Sherwood's mastery of dub's expansive style gives him the room to play with a dizzying array of elements. Anchored by the rolling rhythms of Jamaican session wizards Sly and Robbie, NTAH samples classic sufi music from Rizwan Muazim Qwallli, the understated blues guitar of Skip McDonald, jazz trumpet melodies from Harry Beckett, and original vocals from Indian singer Hari Haran. The results may be too densely textured to be a pure club record, but every track follows a distinctive, spaced-out flow. In some respects, Sherwood is contending with a music world that has finally caught up with him; the fearless genre-blending that once set him so far ahead of the pack is no longer revolutionary. But one listen to this record's highly nuanced mosaic of ghostly wails, deep echoes, spacey guitar riffs, and stuttering jump-up-style beats makes it clear that Sherwood can still play the game better than anyone. Hippies beware.