Asleep’s new album “Unpleasant Companion” possesses a sound that manages to blend the influences of Incubus, Nirvana and Radiohead into a harmonious overall sound.

“Unpleasant Companion” opens with speed and force in the first two tracks “Hip to Def” and “Drama Junkie.”

Possibly the catchiest song on the album, “Hip To Def” sets the pace of “Unpleasant Companion” with fast-beating drums and loud vocals. Asleep demands the attention of the audience with melodic energy that will immediately entice the listener.

With heavier drums and guitar, “Drama Junkie” introduces more emotional vocals to the album while maintaining the fast-paced style of “Hip to Def.”

While the vibes of “Hip To Def” and “Drama Junkie” are exciting and full of adrenaline, “Deserted” brings to light a slower side of the album. The vocals remain loud and upbeat, but the speedy and powerful instrumental of “Hip To Def” and “Drama Junkie” are replaced by a steady soft rhythm, introducing the listener to a mellow side of the band.

A choppy guitar lead, juxtaposed with throbbing backup guitar, encapsulates heartache in “Delirium Tremens.”

The heavy chord lines of “Must’ve Been” don’t quite match its tranquil vocal melody. However, the two manage to complement each other to create a fluid harmonious ambiance. By the end of the song, the music fades, and listeners are left with the noises of different voices from a television changing as though listening to someone channel surfing. The style in which Asleep concludes “Must’ve Been” reveals Asleep’s experimental side in the album.

“Big Sister” suggests a darker tone of “Unpleasant Companion.” The end of the song climaxes with high-pitched vocals and heavy, tormented guitar.

The album picks up momentum in “Static Mirrors,” returning to the fast-paced guitar riffs that characterize the first songs of the album. Distorted guitar riffs add a new sound to the album that credit a larger range in the artists’ capabilities and creativity. The end of “Static Mirrors” leaves the listener with chaotic static noises that lead to the final song on “Unpleasant Companion”: “Magik Numbers.”

“Magik Numbers” concludes the album with a soft, ambient acoustic sound reinforced by the repeated lyrics “It was all a dream,” suggesting the listener wake up from the 30-minute trance.

Asleep covers many genres and styles in “Unpleasant Companion.” The combination of these different styles makes it imperative that the album is heard in order from beginning to end, and not on an individual song basis.

“Hip To Def” and “Drama Junkie” immediately catch the listener’s ear, but it takes patience to truly appreciate the rest of the album. Though “Unpleasant Companion” does not introduce anything previously unheard in music, it combines aspects of grunge, alternative and slightly experimental rock and possesses strong vocals. Altogether, these elements create a fun and pleasant listen for any fan of rock music.

Email Sharpe at ssharpe@media.ucla.edu.