Every couple of years, a decent feminist- type rock album comes along. I've been waiting for a new one since Liz Phair's Exile In Guyville, which was 1993's answer to Tori Amos' Little Earthquakes.

Well, kids. McKee's taken a strange turn as a follow-up to her last record, You Gotta Sin To Get Saved, a country- folk type thing which saw her as one of 1994's most critically- acclaimed solo artists. Her latest record is just the opposite.

Rockin' like a demon out of control, McKee has taken her sound to a new level. She now uses vocal techniques that are somewhat similar to everyone's favorite equinne rock star, Alanis Morrisette. The difference between Morrisette and McKee is that Maria does it well.

Life Is Sweet's melodies are remarkably similar to the ones we experienced during Bowie's golden years, but still retain a large enough amount of originality to give it credibility. While McKee doesn't pull off any flashes of utter brilliance, Life is Sweet's venomous victories, amazing melodies, and pissed-off, wailing rock overtures are nothing to bitch about.

-Ryan Schreiber