The context of a listener’s introduction and research into certain bands can prematurely — sometimes unfairly — paint the music before the play button is even pushed. In the case of the do-it-yourself-damnit indie trio Menomena, however, the background check helps more than it hurts.

The Portland, OR trio is a self-produced band, unbound to any specific instrumental roles, who compose their refreshingly off-kilter rock by layering it, riff by riff, with looping software one of the members programmed himself. Though that stacks some high walls of expectations, with Mines, their fourth studio effort, they have finally made like Mister Gorbachev and torn that shit down, reaching out and applying some good ol’ economic efficiency to a previously convoluted sound.

What’s really memorable about Mines is that despite paring down some of their more jarring stylistic flairs, the band maintains near-constant progression within songs and across the album as a whole. Oddball lyrics and synth melodies snake around buzzing basslines, propped up by smashing percussion and (for a change) stunningly bare piano parts that almost bring the album into Broadway-musical territory. The guitars and the central repeated riff that characterize most indie rock today are no longer king in Mines’ byzantine world. Atmosphere and chameleon-like dynamics are taking over, with album highlights “Tithe” and “Five Little Rooms” at the front of the push. It certainly isn’t orthodox music creation, but it’s intriguing and invigorating nonetheless.

The only real knock against the album, is the classic issue of self-produced acts: the band has a tendency to stuff too many good ideas into their songs at once, especially near the center of the album and on the opener “Queen Black Acid”. When Menomena get their affairs properly squared away and ideas sorted, though, what’s left is some of the most rollicking, boundary-pushing, yet enjoyable rock music to be released in quite a while.

[4.5/5.0]

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