Version 2.0
Version 2.0 is the second studio album by the American alternative rock band Garbage, released internationally on May 11, 1998, by Mushroom Records and in North America on May 12, 1998, by Almo Sounds.[1] The album, which consists of 12 tracks clocking in at just under 50 minutes, builds on the electronic-tinged rock sound of the band's multi-platinum self-titled debut from 1995, incorporating more polished production and themes of fame, desire, and dysfunction.[2] Produced by band members Butch Vig, Steve Marker, and Duke Erikson—with Shirley Manson providing lead vocals—it debuted at number 13 on the US Billboard 200 and reached the top 10 in several countries, including number one in the UK.[2] The album's lead single, "Push It," became Garbage's highest-charting track in the UK, peaking at number two, while follow-ups "I Think I'm Paranoid," "Special," and "When I Grow Up" also achieved significant radio and chart success, contributing to the record's commercial momentum.[3] Version 2.0 has been certified platinum by the RIAA in the United States for sales of one million copies[4] and double platinum in the UK for 600,000 units shipped,[5] with global sales exceeding four million copies.[6] Following its release, Garbage embarked on an extensive 18-month world tour to promote the album, solidifying their status as a major act in the late 1990s alternative rock scene.[7] Critically, the record received praise for its sonic innovation and Manson's charismatic delivery, though some reviewers noted its shift toward a more mainstream pop sensibility compared to the band's rawer debut.[8] In 2018, a 20th-anniversary edition was released, featuring remastered audio, B-sides, and live recordings, further cementing its enduring legacy.[9]Background and development
Band context
Garbage was formed in Madison, Wisconsin, in 1993 by producers Butch Vig, Duke Erikson, and Steve Marker, who had previously collaborated at Smart Studios on projects including Nirvana's Nevermind and the Smashing Pumpkins' Siamese Dream.[10] Initially a studio-based endeavor blending rock, electronic, and pop elements, the group sought a distinctive vocalist to complete their vision. Scottish singer Shirley Manson, formerly of the band Angelfish, auditioned and joined in 1994 after Vig spotted her in a music video.[11] The band's self-titled debut album, Garbage, arrived on August 15, 1995, via Almo Sounds, marking an immediate breakthrough with its polished fusion of alternative rock and trip-hop influences.[12] Propelled by singles like "Only Happy When It Rains" and "Stupid Girl," which showcased Manson's sardonic delivery and the band's intricate production, the album achieved critical acclaim and commercial dominance, selling over 4 million copies worldwide.[13][14] This success certified it multi-platinum in several territories and established Garbage as a key player in mid-1990s alternative music, though it also intensified scrutiny on their unorthodox sound.[14] Following the debut's momentum, Garbage embarked on an extensive world tour from late 1995 through 1996, performing to sold-out crowds and solidifying their live reputation amid growing fame.[15] They also contributed the remixed track "#1 Crush" to the soundtrack for Baz Luhrmann's William Shakespeare's Romeo + Juliet, which became a hit and further elevated their profile.[15] Internally, the rapid ascent brought pressures, including the fear of a sophomore slump and tensions from commercial expectations, prompting the band—longtime collaborators known for their opinionated yet cohesive dynamic—to experiment boldly and evolve beyond their initial formula.[15][16] By late 1996, following the tour's conclusion, Garbage began conceiving Version 2.0 as a deliberate follow-up, with recording sessions commencing in March 1997.Songwriting process
Shirley Manson took primary responsibility for writing the lyrics for Version 2.0, drawing from her personal experiences with relationships and the pressures of fame to infuse the material with emotional depth.[15] The band's collaborative process involved developing music first, with Manson adding lyrics to fit. The material reflected themes of fame, desire, and dysfunction.Recording
Studio sessions
The recording sessions for Version 2.0 commenced after initial songwriting in March 1997 in Friday Harbor, Washington, and continued until early 1998, spanning nearly a year of intensive work primarily at Smart Studios in Madison, Wisconsin, a facility co-owned by drummer and producer Butch Vig.[17][18] This extended timeline reflected the band's desire to experiment more deeply than on their debut album, incorporating advanced digital workflows that demanded iterative refinement.[19] The sessions unfolded in distinct phases, beginning with basic tracking on analogue tape using Studer A-827 machines to capture core instrumentation and vocals.[20] These recordings were then transferred to a 48-track Digidesign Pro Tools system for overdubs, where the band layered additional elements and performed extensive editing.[20][18] Mixing followed in early 1998, still within Pro Tools, allowing for real-time adjustments as tracks evolved.[18] Core recording wrapped by December 1997 to allow the band to finish for the holidays, with final mixing extending into February 1998. Daily workflow at Smart Studios involved collaborative experimentation among band members Butch Vig, Duke Erikson, Steve Marker, and Shirley Manson, often starting with rough ideas from pre-production and building outward through repeated takes and digital manipulation.[18] However, the process was not without hurdles; the cutting-edge Pro Tools setup frequently encountered technical glitches, including system shutdowns when overloaded with tracks and effects, necessitating on-the-fly fixes and even consultations with Digidesign programmers for algorithm updates.[19] No additional session musicians were brought in for the bulk of the work, keeping the production firmly in the hands of the core quartet.[18]Production techniques
The production of Version 2.0 employed a 48-track Digidesign Pro Tools system running on an Apple Power Mac 9500/200, which facilitated the layering of intricate sonic elements including drum loops for techno-inspired beats and processed orchestral-like textures from multi-tracked strings and effects.[20] This digital workflow was augmented by two 24-track Studer A-827 analog tape machines to record foundational live performances of rhythm sections, ensuring a hybrid approach that captured both precision and warmth.[20][18] Butch Vig, serving as co-producer and the band's drummer, prioritized live instrumentation over heavy reliance on samples to achieve a more organic feel compared to the debut album, directing sessions where guitars, bass, and drums were tracked in an improvisational parlor-room setup at Smart Studios.[18] In tracks like "I Think I'm Paranoid," Vig incorporated live-generated guitar loops and effects, processing them to create the song's disorienting, swirling introduction while maintaining a rock foundation amid electronic flourishes.[21] To evoke influences from the 1960s through 1980s, the team integrated vintage equipment such as the Roland Space Echo unit for analog tape delay effects, blending retro timbres with modern digital editing.[18] The Trident A-range mixing desk further contributed analog coloration during tracking, helping to fuse rock elements like live guitars with electronic components such as looped percussion.[20] Mixing duties fell to Vig, who generated multiple iterations per song—often up to 40—using Pro Tools automation to balance dense arrangements, before final mastering by Howie Weinberg at Masterdisk.[18][20] Weinberg's work emphasized preserving dynamic range, allowing the album's rock-driven energy and electronic textures to coexist without compression artifacts, as Vig intentionally avoided master bus processing during mixing to retain punch and clarity.[21] Notable techniques included multi-tracked vocal harmonies, enhancing the album's lush, cinematic quality.[18] In "Hammering in My Head," reverse reverb was applied to vocals to create ethereal, backward-tail effects that amplified the track's disorienting atmosphere.[21]Musical content
Composition and arrangement
Version 2.0 comprises 12 tracks with a total runtime of 49:34, yielding an average song length of approximately 4 minutes and 8 seconds.[22][20] The album's arrangements emphasize the core band's instrumentation of guitars, drums, and bass, layered with electronic processing and occasional orchestral elements to create dense, textured soundscapes.[8] Producer Butch Vig and band members Duke Erikson and Steve Marker handled much of the guitar and electronic contributions, while drummer Butch Vig provided rhythmic foundations often enhanced through Pro Tools manipulation for added depth and distortion.[19] Most songs follow conventional verse-chorus structures augmented by bridges that introduce dynamic shifts, allowing for tension buildup and release. For instance, "Special" employs a propulsive groove driven by interlocking guitar lines and bass, with blooming embellishments in the bridge that escalate the intensity from understated verses to an explosive chorus.[23] Similarly, "Push It" blends organic rock elements with electronics, featuring grimy guitars and vocal harmonies in the verses that drop to a whispered chorus before surging back via strings in the bridge, evoking a disorienting, off-kilter momentum.[23] The arrangements were developed collaboratively in the studio, where the band jammed on instrumentals before integrating Shirley Manson's vocals to complement the evolving tracks.[18] Standout elements include the icy piano and synth-pop sheen underpinning "You Look So Fine," which layers strings over a dreamy arrangement to heighten its cinematic quality, and the orchestral swells sampled into "Push It" for ascending chromatic drama during transitions.[23]Style and genre
Version 2.0 blends alternative rock with significant elements of electronica, pop, and trip hop, creating a sound that fuses abrasive guitars with lush, electronic textures.[2] The album draws influences ranging from 1960s psychedelia to 1980s new wave, notably incorporating Depeche Mode's approach to integrating guitars with electronic elements.[24] This genre fusion reflects the band's experimental ethos, prioritizing eclectic pop-rock over the grunge dominance of the era.[8] Compared to Garbage's self-titled debut, Version 2.0 represents a more polished and radio-friendly evolution, with denser arrangements and a greater emphasis on synthetic, electro-grunge production that amplifies the album's cinematic quality.[2] Key stylistic traits include catchy hooks, intricate layered production, and seamless genre blending, as heard in tracks like "I Think I'm Paranoid," which features prominent techno beats alongside grunge-inflected industrial edges.[25] Similarly, "Hammering in My Head" showcases industrial influences through its pounding rhythms and distorted textures.[25] The album's cohesion is maintained through Shirley Manson's versatile vocals, which bridge the rock and electronic components across diverse tracks.[2] For instance, "Special" evokes 1970s glam rock with its dramatic flair and strut-like energy, while "Temptation Waits" integrates trip hop and hip-hop rhythms for a pulsating, downtempo groove.[25] This unified approach ensures the album's eclectic elements cohere into a distinctive, genre-defying whole.[8]Lyrical themes
The lyrics of Garbage's Version 2.0 explore the psychological toll of sudden fame, with lead singer Shirley Manson drawing from her own experiences of rapid success and media scrutiny following the band's debut album. In "Push It," the theme of fame's pressures manifests as escalating paranoia and sensory overload, reflecting the disorienting whirlwind of constant travel, public attention, and industry expectations that Manson encountered during the album's creation.[19][26] Manson has described this period as a "hurricane of excitement" that upended her life, leaving her feeling anonymous no longer and grappling with isolation in unfamiliar environments.[26] Relationships and obsession form another core motif, often portrayed through Manson's autobiographical lens of emotional turmoil in romantic entanglements amid band life. "Special" captures the sting of unrequited love and obsession, with Manson later recalling the song as a personal triumph over a "disgusting loser," fueling her sense of empowerment after rejection.[27] This draws from her real-life vulnerabilities exposed by fame, including the strain of constant scrutiny and the difficulty of forming genuine connections on tour.[27] Similarly, "I Think I'm Paranoid" delves into post-relationship damage and lingering anxiety, with lines like "Bend me, shape me any way you need me" highlighting the obsessive control dynamics Manson observed in toxic dynamics.[19] Identity and personal growth emerge prominently in tracks like "When I Grow Up," where Manson confronts the illusions of adulthood and self-realization. The lyrics express a longing for stability and reversal of power imbalances—"When I grow up, I'll turn the tables"—inspired by her unexpected rise to prominence, which forced her to navigate waves of inadequacy and depression despite outward success.[27] Manson has reflected that she anticipated having "all the answers" by maturity, only to embrace the normalcy of ongoing struggles, underscoring a theme of resilient self-acceptance.[27] The album's tone blends dark introspection with irony and subtle empowerment, as Manson embraces emotional extremes rather than shying from vulnerability. She has emphasized a desire to "feel every single fucking thing," including disappointment and lust, positioning the lyrics as a raw response to life's brevity and the "battering" pressures of the music industry, where chart performance dictated perceived failure at every turn.[27] This ironic edge connects forgotten audiences in their "moments of darkness," addressing taboos like sex and religion with unapologetic candor.[26] Feminist perspectives infuse the lyrics, particularly in critiques of objectification and the male gaze, informed by Manson's navigation of a male-dominated rock scene. In "You Look So Fine," the seductive yet possessive imagery—"I want to break your heart and I want to break your mind"—ironically subverts traditional female portrayals, reflecting her struggles with body dysmorphia and being viewed primarily as an attractive figurehead.[28] Manson's approach redefines femininity by blending vulnerability with defiance, inspiring later artists to speak boldly, as she advocates for men to "step up" in challenging patriarchal norms.[27][26] Overall, Manson's lyrics favor poetic abstraction over linear narratives, using fragmented imagery to evoke universal emotional states drawn from her lived experiences, creating a cohesive exploration of fame's double-edged sword within the band's evolving sound.[19]Release
Launch and formats
Version 2.0 was released worldwide on May 11, 1998, through Mushroom Records, with the North American release following on May 12, 1998, via Almo Sounds.[29][2] The album was issued in standard formats including compact disc (CD), cassette, and vinyl LP, with the vinyl edition primarily available in the UK.[29] Later reissues and digital availability expanded access to downloads and streaming platforms such as Spotify and Amazon Music.[29] Special editions featuring bonus tracks were released in select regions, including Japan.[30] The album's artwork was designed by Ade Britton and featured glitchy digital imagery symbolizing a "version upgrade," with band photography by Stéphane Sednaoui.[31][32] Distribution varied by market, with Mushroom handling international releases and Almo Sounds managing North America, alongside local partners like BMG in Japan and Argentina.[29] Pre-release buzz built through advance singles and radio airplay beginning in April 1998, notably with "Push It" issued on April 20.[29]Singles and videos
The six singles from Garbage's Version 2.0 were released over 1998 and 1999, each accompanied by visually striking music videos that emphasized the album's electronic and alternative rock aesthetic, contributing to heavy rotation on MTV and increased global visibility.[33] The lead single, "Push It", was released on April 20, 1998, in the UK and became an international hit, peaking at No. 9 on the UK Singles Chart and No. 5 on the US Alternative Airplay chart.[34][35] The music video, directed by Andrea Giacobbe, featured a glitchy, futuristic theme with the band performing amid digital distortions and cyberpunk imagery, produced at a cost of approximately $750,000.[36] It was released in CD single, 12-inch vinyl, and cassette formats, with region-specific maxi-singles in Europe including remixes; b-sides comprised "Lick the Pavement" and a cover of Big Star's "Thirteen".[29] "I Think I'm Paranoid" followed on July 6, 1998, achieving top 10 status in the UK (No. 9) and Australia, while reaching No. 6 on the US Alternative Airplay chart.[37][38] Directed by Matthew Rolston, the video depicted the band in a suburban domestic setting with surreal, paranoid undertones, aired frequently on MTV to promote the album's themes of anxiety.[39] Formats included CD maxi-singles and promo vinyl, with European editions featuring remixes; b-sides included "Luvly" and "Dead Head".[40] "Special" arrived on September 28, 1998, charting at No. 15 in the UK and gaining traction on alternative radio.[41] The narrative-driven video, directed by Dawn Shadforth, portrayed Shirley Manson as a glamorous figure in a sci-fi environment set in the year 3030, with heavy special effects, and received MTV play that highlighted its otherworldly production.[42][43] Released as CD singles and limited-edition vinyl, including European maxi-singles with remixes, b-sides featured "13x Forever" and a punk rock promo version of "Luvly".[44] "When I Grow Up" was issued on January 25, 1999, peaking at No. 9 on the UK Singles Chart and serving as the soundtrack for the film Big Daddy.[45] Sophie Muller directed the performance-based video, filmed live during the band's tour to capture raw energy, which aired on MTV and boosted the single's crossover appeal.[46] Available in CD single and promo formats, with region-specific releases including club mixes, b-sides were "Tornado" and "Get Bizzy".[40] "The Trick Is to Keep Breathing", released February 15, 1999, as a limited promo single primarily in Europe, charted modestly but underscored the album's deeper cuts on alternative outlets.[40] Also directed by Sophie Muller, the video used live footage from the band's 1998 tour, emphasizing intimate performance shots and receiving niche MTV airplay.[47] Formats were restricted to CD promos and digital previews, with no major b-sides beyond album remixes.[40] The final single, "You Look So Fine", launched May 24, 1999, reaching No. 41 in Finland and marking the album cycle's close with club-oriented remixes.[48] Stéphane Sednaoui directed the video, featuring Manson in exotic, sensual visuals with surfer Kelly Slater, which gained MTV rotation for its stylish allure.[49] Issued as mini CD singles and vinyl in Europe, b-sides included "I Think I'm Paranoid (Butch Vig Mix)" and additional remixes.[48]Promotion and touring
Marketing campaigns
The marketing campaigns for Garbage's Version 2.0 emphasized the album's technological and "upgrade" theme, drawing parallels to software updates to appeal to late-1990s digital culture. Pre-release efforts included teaser advertisements in music magazines such as Rolling Stone, which featured cryptic imagery of the band's evolution and album artwork to build anticipation ahead of the May 11, 1998, release. The lead single "Push It" received its radio premiere in April 1998, with the track debuting on airwaves on April 20 to generate buzz through alternative rock stations in the US and UK.[38] Partnerships played a key role in cross-media promotion, including tie-ins with film and television. The band performed on Saturday Night Live on March 20, 1999, delivering live renditions of "Special" and "When I Grow Up" to a broad television audience.[50] These collaborations extended the album's reach beyond music outlets. International efforts were tailored to regional markets, with Mushroom Records leading a Europe-focused push through radio campaigns and music video airplay on channels like MTV Europe, while Almo Sounds prioritized US radio promotion via alternative stations and print features in outlets like Spin. This dual strategy accounted for differences in audience preferences, with European campaigns highlighting the album's electronic elements and US efforts emphasizing rock crossover appeal.World tour overview
The Version 2.0 World Tour, Garbage's second major concert outing, supported their sophomore album and ran from May 15, 1998, to November 24, 1999, encompassing approximately 184 performances over 18 months.[51][52] The itinerary covered North America with multiple legs, Europe extensively, and extended to Asia, Australia, New Zealand, and South Africa, marking the band's expanding global footprint.[53] Core setlists featured 20-25 songs per show, prioritizing Version 2.0 material such as the frequent opener "Push It," alongside staples like "I Think I'm Paranoid" and "Special," blended with debut album favorites including "Only Happy When It Rains" and "Stupid Girl."[54] Production elements included sophisticated video screens and lighting arrays for immersive visuals, while select dates had opening acts like Moloko on UK dates and Placebo in South Africa.[52] The tour encountered logistical hurdles, including a cancellation in Estonia on February 4, 1999, due to equipment issues at the Russia/Estonia border.[52] Notable milestones encompassed the band's debut Asian performances in Japan at Fuji Rock Festival on August 1, 1998, and festival slots at events like Reading in 1998, alongside Rock im Park in 1999.[55][51]Reception
Contemporary reviews
Upon its release in May 1998, Version 2.0 received generally favorable reviews from critics, who praised its sophisticated production and evolution from the band's debut while noting some criticisms of overpolished commercialism. Aggregated scores from contemporary sources placed the album at 78 out of 100 based on seven reviews, indicating broad approval for its hooks and genre-blending sound.[56] AllMusic awarded Version 2.0 4.5 out of 5 stars, lauding it as an "excellent pop album" with smart, well-written songs that were "nearly impossible to get out of your head," though the glossy production was seen as preventing emotional depth comparable to the debut.[2] SPIN highlighted the album's fusion of grunge, electronica, and alt-rock, crediting Shirley Manson's enhanced songwriting and vocals for giving it broader appeal and positioning Garbage as innovators akin to Radiohead and Nine Inch Nails.[57] Robert Christgau of The Village Voice gave it an A- grade, describing the "chrome-plated hooks and metronome hardbeats" as ideal for Manson's commanding presence but ultimately "irresistibly dislikable."[58] In the UK, NME offered a more mixed assessment with a 6 out of 10 score in a May 1998 review, calling it a "beautifully engineered piece of modern design" for its pop elements and production but criticizing the lyrics as the "weak link" and the overall effort "pretty damn forgettable."[59] This reflected a slight divergence in opinions, with UK outlets like NME focusing on its international pop sheen and occasional lack of edge, while US publications emphasized its infectious energy and sonic refinement. Common praises centered on the strong singles like "Push It" and "I Think I'm Paranoid," which showcased the band's matured electronic textures, whereas critiques often pointed to occasional overproduction diluting the raw intensity of earlier work.[2][59]Accolades and nominations
Version 2.0 garnered significant recognition through nominations at prestigious music awards ceremonies in 1998 and 1999, reflecting its commercial and artistic success amid competition from contemporaries like Lauryn Hill's The Miseducation of Lauryn Hill. At the 41st Annual Grammy Awards, the album was nominated for Album of the Year, ultimately losing to The Miseducation of Lauryn Hill, and for Best Rock Album, which was awarded to Sheryl Crow's The Globe Sessions.[60][61] The lead single "Push It" also received acclaim, earning a nomination for Best Group Video at the 1998 MTV Video Music Awards, where it competed against entries from Backstreet Boys, Matchbox 20, Radiohead, and The Verve but did not win.[62] Internationally, Garbage secured three nominations at the 1998 MTV Europe Music Awards for "Push It" and the band: Best Group, Best Rock Act, and Best Video.[63] In the UK, the album placed seventh in the NME Readers' Poll for Best Album of 1998, behind winners such as Manic Street Preachers' This Is My Truth Tell Me Yours and Beastie Boys' Hello Nasty.[64] These honors, totaling five major nominations across Grammy and MTV ceremonies, underscored Version 2.0's influence in alternative rock during a competitive year.Commercial success
Chart performance
Version 2.0 debuted at number 13 on the US Billboard 200 chart dated May 30, 1998, marking Garbage's highest charting album in the United States at the time. The album sustained strong performance, accumulating 58 weeks on the chart overall. Its lead single "Push It" reached number 5 on the Billboard Modern Rock Tracks chart, contributing to the album's visibility on alternative radio formats. Another single, "Special," placed at number 32 on the US Alternative year-end chart for 1998, reflecting sustained airplay success. In the United Kingdom, Version 2.0 entered the Official Albums Chart at number 1 on May 23, 1998, holding the top position for one week and totaling 78 weeks on the chart. The album ranked number 43 on the UK year-end albums chart for 1998. Singles from the album performed strongly, with "I Think I'm Paranoid" peaking at number 9 on the UK Singles Chart, while "Push It" and "Special" also charted in the top 20. Internationally, the album achieved number 1 peaks in France on the SNEP chart and New Zealand on the RIANZ chart. It entered the top 10 in Australia (peaking at number 5 on the ARIA Albums Chart), Canada (peaking at number 7 on the RPM Albums Chart), Germany (number 5 on the Media Control chart), and Sweden (number 4 on the Sverigetopplistan chart). The album's stronger performance in Europe was bolstered by Mushroom Records' distribution network, which facilitated broader reach compared to North American markets. On the US Billboard 200 year-end chart for 1998, Version 2.0 placed at number 118. In March 2025, a deluxe edition was released, though no updated sales figures have been reported as of November 2025.[6]| Country | Peak Position | Chart |
|---|---|---|
| United States | 13 | Billboard 200 |
| United Kingdom | 1 | Official Albums Chart |
| Australia | 5 | ARIA Albums Chart |
| Canada | 7 | RPM Albums Chart |
| France | 1 | SNEP Albums Chart |
| Germany | 5 | Media Control Albums Chart |
| New Zealand | 1 | RIANZ Albums Chart |
| Sweden | 4 | Sverigetopplistan |
Sales and certifications
Version 2.0 achieved significant commercial success, selling over 4 million copies worldwide by 1999.[65] In the United States, the album sold 1.7 million copies and received RIAA platinum certification for 1 million units in November 1998.[4] The album earned numerous certifications across multiple countries, reflecting its broad international appeal. In the United Kingdom, it was certified 2× platinum by the BPI for 600,000 units.[66] Canada awarded platinum certification through CRIA (now Music Canada) for 100,000 units, while Australia received platinum status from ARIA for 70,000 units.[67] Gold certifications were granted in countries including Germany (BVMI, 150,000 units), and France received 2× Gold certification from SNEP for 200,000 units.[68]| Region | Certification Body | Certification Level | Certified Units/Sales |
|---|---|---|---|
| United States | RIAA | Platinum | 1,000,000 |
| United Kingdom | BPI | 2× Platinum | 600,000 |
| Canada | CRIA/Music Canada | Platinum | 100,000 |
| Australia | ARIA | Platinum | 70,000 |
| France | SNEP | 2× Gold | 200,000 |
| Germany | BVMI | Gold | 150,000 |
Legacy
Cultural impact
Version 2.0 played a pivotal role in blending alternative rock with electronica elements, creating a synthetic electro-grunge sound that anticipated trends in contemporary music.[15] Lead singer Shirley Manson's forthright lyrics and stage presence positioned her as a feminist icon in rock, challenging sexism and empowering female voices in the male-dominated genre.[70] Her unapologetic attitude, often labeled as "crazy, angry feminist" in the 1990s, influenced subsequent artists by normalizing bold discussions of gender inequality in alternative music.[71] The album's impact extended to inspiring later acts in the electro-pop and alternative scenes, with bands like Ladytron paying homage to Garbage's fusion of rock and electronic production.[72] In retrospective assessments, Version 2.0 has been recognized for its lasting contributions, including Shirley Manson's inclusion at number 61 on VH1's 2012 list of the 100 Greatest Women in Music, highlighting her role in advancing women's presence in rock.[73] Culturally, the album's singles permeated media, with tracks like "Push It" and "Special" appearing in films and soundtracks that amplified Garbage's reach into pop culture. The band's elevated profile following Version 2.0 led to high-profile opportunities, such as performing the theme for the 1999 James Bond film The World Is Not Enough, which further cemented their mainstream status.[74] By the 25th anniversary in 2023, interviews reflected on the album's enduring relevance, with band members discussing its role in defining 1990s alternative rock and its continued resonance amid broader revivals of the era's sound.[1] In the streaming era, Version 2.0 has seen renewed interest through playlists curating 1990s alt-rock, contributing to Garbage's sustained fanbase and the genre's revival post-2010s.[8]Reissues and remixes
In 2018, Garbage released a 20th anniversary edition of Version 2.0 to commemorate the album's original issuance, featuring a digital remaster overseen by mastering engineer Howie Weinberg.[9] This deluxe edition, available in CD and vinyl formats through the band's Stunvolume label in partnership with PIAS, included the full remastered original album alongside ten bonus B-sides from the era, such as "Lick" and "Deadliest Kiss."[75] The reissue was launched on June 22, 2018, with vinyl pressings on 180-gram heavyweight discs and limited-edition packaging elements like posters and stickers.[76] Accompanying the anniversary celebrations, Garbage issued Version 2.0: The Official Remixes on July 6, 2018, also via Stunvolume, compiling sixteen remixed and alternate versions of tracks from the album. The collection drew from contemporary club and electronic interpretations originally released as singles B-sides, including Victor Calderone's club and dub mixes of "Push It" and Boom Boom Satellites' rework of the same track, alongside contributions from artists like Traci Lords and Rabbit in the Moon on songs such as "Special" and "I Think I'm Paranoid."[77] This remix album highlighted the record's danceable undercurrents and was distributed digitally and on CD, emphasizing the band's influence in alternative and electronic scenes.[78] Digitally, Version 2.0 became available for streaming in 2012 on platforms including Spotify and Apple Music, marking a broader accessibility push for the band's catalog amid the rise of on-demand services.[79] The 2018 remaster was subsequently integrated into these streaming versions, enhancing audio fidelity for modern playback. In 2023, a limited-edition transparent blue vinyl re-press was released for National Album Day on October 14, serving as a nod to the album's 25th anniversary without additional remastering or bonus content.[80] As of 2025, no major new reissues or remixes of Version 2.0 have been announced, though fan discussions in online communities continue to speculate on potential expanded editions tied to the album's ongoing legacy.[81]Track listing and credits
Track listing
The standard edition of Version 2.0 contains 12 tracks, all written by Garbage (Shirley Manson, Duke Erikson, Steve Marker, and Butch Vig).[29] The album has a total runtime of 49:26.[2]| No. | Title | Length |
|---|---|---|
| 1 | "Temptation Waits" | 4:36 |
| 2 | "I Think I'm Paranoid" | 3:38 |
| 3 | "When I Grow Up" | 3:24 |
| 4 | "Medication" | 4:08 |
| 5 | "Special" | 3:43 |
| 6 | "Hammering in My Head" | 4:52 |
| 7 | "Push It" | 4:02 |
| 8 | "The Trick Is to Keep Breathing" | 4:11 |
| 9 | "Dumb" | 3:50 |
| 10 | "Sleep Together" | 4:03 |
| 11 | "Wicked Ways" | 3:43 |
| 12 | "You Look So Fine" | 5:23 |