The duo referred to as Mo Boma (named following a pygmy girl’s lullaby), is usually made up of Carsten Tiedemann, a indigenous of Germany, and Skuli Sverrisson, of Iceland, both of whom attended Berklee University of Music in Boston. Tiedemann’s research in classical structure structures and cultural music customs feature prominently in Mo Boma’s design, which uses digital music to make a ethereal, multi-textured audio that develops around Sverrisson’s electrical bass primary. Sverrisson’s own encounter like a jazz bassist and improvisational musician also makes a significant effect on Mo Boma’s audio. The combination of organic and digital instrumentation help Mo Boma acheive a depth and complextity of structure that is relatively uncommon in ethno-ambient music. Their debut recording, Jijimuge, was released in 1992, but possibly the best exemplory case of their unique audio is usually their 1996 recording, Misconceptions of the longer term, Vol. 1, that was vaguely influenced by the functions of J.G. Ballard. It weaves percussive areas around a relaxed, shimmering vortex, anchored usually by Sverrisson’s bass. Mo Boma released two more quantities of the Misconceptions of the longer term series in the middle-’90s, each offering similar noises, but playing tribute with their own unique styles.