Blending together futuristic house music, warped vocals and tripped out guitar chords, England’s FC Kahuna has created “Machine Says Yes,” an album that exemplifies its desire to escape from mainstream dance music.

Friends from the time they were neighbors as children growing up in Leeds, England, Dan Ormondroyd and Jon Nowell were drawn together by their two major loves in life: soccer and music.

During these early days, the two would spend time experimenting with rudimentary musical production, taping songs and then talking over them.

Although the two were separated when they began college, they managed to stay in touch and the duo reunited in 1988 several years later at a series of warehouse parties in their hometown.

As dance music exploded across the landscape of Britain, Ormondroyd and Nowell became increasingly disenchanted with the mundane, bland club scene and the music that typified it.

In response to this, the two began their first club night, a venture called the Big Kahuna Burger.

Named after the fast food choice of Samuel L. Jackson’s victims in the classic movie “Pulp Fiction,” the event became a clubbing institution in London, drawing performers such as Fatboy Slim and the Chemical Brothers on a semi-regular basis.

Yet the duo’s unhappiness with the streamlined sound of electronic music did not abate, and over the years the two began to steadily move away from their DJ duties and became more involved with their work as producers.

In 2000 the release of the twisted, techno driven song “Mindset to Cycle,” under the moniker of FC Kahuna, signaled a transformation for the two.

“Machine Says Yes” is the culmination of Ormondroyd and Nowell’s desire to break away from the mainstream scene of electronic dance music. On it they enlisted the skills and talents of a wide variety of musical contributors to make it even more unique.

Hafdis Huld, formerly a member of the Icelandic group Gus Gus, lends her softly spoken lyrics to the album’s standout track, “Hayling.” The song, which is the first track on the album, merges her sultry voice with chilled out, ambient beats in a sublime and smooth combination and was recently featured on an episode of the CBS show “CSI: Miami.”

“Hayling” is a perfect example of FC Kahuna’s work and the goals that drive the group’s music. By uniting some of the most unlikely elements possible into music that is both pleasant to listen to and at the same time stirring, the group seems to have achieved its goal by creating a unique new sound for dance music.

Huld does the vocals for the album’s title track, a song that is the complete opposite of her previous contribution. “Machine Says Yes” is a pounding, electro-funk song with psychedelic overtones.

Eileen Rose, a country singer-songwriter from the United States, is yet another contributor on the weird and warped “North Pole Transmission,” and Si Jones, a former member of the British rock group the Verve, loaned his expertise with the bass guitar to several of the songs.

Other highlights include the previously mentioned “Mindset to Cycle” and “Glitterball,” the album’s second track, which is one of the few dance floor-oriented songs on the album, featuring a pulsing bass line that steadily builds into a crescendo.

As the album progresses, FC Kahuna guides listeners through the many possibilities of futuristic house. Although some of the tracks during the middle of the album are a bit bizarre, the early Daft Punk songs such as “Revolution 909,” things finish out nicely with two more standout songs, “Microcuts,” and “Fear of Guitars.”

Ormondroyd and Nowell’s desire to produce new music has led them to “Machine Says Yes,” and although a few of their experiments did not seem to work quite as well as the others, the overall concept behind the album and the superb contributions of Jones and Huld, merit it being checked out.