If "Dead Mountain Mouth" is the latest peak Genghis Tron have set out to conquer, then consider it toppled. A raging display of grind and noise coming down with a digital virus, this album is mechanically violent, yet merciful enough to offer up short whirring reprieves.

Grind freak-outs, noise-ridden flurries of harshly screamed vocals and pounding audio aggression shatter into segues of soothing nihilistic electronic ambiance. Alien hums and beeps drone on throughout the background, sometimes developing into a sparse introspective passage and at others just bridging the gap to the next virulent outburst. It's unconventional, highly unstable and yet there's actually an organic element behind it.

Half the time it sounds like corrupted binary code is serving as the tablature for what the band are so relentlessly dishing out - for everything is sonically blistering, adventurous and unflinchingly intense. But it's not so much chaos as it is jarringly lo-fi and avant-garde. The included unintrusive and raw production talents of Kurt Ballou of Converge fame don't hurt either.

Especially since some of this record sounds like "Jane Doe" or Refused's "The Shape Of Punk To Come" being performed inside a crumbling version of the computer world of the movie "Tron". To be sure, with music this fierce and off-color, you won't be finding Genghis Tron in the CD player of your kid brother who just graduated to Killswitch Engage after finally growing out of Korn.

What you will find though is an artistic listen from a group not afraid to brazenly experiment and go places that aren't normally explored. Young and hungry or young and naive, it really doesn't matter. Genghis Tron have followed their own path and one can only hope that "Dead Mountain Mouth" isn't the end of where their journey will take them.