Every now and then you run across an album or band that defies easy categorization. To someone who has the dual goal of constantly seeking the latest innovative musical fix and turning living music into static words, this is an incredible, yet incredibly frustrating occurrence. Such is the case with Habitat, the latest album by an unusual band named Man On Fire.

The band is centered around veteran producer Jeff Hodges who sings and takes on keyboard duties. Eric Sands plays any instrument lower than a standard guitar, and Rob Sindon lays down all manners of percussive rhythms. And then there’s Steve Carroll. Carroll doesn’t sing or play any instrument, but he writes the lyrics - yes, a dedicated lyric writer, and it shows. The concept behind Habitat is a series of story/image songs concerning the variety of inhabitants who live in one city block. In less capable hands this could turn into high cheese, but Carroll creates word paintings that hit with gritty reality.

For more punch they’ve enlisted Adrian Belew to lend his signature guitar tone to every song. Much more than plopping down an angular solos, Belew integrates himself into the band, playing rhythm and lead parts in a way that I’ve not heard from him in a long time. Also on hand is David Ragsdale from Smashing Pumpkins and Kansas, plying his magical, insanely catchy, insanely complex violin parts to most songs. These artists do what they do exceptionally well, while Hodges creates layers of very unique and intriguing keyboard sounds to complement the strong, accessible melodies.

You might think that with the inclusion of players from Kansas and King Crimson and the whole concept album deal the music would be labeled as progressive. but once again, you would be wrong, wrong, wrong, at least in the commonly held sense of weird time signatures and technically self-indulgent jam sessions. Perhaps sophisticated, mature pop with a strong vein of classic rock would be more applicable.

I’ve given this album more listens than I’m normally able to afford, and each time something new sticks out, hooking deeper into my eager flesh. Habitat hasn’t made me fall fully in love with it, and yet I have this feeling that in five years it will be one of the few albums from 2005 that I’ll still be dragging out for an occasional listen. Maybe by that time this record will be regarded with the same respect as Leftoverture, Caress of Steel, Lamb Lies Down on Broadway, The Wall or even American Idiot.

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