Electronica is inescapable. Not only have we experienced it in a multitude of television promos and movie soundtracks, but it's infested other genres of music to the point of ubiquity. This year alone has seen myriad releases from those eager to defy genres and shift forms. From Badly Drawn Boy's folk-electronic hybrid to OutKast's full-on jungle hip-hop of "B.O.B," it's clear that artists in even the most unlikely genres can't seem to keep their hands off their knobs (no pun intended, but if it were, Bright Eyes could most certainly be included in the list). We've come to the point where the integration of electronic and rock is a virtual no-brainer, to the extent that, for the most part, "experimenting" with the combination is becoming quite dull.

On previous outings, Echoboy's Richard Warren delivered a rock-techno sound to widespread acclaim. Volume Two finds him treading over similar ground just as successfully. Instead of crashing rock and roll and electronica head-on, his integration is a more subtle mix. He's not a pioneer by any means, but Volume Two is testament to his more nuanced approach. On this, his third album, Warren allows the guitars and "real" instruments an equal say, and ends up with music that sounds incredibly intelligent in light of many other clumsy cross-breeding musicians.

Take "Sudewestfunk No. 5," for example. The pure-funk of the guitar riff is complemented by an understated drum machine that sounds like a piston releasing steam. The song morphs and the steam is usurped by big, tinny drum sounds and high-pitched bleeps. Similarly, both"Siobhan" and "Schram and Sheddle" recall Squarepusher's foray into jazz, without abandoning the glorious and frightening noises that electronica offers. "Schram" is particularly exceptional; two distinct drum parts match at the start of the song, then spiral out of synch, and almost work themselves back together. All the while, reverb cascades all over and the song closes as a mere drone. And using only an 8-track to record, Warren is cognizant of the fact that every layer counts.

Though some of the more rock-oriented numbers are a bit too big beat for my taste, the production isn't really the problem; Warren's lyrics are. Though adding vocals to an album made mostly of electronic-based music helps vary a potentially monotonous sound, it often doesn't work so well for Echoboy. On the airy "Circulation," Warren seems to be taking a confessional approach and spinning a tale of lost love (he has a "heart so cold" and wants to "circulate your system with love"). The result is trite and sounds out of place in contrast to the relatively intelligent material presented in other areas of Volume Two.

On the other tracks that feature singing, Warren chooses to distort and filter his vocals so that the listener is barely able to make out what he's saying; probably a smart move. Here, Warren merely uses his voice as another distinct layer to the sound, managing not to distract the listener with cliches. And it's greatly appreciated that these pains have been taken, because what's happening musically on Volume Two is leaps and bounds more interesting than any lyrics Warren could possibly muster.

-Richard M. Juzwiak