If the weight of the gravity of Earth has become a burden, an anchor that holds us to this planet, then 12 Tribes of Mars promises to be our ultimate escape. Their sound is not just an amalgamation of songs, but rather a high-velocity craft that will take us to a Martian horizon where our burdens are left to join the stardust. Here, in this re-imagined future, all people of every background have come together to create a new tradition, united by the one language that transcends all others, the rhythm. On this very day, March 23rd, this otherworldly quintet has given us “Hidden Sun,” an eight-song odyssey that will redefine our understanding of our place on this planet. Come with me as I lift the veil on this intergalactic magnum opus and delve into the soundscape of a world where rhythm is the only law.

At number one, we have “Push it”. The track starts solidly rooted in a sense of classic, familiar ska “riddim”, that is to say, a fast, off-beat rhythm that feels communal and ritualistic. Of course, this is only a temporary grounding, as the theme is literally a “statement of intent” to move forward. The musicality soon breaks down into jazz-like explorations for saxophone and trumpet (Andrius Dereviancenko and James McClure) replete with effects processing, while the bass is heavy and “dubwise.” It’s a feeling of propulsion, as if the ship has just left the atmosphere and the rules of gravity are no longer in effect. This was a great opener for the album.

Next is “Mountain Flower”. This song begins with a type of hypnotic, trance-like guitar and drum beat, which is quite old. This song has the dancehall/reggae vibe that is unmatched. The focus is on the “raw, exploratory spirit” and the knowledge passed down from ancestors, which is a reference to the band’s “Music for My Oma” roots. The music is like a tug-of-war between the repetitive guitar patterns by Robin Engelhard and the horns, which add bursts of energy in unexpected ways. I also loved how it briefly sounded like bassa nova before reverting to the original melody. The impact is like a meditation in which a lightning bolt of inspiration strikes.

This third song is named “In Hi”. The intro is an atmospheric sound design of electronic elements, synth pipes, and shimmering FX, giving a sense of floating at high altitude. The music has an exploratory feel, an experimental feel, and with the instruments, interrogates the space between the notes. It has a feel of floating in a vacuum, with each sound being magnified and of utmost importance, putting the listener into a state of deep, trippy focus.

Next is “The Lake Oasis”. This track starts off with a laid-back, pulsing synth sound that’s been submerged underwater, accompanied by a slower tempo. The theme of this track is an oasis on Mars. An oasis is an area of refuge, a place of serenity. The trumpet sounds out over a digital lake of reverb, creating a beautiful, melancholy dialogue. This track is cool to listen to after the fast-paced intro of the other songs.

The next track is called “Giant”. The intro section features a strong “steppers” bass riff that immediately gets to grips with the sense of size. It’s all about power and presence, the “Giant” step to a new world. Musically, it’s dominated by Azubike Onwuka’s physical bass and assertive saxophone motifs that push their way to the fore. It’s massive and empowering, grounding the listener in a sense of new strength and resilience.

“Past Times” is the sixth song on the EP. With its nostalgic sound, reminiscent of Caribbean rhythms in its guitar intro, this piece feels warmer and more inviting than the others. The subject matter is the preservation of memory and our “ancestral ship.” In its musical style, it is an effortless blend of African and Caribbean rhythms with Dutch jazz influences. It touches the listener with its warmth, reminding us that even though we “push on,” our heritage is what drives us.

“Surrender It” is the second-to-last song on the album. The track begins with a slow sax melody that is very captivating, giving a space that is vast and hollow. After the intro, the song descends into a reggae rhythm and maintains the sax that is so soothing. The listener is left in a state of total release, feeling the tension of the journey dissolve into the void.

The album’s finale is “Heat”. The ending starts with a fast-paced drum break and a cool bass melody to herald the arrival. The theme is the “Hidden Sun” finally being unveiled, the friction and heat of getting to the core of the destination. The musicality is frenetic, a fusion of jazz punk, and ska. It is the climactic ending of the album, leaving the listener drenched with sweat, energized, and fully transported to the “Mars” that the band has been getting to from the start.

12 Tribes of Mars takes the basic framework of Reggae, Ska, and Dub music and sends it shooting off into a glittering orbit. What begins as a recognizable beat quickly proves itself to be a lovely, eclectic creature, a sound as dangerous in its danceability as it is in its gritty, unapologetic nature. Their music is heavily influenced by the free-spirited nature of free improvisation, giving it a visceral, living quality that finds a rare balance between sophisticated artistry and hip-swiveling magnetism. It is on the stage, however, that the band truly casts their spell, blending in trance-inducing acoustic grooves only to rip them apart with jagged electronics and unbridled, improvisational flair, snapping back into the pocket with a precision that feels like gravity reasserting itself on the world. A 12 Tribes show is a dual existence, a trippy, cinematic listening experience, and a high-octane dance party all at once. I have not encountered an instrumental project this joyous, tasteful, or simply fun in quite some time, and to behold their undeniable talent is to feel like a privileged individual, with the end result being sweaty, invigorating, and eager to receive their next transmission.

Stream “Hidden Sun” on Spotify

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