Moise and Alida Viator’s previous offering, 2003’s Mermaids of the Canary, left a sizable sonic footprint with their coverage of New Orleans Creole jazz that extended to its Caribbean genesis. The siblings’ third album should symbolize the next logical chapter of a naturally evolving musical odyssey; however, their whirlwind world fusion skips several logical chapters in between, making the album a mind boggling, globe-trotting excursion. While their New Orleans Creole sensibility and ’50-’60s rock ’n’ roll staples are still a solidifying baseline, who would ever imagine Ernie K-Doe’s “A Certain Girl” mixed with Brazilian voodoo beats or the time-honored Cajun “Mardi Gras” transformed into a Colombian cumbia with a Middle Eastern bent?

And that’s only a sample. In addition to Eh, La-Bas’ 10-piece band stocked with strings, horns and world percussion, there’s close to a dozen guest musicians including slide guitar wizard Sonny Landreth growling away on two cuts. As a result, the crafty arrangements are not only imaginative and unpredictable but incorporate a heavy Latin and Jamaican ska influence. The intro to “Gwog Mwen” isn’t that far off from a ’40s Cuban orchestra swelling with boisterously piercing horns and Alida’s seriating violin lines that soon segue into a hip-swaying concoction of the Sandpipers’ ’60s hit “Guantanamera.” Another surprise is the treatment of Clarence “Frogman” Henry’s “Ain’t Got No Home.” In the midst of twisty, topsy-turvy ska horns, Moise launches an ultra-cool, surf-styled “Apache” riff that recalls the best of the spaghetti westerns. Admittedly, most of these tunes were stage show-tested way before they were etched to permanent medium but now—with crystal clear mastering—they’re perfect for the remaining airwaves.