Think of Yat-Kha as the new wave of Tuvan throat singing, with its mystical, eerie overtones that seem unearthly. But to that sound, made popular by the likes of Huun-Huur Tu and traditional instruments like the tungur, they added electric guitar and, far more importantly, a sense of Western post-punk rock dynamics. The guitar features sparingly, used on &Solun Chaagai Sovet Churtum,& &Karangailyg Kara Hovaa,& and most effectively on &Kadarchy,& where band leader Albert Kuvezin weaves a remarkably bluesy riff as the basis of the tune. But the sense that this band has listened to plenty of Western rock is there in their more traditional pieces -- which is most of the record. &Toorugutg Taiga,& for example, has at least five things going on at once, with strings lines bowed and plucked, percussion, and voices working off each other in a stunning arrangement. For much of the time, the famed throat singing isn't really to the fore, concentrating more on the songs themselves, but on the epic closing &Kargyram,& Kevezin unleashes an unaccompanied ten-minute tour de force of vocal overtone work that seems impossible, especially when the overtones take over, but it really, a display of rare virtuosity. Unlike most of their countrymen, Yat-Kha don't want to just keep the past alive; they want to integrate it into a musical future. That's their manifesto, laid out so eloquently here, and wonderful it is, too.