I don't know about you, but I loved Brightblack Morning Light. Last seen in 2008 I think we can safely say we've seen the last of Nathan Shineywater and Rachael Hughes, but before that point they produced two excellent records of psych/blues/drone music in their self-titled debut and sophomore effort Motion to Rejoin. Back in 2006 there wasn't much else like Brightblack's debut; a heady and trippy mix of Rhodes piano and guitar it really was quite special and it's sad to note we've heard nothing from the duo for the last four years. All this reminiscing is a roundabout way of leading me to mentioning The Dusted Sessions, the rather fine third album from the similarly-minded Date Palms. The Californian duo Gregg Kowalsky and Marielle Jakobsons - adventurous solo artists in their own right - have come together again with a psychedelic-flecked take on the dusty blues drone that adorns their solo compositions. Kowalsky takes care of the keyboards (featuring some gorgeous Rhodes piano) and tape manipulations, while Jakobsons contributes violin, flute and some electronic trickery of her own.

As with previous recordings, their take on desert Americana brings in minimalism but also Eastern/Indian sounds are very much to the fore. Expanded from a duo, Date Palms are augmented by bass, electric guitar (for the very first time) and tanpura - a Middle Eastern/Indian lute which produces some lovely drone sounds - and this seems to have helped Kowalsky and Jakobsons produce their best work to date. The Dusted Sessionsis very much a record of two halves: the first is held together by the 'Yuba' tracks, inspired by a trip to the Yuba River in Sacramento Valley. 'Yuba Source Part I' begins with narcotic-heavy tanpura and Jakobsons' amped violin which scrapes and soars across the track creating slowly ascending patterns while Kowalsky's Rhodes glides in the background. It all builds across ten minutes to the point where the bass kicks in and the sun rises over the valley. It's - and I don't use this lightly - a truly transcendental moment. This is followed by 'Six Hands To the Light', a shorter burst of ambient drone, all shimmering organ and a moment of pure peace before 'Yuba Source Part II' brings back Jakobsons' violin, twisting the patterns of 'Part I' ever so slightly and creating a clear link between the pieces of music. Jakobsons' instrument dominates proceedings in the same way that Samara Lubelski's violin defined both of The Sonora Pine's albums and much of the time she spent with Jackie-O-Motherfucker; it takes the lead and the rest of the music follows, but it's also the instrument that seems to connect the bluesy drone of the American desert with the sounds of the East. In short, Date Palms would be nothing without it. The last of the Yuba tracks, 'Yuba Reprise' is a soft blues jam, with Kowalsky's subtle keys to the fore, bringing things to a peaceful close.

Matters take a darker turn on side two with 'Night Riding the Skyline' an ominous beginning; the violin creates a mini storm as electronics and the tanpura buzz and crackle in the background, but it's when the bass kicks in after four minutes that things really get doomy. We're in the midst of a night-time desert storm, the bass and downbeat keys suddenly joined by a stuttering drum machine beat and darkness is everywhere. It's stunning, the best moment on the album and eleven minutes of this just isn't enough. 'Dusted Down' is all Boards of Canada analogue pulses and throbbing bass, and the only track on which you notice the electric guitar - and it almost seems out of place, or a slight mood killer. Nevertheless, things end wonderfully with the improve piece 'Exodus Due West', on which we hear Jakobsons' flute for the first time. It's an open-ended piece, rich with possibilities and leaves you with the same heavy-lidded feeling that began the record.

I'm a sucker for records which are heavily influenced by location, and there's always something quite special about artists who draw from Americana, the desert, blues and drone to make their music. The Dusted Sessions is a fine example of when this works near-perfectly - as Date Palms, Kowalsky and Jakobsons have succeeded in making what could be their best work.