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It used to be standard procedure for rock bands to shun synthesizers and eschew the use of electronic gadgetry, lest they be accused of supporting the woeful descent of "true" music into computerized artificiality. You may even recall U2's real-rock flag waving in the days before they created the kind of loopy space-age disco they once guarded us from. These days there's no shame in synths, and even guitar purists can utilize the plugged-in keys without embarrassment. Unfortunately, though, some still haven't figured out what to do with their technological freedom. But thankfully, Ed Ackerson knows. The Minneapolis musician/producer behind Polara can use crazy electronic bleeps and rushes so well, not only do they not impinge on his otherwise straitlaced guitar rock, but they in fact enhance the music's edge. With tools like the Moog, Farfisa, and sampler alongside the traditional guitar, bass, and drums setup, Polara creates lush lo-fi that both Stereolab and the Replacements could love. Though songs like "Letter Bomb" and "Source of Light," from the band's self-titled debut, would make great power pop even without the special effects, it's the added layers of tech icing that turn the tracks into gorgeous sonic treats. The ethereal backdrop works as well on the country-inflected, acoustic-based "Taupe" as it does on "Counting Down," the high-energy opener that swirls and drives like punk rock played through a plastic tube. Co-starring friends such as Velo-Deluxe's John Strohm and Trip Shakespeare's Matt Wilson, Ackerson's Polara is one of the most successful (though perhaps doomed to be unsung) expressions of rock vision in recent memory. --Roni Sarig