Editor's Note: For the last nine years, Splendid's reviews have been edited pretty aggressively -- for grammar, punctuation, spelling, usage, accuracy, coherence and thoroughness of argument, and even adherence to "house" style. There are two reasons for this. First of all, I've always believed that for online magazines to succeed, they must offer the highest quality content possible. Second, how can you trust a publication to recommend music if its writers can't tell the difference between there, their and they're? That said, editing is extremely time consuming, and on many occasions over the last nine years, I've wondered what would happen if I took a week off and let the reviews go through completely untouched. Long story short: this week, from December 5th through December 10th, is that week, and the review you're about to read is untouched by editorial hands. Will this new (and very temporary) hands-off policy make a difference? Will you even notice? We'll see...

With an impressive list of guest contributors including Scout Niblett, M.Ward, and members of Arcade Fire and Grandaddy, Howie Gelb's latest project is a record of alternative blues-country songs with a strung out, dusty Silver Jews vibe. However, AAA show considerably more willingnesss to approach the style in a new way - the songs often trip up on themselves intentionally, as though it was their goal to confuse. There are lapses in rhythm, off notes, odd transitions and an overall disorienting ambience. It sounds deliberately fucked up, though, and not just sloppy; "Can Do Girl" can't decide between a bluesy rhythm and a dub/reggae beat, so you get both for the price of one. The result is certainly unorthodox, but once you become accustomed it starts to sound so damn cool.

The production adds to this blase, messy atmosphere. There is a good dose of clipping, buzzing and static in the bass, which is what happens when the musician plays too loudly during the recording process; but interestingly enough, Arizona, Amp and Alternator is not an loud or aggressive album -- it's gravelly and calm, evoking abandoned bars, lonely deserts and altogether too much alcohol and tobacco. The country and blues influenced guitars go from a dry, slapped, "chick-chick" style to semi acoustic, resonant and surprisingly loud. Cheap, tinkly pianos over buzzed, muted country guitars bring a wonderfully saloon-esque feeling to the melodic duet "Man on a String"; all these quirks and imperfections could easily come off as sloppy, but it sound so completely deliberate that they instead give the record more charm and originality.

The most uncanny thing about this album is that it bears a heavy resemblance to some of Serge Gainsbourg's work. The vocals sound detached from the music yet retain a sharp, aloof tone, and the rhythmic guitars and variations in backing instrumentals could just as easily feature on one of his albums; you almost expect the witty wordplay (for example "rectify" becomes "wrecked if I" in opener "Velvet and Pearl") and deep, apathetic vocals to suddenly switch to French. There is even a distinct Gainsbourg-Bardot dynamic in the numerous duets - notably in the slow, bass-heavy "When The Wind Turns The Skin To Leather". It's as though the Frenchman recorded an album in the Southwest - like a country take on his "Initials B.B" by someone who has been in the desert for far too long. The tone is that of a cynical onlooker, who rambles with little consideration for anyone or anything else; he shows little agitation or emotion, other than in "Low Spark of High Heeled Boys", a slow, pounding number that Lou Reed could well have recorded back in the day. Overall, his bored vocal style is very appropriate, and fits the ambience of the album well.

There are four takes on "aaa", which at first sounds like a regular, dry acoustic rock song but by the last attempt evolves into a full blown country tune complete with heavily accented singing and slide guitars. It certainly isn't the best track on the album -- in fact it's downright dischordant on a couple of the versions -- but it sounds so very different each time that this little musical experiment is more enjoyable than repetitive. Other unexpected songs include "Loretta and the Insect World" is like a '50s girl group tune with a parched tongue, torn dress and runny mascara, and a cover of "Baby It's Cold Outside" that is surprisingly well done, albeit a little on the sleazy side.

This level of originality, whilst still retaining melody, is rare, but certainly not mainstream or radio-friendly. Despite all its qualities, AAA is still above all an album for serious music fans. Casual listeners will be put off with the slips in rhythm, awkwardness of the melodies and occasional off-key singing. It's also long, disjointed and at first listen, downright bizarre, but anyone with an open mind looking for something new should definitely get a copy.