It’s difficult to put a finger on what has worked in the music industry recently, especially if the word “progressive” is involved. Whatever your opinion may be, bands like Beep are  stretching the meaning of the word.

Their newest release, City Of The Future, self-categorized as “avant-garde fringe,” places the group in the uncertain position of either two things: this album is so ground-breaking that it requires its own category, or its so unusual that it needs a buffer to ease some confusion. Based on the dull beeping noise that repeats tirelessly in the opening minute of the record, i’d go with the latter. Not that these guys are bad musicians, but it’s almost as if they were so bored with music that they wanted to explore the abstract, but in their excitement just made a puddle of muddy sound. It’s about as dissonant as music can get: choppy sporadic jazz drumming, an aloof bass walking up and down the scales, and a xylophone instrument that carries a melody difficult to find.  On the positive side, this experiment does seem to capture that chaotic post-industrial feel of a futuristic society. There is a coldness in so much dissonance that, although makes it very hard to connect to, captures the severe nature of urban life.

Set to dance or film, City of The Future would come alive, but left solely to the ears the album is like viewing only the corner of a Pollock painting. “Avant-garde fringe” deserves a place in the music industry, but more for the technicality involved and the fact that these artists  believe in their music. In retrospect, progressive jazz fans should hold promise for Beep’s future explorations. Although there are a few impressive moments in City Of The Future, this eclectic trio can do much better.

(Third Culture Records, 330 Morgan Ave. #306, Brooklyn, NY 11211)