The inspirations behind Black Dice co-founder Eric Copeland's new album are as follows: glam holes, glitter dreams, money troubles, apocalypse paranoia, one hit wonders, manifest destiny, my family's westward migration, body troubles (was passing kidney stones almost the entire time), LGBT disco parties, Jonathan Richman, Missing Foundation, Neil Diamond, New Orleans, poverty, getting pushed out of another Brooklyn neighborhood... No Beach Boys, no Beatles, no Buddha... More Bad News Bears.

That list is unsurprisingly as scattered and absurd as the music here can be, and though it isn't exactly his weirdest release (that distinction could fall on 2012's excellent Limbo), Black Bubblegum (a sly take on his new direction) might be his most varied and disjointed. Wanting to take a more "hands-on" approach to recording, he switched out sample-driven tech and hardware for keyboards, guitars and effect pedals, creating an oddly approachable but still deformed sound. It sees him moving away from his trademark psychedelic dub and towards strange misshapen pop music.

Black Bubblegum was designed to reject things like melody in favor of discord and dissonance, but that doesn't prevent it from worming its way into songs like the messy and tossed-off garage rock of 'Don't Beat Your Baby' or the upbeat NSFW-titled 'Fuck It Up,' whose handclaps, bouncing beat, and peppy organs make it hard not to nod or sing along to. With its chugga motorik rhythms, the organ-driven 'Radio Weapons' stands out as being the most surprisingly straight ahead and danceable thing Copeland has done so far. Yet all of these songs tease enough melody and structure without ever completely crossing over into conventional pop terrain.

Copeland still leaves room for plenty of weirdness to be found on here, like the woozy reggae of 'Rip It' or the melted psychedelic dub of 'On' where a flute melody flutters playfully over layers of disorienting vocal loops and buoyant beats. Where his previous albums felt almost tied together by jagged singular music visions, Black Bubblegum differs in that it feels more like a montage of ideas loosely tossed together for the fun of it. It's messy and crude, but never predictable. Nearly 20 years into his career, Copeland continues to make challenging and idiosyncratic music that defies conventional boundaries, and it's safe to say there's no chance of him toning things down anytime soon.