The music of the Maldives meets the rock of the garage on Ahmed Nasheed’s Dhaalu Raa. Probably best known for his work with Zero Degree Atoll, noted particularly for their Dhoni album, Nasheed’s journey to his debut solo outing has taken nearly 20 years to come to fruition.

It features music in the raivaru tradition, which is a form of singing native to the Maldives. The island nation in the Indian Ocean, actually two chains of 26 atolls, is a place of rich culture with musical influences ranging from Indian, East African and even Arabic.

Ahmed’s Dhaalu Raa is packed with these considerations, from the use of log drums to the expressive Dhivehi language spoken by many Maldivians. But he also branches out, digging into other influences. “I’m from the 60s,” he says. “I love the Beatles, I love Pink Floyd. I grew up with that classic rock; it’s part of me.”

That classic rock vibe is apparent on tracks like “Alifuthu,” which kicks off with log drums and builds into quite a scorcher with slabs of guitar. The overall feel of the tune comes off like a grunge band blasting away in Dhivehi, complete with quiet-loud-quiet structures and Ahmed’s impassioned vocals.

“Rasge” is another rocker with a garage edge. If it sounds like this number pulses with rage and energy, it’s because it’s a plea to the Maldives. It explores corruption and division in society, hitting on a common theme for Ahmed ever since the 1990 release of Dhoni. The guitar solo grinds through a sea of feedback, raging against the machine that represses the artist’s lovely homeland.

Other musical styles give Ahmed more avenues with which to convey his message. “Bakari,” the first track, pulls Maldivian rhythms into the fuzz-guitar scene and describes the justification of corruption. And “Fihivalhu” is a beautiful and aching piece with insist drumming and a spiritual edge.

Dhaalu Raa closes with “Sheyvaa,” a piece written by Ahmed’s wife. The song touches on the Indian side of the Maldivian tradition and would make George Harrison proud, especially with its layering and simplicity. It’s a hopeful way to end the recording.

Despite taking quite some time to finish, Dhaalu Raa finds Ahmed having lost none of the passion and fire that captured him in the Zero Degree Atoll days. He’s still a rebel without a pause and a musician of consideration and depth. And he can still rock with the best of them.