'Budakhan Mindphone' follows Tom Jenkinson's bizzare post-fusion abstraction 'Music Is Rotted One Note' and ,whilst it sees him exploring similar areas, notably texturally and instrumentally, it is perhaps more accesible due to its greater variety, shorter length and (very occasional) light touches. The opening track, Iambic 5-Poetry, is something of a masterpiece, a rare instance of Tom writing an almost anthematically memorable theme, and the combination of live drums (sloppy, but so good!) and slap bass all drowned in reverb with glockenspiel over the top is certainly unique in the arena of modern dance. Beep Street, too, offers a sound world like no other. It is one of those squarepusher tracks that you keep coming back to time and time again ajust to try and fathom exactly what the hell these sounds are or where they came from. 'The Tide' revisits 'Music Is Rotted' more explicitly, but, fortunately we don't stay there too long this time. 'Two Bass Hit' (a title borrowed from the Dizzy Gillespie tune popularised by Miles on Milestones) does exacly what its title suggest- providing an overdubbed off-kilter slap bass duel (don't try transcribing this one at home) against an ironically simple live drum groove. What a joker! Finally 'Gong Acid' sounds like some kind of outake from a Gamelan workshop, given a strange new spin. Whilst in consistency or accesibility this album could not be compared to 'Feed Me Wierd Things' or 'Hard Normal Daddy' it remains a fascinating exploration of genuine inspiriation. And, after all, who would want more albums of the same music as before, great as it was? Tom, however, needs to be careful not to get stuck too much in his own lonesome musings.