NMWYH Rating: out of five stars.

Sure, I have heard the hype. Indie rock critics' expectations of the Rapture's recent full-length, Echoes, were positively exorbitant — and, consequently, impossible to meet. Allmusic commented:

"One 12", produced and released by the DFA, transformed the Rapture from a benign indie band into hot hot sh*t. Once "House of Jealous Lovers" - a horrifically mangled jolt with a viscous rhythmic vroom as dynamite as anything from the late-'70s U.K. post-punk bands - took hold in the underground, anticipation for this album built, built, and kept on building."

Indeed, anticipation soared to the point where some critics have even overstated the album's significance after its release: Insound (whose goal, granted, is to sell albums) polled its "Regulars" for their opinion on whether Echoes is the best first release ever — in the history of recorded music.

Upon reading that hyperbole, my pulse raced and temples flared until images of Zeppelin I, Unknown Pleasures, The Velvet Underground & Nico, Marquee Moon, Repeater, Talking Heads: 77 and many other albums appeared before me to put me at ease.

Don't get me wrong. Echoes is a very good album that deserves at least some of the hype it has received since the release of the "House of Jealous Lovers" 12" on DFA Records. The Rapture's first full-length, however, does not belong in the same paragraph as the aforementioned (and other) rock masterpieces.

Now put in perspective, The Rapture brought their brand of funk punk (or whatever catchphrase you prefer) to Minneapolis's First Avenue earlier this month and put on a memorable performance. They opened up with "Infatuation", the final — and most low-key — song on Echoes. After the uneventful beginning, the foursome ripped through renditions of several of their best new wave stomps. Most notable was the haunting, pulsating Echoes version of "Olio" (a more "Boys Don't Cry"-era version of which appears on the band's first EP, Mirror). The Rapture also belted out rocking versions of "Sister Savior", "I Need Your Heart", and, of course, the single that threw them into the indie limelight.

Thankfully, The Rapture did not neglect their first two EPs — the aforementioned Mirror and Sub Pop's 2001 release, Out of the Races and Onto the Tracks. Released at the beginning of 1999 on Gravity Records, the band's debut EP still stands as one of my favorite EPs — it was fresh, innovative and magnetic. During the short 70-minute set, the Rapture played the title track, "Frames" and closed with "Notes from the Underground" (bolstered by the intro of "In Finite Clock") from their first album. Luke Jenner, Vito Roccoforte and company also ran through an inspiring version of the title track from the Sub Pop EP.

Jenner's shrieks and guitar freak-outs were masterful, while Roccoforte did not miss a beat. While I would have liked to hear all my favorite songs from their limited oeuvre, the band's performance was truly exquisite. Now, I only wish I hadn't blown off their previous visit to this beautiful city a mere few months ago.

[Pics from photographer Tina McClelland. Her rock portfolio is impressive.]