Kill Me Tomorrow's music is a clotted, bloody aggregate of slivered guitar, jerky keyboards, spastically pneumatic rhythms, and the entwined caterwauling of Zack Wentz and K8 Wince -- a married couple who recall Thurston Moore and Kim Gordon (or Mark E. and Brix Smith) with their penchant for strung-out, deadpan sexual tension. It's all apropos of Garbageman's overarching plot: a loose, hallucinatory chain of events that somehow links werewolves, evil multinationals, decrepit superheroes, Xerox machines, and sexual debauchery while paraphrasing Lionel Richie. Like organic tissue camouflaging a cybernetic endoskeleton, Kill Me Tomorrow's sloppy sonic façade is propped up by a cold, vicious cunning that makes most concept-album themes (Ayn Rand, The Lord of the Rings, crippled kids, etc.) seem downright mundane by comparison. When you've finally worn out that copy of OK Computer -- that's OK, there's still a little life left in it -- steel yourself for this.