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Version 2.0 is the second album by the group Garbage. It was released worldwide in May 1998 by Mushroom Records UK and in North America by Almo Sounds. Version 2.0 was the follow-up to the band's multi-platinum debut album Garbage. Despite a slow start, Version 2.0 went on to equal its predecessor, becoming platinum-certified in many territories. Like their first record, Garbage promoted Version 2.0 with a year-long tour, and by releasing a string of hit singles backed with boundary-pushing music videos.

In 1999, Version 2.0 was nominated for Grammy Awards for Album of the Year and Best Rock Album. The album's third single "Special" was further nominated the following year for Best Rock Song and for Best Rock Performance by a Duo or Group.

Composition and style

Building on framework sound and style Garbage established on their debut set, Version 2.0 featured musical references to the 1960s, 1970s and 1980s, songs featuring live strings, over 100 recorded tracks and an interpolation of the Beach Boys and The Pretenders. The band claimed that the goal of Version 2.0 was to create a rapprochement between the "high-tech and low-down, the now sound and of golden memories". Manson declared that "we didn't want to totally embrace the world of electronica", so Version 2.0 juxtaposed "the super-hi-fi with the super-organic". The band wanted there to be echoes of music they like in the record, "and that means not just Björk and Portishead and Radiohead but the Beatles and Beach Boys and Frank Sinatra", Manson said, concluding that the album is overall "more diverse - more extreme."

The band also aimed to channel some of the energy of their live shows into the rhythm parts of the album. Vig remarked that "the songs sound looser, tougher" that way.

With the lyrics, Manson "tried to let the darker undercurrents come through to offset some of the pop melodies", adding that "like human beings, songs shouldn't be one-dimensional". The singer declared that the introspective nature of Version 2.0 served to "reassure myself while I'm going crazy" due to her experiences during production, as she was "living by myself in a hotel, and I had no one to really talk to" and every day coming back by herself really late after working on the studio.

Recording

Garbage began writing their second album, which would go under the working title of Sad Alcoholic Clowns, in March 1997 in the band's label-head Jerry Moss' Friday Harbor, Washington, vacation house. The group demoed and made rough outlines for new songs. When they felt they had made a good start, Garbage took the work they made in Washington back to their Madison, Wisconsin base at Smart Studios and begin fleshing out the ideas and rough sketches over the following year. The group recorded all of their work for the second album through a 48-track digital system digitally, direct to hard drives utilizing a 24bit Pro Tools rig.

Much of the percussion was recorded in a disused candy factory located in Madison; Butch Vig, Marker and sound engineer Billy Bush set up a drum kit within the factory and recorded various fills, utilising the acoustics of the dilapidated building. Forced to stop after local police officers responded to complaints about the noise, some of the percussion was later incorporated into "Temptation Waits", "I Think I'm Paranoid" and "Hammering in My Head".

Garbage completed recording, producing and mixing of their second album in mid-February 1998, and the album was given the title Version 2.0.

Release and promotion

I think the general consensus was that people feel our second record didn't do as well as the first one, but our second record did better. But I think in terms of our profile, I think our profile was probably quieter than on our first record.

The entire visual campaign for Version 2.0 was tailored to play off the album cover artwork, the icons designed to represent each single release, provided point-of-sale and the band's videogenic sensibility. Garbage spent three weeks in Europe providing interviews with music journalists from a multitude of territories, while Manson continued on her own to Australia and Asia.

Version 2.0 was released in Japan on May 4, a week ahead of the international street date, to counteract parallel imports. The album was released in two editions, a standard album with a bonus remix of "Push It" by Boom Boom Satellites and a limited edition run of 20,000 copies featuring two international b-sides, "Lick the Pavement" and a cover version of Big Star's "Thirteen". Version 2.0 debuted at #4 in the Japanese international album chart.

On May 11, Version 2.0 was released worldwide, with the North American street date a day later. Mushroom Records released the album in the United Kingdom on CD, LP and cassette. Version 2.0 debuted at #1 on the UK Albums Chart, selling 31,476 copies. In North America, Version 2.0 was released on CD and cassette by Almo Sounds in partnership with Interscope who shipped 500,000 copies to stores in the first week. The album debuted on the Billboard 200 at #13 selling 88,000 units. In Canada, where the album is licensed by Almo to Universal Music, the album debuted at #2.

Version 2.0 received its first gold discs on May 22, 1998 in the UK, Belgium, France and New Zealand, and by early October, it was certified platinum in New Zealand, Canada, Singapore and the UK and certified gold in the United States, Australia, and seven European countries. On the week of March 8, Version 2.0 was officially awarded the European Platinum Award by the International Federation of the Phonographic Industry for 1 million sales across Europe.

On June 3, 1999, Version 2.0 was certified platinum in Spain, and claimed the fifth-longest chart run on the Spanish Albums Chart on June 20, while an airplay-only single, "Temptation Waits" was released to Spanish radio. Version 2.0's sales continued into 2000; it was certified platinum in the UK for the second time on February 11, 2000 before re-charting in the UK for the final time on July 15, 2000.

World tour

Preempting the start of their world tour, Garbage played three shows in the Midwest under the alias 'Stupid Girl'. The Version 2.0 tour officially kicked off with club dates starting at San Francisco's Warfield Theater on May 20, and took the band to a number of key media cities in the United States and Canada. Garbage then travelled to Europe to play a number of rock festivals beginning June 1 at Netherland's Pinkpop and finishing up at Scotland's T in the Park on July 12. In between the festivals, Garbage performed some headlining shows in France and the United Kingdom, with support coming from The Crystal Method. In August, the band travelled to Japan to perform on the bill at the Fuji Rock Festival, and then back to Scotland to perform at two "warm up" shows at Glasgow's Barrowland Ballroom and then headlining the last night of the Reading Festival.

Garbage returned to North America on September 17, to start a three-month tour. Support came from Girls Against Boys. The itinerary took the band from Denver, Colorado up the West Coast as north as Vancouver, BC before routing towards the Southern States. Following these dates, the tour moved up the Eastern Seaboard and into Quebec and Ontario, before finishing up in the Midwest on November 28 in Green Bay, Wisconsin. During December, Garbage performed at radio shows on both coasts, including KROQ-FM's Almost Acoustic Christmas, and made a visit to Mexico City before wrapping up on December 20 in Detroit, Michigan.

Continuing their touring commitment into 1999, Garbage launched a European arena tour on January 14 at Dublin's Point Theatre. Local acts such as Laurent Garnier and Rasmus support continental dates; Moloko support Irish and UK shows. Concerts in Paris and St. Petersburg are filmed to be broadcast by MTV Europe and MTV Russia respectively. A show in Tallinn is cancelled on the day when the band's equipment is held up by customs officials at the Estonian border. The European run ends in Madrid on February 11. Garbage then returned to North America to support Alanis Morissette on two legs of The Junkie tour, starting on February 16 in Cincinnati, Ohio routing along the Midwest, Four Corners states and onto the West Coast, ending on April 8 in Los Angeles

Garbage revisited Europe to play a second summer of rock festivals, beginning with Vienna's Libro on May 19. The shows included visits to Israel and Iceland, although four concerts in the Baltic States and Russia are cancelled on the advice of the American Embassy due to the USA's involvement in Kosovo. Garbage headlined a special show to mark the opening of the Scottish Parliament in Edinburgh on July 1. The European dates conclude in Duisburg on July 25. Garbage then travelled to South Africa to play four shows with Placebo.

The final legs of the Version 2.0 tour see Garbage moving on to New Zealand and Australia to co-headline with Alanis Morissette, beginning in Auckland for sixteen days from October 1, and ending in Newcastle. During this time the band also performed at the Livid Festival. Garbage returned to North America to wind down the tour by headlining a series of shows organised by MTV on university campuses. Titled the Campus Invasion Tour, and supported by Lit, the shows began on October 20 in Denver and is routed through the Midwest, North East and Southern States, Arizona and California. The final date of the Version 2.0 tour is held in Irvine, California on November 24.

Critical reception

Professional ratings

Review scores
Source	Rating
Allmusic
The Baltimore Sun
Entertainment Weekly	B+
Rolling Stone
The Rolling Stone Album Guide
Spin	8/10
The Village Voice	A−

Version 2.0 received positive reviews from critics. Barry Walters of Spin praised the band's "crafting of more fully realized tunes", Manson's "personal and universal" lyrics and their "pumping up the BPM with an enthusiasm you can feel". He declared that the album's "super-fuzzy electronic textures give Radiohead and Nine Inch Nails a serious run for their knob-twiddling", and the band have an edge over contemporaries Bjork and Stereolab "when it comes to taking aural avant-gardism to the masses." Rolling Stone critic Rob Sheffield stated that the album builds on the sonic landscapes of the debut while "the songwriting has sharpened with catchier tunes ranging from the bittersweet gloom ballad "You Look So Fine" to the frantic rocker "Push It". Garbage stack melodies on top of melodies, with a slippery groove underneath." Manson remains the highlight as her "sultry" vocals pull "Garbage's intricate guitar textures out of the studio and into the real and scary world of pop emotion, where they belong", noting that "it's rare to hear a rock record so carefully put together that still sounds so fresh and playful."

Entertainment Weekly's Barry Walters acknowledged how the group "push the improbable, mixing the ghostly sound of a theremin with serrated guitars or working up a series of screeches and bleats into a sturdy pop bridge", crediting Manson's character for making the songs "more than just clever exercises in avant-pop." Commending her multifarious lyrics, he deemed it "great to find it matched to music that makes rock dynamics sound new again". Chicago Tribune critic Greg Kot said that the band's mix of pop and electronica has an "ersatz charm" that brings to mind the late 1970s music of Blondie, while the noisy production retains Garbage's tuneful hooks. In his review for The Village Voice, Robert Christgau wrote that the metallic, discordant music suits Manson's aggressive sexuality: "For those of us with no knack for real-life sadomasochism, how better combine pleasure and pain than to let 12 impregnable theoretical hits march over us in their digital boots?"

The Baltimore Sun noted the deliberate eschewing of reinvention, as the debut's "blend of guitar crunch and automaton thump" and "fondness for exotic textures and sudden bursts of noise" emerge in the record, but praised the emphasis on songwriting and the "extra emphasis" on melodies that, "even when the band is at its most moody and ambitious, give the listener plenty to hum along with." Manson's conviction in songs like "I Think I'm Paranoid", "Hammering In My Head" and "Push It", in which she transitions dramatically from a "sultry croon to distorted scream to desperate whisper" along with the songs' "many layers" is what holds the attention.

Newsweek's David Gates criticized the samples, "space-age wheeps" and "calculated showbiz shtik". In a retrospective review for AllMusic, Stephen Thomas Erlewine said that Version 2.0 retains the debut's "strong pop sensibility, a production that falls halfway between alternative rock and techno - presented in a slightly newer form ... but it lacks the thrilling immediacy of the debut." In another retrospective review, Melissa Bobbitt wrote in The About Group: "Its robust electronic-rock wall of sound was so unique and grabbing, in an era where feminism in music was starting to fizzle out. Manson’s scary-sexy contralto could castrate a man with a single growl ... Amid synthetic squelches and blazing guitar riffs ... the striking redhead dominated the late ’90s airwaves. Her cybertronic lustfulness, coupled with the sleek production from drummer/mix master extraordinaire Butch Vig, embodied the futuristic path music and technology were racing toward. One can hear the mechanical muster of Version 2.0 in everything from Rihanna to Shiny Toy Guns.

Version 2.0 was voted the 19th best album of 1998 in the Pazz & Jop, an annual critics poll run by The Village Voice. It was named the Daily Mail's Album of the Year, and was included in year-end best-album lists by The Guardian, Q, Kerrang!, Melody Maker, NME, Select, Spin and Gear. Canada's largest modern rock station, The Edge 102 named Version 2.0 #1 Album, while three tracks make Australia's Triple J Hottest 100: "I Think I'm Paranoid" (at #57), "Push It" (#87) and "Special" (#89).

Accolades

On July 14, the video for "Push It" was nominated for eight MTV Video Music Awards (for 'Best Group Video', 'Best Alternative Video', 'Best Breakthrough Video', 'Best Art Direction', 'Best Editing', 'Best Cinematography', 'Best Direction' and 'Best Special Effects') coming second to Madonna's "Ray of Light" video which received nine. On October 1, Garbage were nominated for three MTV Europe Music Awards: "Best Group," "Best Rock Act" and "Best Video" for "Push It".

On January 5, 1999, Version 2.0 was nominated for Grammy Awards for Album of the Year and Best Rock Album. "Push It" was nominated for Best Alternative Record at Winter Music Conference. Garbage performed "You Look So Fine" for Gala Ragazza in Madrid on June 3.

On September 9, 1999, the video for "Special" won 'Best Special Effects' at the MTV Video Music Awards. "Special" received Grammy nominations for Best Rock Song and for Best Rock Performance by a Duo or Group.

Track listing

All tracks are written by Garbage, except where noted

Personnel

Charts

Certifications

Release history

References

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External links

• Garbage official website
• Archived 2000-10-27 at the Wayback Machine
• Version 2.0 discography

• Pages with empty short description
• Garbage (band) albums
• 1998 albums
• Albums produced by Butch Vig
• Almo Sounds albums
• Mushroom Records albums