The ‘Ethiopianisation’ of certain bands and their music is a curious, unpredicted scenario. Even sou-kous in its 80s peak didn’t have such a broad range of adherents, be they avant-garde punk acts, electronic musicians or classical quartets. Whilst heralding the international spread of the ‘ethio-sound,’ the double-CD from Buda is too much for one sitting, even though it’s divided between ‘noise’ and ‘chill out’. Not surprisingly, it is those that take the basic blueprint and explore it flexibly that create the most satisfying results. The Ex’s collaborations with Getatchew ekurya still sound tough and ballsy, especially when compared to the rather insipid Tezeta Band. Alexo turn in a curious ‘Tetchawetu,’ pitching the messenqo fiddle successfully against off-kilter electronics. On CD2 the classical inflections of Xavier Charles and Kronos Quartet really underline the potential of this music. The latter’s take on ‘Aha Gedawo’ is urgent and beautifully recorded, and one can only hope for a similar entire project in the offing. The electronics and sample lead cuts by Daniel Techane and Snowflake sound a tad dated, and don’t really do the source material justice.

In a similar vein is Badume’s Band’s latest album, on which they have teamed up with vocalist Selamnesh Zemene. It’s a competent rehash of funky Ethiopia, but the more interesting musical moments come in ‘Tezeta Duga Aggayu’, which deviates from the template with its Steve Reich-esque clicks and pulses propelling the groove. It’s one of only two tracks that really stand out – the other being a nicely arranged ‘Sabiye’ – on a set that takes its adherence to the sound a tad too faithfully. One of the reasons the Éthiopiques series struck such a chord was that it was the sound of music being pioneered by musicians taking creative (and personal) risks in the moment. The most successful offerings in the present day are those that push the creative envelope, ensuring the Ethiopian canon has life way beyond historical interest.