Moses Boyd has a knack for melding genres and for presenting his work in a way that makes it not only accessible but the height of underground cool. It’s no accident that he’s become a poster boy for the London jazz scene. Dark Matter, which Boyd is calling his debut solo album, shows off his talents as a producer as much as it does his crisp kit playing. There are echoes of his earlier work in the shuffling grooves and detuned Fela-esque hornlines; in the throb of Theon Cross’s tuba and the wail of Binker Golding’s sax, while Boyd also incorporates fragments from a conversation with his long-time friend and mentor Gary Crosby. Elsewhere though, he enters new territory with production and guest vocal features that sink us deeper into London’s contemporary club scene – the world of Afrobeats (sic) and revivalist garage. The hypnotic ‘Only You’ marries acoustic drums with a short, heavily-manipulated Klein vocal sample and so much sub-bass murk it feels as though you’re drowning. Boyd’s hi-hat cuts through like a sharp intake of breath. It’s hugely evocative: close your eyes and you can see the blinding strobes and smell the sweat. ‘2 Far Gone’, featuring Joe Armon-Jones’ sparkling acoustic piano and a skiffling garage drum track is another standout track, and perhaps the most satisfying mix of electric and acoustic, of old ideas and new.