Lansing-Dreiden, a New York-via-Miami art collective best-known for its avant-garde inclinations, demonstrated a rare accessibility when it released its first full-length record in 2004. Divided into three sections, the surprisingly song-based The Incomplete Triangle
showcased the breadth of L-D's talent from driving metal to gauzy shoegaze to New Orderish synth rock. The Dividing Island
, the just-released follow-up, is an attempt at consolidation. The fundamental elements of L-D's sound remain but are noticeably scrambled, creating a novel if discomfiting hybrid. Disembodied vocals float above clipped squalls of feedback and stabbing synth notes the jagged, endlessly shifting sonic terrain standing in sharp contrast to the bold immediacy of L-D's debut. The deliberately cacophonous approach helps the collective shed the first album's accessible appeal. But too much has been thrown out in the drive toward what turns out to be a narrow goal. Sometimes a little song structure is a good thing.