Word is that much of Zomby’s ‘Dedication’ was made after his father had died, which certainly explains the title, and probably parts of the record’s inward looking stance. These tracks are sparse, their insides are there for all to see – there are no secrets.

Through the sixteen-track set the producer works through varying sombre moods (‘Natalia’s Song’ lays deep thought behind the cut and pasted vocal line) and analogue tipping electronics (hear the signature hazy vocal from Noah Lennox on ‘Things Fall Apart’).

The synths may be recognisable in sound, yet are used in an original format – simplicity built upon simplicity seemingly creates a unique and complex world for Zomby. He builds only with the essentials, leaving room to breathe so we may experience the music.

‘Riding with Death’ opens with droplets of rhythm and two basic lines that talk to one another for the duration. Yet as the beat picks up and other keys cascade, the song is another foray into an effective trance-like state.

Not much here lasts beyond the three-minute mark – the ideas are used sparingly, left suspended in time and motion. It seems to be a brand of glacial dub-step and dance, filtered through open reflection, cold London nights and 8-bit keyboards upon darkened roads

It becomes apparent when the mass of keys within ‘Digital Rain’ fall among the jittery rhythm. Or within the ambient ‘A Devil Lay Here’, where the deep bass-line is offset once more by shimmering notes – intermittent sweeps of sound making a rare appearance.

Through repetition, low-key antics and life-lessons Zomby has created a dance record that will affect as much as it will enthral – words are not needed when the music can speak for itself.

-Adrian Murray-