Red Stars Theory is not a rock band, not as we feeble-minded human beings understand the term. The four lads that make up the band's core (which includes-- but is not limited to-- frontman James Bertram of 764-HERO, and Modest Mouse drummer Jeremiah Green) are more of an impersonal, all powerful force of nature than just another band. They're a nasty gang of James Bond- style evil geniuses that make their hideout in Washington (the state) and happen to spend their days making music instead of trying to take over the world. Together they could break into Fort Knox, assassinate the world leader of their choice, and generally bathe the world in the blood of their enemies. But that's not really their thing. Instead, they prefer to sit around, dress badly, forget to wash their hair and make brilliant music when they get the time.

Be warned though, you're still not safe from their destructive madness. They may not be firing guided nuclear missiles at earthquake- happy fault lines or dumping anthrax into the city reservoir, but their albums will destroy you just as quickly. You see, these are not easy, passable, pleasant ditties designed to be passed off to the slackjawed masses. The smooth criminals of Red Stars Theory are artists making beautiful, insidious, moody music that kicks you in the nuts while kissing you full on the lips. At one moment, their songs are as fierce and as sharp as a dropkick to the throat; the next minute they can whisper and float as subtly as cyanide being poured into your Starbucks coffee cup-- music so good it's dangerous.

Life in a Bubble Can Be Beautiful is the second full- length album from these guys, and despite having to live in the shadow of its older brother, 1997's But Sleep Came Slowly, it does not disappoint. From Sleep to Bubble, the Red Stars have managed to do something that is all but impossible in today's music scene: they've grown. In two short years, they've realized how to take a good thing and make it great.

Packed with soft vocals, heavy drums, cellos, violins and fuzzy electric guitars, Bubble showcases some of the most mature and interesting songwriting modern indie rock may have to offer. In recording this album, Red Stars Theory have taken their singular form of intelligent emo-core to a whole new level. By playing up to their strengths-- namely the raw, emotionally naked power of their music and the endless sonic possibilities presented by their idiosyncratic instrumentation-- they've managed to pen eight of the best songs of their career (so far).

The opening track, "How Did This Room Get So White," is an atmospheric musical marathon, an instrumental clocking in somewhere around seven minutes. Don't be scared, though. I know that when an album opens with an instrumental, especially one this long, it's usually pretty bad news. These albums mostly end up being talent-free jack-off sessions created by horribly pretentious musicians. This time, of course, nothing could be further from the truth. While this particular song may count as a shameless musical jack-off session, it's packed with talent, and doesn't come off as aimless noodling. This track goes a long way towards laying the foundation for the rest of the album, both stylistically and on a more subliminal, ethereal level.

"How Did This Room Get So White" leads into seven more epics that, despite being longer than most books I've read, are completely mesmerizing, emotional but never sappy, and intelligent but never cold. The songs that feature lyrics, like "Combinations and Complications" or "An Alarm Goes Off," are all the more captivating, as the soft, library- whisper vocals and clever lyrics throw another level of sonic love into the mix.

To make a sweet thing even sweeter, the Red Stars have also managed to overcome the one major problem that plagued their previous album-- it suffered from a staggering lack of musical variety that kept it from reaching true classic album status. Through song after song, the boys made great music, but they never strayed far from one sound. On Bubble, though, the gloves are off. Here, the band seems comfortable with taking some risks and channeling more influences and styles into their songs. The result is a fuller, richer album. Blues chords, strings solos, studio- crafted sound effects and beats that border on jungle music are all brought in to broaden the musical spectrum without diluting any of its power.

-Steven Byrd