The "ourselves" in question make a pretty complex bunch. Ali, born in Tehran but raised in India and then the U.S., emerged as a leading world-fusion voice (literally and figuratively) in Vas, her partnership with musician Greg Ellis. (She's also been a go-to singer for film music composers looking for a certain air, with her work including a prominent role in the score of '300," which, due to its controversial portrayal of ancient Persians, got her in considerable trouble in Iran.) Torkian, also born in Tehran and moving to the U.S. with his family following the 1979 revolution, showed his mastery of various Eastern and Western instruments and styles in the similarly oriented Axiom of Choice (not to mention getting a math degree from UCLA). Both groups drew comparisons, if only superficially fitting, to Dead Can Dance, and their intersecting musical and cultural circles led to a partnership, both artistically and romantically (they're now married, with a young child). Together they've made several wide-reaching albums under Ali's name and now two with Rizzo (whose many production, writing and remixing credits include work with Seal, Coldplay and Prince, as well as his own releases) as Niyaz.

What they believe sets them apart, and what the 'Nine Heavens' twin set illustrates, is that they are not engaging in juxtaposition of different styles, nor in borrowing from folk or traditional music to lend exotic character to dance tracks, as it seems many acts have been doing. In creating their hybrids, they start with the acoustic performances and build the modern sounds to fit, whereas it seems many others start with electronic beats and then edit and mold the "ethnic" music to fit that structure.

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