The Sideman's Solo Project may be one of the more interesting rock and roll phenomena. In distinguishing oneself from a former band, an artist's deviations will often reveal unexpected aspects of personality never allowed to surface previously. Artists like Dave Grohl, Kim Deal, John Frusciante, James Iha, Jerry Cantrell and even J.C. Chasez form this rare-if not always successful-tradition.

It seems that Frausdots' Brent Rademaker is the Aber-sidekick, having played bass for early '90s shoegazers Further and current indie rock and psych-folk acts The Tyde and Beachwood Sparks.

With his new project's debut album, Couture, Couture, Couture, Rademaker finally grabs the reigns, and along with collaborator Michelle Loiselle and a handful of guests, forges a sound entirely distinctive from any of his aforementioned bands.

"If I hadn't been playing second fiddle in any band I'd ever been in," claims Rademaker in a bio on the Sub Pop Web site, "I would have made this record right out of high school."

Couture, Couture, Couture is just that: a charming yet often blatantly idolizing example of record-collection rock. It doesn't sound juvenile in execution, but Rademaker uses the album as a 47-minute homage to his musical heroes.

Opening with the epic "Dead Wrong," Frausdots immediately reveal every weapon in their arsenal: crescendoed minor-key chord progressions, subtle synths, pop hooks, building codas and a dark lyrical style tracing isolation, apathy, alienation and occasionally bliss through cityscapes and nocturnal wanderings.

"Lived in the city on a street with no name/it felt good to be out in the rain," he begins, soon continuing, "In the city/I can't remember my name." Metropolitan paralyzation isn't the most original subject, but Rademaker's relationship with his hometown of Los Angeles complements the album's dark, post-punk feel.

A bouncy organ makes "The Extremists" the lightest-sounding cut from Couture, Couture, Couture, and it's an interesting contrast to lyrics like "I don't feel real/I don't feel anything."

The song, along with "A Go-See" and others, is one of several catchy pop numbers placed between the albums more extended dirges, and shows more of the musical breadth exhibited in "Dead Wrong."

The second half, led by the indulgent "Broken Arrows," showcases longer arrangements with less gusto, needlessly repeated choruses and several awkward segues lengthening songs without enhancing them.

To be blunt, it's as boring as it is disappointing. Fortunately, Rademaker is able to regain his footing for the synth-heavy closer "Tomorrow's Sky," an unabashedly confident new-wave cut.

The real treat, however, is "Fashion Death Trends," a somewhat out-of-place pop anthem and one of the most rewarding indie rock recordings to surface this year. An off-kilter catchiness allows one to ignore its endearingly banal lyrics; Rademaker is singing about his fashion frustrations, and his words are just dumb enough to be convincing.

"Fashion Death Trends" doesn't quite enter guilty pleasure territory, but it may be bring Frausdots some unexpected success this fall if college radio stations discover it among slew of new releases that will emerge in upcoming months.

With influences that include gloomy post-punkers Echo and the Bunnymen, noise-rock pioneers The Jesus and Mary Chain and seminal Goth icons The Cure, Couture, Couture, Couture is one of many notable records to emerge at the end of this year.

Utilizing a sense of melody reminiscent of Elvis Costello, Rademaker mixes, manipulates and interprets his idols and influences to an ultimately noteworthy end. It has its failures, but most fans should-at the very least-find Brent Rademaker's foray into classic post-punk a gratifying listen.