Built to Spill leader Doug Martsch has has been perfecting his whiny voicings and lo-fi instrumental experimentations since the release of his band's debut Ultimate Alternative Wavers in 1993. But, the multi-dimensional songwriter reaches his zenith (oddly enough) on his major label debut Perfect From Now On, an album that perfectly sums up the band's place in modern rock with trance-inducing consistency and high-energy tripping.

With bassist/guitarist Brett Nelson and drummer Scott Plouf, Martsch drafts dreamy electric lullabyes interwoven with tingly rock anthems. The ornate production, replete with cellos, melotrons and moog synths, makes for a full sound. Quick comparisons can be made to the work of Pavement, Sunny Day Real Estate or even Jane's Addiction in terms of the music's general characteristics, but Perfect From Now On stands alone as one of the decade's finest albums, especially in terms of ingenuity and individuality.

Martsch is a master of construction, his transitions taking the listener from safe, gently undulating melodies to perilously high places where the notes are felt more than heard. As a result, the album is blessed with at least two perfectly sublime moments. Take special note of 3:18 minute marker in both songs three and four, "Stop the Show," and "Made-Up Dreams." So rarely does music ever put the listener in a temporary state of bliss as well as is done here.

Best yet, all of the songs seem very unpretentious. Martsch is great at writing words that define him and his music -- "what a site, what a sound" -- without coming off like a self-elevating dickhead. To boot, he's an incredibly talented and versatile guitarist, gushing madly into the vein of electrified-jam masters such as Jimi Hendrix and Neil Young.

Still, Built to Spill's sound is not best defined in comparison to classic rock, as its synchronized guitar/bass lines rub up alongside pulsing, smooth production noises. Song after spacey song, Martsch's whiny voice spreads itself wide over open meadows of space filled with feedback and softly brewing drones.

It's pretty clear the fellas in Built to Spill are into textures and tone. Maybe that’s why two of the songs, "Velvet Waltz" and "Kicked It in the Sun," seem to flow on endlessly and aimlessly the first few times they're played. But the music isn't boring, as much as it is organic and natural to the ear.

Even in the more accessible tunes on Perfect, Martsch has left subtle guideposts in the music that only reveal themselves over time. Though most of them are outstanding on their first go, the songs begin to shine with a measured brilliance on each subsequent listening - making the entire work a truly rare treat.

Message to anyone out of the know: Get your hands on a copy of Built to Spill's Perfect From Now On at once, and allow yourself a private listening, so you can appreciate this fine effort to its fullest. Repeat a thousand times over. And, most of all, enjoy.