Culled from some of drummer Sam Altman’s last performances before leaving the group, The Wind at Four to Fly seems like an identity statement more than anything else: This is who the Disco Biscuits are. Rather than pursue a theme for the album, they chose to do what they do best — run their “classics,” stretch out, and experiment like hell.

The results are mixed. As electronica, The Wind at Four to Fly does everything one would expect. It provides a platform of energy and rhythm upon which you can dance out, glow sticks and pills optional. But for a group that bills itself as an electronic jam band, the groove is oddly lacking.

A nervous energy predominates through the album, marked by unsteady tempos (both intended and seemingly accidental) and the sense that the Biscuits don’t want to stay in any one place too long. The songs meander and remain static as a result, never really building or climaxing despite their length. When the band does linger on a particular beat or feel, as they do on “Wet,” the energy suffers. Perhaps this is due to the glaring absence of strong soloists and vocals, usually the mainstay of a jam band.

The Wind at Four to Fly is a pleasant party album, and it does have its moments. But the Biscuits’ self-proclaimed wildness and craziness can’t disguise the fact that this two-disc set never really goes anywhere.