The global references bode well, but don't expect a set of "world jazz." The music could have been made pretty much anywhere, with only Taylor's mbira suggesting a link to Brazil, where it is generally known as the sanza. And if there are any Middle East or Canarian resonances, they are well disguised.

Like its predecessors, and fittingly (though probably coincidentally), given the name of the group, Boca Negra explores dualities and the tensions which exist between them. Composed vs improvised music. Visceral grooves vs ambient soundscapes. Folkish simplicity vs polyrhythmic sophistication. High energy rock outs vs gentle balladeering. Reiterative ostinatos, riffs and motifs vs freewheeling improvisation. The yin and yang of creative, collaborative music making.

Most of the tracks include substantial electronic content, with digitally generated "flutes," "guitars" and "bass guitars" features of around half the tracks, and less readily identifiable sounds heard on practically all of them. Tinkling, trippy "keyboards" are the focus of "Hermeto," which sounds like an homage to minimalist composer