For the first couple of tracks on The Horse, The Chap seem to be a shoe-in as the next hot purveyors of the Gang of Four-meets-Kraftwerk electro-dance-punk currently championed by, among others, Oakland's Numbers. But twelve tracks later, it's clear The Chap has chosen another path entirely, fusing proto-disco beats and stupid-smart hooks with psychedelic rock, glitchy treatments and a restless, jumpy diversity reminiscent of '60s Krautrockers Faust.

The disjointed, off-kilter progression of the album takes center stage, but simultaneously we're pummeled by a barrage of absurd hooks that would make Jimmy Iovine want to press it and ship it before you could say "nu-emo." Unfortunately for The Chap's future in the majors, its pop gems are presented in a glorious mess of lo-fi clutter and noise, choppy transitions, peaked levels and found sounds.

"Dror Frangi" puts a British psych guitar progression and synth melody -- somewhere between Yes and the Pretty Things -- over a driving krautrock-electro beat. The result is an almost annoyingly catchy tune -- even without the hilarious spoken lyrics, which ramble passionately about music software sample menu options. Still, this post-everything hit-making is interspersed with plenty of material that, while quite compelling, is hookless. For example, "BITSS!!" is a twelve-minute odyssey of basement experimental electro, evolving from sporadic, uncomfortable breath-like noises to a frenzy of house beats and chalkboard-scratch violins.

The fact that the record is also totally hilarious helps offset these moments. In "Courage + Modesty," a static-ridden drum kit bangs out a ruthless disco beat to introduce the first lyrics of the record, spoken like a Debbie Harry rap: "It's important to forget we're in heaven. It's hard work to believe. . . 24/7." Was that a wink? The Horse is at once an experiment in sound and an exercise in cutting edge pop. It's surprising at every turn, but always feeds the pop monkey on your back.

Peter Sax

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