In the magazine “Pop. Kultur & Kritik” the art historian Jörg Scheller wrote a brief text on Pop; reorganizing each period into chronological order from Pop I to Pop V. Every time-period has its phenomena (obviously). Pop V is where Fuchsbau and Kuenta i Tambu come into play: this current phase describes the globalization of pop music as well as the deconstruction and reorganization that accompanies such change. Thus, the expectation of musical authenticity from specific countries loses its importance (luckily). So how does so-called “African music” sound? Nobody knows, just as nobody can put a finger on the exact sound of European or US-American music. Despite numerous writers calling Kuenta i Tambu’s style similar to “traditional sounds” of Curaçao, an autonomous island in the Caribbean, they much rather create arrangements of sounds: dissected samples, aquatic melodies and crowded rhythms. It is a question of energy. Translated, Kuenta i Tambu means “Stories and Drums” and it is just that. The power of chanting voices collides with the unending energy of movement and does not stop until it has reached the next galaxy. Pop VI is already on its way.