This record rocks. Honestly, I could stop right there and you would know all you need to about The Low Frequency in Stereo, but I suppose it's worth going into detail as to just how this record rocks. And when I say "rocks," I mean "your socks off." Pants, too.

Imagine if you will Thurston Moore (of Sonic Youth fame). Now pretend that he formed a supergroup with members of Yo La Tengo and Stereolab. Now take that a step further and pretend that said supergroup smoked up, listened to whatever random handful of LPs they could find (including Canterbury-scene prog leaders Egg and perhaps a psych great like Can), and then created a sort of musical bastard god-child out of that unseemly brew. You are now prepared for Futuro.

The first thing you hear when "Turnpike", the opening track, starts is the now nearly classic late-eighties/early-nineties distorted guitar sound riffing through a slowly modulating wah-wah pedal. It may be one of the best openings for a record since digital became the dominant format - instantly engaging and just heavy enough to have attitude without being abrasive. From there, the band launch into a psychedelia-inspired instrumental complete with a Fender Rhodes (or something that sounds like one) keying a light, proggy melody. It's very difficult to listen to this and not be happy, especially with the upbeat, almost dance style drums holding down the beat.

The third track, "Geordie La Forge" plays like Television's greatest hits, with both male and female vocals and the same relaxed yet upbeat feel coming from the thin, treble-driven guitars. "Mt. Pinatubo," the next track, changes direction completely, emphasising instead heavy reverb and feedback, and a darker, more psychedelic sound, nixing the vocals almost completely and creating a trance-inducing groove.

Though some of the songs sound decidedly poppy, the prevailing mood of this record justifies the repeated use of psychedelic references. There is a carefree heaviness, a lighthearted rebellious quality to Futuro that makes it definitely feel like the heir to the throne of instrumental krautrock a la Amon Düül II. At the same time, I can't help but think of Sonic Youth, a band which possesses such similar qualities despite having an altogether different sound. It's an odd comparison, and yet it works remarkably well.

Over the course of eight tracks, TLFIS manage to create a record on which every single song is not just good, but awesome. They aren't just songs you don't want to skip, but songs you actively want to listen to, and to make a a record so thoroughly desirable is an achievement that few artists can claim to have achieved. The drum parts are fairly simple, yet they seem to convey so much; so too, do the guitars and keyboards, droning or popping as they will. There's no easy way to nail down quite what makes Futuro so good, but there's definitely something there, and perhaps the fact that that element can't be identified that makes this record what it is - an album that is in contention to be one of the best rock records of the year. I don't care that I've listened to it three times since this afternoon, I want more, and that, ultimately, is the sign of a great record.

-Lee Stablein