Throw out whatever preconceived notion of June of 44 you've been carrying around. This is a completely different beast. Over their first couple of albums, June of 44 switch- hit between riff- heavy rock majesty and intricate, heart- melting melodicism. Last year's Four Great Points brought a little more to the table with dub and skewed, gut- punching punk sprinkled amongst the standard fare. But on their fourth long- player, June of 44 turns the spotlight on the all- star rhythm section of Fred Erskine and Doug Sharin, who appear in too many other bands for me to even begin to count. This is their album, as they introduce such foreign elements as piano loops, wah- wah bass, keyboards, vibraphones, and trumpet to the mix. Erskine even grabs the mic to the album's detriment; his voice borders on the screamy and shaky unlike the delicate whisper- harmonies of Sean Meadows and Jeff Mueller. Guitars have been relegated to more of an accessory role-- snaking feedback, quiet jangles, and punctuating bursts-- whose function only blossoms on subsequent listens.

The true star of Anahata is clearly Doug Sharin. Someone get this guy a Drummy Award. His complex lines can layer a one- hand roll, hissing cymbol splashes, a deep groove, and calculated bursts with ease. His electronica- mimicing beats gives Anahata a more groove- and- repitition vibe than other June of 44 records. Some moments on "Equators to Bi-Polar," "Peel Away Velleity," and "Five Bucks in My Pocket" are downright funky. The mature, groove- oriented progression follows a similar path of recent Fugazi records, although June of 44 go with a decidedly mellower, moody approach.

Anahata brings an entirely unique sound to that beaten Chicago indie scene, a feat which alone merits heavy accolade. Disparate elements from jazz, funk, and world music are incorporated seamlessly into the dogmatic two- guitar, bass, and drum attack. It's a little more difficult of a listen, especially with the disappointing less- melodic vocals (Erskine needs to pass the mic back to the pros), but more rewarding in the long run. By far, this is the most uniform and coherent record June of 44 has crafted. Only veteran indie stalwarts can pull this off, as they're less concerned with haircuts and coffee shops than experimenting with rock. Whether this is a "new direction" or one- album experiment remains to be seen. Yet, the fact that they can continually keep us on our toes deserves applaud.

-Brent DiCrescenzo