We won't be satisfied until everything is flattened down to a graphene-like monoatomic layer. All history compressed down into a Faux-2D layer - molecule-thin, skinnier than Devonian mud or Jurassic clay, but a geohistorical layer nevertheless.
As everything becomes increasingly semi-familiar, the idea of 'exotic' grows closer to becoming extinct. Difference is subsumed; the slow drift towards homogeneity - towards cultural-objects that are semi-generic and globally-recognisable, that are signposted by progressively vanilla-ised tropes and studded with widespan social antigens - renders everything safe and smooth and readily available for 5G commodification and consumption.
Fifth World music - and this is Fifth World music - recognises these tensions and expresses them as a form of musical unease.
The New Post-Exotic is beautifully fluid, pan-temporal and quietly disruptive: it celebrates the contradiction (and cultural tension) inherent in it's own existence and holds it up for those brave enough to look and see.