CHARLESTON, W.Va. -- It seems like in the indie rock world these days, it's not enough just to be independently produced and distributed. Everyone is competing to be the most unique madman, to have the most diverse set of influences and the most diverse ways of paying homage to his heroes. 

Right now, it seems like Dave Longstreth is winning that race. Longstreth, a Yale graduate, is the composer, arranger, creative director and front man for the revolving door musical collective Dirty Projectors. 

In 2005, the band released "The Getty Address," a nearly hour-long concept album loosely based around the subject of Eagles drummer Don Henley. This album established a formula, which was soon to become a trademark of the Dirty Projectors: Longstreth's unusual voice dancing freely around beautifully interwoven female harmonies. 

Next, Dirty Projectors released "Rise Above" in 2007. This album was Longstreth's attempt to reproduce the classic hardcore punk band Black Flag's 1981 album "Damaged" from memory. The result is less of a straightforward tribute album than an interesting variation on a theme. For some fans intimately familiar with the original, Longstreth's version was viewed as blasphemy. However, others heralded it as a breath of fresh air.

Many have compared Longstreth and his band to David Byrne and the Talking Heads. Recently, Byrne collaborated with Dirty Projectors on "Knotty Pine," a track for the AIDS charity album "Dark Was The Night." Longstreth participated in another AIDS-related charity event earlier this year, composing an original piece that he and members of his band sang with alternative music icon Bjork at a benefit concert.

On the group's latest album, "Bitte Orca," Longstreth and company have finally wrestled their creative beast into something accessible and inviting. The album's title comes the German word "bitte," which means "please," and "orca," which is a killer whale.

It's very easy to put labels on the various parts that make up Dirty Projectors -- afro-pop guitar, chamber-pop, neo-classical and near angelic vocal arrangements to name a few -- but it's describing the whole that presents a problem. Longstreth's vision of what pop music should be is truly unique.

It seems that Longstreth has chosen as his obsession the most complex instrument in the musical spectrum: the human voice. His own voice, which contains hints of the world musical influence that can be heard in his guitar playing, floats ethereally, intertwining with the twin female voices of singers Amber Coffman and Angel Deradoorian.

Of the album's nine tracks, it's truly hard to pick favorites. Each track is startlingly different and distinctive, though the album has a coherent sprit and feeling.

This truly unique and stimulating album is the reward for many years of musical experimentation by Longstreth and company. Dirty Projectors have spent their previous two albums teetering on the edge of obscurity, paying their dues and toiling in the trenches of New York's underground scene. But finally, the group has found its true voice and calling in creating delicate chamber-pop out of distinctive song structures and one-of-a-kind harmonic arrangements.

CHARLESTON, W.Va. -- It seems like in the indie rock world these days, it's not enough just to be independently produced and distributed. Everyone is competing to be the most unique madman, to have the most diverse set of influences and the most diverse ways of paying homage to his heroes. 

Right now, it seems like Dave Longstreth is winning that race. Longstreth, a Yale graduate, is the composer, arranger, creative director and front man for the revolving door musical collective Dirty Projectors. 

In 2005, the band released "The Getty Address," a nearly hour-long concept album loosely based around the subject of Eagles drummer Don Henley. This album established a formula, which was soon to become a trademark of the Dirty Projectors: Longstreth's unusual voice dancing freely around beautifully interwoven female harmonies. 

Next, Dirty Projectors released "Rise Above" in 2007. This album was Longstreth's attempt to reproduce the classic hardcore punk band Black Flag's 1981 album "Damaged" from memory. The result is less of a straightforward tribute album than an interesting variation on a theme. For some fans intimately familiar with the original, Longstreth's version was viewed as blasphemy. However, others heralded it as a breath of fresh air.

Many have compared Longstreth and his band to David Byrne and the Talking Heads. Recently, Byrne collaborated with Dirty Projectors on "Knotty Pine," a track for the AIDS charity album "Dark Was The Night." Longstreth participated in another AIDS-related charity event earlier this year, composing an original piece that he and members of his band sang with alternative music icon Bjork at a benefit concert.

On the group's latest album, "Bitte Orca," Longstreth and company have finally wrestled their creative beast into something accessible and inviting. The album's title comes the German word "bitte," which means "please," and "orca," which is a killer whale.

It's very easy to put labels on the various parts that make up Dirty Projectors -- afro-pop guitar, chamber-pop, neo-classical and near angelic vocal arrangements to name a few -- but it's describing the whole that presents a problem. Longstreth's vision of what pop music should be is truly unique.

It seems that Longstreth has chosen as his obsession the most complex instrument in the musical spectrum: the human voice. His own voice, which contains hints of the world musical influence that can be heard in his guitar playing, floats ethereally, intertwining with the twin female voices of singers Amber Coffman and Angel Deradoorian.

Of the album's nine tracks, it's truly hard to pick favorites. Each track is startlingly different and distinctive, though the album has a coherent sprit and feeling.

This truly unique and stimulating album is the reward for many years of musical experimentation by Longstreth and company. Dirty Projectors have spent their previous two albums teetering on the edge of obscurity, paying their dues and toiling in the trenches of New York's underground scene. But finally, the group has found its true voice and calling in creating delicate chamber-pop out of distinctive song structures and one-of-a-kind harmonic arrangements.