In retrospect, this could easily be the nightmare for a record company executive: three producer musos - average age 40.7 years - combined with a ginger, tomboyish Scottish singer from some minor goth band (Goodbye Mr MacKenzie, that is). And as if that is not enough sweat, they have a ridiculous name. One can just foresee the venomous puns from the musical papers, critics having a field day trashing a band called Garbage. Any hesitation and doubts, however, soon proved to be unnecessary. Instead of morphing into a pathetic group playing desperate grunge-rock, Garbage proved their worth by creating a prototype in pop music - a unique recipe of rock with dance sensibilities, a rock-side counterpart to Prodigy in the dance camp. Since then, the combination of instrumentalists Butch Vig, Duke Erikson and Steve Marker, plus singer Shirley Manson, have swept all across the boards. Their eponymous debut sold four million copies worldwide and every track released as a single was heavily rotated on both sides of the Atlantic, earning credibility from all musical papers concerned. Nominations for the ever-conservative Grammys further enhanced their reputation. While most other bands suffer from the 'sophomore syndrome' - or to put it simply, the difficulty in following up a smashing debut - Garbage instead find making their second offering way easier than recording their debut, Garbage. 'Last time it was more of a piecemeal approach, each of us going in and working at these songs. Especially, it was slightly difficult in the early stages of the last record for Shirley to feel comfortable contributing ideas,' Erikson said, from the band's studio in Wisconsin. '[For the new album] it was a bit easier, just the fact that we played together on the road for 18 months - living in a bus and playing together night after night. We developed even more of a chemistry among the four of us - in comparison with the first record, there was more unity in the band. 'After that, we came off the road and when we started writing songs it just started pouring out really.' The creative fruits from this labour is the cheekily titled Version 2.0, a 12-tracker out on May 11 which is destined to open more doors for the band. Just like their dark and brooding debut, Version 2.0 finds the music seething with malice and aggression, furthering the electronic-rock approach they have been pursuing. 'It is hard to describe Garbage's sound really - it would be much easier to call it pop music,' Erikson said. '[Version 2.0 ] is a bit more adventurous and has a few nods to the music of our past, with the more melodic straightforward pop songs - even though we have given enough of a twist so they still sound like Garbage.' Opening the album, Temptation Waits sounds more on the dance end of things than anything on their debut, beats and synthesisers intermingling with the swirling guitar licks. I Think I'm Paranoid is an understatement that explodes into an all-out fist-shaking anthem. Meanwhile, taster single of the album, Push It, is vintage Garbage, with the stink of dance-tinged rock which made songs like Queer or Stupid Girl on their debut hit tracks all over the world. 'It is certainly an extension of the first record,' Erikson said. 'I think we incorporated more [of the techno sound] but I don't think we necessarily consciously take a direction.' He said the lyrical content has changed as well. 'The lyrics on this record are more direct and personal than that on the first record. Last time we wrote the lyrics together, contributing lines, and Shirley sifted through them and chose what to sing. But on this record Shirley wrote all the lyrics and made it have more power. 'I am sure a lot of the appeal has to do with Shirley's voice and she is a great singer, bringing a lot of character to everything she sings.' With her image as a fierce ginger bombshell, Shirley Manson is the source of contradiction for those who opine differently towards the band: the admirers adore her powerful stage presence, while the cynics pour vitriol over 'the rock-n-roll Ginger Spice' backed by 'the Stock, Aitken and Waterman of grunge'. Erikson, however, laughed off the derogatory comments about the three guys being overshadowed by the limelight-grabbing Manson. 'I don't think we mind - we know what we bring to this. It is natural for the singer to be the one who is fixated by the public, with all these songs coming out of Shirley's mouth.' But how was it for three American musos to work with a screaming young Edinburgh thing? 'We are amazed that we have so much in common considering we came from two far-out points on the planet. We shared more of a same thing than differences,' Erikson quipped.