When you think of African-based, rock-influenced music, you might not immediately think of Asheville, N.C. Unless, that is, you have heard the music of Toubab Krewe (www.toubabkrewe.com). When listening to this quintet, it’s easy to believe you are hearing an authentic West African band, complete with kora, djembe and other exotic instruments. And in a sense, you are. They just happen to be American. Listen closer, however, and you begin to hear how imaginatively these guys have injected rock and jam-band sensibilities into the mix. One minute, the guitar sounds like Ali Farke Touré, the next you hear strains of Jerry Garcia or even Jimmy Page. While on one of various trips to Africa to study traditional music, Drew Heller, Toubab’s lead guitarist, was given this bit of advice: “Play what you would play.” In other words, learn the techniques from your teachers, but play it the way you feel it. He and the other members of the band seem to have taken this to heart. This ability to play the real deal music of West Africa, but to make it their own, is what makes Toubab Krewe distinct. On “Devil Woman” and “Djarabi,” you can hear it for yourself.

“The Unsung Colony” is the latest album by Portland, Ore., based band Norfolk and Western (www.myspace.com/norfolkandwestern). Originally a solo project by bandleader Adam Selzer, Norfolk and Western has developed into a septet, which includes percussionist Rachael Blumberg, formerly of The Decemberists, and multi-instrumentalist Peter Broderick, of Horse Feathers. With each new album, Norfolk and Western’s sound has evolved from the simple, stark folk sound of Selzer’s first work, “Dusk in Cold Parlours,” to something much richer and sophisticated, culminating in its current work with songs such as “The Longest Stare” and “Barrels on Fire.” At times on “Unsung Colony” you hear a Beatlesesque quality, at other times a more indie rock sound, and sometimes both at the same time. But no matter what the arrangement, Seltzer’s often-dark lyrics, folk roots and musical craftsmanship remain at the heart of the project.

Canadian musician Mark Wiebe, aka Sinewave (www.myspace.com/sinewavesite), creates celestial electronica that is, well, heavenly. With a lush sonic palette, hypnotic melodic lines, just the right amount of vocoder and hip, albeit very laid-back, rhythms, Wiebe takes the listener on a sonic journey with each song. His titles are great, too—“A Ton of Automatons,” “Wizard of Ahhhs,” “Peace by Peace.” Each one is perfect for the song it represents, yet somehow perfectly random.  If you liked the soundtrack for “Lost In Translation,” you will probably like Sinewave. As with Air and Kevin Shields, Wiebe excels at creating cinematic mood pieces that carry you along in a wash of peaceful, if somewhat anxiety-tinged, motion.