Often labeled as Country-Rock or Americana, Jeff Tweedy and his gang of musicians that make up Wilco quietly evolved little by little with each release following their 1995 debut "A.M." When Wilco released "Yankee Hotel Foxtrot" in 2002, however, they threw any pre-conceived notions their fans had about the band out the window.

Sure, Wilco offered up glimpses of clever experimentation with "Being There" in 1996 and "Summerteeth" in 1999, but "Yankee Hotel Foxtrot" blended experimentation with a supremely well-written and diverse collection of songs to formulate one of the finest albums of the decade by any artist.

"The Whole Love" is Wilco's eighth studio album. Although the band has always been granted a good deal of creative freedom with their recordings, "The Whole Love" is also the first record released on their own label, dBpm, which gave them the time necessary to try some new ideas. From the downbeat of the opening track, "Art of Almost," it is perfectly clear that this is, once again, a new Wilco.

"Art of Almost" opens with the sound of a needle hitting a record as drums, bass, and synthesizers build on a minute-long instrumental loop. Before listeners begin comparing Wilco's new album to Radiohead, however, the electronic loop fades into a vast sea of strings that hold onto an elaborate chord until Jeff Tweedy's unmistakable vocals make their first appearance of the record. As the seven-plus minute opener develops, many new instruments and sound effects are introduced which assist in creating a wave of dynamics that is often lost in most modern recordings. "Art of Almost" is easily one of the most ambitious songs Wilco has ever released and to open "The Whole Love" with such a recording is a statement few bands could make successfully.

"Art of Almost" is followed by "I Might," a track that feels much more familiar, but still holds onto an edge of unproven additions. Balanced by a repeating, catchy hook and weighing in at just under four minutes in length, "I Might" is groomed for radio, but still pushes the boundaries of a customary pop song. Matched up with "Dawned on Me" and "Born Alone," "The Whole Love" begins to feel like a blend of Wilco's popular early hits and critically acclaimed visionary performances from their later years.

Wilco has always had a knack for properly balancing a track listing in an effort to prevent listener fatigue and their art is perfected on "The Whole Love." Typically trading upbeat hits with more emotive slower tracks, Wilco's clever song placement holds the attentions of fans both new and old on a straight through listen.

Never does one particular style feel played out, nor does the urge to hit the skip button ever arise.

Although the album opens with the most ambitious track in the instrumental sense, a 12-minute closing number, "One Sunday Morning" puts Tweedy's heart on his sleeve and takes as many chances lyrically as "Art of Almost" does musically. The beautiful acoustic song is as simple an arrangement as "The Whole Love" offers giving Tweedy the perfect showcase for his talents as a poet. Tweedy's vocals remain quiet and unwavering, never truly capturing the power of his words, but by the time the song finally concludes, the emotions he clearly feels are shared by the listener. It is a truly unique listening experience for Wilco fans and one very few songwriters have ever been able to pull off with any amount of success.

"The Whole Love" is a celebration of freedom for Wilco. They're on their own and have the means to release music at their leisure now. The result, thus far, has been one of their best albums to date. One can only hope this is only the first of many independent releases from this phenomenal American band.

Similar Artists: R.E.M., The Wallflowers

Track Suggestion: "Art of Almost"

Four and a half stars