This article illustrates how the aesthetics of two types of Cambodian music-pin peat and Cambodian hip hop-enact Cambodian–Buddhist ethics and function as ritual practices through musicians’ recollections of deceased teachers’ musical legacies. To this end, I situate these labels within a particular global network of music circulation, examining their remediation of salvaged recordings, production of new studio albums, and competing claims of ethnographic authority to show their ambivalent reckonings with the commodification process. social worlds rather than those of northwest Africa, though these worlds are entangled.

I argue that these producers’ claims to subversive subject positions are primarily motivated by the values of their U.S. While they are rooted in an art scene promoting a new media ethics and mode of world music circulation characterised by David Novak as ‘World Music 2.0,’ the relations of production among the Tuareg artists and American producers involved, in many respects, differ little from those of other labels. The record labels Sahel Sounds and Sublime Frequencies position themselves as insurgent alternatives to the mainstream music industry’s capitalist profiteering in the global circulation of Tuareg music.

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