A quarter century on, Maldita prove themselves as energetic and omnivorous as ever. Their base remains speedy but doom-ridden ska (think the Specials' "Ghost Town"), but they work all sorts of other styles into the mix: African guitars, Brazilian drums, blues slide, funk bass, polkafied accordions from north Mexico. On "Fatima," Cuban pianist Omar Sosa subjects his jazz chops to reggae dub; "Sur Del Sur" moves from French Antilles zouk to rock. Other cuts could nearly pass for Gogol Bordello or early Santana. The translated lyrics read like an anticapitalist editorial with a jumpy beat.