Kolektif Istanbul haven’t changed all that much since their first album Krivoto, which came out nearing the peak of the Balkan hype in 2008. These 13 mostly infectious dance tunes are still keeping to the same Turko-Balkanic territory, though French sax player and totally Turkified  band leader Richard Laniepce prefers the term “progressive wedding music” to describe what the band are all about. The difference between then and now is the Kolektif sound has meanwhile become busier, tighter more versatile, with more subtle trills, flourishes and embellishments. Also the retrograde electric piano is a nice welcome addition, sounding at times totally un-Balkan, and then a moment later verging on a kind of funky, microtonal Balkan-tallava style popular at Roma weddings. While some of the best tracks are the fast-paced, stomping Bulgarian-inspired kolos replete with pumping tuba and swooping sax and clarinet figures, a standout is the slow, crawling “Aksaray Dan Iken” originally a Gypsy style meyhane drinking tune in a dügah makam, orchestrated here with some darkly atmospheric and distorted electro tambur licks and Asli Dogan’s swooning lament that sounds like it was lifted from the refrain of that old traditional Thracian Greek-Turkish number in 9/8, “Mastika”. Overall Koliktif offer up a much different – reedier, more Oriental – take on the Balkan sound than the more dominant Romanian cliche.