Harriet Tubman’s Electrical Field of Love is a deeply personal album collaboratively written and recorded with Grammy award-winning singer Georgia Anne Muldrow over a multi-day session. On the band’s sixth album (out Mar. 27 on Pi Recordings), the recording process is reflected so clearly in the music itself, which often feels like it is engaging in its own creation — forming, dissolving, and re-forming from a kind of primordial expression.

Harriet Tubman is the trio of New York scene veterans Melvin Gibbs (bass), Brandon Ross (guitar), and JT Lewis (drums and percussion). The group’s wide-ranging musical influences draw from a variety of Black musical traditions, but a few specific streams are more identifiable on the album; psychedelic rock, jazz, and funk feature most prominently, but others surface throughout, including hip-hop, soul, metal, and experimental electronica. These sources of musical inspiration are also informed by the politics of Black radicalism referenced by the band’s name, honoring the late abolitionist and social activist.

Like the music itself, the aesthetics of these genres emerge and submerge, even within tracks: an extended analog synthesizer introduction might be paired with distorted guitar, a cascade of avant-jazz drums, and mournful vocals (“Don’t Stand a Chance, After the Boom”). Throughout the track, the group moves seamlessly between improvisatory and more fixed materials, which animate the sense of creation and liveliness at the music’s core.