In the heart of Jodhpur, India, in the imposing, yet, elegant Mehrangarh Fort, the coalition of India-based Israeli composer Shye Ben-Tzur, 19 musicians from the surrounding regions dubbed the Rajasthan Express, Radiohead guitarist Jonny Greenwood and producer Nigel Godrich spent three weeks crafting one of the best albums of the year, Junun.

Since the 1960’s India has long been an enchanted source of inspiration for Western musicians with its myriad of cultures, religions and music. From The Beatles and Rolling Stones to the Beastie Boys, all have taken bits and pieces of the perceived mysticism of India and incorporated it into their music, to the point where traveling to India on a spiritual quest for musical enlightenment is a worn trope. With this in mind, one would be forgiven to question how much different Greenwood’s visit to India would be.

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Thankfully and refreshingly, Junun is not an imperialist framing of Indian music through a rock and roll lense, but rather a collaborative album that celebrates the humanity in music. The aesthetic of the album is rooted in the stylings Sufi devotional music called Qawwali, Manganiar court music and Rajasthani brass. The lyrics are a mix of Urdu, Hindi and Hebrew. Chants and Indian percussion fuse with drum machines and guitars. Junun successfully incorporates these different influences into a vision of music that is unique in its sound and celebrates all facets of humanity.

One thing certain about this album is that it is a celebration, which you can tell by how much the rhythm implores you to dance. You may not understand what they are singing about on the opening title track as the drum machines, percussion, brass and vocals begin to stack on top of each other like crates of food going to the bazaar, but when the beat drops out and solidifies the groove into a mid-tempo bounce, you instantly feel connected to something, though, to what, you are uncertain. It is felt again and again throughout the album, on the arresting brass of “Julus” to the rejoicing “Modeh.” You realize the reason you are dancing is of no consequence. The real beauty lies in the dancing itself, the most primal form of celebration.

The music continues to capture you in it’s more introspective moments as well. Yearning vocals drift like a broken heart on the ocean’s tide on the melancholic “Ahuvi.” The delicately crafted “Hu” is a mystic drone that builds on top of itself with lush vocals, percussion, horns and the drone of the Indian bow instrument called a sarangi. You don’t listen to it as much become consumed by its comforting melody.

Though many people’s interest in the album stem from its inclusion of Greenwood, his modest contributions on guitar and different electronic elements like synths and drum machines are usually hard to find in the barrage of instruments. Turns out his modesty is one of the biggest asset on the record though. He looks to be a part of the crowd instead of lead it and his ability to support the force of music that is the Rajasthan Express points to how truly collaborative the album is.

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The moments that really stand out “Junun” are the ones where Eastern and Western musical sensibilities come together to form a singular vision of music. “Kalandar” seamlessly weaves Ben Tzur’s airy flute with the digital programming of Greenwood until it eventually morphs into a textured drum-and-vocal rhythm. Greenwood’s guitar gently pulls “Allah Elohim” along like the current of a calm river as the vocals and horns settle over the melody like an early morning fog. When these moments occur, the music does not come from any one region or tradition. It comes from the united vision of Ben Tzur, Greenwood and the Rajashtan Express, who play as one musical force. They truly have created something unique with Junun.

Listen to the entire album right now, via Spotify: