Not for the faint-hearted, this album prompted one reviewer to write "This album made me yearn for the Taliban to conquer Britain and ban all music just so I would never have the danger of listening to it again" - so it clearly draws up the battle-lines.

Cathi Unsworth puts it this way:

'terryedwards' is an album that sculpts electronic soundscapes as if Terry himself was a listening post, picking up a brooding pulse on the opening Dipped in Tea and letting in dark waves from foreign climes. The electronica is a subtle foil for innovate jazz stylings which form like wreathes of smoke in the atmosphere, coming to the fore on the following Stacking Beans as Arabic wails. Letting his instruments take the place of words, Terry snake charms his
alto sax into a siren that simultaneously suggests enticement and danger.

Hepworth builds a film noir world around Terry’s mournful instrumentation; a ticking clock, a hiss of a kettle; late afternoon falling into the shadows of evening. The atmosphere becomes more disturbing on the suggestively titled Homicide/Suicide, into layers of writhing electronics and treated pocket trumpet; like the clamouring voices of disembodied spirits clamouring to come through the veil with Terry acting as their medium.

The Alchemist, containing fragments of songs gone by, sets up another séance mood: the radiowaves circled by a flugelhorn, an instrument Terry mastered while performing The Black Rider. Then UFO 61 is savaged by a twisted Albert Ayler-style screech of baritone sax noise, like twisted metal scraping out in a Compass Point dub cosmos.

The resurrection of the old Higsons track Conspiracy provides the album with its political bite: Charlie Higson asks: “Who’s backing the Iraqis? The Yanks are backing the Iraqis”, a phrase repeated in Castilian, Catalan, Danish, Finnish, French, German, Turkish, Hindu, Russian, Urdu & Welsh (just so no one can miss the point). The infernal inferno of the music provides a suitable score of utter, unspeakable chaos.

Finally "The b.o.t.h." has Edwards' horns, improvised live at a gig in Cologne, backed by post-punk legends Snuff but never how you expected to hear them. This solo opus has Edwards charting bold new territory.