Blueberry, the brainchild of singer songwriter Gwen Snyder, has an infectious new CD aptly titled Organika. Though she does get help from a few folks, the Saugerties/New York City songbird sings, plays (piano, bass, drums), and produces. It could be described as pop, but there's nothing prefab or contrived about this. In the celebrated '60s, it seemed as if there was no preconceived notion of what a pop song should be except for great. Organika certainly follows that model. A multitude of textures lifts this inventive production—the funk-filled fantasy "Grubby Wire," the catchy underwater "The Little Ones," the sunny "Wanna Be There," and the subversive "By the Roadside" (which could be on the soundtrack from a spy movie). Clever arranging and producing is rampant, as are juicy songs, and there are more melodic hooks than in a tackle box.

Recorded in Catskill, it has the same sensibility that Prince had in his heyday when he used lots of keyboards and drum machines but still had a human element. Snyder seduces with her lush, dreamy fare and has come into her own this time. This is what pop music used to be like, and what it should be again. Don't miss it. www.blueberrylounge.com.

If you're a fan of nocturnal ambient noise, this two-CD set is worth a spin on some random, pensive evening when you just want to dumb down and listen to a nondescript racket. In 1991, the Pauline Oliveros Foundation commissioned a tape composition from Switzerland-born percussionist and sound language mogul Fritz Hauser; the recording featured sounding stones and various watches and clocks. A few years later, improv composer Oliveros, electronic artist David Gamper, and jazz virtuoso Urs Leimgruber went underground—into Gamper's Abeel Street basement in Kingston, to be precise—and recorded not one, but two 32-minute pieces over Hauser's tape, using accordion, electronics, soprano and tenor sax, percussion, miscellaneous small instruments, and the arcane "Expanded Instrument System." The subterranean din produced by these nefarious marauders begins like a gauzy dream and moves through a maelstrom occasionally punctuated by ticking, chiming clocks. Pop in the second CD and it's dissonance revisited. Why Oliveros chose to release two half-hour CDs instead of a full length two-tracker probably has less to do with monetary concerns and more with keeping it peculiar. Regardless, the ever avant-garde Deep Time is most befitting if you're looking for the soundtrack to your next performance art piece.

If you believe the best rock comes from the UK but you don't know Spiv—a four-piece, Anglo-American, Woodstock- based band known for its complex, trippy tunes—this CD's for you. However, if you're in the know on Spiv, take heed—this CD's danceable, drivable, dreamable.

Spiv (English slang for a man who lives by his wits) updates '80s Brit rock with energetic, multilayered songs. Listen for traces of Bowie, Gang of Four, Joy Division, Psychedelic Furs, Pink Floyd, even Gong. Spiv certainly maintains an air of mystery—the CD merely lists 10 tracks and its appearances are underground. Nonetheless, Spiv's wide following appreciates its tightly woven threads of two guitars—one spacey, psychedelic; the other relentless, urgent—and lyrics that are detached, edgy, and pointed.

In Spiv's debut CD, leader Sham Morris and second vocalist John Gullo deliver wry observations on women ("Hilary's Psychosis," "Poor Little Baby," "Simone") and society ("Old Soho," "Bottom Feeders") in taut vocals. In the haunting "Don't Cover Your Eyes," their guitars play like trees with endless branches, ominous background whispers sprouting like leaves. It's unclear whether the song's refrain, "Cover your heads, cover your souls, but don't cover your eyes," refers to world events, personal relationships, or both, but in a post-9/11 world, that's as it should be. www.cdbaby.com/spivuk.