OMFO

OMFO's third album is his best representation yet of his vision to apply folkloric tunings and instruments to beat-oriented electronics. To take on Central Asia is to literally cover a lot of ground, but it also makes for great variety in OMFO's generally down-tempo beats. Having recreated local systems of harmony by adjusting the master tuning of his electronic equipment, what might otherwise constitute above average trip-hop beats becomes more compelling with the sense of smoothness removed. He's also found ways to integrate (Mongolian) throat singing into tracks like "Pagansonic," while ill-sounding strings from Siberia anchor a minimal and effective dub-step homage. Dub is still at the top of his influences, and his productions feature a fascinating compromise between warmth and coldness to create distinctive, cavernous spaces. This sets the table for his always-compelling lead instruments to be put into the best possible context. OMFO's music is tough to pin down. Chances are he likes it that way.