With the metal band Tool in perpetual limbo due to a dispute with their label, frontman Maynard James Keenan sought to keep his music career on track. He teamed up with guitarist Billy Howerdel to form A Perfect Circle, a band that was far more conventional in their style than the off-the-wall approach employed by Tool. Despite the major differences between their styles, Keenan and company fail to accomplish anything remarkable on the 2000 release, Mer de Noms.

When I say APC’s music is more conventional, that’s not to say the band is a carbon copy of today’s rock groups, but it’s certainly a lot less weird than Tool. For instance, APC tends to have a verse-chorus structure, as opposed to Tool’s more amorphous style. Nevertheless, there are several problems with APC’s debut. Keenan’s vocals are usually outstanding, but there are periods in the album, most notably in the middle, where he seems to lose interest and his voice drags significantly. The instrumentation at this point also heads south in a hurry. The dynamic, razor-sharp riffs at the onset give way to numbing passivity. The album simply runs out of steam, leaving the listener dejected and frustrated.

Things begin on a positive note with The Hollow, a track that combines Keenan’s beautiful harmonies with Howerdel’s pristine guitar work. The only quibble would that it’s a bit short for an opener, but it kicks the album off with gusto and verve. Magdalena is brooding piece set to Paz Lenchantin’s drudging bass, and with Keenan’s wandering vocals, it definitely slows the pace down. The ending isn’t half bad, but getting there requires a lot of commitment on the listener’s part. Rose is an improvement, especially with a sharper emphasis on the vocals and an almost Indian-flavored guitar solo. At this juncture, APC’s debut has met expectations, but the wheels begin to fall off in a hurry.

The fourth track, the volatile, anti-religious anthem Judith sees the album at its climax. The lyrics are particularly cryptic in their condemnation of someone’s religion, “It’s not like you killed someone/ It’s not like you drove a hateful spear into his side/ Talk to Jesus Christ/ As if he knows the reasons why.” The song’s closing moments take the cake, with Keenan reaching into the upper limit of his ability with a bellowing howl “Did it all for you!” as the band thrashes on behind him. If Judith got you fired up, Orestes will cool you down like a bath in ice water. The pace is mid-tempo most of the way, and it actually works as a moody and stirring experience. On the other hand, 3 Libras is bound to make you drowsy with a meandering tempo and Keenan’s punchless vocals. This will end up becoming the album’s refrain as it moves forward.

Truthfully, there aren’t many bright spots in the album’s last third. The head-spinning guitar solo in Sleeping Beauty is easily the most notable aspect of an otherwise listless song. Brena (bren-nee-a) is a satisfying attempt at atmospheric rock music, as the janglely guitars and whispered vocals will surely make your spine tingle. However, that’s really all she wrote for the good material. The theme of Mer de Noms, or “Sea of Names” for those who don’t speak French, continues with Thomas and Renholder. The former is a watered-down version of Rose, while the latter features some interesting, chime-like guitar work, but is way too short to make any kind of lasting impact. The closer, appropriately titled Over, is a half-baked idea that was tacked on at the end for reasons I can’t comprehend. It gives new meaning to the word lethargic. If the movie The Postman seems long, this song will feel like an eternity.

What we have here is an album that initially holds great promise, but soon deteriorates bit by bit until it’s ghastly demise. Even the songs that didn’t work as a whole had moments of intrigue. Thus, they aren’t a lost cause, just immensely disappointing. For those new to A Perfect Circle, definitely check out the band’s sophomore effort Thirteenth Step, which is a significant improvement over their debut. If Mer de Noms had maintained the fuming hostility of Judith and The Hollow, it would have been a resounding success. Quite simply, the stilted material after track four leads to the album’s eventual implosion. Unless you’re looking for a way to dramatically lower your pulse rate, don’t squander your money on A Perfect Circle’s substandard debut.

Final Rating: 2.5 Stars

Recommended: No