There’s something to be said about experimentation and noise. Even the most simplistic rock band can transform themselves into something much more complex by adding a few guitar effects and background clamor; just look at The Beatles or The Rolling Stones — both bands pulled it off well, and their songs have become legendary.

Anton Newcombe’s The Brian Jonestown Massacre, an odd collection of musicians that have mixed the experimental with the accessibility of modern rock, have been doing this experimentation thing for a while now. With a diverse collection of albums that move from 1990s pop excess to the grounding of folk rock, Newcombe’s band has been fairly successful with experimenting over the years.

The Brian Jonestown Massacre’s thirteenth album, My Bloody Underground is just as experimental as anything else in their past, but this time around the band doesn’t feel nearly as tight as they once did. As their “best of collection” Tepid Peppermint Wonderland: A Retrospective reveals, this band has tried practically everything, but have done so within the confines of succinct pop songs. Now, the band’s sound seems like it’s been released into some other realm and allowed to dissipate into the stratosphere.

With that said, My Bloody Underground does have some great songs, and the band’s surrealist humor and tone still shines. The album begins with “Bring Me the Head of Paul McCartney on Heather Mills’ Wooden Leg (Dropping Bombs on the White House),” a hilariously titled song, although jarring and low-fi. In terms of album openers, this one summarizes the rest of the album well: it’s accessible enough to listen to over and over again, but has an off-color quality and is rife with experimentation. The guitars jangle along, as Newcombe sings, “so grab your silver bullets and your wooden stakes / And lock your fuckin’ doors for Jesus sakes” with a beautiful melody as the drums and electric guitars drown out everything else. This is essentially how the rest of the album goes, although some moments are much better than others.

As the album continues, the band starts to sound like they’re just randomly jamming, enjoying every second and seeing what happens. “The Infinite Wisdom Tooth / My Last Night In Bed With You” starts of with low-fi guitars, as the band stops so someone can tune the guitar. The rest of the song has a demo tape feel to it, and it’s sometimes hard to follow, but a beautiful jam nonetheless. Equally on “Who Fucking Pissed In My Well?,” the band jumps right into a far out mystic jam that includes acoustic guitar and sitar.

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