Follows up to last year’s Street Horrrsing by Bristolians Andrew Hung and Benjamin John Power; enlisting Two Lone Swordsmen’s Andrew Weatherall to produce. The album was in fact recorded at Weatherall’s Rotters Golf Club Studio in London.

Tarot Sport follows on from F*ck Buttons previous album of repetitive rhythmic noise barrages supported by menacing synthesisers. Seven instrumentals litter the album, opening with Surf Solar, which is strangely reminiscent of Moby as anthemic lead synth lines flail over a speedy bass drum and chattering, spliced-up vocal samples. It doesn’t quite warrant its 10-minute length, however.

Rough Steez sounds like an old Gary Numan track, as a grinding analogue synth patch stabs over machine-driven rhythms complemented by hacksaw guitar sounds, soon followed by the 9-minute The Lisbon Maru – driven by marching drum patterns and Rhodes keys. F*ck Buttons like to cocoon their sound in multiple layers of distortion and effects, but this lends the production a muddy, clammy feel, with all the sounds purged together in a clump-like mass.

Perhaps the most inviting track is Olympians; striding along in a haze of rhythmic drumming and organ sounds, dropping its shackles at around the five-minute mark to express the sort of sparkling, one-fingered keyboard salutes that Ulrich Schnauss might be proud of.

Phantom Limb switches tangent; a powerfully magnetic effort, quivering with rubbery, sprawling machine noise, this isn’t so much music as a living, breathing organism. It’s certainly the most inventive track on the album.

Closing tracks Space Mountain and Flight of The Feathered Serpent return to the album’s original motif of charging tribal patterns, saturated by a wall of squealing feedback and blustering, windswept melodies. Tarot Sport has energy in abundance and some interesting rhythms at play, but the production is nauseating at times, hiding the details under a plethora of din, despite occasionally erupting alluring magma flows.