• • • • • It’s telling that originally formed as a way to accentuate band member Zoe Jakes’ unique style of belly dancing. In fact, Jakes still dances during their performances.

But it’s equally telling that one of the most prominent musical tools the group uses during performances is a sampler. Ultimately, it’s that combination of Middle Eastern musical forms with dub, jazz, and techno that makes their sound so unexpected. Ultimately, it gets back to the dancing. This is music to dance to. Or, maybe to have in the background of a hip coffee shop or travelogue TV show. But mostly for dancing. The Oakland-based three-piece seems to draw some attention from both the “world music” crowd and the jam band world.

And deservedly so. They combine the best aspects of jam music (fun, funky, instrumental grooves and a playful willingness to experiment) with traditional polycultural music. Unfortunately, though, they occasionally combine the lesser aspects of both, namely jam’s numbing insistence and the half-hearted, vague nature that the term “world music” embodies. For instance, opener “Egyptic” twangs and whirls gracefully, the electronic scrapes on the fiddle intriguing. Simultaneously, the elements repeating a few times too many, the near six-minute track lagging a bit. However, the combination of modern and traditional instruments is too captivating to dismiss.

The wind instruments in “Runaway” combine with electronic drums fluently; the bassy synth blasts and hand-drums on “Revival” sound entirely natural together. This is an impressive feat, to say the least. To make the organic instruments and organic song structures grow together with inorganic methodology is something that many musicians fall short of. When Beats Antique falls too much in love with their grooves, the result is disappointing. Zen Pinball Thd Rapidshare on this page. Instead of pushing the music’s envelope into exciting, new territory, they occasionally fall into repetition. “Spiderbite” may be the downright funkiest track, the stuttering, bursting bubbles of synth bass and chop-shopped rhythm samples competing for rhythmic attention. Perhaps as a result, it’s also the one that sounds the least like its old-world components.

When they add another element in the form of anarchist Celtic rapper LYNX, things take a turn for the bland. “Rising Tide” finds the group fading into the background, leaving LYNX’s vocals unfocused in the fore. The rest of the disc wanders similarly in and out of focus. When they find the perfect middle-ground between modernism and the past, the tracks are a great deal of fun. When they get to that place where jammy groups operate, that weird middle-ground where everything fades into blah, they’re much less interesting and a lot less fun.

Altogether, there’s some stuff worth listening to and some to skip. Taking the journey for yourself is the only way to figure out which tracks work and which don’t. Beats Antique deserves that amount of effort, but not a whole ton more.

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