David Toop makes the kind of music you’d expect from someone who recorded for Eno’s Obscure imprint, writes essential books like Ocean Of Sound, and contributes to The Wire. His aesthetic is uniquely eclectic and exotic, intelligently designed, conceptually rigorous and ambient in the best way. That he’s creating music this challenging (and disturbing) 30 years into his recording career testifies to both his fecund imagination, and to masterly collaborators like Tom Recchion, Lol Coxhill and Terry Day. Toop’s best album since 1996’s Pink Noir, Black Chamber explores and exploits sound’s molecular structure with a scientist’s acuity and a mystic’s wonder.