If Arrington de Dionyso's Malaikat Dan Singa is a mouthful of a name, then his music does well to invade every other one of your senses. For years, de Dionyso has been making a name for himself as one of the premier practitioners of experimental music in the Northwest. Unlike other experimental artists, whose work consists of beauty in chaos, de Dionyso is conceptual and thought-through in the extreme.

"In high school, I lived in Spokane, WA," says de Dionyso. "I had moved there from the South where I'd done a lot of children's theater. I came from a more, shall we say, vibrant arts and performance background. When I moved to Spokane, I found that creative outlets were a lot harder to come by, for me. I spent a lot of time alone, listening to music. I would go to the library downtown, and at the time they had an extraordinary collection of old Folkways records on vinyl. ... In my boredom, I found this real drive and curiosity to go full throttle in devouring music from all over the world, and from all time periods."

At the same time de Dionyso was absorbing world music, he found himself drawn to the local punk scene in Spokane. Naturally, these two disparate influences converged in his mind and helped to create the template for the music that he makes today. Loud, aggressive instrumentation serves as the delivery system for de Dionyso's exploration of the music of other cultures.

"I listened to things that you wouldn't ordinarily come by, whether it's music from New Guinea, Africa or a lot of Native American music, I just became very familiar with everything they had," says de Dionyso. "When you're exposed to the incredible diversity of sounds that are made by humans all over the world, you realize how impoverishing it is to only play music in one specific tone structure or rhythmic structure. ... The different ways that people make sound, or even just the different ways that people use their voices and sing in different ways - I just think that there is huge potential to use those sounds in ways that wouldn't be predicted, or thought of."

Open the Crown, de Dionyso's latest album under the Malaikat Dan Singa moniker, is his first return to English-language songwriting in six years. The past few albums took this world music influence to its logical conclusion, with entirely foreign-language compositions to further highlight the musical touchstones of different countries. But returning to English doesn't make the music of de Dionyso sound any less foreign. Upon first listen, it's not uncommon, I'd bet, to get a little vertigo from Malaikat Dan Singa - so aggressively uncompromising are the songs, along with de Dionyso's outlandish vocalizations, which can sometimes include Tuvan throat singing.

"I'm further along in my path of clarifying and defining that aesthetic direction for myself," says de Dionyso. "For a variety of reasons, I didn't write any new material in English for about six years. ... We recorded several hours of material for this record, and from those recordings, we decided which pieces would be worked on and turned into complete songs. During the initial process of recording, I didn't know which language would be chosen for a given track. And I just found that English - it was just time to come home to it and integrate it into Malaikat Dan Singa."

Arrington de Dionyso, in whatever project, remains one of the most unpredictable writers and performers working now. Paradoxically, in counter-intuitively combining and mixing and matching disparate cultures, Malaikat Dan Singa has created something both entirely original and completely universal.

MALAIKAT DAN SINGA, w/ MTNS, DJ Urine, the Nadines, 8 p.m., Saturday, June 8, 2nd Cycle, 1314 Martin Luther King Jr. Way, Tacoma, $5, 2ndcycle.org