Finally, after seven albums beginning with 1998's , Flemish - funksters and rhythm-aholics have an album distributed in the United States (thanks to and ): 2006's . For those unfamiliar with the band's wanderings, are apt to turn up recording with indigenous musicians practically anywhere on Earth, from the Equator to the Arctic. , released in 2004, was the first fruit of the band's sojourns to Recife, capital of the northeastern Brazilian state of Pernambuco and home to musical and performance forms like maracatu and . The Belgians, led by guitarist/vocalist and including saxophonist , bassist , trombonist/tubaist , and drummer , were joined by vocalists and percussionists from the region, notably singers , and the result was one of the band's finest records to date, combining the influences of Antwerp and Recife in a successful blend of rhythm, atmosphere, and sonic adventurousness. For , returned to Recife and continued their collaboration with area musicians, including . The disc is a worthy follow-up to , perhaps a bit more -influenced as -- balancing nonchalance and edginess rather like in the age of caffeine -- and the other vocalists sing of such topics as an uncomfortable barroom atmosphere, waiting on a terrace for a girlfriend who will never arrive, a sea goddess, selling items in a marketplace, and a man who falls into a shellfish tank (it helps if you can understand Portuguese, French, or the Flemish Dutch dialect). It's sometimes a crazy mix of stuff, as when the horns kick out the theme to over a churning rhythm during which also features call-and-response chanting vocals between and the background singers before the energy level is ratcheted up to near levels fueled by 's one-chord maximally distorted guitar roar. A highlight perhaps just for overall strangeness is with a spooky intro featuring what sounds like blathering something or other over a distorted loudspeaker in the distance as ghostly keys float through the mix -- an insistent rhythm kicks in along with a guitar lick poised halfway between fuzzed-out , soon joined by some dramatic and genuinely heavy horns. Then a vocal chorus enters that under normal circumstances would seem aimed at capturing a sensuous -type vibe, but with everything else going on in the track, the result is bit more ominous-sounding than your typical day at the beach. Also noteworthy is the instrumental track similar in tone to but entirely dispensing with any attempted lightness whatsoever in favor of powerful horn charts (played by half the members of the ) and -edged guitar over the pounding rhythm, seasoned with washes of effects and 's occasional 21st century schizoid Flemish. ( here is positively brain-melting in comparison to the tune as it first appeared on , as a groove-based vehicle for guest musician 's berimbau.) nicely balances such heaviosity with tracks that are relatively concise and accessibly tuneful, imbued with warm Brazilian and Caribbean flavors ranging from cavalo marinho to and sometimes prominently featuring (in her mid-sixties at the time of this recording), whose sandpapery yet somewhat childlike vocals are as cute as a chain-smoking toddler. It all comes together most seamlessly on a track like (Paper Heart), which combines the chanting and rhythms derived from the region's coco work songs with a bass/keys/guitar foundation somewhat reminiscent of -era . is a fine album, beautifully recorded and performed, often surprising and sometimes even compelling, although it occasionally seems like the usual ragged street feel of earlier releases, including , has been polished and smoothed out somewhat in favor of a more -friendly approach. Previous albums are apparently slated for release in the U.S. -- is a good one but be sure to check out if it ever becomes available in your neighborhood. ~ Dave Lynch