On March 19 2021 released "十丈铜嘴 / Awakening From Dukka" - an eleven track album of newly re-recorded and remastered songs from prior releases throughout the bands history - which were "Arvan Ald Guulin Honshoor" (LP / 2012); "Nine Treasures" (LP / 2012); "Galloping Whte Horse" (EP / 2015); "Live in Beijing" (LP / 2015); "Mongol Metal" (LP / 2015) "Wisdom Eyes" (LP/ 2017); and "Bodhicitta" (Single / 2019).  From the depths of Mongolia, Tsog utilizes a Mongolian folk treasure, the Morin Kuur - an instrument perhaps resembling a cello-often played with bow.

"Black Heart" - The first album track wastes no time with the establishment that NINE TREASURES is either a thrash band, or that the band has the ability to play thrash-and play it well; however the extent of melody throughout the song-and the diversity of instrumentation - a balalaika is heard in lieu of a second guitar-albeit the "Awakening From Dukka" recording uses multiple guitar tracks; however distorted rhythm guitar even of a thrash style bears a real presence-earning NINE TREASURES a classification of folk metal.

"Arvan Ald Guulin" - the second album track opens with standard guitar as though from a nineteen eighties radio metal, but the balalaika ornaments these rhythms tracks. "Fable of Mangas" - the third album track opens with a bright moderate tempo and a subdivided motif on the distorted rhythm guitar -ornamented by the balalaika. At just before three minutes, all other instruments rest for Askhan to play a nitty gritty distorted rhythmically subdivided motif - aggressive yet sharp and cutting; by three minutes ten seconds, Namra opens a double bass drum moderate tempo groove for the song to progress into a guitar solo. Beautifully played. At four minutes - Saina's Balalaika adds a solo over a slow rhythmic thrash.

"Nomin Dalai" - the fourth album track opens with a vocal intro that progresses into the song riff-that from the octave, descends a natural minor progression (VI chord moves to the II chord).  However, just past half one minute, beautiful rhythmic ornamentation chops the song along-this is well played metal folks-rather new-albeit a re-recording). Further rhythmic progressions add subdivisions perfectly synchronized between Askhan's speedy & distorted rhythms and Namra's perky drum beat.  A balalaika solo is rhythmically accentuated with quick hit-hat clicks-and I love this subtle adornment!  As the song resumes - rhythms are played with quick, clicky & tight accents, though too fast for air drums, listeners will physically react to the slap happy rhythms.

"Tes River's Hymn" - the fifth album track opens with a quick bass motif that rolls with an easy legato from the high and lower octaves - almost reminiscent of MEGADETH'S "Peace Sells...But Who's Buying" yet this motive is played with a quicker, lighter, and tighter groove. The groove slows yet enlivens with intensity as we approach two and one half minutes that culminates in a bass solo-that ASHKAN perfectly accentuates with a subtle rhythm guitar groove. I may have heard subtle notions of Tsog's - Morin Khuur.

"Ten Years" - the sixth album track opens with Tsog's - Morin Khuur;  though ornamented with the balalaika, the distorted rhythm guitar adds a foundation of metallic sound.  At about three minutes - we enter into a Mongolian Melodic Trash. Though the drum beat is slow, we have one rhythm guitar track accentuating the drums, while another rhythm guitar track harmonically conveys a legato progression / riff. Thoroughly enjoyable-another aural distinction that listeners need to experience.

"The Dream About Ancient City" - the seventh album track opens with mildly distorted guitar arpeggiation.  The balalaika carries the melody, harmonized by the Morin Khuur.  The song progresses to a light yet speedy tempo with similar melodic even thematic instrumentation. "Praise For Fine Horse" - the eighth album track opens with a fast (horse gallop) rhythm on the floor tom-shortly after, this is accentuated by the bass. Verses progress with speedy accentuated contrapuntal rhythms-this is ear candy folks.  The rhythm section-including Askhan's vocal line, digs the horse gallop rhythm directly into the earth-still, lightly.   Listeners need to hear this to experience it.

"The End Of The World" - the ninth album track utilizes perhaps the most melodic theme on the album; and as we approach three minutes, fully distorted rhythm guitars convey about as heavy a sound as I've heard on the album thus far-still the rhythm section is light punchy & tight - and NINE TREASURES never relents with this perfect rhythmic synchronicity. TSOG solos on the Morin Khuur -and the rhythmic accents utilized by his bow technique adds to the choppy feel performed with a flowing legato groove - nicely done!

"Wisdom Eyes" - the tenth album track opens with a quick and punchy subdivided motif. Distorted guitar uses wah before entirely resting for the verses. At about half past two minutes, rhythm guitars replay the opening motive with distorted sustain: if "distorted sustain" equates with "aural disdain" then I'm a' lovin' what I'm' a' hearin'. Lovingly aggressive-as an opposing  combination of a "choppy yet legato" groove. "The Stubborn" - the eleventh album track is replete with subdivided accents for the motif-as punchy and choppy a rhythmic motif on the album yet.  At one minute, rhythm guitars sustain the chord, rather than accentuate the rhythmic motive.  The Morin Khuur adds a smooth and slow ornamental (bowed) melody as a melodic counterpoint to the song theme. "Three Years Old Warrior" - the twelfth and final track is at a moderate tempo subdivision "e-&-a baah" / "e-&-a baah" is heard if not felt by the rhythm section-most prevalent through the rhythm guitar.