Ramallah Underground reside in their namesake, a city north of Jerusalem in the West Bank, melting styles into effortless, jazzy hip-hop that, more often that not, takes the form of brooding sample-based instrumentals. A music collective, they materialized sometime in the mid-’oughts, and have been producing a dexterous slew of genre-balking stand-alone tracks out of Palestine ever since. A far cry from the Beastie Boy-esque politi-rap born proudly from more visible Arab hip-hop groups–like Israeli-Arab supergroup DAM–the music of Ramallah’s most inscrutably prolific (and generally mysterious) trip-hop-blending M.C.-aggregate is elusive and smooth, one moment a relaxing foray into stuttery laid-back ambience, the next a tense and immediate outbreak of muffled sonic irruption. The elegantly rendered, and yet barely-restrained, musical pathos of many of their tracks echoes the turmoil felt by a vocally-castrated generation of youths. They, by their own account, hope to create a brand of musical camaraderie that can appeal to and possibly speak for many of the concerns of modern Arabs and Palestinians.