Indie-rock purists held their breath when Firehose made the jump to major labeldom last year. Surprise! Not only was the transformation effortless, but the records were better. Both Flyin' the Flannel and the mostly covers Live Totem Pole EP were smokin' hunks of clatter that struck a deft balance between the band's muscular immediacy and arty tomfoolery. Ed Crawford's polite guitar got louder and more intrusive, matching bassist Mike Watt's and drummer George Hurley's virtuosity blow for blow. Even the awkward imagism of the lyrics was honed into quasi-poetic spiels that were witty and free of self-importance.

Unfortunately, the rumble of Mr. Machinery Operator contains only a little of fIREHOSE's kinetic urgency. It's an indulgent hodgepodge, whose uncharacteristic lack of focus isn't helped by the insouciant production of Dinosaur Jr's J Mascis, who seems to have cheered on the bad ideas. Chief among these is Mike Watt's singing lead more than once, especially on songs as indistinct as "The Cliffs Thrown Down" and "Powerful Hankerin'." Or stretching out a tune as emotionally wan as "Witness" for five and a half minutes. Even fIREHOSE's storied instrumental prowess, jarring tempo shifts and jazzlike complexity sound contrived and clumsy.

When Operator jells, it's dazzling in the way Firehose can be. Crawford's playing is frantic and assertive, and Watt and Hurley swing and pound like the great rhythm section they are. But the infrequent highs – notably the raging "Blaze" and the giddy "Hell-Hole" – make the lows more annoying.

Bands this good don't go bad overnight. Mr. Machinery Operator isn't a harbinger; it's a misstep. Overreacting is not the answer. Rather, it's understanding that sometimes you bear with a band even when it comes up empty. (RS 657)

JOHN DOUGAN