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Let's just say that 20-year-old, Midwest-bred Travis Meeks, a.k.a. Days of the New, likes grand gestures. Not only are both of his two albums titled DAYS OF THE NEW, but their covers -- one of which is green, the other yellow -- feature the same withering, ominous tree on a barren landscape. Put them in your Discman and you'll hear Meeks lift his grungy voice skyward with the trance-like intensity of a Sufi Eddie Vedder. Throw in allusions to modern classical music, world music, asides to hip-hop, and sampledelics, and you've got some of the most ambitious post-Seattle rock in years. Yet while cuts like the Steve Reich-influenced "Skeleton Key" and the Eastern European-tinged folk dirge "Longfellow" may seem like shots out of left field to the kids who embraced his conventional 1997 hit "Touch, Peel, Stand," they shouldn't let the newfangled stylistic accoutrements fool them. Days of the New is a rock band, plain and simple. The strident folk-rock of album openers "Fight Response" and "The Real" suggest a more contemplative Live, while the string-soaked "Weapon and the Wound" brings back memories of Temple of the Dog. Meeks's sensibility may have shifted a bit since his debut hit, but the songs, for the most part, remain the same. Jon Dolan, Barnes & Noble