The Glitch Mob will perform in the Washington, DC. (Nettwerk Music Group/Neil Krug)
“Love Death Immortality”

Kindred spirits: The Crystal Method, Yes, Prodigy

Show: With Ana Sia and Penthouse Penthouse on Saturday at the Fillmore. Show starts at 8 pm. 301-960-9999. $20.

With the boom in electronic music came dozens of subgenres: trance, dubstep and so on. The Glitch Mob’s new album, “Love Death Immortality,” is so robust and dynamic that it deserves a subgenre tag all its own. How about “rock-and-roll”?

The Los Angeles trio’s music is heavily electronic, of course, featuring the kind of beats, breaks and computer-age tones that keep rave clubs palpitating worldwide. There’s even some of electronica’s usual cyber-corniess, like the robo-voice that intones “We are the wild ones” on “Skullclub.” But this outing is more forceful and direct than the Mob’s debut, 2010’s “Drink the Sea.” Most tracks are structured as songs, with female vocals that sometimes expand beyond short catch phrases. In
addition, producer-performers edIT, Boreta and Ooah match electronic rhythms to beats that have the sound and swing of human drumming.

The result doesn’t sound like Chuck Berry. As such titles as “Skytoucher” and “Beauty of the Unhidden Heart” suggest, the Mob has an affinity for prog-rock. Yet the twisty, tricky parts are wedded to thumping beats and arena-rock flourishes.

The track “Becoming Harmonious,” for example, opens in a trip-hop mode but soon becomes heavily metallic. That’s typical of this tightly focused album, which rarely takes a breather on its way to the next skull-clubbing crescendo.

Mark Jenkins