On September 30, a new band puts a new single from their new album on every single alternative rock station in every possible location. From that day forward, you’ll undoubtedly be hearing “Sunday,” the third track on Lo-Pro’s self-titled debut album, in regular rotation on such stations as KTCL.

Consider the song a combined effect of the rampant homogenization of both the radio industry and the genre dubbed “alternative,” misnomer though this may be since it seems to be time for an alternative to alternative.

Lo-Pro’s album is certainly just as good as much of what you’re hearing all the time these days, but it also isn’t any better, or different, or riskier.

Lo-Pro’s sound is guitar-intensive and is carried by the vocals of its lead singer, Pete Murray. The album bears the mark of a seasoned producer, which it clearly had in Don Gilmore, who has worked with Linkin Park, Good Charlotte and Eve 6.

Lo-Pro’s, “Sunday,” has the melodic grounding to be one of the album’s standouts, as does the fifth track, “Reach,” which immediately suggests the influence of The Smiths and Morrissey. Other tracks, such as “Oblivion” and “Never” also contribute to making the album generally user-friendly.

Lo-Pro got its break by arresting the attention of Staind’s Aaron Lewis. It is the first band to release an album under Lewis’ new imprint, 413 Records, distributed by Geffin. Lo-Pro’s sound is so consistently similar to Staind as to give the impression that the daddy band has been cloning itself rather than spawning new young. Incidentally, Staind got its break by getting in with Limp Bizkit’s Fred Durst.

So, everyone is happily discovering everyone else, and thus we find it easy to like the next new band’s next new thing as they meet the aesthetic of the last new band.

Of the three in this chain, Limp Bizkit’s oeuvre seems the most diverse and given the subsequent bands’ progressive uniformity, I’m not encouraged by the trend.

But the problem has less to do with Lo-Pro specifically and more to do with the incestuous similarity of sound that is currently plaguing mainstream alternative music in general. This is undeniably a solid debut album, though it may not be breaking new ground.