Ryukyu Underground, on the other hand, presents a too-muddled package weighed down by its own diversity. Okinawan vocal music was merged with techno to great effect by Talvin Singh on "OK," yet the music is an inherently arrhythmic one, at least by Western standards. Ryukyu's accents and emphases are all "wrong" for four-on-the-floor dance music. But that's what gets combined, and the end result is intriguing and fairly enjoyable. Then again, it's hard to be displeased by the beauty that is Okinawan music, and the "techno" used here is essentially anonymous ambience. Ultimately, though, it's an all-too-forced mixture that's jarring in its disparity.