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Black honey drips from the walls as the bass reverbs around two lovers souls, separated by a sea of dead dancers working up a sweat for their highness. He wades through the deep to find his luminous beacon bobbing along to the waves of tenebrous sound in the darkness. The blood drips from his mouth as he staggers towards her. The temple starts to crumble… He pulls out his phone – one last shot – but it falls to the floor and is sucked into the void, forever lost.  A cloud of dust forms at the bottom as the bricks cascade… His vision follows his other senses home into the warm, cosmic light of his third eye, but he can still feel the rhythmic pounding of the tribe dancing for their queen. The side of his head rubs hard on the sludge of the black honey – he’s hit the floor and the bricks are in freefall.  But before he leaves, her hand touches the back of his neck and she calls out for God, cries his name and tells him she loves him.  The rest of his spirit is waiting for him in the lobby.  And so he musters the strength to utter her name one last time and reciprocates her love before he curls up into a ball and the last bricks of his temple crumble to the ground.  The capstone shatters into a million pieces, a million different directions.

He wakes up and wipes the dust from his weary eyes, feels the warmth of the sun caressing his face.  There is his beacon, his queen, relaxed, alone, her back against the stone of the pyramid, her feet buried playfully in the sand. She’s waiting for him to wake up again. Her loving smile revives him.

Rolling percussion and deep subs blend into distant rhodes pianos, playing jazz chords, miniature solos, as fragmented vocals escape from beneath murky strings and euphoric synth pads – lost voices channeled from the future. With elements of future garage, dubstep, jazz and a progressive, conceptual, flowing feel, Pharaoh is an album suited as much for your Sennheisers as for the dancefloor. Best listened to at night.

‘Pharaoh’ – the new Davwuh album, out now