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Mekong Shellac is an extremely rare collection of classical and popular styles of Khmer music from the 1930s to the 1950s. Restored from the few original remaining copies, this compilation reveals a remarkable world of early 20th-century Cambodian folk music previously lost in time through war, cultural shifts, and modernization. These recordings were selected for their distinctive musical qualities, the physical condition of the 78 rpm records from which they were sourced, and the circumstances of their survival. The selections span a range of Khmer musical forms, including Chapey, Romvong, Lakon Basak, Pleng Khmer, Ayai, and Ayai Reung, as well as classical and court-derived traditions such as Pinpeat and Mahori, alongside popular and regional styles including Lamleav and Pleng Ka. It's a miracle these discs have survived at all throughout the past century. Restoration of these 78-rpm artifacts was a challenge, but considering that, of most songs appearing on the album, less than 5 copies are known to exist worldwide today - with only two known copies of three tracks presented here, the songs survive magnificently. Produced by Adam Fargason with the critical assistance of Sam Touch and Mai Viết Cường, this limited-edition vinyl pressing comes with a deluxe 16-page booklet insert including highly detailed liner notes, essays and historical information about the recordings, and a selection of vintage photographs.
This is raw, unfiltered ceremonial gong ensemble music recorded on location by Laurent Jeanneau in Ratanakiri, Cambodia’s northeastern province, bordering Laos and Vietnam. Along with Mondolkiri to the south, it was once home to many of the country’s ethnic minority communities. During the colonial period, the French failed to establish full control over the region. After independence, the Khmer state also struggled to govern it, while Khmer Rouge rebels hid in its forests in the 1960s amid the wider conflict between communist Vietnam and the United States. The Khmer Rouge takeover in 1975 and the subsequent Vietnamese occupation, which lasted until 1991, could have devastated the traditions of northeastern Cambodia’s ethnic minorities. Yet during the 1980s and 1990s, Indigenous communities revived swidden agriculture, also known as slash-and-burn farming, and resumed gong playing, preserving their animist ceremonies and beliefs. Only in the 21st century have rubber plantations and corporate development, driven largely by dominant Khmer, Vietnamese, and Chinese interests, become a serious threat to the ways of life of these marginalized communities. This album features various gong ensembles being played during animist rituals and for drinking the fermented rice alcohol called Tavei. Instrumentation includes Nipple and flat gongs, bamboo tubes, male and female vocals, and drums. (Limited edition of 500 vinyl copies with a 2-page insert featuring detailed liner notes by Laurent Jeanneau and additional photos of the musicians).
Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted - ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations – which last between three and seven days – cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global.
Ricky V runs wild on Mohammad Reza Mortazavi’s Persian tombak hand drum actions, expanding a 4 min kernel of inspiration into 24 minutes of mesmerising polyrhythmic traction. From an original 'Swamp' piece that practically recalls Ricardo’s style of slinky minimal techno sorcery to begin with, the Chilean-German maverick derives a more driving tract of rough hewn rhythmic grit bound to hypnotise dancefloors for the duration. Accentuating the undulating bass and dialling up the volume whilst retaining the frictional grind of the original, Villalobos gets right inside the groove with typically obsessive tekkerz, plucking out additional string motifs and tempering the flow with signature, taut but sinuous, loosey goosey flex that cross-pollinates cultures and gets right under the skin of the thing. Mohammad Reza Mortazavi (b. 1979, Iran) is a virtuoso percussionist known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques and extended vocabulary. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition — a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instruments. Since then, his music has continued to evolve, embracing new forms and vocabularies beyond tradition. Ricardo Villalobos (b. 1970, Chile) is a pioneering figure in minimal techno, celebrated for his hypnotic approach to rhythm. Raised in Germany after his family fled Pinochet’s regime, Villalobos was drawn early to percussion — he began playing congas and bongos at eleven, developing a tactile relationship to rhythm that would later inform his distinctive production style. Immersed in both Latin American folk traditions and the emerging house and techno scenes of late-80s Europe, he began DJing and producing in the early 1990s, quickly achieving cult status within global club culture. Swamp originally appears on the album Nexus, released in 2025 via Latency.
Mohammad Reza Mortazavi returns to Latency with Nexus, a full-length album recorded in Berlin that extends his radical reinvention of Persian percussion. Renowned for pushing the tombak and daf into new territory with unprecedented techniques, Mortazavi now incorporates voice, effects, and electronic treatments into his sound for the first time. These additions deepen, rather than depart from, his lifelong exploration of rhythm and resonance. The record opens with ‘Zendegi’ (‘Life’), built from the chant “Woman, Life, Freedom” as a gesture towards his homeland and beyond. Throughout Nexus, Mortazavi explores connection, transformation, and the unseen forces that shape reality, presenting rhythm as both guide and teacher. The album title itself points to a meeting place where energies, ideas, and times converge, capturing its meditative but exploratory spirit. The cover features artwork by American artist and filmmaker Jordan Belson, whose “visual music” aligns with Mortazavi’s trance-inducing percussion language. His hypnotic live shows have reached the Berlin Philharmonie, Paris Pantheon, and Sydney Opera House, while his rhythmic innovations have earned acclaim across experimental and electronic circles, including collaborations with Burnt Friedman and Mark Fell.
Habibi Funk’s new sister label Audible Beauty Records second release: A landmark collection retelling the untold story of Malaysian jazz featuring 9 songs from the legendary composer, arranger and trumpet player Johari Salleh. Salleh played a crucial role in shaping the sound of modern Malaysian music across radio, television, film and live performance and has composed dozens of popular songs in his decades long career. His personal musical passion always was jazz, reflected in this deep selection of jazz works that were previously unavailable unless you had one of the few dozen copies pressed locally in the 1970s. The album doesn’t only highlight his musical statue as a composer but also as a outstanding trumpet soloists bringing together jazz, spiritual undertones and Malaysian folkloric themes balancing slower pacing deep, modal grooves with more upbeat jazz funk leanings. For fans of Salah Ragab, Ahmed Malek, Mulatu Astatke, Dollar Brand and co.
If you don’t know Sababa 5 yet, you’re definitely missing out on one of the hottest bands on the Tel Aviv music scene. Following their very popular debut release ‘Crossroad of Love’, Sababa 5 and vocalist Yurika are back on the exclusive Middle Eastern Grooves with their newest double-sided 7” collaboration titled ‘Tokyo Midnight’. The record is a dazzling encounter of cultures, inspired by the funky and exotic melodies of Sababa 5 and the resplendent Japanese words of Yurika. Title track Tokyo Midnight opens with a groovy guitar riff and continues to an upbeat rhythmic workout, complete with a funky bassline and ululating keyboards. Yurika’s enchanting voice ties things together in a soft, yet hypnotic, musical whirlwind. On the B-side - Nasnusa - a beautiful guitar solo continues into a captivating rhythm inspired by traditional Mizrahi music. Yurika’s delicate vocals evoke a love story; a couple watches the sunset as the gates to a new world are opening. As Nasnusa fades into the light, her lover recalls her beauty and expresses fondness over the wonderful time they spent together. About Sababa 5 Founded by Amir Sadot and Ilan Smilan, Sababa 5 have been playing together for two years and have recently built their own recording studio on the street that connects Jaffa to Tel Aviv. “We just wanted a place to record our music where the whole band could fit together in the same room…so, we built the place ourselves! Mind you, there’s not a lot of space…in fact, we’re a bit crammed in there but that’s how we like it. Additionally, we’re above the best hummus place in Tel Aviv so we couldn’t have picked a better location”. Sababa 5’s musical style has been influenced by all its members and is in continuous evolution, though always remaining very groove-centric. The sound is mainly based in surf rock and retro funk, especially Arabic folk and funk music from the ‘60s and the ‘70s and artists from that period, such as the legendary Aris San. Yurika is a Japanese performer who was born and raised in Tokyo, Japan. During her teenage years, she discovered belly dancing and fell in love with it. She then traveled the Middle East to discover more of this antique art; learning from choreographers of the stature of Orly Portal and performing with renowned artists Raquy Danziger, Boom Pam, and Ouzo Bazooka.
Habibi Funk’s new sister label Audible Beauty Records second release: A landmark collection retelling the untold story of Malaysian jazz featuring 9 songs from the legendary composer, arranger and trumpet player Johari Salleh. Salleh played a crucial role in shaping the sound of modern Malaysian music across radio, television, film and live performance and has composed dozens of popular songs in his decades long career. His personal musical passion always was jazz, reflected in this deep selection of jazz works that were previously unavailable unless you had one of the few dozen copies pressed locally in the 1970s. The album doesn’t only highlight his musical statue as a composer but also as a outstanding trumpet soloists bringing together jazz, spiritual undertones and Malaysian folkloric themes balancing slower pacing deep, modal grooves with more upbeat jazz funk leanings. For fans of Salah Ragab, Ahmed Malek, Mulatu Astatke, Dollar Brand and co.
On his standout debut LP, DJ Grzyb marshals a rudely squashed swamp dance at the head of his octet, The Make-Believe Ensemble, landing with early support by Nathan Gregory Wilkins, babyschön, Skyrager (Psychemagick), Tom Ravenscroft, Elena Colombi The lessons of dub, new age ambient and Italian cosmic disco that fed into the proto-Goa melange continue to inspire DJ Grzyb and his band of slow disco marauders on this trippy 14-track journey. Their first venture unfolds as a sort of album-cum-mixtape, all handling a vast array of East-West instruments - from brass and woodwind sections to sitar, tanpura, and trad. Thai khaen, ching, pi phu Thai - in a wandering sort of cinematic, narrative-driven fashion. It’s almost entirely yoked to a purposefully slow pace, but does prang out a sore thumb ‘The Three Deaths’ ft. Naphta, aiming it all squarely at the feet of Vladimir Ivkovic or Andrew Weatherall fiends.
Buh Records presents Anthology 2: Works for the Experimental Orchestra of Native Instruments, a double album that deepens the exploration of the work of Bolivian composer Cergio Prudencio (La Paz, 1955) and his inseparable bond with the Experimental Orchestra of Native Instruments (OEIN), the project he co-founded in 1980 and of which he is now emeritus director. Like Anthology 1, widely praised by the international music press, this second installment continues to reveal the conceptual, aesthetic, and sonic magnitude of one of the most radical contemporary-music endeavors to emerge from Latin America. The OEIN is a unique ensemble within the international musical landscape. Its approach begins by embracing the traditional instruments of the Andean highlands in all their dimensions: their materiality, modes of sound production, tuning systems, cultural contexts, and the Indigenous philosophies that sustain them. It is grounded in central principles of Aymara music—arca-ira alternation, the formation of large “troops” of instrumentalists, and the communal energy of wakiña—integrating them into a creative process that articulates both tradition and contemporaneity. For Prudencio, these foundations are living structures that allow for the projection of an ever-expanding musical thought. Anthology 2 brings together works composed between 1989 and 2014 and performed by the OEIN and its chamber ensemble. Cantos crepusculares (1999), written for the Donaueschingen Festival, unfolds a sonic continuum in which successive atmospheres evoke the shifting light of twilight. Cantos ofertorios (2008), conceived during residencies in Bellagio and completed in La Paz, incorporates multiphonics, massive textures, and a performative gesture referencing the prayers and offerings of Aymara yatiris.
A selection of artists -- ranging from big names to obscure and mysterious gems -- from the '60s and '70s, the golden years of modern Persian music. A trip to a time when western sounds mixed with traditional Iranian music to create a new, unique and magical sound, full of soul, personality and emotion. 13 mind-blowing tracks of pure, unaltered, Persian bliss. Includes notes on the artists. Featuring Mehrpouya, Bijan, The Rebels, The Golden Ring, Tak Khal Ha, The Littles, Zangoleah, Fereshteh, Shahram Shabpareh, Googoosh, Kourosh Yaghmaei, Betti, and Mahasti.
A look at a time, just before the Islamic Revolution of 1978, when Tehran was buzzing with the vibrant sounds of Western funk and soul blended with the rich traditions of Persian music, creating an exciting new sound that has to be heard to be believed. Featuring a selection of artists ranging from the era's biggest names to more obscure gems. Get ready to be blown away by 10 ultra-groovy tracks of incredible Persian funk. Includes notes on the artists. Featuring Hamid Shabkhiz, Kourosh Yaghmaei, Mehrpouya, Googoosh, Neli, Shamaizadeh, Nooshafarin, Zia, Taherzadeh, and Morteza.
Korlakang, a fresh four‑piece band emerging from Thonburi on Bangkok’s west side, delivers a debut double‑sider 7" on Guruguru Brain. Blending the melodic beauty of Thai traditional music with the hazy textures of 70s psychedelic rock, the group reshapes these elements into a contemporary ethno‑groove.
From Asmara, Eritrea(formerly Ethiopia) Tewolde Redda revolutionized the sounds of traditional Eritrean music by amplifying his kirar, playing his Eko electric guitar, and recording six singles in the first part of the 1970’s. Including the first Eritrean songs to use a horn section, traditional songs reworked into his new sound, and originals influenced by radio broadcasts from the United States military base in Asmara, Kagnew Station, these ten songs originally released on the Philips, Amha, and Yared labels show off his talents with stringed instruments, a talented back up band, and often the hand clapped beat shifting into double time near the song’s end. Tewolde’s thick, deep voice sings songs of love over somber and joyous tunes. Comes in a “tip-on” sleeve with extensive liner notes, lyrical translations, and unpublished photos. A co-release with Mitmitta Musika of Addis Abeba, Ethiopia. Second pressing coming around March, 2022.
"On a gloomy weekend in the Pacific NorthWest Oregon coast in November of 2020, we find the eleven piece cumbia orchestra outfit, Orquestra Pacífico Tropical, writing new material in a cabin for what will become their third full length album, "El Poder." The sonic exploration and the cloudy overcast of the coastal forest really gave an inspiration to the overall musical palette of the demos that weekend that eventually became El Poder. Creating a warm & inviting recording session in the living room of a cabin truly allowed for inventiveness & spontaneity to be key in the development of these melodious rhythms & movements. While continuing on the trajectory of the tradition of cumbia, the band has also delved into salsa, psychedelic NorthWest sounds and whole new audio exploration of music that truly feels unique & never heard before..."
Underpinned by spoken folktales stretching from Indonesia to Poland, a new collaborative EP from Warszawa/Berlin-based Jerzy Mączyński and London-based Flora Yin-Wong arrives via Accidental Meetings. Demons rising from the wind, unknown beings lurking in the forest – the record conjures a landscape built from heady layers of saxophone and the tormented strings of zither, harp, and kemence. Recorded across two intense studio sessions, the EP also features idiosyncratic contributions from London-based guest vocalists and musicians Aga Ujma and Laila Sakini. Flora Yin-Wong is a London-born experimental sound artist and writer of Chinese and Malaysian heritage, known for weaving field recordings and traditional instruments. Her album »Holy Palm« (Modern Love) and book »Liturgy« (PAN) cemented her as a singular voice in experimental music today. Jerzy Mączyński is a Polish saxophonist, producer, and composer whose jazz training feeds into genre-melting work spanning kosmische, prog, industrial techno, and minimalism. One of his collaborations is a record of free jazz and rhythmic cubism with Chicago’s Hieroglyphic Being.
Cosmic Gypsy Sounds!! In the early 80s, the Ansambl Mileta Petrovica was formed in Nis, in the Serbian part of the former Yugoslavia. Mile Petrovic and his band were pioneers and modernised gypsy music by replacing the accordeon with synthesizers. The result is a psychedelic cocktail of traditional rhythms and spaced out sounds. As ˜Veseli Romi™ or ˜The Happy Roma™ they promoted their irresistible dance music. This album contains some of the best boundary pushing tracks the band recorded between 1986 and 1991.
"Después de llover” is about musical conversations between two people who have only recently met; they come from very different places, do not speak the same languages, and perhaps have little in common other than the resonance of their instruments. This encounter leads them to explore an imaginary world where they share sounds to build a place where they can go and play with the moisture of the plants growing in the water, listen to the pudus playing with the herons, rest on the floripondios, and perhaps stay there waiting for the rain to return. These pieces were recorded on a summer day in 2025 in Indrė’s home with kanklės, txompe, and violin. ------- “ Después de llover ” son conversaciones sonoras de dos personas que se conocen desde hace poco tiempo, vienen de lugares muy diferentes, no hablan las mismas lenguas y tal vez no tienen tanto en común más que la resonancia de sus instrumentos. Este encuentro les lleva a explorar un mundo imaginario donde comparten sonidos para construir un lugar donde poder ir a jugar con la humedad de las plantas que crecen en el agua, ir a escuchar a los pudus jugar con las garzas, ir a descansar sobre los floripondios y tal vez quedarse ahí a esperar a que regrese la lluvia. Estas piezas fueron grabadas en el verano de 2025 en la casa de Indre con kanklės, txompe y violín.
Originally released in June 2009, The Ecstatic stands as a defining artistic statement from Mos Def (now known as yasiin bey) — a richly textured return to form that reaffirmed his status as one of hip-hop’s most adventurous and intellectually engaged voices. Arriving a decade after his celebrated debut Black on Both Sides, the album was widely regarded as his strongest work in years, earning near-universal praise for its lyrical breadth, eclectic production, and thematic ambition. Musically, The Ecstatic weaves a global sonic tapestry shaped by an array of forward-thinking producers including Madlib, J Dilla, Oh No, Preservation, Mr. Flash, Chad Hugo (of The Neptunes), and Georgia Anne Muldrow. The resulting soundscape is both rooted in hip-hop tradition and unbound by genre, integrating elements of jazz, soul, Middle-Eastern inflection, and experimental sample work. Tracks like “Supermagic” and “Twilite Speedball” establish a vibrant, restless energy that mirrors the album’s expansive creative scope. Lyrically, yasiin bey traverses personal, political, and philosophical terrain with characteristic incisiveness, confronting social inequality, Western imperialism, and questions of cultural identity with poetic urgency. Embracing risk and complexity rather than nostalgia, The Ecstatic remains a mature, deeply felt body of work whose ambition, depth, and enduring resonance have solidified its place as a standout entry in Mos Def’s catalog and in modern hip-hop history.
Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted - ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations – which last between three and seven days – cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global.
“Noneness” is a work by shakuhachi player Lenzan Kudo, featuring reinterpretations of traditional honkyoku and long-form improvisations rooted in Zen philosophy. Recorded in Hakone, Kanagawa, the album incorporates natural sounds and reverberations, maximizing the breath and spatial resonance of the shakuhachi. The title “Noneness” signifies ‘emptiness’ or ‘void,’ capturing traces of personal spiritual practice and dialogue with nature. The credits include acknowledgments to Ryuichi Sakamoto and Zen master Nanrei Yokota, with a written comment from Yokota also included. Transcending the boundaries of ethno, jazz, and ambient music, the album carries both spiritual and cultural depth.
A collection of short-form compositions by shakuhachi player Lenzan Kudo, rooted in Zen spirit. In contrast to his long-form work “Noneness,” each track on this album spans approximately 2 to 5 minutes, distilling intense focus and spiritual depth into concise musical expressions. Utilizing the breath and overtones of the shakuhachi, the pieces incorporate ambient spatial processing, remaining grounded in the instrument’s traditional sonic world while embracing a contemporary resonance.
On their second album together, Vilnius-based Indonesian composer and instrument builder Johanes "Mo’ong" Santoso Pribadi, best known as one half of Raja Kirik, and Berlin-based Japanese producer Shigeru Ishihara (aka Scotch Rolex) survey their surroundings, dreaming up a vibrant fantasy landscape that teems with life. Manifesting their personal experiences as a sequence of poetic freeform experiments and dancefloor rituals, the duo realize a vast patchwork of resonant, anomalous sonic environments that form a mystifying new landmass. Pribadi and Ishihara see 'ABU' as a guide of sorts to an imaginary volcanic island that they've consolidated from the various physical locations and psychic topographies that have formed their separate identities. Constantly shifting, the "island of ash" vanishes between the borders of the three core sites where it was recorded - in Yogyakarta, Švenčionėliai and Berlin - absorbing local soundscapes and intermingling them, forming unstable, hallucinatory terrain. "On 'ABU', identity dissolves like sound in fog," they explain. "What remains is the pulse of movement, the echo of a voice crossing water and the endless reconstruction of home through noise." This might sound like familiar territory for Pribadi, who's worked extensively with Javanese traditional sounds, rupturing the timeline on 2021's acclaimed 'Rampokan', but for Ishihara it's a more alien process. While the producer has rallied against genre purity for decades, haphazardly searching out the sweet spot between breakcore, trap, dub, chiptune, hardcore and extreme noise, he's rarely examined his own cultural inheritance. So, once the duo had engaged with gamelan in Yogyakarta, working with found objects and self-built instruments, and channeled the Baltic air in Švenčionėliai into breathwork and vocal experiments, they finally reconvened in Berlin where Ishehara allowed himself to reconnect with the rituals, rhythms and soundscapes of Japan. Watching the island of 'ABU' flood with lava, burn and then regenerate itself, Ishihara handled the final mixdown himself, translating the pulse of taiko into rhythmic shockwaves that punctuate the record, echoing through the volcanic topsoil. The resulting record isn't Indonesian or Japanese, European or Asian, it's a sonic ecosystem that's not fixed on any map, floating perpetually. That means the tense, ceremonial atmosphere of opening track 'Hai no uta' isn't all it might appear to be on first blush. An intermixture of Javanese gong hits, rattling wooden percussion and xenharmonic flute blasts thats interspersed with unsettling electronic vibrations, it sounds unusually biomechanical: live and organic, and at the same time meticulously terraformed. The same feeling emerges as the title track takes shape and hoarse chants roll over the duo's unique cocktail of rhythms: tuned, gamelan-like resonances tumble through ordered electro-plated taiko structures, evolving into fractured free improv and harmonizing with syrupy drone metal before the track's complete. And while there's a sense of coherence throughout, the album keeps shifting, fluctuating every time it's properly perceived. On 'Api', the tense ceremonial sounds seem to flirt with hard dance textures, inviting heavy electronic kicks into the mannered mass of flutes and metallophone hits. And on the deafening 'Hino-Tori', Pribadi and Ishehara are no longer teasing, matching their shouts and acoustic instrumentation with carnivalesque synths and hardstyle rhythms. 'ABU' is an island that rewards the boldest wanderers, providing for those who can meet its energy head-on, drifting between continents with the same friction, the same mess of harmonies and dissonances. Wash up on its shores with an open mind and its mechanical tides and digital rituals will reshape your wildest hallucinations.