As usual, ALARM leaves no genre unexplored in our list of this year's overlooked gems.

Sigh: Scenes from Hell (The End, 1/19/10)

Sigh: "The Summer Funeral"

With a history of fusing other revered genres to a doomy combination of black metal and thrash, Japan's Sigh used its eighth studio album to deliver symphonic, epic metal that calls upon classical instrumentation to top its rock foundation.

Brass, woodwind, and string instruments — as well as organ and piano — accent as well as lead sinister melodies that take surprising turns through fanciful themes. Raspy, menacing vocals coat each track, resulting in a dramatic presentation that isn't much at odds with its complex backdrop.

RJD2: The Colossus (RJ’s Electrical Connections, 1/19/10)

RJD2: "Games You Can Win"

Following a divisive album that saw the introduction of poppy, soulful vocals, producer RJD2 returned with something of a split release — an album that leaves no shortage of accessible, vocal-driven tunes but that emphasizes some inventive instrumentals.  Whether or not you dig the soulful RJ, there's no doubt that the music on The Colossus is some of his best to date.

Chicago Underground Duo: Boca Negra (Thrill Jockey, 1/26/10)

Chicago Underground Duo: "Spy on the Floor"

For 15 years, the Chicago Underground Duo (and Trio, Quartet, and Orchestra) has been an avant-garde jazz outlet for prolific Chicago musicians Rob Mazurek (Exploding Star Orchestra, Isotope 217) and Chad Taylor.  Boca Negra is an interesting dichotomy, as spiraling vociferation leads to upbeat grooves, shifting piano chords, harmonic electronics, and ambient samples.

Algernon: Ghost Surveillance (Cuneiform, 1/26/10)

Algernon: "Broken Lady"

The brainchild of guitarist Dave Miller, Algernon walks a thin line between melodically driven post-rock and instrumental unconventionality.  Ghost Surveillance places greater emphasis on synthesizers and sprawling song structures, but at its core is the combination of accessibility and technicality that has defined Miller's style. Noisy, circular rock riffs transform to tranquil, wandering passages. "Timekiller," the album's fourth track, is a beautiful, buoyant number — and one of the band's best creations to date.

Bei Bei & Shawn Lee: Into the Wind (Ubiquity, 1/26/10)

Bei Bei & Shawn Lee: "East"

In the hands of a marvel, the guzheng — a gorgeous Chinese zither — resonates with tactile beauty as its many strings are plucked with precision.

Bei Bei, a native of Chengdu, China, is one such musical technician. And this collaboration with Shawn Lee, a prolific producer who can man as many genres as he sees fit, is undoubtedly one of the year's finest albums.  Together, the two use Into the Wind to navigate through funky down-tempo jams, Kung-Fu flavor, hip hop, soul, and driving grooves.

Daníel Bjarnason: Processions (Bedroom Community, 2/1/10)

Daníel Bjarnason: "Bow to String I: Sorrow Conquers Happiness"

Best known as a conductor and arranger for indie groups such as Sigur Rós, composer Daníel Bjarnason also holds a lofty classical résumé. Processions, his proper debut, is, at many points, a challenging classical work.  Powerful cellos scale and race with crackling percussions before settling into gently bowed and pizzicato string accompaniments; easily half a dozen strings battle for dominance in a sorrowful, harmonic piece that resonates long after hearing it.  Undoubtedly, Processions is a daring and original debut.

Shining: Blackjazz (Indie Recordings / Distribution, 2/2/10)

Shining: "Fisheye"

Beginning as an experimental acoustic jazz ensemble, Norway's Shining — the brainchild of saxophonist Jørgen Munkeby — transformed to a progressive jazz-fusion outfit before delving into its darker side for a collaboration with black-metallists Enslaved.

Blackjazz pushes deeper into the band's dark recesses, forging a progressive industrial sound for the young century.  Big, complex rock riffs, twisted through gnarly distortion, form the foundation and support a mass of frantic, whirring synth lines and gut-wrenching black-metal screams.  In all, Blackjazz is a new epic — and perhaps the best metal album of 2010.

Pillars and Tongues: Lay of Pilgrim Park, LP + download (Endless Nest, 2/9/10)

Pillars and Tongues: "The Center of"

With just three members, Pillars and Tongues manages to craft powerful folk abstractions and interwoven, trance-inducing vocal dynamics. Both composed and improvisational, these shifting forms evoke spiritual vibes in their soulful essence, heavenly harmonies, and repeated patterns.

Dessa: A Badly Broken Code (Doomtree, 2/9/10)

Dessa: "Dixon's Girl"

The only female member of Minneapolis hip-hop collective Doomtree, Dessa is a spoken-word vocalist, singer, and MC whose awaited full-length was finally released earlier this year.

On A Badly Broken Code, her true solo debut, Dessa's vocal diversity is matched by its underlying music, ranging from hard-hitting beats and rhymes to lilting harmonic overdubs.

The Bastard Noise / The Endless Blockade: The Red List (20 Buck Spin, 2/16/10)

The Bastard Noise: "Mutant World of Shame / Underworld"

A spinoff of treasured "power-violence" hardcore group Man is the Bastard, The Bastard Noise is approaching its 20th anniversary of creating noisy electro-doom brutality.  For this split release with hardcore/punk experimentalists The Endless Blockade, the group utilizes the trademark drum-and-bass style of Man is the Bastard in combination with its far-out sounds.  The Endless Blockade contributes three tracks to the release — one 14-minute epic and two avant-garde remixes.

Freeway & Jake One: The Stimulus Package (Rhymesayers, 2/16/10)

Freeway & Jake One: "Know What I Mean"

Continuing his life after Roc-A-Fella Records, former freestyle star Freeway now makes his debut on Rhymesayers, a fitting new home — if only temporary before a move to Cash Money.  Fellow Rhymesayers standout Jake One provides a funky, malleable backdrop for Freeway's fiery delivery and lyrics that are alternately personal and light in content. And though Freeway deserves his accolades, Jake One's production is the MVP of this collaboration.

Carolina Chocolate Drops: Genuine Negro Jig (Nonesuch, 2/16/10)

Carolina Chocolate Drops: "Hit 'Em Up Style" (Blu Cantrell)

Beholden to the traditions of Americana and early African-American folk, the string trio Carolina Chocolate Drops continues blurring the lines of old and new. On Genuine Negro Jig, the group's fifth album, a few original numbers and a trove of traditionals take root in banjo, fiddle, and percussion. Three-part harmonies shimmer on the famous folk tune "Trouble in Your Mind," and simplicity shines on gripping renditions of "Why Don't You Do Right?" by Kansas Joe McCoy and "Trampled Rose" by Tom Waits.  Most surprisingly, Genuine Negro Jig includes an enjoyable rendition of "Hit 'Em Up Style," an unintentionally farcical pop hit by Blu Cantrell.

Mako Sica: Dual Horizon LP (La Société Expéditionnaire, 2/16/10)

Mako Sica: "I'Itoi"

A translation of the phrase "land bad," Mako Sica has more than a nominal Native American influence; the trio's distant vocal reverberations and dirge-inspired tunes recall the spirituality of America's original inhabitants.

Between the vocalizations of Brent Fuscaldo, the melodies of guitarist Przemyslaw Krys Drazek, and the rhythms of drummer Michael J. Kendrick, Mako Sica maintains a strong balance of abilities — with a brooding combination of jangly guitars, reverberated vociferation, and instrumental dynamics.

High on Fire: Snakes for the Divine (E1 Music, 2/23/10)

High on Fire: "Snakes for the Divine"

Stoner-metal trio High on Fire has built a devoted following over the past dozen years as fans fell in love with Matt Pike's gruff vocals and thunderous guitar riffs. On Snakes for the Divine, Pike uses his throat to channel Lemmy Kilmister; meanwhile, the band has picked up its pace and crafted an album that isn’t as outstretched. Hard-hitting riffery leads an effort that, though diverse at times, may be the band’s most driving release.

Jaga Jazzist: One-Armed Bandit (Ninja Tune, 2/23/10)

Jaga Jazzist: "One-Armed Bandit"

Five years have passed since we've heard the powerhouse melodies of Norway's Jaga Jazzist, the post-rock/"nü-jazz" conception of brothers Lars and Martin Horntveth.

One-Armed Bandit, immediately the group's best album, resembles symphonic prog rock, arguably a few steps removed from parts of Frank Zappa's expansive catalog and closer to countryman Jono El Grande's diverse and theatrical style.  This album, however, is much more cohesive than either of those comparisons suggest, and at times it is nearly overwhelming with grooves and harmonious refrains.

Rob Swift: The Architect (Ipecac, 2/23/10)

Rob Swift: "The Architect"

Turntablist/DJ Robert Aguilar, formerly of the X-ecutioners, has long utilized his love of jazz, R&B, and other musical movements to create compelling hip-hop instrumentals while displaying his tight beat-juggling skills.

The Architect is Swift’s foray into the classical world. In addition to a multitude of sampled styles and sounds, classical cuts comprise a substantial chunk of this Ipecac debut. Rearranged strings, organ, and horns often make the foundation of a given track, occasionally evoking high-tension Italian Westerns, as Swift’s scratches dance atop banging beats.

Rotting Christ: Aealo (Season of Mist, 2/23/10)

Rotting Christ: "Aealo"

For more than 20 years, Athens' Rotting Christ has traversed different directions on the metal path.  With its previous release, Theogonia, the group released a striking, original album that fused its dark sound to the ethnic sounds of its ancestors.

Like its predecessor, Aealo features female Benedictine chants, lingual pipes, and a medieval feel. Combined with dueling high-pitched harmonies and powerful guitar work, these new elements highlight an album that should be among the most original metal releases of the year.

Ali Farka Touré & Toumani Diabaté: Ali and Toumani (Nonesuch, 2/23/10)

Ali Farka Touré & Toumani Diabaté: "Ruby"

As two of Africa's most internationally renowned musicians, guitar legend Ali Farka Touré and kora phenom Toumani Diabaté have displayed impeccable abilities while integrating the styles of other cultures into their ethnic sounds.

Each Malian, the two collaborated for the acclaimed In the Heart of the Moon in 2005, shortly before Farka Touré's passing in 2006. Fortunately, the two set aside time to record new material before touring for In the Heart of the Moon, and the result is another beautiful set of duets that sees a posthumous release.

Throughout Ali and Toumani, Farka Touré roots each creation in melodious African-blues pieces. Diabaté's virtuosity accents each track in the form of fanciful scales, which at times evoke classical harpsichord passages, perhaps most notably on "Sabu Yerkoy."

Fang Island: s/t (Sargent House, 2/23/10)

Fang Island: "Sideswiper"

Mostly comprised of ex-Daughters, the good-time rock quintet Fang Island was one of the most quickly ascending bands of 2010, jumping onto tours with The Flaming Lips and Stone Temple Pilots following the release of its first full-length album.

The self-titled release is chock full of palm-muted and speed-infused indie-prog anthems, with über-layered vocal harmonies to go with a triple-thick guitar assault and distorted-bass bludgeoning.  It's one of those rare releases that feels absolutely radiant and thrashing at the same time.

B. Dolan: Fallen House, Sunken City (Strange Famous, 3/2/10)

B. Dolan: "The Reptilian Agenda"

Going way back with Sage Francis, rapper B. Dolan is a like-minded MC and slam poet whose style isn't terribly dissimilar to that of his long-time friend. Fallen House, Sunken City is Dolan's second full-length for Strange Famous, and it's full of the sociopolitical themes (if often in quick blasts or asides) and contentious delivery for which he's known.

In addition to some seemingly personal lyrics, Dolan takes passing shots at big business, taxation, the pharmaceutical industry, the concept of ownership of natural resources, the Israeli razing of Palestinian developments, and, among many other things, the so-called New World Order — dropping clips of Dick Cheney and George H.W. Bush in "The Reptilian Agenda."  On top of Dolan's socially conscious rhymes, A-list production by Alias makes this one of the year's top hip-hop releases.

Archie Bronson Outfit: Coconut (Domino, 3/2/10)

Archie Bronson Outfit: "Shark's Tooth"
Archie Bronson Outfit: "Shark's Tooth"

With its warbled vocals and driving percussion, British psych-rock trio Archie Bronson Outfit is like a more adventurous Wolf Parade — as comfortable burning up the dance floor with clean, bouncy riffs as it is turning up the reverb and rocking in a garage.

Coconut is the band's first LP in nearly four years, and it kicks off with a crunchy, swirling guitar line and a hypnotic bongo-laden beat. Produced by DFA's Tim Goldsworthy, Coconut gets spaced-out and drone-like at times, but it always offers a hint of pop accessibility amidst the static and haze.

This year's five-day festival includes performances by Swans, Marnie Stern, Gotan Project, Holy Fuck, Municipal Waste, Menomena, Liars, Arrington de Dionysio's Malaikat dan Singa, The Budos Band, Portico Quartet, Xiu Xiu, Buke & Gass, Mount Kimbie, Immolation, and many more.

Enter below for a chance to win two tickets to see Xiu Xiu (Saturday), Timber Timbre (Friday), or Bear in Heaven (Thursday).  Each set of tickets comes with two Pop Hopper wristbands, granting access to any show from the same day, depending on capacity.

By entering your information, you’ll also be signed up to receive ALARM’s biweekly E-mail newsletter, The ALARMIST.

Update: Contest has ended.

“The word epic got tossed around a lot,” says Danny Seim, the multi-talented drummer, singer, and songwriter for Portland, Oregon’s delightfully daring Menomena. Though he’s referring to the tone and tenor of the band’s 2010 release on Barsuk Records, Mines, he could very well be talking about the time that it took to develop the album.

“We were really motivated, as soon as we finished the Friend and Foe tour, to get back into it right away,” Seim says. “We started exchanging ideas [for new songs] back in early 2008, hoping to get something out by 2009.”

Ultimately, the trio’s enthusiasm to put out a new record couldn’t overcome its penchant for precision. In an era when many indie-rock bands feel intense pressure to follow their successes quickly and put a greater emphasis on speed than quality, Seim and bandmates Justin Harris and Brent Knopf spent three years refining Mines, making sure that it lived up to their exacting standards.

“We’re all such perfectionists,” Seim says, “and we didn’t feel good about spitting something out so quickly. And we’ve never dealt with real studio budgets; it’s always been us recording in bare-bones setups, which has been great for money purposes. But there are no deadlines or constraints, so we end up taking our sweet time.”

It was time well spent. Mines is a powerful follow-up to the band’s giddy 2007 predecessor, Friend and Foe, retaining that album’s densely layered sonic palette and kaleidoscopic zeal but also introducing a much calmer, much more relaxed atmosphere that demonstrates a growing patience and thoughtfulness.

"We’re all such perfectionists, and we didn’t feel good about spitting something out so quickly."

Seim, Knopf, and Harris are seemingly everywhere at once, trading vocals, writing songs, and passing instruments back and forth, never afraid to try something different — a new combination of their talents and abilities that may lend each track a strange, new feeling.

“We’re more interested in writing more concise pop melodies than on Friend and Foe,” Seim says. But even Menomena’s idea of pop is wonderfully warped, and distinctly its own. For this band, restraint comes in the form of a track like “Sleeping Beauty,” a gently buzzing mélange of instruments that is seemingly limitless in depth. Drum loops cascade over pulsing, electronic gusts as flickers of acoustic guitar peek through the white noise. The song builds slowly and softly toward a grand climax, carried by the band’s captivating blue-eyed soul vocals.

Menomena excels at crafting these intricate, soaring anthems, but it knows how to have a good time too. The band’s sense of humor is on display on “TAOS,” or “The Art of Seduction,” where Harris struts for the ladies in a forthright, mock-ironic fashion. The tune made Seim blush at first, but it quickly became one of his favorite cuts.

Mines is distinguished by a significant evolution in the group’s lyrical maturity. Whereas on previous releases, words were an afterthought or merely another sonic element added to spice up the stew, here they take center stage and are, in many cases, the song’s main propellant.

“Tithe” begins with the devastating “Spending the best years / of a childhood / horizontal, on the floor…” while the kraut-inspired “Oh Pretty Boy, You’re Such a Pretty Boy” rides a hypnotic groove to the lyrical dénouement that could serve as the album’s motto: “And I feel, I feel / I’m showing my age.”

Brent Knopf’s “INTIL,” or “I Never Thought I’d Lie,” closes the album with a plaintive, Satie-like piano chime, with solitary notes ringing hollow in empty space as he unfurls what are perhaps the band’s most evocative and personal lyrics. Knopf sounds adrift, despondent until the last moment when Harris and Seim join in, lifting their friend and his song up, carrying them to its satisfying conclusion. It’s a beautiful resolution, fitting for a band whose greatest strengths are in its ability to work together and collaborate.

Menomena's Myspace

Menomena: Mines (Barsuk)

With its Barsuk debut (Friend and Foe) three and a half years ago, Menomena came to indie-rock prominence thanks to a junior effort that stood out amid a sub-genre that was exploding in the mainstream.

The trio's quirky arrangements, unorthodox instrument switching, and three-part harmonies generally won over critics. It has been a blog favorite ever since, but despite this popularity, the group was in no rush to churn out another release — even with a relative abundance of material.

Taking those three and a half years to craft and finalize Mines, Menomena now returns with a mature and focused 11-song affair. In a forthcoming ALARM print feature, the group's drummer and co-singer/songwriter, Danny Seim, explains, "We’re more interested in writing more concise pop melodies than on Friend and Foe."

And though Mines falls into "pop rock" categorization, each tune retains its own skewed sense of structure, and Menomena remains unclassifiable within the broader distinction. As on previous albums, the trio employs many wailing vocalizations, epic harmonies, and unique blends of instruments — including fuzzed-out bass grooves, rock-and-roll guitar leads, piano, stuttering brass riffs, string accompaniment, guitar slides, marimba, and keyboards.

Unfortunately, this is not enough to describe Menomena; listeners have to hear for themselves.

Menomena: "Queen Black Acid"
queen_black_acid

William Brittelle: Television Landscape (New Amsterdam)

A composer and former front man of The Blondes, William Brittelle demonstrates the possibilities of pop when filtered through classical instrumentation and progressive song structures.

Television Landscape is only Brittelle's sophomore effort, but it may prove to be his magnum opus. It's a concept album based on a "media-saturated, pre-apocalyptic world," with stated influences ranging from harmony champions The Beach Boys and Animal Collective to impressionist composers Maurice Ravel and Claude Debussy.

This ambitious undertaking is executed with the deft abilities of an all-star lineup, featuring members of So Percussion, Alarm Will Sound, Jerseyband and many other talented ensembles. "Sheena Easton," the album's first "single" and ode to the 1980s pop singer, puts many of the album's best elements on display via piano, strings, harp, rock-guitar solos, Brittelle's falsetto harmonies, and the Brooklyn Youth Chorus.

Other tracks have layers upon layers — many subtle, and many overt (horns, vocoder) — to create dense, interwoven soundscapes that twist and turn through movements. Brittelle's overarching theme and dramatic vocals unify Television Landscape, resulting in something of a classical rock opera. But no matter how you classify it, Television Landscape is a realized vision.

William Brittelle: "Sheena Easton"
William Brittelle: \"Sheena Easton\"

La Gritona: Demasiado Tonto Para Los Niños Listos / Demasiado Listo Para Los Niños Tontos 2xCD discography (Hydra Head)

Rescued from obscurity, the 41 tracks on this double-disc collection are the reflection of a powerful alt-rock sound whose heyday came too soon.

Headquartered in mid-1990s Boston, La Gritona took a definite influence from the Amphetamine Reptile roster, drawing upon elements of Helmet, Unsane, and The Jesus Lizard while channeling the vocal intensity of Henry Rollins.

The material is a dissonant, debauched mix of down-tuned guitars, distorted bass, mid-tempo beats, atonal vocals, and noise. A song such as "+2 Charisma" (bonus points for D&D reference) aptly summarizes the band's raw energy and repetitive power in just 63 seconds, and the collection's live tracks capture La Gritona's on-stage muscle.

La Gritona: "+2 Charisma"
+2_charisma

Jesca Hoop: Hunting My Dress (Vanguard)

[Originally appeared on This Week's Best Albums: December 15, 2009]

Having gained industry exposure via her contact with Tom Waits (as a nanny), songstress Jesca Hoop has released a series of well-regarded albums in the vein of Marissa Nadler, Mirah, and other enchanting folk artists.

Hoop, however, takes a few more chances with her production, and though the songs on this third full-length album are similar in tone and structure, it has enough differing elements to maintain a sound balance. Hoop's bewitching sound may be best epitomized by the beautiful harmonized overdubs of "Whispering Light," the album's opening track.

With a catchy cadence and rangy melodic progression, Hoop grabs listeners from the album's opening seconds. Her multi-tracked folk harmonies are the unquestioned highlight, but her steady acoustic guitar and instrumental complements make Hunting My Dress a complete, well-rounded work.

Released independently in the UK in November, Hunting My Dress is now available as a full US release after seeing imported availability in December of 2009.

Jesca Hoop: "Whispering Light"
whispering_light

Honorable Mentions

Blipvert: Quantumbuster Now EP (Eat Concrete)

Common Grackle: The Great Depression (Fake Four)

Cruel Hand: Lock and Key (Bridge 9)

Cut Chemist: Sound of the Police

Dale Earnhardt Jr. Jr.: The Horse Power EP (Quite Scientific)

Dead Kenny Gs: Bewildered Herd (Ropeadope Digital)

Decrepit Birth: Polarity (Nuclear Blast)

Madlib (Yesterday’s New Quintet): Medicine Show No. 7: High Jazz

NOMO, the alternative Afrobeat collective from Ann Arbor, Michigan, marches to its own beat, or more accurately, to the beat of four different percussionists.

Led by the lanky, baby-faced founder and composer Elliot Bergman, the nine-piece multi-ethnic/gender brigade is a mash-up of cultural and musical influences.

Defying classification to create an Afrobeat/funk/electronic hybrid (think Remain in Light-era Talking Heads with the sensibilities of Fela Kuti), the band has old-school jazz purists, hipsters, and indie rockers cocking an ear and taking notice.

With choice gigs at Bonnaroo and the 2007 Chicago Pitchfork Festival, along with opening slots for Ozomatli and Earth, Wind, and Fire, the road warriors of NOMO warmly embrace any scene or genre that will have them. In an industry obsessed with genre profiling, the band defies categorization, opting simply to attract the uninitiated with freewheeling live shows and an “all are welcome” credo.

“NOMO is a big melting pot of ideas and influences,” explains Bergman from his home in the suburbs of Chicago, Illinois. “It started with a bunch of us getting together and saying, ‘Let’s have a big Afrobeat jam.’

"I met most of the band through the University of Michigan, and we unified the vision to have a sound that is mostly instrumental, with a lot of horns and percussion that would get people dancing. I was always into jazz, particularly electric Miles Davis and Herbie Hancock, but when I got to college, the doors opened.

"Ann Arbor is a pretty arts-orientated community, and when I started working at crate-digger's paradise Encore Records, I started getting parallel educations. I got really into Indian and African music, as well as European bands like Gang of Four and Can.”

During the early incarnations of NOMO, Bergman moonlighted as an active member of indie-pop darlings Saturday Looks Good to Me, which acted as an outlet for his rock leanings.

With the recording of New Tones (Ubiquity) in 2006, Bergman and co. harnessed the improvisation of their live shows by filtering rhythmic horn lines through a tight funk gauntlet. While the interlocking of horn, percussion, and thumping bass are tight, the arrangements never feel rigid, and the continuous groove ebbs and flows but rarely falls flat.

A large part of the album’s sound can be credited to His Name is Alive founder Warn Defever’s role as producer.

“He’s a Pro Tools genius who engineers from a moral and ethical standpoint,” explains Bergman. “He had very specific ideas about how every instrument should sound and how it all fit together. However, it’s a very collaborative process and I’m always sitting there with him when he’s mixing.”

Much of NOMO’s appeal stems from the raw energy of its live shows. “Since the music is mostly instrumental, it may be a bit more challenging to connect emotionally, but there can also be a very strong visceral and emotional response," Bergman says. "We’ve had people come up crying and wanting to hug us after a show, so there can be a very powerful connection.”

Aided by the critical success of New Tones and the strong word of mouth generated by the live shows, NOMO landed a slot on the 2007 Pitchfork Festival. On a sweltering July afternoon in Chicago’s Union Park, NOMO dared the typically reserved crowd to resist the groove and shed hipster inhibitions.

“It was a weird day," he says. "The stage sound was disastrous, but people didn’t seem to mind. It was like senior prom, where you wait and plan for it forever, and then it’s over and done so quickly. At the end of the day, I was like, ‘Shoot, I forget to check out all the other bands.’”

As for any tales of debauchery or star-struck moments, Bergman offers none except for a backstage mix-up. “If this is my chance, I’d like to apologize to Menomena for accidentally drinking all of their beer. There were ten of us on tour and it gets very confusing. I think we also ate their veggie trays.”

After the Pitchfork gig, the band headed directly into Key Club Studies in Benton Harbor, Michigan with Defever to start work on its third album, Ghost Rock.

“Our drummer was leaving for India, so we booked two days immediately after our five-week tour,” recalls Bergman. “The band was super tight but also burned out. Everyone’s chops were busted, but we laid down some good stuff.

"The next day we focused on loops and electronics. People talk about a natural progression in our records, and I feel that this is a big artistic, if not necessarily logical, step forward for us. It’s a lot more minimal.”

Set for a June 17th release on Ubiquity Records, Ghost Rock finds the band mining much of the same territory of New Tones, while diving deep into the European electro soundscapes of Can and Brian Eno. It is at once swirling and dense, but completely approachable and funky as all hell.

“World music, jazz, electronica, Afrobeat…I hope that we don’t get marginalized by any of these terms,” says Bergman. “We are an American band, and in our hearts, I think we’re more of a rock band than anything else, but we do love so many different types of music.”

What’s ultimately mystifying about the band is how it is able to deftly integrate itself into rigidly defined social scenes of music. In a crude summation: the jazz people get it, the indie rockers dig it, and the jam and electronic crowd feels it.

“In the same year, we played Pitchfork and the Montreal Jazz Festival,” says Bergman. “We played with Dan Deacon to a bunch of young kids, but we also played punk clubs. We played a gig in Iowa City for maybe ten people. One time we had a group of swing-dancing elderly couples at the show who heard about us on NPR. I don’t want to turn anyone away. I just want to get this music out to as many receptive people as possible.