Burning Shed always struck me as a funny name for a record label but the 2014 CD from the band known as Darkroom is no laughing matter. Over the past several years, Burning Shed has become synonymous with cutting edge prog by carrying a number of albums associated with King Crimson and other well known prog rockers. One such album, the Darkroom CD Gravity’s Dirty Work is a work filled with spellbinding soundscapes that superbly spotlights the guitar of Michael Bearpark and the keyboards / electronics of Andrew Ostler. Very Crimson-esque in places, Gravity’s Dirty Work features eight extended pieces of instrumental magic that crosses borders between New Age atmospherics and avant gard suspense—although unlike much New Age, this Darkroom CD is not meant to relax to. Commenting on the wide ranging comparisons made of their music, Michael Bearpark explains, 'We’re not aiming for a specific market. I don’t have a big problem with the term New Age specifically... there’s as much Suzanne Ciani as there is Delia Derbyshire in our music—also ambient, Krautrock, progressive rock, discredited for some time, and much else. People hear what they want in our music... We did set out to make an ambient album, but that was just a starting point—what’s left is something reflective, but quite different.' Darkroom have a number of releases to their credit and their best yet, Gravity’s Dirty Work is a splendid introduction to their sound. Plus, the Gravity’s Dirty Work CD cover art is excellent for those who still care about the packaging of art and music. Gravity’s Dirty Work is very ambient and spacy, and Darkroom manages to bring their sound into the 21st century with unique and successful results. Adventurous New Age music fans with a bent for near psychedelic Hendrix / Fripp like guitar-scapes and other sonic wizardry must give Darkroom a listen. Gravity’s Dirty Work is well worth the time for fans of prog-rock and ambient instrumental guitar-scapes.

Robert Silverstein
Original review and an interview with the band here