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Best known so far for his work with Escape Artists, The Moth’s debut album is the outcome of California’s Juan Suarez spending a year travelling around the globe (and across the world wide web) in search of the most diverse emcees to bless his charming instrumentals. The scattering of bold interludes across the album comprising auspicious nativity play dialogue snippets and soundbites like “GIMME SUM MUTHAFUCKIN BASS!” are good but highly misleading specimens of this beatsmith’s stirring output. For the majority of this project, The Moth lives up to his name when pattering beats, unearthly soundbites cut up with rhythmic scratches and the words of guest emcees flutter around a vivid solo instrumental loop. Most tracks adhere to the same blueprint whereby a crisp sample of a two-bar phrase played on a koto, guitar or South-American woodwind instrument is sliced in half with the first half being played thrice to every one time the phrase is completed. With this core in place, The Moth manipulates this 3:1 looping, adding and removing other elements when appropriate. Given how each track grows from the same stylistic seed, it is astonishing how refreshing each track sounds. It is rare enough to find an album whose selection of aproaches ranges from the stringswoops, native american singing and imagistic lyrics of despair.