This almost feels like Stapleton is trying to get his audience ready for the long promised hip-hop album. There’s even a track with a form  raping on, in the shape of track 14, with a more head shaking taking on a  rock and roll station like beat , a throbbing bass line ,and hovers of atmospheric ambience in the background. On top of which  is what you’d expect to hear if Captain Beefheart had to attempted to rap, as well as  elements of crude balloon  like sax playing and general noise oddness. It really works wonderfully, still very much NWW,but coming from a different angle. Sounding more refreshed and vital than he has in a few years. Other highlights includes track one, with it’s  mix of soliloquy for lilith’s bell like harmonics,  bassy snthy line and the slowed and electrified black is the colour of her hair vocal line, the last few minutes building a  wall of guitar riff in a most satisfying manner. Track  five finds a beat  pattern made from stretching space craft tones, odd bird sound, and electro crunch. The track almost has a surreal dub feel to it, as well as sampled string elegance - a wonderful mix of the bizarre and smouldering dark atmospherics

Of course with this type of thing, there are a few tracks that don’t quite click, but thats to be expected. On the whole this is a very enjoyable foray into new waters for NWW, making one even more eager to hear his farther adventures into beats and all things hip- hop. This can be brought direct from icr distribution  here.