Using the loose criteria suggested by Guido Minisky and Hervé Carvalho, the French DJ-producers behind Acid Arab, 'Eastern' music can be sourced from Paris to Mumbhai and anywhere in between.

"We are fascinated by eastern music and its codes, such as complex rhythmic structures, which drive dancers to trance just like acid house does." The duo is quoted as saying. "We don't paste oriental sounds on occidental beats; we want to embody both cultures without pretending to reinvent oriental music or fooling ourselves by believing we're inventing eastern dance music."

That's one hell of an area to draw on, geographically and stylistically speaking, and melding just a fraction of those influences together with the synth and drum machine dominated hedonism of acid house might appear like an unrealistic ambition at first pass. With the help of Dastgah, the Persian musical modal system which shaped much of the sound of countries from North Africa through to Pakistan, Iran and even to the edges of the Caucasus region, this curated compilation avoids sounding disjointed or unruly, instead resulting in a compelling and visionary mix of Eastern and Western influences.

The first track - Rikslyd's 'Oriented' - is one such example; string stabs, eddying melodies, rattling percussion and yowling vocals binding tightly with a 120bpm breakbeat rhythm and bubbling synths to create a hypnotic groove-driven tune straight out of a 1989 warehouse party DJ set. Danny Mahboune's 'Ouzo Mneha (Live at Belleville)', is solid psych-house - only instead of Mr. C delivering mystical references over the top, there's what sounds like a live MC PA from some secret rave deep behind Kasbah walls.

'Sahra Min Tahab' by Lille-based techno producer Renart, Gallic remix veteran Pilooski's 'The Wizzard Edit' and the stunning Crackboy remix of 'Shift Al Mani' by world music artist-du -jour Omar Souleyman are all pounding four-to-the-floor tracks, layered with ululating vocals and swirling melodies, in some cases delivered by digital replications of traditional instruments.

Other tracks on the release - Professor Genius' 'Couronne', Hanaa Ouassim's 'Madad', I:Cube's 'Le Bon Temps Red Tape Vers' and so on - are littered with a range of Arabesque musical forms, phrases and samples, borrowing from Algerian rai, Palestinian abata, Egyptian mawwal and Berber styles amongst others. The collision with electronic beat syncopation, spacey ambient effects and chopped-up sequences is brilliantly managed, delivering a semi-futuristic pan-global sound that could be booming out of any club between le vingtieme arrondissement, Ankara and the beaches of Goa.

Acid Arab's shared aspiration to "contribute to this brilliant and enormous masterpiece that this music is, and has been for thousands of years" is clearly apparent on the strength of this collection of tracks, one that will appeal to ethnomusicologists and ravers alike. Entrancing.