In the early nineties, hard rock and metal was almost exclusively a longhaired domain -- a place of words like thrash, death, and speed. It also meant pouty image bands, guitar solos at a million miles an hour, lion-maned lead singers and acres of tattoos. Then came Nirvana and the advent of grunge.

At around the same time, Helmet was a different animal. Led by jazz-trained guitarist-singer Page Hamilton, their image was quite straight-edge -- plain shirts and jeans, close-cropped haircuts, and the occasional baseball cap; tattoos and piercings were irrelevant. Their music came in volcanic blasts of sound, everyone blowing the same note out of the speakers at once. They could have been mistaken for a much heavier version of Fugazi. Their timekeeping was militarily precise, and solo breaks were often dissonant waves of noise. Guitars sounded closer to Malcolm Young than Angus Young. Hamilton's concept was economical -- their rehearsals were more athletic than musical, emphasizing a machine-like approach to making music -- and the band rarely wavered from the formula. Helmet carved their own special niche in the rock world, and many have credited (or perhaps blamed) them for inspiring the so-called "nu metal" movement almost immediately afterward.

And that is perhaps why Hamilton decided to revive Helmet after a layoff of almost seven years, with the release of SIZE MATTERS. Helmet was far more influential than anyone had realized in the mid nineties, when the band's formula had seemed to run its course. The bludgeoning attack of their second official release, MEANTIME, sounds as fresh and relevant today as it did when it first stormed onto the scene twelve years ago. Indeed, it compares favorably to practically any of the current bands who wear the unfortunate label of "nu metal." A steadily growing number of young listeners are going back to discover what Helmet was all about, and SIZE MATTERS is here to continue the band's tradition.

John Stanier and Henry Bogdan, Helmet's great rhythm section, have been replaced for this album. White Zombie veteran John Tempesta takes over drums for Stanier, while AFTERTASTE-era guitarist Chris Traynor is back, filling in on bass temporarily while Hamilton handles all the guitars on this release (Frank Bello of Anthrax is touring on bass, but the full time bass slot may be an open question). Tempesta's drumming is more expansive, and a little closer to traditional metal than Stanier's more efficient, military style. The guitars are vintage Helmet, and Traynor's bass rarely explores space outside Hamilton's rhythm guitar. Hamilton's vocals probably have more of a growl than ever, and yet when he sings melodically, he sounds just like Lenny Kravitz, especially when double-tracked with a higher pitch on top. Overall, the Helmet sound is a bit looser, but not much; I still miss the relentless precision of Stanier and Bogdan a little.

The album rarely strays into the experimental nature of BETTY. Here we get a dose of the classic Helmet sound, with few exceptions. "Smart" is a typical example, straight ahead with a bellowing vocal, followed by the frenetic pace and venomous verses of "Crashing Foreign Cars." A nice opening salvo propels album highlight "See You Dead" with percussive bursts of sound and sneering lyrics. Later on, "Unwound" sounds exactly like a Smashing Pumpkins song (no insult intended), and I can even imagine Billy Corgan's voice in every line. Near the close, "Throwing Punches" has a down-and-dirty groove and a nastily sung verse, and then there's "Last Breath," another album highlight, with all of the familiar Helmet attributes.

I think SIZE MATTERS is worth three and a half stars, but it kind of assumes you already know what Helmet is all about. While it's an adequate introduction to the Helmet sound, MEANTIME is still their archetypal record. This album will probably not attract many new fans all by itself, but you never know. If you're trying the band for the first time, devour MEANTIME first and then come back and enjoy this one. If you're already familiar, you can think of this as worthy of the Helmet trademark.

How ironic that is it that one of the most influential bands of the past decade only came close to commercial success once with a track named "Unsung"? How bitterly was their decision to give their recent career retrospective the same name now that so-called alternative rock radio is awash with clones cashing in on much less talent? Luckily for any longtime Helmet fan, frontman Page Hamilton has resurrected the group after almost calling it quits several times over the past couple of years, and the results are very satisfying.

"Size Matters" doesn't immediately demand your complete attention like earlier Helmet masterworks such as "Meantime" and "Betty" did. However, you'll find that with each listen, you can hear more and more touches of their influence in many of the tracks. In fact, the album plays a bit as if the material was written at various stages of their development and then saved for recording at a later date. "Smart" and "Crashing Foreign Cars" sound a lot like the thrash that defined their early works. "Everybody Loves You", "Throwing Punches" and "Last Breath" have that "Meantime" heavy, driving aggression. "Unwound" adds some alternative elements like the "Betty" material did. The first single, "See You Dead" is an absolutely great track that alternates a pounding metallic verse with a bluesy, melodic chorus.

I agree with the other reviews here that noted how Page's voice is immediately distinguishable from all of the other Helmet recordings. I read an interview recently where he indicated that he wanted his voice to be more of an instrument this time around. It's still the Helmet trademark, alternating between melodic chorus Page and growling screaming verse Page. "Smart" also uses some two-part harmonies with himself that are very interesting and effective - if you've ever heard Machines of Loving Grace's later work (recommended listening - "Gilt"), it's very reminiscent.

The lyrics are also classic, focusing on feelings of being jilted and wronged in personal relationships. "Enemies" is so tongue-in-cheek, you'll have to fight not to laugh. He sings "We'll Be Enemies / So Disatisfied" over a sing-songy rock riff that includes background oooh-ooohs similar to the end of the Beatles' "Hey Jude".

The recording itself is so tight and so well-done, you'll feel like you're in the studio. Turn it up and enjoy punishing your equipment.

"Size Matters" is a must-have for Helmet fans. It elevates itself above being "Aftertaste" part two within the first couple of listens. If Amazon would allow fractions, it's a solid 3.75. For anyone just finding out about this seminal act, I recommend their recent best-of "Unsung" first.

I have to affirm one of the previous reviewers comments on the new album. Helmet's often syncopated to odd time rhythms that were welded together by an impeccable rhythm section were the backbone to Helmet's sound. They allowed Page Hamilton to realize a vision that does not translate on this new album. I am not surprised that it is the ex-White Zombie drummer who plays on this album because there are moments on this new album where it almost sounds like the nu-metal that sprung forth full grown from the head of that band. As for the singing--although I prefer the old deadpanning and shrieks of previous albums, I suppose some growth as a vocalist is going to happen. Glimpses of old helmet are there but the new, more generic, sound bleeds all over it. A regrettable turn of events from one of the greatest bands of the 90's. They could still have been, but fumbled the ball on this one. Overall: listenable, but not spectacular (and any Helmet fan knows that anything less than spectacular from these guys just doesn't cut it).

First off, I would have given this album 4 stars had I not just listened to "meantime" yesterday...that album is flawless...while "Size Matters" by comparison, could easily be construed as flacid radio rock...but I really don't find it fair or necessary to compare the two (explanation below). Taken on it's own merits, "Size Matters" is a competent and well produced slab of edgy, more listener-friendly fare. By "listener-friendly" of course I am referring to what others have dubbed "nu-metal choruses", which I guess means it's really catchy with crunchy guitars. This is riff-pop for metal-heads. Why did Helmet turn into this?

The argument could be made that Helmet have been sliding since "Meantime", but "Size Matters" was never intended to be a Helmet record....I don't know if anyone else touched on this, but after Helmet broke up, Page (whom is one of my favorite guitar players) went on to start a band called Gandhi-this band toured a bit on the east coast, where I saw them perform twice in front of a total of about 40 people...most of the songs found on "Size Matters" were performed live at these shows with a band that consisted of Page and a bunch of no-name drinking buddies. Basically, labels weren't interested in Gandhi, so Page was given the choice-flounder in obscurity while other bands cash in on your sound...or use the name Helmet, play some shows, sell some records, make a little cash. Why not?

So, Helmet mach II...this really is, more so now than ever, the Page Hamilton project...and that's not entirely a bad thing-just wish there were MORE solos. Fun stuff, but nowhere near the god-like power of the first two albums.

Maybe it's the fact that so many bands have taken Helmet's style that makes it hard to find the really great moments in Helmet's "reunion" album, "Size Matters." Afterall, you could credit Helmet for giving birth to nu-metal. Even though they are lesser known than, say Korn or the Deftones, both bands have cited Helmet as an influence and it is obvious in their music, which in turn has helped usher in countless bands that have ripped so many Helmet riffs, it's criminal. On "Size Matters," Helmet's first release since their 1997 swan song "Aftertaste," frontman/lead guitarist Page Hamilton has assembled a completely new line-up for Helmet 2004. Chris Traynor, formerly of Orange 9mm, does all of the bass-work on the album (Frank Bello, Ex-Anthrax handles live bass duty), along with additional guitars, while John Tempesta of White Zombie fame sits in on drums. Both players bring a slightly different style to the table than previous members, but that's not really what drags this album down. Afterall, both guys are in top-form, and I love them just as much here as I did in their former bands. But the main downfall is the lack of variety. Now, Helmet never were ones to really change up their sound, but face it, this is 2004. Show us some new tricks, Page. A lot of the riffs sound oddly like ones churned out by lesser bands between 1997 and 2004 and show a bit of immaturity. The lyrics on this album can be somewhat cheesy, and "aims low" as the opening track "Smart" puts it. I really feel that Page rushed to get this album out, trying to get some new Helmet material out as soon as possible. Pretty much all of the songs blend into each other, the only ones that stood out for me were "Throwing Punches" (Page's contribution to the "Underworld" soundtrack), "See You Dead" and "Unwound." The rest is almost like sludge. Very difficult to get into. I thought it would take multiple listens, but given this album so many chances, it still hasn't stuck. I'm not saying it's a completely awful album, but sadly enough, some of the nu-metal bands that came out after Helmet's break-up have made this album already, and made it better. Helmet just don't do a good job of making sure that they still matter here. Maybe it works better in their live shows, and maybe they'll advance a little more on the next Helmet album, but right now, this is just average, which is something Page & company have never been.