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Despite rhythmic nods to the SoCal '60s, the overall vibe of Orcutt Shelley Miller is angular, atonal slash piled on a mid-'80s SST punk-fusionoid substrate, with Orcutt's bristling chords anchored by Miller's ebbing/ flowing bass.

In the engine room, Shelley, the most beat-anchored of the trio, never quite abandons the two-and-four pocket but scrabbles around it, skitters over it, burrows under it, ultimately tapping a sort of Michael Hurley-gone-motorik vibe on the longer tracks. "Four-Door Charger," easily the most tranced-out of their tracks, passes through kraut-funk on the way to a solid Klaus Dinger-meets-Lothar Meid churn.

Orcutt Shelley Miller’s self-titled debut album is out now on Silver Current, and sounds like a fully formed beast, rather than a mere sum of its distinctive parts.

For the improv shy listener, I can gladly inform you that it sounds like Orcutt sketched out a few of the heads beforehand, so there's plenty to clutch onto amidst the slashing Ginn-esque tritones, and plenty of the right-angle bursting-clockwork solos that define Orcutt's hypnotic phrasing.