The Comet Is Coming's name alludes to apocalypse and a sense of human proportion in the cosmos, diving into religious and scientific concepts of end-times and rebirth. This second album confirms UK jazz's pop culture resurrection while they're at it. Where Sons of Kemet add Afro-Caribbean roots and ritual to current London music, Shabaka Hutchings helps reach for future visions here. Updating spiritual jazz for a sci-fi age, Dan Leavers' east London studio was fully utilised in his and Max Hallett's flowing, precise production. But though Blade Runner's soundtrack sometimes inspires Leavers' synth glides, this is human, not cyborg, music. Big bang-expansive, relentless and restless, with Hutchings' sax an attacking, integrated element in a bigger sonic picture, it could be played at a rave or place of worship, festival field or urban club. During ‘Blood of the Past’, a clearing appears for poet-rapper Kate Tempest to plead for, “a more soulful connection to land, and to lovers”; “Unable to listen, we keep speaking,” she adds, in an incantation against denatured life which resolves into a climbing Hutchings cry, beats slamming as if into soil. The dance-floor transcendence of ‘Super Zodiac’ features some of Hutchings' most exciting playing, his dancer's feint into its final climactic seconds sending the whole album over the edge. Offering off-beat grime accents elsewhere, Hallett is the Elvin Jones-like energy core of ‘The Universe Wakes Up’ as Hutchings ascends, untroubled, cruising between modal hyper-speed and free rawness, Coltrane rising into view like a lost star.