On their second album Stop Machine, experimental south London based collective Snorkel sound like they spend their time making music for themselves and if anyone else happens to like what they do then they'd consider that a huge bonus. With their musical sat nav set to innovative they take the listener on an improvised tour of the outer limits of the music scene taking in dubstep, industrial, electronica, jazz, funk rock and who knows what else along the way?

You'll struggle to find a review of Stop Machine that doesn't reference Can (this one clearly no exception now) but there is more, much more to Snorkel than kraut rock fellow travellers. Opener, and title track, 'Stop Machine' for example, sounds like The Pop Group stripped of the anger and politics leaving just the mind-blowing experimentation. 'Dead Skin' buzzes like a dentist's drill before morphing into the soundtrack to one of those nightmares where you wake up drenched in sweat. It's my favourite track on the album which may be because it's the only track that comes fully equipped with vocals.

'Driller', a post industrial instrumental masterpiece, is more nervy and jittery than a marionette on death row while 'Edgar's Hoover' simply sounds like the noise inside the head of a deep sea diver suffering from the bends. Final track the aquatic, amorphous 'Jellyfish' drifts by like, well, a jellyfish (sorry I'm beginning to run out of perfectly formed metaphors), a curiously tame end to an oddly captivating album.

Stop Machine is a compelling album of uneasy listening and not for the faint hearted, or those looking for an easy musical ride. It makes Radiohead's most extreme walk on the wild side sound like a trip to the indie landfill. At the risk of being accused of the kind of fence sitting that'd embarrass a Liberal Democrat. It's an album that defies rating. A simple score out of 10 would not accurately reflect how good (or bad depending upon your attitude to experimental 'electro-aquatic-kraut-afro-funk') this album is. Rest assured if you're prepared to open your mind and let Snorkel in then this could well be a 10 out of 10 album. However if you prefer to worship at the altar of chart pop then it's closer, much closer to the bottom of the scale. If I must give it a rating then I'll plump for a safe, and rather boring, 6.5 out of 10 thereby pleasing no-one but also not upsetting anyone. Maybe I am a Liberal Democrat after all.

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