With the turn of the 21st century, the struggling rock sector of the music industry witnessed the birth of many new hybrids. Whereas nu metal bands like Korn and Sevendust worked to join the aggressive elements of hard rock, rap and metal, the release of Orgy’s debut album Candyass demonstrated the very feasible concept of the combination of techno, industrial and experimental music.

After Orgy’s landmark attempt, this new breed of sci-fi futuristic rock underwent degradation as Static-X retarded the genre, Spineshank further stupefied it, and Deadsy flat-out embarrassed it. With the very future of the genre at stake, 30 Seconds to Mars has now stepped to the plate to rescue this intellectual musical vision with a self-titled debut album that just might catapult this young genre into the mainstream.

While most critics fail to move past the fact that actor Jared Leto (“Requiem for a Dream,” “Panic Room”) fronts the southern California-bred 30STM, it should be noted that Leto breaks the actor-turned-musician curse that has most recently inflicted Keanu Reeves and Russell Crowe.

With his brother Shannon on drums and Solon Bixler on synth and guitar, Jared weaves his intricate lyrics of human struggle, fantasy and space with an unparalleled dynamic control on, behind and through the non-traditional beats produced by his talented bandmates. By breaking from the industrial/goth imagery of its sci-fi rock contemporaries, 30STM has created an original atmosphere that combines alien glyphics with hints of futuristic new-order occult to further expand upon the mesmerizing and indescribable auditory art of Leto and company.

With its first track and single “Capricorn (a brand new name),” 30STM breaks out of the blocks immediately with a melodic, cybernetic thrashing guitar sound that graciously complements Jared’s almost liquid-like flowing lyrics (a la James Maynard Keenan of Tool). Through the variations of its vocal and musical dynamics, 30STM proves that it can convey the emotions of hopelessness, euphoria, elegance and anger all in an under-four-minute time span.

Potential second single “Buddha for Mary” employs techniques utilized by atmospheric bands such as Pink Floyd to present a complex and metaphoric story of the human race’s relationship with God.

The pinnacle of the artistic expression of this album, though, comes in the form of the neo-electro prog rock anthem “Echelon”, 30STM’s call sign for its already-established loyal fan base. Beginning with tribal-like drum work and a trance inducing synth bass line, Jared’s soft crooning helps to prep for the raging guitars and rhythmically delivered catch line “It took a moment / the moment it could not be found.”

Production work is the key to this song, as the lessons of Depeche Mode’s trademark underlying synth drone and upfront guitars are emulated with perfection down to even the seamless chord changes.

In a mainstream music industry that is sorely lacking fresh and artistic talent, 30 Seconds to Mars is a refreshing blast of soothing, yet powerful, air. More Pink Floyd-like than single-based, 30 Seconds to Mars is an album that spits in the face of corporate-driven disposable music and dares anyone of the rock genre to knock the firmly placed chip off its shoulder.

The stakes have been raised. No rock album of 2002 even stands a chance of toppling this behemoth of an artistic testament. If you want rock that’s easy to digest, buy the new Creed album. If you want an album that challenges your intellect even after the tenth spinning, look no further than 30 Seconds to Mars.

Grade: A/B