The 1960s will be remembered as the decade in which an influx of ground- breaking artists' songs migrated to the United States from the other side of the pond. And, as radio station playlists and charts attest, the British Invasion doesn't seem to have stopped invading: Oasis travel the trail blazed by the Fab Four, the Verve produce elaborate aural landscapes, and Blur runs the gamut from disco to glam. Bond, however, specialize in electro- pop a la Jesus Jones, and are the latest export from the land of steak and kidney pie.

Although Bond (not to be confused with a defunct '70s band of the same name) have deserted the foggy shores of England for Los Angeles, one thing is certain: You can take the band out of England, but you can't take England out of the band. The album is a frenetic, rapid- fire blur of both acoustic and electronic elements. Lead singer/ lyricist Steve Eusebe half sings and half drawls in his thick accent, sometimes straining to reach notes beyond his range. And lyrically, the quartet is tongue- in- cheek, turning phrases like the Spice Girls once turned tricks.

Opening with a twanging Jew's harp, "Starbucked" is a raunchy epistle detailing a post- gig encounter with a groupie in colorful terms ("Her gasm is in ore/ My balls are in her court.") A Dave Matthews Band- esque horn solo enlivens the danceable "Anne Grenade," and "I'm a Bastard" is steeped in substance abuse- induced guilt.

The eleven tracks Bang Out of Order provide us with are glossed over with a thick sheen, thanks to producer Matthew Wilder (No Doubt) and mixer Andy Wallace, whose previous credits include Nirvana and Jeff Buckley. While it lacks the depth of, say, Oasis' Definitely Maybe or Blur's Parklife, Britpop connoisseurs may still welcome an opportunity to bond with Bond.

-Susan Moll