” will be quick to point out that most of the bands are much closer to “Blink 182 punk” than they are to “Sex Pistols punk”. Sure, most of the tracks are fast and loud, but rarely are they sloppy or unpolished. A lot of planning goes into making music sound this spontaneous.

The selection of tunes are largely mainstream — I was only unfamilar with one of the 80’s tracks and two of the metal tracks. I didn’t know several of the pop tracks, and that would make sense (modern pop is not my forte’). Some of the songs seem like they’re on the wrong albums; “Send me an Angel”, “Borderline” and “Like a Prayer” (all from the Punk goes Pop album) would have fit better with the other 80’s tracks, and the Metal compilation wastes too much space on hair ballads before breaking out the Slayer, Megadeth and Metallica tunes.

If you think punkish covers of well-known songs are funny and/or entertaining and don’t care about who’s performing them, these are worth your buck. Both the production quality and musical performances are quite good. If you don’t see the point in such ventures, well, these won’t be the ones to win you over.

Punk Goes 80’s

01. Manic Monday – Relient K
02. I Ran – Hidden In Plain View
03. I Melt With You – Sugarcult
04. Your Love – Midtown
05. Don’t You Forget About Me – Rufio
06. Pop Song 89 – Motion City Soundtrack
07. Holding Out For A Hero – Emery
08. Just Like Heaven – Gatsbys American Dream
09. Power Of Love – The Early November
10. Straight Up – Halifax
11. Dead Man’s Party – A Thorn For Every Heart
12. Wrapped Around Your Finger – Brazil
13. Forever Young – So They Say
14. Everyone Wants To Rule The World – Jamison Parker
15. Video Killed The Radio Star – Amber Pacific

Punk Goes Pop

01. Dynamite Boy – I Want It That Way
02. Slick Shoes – Candy
03. Stretch Arm Strong – Get This Party Started
04. Rufio – Like A Prayer
05. Further Seems Forever – Bye, Bye, Bye
06. Noise Ratchet – Crush
07. Element 101 – I’m like A Bird
08. Knockout – Survivor
09. The Starting Line – I’m Real
10. Keepsake – The Way You Love Me
11. Reach The Sky – Sometimes
12. Fake ID – All Or Nothing
13. Showoff – Borderline
14. Thrice – Send Me An Angel
15. Nicotine – …Baby One More Time
16. Student Rick – Heaven Is A Place on Earth

Punk Goes Metal

01. Divit – Breakin The Law
02. Jughead’s Revenge – Talk Dirty To Me
03. AFI – My Michelle
04. Bigwig – War Ensemble
05. A New Found Glory – Heaven
06. Strung Out – Bark At The Moon
07. The Ataris – I Remember You
08. Link 80 – Harvester Of Sorrow
09. Guttermouth – Sexual Abuse
10. Dynamite Boy – TNT
11. Death By Stereo – Little Fighter
12. Swindle – Youth Gone Wild
13. Turnedown – I Don’t Know
14. Diesel Boy – Looks That Kill
15. Rx Bandits – Holy Wars
16. Ten Foot Pole – Love Song
17. The Aquabats – Why Rock?

In the first Pro-Pain review I ever wrote, I posed the question, “Why aren’t Pro-Pain the biggest band in metal today?” That was in a review I wrote for their sixth album, Round 6. I stand here before you today, listening to Pro-Pain’s seventh album (entitled Shreds of Dignity), asking the same question. Why isn’t Pro-Pain the biggest band in metal today?

Shreds Of Dignity, for lack of a better joke, shreds. If Round 6 barrelled along at 90 miles per hour, Shreds Of Dignity kicks it up to a hundred. This album is definitely faster and meaner than their previous release. In true Pro-Pain fashion, the first track (“The Shape Of Things To Come”) blasts into full speed right from the beginning, and the album rarely, if ever, slows down. Occasionally you’ll hear a guitar solo or a bridge into the chorus, but for the most part this is stripped down, no frills, straight forward hardcore.

The faster and more aggressive the music gets, the less melodic it becomes. Shreds Of Dignity suffers slightly in this area, as the band has traded in some of their classic hooks and riffs for straight out pummeling. On their website, the band describes their latest release as an “all out assault on the ears via 12 tracks of sheer sonic brutality.” No sir, can’t argue with that. I’m not sure how much more brutal Pro-Pain could get, unless they began packing a slip of paper with each CD that asks the listener to punch themselves in the face repeatedly while listening to the CD. That would be more aggressive — but not by much.

10 years and 7 studio albums later, Pro-Pain is still here refusing to go away. Using do-it-yourself techniques (the band recorded, produced, and engineered their latest album) and maintaining their workaholic attitude and desire to win, Pro-Pain shows no signs of slowing anytime soon. Recommended for all fans of New York hardcore.

Tracks:
01. The Shape Of Things To Come
02. Gone Fishin’
03. Down For The Cause
04. No Way Out
05. Shreds Of Dignity
06. Walk Away
07. F.O.A.D.
08. Lock N’ Load
09. Casualties Of War
10. 24-7
11. Justice Must Be Done

My review of Round 6, Pro-Pain’s sixth studio album, was my first review to ever run on White Trash Devil. Three years and dozens of reviews later, I find myself here reviewing the band’s ninth release, Run For Cover, 14 cover tunes recorded and released by the band.

Round 6 turned me into a Pro-Pain fan. The combination of the band’s heavy guitars, aggressive riffs, growling vocals and New York attitude hooked me from day one. Never having recorded a cover tune before, the guys of Pro-Pain decided to drop their guard a bit, have some fun, and release this collection of cover tunes guaranteed to please.

For a band that fuses punk, metal, and aggression in their regular set, the list of bands covered should come as no surprise. From Operation Ivy to Sepultura, from Motorhead to Life of Agony, from the Crumbsuckers to Black Flag, from Agnostic Front to Slayer, Pro-Pain covers all the bases and shows their true roots through their selections.

Run for Cover kicks off with a version of Discharge’s “Never Again.” Like all of the songs on the album, Pro-Pain doesn’t try and reinvent these classics, but rather do them in their own style. Pro-Pain’s drum, guitar, and vocal style are all here. The fourteen tracks on Run for Cover are presented as Pro-Pain tunes that just happen to have been written by other people.

A few of the songs, “Circle of the Tyrants” for example, were pleasant surprises. I haven’t heard this song since my Best Of Metal Blade Volume One tape I used to listen to back in seventh grade. As previously mentioned, like all the other tracks on the album Pro-Pain sinks their teeth into this one and makes it their own. While the chorus is instantly recognizable, the playing style is all Pro-Pain.

The band also does a good job on the more recognizable tunes, like Sepultura’s “Refuse/Resist” and Slayer’s “South of Heaven”. Again, the tracks appear mostly in their original form, just aggro’ed up a bit.

Pro-Pain has nailed the perfect mindset of a good cover album — pay tribute to the originals by making them your own. In doing so, the band has created a work of art that stands on its own, and is certainly good enough to hold us over until the next Pro-Pain album. Long live the pain.

I will always have a soft spot in my heart for Pro-Pain. Pro-Pain’s Round 6 was the first album I reviewed for WTD, a website that introduced me to a lot of great underground metal bands. Because of that experience, to me Pro-Pain represents all the great metal bands out there that aren’t getting the exposure they deserve.

Pro-Pain’s Fistful of Hate finds the band heavier, tighter, and more aggressive than ever before. Fueled by the war on terrorism and the band’s own patriotism, Pro-Pain has unleashed their most firey incursion to date.

Pro-Pain have honed and perfected their sound over the years, and the crowning production on Fistful of Hate only accentuates it. Pro-Pain’s rhythm section is as tight as Pantera’s ever was — bass notes and kick drums remain highly gated, almost becoming one in the mix. The band’s classic dual guitar sound is back, as are Gary Meskil’s patented vocals.

The band’s last studio album (Run For Cover) was a compilation of fourteen cover tunes. “Can You Feel It?”, the first track on Fistful of Hate, acts as a bridge to 2002’s Shreds of Dignity. Between the tight-ass riffing and the pain-filled growls, listeners will instantly reconnect with the band’s original sound and style.

Pro-Pain continue to push the envelope with their sound by adding a few solos and even some vocal harmonies in a few of the songs — yet overall, the formula remains the same as their past albums: play hard and heavy riffs over rapid-fire beats. On Fistful of Hate, the band has managed to subtly mature their sound without changing the forumla.

On songs like “Fistful of Hate”, “Aftermath”, “American Dreams”, and “Freedom Rings”, Meskil continues to voice his frustration and anger over 9/11 and the events following it (not surprising, coming from a New York-based band). In “Freedom Rings”, Meskil quips, “Texas tea means nothing to me/Does it really mean something to you?”. Later he spouts, “From the rags to the riches to the souls unsung/we gotta get to e reason for this while we’re young/it’s a new generation, damned from the start/it’s a voice of a nation with no heart.” Meskil has never been one to hide his feelings behind flowery language and double entendres. “Can You Feel It?” kicks off with, “So, are you sick of me yet?/well I’m sick of you too/been flappin’ them pork chop lips for days.”

Pro-Pain’s Fistful of Hate is probably the band’s best effort to date; the guys have never sounded better. At the end of the day, if all this website ever did was turn one person on to Pro-Pain, it was all worth it.

Tracklist:
01. Can You Feel It?
02. Left For Dead
03. Godspeed
04. Implode
05. American Dreams
06. Cut Throat
07. Aftermath
08. Save Face
09. The Better Half Of Forever
10. Freedom Rings
11. Lost Horizons
12. Fistful Of Hate

To say I’ve been waiting for this CD for a year is a bit of an understatement. While technically it’s only been a year since Prong released 100% Live, it’s been over six years since 1997’s Rude Awakening, Prong’s last studio effort. And after waiting six years, my biggest concern was that a lot can go wrong in six years time.

Fortunately for both the band and its fans, most of Scorpio Rising goes right. With six years to evolve, not to mention the departure of original members Ted Parsons and Paul Raven, it would be naive not to expect the band’s sound to have changed. And while they have, it’s not in a bad direction.

A few songs on Scorpio Rising are recognizable radio fodder. “Avoid Promises”, “Assurances” and “Out of this Realm” all stick out as “less heavy” tracks, probably destined for radio play. What’s left can be pretty easily divided up into two categories: heavy new stuff, and stuff that sounds similar to classic Prong. Track two, “All Knowing Force,” combines Victor’s pinch harmonics and a classic riff with new, forceful drums — any fear that the band has gone soft is quickly alleviated.

Tommy Victor, original guitarist and vocalist of Prong, proves that he can still write Prong-worthy riffs song after song. New additions Brian Perry (bass) and Dan Laudo (drums) prove they can run with the big dogs as well, although Perry’s bass sound lacks the punch of (original bassist) Paul Raven’s.

The exception to all musical generalizations about the album is “Letter to a ‘Friend'”, a power ballad in the vein of Pantera’s “You Keep This Love” or Megadeth’s “Forclosure of a Dream”. At five minutes even it’s probably a bit long for a radio single, but everything else about the song screams top 40.

While Prong has certainly grown and expanded their horizons over the past fifteen years, they’ve never let go of their roots. On Scorpio Rising, Prong is able to avoid the “nu-metal trap” so many bands as of late have fallen into, and instead delivers an album that shows the band has one foot in the past and one in the future.

While Scorpio Rising is unlikely to produce a “Snap Your Fingers” or “Whose Fist Is This Anyway”, its good enough to stand on its own and let the world know that Prong is back.

Shortly after releasing Rude Awakening in 1996, Prong decided to officially call it quits. Six years later in 2002, Tommy Victor decided to reform the band with an entirely new lineup, winning some fans back and pissing off the rest in the process. The band recently spent six weeks on the road opening for Danzig, during which time they recorded their latest album and first live disc, 100% Live.

If this is the part where I’m supposed to tell you how much I hated this CD due to Prong’s new lineup, you’re going to be pretty disappointed. I’ve seen Prong live twice, and I can honestly say that they’ve never sounded tighter than they do on this disc. So, hate on that.

The tracklisting of 100% Live reads like a greatest hits package, so once you make that mental leap that this is in fact Prong despite the new members, there’s a lot of good material here. “Rude Awakening”, “Broken Peace”, “Snap Your Fingers (Snap Your Neck)”, “Prove You Wrong”, “Whose Fist Is This Anyway?”, “Unconditional”, and all the rest of their hits make appearances here. Each cut sounds as crisp and tight as the original. Die hard fans may be able to tell the difference between this new incantation of Prong and the classic lineup, but I certainly couldn’t.

The new double guitar lineup gives Prong a thickness previously unachieved by the band in live situations. The rhythm section is dead on, and Tommy Victor, despite his new looks, sounds like he did ten years ago. The recording is dead on and the crowd levels are perfect. I have no complaints about the quality of this disc at all. My only complaint is that some of the songs are lacking … well, energy. True, they sound just like the originals, but the spark isn’t always there. The band makes up for it during “Initiation”, the only new track on the album. Available both here and on their website, “Initiation” has that fire and crunch that Prong fans have come to expect from the band.

100% Live serves three purposes. First and foremost, it’s a great collection of Prong songs, performed live. Second of all, it introduces the new lineup to the public. Third of all, it gets Prong’s name back out in the news after a long hiatus, and will hopefully stir enough interest to help push their next studio album (due in April of 2003). 100% Live succeeds at all three of those things. Like it or not, Prong is back.

Tracks:
01. Rude Awakening
02. Initiation
03. Broken Peace
04. Controller
05. Snap Your Fingers, Snap Your Neck
06. Beg To Differ
07. Dark Signs
08. Another Wordly Device
09. Prove You Wrong
10. Close The Door
11. Disbelief
12. Whose Fist Is This Anyway
13. Cut Rate
14. Unconditional

Probot is Dave Grohl’s tribute to the music and bands he loves — the metal of the early 80’s. It’s like a tribute album, except with new songs instead of covers. So it’s kind of like a tribute album of cover tunes of eleven different bands that hadn’t been recorded yet, using the original singers of those bands to make new songs in old styles. Confused? If Probot’s Dave Grohl set out to make an album impossible to classify or stereotype, he succeeded.

The only thing tying the eleven tracks together is Grohl himself, who wrote each tune and performed most of the musical duties himself. For an album with eleven singers and various other guest musicians, the disc is surprisingly cohesive. Despite the rotating vocalists, the instruments maintain their voice throughout the album, preventing the album from sounding like eleven different bands instead of one. But don’t expect the songs to sound alike — each one sounds taylor made for each chosen vocalist.

“Centuries of Sin” with Cronos (of Venom) kicks off the disc with fire and intensity, preparing the listener for what lies ahead. Following is “Red War”, a track with Max Cavalera performing vocal duties which could have just as easily appeared on Sepultura’s Chaos A.D. The next track, “Shake Your Blood”, puts Motorhead’s Lemmy up front for both bass and vocal duties on a song that rival’s “Ace of Spades”. I’m not just gushing here — the tracks are that good. “The Emerald Law”, featuring Wino (St. Vitus, Obsessed, Spirit Caravan, Place of Skulls), sums up the feel of the whole project to me with its muddy riffs and straight forward rocking.

Browsing the track list is like a walk down memory lane from the early 80’s metal scene. Mike Dean (COC), Kurt Brecht (DRI), and Tom G. Warrior (Celtic Frost) all make appearances and keep the album moving forwards. Even the slower tracks, like “Ice Cold Man” (with Lee Dorrian of Cathedral and Napalm Death) and “Sweet Dreams” with King Diamond on vocals don’t derail the disc’s momentum. The music was fleshed out with a few guest appearances as well; Bubba Dupree (Void) and Kim Thayill (Soundgarden) both lay down some killer guitar work.

But the real genius here is Grohl himself. Somehow he’s managed to put together an eclectic mixture of artists and end up with tenacious results. If the Foo Fighters helped Grohl emerge from Nirvana’s shadow, Probot will put the final nail in the coffin.

The Foo Fighters proved that Dave Grohl has a mind for pop. Probot proves he’s got a heart of metal.

Tracks:
01. Centuries Of Sin w/ Cronos (Venom)
02. Red War w/ Max Cavalera (Soulfly, Sepultura)
03. Shake Your Blood w/ Lemmy (Motorhead)
04. Access Babylon w/ Mike Dean (Corrosion of Conformity)
05. Silent Spring w/ Kurt Brecht (DRI)
06. Ice Cold Man w/ Lee Dorrian (Cathedral, Napalm Death)
07. The Emerald Law w/ Wino (St. Vitus, Obsessed, Spirit Caravan, Place of Skulls)
08. Big Sky w/Tom G. Warrior(Celtic Frost /Apollyon Sun)
09. Dictatorsaurus w/ Snake (Voivod)
10. My Tortured Soul w/ Eric Wagner (Trouble)
11. Sweet Dreams w/ King Diamond (Mercyful Fate)

After listening to this CD for about the tenth time this week, I just have one question – “Why isn’t Pro-Pain the biggest band in metal today?”

Round 6 is Pro-Pain’s sixth studio album, and to tell you the truth, I don’t own the other five. I heard part of one many years ago, and to tell you the truth it just sounded like generic, New York hardcore. Not any more, my friends – not any more.

I was a little turned off by the album cover, which shows cartoon versions of the band members playing live. Unfortunately they are all end up looking like versions of Stone Cold Steve Austin. Once I got the disc in the player, I forgot any distaste I had for the cover. Cover? What cover?

Round 6 opens with “Fed Up,” a track that attacks hard and fast right off the bat – so fast, in fact, that I thought I had started the CD in the middle of a track. Pro-Pain never looks back, offering 13 tracks and 38 minutes of hard core metal. While Pro-Pain’s musical roots obviously lie in the NYC hardcore scene, they seem to combine equal parts of punk, metal, and old school thrash in their songs. If I were going to simply describe the band’s sound to someone, I would simply say, “Crowbar, sped up.” The double bass in “Fed Up” alone was enough to impress me. The drums throughout the album gallop, rock, and roll. The guitars are heavy, fast, synched, palm-muted power chords. The vocals are almost an exact copy of Crowbar’s emotion filled growls, but again, sped up. My wife’s comment in the car – “at least you can understand him.” And understand him I can, on several levels. Sticking true to their hardcore roots, Pro-Pain tackles several issues, political, social, and personal. In “Fuck It,” Gary Meskil throws it all out on the line, and you find out exactly where he stands.

According to the band’s website, over the past 10 years the band has sold “over 600,000 copies.” Make that 600,001, after this one. In fact, make that 600,006, as I’m going to have to pick up their other 5 releases. Pro-Pain has built a fan base without MTV, without videos, and without radio airplay – and that’s something to be commended for these days. I can’t help but to think that this is what Metallica might have sounded like had they not sold out. Somewhere between Crowbar and Pantera lies Pro-Pain.

Personally, I can’t wait for Round 7.

Tracks:
01. Fed Up
02. Desensitize
03. Substance
04. All Or None
05. Status Quo
06. Fuck It
07. Psywar
08. Take It Personal
09. Make Some Noise
10. Let Live
11. Thou Shall Not
12. Draw Blood
13. Down In Flames

Powerman 5000 has had almost as many styles as they’ve had albums. Their 1997 debut Mega! Kung Fu Radio drew strong comparisons to White Zombie (which made sense; lead singer Spider is Rob Zombie’s younger brother). In 1999 the band dropped their Zombiesque sound and hopped on the electronica bandwagon with Tonight the Stars Revolt. In 2001 they recorded Anyone for Doomsday? which contained music of both styles, but the lack of a theme kept the album from ever being released. Instead, fans got 2003’s Transform, where Powerman 5000 once again reinvented themselves, this time as a straight up rock and roll band.

Material on Destroy What You Enjoy, the band’s fourth studio album, falls somewhere between rock and punk. Not Green Day/Offspring/Blink 182 punk, but older, 70’s punk. The influence is unmistakable, from the sloppy three-chord changes to the vocals where Spider appears to channel Johnny Rotten. When not punking up the place, the remaining tracks sound like bad versions of Motley Crue Theater of Pain b-sides.

My first exposure to Powerman 5000 was through the song When Worlds Collide off their debut CD (and the Tony Hawk videogame). I thought the band sounded similar to White Zombie but still had its own identity, and I liked it. Hell, even if they sounded exactly like White Zombie it would have been okay with me. In fact, since White Zombie is now defunct and Rob Zombie doesn’t even sound like White Zombie anymore, the position is again available — they should take it! Instead, the band choses to bore us with deep lyrics such as “It’s a wild Wild world / It’s a wild Wild world / It’s a wild Wild world / It’s a wild Wild world” and “Come on, come on, Hey now that’s rockin’, Come on, come on, Hey now that’s rockin’, Come on, come on, Hey now that’s rockin’, Come on, come on, Hey now that’s Rock ‘n Roll.” The second song begins with a sample: “They write very pretty heavy lyrics and I, I agree with most of the stuff that they write.” Even leprechauns driving convertible Volkswagon Jettas with unicorn bumper stickers and rainbow air fresheners wouldn’t consider Destroy What You Enjoy heavy.

Destroy What You Enjoy isn’t completely awful, but it is uninspired and unoriginal. If you are looking for a slightly heavier version of The Offspring, you’ve found one. By trying to distance himself from his older brother’s image, it appears Spider has distanced himself from his fans along the way.

01. Construction Of The Masses Pt. 1
02. Destroy What You Enjoy
03. Return To The City Of The Dead
04. Wild World
05. Enemies
06. Murder
07. Now That’s Rock ‘N Roll
08. All My Friends Are Ghosts
09. Walking Disaster
10. Who Do You Think You Are?
11. Construction Of The Masses Pt. 2
12. Miss America
13. Heroes And Villians (Live)

I think I’m obsessed with the fact that Spider (the lead singer and founder of Powerman 5000) and Rob Zombie are brothers. Before slapping in PM5K’s Anyone For Doomsday? I swore that no matter what the disc sounded like, I absolutely and positively would NOT under any circumstances take the easy road out like every other lazy reviewer and compare Powerman 5000’s sound to White Zombie.

Unfortunately, following that rule left me very little to say. I don’t know if the brothers developed the same sound together or if one imitates the other or if they’ve spent so much time together that their music has melded together into one sound. Regardless of the reason, Powerman 5000’s Anyone For Doomsday? proves that the younger Zombie brother has not fallen far from the tree.

For me, this is a good thing. I love White Zombie. I love Rob Zombie. And after hearing this disc, I love Powerman 5000. I could give a shit who sounds like who, what the new term is for this kind of music, (“Action Rock” is the last one I heard,) or if people think it’s shallow, fake, or meaningless. It grooves, it rocks, and it holds my attention. The fact that this sounds just like a new Zombie album is good news for all of us that are tired of waiting around for, well, a new Zombie album.

I like when bands find their niche and stick to it. I’m not saying every band should record the same album over and over, but I think they make better music when they find their sound and not switch it up on me every album. For that matter, how many times have you bought an album for one song and found that it’s the only good song on an album? Anyone For Doomsday? follows closely in the footsteps of 1999’s Tonight The Stars Revolt!! and 1997’s Mega!!! Kung-Fu Radio. Edgy rock-based tunes with Spider’s voice at the head of this mix make up the 13 tracks on the disc. If I have any complaints about this disc at all, it’s that the album ends on a bit of a down note. Three rather downbeat electronicish songs in a row isn’t a good way to round out eight or nine fast rockin’ tunes! The upbeat songs are relentless, never backing off. Strong guitars and plenty of samples will probably only strengthen the Zombie comparisons.

PM5K have taken another hint from Rob Zombie and have begun infecting the world of video games. Tony Hawk 2 players have been listening to “When Worlds Collide” for a couple of years now, and the brand new Gran Turismo 3 for Playstation 2 contains “Supernova Goes Pop”. As long as it’s not “Dragula”, I’m happy.

“Bombshell” is set to be the first single from the new album, and it is representative of the entire record. Hard driving guitars, industrial sounding drumming, plenty of samples and keyboard work, with Spider One’s vocals layed over the whole thing. And yeah, it does sound just like White Zombie. I mean, JUST like them. If I had heard this single on the radio first, I’d be asking people when the next Zombie album was coming out. I guess all I can say is, there are worse things a band could do than sound like White Zombie.

According to their website, Spider One is also working on designing PM5K “collectibles, toys, backpacks, cd carrying cases” and more. Combine this new product push with their new album and the time seems right for Powerman 5000 to hit the spotlight and for Spider One to finally step out from behind his brother’s shadow.

Tracks:
01. Disease Of Machinery (Intro)
02. Danger Is Go
03. Bombshell
04. The Meaning Of Life
05. Tomorrow Is Yesterday
06. The End Of Everything
07. What The World Does
08. I’ll Try (Interlude)
09. The One And Only
10. Wake Up
11. Rise Alt. Mix
12. Megatronic
13. The Future That Never Was

(Editor’s Note: Despite receiving an advanced copy of the CD, this album was never officially released.)