I didn't really get into Prophesy until about the seventh or eighth time around. Initially I found that it didn't hang together as well as Beyond Skin or Displacing the Priest even though the range of songs is almost exactly the same: R'n'B ballads backed by subtle Indian vocals, lone eastern voices melting into chilled drum 'n' bass, a swooping juxtaposition of Asian and Latin voices, a heavy electro effort and gentle Brazilian love/rejection songs. Indeed, having got to know the album better I think the Prophesy songs better than their earlier 'equivalents'. The opener 'Sunset' is more affecting than 'Broken Skin', 'Breathing Light', 'Nothing' and 'Cold and Intimate' are all superb and 'Moonrise' is almost (though not quite) as good as 'Homelands'. This last song has a pleading Arabic voice gradually soothed by the Brazilian voice and chorus he sings against. Breathtaking.
No, what still grates and prevents me from loving every moment of the record is the new stuff. Whereas the theme of Beyond Skin (nuclear proliferation and the threat of an atomic apocalypse) was well presented by quotes interacting excellently with the mood-piece songs, the theme of this album (the evils of technology) holds together less well (how on earth did he record the album, then?) and we are stuck listening to Street Guru, parts 1 and -God help us!- 2, in which an anonymous New York cab driver witters on about the joys of multiculturalism and the hope that we don't rely on technology too much in a stream of vague platitudes. A further track, 'Developed', has a similar format with an Australian Aborigine but is hardly as objectionable because he doesn't labour his point as much.
These tracks get in the way and break up some of Nitin's finest playing and mixing to date. I would just urge him to stick to genuinely affecting modern music with a political edge and to stop lecturing me. Nonetheless, a great record.