Coconut Rock, a collaboration between Austin-based Ocote Soul Sounds and guitarist Adrian Quesada, features a flawless mix of Latin grooves, world-beat percussion, and pure jazz funk wrapped around contemplative and countercultural themes. And that’s just the first song.

Ocote Soul Sounds founder Martín Perna—also a founding member of the Antibalas Afrobeat Orchestra—and Quesada, best known for his work with the Latin funk outfit Grupo Fantasma, draw on every influence imaginable for Coconut Rock: freak folk and world grooves combine unhesitatingly with slick brass, gritty electric guitars, and jazz flute.

“The Revolt of the Cockroach People”, a down-tempo instrumental piece inspired by the 1973 novel of the same name by Oscar Zeta Acosta (more widely known as the inspiration for Hunter S. Thompson’s attorney Dr. Gonzo in Fear and Loathing in Las Vegas), sets the album’s tone beautifully, melding hot baritone sax lines with frenzied hand drums and dreamy trumpets and flugelhorns.

“Return of the Freak” is another down-tempo lounger, propelled by motor-mouthed flute and frantic, fuzzed-out guitar, while “El Diablo y el Ñau Ñau” combines laid-back dreaminess with psychedelic keyboards and coy singsong lyricism. “Vampires”, one of the few English songs on this primarily Spanish-language album, is an ardent backlash against capitalism propelled by acoustic guitars and dense layers of percussion.

Unpredictable sounds creep in throughout Coconut Rock, from a killer distortion-clad guitar solo on “Return of the Freak” to the subtle glockenspiel that adds a sense of whimsy to many of the album’s songs. Even the sultry “Cara de Yo Ne Fuí” ends with an unexpected tension: ticking-clock percussion, heartbeat bass, and layered flute tones give the listener a sense of running out of time and breath all at once.

Coconut Rock comes full circle with the instrumental “Prince of Peace”—anchored by anthemic baritone sax and invoking the image of the messiah marching through the desert—the perfect cap to one of the most inventive and enjoyable albums so far this year. But really—what else could one expect from musicians with pedigrees like this?