Now here’s something I wasn’t expecting. One of the better albums I’ve heard so far in 2007 is the brainchild of a former member of Limp Bizkit. That’s right, someone who was once part of what is probably my least favorite hard rock band of all time has created a captivating piece of music.

The former Bizkit member in question is guitarist Wes Borland, who somehow was able to earn the respect of some of the most ardent Fred Durst haters. I recall many people telling me he was the only good part of Limp Bizkit, but I could never bring myself to listen closely enough to form an opinion. His latest project, Black Light Burns, has nothing remotely in common with the band that made him famous. The outfit’s debut album, Cruel Melody, the first release from I Am: Wolfpack, the label founded by famed producer Ross Robinson (Korn, Limp Bizkit, Sepultura, Slipknot, Fear Factory), is a dynamic collection of songs filled with atmospheric electronics and rhythms, and more than a few angry guitars.

Among those assisting Borland in the studio are Trent Reznor’s former Nine Inch Nails cohort Danny Lohner, who produces and plays guitar, bass and keyboards, and drummer Josh Freese, the current touring drummer for Nine Inch Nails who has also done time with Guns N’ Roses and A Perfect Circle. One would assume Lohner’s influence is in the electronics, while Freese’s aggressive drumming helps much of the album retain a “live” feel. Borland, though, is the heart of the sound, handling vocals, guitar, bass and keyboards. (He’s the only player from the recording who also appears in the live band.) He proves to be a capable singer, lacking great range but able to evoke a wide range of moods through subtle changes to his intensity and volume.

Each of the 13 songs is distinct and memorable. The albums kicks off with “Mesopotamia,” with its catchy refrain of “Mesopotamia/Mesopotamia/You fuckin’ give me the creeps/You fuckin’ give me the creeps” evoking Rated R-era Queens of the Stone Age. On “Animal,” Borland’s soft vocals bring Trent Reznor to mind before the song hits its majestic chorus. The electronic, dance-flavored beat of “Lie,” the first single and video, builds up to its huge chorus. The title track adds an acoustic guitar to the mix, and the almost lackadaisical feel reminds me of the Gorillaz song “Clint Eastwood.”

Borland and company venture into moody, atmospheric terrain for the disc’s final three tracks, “New Hunger,” “I Am Where It Takes Me” and the eight-minute-plus instrumental “Iodine Sky.” This trio of songs serves as an exclamation point for the diversity of the recording. I am eager to see how all of this material is recreated in a live setting. Borland’s black light burns bright, and there’s nothing cruel about his latest offering.