Essay Rec. 
OMFO : Omnipresence (D,2006)***'
-expeditions into Central Asian Dub Space-
Where OMFO on his debut showed a vision with a starting point and direction, the danger of World Music DJ-ing, which more often comes close to exploitation of sampling with steady use of beats, starts to arise. On “Omnipresent” the orientation is everywhere and nowhere. Even when it is said there has been a real visit to Tajikistan, where he had the opportunity to work directly with musicians from the remote Pamir mountain region of Badakhshan, which led to a series of multimedia events throughout Europe and Central Asia called "Falak: The Heavenly Music On Stage", and this experience was the source of inspirations for this album, the purpose of the mixture’s significance outside a dance floor context becomes lost by an unsteady ground for the orientation in this aspect, because I hear Turkish tracks which have been overexploited by Turks already, some African nose-singer which I heard being used several times before, Mongolian singers, different sorts of folk singers, far Asia singers, oriental Russian inspirations, some great use of Lebanese surf guitar (on “Tipsy Djinn), some modern electro-pop pleasures on “Expedition East”, it still remains unclear where it starts and where it stops, what is real inspired cooperation and what is shameful easy exploitation. With a feeling of the content lost, the beats of dub and bass/drums becomes more omnipresent, the world like a chaotic mix, the effect, a trance-dub moodiness, which is the only thing to be sure off, on the killing fields of the dance Floor where you can be glad to belong to All, but where nothing belongs to nobody at the same time. It is a ‘lost and found’ experience, welcome to our New World…
