How to Win Friends and Disappear People – QCODE Productions – Podcast Review

How to Win Friends and Disappear People – QCODE Productions – Podcast Review

Tea in the Sahara

Kev – Fiction Podcast Critic

Oh QCODE… I’m going, to be honest… it’s been a while since I’ve listened to one of your podcasts and felt inclined to write a review. However, ‘How to Win Friends and Disappear People’ comfortably ends my QCODE reviewing drought – and here’s why.

Set in New York, Nancy (Soni Bringas), lives an unassuming life alone with her cat, unnoticed by an extroverted modern-day society – happy with her lot. That is until Nancy encounters her enigmatic nocturnal neighbor El (Leslie Grace), who oozes sex appeal, yet has an acute penchant for blood.

Thrust together in a less-than-conventional vacuum our joint lead characters begin to form something that resembles a friendship. If a relationship involves unconventionally dispatching & disappearing people that is. Nancy becomes El’s ‘familiar’ and offers her nerdy abilities to profile and single out victims from life’s gutter for El to feast upon. Who doesn’t relish off-the-wall fiction that follows an introverted computer scientist and a beautiful boss-bitch vampire? No… me neither!

For me, the skillful part of this podcast is within its two centralized characters’ bond development, collation, and relationship-forming. Initially, the roles between both ladies start with each other playing out life’s cards in the way they were dealt. Now to the clever part – it is when both characters’ profiles slowly switch to mirror each other as the podcast progresses that adds the most interesting slant to this story.

Sidenote – never one to stereotype, but if you’re a fiction fan you might also relate to some of Nancy’s personality traits – btw, that’s not being an accomplice to vampire murder! Nancy is focused on her inner world until she meets El – a classic example of an introverted soul.
If this was intentional writing it could only have been written by someone who has witnessed these social wrongs in their own life. I could be way off the mark, but that’s the theory I’m running with.

The starting cadence for this ten-part show sets off impressively up until about the midway point. IMO, It’s from this juncture that the plotline feels as if it’s trying too hard to fill in a contextual backstory. El’s husband’s backstory was a pleasant segway into her past but strangely felt like it was included as a time filler exercise.

So is it worth sinking your teeth into – How to Win Friends and Disappear People?

This podcast is strange… but in a very good way. It has a weird dark sense of humor that fits perfectly within its supernatural thriller landscape. Both actors equally deliver awesome performances. Additional kudos to Soni Bringas performance as Nancy for bringing her to life with all her weird nuances and insecurities. Nancy’s awkward inner monologues and conversational cul-de-sacs truly made this podcast for me.

Let’s bookend my review like this – I’m sure there are tons of other reviews of ‘How to Win Friends and Disappear People’ out there for you to consume. The choice is optional, and I’m pleased you took the option of reading this review. If you’ve enjoyed my tone of writing get in touch for your own bespoke podcast review –

This week’s scores – 4.5/5

How to Win Friends and Disappear People – written & directed by Sophia Lopez can be downloaded on Spotify or any other podcast player.

Cast & Crew

Produced by QCODE with Executive Producers Leslie Grace and Sophia Lopez. Written and directed by Sophia Lopez. Starring Leslie Grace, Soni Bringas, James Paxton, Rico Rodriguez, Katrina Bowden, and Carlos Alazraqui.

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The Hunt for Typhoid Mary – BBC Northern Ireland Production review

The Hunt for Typhoid Mary – BBC Northern Ireland Production review

Tea in the Sahara

Kev – Fiction Podcast Critic

This week guys I’ll frontload my review – The Hunt for Typhoid Mary – by positioning it as such. If you were captivated by The Battersea Poltergeist, I am fairly confident you’ll appreciate this enthralling podcast – WYKYK!

Scouring through records whilst using a modern-day lens distinguishing fact from fiction we find Ophelia Byrne — writer, producer, and narrator of this amplified deep dive into the life of Typhoid Mary – a BBC Northern Ireland Production.

The mysterious Mary Mallon, or Typhoid Mary to use her more familiar moniker was an asymptomatic typhoid carrier born in Ireland — who later emigrated to the US at the age of fifteen. In America, Mary takes on a variety of domestic positions before settling on household cook catering for New York’s rich clientele – proving a cliché recipe for disaster.

Providing catch me if you can high drama, Mary is also trailed by Dr. Sopher – The Typhoid Slayer! Sopher, an ambitious American sanitation engineer is desperate to add another feather to his cap by attesting that Mary is the very epicenter of NY typhoid-related illnesses.

Let us pause for context… Consider this, back in 1907 there wasn’t technically a cure for Typhoid, and as Mary was living in one of the busiest cities in the world was a historical moment in modern medical science. Mary would go on to become the first asymptomatic typhoid carrier identified in the English-speaking world, which even today is huge.

This podcast ultimately aims to dispel the myths cutting straight to the truth, or the closest version of the truth as historically possible. Your luck is also in if you enjoy a podcast with shifting perspectives to chew over.

So the stage is set, and the game is afoot as this series deftly cuts between investigative journalism, and expert discussions surrounding Mary’s life. To aid the listener, key events are dramatized by actors to bring this escalating powder keg to life in glorious high definition audio.

Will you get a bad case of FOMO if you pass on The Hunt for Typhoid Mary?

My honest answer is yes…. however, I can appreciate that within a post-covid-19 world some folk might not warm up to a podcast about typhoid. If you take typhoid out of the equation and focus on the story behind Mary, the truth, the lies, and the cat & mouse games between Mary & Sopher then this is a super eye-opening podcast to engage with over five episodes.

As the final episode slides into place, did anyone actually know, or understand Mary?
That is the ultimate question which is positioned right & centre for the listener – the sketchy backstory of who her parents were in Ireland. The fact that Mary knowingly knew she could transmit typhoid, yet continued to work as a cook for the masses is still insanely difficult to comprehend one hundred years later.

The score for – The Hunt for Typhoid Mary – this week looks like this – 4.7/5

The Hunt for Typhoid Mary is part of the BBC’S Assume Nothing series – and can be downloaded via BBC Sounds.

Thank you for taking the time to read my review of The Hunt for Typhoid Mary. Exclusives are what Tea in the Sahara does best – so if you have a podcast release that you would like reviewed please contact me via my socials or Cheers, Kev!


Direct quotations from Dr. George A Soper, where indicated, courtesy of the New York Academy of Medicine.
Series written, presented, and produced by Ophelia Byrne
Executive Editor: Andy Martin A BBC Northern Ireland production

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We’re Alive Descendants – revisited – Wayland productions

We’re Alive Descendants – revisited – Wayland productions

Tea in the Sahara

Kev – Fiction Podcast Critic

As January finally rolls into the rearview mirror (thank God) – and with a few more episodes under our belt I thought that I would revisit We’re Alive Descendants by Wayland Productions & Rusty Quill.

Check out my previous review of We’re Alive Descendants for more context about this ace audio drama.

Further series unpacking – following the Westport helicopter crash both old & new Westport characters converge on a Mad Max-style rogue town called Primm. A place luckily not listed on Tripadvisor where gambling is very much the way of life — book me in for a fortnight in late July, please!

Like all fictional off-the-grid rogue towns, Primm is run with an iron fist by a narcissist called the Boar, who brings punters in from far & wide to bet on contestants entering her arena. So guess where the kids of Westport have ended up?
At first, I hoped that the Boar’s character was building up to possibly be Scratch (Jenna McCombie), from the first series, but alas, sadly not.

Within this arena is where our 2nd-gen characters must battle their way out of the Boars game in order to earn their freedom. Think Alice In Borderland vibes, except full of infected!
Ah-ha moment — during arena chapters I began to appreciate how immersive the audio is within Descendants. The roar of the greeting crowd when entering the arena felt like I was also walking out onto the battlefield alongside our ragtag group of anti-heroes.

Additional episodes & chapters give latitude to the audience, and I am genuinely enjoying the overall direction the storyline is heading in. It feels as if the podcast is engineering its very own plotline Venn diagram — with each part inexplicably linked as it builds towards a series conclusion.

The further development of newer characters continues to be welcomed — with my boy Jataun Gilbert continuing to slay his role as Nicholas.
IMO, some newer characters are slightly beige, adding little to a scene as we wait for more exciting sequences to be teed up. Doubling down on this, I am also not a massive fan of the character Dot, who I assume will eventually string a full sentence together other than just the word “dot” over, and over.

I bang the drum about Easter eggs as I feel every scripted podcast should include at least one – Descendants more than delivers. The scene where Lisa & Vera camp out on top of a building harks back to the original series. I also clocked a retro popular-culture nod to the mud camouflage movie scene in Predator – straight fire!

Personal preference time – Descendants pacing has been okay-ish switching between badass action, and emotionally provoking intense scenes. Perhaps my own expectations are set high. Perhaps that is the writing vision, a steadily building plotline heading into the penultimate, and finale episodes? If that is the case, guys, could we switch up the pace just a touch, please? This impatient critic writer is dying to know how this iconic audio drama will begin to bring down its final curtain.

Thanks for taking the time to read my review of ‘We’re Alive Descendants’ which can be found on Spotify & Apple Podcast.
Exclusive reviews are what I do best – so if you would like your fictional podcast reviewed email me directly at, or via my socials. Cheers, Kev.


Jataun Gilbert as Nicholas
Hajin Cho as Vera
Austin Trace as Alex
Hayes Dunlap as Dean
Jim Gleason as Michael
Elisa Eliot as Pegs
Constance Parng as CJ
Christy Carlson Romano as Gloria
Claire Dodin as Riley
Carol Kaufman as Mirra
Shannon Cudd as Ruth
Vanessa Born as Nakoma
Michael Ursu as Vincent
Bryarly Bishop as Dot
Sam Skolnik as Will
Gigi Guizado as The Boar
Josh Petersdorf as Walrus
William Leon as Jackal
Michael Swan as Narrator

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Station 151 – Pale Matter – podcast review

Station 151 – Pale Matter – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Hello guys, with the big C finally behind us, and 2023 almost upon us I wanted to introduce to you an indie podcast called Station 151 which I believe could be as popular as the Wednesday Addams dance routine. A statement with more front than Brighton Beach you might argue? Well, let’s see if I can figuratively twist your arm!

Tethering the show together we follow astrophysicist Wayne Robertson (Steven James Scearce), as he journeys to Station 151, Antarctica’s first, and only refitted astronomical radio observatory – that’s a vast sodding satellite dish to me & you.
The station is owned by The Telders Corp, which is headed by a nerdy Howard Hughes-type billionaire desperate to see if E.T. is really out there.

Our chap Wayne signed up for a twelfth-month solo stint to research the divine secrets of the universe – whatever that is – and hopefully, avoid losing his marbles. For an insurance policy, and to keep hold of Wayne’s marbles, the corporation forced Wayne to wear an earwig that links him to an AI companion (loose term), called Wilkins – who to my UK-based ears sounded Welsh?

Episode one includes a helicopter ride to the station that felt like a homage to John Carpenter’s The Thing’s opening scene — if that was intentional guys nice touch!
The vintage nostalgia doesn’t end there my friends – if you are a fan of spotting Easter egg references there are also a few nods to golden-age movies for eagle-eared listeners to discover which are ace!

If you enjoy your podcasts with a sous son of sarcasm the acting within this podcast has you covered. For all of its remoteness, this show has tons of satirical interactions between its characters to take the boredom edge off Wayne’s isolation. Including a very unique Husky called Buzz.

As for pacing, there are some insane scene transitions within this show that allow the listener to explore this mysterious high-tech facility at the bottom of the world. IMO, this is my favorite format of storytelling as it allows the listener to become fully immersed within the podcast’s plotline.

So should Station 151 be on your 2023 radar?

From my perspective, minor flaws like stompy footstep sound effects, and squiffy shouting vocals can easily be sidestepped when you take into account the imaginative AF world-building the guys from Greater Kansas City have created.
Me being a Brit I also appreciate a sci-fi podcast that utilizes darker sarcastic humor to lighten awkward moments – which this audio drama executes perfectly.

To keep things simple, if you are looking for a new podcast to kick off your dry January that has a bespoke futuristic vibe to it – look no further than Station 151 — trust me when I say you won’t need to keep the receipts!

A final thought before scores.
Being an indie affair the lads are doing their utmost best to self-promote Station 151 on social media. However, Andy & Steven James Scearce really require listeners to listen & review their podcast in order to ramp up ratings – if you enjoyed Station 151 share the love by leaving a review.

Scores – 3.9/5 – which, for an indie podcast that utilizes the same voice actor for multiple parts is not too shabby.

Station 151, is an indie podcast written by brothers Andy & Steven James Scearce — produced by Bear Weiter & Pale Matter.

Station 151 trailer

If you enjoyed my writing and would like your fictional podcast to be considered for a review by Tea in the Sahara please get in touch — or via my socials. Happy New Year guys, see you all in 2023, Kev.

Cast & Crew

Steven James Scearce is the voice for Wayne Robertson, Pilot Richard Johns, Michael Telders, and Dr. Alfieri
Yurie Hoyoyon – Yumi Sato
Episode (27/12) features Susannah Snowden-Ifft
Bear Weiter of Pale Matter – producer/production company
The lead writer is Andy Scearce, with contributions from Steven James Scearce

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Spark Hunter – Realm -podcast review

Spark Hunter – Realm -podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Hey fiction podcast fans this week’s review comes in an abridged format — or if like me, you are more of a visual type of person – this week’s review is written on the back of a packet of cigarettes. So grab your travel sweets as we unpack Spark Hunter, a Fighter Steel Production, brought to us by those wonderful people over at Realm.

Spark Hunter’s chain of events starts when joint British & US governments decide to use the devil’s crayon instead of an Etch a Sketch and create the most advanced AI female on the planet called HER (Rebecca Ferguson). They then load HER up with the usual human abilities, and whilst there, why not make her completely sentient – as you do!

As everyone knows (all too well), engineering such a sophisticated AI lifeform that evidently breaks its code by developing a deeper consciousness is only ever going to end one way, right? Ultimately that tricky task of deciphering if their creation has gone rogue, or not, falls to her creator uniquely called Creator voiced by Mark Rylance.

The audio soundscape within which this series has a stealthy AF Blade Runner, emotion-evoking, futuristic vibe — where it ironically also seems to be constantly raining. And like Blade Runner, the plotline within Spark Hunter at times can feel equally as complex and confusing.
Let’s kick that can further down the road! Through its detailed styling, some scenes hold lengthy deep discussions that include noticeable pauses for effect — which I can imagine might not float every listener’s boat.

Deep discussions aside, this podcast offers some next-level Mariana Trench depths of detail to an absolutely stunning audio backdrop. Casting is like a flight of craft ale beer loaded with options — there are scores of big-hitting actors on display – including Charles Dance’s EPIC authoritative voice as a sharpshooter character called Shadow.

So will Spark Hunter spark an interest in you?
If patience is one of your virtues, you savor grittier sci-fi podcasts with a slower pace, and can envision a podcast that feels a bit like 90s anime cyberpunk classic Ghost in the Shell – hit that download button now.

Spark Hunter scores – 3.9/5

Spark Hunter – written by – Teressa Tunney & KB Miller, directed by Trudie Styler.

If you enjoyed this review, and would like your fictional podcast considered for a review by Tea in the Sahara please get in touch – or via my socials. Cheers, Kev.

Cast & Crew

Starring Mark RylanceRebecca FergusonRichard E. GrantEdward HibbertLinda PowellVanessa RedgraveFisher StevensEliot SumnerJohn Douglas Thompson, and Kathleen Turner. With Charles Dance and Sting. Voiced by Norm ShermanTrudie StylerJake HorowitzAjay NaiduRobin GallowayDe’Adre AzizaMary BeardRhani KrijaAlain PichonAlfredo NarcisoConor CookLars NordJonathon GrantRossana Redondo, and Teressa Tunney. Story by KB Miller and Teressa Tunney. Created by Fighter Steel Productions. Written by Teressa Tunney and KB Miller. Directed by Trudie Styler. Assistant Directed by Audra LaBrosse. Produced by KB Miller. Associate Produced by Jack Doulin and Ali McKegney. Executive Produced by Teressa TunneyCharles DanceRebecca FergusonMark Rylance, and Trudie Styler. Sound Recordist: Phil Bodger. Sound Designed by Sonorise Systems. Additional sound design by Mike Winship. Additional recording by CDM Sound Studios, Inc.. Assistant Audio Designer and Composer: Norm Sherman. Loop group actors: Chris RaglandLaurel LefkowRebecca LaChanceJohn ChancerKelly Burke, and Chris Peluso. Foley: The Foley Farmers. Foley artists: Pete Burgis and Franziska Treutler. Foley mixer: Maxwell MacRae. Art by Tim Kent. Assistant Production Coordinator: Demaris Brinton. Story Consultants: Frank C. DiGiovanni and Andrew C. Miller. Environmental Editor: Ned Potter. Psychological Consultant: Sheldon Solomon. Casting by Jack Doulin. Wine Consultant: Starfield Vineyards. Menu Consultant: The Musket Room, New York. Health & Safety Supervisor: Louise M. Reed, RN. Legal Services by Michelle LamardoReavis Page Jump LLP, New YorkHeidi Reavis, and Deena Merlen.

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The Witch Farm – podcast review for BBC SOUNDS

The Witch Farm – podcast review for BBC SOUNDS

Tea in the Sahara

Kev – Fiction Podcast Critic

Hey guys, are you ready to plunge into another paranormal myth-busting ghost hunt?
The creators of 2021’s GOAT podcast ‘The Battersea Poltergeist‘ are back with a new story – and guess what – so is this cynical podcast critic!

Back again like they never left – Danny Robbins, flanked by his crack team of experts Cirian O’Keefe, and Evelyn Hollow trek to a not-so-sunny Wales on the hunt of a supposedly haunted farmhouse set over eight episodes.
In a twist from last year, the listener switches city brogues for Hunter wellies to journey to the Brecon Beacons for this part documentary, part detective audio drama.

To be more precise, the sequence of events follows a young couple – Bill & Liz Rich – who bought a remote farm called Heol Fanog to start their family. SPOILER! Apparently, back in 89, there weren’t any rainbows, or pots of gold to be found in Brecon for our optimistic young family – anything but!

The format is simple, the timeline buffers back & forth from 89 to 22, with Danny trying to seek credence to this farm’s tale of lore, uncover truths, debunk fallacies, and engage with a listening audience hooked on unnatural phenomena. Simples right?

From my POV, I welcomed this series being set in the late eighties/nineties. Hopefully, this offers a greater probability of actual living eyewitnesses to corroborate some of the vivid stories of radiators doing the fandango, exorcisms, and inflation-busting energy vampires racking up the Rich family’s lecky bill.

IMO, The Witch Farm appears to be gathering pace quicker than its predecessor podcast. The live listening show is introduced earlier – within episode three – engaging the audience sooner, and on Halloween – very shrewd Mr. Robbins!
Again, this slick Q&A interaction offers listeners the unique ability to dial in directly with their own conspiracy theories on events.
So far my biggest question is more quirky – will Sarah Greene from ‘Going Live’ fame be guesting in an episode – and if not – is Pat Sharp available?

Quick theme music reference – The Witch Farm caters to BBC 6 Music fans – hurrah – offering an atmospheric, introspective, musical vibe created by Welsh singer Gwenno. Kev’s top tip – if you haven’t checked out Gwenno’s music before, you definitely should!

Kev’s conclusions

The big question then – is it worth going down to the farm with Danny & his team?

I have to say, so far, so good – The Witch Farm has all the early hallmarks of another slam dunk BBC podcast. The think-tank behind this podcast has certainly struck a winning formula with an entertaining approach to satisfy a nation’s thirst for the paranormal.
Nowadays listeners want more interaction with the shows they follow – and Danny & co have certainly embraced this participation. If this sounds like your particular jam, then you will thoroughly delight in The Witch Farm.

Although it’s still early doors, my inner nerd genuinely enjoys the new-age experiments Danny creates in order to draw parallel conclusions to events within this cold case. As the season progresses it will be interesting to see what other eerie circumstances transpire down at the farm. However, if you were left wondering which side I currently stand within this debate — I still comfortably remain within the non-believer camp.

Final thoughts before scores – being candid guys, this format for a podcast has legs to run further afield than just the UK mainland. That could be perhaps The Shetlands, or The Channel Islands, as no doubt there are a few haunted places between both those locations.
Or, controversially broader, I wouldn’t rule out seeing some version of this audio drama within Europe, or why not across the pond? If the BBC hasn’t already clocked it – this style of podcast has awesome potential outside of the UK. Remember you heard that here first folks!

This week’s ghostly scores look like this – 4.7/5

The Witch Farm can be found at BBC Sounds, or via the BBC Sounds App.

If you enjoyed this review, and like Danny & his team would like your fiction podcast considered for review by Tea in the Sahara please get in touch – or via my socials. Cheers, Kev.

Cast & Crew

Bill Rich – Joseph Fiennes
Liz Rich – Alexandra Roach
Wyn Thomas – Owen Teale
Laurence Rich – Jonathan Case
Mr. Jones – Ioan Hefin

Written and presented by Danny Robins
Experts: Ciaran O’Keeffe and Evelyn Hollow
Sound design by Charlie Brandon-King and Richard Fox Music by Evelyn Sykes Theme Music by Gwenno
Researcher: Nancy Bottomley
Produced by Danny Robins and Simon Barnard
Directed by Simon Barnard Consultant was Mark Chadbourn, author of the book on the case ‘Testimony’
A Bafflegab and Uncanny Media production for BBC Radio 4

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Young Blood – Goldhawk Productions – for Audible Original

Young Blood – Goldhawk Productions – for Audible Original

Tea in the Sahara

Kev – Fiction Podcast Critic

Launching on the 20th Oct, coincidentally Halloween month – Young Blood – created by Brett Neichen & John Scott Dryden, a Goldhawk Production, arrives to the masses via Audible Original. And yes, yours truly is on hand to base jump into another sneak-peak fiction review.

Once again, Brett & John, thank you gents for continuing to share your early masters with me for review – I know that you are both incredibly proud of this particular personal project – and rightly so chaps.

The anchorage point for Young Blood centres around a brief encounter in Central Park with Damon Ellis, and a mysterious seventy-year-old woman who looks forty, but runs like Usain Bolt. Who was it that said running was supposed to be good for you?
This momentary encounter sends the lead character Damon (Geoffrey Arend), on an outrageous adventure that poses the BIG question about our own obsession with mortality. You see, Damon, a hack for The New York Times believes this chance meeting offers an opportunity to break a story which will resurrect his ailing career, and possibly win him The Pulitzer Prize – all before turning forty!

Like any quest every good lead character needs a worthy sidekick, right? Joined on this wild goose chase is Damon’s best pal Brett (Jon Gabrus), who adds a touch of black comedy to keep the gang grounded and offers much-needed sarcasm to balance out the serious bits within the show. With their mission accepted, our duo endeavours to unravel the truth about Calypso, a shady Boston biotech company that has apparently unlocked the elixir of eternal youth – or have they?

As you can guess with all of that action the tempo for Young Blood is not exactly route one clear-cut. Personally, I was hooked from the first episode, however, for me, it wasn’t until the midway point that it felt like that scene in Jurassic Park where the Raptors open the kitchen door that led me to have an – oh sh*t – moment for how genius this show is.

Characterization-wise, Damon is quite a complex chap — the easiest way to describe him would be as someone who fails to live in the present, and is desperate to achieve some form of greatness instead of living out his best life. Sadly, this is something more common than not in a world of TicTok, and Instagram filters. Damon also provides narration, breaking the fourth wall rule to guide us listeners, through the plotline – adding superb first-hand frame of reference.

Kev’s conclusions

So is Young Blood worthy of your Audible credit?

From my POV, the compelling reason I connected with Young Blood so instantly was because of how relatable the writing was to this particular critic. Having reviewed a few of Brett & John’s previous podcasts that centred around youth, it was refreshing to have a plotline that caters for those of a particular vintage – myself included!

You also don’t have to be 35+ to fully enjoy this audio drama. As I have come to expect from Brett & John’s writing there is tons of intrigue, and open-ended questions within the fabric of Young Blood to comfortably satisfy most sci-fi thriller fans. Young Blood nestles quite nicely into the Neichen & Dryden cannon, offering the listener a welcomed adult direction in tone to get immersed within.

Overall score – 4.8/5

Young Blood can be found at Audible for your listening pleasure.

If you enjoyed this review of Young Blood — and like Brett & John would like your fiction podcast considered for review by Tea in the Sahara please get in touch – or via my socials. Cheers, Kev.

An Audible Original, produced by Goldhawk Productions
Created by Brett Neichin
Written by Brett Neichin & John Scott Dryden
Original Music – Sacha Puttnam
Sound Design – Steve Bond
Producer – Emma Hearn
Directed and Executive Produced by John Scott Dryden

Damon – Geoffrey Arend
Brett – Jon Gabrus
Maya – Annie Parisse
Alice – Karibel Rodriguez
Simon – Theo Ogundipe
Cammy – Carin Chea
Cyrus – Kerry Shale
Takashi – Aki Kotabe
Alan Gimble – Henry Goodman
Paulina – Dolya Gavanski
Greer – Gianna Kiehl
Sheila – Karole Foreman
Janice Dufort – Jennifer Armour
Dr Brazilia – Raad Rawi
Dr Juan Traverso – Denis Giron
Akshay – Vivek Madan
Dr Irina Ivanchenko – Albane Courtois
Carlo – Raury Rolander
Damon’s Mom – Janice Hall
Police Officer – Eric Meyers
Jason – David Menkin
Bookstore Manager – Christopher Ragland
Bookstore Employee – Lola Ogunyemi
Desk Girl – Sarah Pitard
Kelvin – Eric Siriakian

Assistant Producer – Eleanor Mein
Editing – Adam Woodhams
Sound Engineer – Paul Clark, Tony Diaz, Juan Martin del Campo
US Casting – Lori Malkin
UK Casting – Emma Hearn
Script Editing – Mike Walker

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Restart – Goldhawk Productions – podcast review for BBC Sounds

Restart – Goldhawk Productions – podcast review for BBC Sounds

Tea in the Sahara

Kev – Fiction Podcast Critic

Everybody likes to walk through a door marked private right? Well, this week guys I have an EXCLUSIVE podcast review from, IMO the Lennon & McCarthy of fiction thriller podcasts, Brett Neichen & John Scott Dryden.
Brett & John, cheers for thinking of me, and for giving me another unbelievable opportunity to work with you talented chaps again.

Released via BBC Sounds with Goldhawk Productions under the hood, Restart officially airs on the 5th Oct — and I for one am absolutely blown away to deliver its first indie critic review of this eight-part thriller fiction.

The landscape for Restart is based on two teenagers, from separate continents, who bond & game online together. The lead character Brit Eddie (Armin Karima), journeys to the US after becoming concerned about his childhood pal Junior (Zachary Nachbar-Seckel), who has suddenly vanished under dramatic circumstances.

What transpires is Junior has unwillingly been enrolled in a gaming digital detox camp called DRS (Digital Restart Summer Camp), kinda like The Priory or Betty Ford for PlayStation lovers. Apparently back in the day – 1982 to be precise – the Atari 2600 game E.T, had secret coding written by its developer hidden within the game. Fast forward to today, and it appears our teenagers have stumbled upon something more sinister than unlocking a new playable boss character.

Queue ace subtextual plotlines filled with urban myths and questionable military involvement all superglued together by retro gaming nostalgia. For nerds out there — myself included — that golden age of iconic video games includes references to Atari 2600, Street Fighter 2, Pong, and even 90s Tamagotchi’s – yep you heard me right!

Vibe-wise – like all Neichen & Dryden creations Restart comes loaded with popular-culture references & Easter eggs galore to keep the old brain matter ticking over nicely. That being said, there is a darker, more unique trippy edge to Restart that blurs both virtual worlds with the reality that I cannot wait for other listeners to experience.

With retro video gaming currently at an all-time high, it is no wonder that Brett & John have tapped into another on-trend theme for their latest outing. After all the duo behind The CITHER, and last year’s hit Steelheads know a thing or two about creating an insanely addictive podcast. Speaking more broadly, the sharp thing about Restart is how it could potentially engage with a much wider gaming community – a worldwide community in 2022 of 3.2 billion gamers no less.

The pacing starts fairly even with some timeline movement back & forth for story development with the tempo picking up rapidly towards the final few episodes. Personally, it took me until episode two before I became synced with Restart’s storyline as some of the elements took me a while to wrap my head around.

In terms of character development – Eddie is joined on his quest by additional nerdy characters who comfortably populate the series without overshadowing the main protagonist. Armin Karima, as the kind-hearted Eddie, puts in a notable shift as the introverted gamer who has never left London Town.

Niche note – was it just me or did Armin’s vocals sound incredibly similar to another British chap (Petrice Jones), who starred in the Netflix series Locke & Key?

Kev’s conclusions

So to the million-dollar question, should you jump on the Restart bandwagon?
If you like futuristic podcast thrillers with individual styling, then quite simply yes. There’s lots to analyse, an abundance of intriguing conspiracy theories, twists, and even educational elements woven within the fabric of this show to keep the listener engaged.

For fence-sitting folk, you don’t need to be a gamer to fully value Restart’s plotline. High-five to listeners of a particular vintage — including me — as there are tons of cultural gaming references to give you a welcomed jolt of nostalgia.

I couldn’t close this review without quickly mentioning yours truly getting name-checked within the first few minutes of episode one. Kevin is a proposed baby name mentioned by Eddie’s expecting parents, which they claim is very English sounding! Absolute genius Brett – after two years of reviewing podcasts I’ve finally become my very own Easter egg!

Let’s take a moment to pause, and decant this week’s sci-fi audio drama scores.

Overall score 4.9/5 – audio 4.9/5

Restart can be found at BBC Sounds, or via the BBC Sounds App.

If you enjoyed this review, and like Brett & John would like your fiction podcast considered for review by Tea in the Sahara please get in touch – or via my socials. Cheers, Kev.


Eddie –  Armin Karima
Boss – Akie Kotabe
Junior – Zachary Nachbar-Seckel
Karishma –  Lilette Dubey
Francis – Jon Gabrus
Skye – Gianna Keihl
Hilly – Jennifer Armour
CJ – Savannah Steyn
Mr Priest – Nathan Osgood
Flo – Michaella Moore
Lilya – Nathalie Armin
Salman – Dana Haqjoo
Mr Jacobs – Eric Meyers
Atari Boss – Philip Desmeules
Nurse – Rebecca La Chance
Lars & Creature – Kerry Shale
Kids at camp: Matteo Caporusso, Vaughn Arthur Endraca, Sebastian Stewart, Libbi Fox
Other parts: Joshua C Jackson, Victor Perez, Eric Sirakian, Matilde Gaido


Created & Written by Brett Neichin & John Scott Dryden
Original music by Benbrick with additional programming by Lostwithyou
Editing & Sound Design – John Scott Dryden, Adam Woodhams & Andreina Gomez
Recording: Sonica Studios,  London & Marc Grau Studios, LA. 
Sound Engineering – Paul Clark & Tony Diaz & Peter Mack
Script Editing – Farokh Soltani & Mike Walker
Trails – Jack Soper
Assistant Producer – Eleanor Mein
Runner – Jacob Tombling 
Producer & Casting – Emma Hearn
Director & Executive Producer – John Scott Dryden 
A Goldhawk production for BBC Sounds

Goldhawk Productions is one of the world’s leading producers of audio fiction. Visit us at

Previous Tea in the Sahara reviews

Podcast Q&A with Outliers writer Casey Wells

Podcast Q&A with Outliers writer Casey Wells

Tea in the Sahara

Kev – Fiction Podcast Critic

In life, you come across folk that you instantly know are your type of people. Proving that you might wear pinstripe or perhaps even denim, but mutual respect & playful banter comes from all sources – and is also jolly good for the soul.

That person stepping into this week’s Tea in the Sahara Q&A booth is Casey Wells, esteemed writer of Outliers, Crooked River, and her latest podcast venture Green Man. Thank you so much Casey for giving up your time to put words to this indie podcast critics’ questions – stay classy CW!

If you missed my review of the straight-fire Outliers a few months back definitely check it out. Whilst there I also highly recommend downloading Crooked River & Green Man for good measure.

For those who haven’t read your novella Outliers yet, how did you effortlessly transition into podcasting? 

Thank you, Kev, but I really didn’t transition into podcasting with Outliers—that the novella became a podcast is entirely due to the vision and efforts of the director/producer Dave Beazley. I wrote the novella, Dave saw its potential and set about to make it into an audiobook, and Realm added immersive sound to convert it into an audiopod podcast. That this all happened was a surprise to me. Luckily, the story was told in first-person, and Rory Culkin was able to so wonderfully encapsulate and express the persona of the narrator (Boy) in his reading so it worked.

As a talented writer do you knowingly write with the novel in mind or the audio drama format?

For me, it’s one or the other. The material “tells” me what it wants to be and I comply. Once I have whatever it is in its “origin” form, I’m free to adapt it into any medium I like. My preference these days, however, is to write audio drama series (podcasts) as audio drama series. These are very much like theatrical plays with a talented cast, only performed with all the lights off and with an unlimited access to sound effects and no limits whatsoever—other than one’s own imagination—regarding locations. Very much a unique auditory experience. Audio dramas celebrate words/language and human voices and all manner of imaginative sounds. I have a little sign over my desk to remind myself of what it means to write audio dramas. “In the darkness, the taciturn hold no sway for it is the loquacious who are kings.” I have to seek out talkative fictional characters for this medium. Luckily, chatterboxes—in life and in fiction—are not hard to find.

Where did you draw your inspiration for Outliers from?

I’ve spent time off-grid in isolated cabins in mountainous regions in the dead of winter and it always struck me that I really had no clue what was going on back in the civilized world. Sometimes I’d hear the crack of a tree branch breaking under the weight of snow and before I’d spin around to see what it was I always experienced that momentary frisson of fear that there might be something else there, something beyond the scope of my imagination or the limit of my comprehension, like an Outlier. That’s what I hoped to convey in the story. The “something is out there” sense of dread and wonder.

Top marks for landing Rory Culkin as the sole narrator for Outliers. How did you manage to get him on board with this project?

Producer/director Dave is completely responsible for that flash of inspiration. He thought Rory would be perfect as the narrator, Boy, and somehow he was able to contact Rory through his reps and Rory agreed to come onboard.

Within your writing, there seems to be a very outdoorsy theme within Outliers and Green Man. What’s your reason behind this?

Yes, the woods and the forest are my natural habitats. That’s where I feel most at home. In a way I think of myself as a creature of the forest in a children’s book: it is from the forest I have emerged, it is to the forest I will one day return. I like sleeping outside, under the stars, and being close, even one, with nature. I currently live in the Mojave Desert, which is a far cry from the forest but it has its own remarkable and devastating beauty. Luckily, I can still go walkabout where I live. I like to be able to walk out the front door and keep walking into whatever wilderness is beyond.

The dynamics between Da & Boy are fascinating – where did the motivating force behind this unique relationship come from? 

I think there comes a time in everyone’s life, usually in their teen years, where blind acceptance gives way to questioning authority, even of those within one’s own family. Luckily for most of us, I think, a clear-eyed melding occurs. The stakes are different, however, if there are only two people in existence—when another person, as Da is to Boy, is another’s whole world. If that person turns out not to be what you believed them to be, how do you even process this? If someone you love turns out to be a monster, does that mean your love for them wasn’t real or was wrong or was untrue or misguided? We all have to come to terms with the complexities and disappointments of the human experience and compassion and forgiveness—for not just others but for ourselves—must be a part of this, even if acceptance is not.

Are there plans for a second season of Outliers?

No, there’s not. At least not as a podcast.

What are your thoughts if Outliers were to be converted into a film or NetFlix series?

That’s the plan! It was written both to exist as a novella and as a TV or streamer series.

If a screen version of Outliers was possible with an endless acting budget, who would you like to see cast as Boy within a screen adaptation?

As Boy is only 15, I don’t know of a young actor who might play him, but I’m sure he’s out there. He might be only twelve right now and more interested in sports or helping out on the family farm, or whatever than acting right now, but I’m sure he’ll be up to the task when the time comes. My mind goes to someone who would be like a young Timothèe Chalamet—he has that thoughtful, observant quality that Boy has. And, like Boy, he seems comfortable outdoors, or at least he did in Dune.

What podcasts are you currently listening to?

I’ve never actually listened to a podcast, not even my own, though a couple of directors have played scenes for me over the telephone. I don’t have the technical capacity on my computer or my phone to do anything but send emails and answer calls. When I set about writing audio dramas, I read scripts for over 100 series to see how other writers approached this solely audible medium, and to see what kind of format they were using for writing their scripts. One day, however, I will be able to listen to them, I hope, and then it will be one long auditory binge for me.

What advice would you like to give to would-be podcast writers/creators?

I’m not a big fan of the blanket “write for yourself” advice, not when you’re working in a commercial venue. If you want to write for yourself, keep a diary or journal. From my perspective, audio drama writers need to write with their listeners foremost in mind. If listeners are willing to spend some of their precious time listening to what you’ve written, make it worth their while.
I believe most people are smart, really smart, and they’re fully capable of processing even complex auditory information, vaulting vocabulary and challenging themes. This means you must write the very best stories you can, at the outer limits of your abilities. The minute you start writing for the lowest common denominator, you’ve betrayed your listeners and insulted their intelligence. Trust me, I try to say. Take my hand; we’ll be on this journey together, and I’ll be by your side every step of the way. I promise not to betray your trust if you come along. And I mean that. I’m standing on a slender bridge over a chasm waving to them to come across, to the side where the characters and the story reside. If they start across that bridge at my behest, but I deceive them by talking down to them or by letting them down story-wise, even only one time, they rightly won’t trust me again. My position as their guide is one of privilege and I take my role very seriously. I know I can’t please everyone but at least I won’t betray them.

Final Q, I wouldn’t be doing my job very well if I didn’t ask you if there are any other projects on the horizon that you could share with us.

Well, besides Outliers and Green Man, I also wrote the (exciting!) fictionalized true crime series, Crooked River. Besides those three, I’ve written several new audio drama series and audiopods—two of which have been produced and will be released very soon. Several others are in production or pre-production as well. I’ve fallen in love with this medium—it truly is a writer’s medium—and unless I’m evicted by the listening audience’s adverse opinion, I don’t plan to leave anytime soon. I’ll keep writing audio drama podcasts until I note a discernible drop in my ability, or until I return to the forest from whence I came. Until then, it’s all about beautiful words, captivating voices, mind-blowing sound effects and elevated stories that capture the imagination and, hopefully, touch the listener’s heart.

And one last important note: thank you, listeners. Ours is a collaboration. Thank you for allowing me to send words swirling around in your head for you to create the unique full-blown images you alone see in your mind’s eye. The Outliers, and the world they inhabit, are alive as much because of you as because of me. It’s an honour to be able to provide you with stories to listen to. –CW

Again a massive thank you to Cassie Wells for agreeing to this Q&A session, and for kindly sending me the striking artwork used for this Q&A.

If like Casey you would like your podcast reviewed please get in touch via my socials or

Previous reviews

Fathom – Night Rocket Productions – podcast review

Fathom – Night Rocket Productions – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Quick Q, what do pioneering metal band Motorhead and this week’s podcast review have in common? Well, actually nothing — yet equally at the same time to me, they have grown to become guilty listening pleasures of mine.

I first came across ‘Fathom’ a few months back on holiday and am totally psyched to finally bring you a solid review about this incredible podcast. Side note — if you were a fan of the 1980s film Abyss, Fathom is in a similar vein, minus Ed Harris.

Fathom is also a prequel series set before the second continuation series which will be titled ‘Derelict’.

Writer & director J. Barton Mitchell appears a refreshingly creative & humble chap who offers candid explanations into the production of the show — including all challenges faced during those two rather annoying two years the world had off.

The backdrop for this vast storyline is set within Fathom a secret lab set nineteen thousand feet on the ocean floor where a small crew of scientists examine a colossal alien artefact called the vault. Project director Dr Eva Graff — Elizabeth Laidlaw — is employed by Maas-Dorian the Skynet of this dark submerged world to survey the vault.

As with all suspense-themed sci-fi podcasts three miles underwater things never quite go tickety-boo, do they? The first arc of the story follows Eva navigating a tidal surge and damaged superstructure whilst being manipulated by the base’s virtual intelligence system MAC to open the vault.

Now for the really skilful part about this audio drama. During the first episode, we are introduced to key characters — including Dani Payne as Sarah Klayton — who you will follow from episode five with the second arc of this ingenious plotline. A short intro yes, but nevertheless a nice touch that I overlooked upon first listen.

The writer’s vision to include two simultaneous plotlines running closely together made this podcast for me. Rather than compartmentalize the listener into one storyline you are given two different plots for your listening pleasure – huzzah!
This is not the first time I have heard this crossover format within a scripted podcast, however, it is possibly the most successful execution of bridging storylines that I have listened to.

Kev’s Outstanding Acting Performance Awards go to both Elizabeth Laidlaw as Eva Graff, and Dani Payne as Sarah Klayton respectively. Worthy mention should also be bestowed on Michael Mau as agent Blayne for adding stoic action man behaviour, with just the right dose of dry witty humour to boot. However, I would like to chat about MAC — as himself — the OG virtual intelligence villain who never dies!

There are numerous ace scenes with MAC but the one where Eva is standing above the vault, connects the dots, establishing that MAC was the architect for the deaths and catastrophe at Fathom base amongst spiking radiation levels made for a sensory feast I can tell you. This interplay between Eva & MAC shifts the relationship dynamics from human beings & machines to something one could describe as a toxic relationship with wants & needs.

I will also quickly mention that Dani Payne as Sarah Klayton completely had me fooled with her outstanding 10/10 British accent!

Generally pacing is good with the show providing enough high-tempo action alongside story development to keep your interests piqued. I will state that the episodes are lengthy — so if you’re going for a drive/walk to indulge I’d allow at least about fifty mins.

Kev’s conclusions

Straight to the point should you listen to Fathom?
Well yes, but with a few caveats.

Those who follow my reviews know I am a sucker for a suspense thriller sci-fi which is set underwater, and Fathom provided just the right antidote for my personal sci-fi podcast fix. As a critic, I strongly believe that the tight team behind this epic podcast really have created a new voice within audio drama. A world where Fathom’s world-building efforts would easily give Minecraft a run for its money!

Speaking of audio quality Fathom is definitely up there with some of the big-hitting production companies who have the cash to splash. The level of detail around sound effects like rising bubbles, killer robots, and creaking bulkheads ticking in the background is seriously insane. No joke, to my mind it honestly felt like the audio effects within this show added another member to the cast by piling on the tension.

The subtle way background music within this podcast is woven into particular scenes to heighten the moment should also be noted. I even named one of the musical scores ‘MAC’s theme’ for when MAC was delivering the villain’s rationale for why the antihero should cease with their bid for survival. For further listening, you should definitely check out Makeup and Vanity Set on Spotify.

Okay, time for me to be the bad guy in the play. However amazing the standards of Fathom are there have been massive delays between episode drops — which to be fair J. Barton Mitchell does acknowledge this and provides reasonable explanations for said delays.
Now, the problem with such lengthy delays between episodes is that you can easily be forgotten within the plethora of other podcasts that are out there – harsh but true.

Maybe this next gripe is personal, but within some scenes where actors talk super technical terminology about mainframes and jargon like that, I found myself focussing on what that actually meant rather than what was happening within the scene. A minor niche flaw I know, but one I felt I needed to get off my chest.

Obviously for those who have phobias linked with water this podcast is not going to be your bag. However, for those who enjoy suspense-filled action, with extensive world-building, you will be all over Fathom like a cheap suit!

Going in strong with a two-footed challenge, this week’s scores for Fathom look like this.

Overall score – 4.9/5 – audio quality 5/5

Finally, when I mention that the team behind this amazing podcast are tight take a look at the credit list below for the series. For such a small team they have delivered something unique within sci-fi audio drama — and no doubt that all this was achieved on a modest budget!

Let’s try and get behind these ingenious creative types and help them continue to do what they do best by delivering dope podcast content! How can this be achieved you might ask? With reviews like this, or via your socials — or perhaps through their patron page which can be found via their website –

Fathom can be found on Spotify & Apple Podcast.

Cast & crew

Elizabeth Laidlaw – EVA GRAFF
Eli Goodman – JOE FREEMAN
Michael Mau – BLAYNE
Brian Grey – REESE
Nina Garnet – FRITZ
Jonathan Olivares – ALVAREZ
Kristin E. Ellis – BRYNN EMERSON
Anka Ivanisevic – ELSA GEHRING
Samuel P. Finnegan – GAYLEN ROSS

FATHOM is created, written, and directed by J. Barton Mitchell
Produced by Kirsten Rudberg, Elizabeth Laidlaw and Thomas Barker
Features original music by Makeup and Vanity Set, Luke Atencio, and Ryan Taubert
Sound design and editing by J. Barton Mitchell; additional sound design by Music Radio Creative

Tea in the Sahara’s previous reviews

SOLAR – CurtCo Media Production – podcast review

SOLAR – CurtCo Media Production – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

It took a sound truck in Islington to make me write this review. Yep, you heard me right, sound truck & Islington. But more on that later.

‘SOLAR’ has finished its inaugural run of season one, and although I’m late to the party, I do bring a six-pack. Don’t get it twisted, that’s the alcoholic reference, not the six days a week gym type metaphor. 

This week’s review is more of a reader’s signpost for those hunting down a new, stylish, scripted audio drama which is enhanced by glorious Dolby Atmos. Sounds inviting right? Let’s dive in!


SOLARS surface-level plot follows the crew of the ill-fated Atheon on its expedition deep into the heart of the solar system with satnav coordinates locked onto the sun. Things don’t quite go to plan, and by that, what I mean is there is a freak solar flare, things go Pete-Tong, people die, and the crew loses all communicative contact with mission control. A fine time to be floating about in a giant cigar tube hurtling towards the sun wouldn’t you say?!

With an A-list cast, CurtCo Media Production brings us a premium survival sci-fi podcast which offers a powerful examination of humanity. With joint protagonist leads Wren Guerrero (Stephanie Beatriz) and Jamal Davies (Jonathan Bangs), both desperately trying to survive being trapped on separate sides of the ship. For a touch of HW glamour Alan Cumming & Academy Award winner Helen Hunt also stars as part of the crew. But let’s have it right, IMO the podcast belongs to Jonathan Bangs’s remarkable performance as Jamal.

Within SOLAR there are countless scenes which showcase the calibre of acting on display, however, so far one scene that I rate highly came within episode three where Jamal is receiving stitches from the medical officer Jesse Aquino (Anne Yatco). Not to give too much away, but that scene was so powerful, and brutally honest, yet acted with the greatest display of morality a human being can give when everything is sadly taken away from you. Call me a soppy sod if you may, but this show is interspersed with deep & meaningful moments which deserve a mention.

Away from the acting, here’s the interesting part about the creative writing of this podcast, created by Chris Porter. I love a good sci-fi that gives the listener not just high-octane drama to evoke tension, but also a bit of a Cluedo, who-done-it aspect. Add in a dash of potential corporate espionage, a twist of ghost sightings, shake, and what you have is a genius storyline set in space, directed by Jenny Curtis & Chris Porter. Oh, and did I forget to mention that Jamal is running out of oxygen?

In terms of pacing, this audio drama does require you to focus on events, well maybe that’s just me. Within some dramatic action sequences including multiple actors, the listening did require my fullest attention in those heated do-or-die type scenes. There is also a lot of event timeline buffering as we shift from pre to post-solar flare which helps include layers of context to gain storyline latitude, but could also confuse the slightly zoned-out listener.

Kev’s conclusions

Okay, this week’s review was easy, personally, I thoroughly enjoyed SOLAR for many simple reasons. Starting with a solid theatrical storyline, its ace acting, and its truly exquisite cutting-edge sound. In an abridged roundup, SOLAR is a psychological space journey which warps reality, showcasing the true extremes of human nature, good & bad. I will very quickly mention that Alan Cumming does an absolutely blinding job of an American accent voicing commander Alex Tawley.

Pinch of salt time, there are a few nanobot flaws in what is otherwise a master blueprint of space-themed audio fiction. The Aethons AI system ALI (Jenny Curtis), glitching out IMO was a tad cliché. As a fiction critic, I do tend to see that ‘ghost in the machine’ theme used quite frequently. When in doubt blame the unexplained on the computer right? The average runtime per episode is about forty mins, which is just the sweet spot for this podcast critic writer, however, if you are new to podcasting you might find SOLAR just a smidgen lengthy.

This week’s scores

Overall score 4.9/5 – audio quality 5/5

Remember that Dolby Atmos sound truck in Islington I mentioned at the top of this review? My recording below showcases a taster of the cacophony of sound Dolby Atmos delivers within SOLAR.

Unfortunately, I wasn’t allowed to record the SOLAR trailer clip live possibly due to copyright I can only imagine, but either way, the Dolby Atmos team were super friendly, knowledgeable, and helpful.
I was however able to record the below clip from another podcast. If any of my readers know what the podcast clip is that I managed to record, please get in touch as I have brain fog with regards to its name.


Customary cheers of the glass to Imran over at Greatpods, and Stephanie Arakelian from CurtCo Media Productions for this awesome podcast recommendation. Stephanie originally reached out to me because of my reviewing focus on sci-fi podcasts, and my recent review of ‘Archive 81‘.

And that’s that guys. Thank you for your eyes and open minds, it is appreciated that you have taken the time to read this review of SOLAR which can be found on Spotify & Apple Podcast or any other podcast platform. For your podcast submissions email me directly at, via my socials, or follow my newsletter (details of which are below). Cheers, Kev.


Starring: Stephanie Beatriz, Alan Cumming, Helen Hunt, Jonathan Bangs, Jenny Curtis, Colin Ford, Danielle Pinnock, and Anne Yatco.

With Nikhil Pai, Julia Henning, Dana Gourrier, Micky Shiloah, Jake Millgard, Joe Reitman, Tom Choi, Emily Goss, Joy Brunson, Jenny Curtis, John McCormick and Mari Weiss.

SOLAR is produced in association with Workhouse Media
Created by Chris Porter
Directed by Jenny Curtis and Chris Porter
Produced by Jenny Curtis, Chris Porter, and Bill Curtis
Executive Producers: Bill Curtis, Paul Anderson, Nick Panella, and Helen Hunt
Sound Design, Mixing and Mastering by CJ Drumeller
Music by Chris Porter
Recorded at Shane Salk Productions 
Production Manager, Darra Stone
Assistant Sound Designer, Allison Ng
Casting Consulting by Mormon/Boling Casting
Consulting Producer, Val Nicholas
Marketing & Promotions, Stephanie Arakelian
Marketing Coordinator, Monica Kelly
Original Art by Marischa Becker
‘You Are My Sunshine’ was Arranged and performed by Kait Dunton
SOLAR was recorded under a SAG-AFTRA Collective Bargaining Agreement.

The Podcast Show 2022 review

The Podcast Show 2022 review

Tea in the Sahara

Kev – Fiction Podcast Critic

Welcome podcast fans, I hope you are feeling in the mood for something a tad different for your reading consumption this week?

I recently attended the Podcast Show 2022 in London and thought you might potentially enjoy an unfiltered, unbiased review of my very first podcasting event.

Not to go all nerdy on you, but I will quickly mention that the Business Design Centre building used as the venue for this event is an absolutely striking piece of architecture.

Some quick kudos to the event organisers for finding this little gem set in north London to house Europe’s biggest podcasting event. The enormous single-span glass roof reminded me of Paddington Station and was a stunning backdrop for the event, for those who bothered to look up.

Luckily for me, I wasn’t attending my fledgling podcast event solo as my trusty pal Harry tagged along for moral support, and quite possibly to have a day off work! Cheers H.


For me, one of the obvious highlights was watching Louis Theroux as a guest in the ‘interview the interviewer’ session discussing his popular podcast venture ‘Grounded with Louis Theroux’ on BBC sounds.

Being a massive Louis fan from back in the day it was reassuring to see that his slightly awkward, geeky personality was still intact even when having his role reversed and becoming the interviewee. Mr Theroux, you did not disappoint!

IMHO the same could not be said of Emily Maitlis who joined Louis as a second guest speaker to discuss her own podcast ‘Podcast Radio Hour’.
Knowing Maitlis as a highly credible BBC journalist/interviewer watching her veer off-piste with her answers seemed that the role of the interviewee felt outside of her comfort zone.
If you were at this particular session (25/05 10.00), I’d be keen to get your take if you agree with me or not?

Between sessions, we soaked up the ambience of the event and accidentally (as you do), bumped into Steve Wilson, QCODE’s Chief Strategy Officer.
Steve was a true gent taking time to have a quick chat with me about some of the previous QCODE reviews that I had written.
We had previously seen Steve in a session about Dolby Atmos, so it was pure fluke that he happened to be standing right next to me in the middle of an event full of thousands of people!

Another guest speaker from the day whom I found inspirational was Gaurav Choudhury, founder & CEO of Earshot Media. A production company I had unashamedly never heard of. Indian based Earshot are early adopters of Dolby Atmos, and it was fascinating to hear Gaurav talk so candidly about the podcasting craft, India’s growing podcast marketplace, and future plans to embed Dolby Atmos into their podcasts.
If you take anything away from this review definitely check out Earshot!

Speaking of Dolby Atmos we visited their sound truck aimed at giving the listener the chance to immerse themselves into the Atmos experience. This honestly blew my mind, which I hope you can get from the cheesy grins Harry and I are sporting.

Shout out to Stephanie Dimont-Arakelian from CurtCo for recommending that I try this out. Your recommendation of The SOLAR clip we listened to was truly awesome in Dolby Atmos, and could just be my next review…


All in all the day was completely eye-opening finding out firsthand how vast the UK podcasting market is. With a current value of sixty-four million pounds, it would appear this old industry is heading only one way!

Both myself & Harry said we would definitely return if the event were held in London next year (you lucky, lucky people!)

Although I had an absolutely mind-blowing day at this event there were a few things that could have been slightly better. And like an honest TripAdvisor review, here are my areas of development.

The BBC Sounds stand scored 10/10 for its impressive stylish round shape full of podcast memorabilia dotted about. However, whenever we walked to the stand to chat with someone there was never anyone from the BBC to be seen. True, this could have been poor timing on our part when we rocked up, or either it was cigarette break time, but honestly speaking I think the BBC missed a trick here. If you read this BBC and attend future podcasting events make sure you have enough staff on hand!

My next point is more personally linked to what I do as a podcast critic writer. I completely appreciate that this event was centred around podcast creators. After all, it’s called The Podcast Show 2022 right? Yet for my medium, I felt there was little to nothing in terms of inclusivity.
This was my first podcasting event, and although I do not have my own podcast show I do contribute to this industry. I’m not seeking a violin to play for me, but more work needs to be done to include everyone who works in, and around the podcasting industry.

If anyone from the Podcasting event would like to reach out to me I have a few ideas on how this could potentially be achieved –

And that’s that guys. Thank you for taking the time to read this slightly different format of review. For your podcast submissions email me directly at, via my socials, or follow my newsletter. Cheers, Kev.

Previous reviews

We’re Alive: Descendants – Wayland Productions podcast review

We’re Alive: Descendants – Wayland Productions podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Today guys I am not going to beat around the bush. Those who follow my reviews know that my whole love affair with scripted podcasting started in 2015 with the utter genius podcast We’re Alive, a story of survival.

Over the passing years, I have introduced countless pals to ‘We’re Alive’ as the audio drama that simply puts podcasts in a chokehold. The vibe & consensus that I received on said introduction was often along the lines of “my god that podcast blew me away!” Hell, I even got my wife into the series after harping on about how awesome the show was; and she is far from a fiction audio-drama person!

For the uninitiated folk looking to fast-track and absorb the, We’re Alive podcast storyline the clever people at Wayland Productions kindly created a featurette of the previous events from the very beginning right up to Descendants. And hats off guys on what is a very sleek catch-up montage.

It has been three years (I know), since ‘Goldrush’ the last entry within the series. So you can imagine that I was happy as Larry upon hearing creator Kc Wayland was firing off the final salvo in the We’re Alive cannon with his latest offering Descendants, set eighteen years after the original storyline.

Along with executive producers Rusty Quill, we are given the unique chance to catch up on this post-apocalyptic world, and how its inhabitants have progressed living within the ruins side-by-side with the infected.

The storyline picks up in 2027 with the children of some of the original survivors, including Nicholas Tink (Jataun Gilbert). With that, we also see a return of some classic characters including Michael Cross (Jim Cleason) & Scott Marvin as Burt, which had me truly giddy with nostalgia!

The audience rejoins our survivors within a State called Westport, where you would think the modern world had gone down the pan without mod-cons and the internet. Well, you would be wrong!

What we are greeted with within the opening two episodes is an America that now has been divided into newer states that operate, and in some cases thrive with mentions of trade, commerce, emails, text, and even pagers getting a look in (remember them?!!)

Nick and the original cast live in Westport, a busy trading metropolis with high walls. Then there is United America or UA, and to the south, The Republic is made up of remaining military units left from the original US as we knew it. If I have this right the red zone, or frontier area houses the infected who have evolved and now operate within small cells or tribes.

The pace starts slow, and after some contextual catch-up, Nick and the rest of the graduate guardians get themselves embroiled in an impromptu recon mission to the red zone, and the arena. Spurred on by the words written within a journal seemingly left by Nick’s grandmother, who knows what adventures lie ahead for our youngsters! Aah, the innocence of youth.

What I admire about the first episode is how it links back to the architectural engineer of the outbreak and all of this suffering Bill Roberts, or Ink as he is better known; in my opinion one of the most elusive, and underrated characters within the whole franchise.

Descendants is starting to have the whiff of an audio drama that will deliver a continuing plotline that will thicken with every turn for its listeners. At the end of episode two, there is the inclination that we could have the return of a heavyweight original character guaranteed to turn this podcast on its head. And I for one am ecstatic about getting back on the suspense merry-go-round!

I am also especially intrigued to find out more about the poster boy dude with the green eyes and mash-up spikey tiara thing which has been used for the Descendants cover art. He kinda reminded me of Eddie, the mascot used by Iron Maiden!

Kev’s conclusions

Righty-oh, let’s put my fanboy hat with ‘We’re Alive’ written in BOLD aside for one moment and answer the most important question should you listen to this podcast?

I will begin with a small fear of mine that would see Descendants become as complicated as a Tommy Shelby strategy! What I mean is as Descendants organically grow with sub-plots, and bigger societies I wouldn’t want the show to become too overly complex.

Naturally, I can handle complex societies and political turmoil. Of course, I understand that a successful series with pedigrees needs to evolve in order to grow. However, remember sometimes less is more as the old saying goes.

I was expecting HUGE things with Descendants as the last entry ‘Goldrush’ was kinda meh. Good, but not outstanding in my honest opinion. What I felt Gold Rush lacked was that certain “je ne sais quoi” star quality. I have to say so far all of my initial fears have been brushed aside, and Descendants is comfortably exceeding my early expectations.

Having some of the original cast back in the fold brought back many fond memories, with new boy Nicholas Tink totally eating up the airtime with his fiercely defiant, and quick-witted attitude adding much-needed fresh legs to the show.

I also feel that within this series we will see the Sistine Chapel ceiling come down on not just one, but perhaps a few of the OG characters from We’re Alive. A statement as bold as the Burj Khalifa you might think, however, I do feel some form of transition from the old guard to the next-gen will take place within Descendants.

As you would expect the audio within Descendants is top-draw, and we the listeners also get treated to some groovy Bossa nova RadioShack music within a scene where Michael unwinds with a cheeky cigarette.

Okay, scoring time! Off the blocks ‘Descendants’ does start a little slow due to the need to bring the listener up to speed on what has happened in the past eighteen years. What the show has done more convincingly than Goldrush did is to lace new characters into the original cast by giving them more air time. The passing of the baton (so to speak), appears to be working quite favourable so far.

Descendants receive my first ever 5/5 (so far!) I personally see this show’s storyline being quite unique with the idea that the infected have adapted and developed making them deadlier than before. This has cleverly been achieved within this direct sequel whilst paying homage to the rich history of the original story for sentimental fans like myself. And that balancing act my friends is not an easy thing to do.

Reflection time. Guys if this review is well received/appreciated I will dip back into the story of Descendants with future reviews as the series progresses. Let me know if this concept is something you dig and would be interested in reading.

Scores this week 5/5

And remember “Stay alert, stay alive!”

Thank you for taking the time to read my review of ‘Descendants’ which can be found on Spotify & Apple Podcast, or from wherever you get your podcasts from. For your podcast submissions email me directly at, via my socials, or follow my newsletter. Cheers, Kev.

The players

Jataun Gilbert as Nicholas
Hajin Cho as Vera
Hayes Dunlap as Dean
Jim Gleason as Michael
Elisa Eliot as Pegs
Constance Parng as CJ
Lauren Croom as Secretary Dora
Scott Marvin as Burt
Claire Dodin as Riley
Tammy Klein as Kelly
Otto Sturcke as Victor
Thomas Bell as Hoggs
Brett Newton as Puck
Michal Swan as Narrator

Previous Tea in the Sahara reviews

Outliers – Realm – podcast review

Outliers – Realm – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

All right stop, collaborate and listen! If those words/lyrics mean nothing to you (welcome millennials), then I pray at a bare minimum I caught your attention. This week guys my review is of a straight-fire podcast thriller called ‘Outliers’ brought to you by Realm, the same folks behind ‘Roanoke Falls’ & Netflix’s ‘Orphan Black’.

I would like to give a quick shout-out to all of the indie writers who have contacted me recently with their dope podcast submissions. Fear not I will listen to them all, and if your podcast clicks I will be in touch to write your own bespoke review.


The nucleus of Outliers is set within a dystopian future where humanity’s last orders have been served and the planet (well America), is roamed by carnivorous humanoid creatures called the Outliers.

Let me briefly touch on the elephant in the room before we go any further. I know what you are thinking, lord not another zombie horror podcast set at the end of the world? Well in truth yes. However, through this critique, I seek to dispel some of those monster podcast stereotypes, as under the bonnet of this podcast there is much more than just monsters that go grrr!

Outliers podcast is narrated in an audiobook style format with lone narration supplied by Rory Culkin (Scream 4), who voices the lead character simply called Boy. Rory also voices all of the other characters the audience is introduced to including his old & frail companion Da, who raised the young lad from infant to teenager filling the father-figure void as everyone else is apparently dead.

As mentioned humanity has crumbled, and everyone is dead except the Outliers. Our two chaps live within a fortified compound spending their days salvaging supplies, reading books, and keeping the Outliers at bay. The story behind how the Outliers came to be, and mankind’s demise is not clear at first as Boy was born just before the change of events and when mankind plummeted down the pan.

As the story progresses further we finally discover that the enigmatic Da was previously employed as a governmental bio-chemist to create bio-weapons to cull mankind due to overpopulation outstripping natural resources. Da calls this devastating cull ‘the solution’ which went sideways big time.

Not sure if the writers were drawing parallels to our own global situation, as the Spanish flu gets name-checked as a circular epidemic that occurs roughly every hundred years, like Covid. Speaking of writing, the content and distinct vocabulary on display within Outliers is bang on. If you are a Wordle fan I am sure you will appreciate ace words that get used like traverse, concertina, and pillaging (minus them not being five letters long!)

Standout scenes include when Boy describes the environment he grows up in. A world without mobile phones, flatscreen TVs, and the internet is actually quite refreshing given how most of us habitually scroll on our mobile phones. In the part where Boy meets Girl (yep), a hybrid female (human-outlier), this scene faintly reminded me of the way Ian Flemming wrote ‘risque encounters’ for his own character James Bond.

The audio quality on offer is executed in a subtle, stripped-back format depicting every scene that you are listening to elegantly. Be that crunchy snow underfoot, or crackling open fires this low-key approach allows the narration and storytelling to take centre stage. This all kinda makes sense given this podcast is based on a novel by Casey Wells, who also co-created this audio drama with Dave Beazley.

Kev’s thoughts…

So can I recommend this podcast?

Time for some reflective thinking. If you like your podcasts with an audiobook-style approach where one person voices all of the characters within the show then you will get on famously with Outliers. I know for some this might be a massive showstopper. However, for me, it was fine as Rory Culkin has a superb voice for podcasts, his tone and pitch have this dry patina sound to it like a smoker’s last cigarette of the day which I found engaging.

I would also pull the trigger if you like your podcast’s viewpoint packed with detailed descriptions of topography, sensory smells, and engaging writing that brings audio environments alive by word alone. Each episode ends on a notable cliffhanger which is a shrewd way of leaving a carrot dangling in front of the listener leaving them wanting more.

I smiled inside at the popular culture literature name-dropping throughout the series with novelist Mark Twain, and dare I say Shakespeare’s skull scene from Hamlet perhaps getting a loose nod? So hopefully my comments help prove to you, that you don’t have to be a fan of monster-thrillers to enjoy Outliers. Even my personal bugbear adverts are neatly blended into the show in order to appear less annoying.

As Outliers was previously within the top ten of some of the podcast charts I am sure a few folks jumped onto it like me. My only slight concern is for Outliers to go unnoticed, within an age where attention is currency, which would be a travesty. This fiction thriller is well written with a stripped-back storytelling vibe which is awesome.

Scores on the doors this week and ‘Outliers’ receives a generous 4.8 out of 5.


Thank you for taking the time to read my review of ‘Outliers’, which can be found on Spotify & Apple Podcast, or from wherever you get your podcasts from. For your podcast submissions email me directly at, via my socials, or follow my newsletter. Cheers, Kev.


Created by Dave Beazley and Casey Wells. Voiced by Rory Culkin.

Archive 81 – Dead Signals – podcast review

Archive 81 – Dead Signals – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Hello podcast people I start this week’s review with a bit of a self-made confession. I actually listened to about five episodes of ‘Archive 81’ a few years ago, however back then the show never really gelled for me so I just stopped listening. A schoolboy error on my part!

Fast forward to 2022 and Archive 81 is enjoying a Herculean renaissance having recently been converted into a triumphant Netflix series. This streaming frenzy has in turn helped connect new fans to the original podcast making it climb the fiction podcast charts on both sides of the pond.

If you haven’t already guessed it this week guys my review is not covering new ground, more a stroll down memory lane revisiting a classic horror podcast which I hope that you will enjoy.


Launched in 2016 by Dead Signals Archive 81 is a camera-based Blair Witch-style horror podcast that follows two lead characters separated by twenty years time difference, demonstrating time is not linear in this fiction drama. Dan (Daniel Powell), is a temp archivist working in a private outpost restoring severely damaged videotapes retrieved from the Visser building fire.

The Visser building went up in flames in 1994, and in the present Dan is charged with restoring the tapes which were originally filmed by missing joint lead character Melody Pendras (Amelia Kidd). Melody was employed to record & document residents of the New York Visser building. It is these very tapes, Melody’s tapes that Dan is employed to restore, view, and catalogue for the secretive Mr Davenport.

Through Dan’s historical restoration of Melody’s found footage from 1994, we discover that all is not as it seems within the Visser building. Odd residents live on its eighth floor, and hypnotic music plays in the background of the building, and that’s before we chat about the sadistic cult led by its weirdo leader Samuel (Austin Mitchell).

If I do compare some of the actings between both the Netflix show and the original podcast some characters in the podcast outshine its contemporary version. For example, the podcast version of Samuel is ten times more menacing & narcissistic than the trendy bespeckled, cardigan-wearing counterpart within the TV show. And that’s the beauty of pure audio my friends!

Vibe-wise if you are the type who desires your podcast dopamine fix to have a Twilight Zone-style energy to it then congratulations you have just found your next podcast. Be that as it may, the rhythm and pace of Archive 81 can be considered frantic & obscure within certain episodes. Therefore all of this means if you like podcasts to have a simple route-one plotline Archive 81 really won’t be for you. Harsh, but true.

Kev’s thoughts…

So should you listen to this podcast?

The show’s theme is genius, let’s start there. What the writers (Dan Powell & Marc Sollinger) did back in 2016 was visionary, and lightyears ahead of the horror podcast curve. For me where this podcast excels is listening to Dan unravel like an isolated lighthouse keeper losing his mind within the madness of the tapes. These scenes are awesome making you feel that you can actually hear the cogs turning within Dan’s mind.

The idea to have two characters from two separate timelines interacting within the same podcast space on paper sounds like insanity. I am here to tell you it undeniably works, and you know what the saying is about that short distance between insanity and genius right?

So what made me take an early bath on this podcast back in 2016?

If this podcast’s theme is revolutionary, then sadly it is also its curse by being extremely abstract. The narrative dives back & forth, in & out, and all over the shop making it hard to follow & focus on. At times I found myself rightly confused, losing my place, and constantly trying to work out what was going on! Please don’t hate me podcast lovers, but having viewed the series on Netflix the visual form actually helped with some of the podcast’s more confusing scenes.

Dan’s character within the podcast appears too goofy, naive, almost gullible less introverted and a recluse as he is portrayed in the big-screen version. And don’t even get me started with the rat chasing & befriending scene, the rats squeaking was agonizingly cringe-worthy.

However, (with a capital H) for all of my destain Archive 81 does have all of the hallmarks of a cult classic. I regrettably did not hear this when I first listened back in 2016. But armed with hindsight, a more open mind and Netflix, I have a newer appreciation for this podcast, and by Jove, I now get it.

Scoring time; I will be awarding ‘Archive 81’ a steady-Eddie score of 4/5. Archive 81 will not be everyone’s cup of tea whatever way you slice it. The concept broke new ground, hence Netflix adapted it into a series years later. The bumps in the road for me are within the show’s execution, muddled audio, and confusing scenes which led me to shave off one point. Savage perhaps? Let me know if you agree with this week’s scores.


Thank you for taking the time to read my review of ‘Archive 81, which can be found on Spotify & Apple Podcast, or from wherever you get your podcasts from.

I would also like to thank all of the readers who made January 2022 the highest-ever viewed month since Tea in the Sahara was established. From me to all of you who have read one of my reviews from Bermuda to Japan, and everywhere in between thank you!

For podcast submissions email me directly at, via my socials, or follow my newsletter. Cheers, Kev.

Last Known Position – QCODE podcast review

Last Known Position – QCODE podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

It’s a known fact January is as irritating as that 1990s song the Macarena! So what better way to beat the mid-January blues than with my podcast unboxing of QCODE’s latest horror-thriller ‘Last Known Position’. You also have the privilege of witnessing this, my first condensed review for those who like podcast reviews like TikTok.

Let me know if you enjoyed this shortened bite-sized review. And for fans of my deep-dive podcast reviews fear not! That style of review is still very much the backbone of my writing format and integral to my modus operandi.


The engine room of this podcast is a harrowing aeroplane crash over the Pacific Ocean in seemingly suspicious circumstances. Onboard flight 7963, are the wife & daughter of billionaire William Cavanaugh, expertly voiced by James Purefoy.

Tiny disclaimer at this point, this podcast is not for those with a fear of flying as the opening scenes within episode one sound so real, and feel quite disturbingly chilling. On the other hand for those who enjoy disaster-themed Lara Croft expeditions based at sea, full of mystery & intrigue, you’ll be all over this podcast like a cheap suit.

So like a Saudi Prince buying up football clubs for fun, William Cavanaugh ensembles a crack team of disaster recovery specialists in a bid to discover the fate of the ill-fated aircraft. Part of this elite team of geniuses is gutsy submersible pilot Mikaela Soto (Gina Rodriguez), who happens to have one of the best job titles that I have ever heard of!

This eight-man crew begin the insane search for flight 7963 over a 600 sq mile crash site aboard an extremely futuristic ship privately funded by grief-stricken, Mr deep pockets William Cavanaugh. Onboard the ship we are introduced to the other specialists who populate this podcast nicely adding awkward camaraderie without the show becoming too pedestrian with lengthy sub-character development.

If you thought that life at sea was a walk in the park you would be wrong! Mikaela fishes out a chap from the ocean ranting & raving in Portuguese that there is a beast lying in wait for them beneath the sea. Furthermore, the team also discover another sunken vessel which was opened up like a tin of beans! In my own conclusion, I hope at least for their sake they have the right quota of lifeboats.

For those curious about tempo this podcast buffers from intense, to slightly longwinded with some slower parts reminding me of laborious episodes of another horror fiction podcast ‘The White Vault’.

Four episodes in and our crew have yet to witness the supposed sea monster that potentially downed flight 7963. And before you say it I know the writers are keeping their powder dry by building suspense. However, man-A-live before I get any older can we please get on with Mikaela going Moby Dick stylee and fight this 2.0 version of the Kraken already?

Kev’s thoughts…

As you would have guessed it this audio drama strives forward with its unique nautical soundscape which QCODE quite simply nailed! The sound is an exquisite experience, as you would expect from a big LA production company. Even the people in the cheap seats feel part of this expedition inside a submersible submarine deep underwater. The opening aeroplane catastrophe and bubbling sub-aquatic vortexes created within this show are utterly stunning.

Strangely even the advert placement within the podcast is almost okay. Those who read my reviews know I am not a fan of overtly commercialised podcasts with averting breaks every ten minutes. However, the advert with creator and writer Lucas Passmore, and director John Wynn is quirky and almost fun. Maybe this is the secret way of camouflaging annoying adverts in 2022?

(But!) Before I lose my mind and rate this show five out of five I do have one area of concern that needs to be looked at. On one hand, QCODE is awesome at delivering crackerjack atmospheric audio no doubt. So why do you have actors voicing regional accents that sound farcical? This is not a direct dig, and I am sure the actor who voices Mr Levi is an accomplished actor, but what the fu*k is up with that accent?! Too harsh? Let me know if you agree with me on this.

So who is going to listen to this podcast?

If you like horror-scripted podcasts that feel like a shipshape game of Cluedo (Professor Plum, revolver, billiard room), then you will enjoy the excursion this podcast takes you on. The acting is solid, the audio is first-rate, and the storyline so far is holding up in terms of keeping the listener guessing what will transpire next. My personal opinion of course, but with more emphasis on plotline pace and less dodgy accents I will be rating this podcast a respectful 4/5.


Thank you for taking the time to read my review of ‘Last Known Position’, which can be found on Spotify & Apple Podcast, or from wherever you get your podcasts from.

Check out my previous CQODE reviews – From Now, Soft Voice, Ghost Tape, Dirty Diana.

For podcast submissions email me directly at, via my socials, or follow my newsletter. Cheers, Kev.

SteelHeads – Goldhawk Productions – podcast review for BBC4

SteelHeads – Goldhawk Productions – podcast review for BBC4

Tea in the Sahara

Kev – Fiction Podcast Critic

All good acts deliver an encore, right? And what better way to close out 2021 than by giving you guys my inaugural EXCLUSIVE podcast review of Brett Neichen & John Scott Dryden’s latest audio drama ‘SteelHeads’. Are you ready for another healthy round of sci-fi thriller, no chaser required? I know I am!

Quick rewind back to December 2020 when I reviewed The Cipher podcast, which in part helped launch my scripted podcast reviewing writing career. In an ever so nostalgic and incredibly fitting way, exactly one year later as I put pen to paper (or laptop) with a follow on review of SteelHeads written & created by Brett Neichen & John Scott Dryden.

Throughout the year, on & off, I have kept in contact with both Brett and John and was proud as punch when they contacted me to write an independent review of SteelHeads giving my readers a very first scoop of my thoughts on this epic new podcast.

Fellas, thank you both for entrusting me with early drafts of the show, and for allowing me free reign to write this review. If I could score my humbleness right now it would easily be a 10/10.

SteelHeads will officially be released on the 31st of December on BBC 4 & BBC Sounds.


The crux of SteelHeads follows the lead character Joleen Kenzie (Jessica Barden, End of the F***ing World), a British ex-professional tennis player whose promising fairy-tale career comes to an abrupt halt when she is diagnosed with an inoperable brain tumour. Far from throwing in the towel, Joleen decides to travel to Seattle hoping to be cryogenically frozen only to be brought out of the freezer once a miraculous cure has been created.

Joleen awakes from her slumber in Alaska, puzzled by her new surroundings after being asleep for five years. The world’s population in which she wakes is split into SteelHeads, folks that have been chipped, and ClearHeads who oppose being chipped.

Those chipped by the government live out syrupy sickening happy-happy, joy-joy lives completely oblivious to anything remotely negative. Joleen is joined by Remi (Khalid Laith), part of the resistance against the SteelHeads, and an ex-military man called Luther (Bruce Lester Johnson).

It is at this point where we join Joleen on her quest to establish what the hell has happened in those few short years when she was frozen in time. Why is society made up of two rival factions? Who, if anyone in this brave new world can Joleen truthfully trust?

Brett shared with me that the inspiration for the centralised storyline came from an actual case of a UK teenager winning the right in court to be cryogenically frozen in the desperate hope that future advancements within medicine would cure her of cancer.

All of this means we are not dealing with a PG-rated podcast that shies away from posing the moral question of how far would you go to escape a terminal condition. It is this type of disruptive, avant-garde writing that sets SteelHeads apart from other audio dramas by asking difficult questions about morality, whilst positioning the theory of future nations microchipped. Remember intentionally or not this fiction based drama also coincides in a very real-time that we are currently living through with vaccine-hesitant people reluctant to have Covid jabs for fear of government foul play.

The chaps wanted the podcast’s vibe to be gritty, but also adds an element of humility through humour. This means that the fictitious world of SteelHeads is not all doom & gloom. Sure there is a surface veneer hiding a darker underbelly within society however, there is always time for a quick quip, or sarcastic retort to inject a touch of humour with lines like “another great day in Seattle?”

Having Jessica Barden as the lead character is fantastic, all feisty and inquisitive. And like The Cipher having an awesomely talented female lead really sets out the podcasts stall, and intent for delivering award-winning acting. Joleen’s character part narrates the podcast with popular culture references like Blade Runner, and even Bill Gates getting a cheeky nod. With Brett & John’s writing I always feel like I learn something new, and enjoy being educated with factoids like Alaskan Wood frog’s, and red snow (watermelon), apparently a natural phenomenon which is ace!

SteelHeads also has a unique way of leaving you in part with more inquisitive questions than answers, giving the listener their own part to play by filling in some blanks and drawing their own conclusions. And knowing Brett it wouldn’t surprise me if the barcode numbers within the show’s artwork has a potential hidden Easter egg hidden within the digits!


I admire the writing within SteelHeads as it deals with the complexities of life & medical rights head-on. Topics that could be seen as a political hot potato. The creative writing team of Neichen & Dryden is back in full effect with another lightning in a bottle, futuristic sci-fi podcast that literally engulfed my brain (pun not intended!)

I dig the fact that in this supposed portrayal of the future there isn’t the super cool flying cars & hoverboard utopia of the future most of us envision. In my opinion, what is dished up for the listener is a plot where society is split into two sets amongst an immersive outlook that makes you question modern medical ethics whilst pushing boundaries. Kudos to the BBC who took on this revolutionary podcast, as pushing the envelope should not be something we are afraid of, it actually needs to be embraced!

When chatting with Brett on the writing of the show he said that SteelHeads was indeed a writing collaboration, as was The Cipher. Our process of writing is similar to that of a band; there is so much that goes into making a show, and the script keeps evolving through production and editing, so our voices blend together. As a director, John is very encouraging of improvisation and creative collaboration from actors, so the end result is truly a group effort. 

So to the million-dollar question, should you invest your time into listening to SteelHeads?

In short, the answer is a strong yes! A more nuanced balanced answer would be – those who delight in ultramodern storytelling, relish podcasts with innovative sci-fi running through its DNA, this podcast will naturally appeal to you. If you were a fan of The Cipher then you will equally go a bundle on SteelHeads.

Although I will say I enjoyed both podcasts thoroughly, SteelHeads did take me just a fraction longer to fully appreciate and get into, however, once fully absorbed boy was I all in! I would also like to add that throughout the listening of this podcast one theme that I constantly thought about was the film Demolition Man where they freeze Sylvester Stallone’s character. Let me know if you drew the same weird analogy?

With John Scott Dryden at the directing & co-writing helm you always know you are in safe hands, and in my humble opinion, his production team Goldhawk Productions sets the standard of which other production companies should follow.

SteelHeads launches on the 31st of December and will be going out on the BBC weekly however, the podcast will also be dropping as an entire box set for you to listen to. So trust in old Kev, and start 2022 wisely and download this pioneering podcast on BBC Sounds, or from wherever you get your podcasts from.


And that is it for 2021 guys! Another massive thank you to Brett & John for allowing me first-hand early access to this remarkable podcast. I wish you all the success that you both rightly deserve as I know you definitely will create a buzz with this podcast.

Are you are a writer or creator keen to have your podcast given the once over by an independent podcast critic? Have you enjoyed the previous Q&A blogs that I have done, and are thinking I’ve gotta get me one of them?! If that is the case, then maybe (just maybe), I am the chap for you. For all podcast submissions, you can reach me on my contacts page, or email me directly

Here’s the thing guys, Tea in the Sahara is my hobby and creative outlet that I am able to commit say 30% of my time to because like most people I have a full-time job. My dream would be to move my creative writing from a part-time hobby, and to a full-time gig. This year has been a massive learning curve for me, meeting new like-minded folk passionate about scripted audio drama. In 2022 I have a few new plans and will be kicking on aiming to make Tea in the Sahara the critic writer of choice.

Final plug! Under the new fetching picture of me, there is a small box where you can follow my newsletter to keep up to date with Tea in the Sahara. For all of my other reviews please check out podcast & audio-book, and until the next review podcast people Happy New Year! Cheers, Kev.


Production Team: 
Co-creator/Writer: Brett Neichin is the author of the upcoming Warner Bros. horror film,  SWIPE RIGHT, as well as the Audible Original Series, YOUNG BLOOD and the fiction podcast for the BBC Sounds, THE CIPHER.  

Co-creator/Writer/Director/EP: John Scott Dryden is the creator and director of the fiction podcast PASSENGER LIST starring Kelly Marie Tran, and the historical epic audio podcast  TUMANBAY. He also co-created and executive produced THE CIPHER. Goldhawk Productions is one of the world’s leading producers of audio fiction.

Producer – Emma Hearn  
Assistant Producer – Eleanor Mein 
Sound Designer – Steve Bond and Adam Woodhams 
Music – Pascal Wise 
Script Consultant – Mike Walker  

Joleen – Jessica Barden 
Remi – Khalid Laith 
Kit – Symera Jackson 
Luther – Bruce Lester Johnson 
Andrei – Andrew Byron 
Padma – Jennifer Armour 
Richard – Eric Meyers 
Earl – Kerry Shale 
Izzy – Lizzie Stables  
Wayne – Daniel Ryan  
Esmerelda – Annabelle Dowler 
Summer – Gianna Kiehl  
Dre – Earl R Perkins 
Jamar – Jason Forbes  
Sue – Laurel Lefkow 
Greg – Christopher Ragland 
Stolya – Yanina Hope

See You In Your Nightmares – podcast Q&A with Heather Einhorn

See You In Your Nightmares – podcast Q&A with Heather Einhorn

Tea in the Sahara

Kev – Fiction Podcast Critic

If you have ever waited for a bus there is a saying here in the UK that goes like this – You wait forever for a bus to come along, and then two come at once! Well this week’s Q&A follows this metaphor in a similar vein, minus the frustrating delay & bus bit. This week guys we have another informal, fan favourite chat with not one amazingly talented podcasting person, but two!

As fans, we were left with our jaws on the floor following the enthralling, spiralling, madness that are the final few episodes of SYIYN which will no doubt leave a gaping void on Wednesdays for me! Fear, not anyone who might suffer SYIYN withdrawal symptoms old Kev is on hand to fire off some contextual questions for your reading pleasure.

Like haunted insomniacs, we return to Einhorn’s Epic Productions, and iHeartRadio’s insanely addictive ‘See You In Your Nightmares’ with questions for one part of the creative writing team Heather Einhorn. The other questions are for Sarah Gibble-Laska, the lady who has quite frankly raised the audio bar with her trademark 3D sound.

Ladies thank you both for taking time out of your busy schedules to respond to my questions. For an indie critic writer like myself, it feels humbling to know that my writing is being received, and hopefully making an impact.

Another special mention to Jenn Powers from iHeartRadio for being the best middlewoman in getting my questions across to the guys for review.

For further context check out my previous review of See You In Your Nightmares.

Questions for co-creator Heather Einhorn

Let’s start with an easy question! For my followers that may not be aware of your career to date, how did you get into scripted podcasting?

We had been excited by the new and interesting things going on in podcasts, so the first character we created as EEP was Tig Torres, a podcaster on the trail of a serial killer. We loved how storytelling was growing and evolving in the podcast arena, and were inspired by both fiction and non-fiction podcasts, and wanted to bring our own personal creativity — our own brand of style and character — into the audio space, and we were lucky enough that people connected with Tig and wanted to hear more!

Where did the initial idea and concept for SYIYN come from?

Well, I come from a family of insomniacs, so it really starts there! The initial inspiration came from the idea of bringing dreams to life in audio. We’re fans of comics that explore dreams and unbound fantasy spaces, like Sandman and Shade the Changing Man, and we also wanted to challenge ourselves to go somewhere we hadn’t gone before with our other podcasts.

As the podcast was created by yourself and Adam Staffaroni, how does that writing dynamic work? Does one of you have the initial idea, or is it a Lennon and McCartney partnership?

Every concept is different! It’s really a back-and-forth — some projects start with a title, or a mission, or a character — and from there we each add different pieces of the puzzle until we begin to form a complete picture. We know we can’t move forward with a project unless we both love it and find it really engaging so that organic exchange is key.

Where did your idea come from, for the blossom device our characters wear?

The more we grew the concept, the more we noticed what was happening in tech and digital marketing with this concept of someone who could literally be inside someone’s head. How many times have you heard someone say Amazon or Google must be reading their thoughts with the ads they serve up? And with the way we envisioned the setting of the story, the Lutwidge Wellness Center, we knew that a deep surveillance state inside the center would be a perfect fit. 

Being from the UK it was great to hear a character like Alfie (Obi Abili), who sounded like someone from London. Was Alfie’s character always written as a Londoner?

Yes! Alfie was imagined as British from the very first mood pieces that Adam wrote that became the foundation for our first episode. From there our head writer, Ren Dara Santiago, took the Alfie character and made him her own — Obi and Ren were already friends, and Ren even gave Alfie the last name Abili to “subtly” suggest who we should cast for the role! After hearing Obi at our first table read, with the energy and fun and personality he brought to the character, we couldn’t see anyone else playing him. 

As I mentioned within my review Dr Carter was another firm favourite of mine. Where did the inspiration for Dr Carter come from?

Dr. Carter was very much inspired by Elizabeth Holmes, and we were really inspired by the language and branding that she built up around Theranos to inform how we envisioned the Lutwidge Center. There was something so fascinating about a character that had this forceful, trustable charisma and was using it to cover up all kinds of questionable decisions. How the pressure to maintain the image of what she built undermined the integrity of it bit by bit until there was nothing left.

How long did the production take? And was it hampered by Covid?

We had pivoted to remote production in the middle of our previous podcast, Daughters of DC, so we were planning for remote production from the beginning of the project. It still didn’t make things easy! With any remote recording, there are always tech issues which Sarah (who was both our sound designer and engineer) did an amazing job of working through on a regular basis. And I cannot say enough about the amazing work of our director, Jordana Williams. Directing remotely is no easy feat! We are all in awe of her ability to work with all our wonderful actors to bring these complex characters to life via Zoom! 

During the writing & production were you conscious that there could be parallels drawn between SYIYN and Netflix’s Stranger Things?

We are HUGE fans of Stranger Things, so we’re honoured that people are putting us in that league! We grew up in a time when we were watching and reading things from John Carpenter and Stephen King, and those things fuelled our real nightmares as kids! Those masters of the horror genre understood better than anyone how to encapsulate and give form to the roots of people’s fear, so it was impossible to build something true to ourselves and our own lives without those inspirations. 

I know we are only halfway through the season however, do you have any other exciting projects coming up in the near future you can tell my readers about?

We have an entire slate of YA scripted podcasts with our partners at iHeartRadio! Next up is Lethal Lit Season 2 which we are releasing in conjunction with a Lethal Lit book series from Scholastic. We’re also in the midst of launching our latest project, House of Slay, which is a digital superhero comic and fashion line.

Questions for Sarah Gibble-Laska on sound design

How did you go about creating the immersive 3D sound experience?

I come from a sound-to-picture background and have loved movies since I was very young for the simultaneous ability to both escape and connect. When you move to an audio-only platform, not having the visuals to help tell the story really necessitates a different decision-making process. On top of that, since you are no longer just working on an xy axis, a lot of sensitivity is involved in proximity, levels, timing, etc. There are so many avenues you can take, but it’s important not to overwhelm the listener, and to pay attention to how things react within a space.

All of a sudden, something that was previously only to your right or left can now be positioned behind you, above you, all around you. It’s important to remember that most people experience sounds in this way every day and as such are expecting an experience that is similar to the way they interact with the physical world. If the listener’s attention is no longer occupied by visuals as it would be when watching a film, AND they are now hearing sounds as they would, in reality, they will be acutely aware if something sounds out of place. On one end of the spectrum, it’s enveloping, beautiful, and powerful. On the other end it can be jarring, distracting, and can pull you out of the story. Every decision I make with sound is pushing towards the goal of bringing the listener further into the story.

A mentor of mine once told me that we are not the dreamers, we are the dream-makers. I take the responsibility of helping to actualize someone else’s dream, of telling someone’s story, very seriously. If I can achieve that by creating a world, an escape, a connection, or a memory for someone, even for a small portion of their day, then I’ve succeeded.

And finally do you have any other up-and-coming projects that you can share with us?

I will be working on Season 2 of EEP’s Lethal Lit, which I am very excited about. I also work on a few podcasts for Crooked Media, the Wall Street Journal, and iHeart Media.

I am also working on an unnamed Disney project, a project with the company Star Atlas, and another project with a company that creates VR experiences for education. Aside from that, more film work and more podcasts are on the horizon!

‘See You In your Nightmares’ can be found on Apple Podcasts & Spotify or from wherever you grab your podcasts.

And that about does it folks for this week’s Q&A. Once again a massive thank you to Heather & Sarah for getting on board with my questions.

As 2022 looms and most folks reflect on their year’s triumph I will let you into a little secret. You see I started 2021 without a clue about blogging, or even where to begin with reviewing podcasts. Fast forward to now and I’ve massively developed, and like to think I end 2021 with an assemblage of talented new pals passionate about the podcasting industry.

Looking forward to 2022 my personal MO is to continue to become the podcast critic writer of choice. The chap you turn to for an alternative, niche style of writing for your very own unique review. Well if you don’t believe your own hype no one will!

On a serious note if you are a podcast writer/creator looking to engage with a podcast critic writer please do check out my previous reviews, and consider me as a writer for your next project.

If you enjoyed this Q&A format, and are looking to give your future fans more insight about your own podcast then maybe (just maybe) I am the indie podcast critic writer that you have been looking for. Please get in touch via the bio below or email me directly at

As this might be my last blog before the festive period, and the subsequent silly season begins I will wish you all a Merry Christmas, and Happy New Year! See you all on the flip side in 2022 cheers Kev.

Dirt – podcast Q&A with Kris Kaiyala

Dirt – podcast Q&A with Kris Kaiyala

Who said the only exciting thing to happen in November was black Friday!  Traditionally Tea in the Sahara would offer up the best shop window of podcasts for you lovely people to tune into. This week guys is different, and as promised in my recent newsletter (plug) we sit down for a Q&A with Kris Kaiyala, the indie podcast magician pulling all the strings behind his hit audio drama ‘Dirt’.

Dirt has an IKEA minimalist modern & historical vibe, excellently presented and brilliantly executed by the man-dem Kris Kaiyala! I have previously had the pleasure of reviewing both seasons of Dirt which you should listen to for further context as this week it is not about being a parrot, and more about getting on with the Q&A.

I must quickly say before we kick on with the Q&A a lively shout out to Kris for answering my slight niche questions in record time! If an indie podcast deserves more accolades and appreciation none is more fitting than Dirt. Remember guys most indie podcasts are usually performed by one or two people wearing multiple hats to get sh*t done on top of the daily grind. If James Brown was the hardest working musician in showbusiness, then Kris is definitely the James Brown of audio drama. Hope you like the analogy fella?

Tea in the Sahara reviews of season one & season two of Dirt.

Questions put to Kris Kaiyala

How did you get into podcasting?

Good question. I didn’t actually set out to be a podcaster. Prior to a couple of years ago, I hadn’t given the medium much thought or attention. But I had been toying with several short fiction ideas for years and was thinking about how I wanted to go about crafting and publishing them, when two things happened: I listened to Limetown Season 1, and then the pandemic hit. When I heard Limetown, it just set my mind ablaze. The story itself was interesting, but the serialised fiction format floored me—the idea of telling a story in chapters that could be released as podcast episodes and that could easily be available on Apple or Spotify right alongside the greats. I had never considered that as an option before. The idea of telling a contemporary story with highly immersive audio and music—it just hit me as something that I could try to do and potentially have a lot of fun doing it.

After Limetown I promptly binged Girl in Space, The Message, Ghost Radio Project, Temujin, Homecoming, The Black Tapes, Vega, Point Mystic, and other podcasts I absolutely cherish, studying their styles and techniques. This was in the fall of 2019 and early 2020 before Covid was a big news story. Weeks later I was working remotely like so many people around the world, and I figured it was a good time to really dig in and try to make a go of it on top of my day job. It’s turned out to be an incredibly creative outlet, and I’ve loved every moment of it.

For those not so familiar with the podcast, where did the concept of Dirt come from?

Dirt is kind of a mashup of several story ideas I had brewing in my head. For one, I’d always wanted to tell a story that conveys the beauty and harshness of the “other” Washington—the part of the state that isn’t Seattle or what people commonly know or see on postcards. There’s a whole other aspect to Washington state that is mostly barren deserts and rocky chasms and lonely crops of all kinds. To me, that part of the state has always felt like home, probably because I grew up outside of Spokane, a city in eastern Washington, and spent my youth travelling from small town to small town visiting family or competing in soccer—or I guess you’d call it football over there.

The idea of the driver’s license literally came from me finding a license of Yakima woman in the street one morning, in downtown Seattle, as I was walking into the office. The first name of the person on the license might have even been Antonia, I can’t remember for sure. I put the license in an envelope and mailed it back to its owner anonymously, without a return address. But in my mind, I was like… What if someone decided to return the license in-person, instead, since the address is right there on the license? Why would someone choose to do that, for a stranger? What would that encounter be like?

And then the historical part of Dirt is largely based on my own family heritage and Finnish-American roots in the Pacific Northwest. I actually do have a Finnish grandfather who lived an adventurous life and who was a musician and who wrote stories about his life around Washington and Oregon and who took up metal detecting in his later years.

Was Joseph’s character loosely based on someone in real life?

Not really, but I’ve worked on and led teams in digital advertising for quite a while, so the character of Joseph—and the environment he operates in—are familiar to me. Also, his connection, or maybe disconnection, to his family heritage is also familiar to me. I’m aware of my family roots and have always been very interested in them, but I’m also a couple of generations removed from those early days when immigrant families like the Kaiyalas made a go of it around Grays Harbor. And plus, even though I now live in Seattle, growing up on the other side of the state I was a little separated from the rest of the family tree. In Dirt, Joseph is connecting more with his heritage as he goes, and in a sense, I am too.

How hard was it creating Dirt largely by yourself?

It has been difficult at times, but the honest answer is that it has been 100% amazing. From the beginning, I wanted to do mostly by myself. Not because I don’t like working with others. I do. It’s been awesome collaborating with the voice actors, many of whom are friends and co-workers. And my wife, Sara, and other family members have been a huge help at every step along the way. But when it came down to making the show, I sort of jealously kept it all to myself. I really wanted to wear all the hats and learn about and get good at every aspect of creating and producing immersive audio. I crave owning every role—writing, recording, sound designing, casting, composing, and directing. The hardest part has been the time it takes to put all the pieces together, especially since I do it during off-hours. But I absolutely love the creative control and freedom I have over it. I collaborate with people all day long in my day job, which is great, so this project has been an interesting contrast to that.

I have highlighted the audio quality within Dirt a few times within both of my reviews. Were you a sound design engineer in a previous life?

Ha, no. The closest I ever got to something like this was recording funny skits on cassette tapes as a teenager in the ‘80s (just dated myself). Oh, and I used to write and record goofy answering machine greetings for my parents with character voices and background music, just to make them laugh. Dirt is my first serious attempt at creating something for the world at large to consume and hopefully enjoy.

As you have created quality soundtracks for both seasons of Dirt you clearly have an ear for quality music & audio. How did you come across Mya Tozzi whom we can hear singing within ep.10?

Thanks for saying that. Scoring and placing the music has been another super fun component of this project. Mya is pretty great, isn’t she? She’s my sister’s niece, so I’ve known about her for quite a while! A few years ago, she started posting videos of herself playing and singing songs on her Instagram and I knew I had to find a way to involve her. I also knew she was writing her own material, and I suspected her style would fit the podcast well. Fans of Season 1 of Dirt will also recognize her as the performer of “Skin Touching Sinew,” in Chapter 6.

Your writing depicts parts of America that are not so frequently heard of. Speaking as someone based in the UK I found it insightful to listen to. Was raising the profile of Seattle done intentionally?

Really, it’s just me writing about things that I know and that are important to me. The US is pretty big, and it’s so different from place to place—especially in the west where geology and geography play key roles in people’s lives. I grew up in an area that isn’t often in the spotlight, so I understand if the setting, especially when the story ventures outside of Seattle, is new to many listeners. To me, that was part of the allure of the story. I want the land to be a character of its own. 

Seattle is a big global city, but even Seattle is unknown to a lot of people. (And a lot of people who live here would prefer it stay that way, feeling there are already too many people here.) But interestingly, you only have to drive an hour or two in any direction from Seattle and it can feel like you are heading off the grid, just like what happens to Joseph in Chapter 8. 

The description of the Coinmaster metal detector is so detailed I wondered if metal detecting was perhaps a hobby of your own?

No, I’ve never done it. I’m only familiar with it as a hobby that my grandfather took up later in his life, in the ‘70s and ‘80s. Us grandkids used to call it his “beeper” because of the noise it made when it detected something. But it was an easy device to weave into the story once I decided on the basic premise. I actually bought a vintage detector on eBay that is very similar to the one my grandfather used decades ago. The detector handling sounds you hear throughout the chapters—the plastic grip, the opening of clasps and covers, the clicking of switches on and off—are literally the sounds of a vintage detector in my hands as I’m recording.

What recording equipment and software do you use to create the show? Any tips or tricks to share?

The recorder I use is a Zoom H5, which is a terrific device. The stock XY stereo microphone capsule it comes with does an amazing job of picking up environmental and even vocal audio. For narration, I use a Shure KSM32 microphone, which I’m not ashamed to say I purchased because I had read that’s what they use on This American Life. And for almost all of the dialogue, I use a Sennheiser MKE600 shotgun mic. I really love the crisp sound it produces. I use a Focusrite Scarlett 2i2 as an audio interface between the mics and my computer, and I edit everything using Adobe Audition. For the music, I proudly use Garage Band on my iPad. It’s an amazingly powerful, and I suppose underrated, app. And for the handful of sounds, I’m not able to record or produce myself, I make creative use of uploads on, which is an incredible resource. You just have to make sure you’re paying close attention to attribution licenses so you are using sounds correctly.

One tip I would share is if you are a budding sound designer or audio mixer, make sure you listen to your edited sound files away from your workspace. My routine goes like this: build a scene, mix it down, then listen to it in the backyard or on a walk with my shiba inu Reggie using different headphones or earbuds, make note of changes as I listen, go back in and make those edits, mix it down again, then listen again in the backyard or on a walk while taking notes, etc. Repeat this until it sounds the way you want. I’ve found that separating the listening experience from the editing experience is really key to making things sound as complete and polished as possible. 

Gun against head moment, so far what has been your favourite episode of Dirt?

Oh, this is tough. Parents aren’t supposed to name favourite children, right? I think in terms of production and draw-you-in moments, I really like Chapter 4 (S1 E4) and Chapter 8 (S2 E2). I have always loved how quiet Chapter 4 is in places. There’s a risk in being quiet because the norm is to be loud and flashy in order to get people’s attention. In Chapter 4 there’s a lot of activity and mystery swirling about in the periphery, but the moment when Joseph rolls down the car window for Kim to hear the train in the distance, or at the end of the chapter when he walks to the opposite wall of the garage and realizes what’s there in front of him and the soft music kicks in, those are moments where I still sit back and I’m like, wow, that turned out pretty cool.

I know this is a cheeky Q given you have only just wrapped up season two however, is season three currently in pre-production?

Well, I can’t leave people hanging like that at the end of chapter 13, can I?

Finally for any budding indie podcaster out there looking to get into the fantastic world of podcasting what advice would you give them?

I would want Dirt to be evidence that you don’t need a lot of expensive equipment or a huge staff or even a fancy studio space in order to create immersive audio fiction. If you think you need those things before you can even get started, you don’t. The equipment I use is good, but it’s not top of the line stuff. Don’t get overwhelmed or stalled out by thoughts like that at the beginning. Big podcast production houses do come with the added benefits of marketing support and paid sponsorship and revenue, which I can admit to being jealous of. But if you have an idea and just want to get something out in the world as a creative outlet, buy a decent recorder—such as a Zoom H5, which is what I primarily use for environment recording—and start playing around with it. 

To me, there’s no better way to tell or consume a story than through audio. Audio puts your imagination in the driver’s seat; it’s where the proverbial magic happens. And it’s a great way to start to tell that story or stories you’ve been hanging on to for a while. 

End of questions

Once again thanks to Kris for agreeing to do this Q&A with me, and for being a jolly good sport. Although we have never actually met I like to imagine we share similar insights into the exciting indie podcasting space which is rapidly developing.

As you can see guys my writing style is far from a neutral Switzerland, which I hope in some insane way appeals? True I am not the coolest beer in the fridge however, what I like to offer is awesome scripted podcast reviews to captivate imaginations. You see I try not to offer a flurry of fire-sale style reviews, opting for a more less is less policy. Again not everyone’s cup of tea, moreover for me writing should simply engage with its audience.

So where can you find out more about Tea in the Sahara? Well, funny you should ask! Recently I launched a newsletter that aims to keep you up to date with all of the latest reviews & Q&A blog banter happening. If you haven’t checked it out yet you can sign up via my Twitter profile, or by using the small Revue sign up box at the end of this review.

If you are a writer, creator, or production company looking to have your podcast reviewed just like Kris surely Tea in the Sahara has to be worth a punt? If you enjoyed this Q&A format, and are looking to give your future fans more context about your own podcast then maybe (just maybe) I am the Indie Podcast Critic Writer that you have been looking for? Please get in touch via my contacts page, or email me directly at

You can follow more about Dirt on their website and the show can be found on Apple Podcasts & Spotify or from wherever you grab your podcasts from. Just make sure you do!

For further Tea in the Sahara reviews please check out my other podcast & audio-book reviews. And to all my American readers, and pals I have worked with throughout the year’s Happy Thanksgiving! Cheers, Kev.

Tea in the Sahara

Where podcast reviewing is far from beige!

Kris Kaiyala

Dirt – season two – podcast review

Dirt – season two – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Back in March this year I had the pleasure of reviewing a truly awesome scripted podcast called ‘Dirt’ by the gifted Kris Kaiyala. Well at last Dirt is back with season two, and Kris has kindly given me an exclusive sneak peek of episodes seven to thirteen which covers about a four day story-arc time frame.

And yep, like a cheeky boomerang on it’s return flight, I’m on hand with a small review on why you should jump on this super slick inde podcast. A podcast that in my opinion should be as popular as the runaway viral Netflix series Squid Game!

Kris writes, produces, directs, and is also the voice behind lead character Joseph Elo for STUDIO5705. In case you didn’t read my review of series one of Dirt you should head over there for further context. And once you have done that consider binge listening to Dirt on your podcast player of choice; trust in old Kev you will thank me!

For all those Amazon Prime peeps with zero patience looking for a fast-track I have you covered with this brief synopsis – the plot around Dirt follows lead character & narrator Joseph (Kris Kaiyala), a successful Seattle playboy CEO, and owner of a futuristic app development agency.

Joseph receives a letter in the post from his grandfather, which wouldn’t make for much of a gripping storyline, however Joseph’s grandfather Aimo passed away over thirty years ago. Queue a treasure hunt across the States portrayed with all of its beautiful topography. This podcast is definitely an audio adventure for those keen to understand America’s unseen historical past, which thankfully does not include Disneyland.


The second series transitions pleasantly from the first season with Joseph seemingly hot on a breadcrumb treasure trail of boxes filled with connecting puzzles & clues supposedly left by Aimo.

Although the files I listened to were in draft format that takes nothing away from the magic of this immersive audio drama. Kris’s continued detailed narration is pitch perfect for a narrator/lead character. For me the key takeaway from this exceptional podcast is the level of sound production that Kris stamps into every episode.

It is that eye for detail, and level of high definition audio which makes this podcast stand head & shoulders above others. I’ve banged on about this before in my previous review, however Sizzling bacon, buzzing metal detectors, and guitar band feedback noises feel so nuanced and tangible within Dirt.

When a character is simply walking around within a scene the effort & thought process that has gone into making you aware of different surfaces they are treading on can be heard. It honestly feels as if you are physically walking beside Joseph on his treasure hunt across a richly depicted landscape.

Mr Kaiyala has an audio ninja ear for sound with the ability to create lush soundscapes that our characters encounter. These include, but are not limited to bustling bars, and even seaplane landings on water! There are few indie podcasts that offer up such a rich texture of sound & audio detail. The cool segway beats from Dirts previous series is back and incorporated into season two, seemingly guiding the listener from one plot scenario to the next.

Like Aimo’s canny treasure hunt the listener is introduced to background music supplied by the super soulful Mya Tozzi who performs the track “Me and My Other” at the end of chapters ten & thirteen. Mya has an effortless, angelic voice which made my mind wander, transferring me somewhere else; a warm place where you can relax & sip strong cocktails type of fantasy place. Another ace inclusion into the canon of this amazing podcast which blends so well into those scenes.

I previously knew zero about Mya Tozzi, but if you take yet another thing away from one of my reviews definitely check her out via her Bandcamp page: where you can purchase tracks used within Dirt, and support an incredible artist.

In terms of storyline, I won’t go into too much detail and steal the listener’s thunder and ruin the experience for you guys. Let’s just say Kris has cranked up the continual storyline to eleven adding yet more fun escapades for our character Joseph to fall into. Oh, and fans of the whole zebra crossing fake moustache & eyebrow combo will be happy as it surfaces again within season two.

Most of the regular characters return including Antonia Flores (Megan Morales), who returns with a touch more sass than from the previous season which is fun. A fan favourite of mine Mrs Fixit herself; Mel (Jessi Brown) is back, and is as sarcastic as ever which is wonderful for this overtly sarcastic Brit reviewer!

Let’s close out with opinion time. If season two of Dirt was an album, then Kris has certainly beaten off the curse of the difficult second album. What he has managed to do in my opinion is produce yet another award-winning podcast which I cannot wait to listen to in its finalised form.

So without sounding like a Dirt fanboy I urge you to listen to this podcast if you enjoy your audio drama’s with a contemporary vibe, and shrewd nod to the past. Dirt will definitely be right up your alley. Clever writing backed by awesome audio are the last words I will leave you with if you still happen to be on the fence with smashing that download & subscribe button.

Dirt season two launches on the 2nd of November and as far as the format goes, it’s one new episode released per week on all platforms starting with episode seven & going through Chapter thirteen. However, if you don’t want to wait a week for new episodes you can pay to subscribe to gain instant access to all of the new episodes to binge to your heart’s content. 


And that’s it folks, this short review is finito! Let’s move into any other business. Recently I launched my first newsletter celebrating Halloween, and a selection of horror-themed podcasts that I have reviewed this year. So if you haven’t checked it out yet you can sign up via my Twitter profile, or by using the small sign-up box at the end of this review.

Kris Kaiyala has also agreed to a Q&A sesh with Tea in the Sahara in the near future which will offer you lucky podcast fans further insight into how Kris made Dirt so bloody good!

If you are a writer, creator, or production company looking to have your podcast reviewed just like Kris maybe you should consider Tea in the Sahara? Perhaps you like the previous Q&A format that I have done, and are looking for something similar for your own review? If that is the case, then maybe (just maybe) I am the Independent Podcast Critic Writer you have been looking for. Please get in touch via my contacts page, or email me directly

You can follow more about Dirt on their website and the podcast can be found on Apple Podcasts & Spotify or from wherever you grab your podcasts from. Just make sure you do!

For further Tea in the Sahara reviews please check out my other podcast & audio-book reviews. Until the next time podcast people, cheers Kev.


Written, directed, produced, and composed by Kristopher Kaiyala

Season 2 principal cast:
Jessi Brown (Mel), Genie Leslie (Kim), Megan Morales (Antonia), Aaron Patterson, (Carl), Kristopher Kaiyala (Joseph)

See You In Your Nightmares – IHeartRadio – podcast review

See You In Your Nightmares – IHeartRadio – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

As we lunge into autumn/fall this months particular podcast review came as an absolute no brainer after barely listening to thirty seconds of it’s trailer! Let me know if the trailer did it for you as well? 

You see guys this months podcast fits like a glove with the changes in the season, and as the nights draw in and summer becomes a distant memory I wanted to introduce you to a stunning horror podcast aptly ‘See You In Your Nightmares’.

However before we march on I would quickly like to thank those marvellous people down at iHeartRadio for reaching out to me and recommending I take my ears for a spin with one of their latest podcasts offerings. Again cheers to Alison Hemmings & Jenn Powers for the intro to this awesome 3D podcast best enjoyed through headphones.

Additionally if you haven’t already I highly recommend you checking out my reviews of iHeartRadio’s  ‘Aftershock’ and my follow on Q&A blog with writer/director/actor Sarah Wayne Callies.


‘See You In Your Nightmares’ is a 12 part scripted horror podcast from Einhorn’s Epic Productions, and iHeartRadio that has an ever so faint ‘Stranger Things’ vibe which will appeal to fans of the hit Netflix show. 

The podcast follows Seventeen year old Harper Hart (Rachel Oremland) a willing patient at the Lutwidge Wellness Centre. Reasons for her admission to the centre is Harper suffers from extreme insomnia, and claims to have lucid dreams of a monster following the tragic death of her twin sister Callie a year earlier.

This event leads Harper to believe she has shadows living within her head, and feels the radically futuristic treatment led by Dr Carter & her team as the only solution to cure Harper’s rare sleeping disorder.

At the centre Dr Faith Carter (Keri Tombazian) along with sidekick Finn (Phil Buckman) use the latest AI wearable technology called Blossom to cure patients of their nightmares. Blossom is a small Fitbit-esque wearable watch device that more than captures how many steps you have achieved in a day (or not in my own case!)

The Blossom device monitors literally every action Harper and the rest of the centre’s patients make like a souped-up Alexa on steroids. Again a clever piece of writing which really taps into our own current virtual assistant AI world of smart phones, Peloton bikes, and Alexa devices.

With the Blossom device activated the centre can monitor the patients to fully understand why they have such chronic nightmares and sleep deprivation. And as we all know popular culture dictates these ‘help’ style facilities never do what they say they will on the tin. Nine times out of ten they have a very sinister ulterior motive in mind.

That is before I mention the Blossom room set in the basement (Dun, dun, dun!) So the Blossom room is where Harper goes for what is called rotation, and where the good Dr monitors Harper’s immersive dream patterns that are super very freaky to listen to. This is where the 3D sound really comes into its own.

It is also within this dream-like state where Harper comes face to face with her dead sister Callie, and Harper’s very own monster in all its spine-chilling form.

The dark detecting tech theme the show opted for raises a valid point about how much society freely gives away it’s personal data to government bodies, and tech giants alike.

Spookily during the write up of this very review WhatsApp, Instagram, Twitter and Facebook, are down facing supposed outages. Remember folk’s like George Orwell’s science fiction novel 1984, big brother is always watching!


Four-ish episodes in its summary time folks! So let’s categorise this podcast into it’s good, and the not so good and unpack some truths. Starting in reverse order lets get my small gripe points out of the way first.

When one of our characters enters the sleep induced Blossom room where Dr Carter monitors their sleep patterns at times the audio can become slightly confusing with lots of shouting, and heavy breathing within these sequences.

I know the purpose of these scenes is to help create context, and depth by demonstrating individual nightmares faced. That be said at times I found myself having to revisit some of these scenes a few times, and re-listen to them to fully grasp what was going on.

Another small thing that slightly jarred was the beep-beep sound that the blossom device makes when activated, which really reminded me of a similar noise supermarket doors make when they open & close. Maybe that’s just me, but ponder that statement next time you enter your local convenience store for a loaf of bread and a pint of milk!

So that’s Kev’s niche blemishes out the way, lets concentrate on the reason why I am truly enjoying this audio drama. I love, love me some horror podcast! Come to think it I haven’t reviewed a gripping big production horror podcast like this since QCODE’s ‘From Now’.

The sound team behind that all-important 3D sound, created by Sarah Gibble-Laskathe really transport’s you directly into each characters nightmares. Sonically creating an abstract, Alice in Wonderland dreamscape based solely in audio is by no means an easy feat.

This podcast also has a real winner in the form of lead character Harper Hart, however I always like to rate a podcast not only by it’s lead, but by the supporting cast. Few come better than fellow Brit Alfie (Obi Abili) who’s insanely infectious personality reminded me of my own pals back in London with lines like ‘big man tings’, ‘safe’ and ‘init!’

Another character to mention is Finn one of the staff members at the centre. Finn is the typical slippery salesman type vaguely similar to Burke from the action 1980’s movie Aliens. You know the type of chap who you desperately want to believe is doing the honest thing by you, but in reality hides behind buzz words & corporate slogans; that’s Finn.

Bizarrely I have a soft spot for the villain within a podcast, and not always the lead protagonist. Odd I know, but in reality we kinda know roughly what path the good guy/gal will take to either glory or redemption. Getting a good baddie right, well that’s not so simple.

Getting the right amount of menace within a pure audio setting can be tricky. Dr Faith Carter is a class act at balancing narcissistic behaviour with flawless professional demeanour, and making it look easy. Remember folks the devil wears Prada!

So as I said at the top of this review if you enjoyed Stranger Things, you will most definitely like this podcast. The dreamlike world our cast enter when in the Blossom room has traits of the upside-down world within Stranger Things. Look out for the dream-jumping element that Harper & the cast develop as the series progresses which is uber cool!

The concept & writing is modern & fresh flanked by a talented cast, and incredibly vibrant audio sound so what’s not to like? Being a man who enjoys the occasional flutter my money is on the seasons finale coinciding with Halloween conveniently around the corner.

The artwork by Yejin Park, Key Art & Promotional Art illustrator should also get a mention for it’s slick, quirky, anime styling. The shimmering blue backdrop with all of those creepy cascading eyes captures the essence of this awesome podcast perfectly.


There we are folks another review completed. Shortly I will be giving you lucky people more Tea in the Sahara content in the shape of a newsletter. Details to follow, and suggestions on content are more than welcome.

Here’s the thing guys, Tea in the Sahara is my hobby and creative outlet that I am able to commit say 30% of my time to because like most people I have a full time job. My dream goal would be to move my creative writing from a part-time hobby into a full time gig.

I know Rome wasn’t built in a day, or even over a weekend, but just think about the quality of content I could write if I was doing this 100% full-time? As they say the possibilities could be endless!

Are you are a writer, creator, or production company looking to have your podcast reviewed? Perhaps you like the previous Q&A format that I have done, and are looking for your own review? If that is the case, then maybe (just maybe) I am the Independent Podcast Critic Writer you have been looking for. Please get in touch via my contacts page, or email me directly

You can follow more about ‘See You In your Nightmares’ at and the podcast can be found on Apple Podcasts & Spotify or from wherever you grab your podcasts from.

For further Tea in the Sahara reviews please check out my other podcast & audio-book reviews. Until the next time podcast people cheers, Kev.


Created & Executive Produced by Heather Einhorn and Adam Staffaroni.
Head Writer – Ren Dara Santiago
Writers – Lynn Bixenspan, Kayla Brooks, Morgan Pielli, and Adam Staffaroni.
Directed by Jordana Williams
Post Sound & Music by: Chapter Four
Sound Supervision and Sound Design by: Sarah Gibble-Laska
Music by: Karim Douaidy


Rachel Oremland as Harper Hart
Obi Abili as Alfie
Phil Buckman as Finn
Amber Lee Connors as Callie
Giselle Fernandez as Esme
Judy Alice Lee as Julia
Robert Leng as The Smiling Man & The Caretaker/Kai
Marwan Salama as Chris
With Stephanie Willing as Blossom
And Keri Tombazian as Dr Faith Carter
With additional Voices: Gayle Artino, Maxwell Siegel

Aftershock – podcast Q&A with Sarah Wayne Callies

Aftershock – podcast Q&A with Sarah Wayne Callies

Tea in the Sahara

Kev – Fiction Podcast Critic

This weeks Q&A review is sponsored by good old Lady Luck! Or if you are a bit of a show-off and enjoy being snazzy you could use her full title, Fortuna the Goddess of Fortune! Jokes aside, like finding a crisp twenty-pound note on the pavement lady luck briefly smiled down on Tea in the Sahara towers, and I for one am thrilled to share my EXCLUSIVE Aftershock Q&A with you guys!

A quick recap, a few weeks back I reviewed the awesome Aftershock and was presented with the opportunity to put forward some questions to the wonderful people down at iHeartRadio. They then presented said questions to the writer, creator, and director Sarah Wayne Callies to comment on.

I was even cheeky enough to put a few questions directly to iHeartRadio, and the talented chap behind the podcasts sound design Jeff Schmidt for comments. Well, in for a penny and all that; or to continue the Latin luck theme – when in Rome, do as the Romans do!

So I pulled together my questions, fired them over (fingers crossed), and waited for a response. Cut to the real world where I reside, and in all honesty never in a million years did I think that I would receive anything back. You see we Brits are not the most ‘luckiest’ nation when it comes to well, luck.

Fast forward a few days, and as if by magic I received a response email from iHeartMedia with all of my questions answered! Guys to put this into context for you, it felt like I had received a telegram from the Queen inviting me & the wife over for afternoon tea, and afterwards a cheeky game of croquet!

Reality check, it is worth noting that this did not all just happen by pure chance. There was some super kind intervention by Imran, over at Great Pods who kindly connected me with the people at iHeartRadio. If you eat, sleep, podcast, repeat, like me then head over to Great Pods where you will find indie podcast reviews on every type of podcast genre possible. Trust me you will not regret it!

I would also like to give a shout out to the wonderful Jenn Powers & Alison Hemmings from iHeartMedia for making this all happen. Thank you ladies for being so kind & professional with every silly detail I had.

Finally, a massive thank you goes out to the talented Sarah Wayne Callies, Jeff Schmidt, and Noel Brown, Podcast Lead Executive Producer for iHeartMedia for answering these questions. Thank you all for taking some time out of your busy schedules for me. Your creativity and generosity is the reason why I continue to write about podcasting.

So as you can see folks this week reviewing format is very different, but you know what they say, change is as good as a holiday!

Questions put to Sarah Wayne Callies

Is this your first first podcast? What influenced you to get into podcasting?

Yes, it’s my first podcast – as a creator.  I’ve been a fan of pods for years and watching the emergence of scripted shows made me keen to create my own. There are many reasons for that, but certainly, right now, we’ve all got a fair amount of screen fatigue. Telling an immersive story where the audience can go on a ride while resting their eyes – that sounds pretty great, doesn’t it?  

Do you have plans to work on any other future podcasts? As a creative type, I am sure that you have plenty of ideas!

I’ve got a slate of ideas I’m developing, both on the scripted and non-scripted sides. One of the great joys of my career is having worked with some really brilliant thinkers and performers.  I’m excited to bring some of those folks into the pod world to play together.  

When writing the series did you already have in mind who she wanted to be cast within the lead roles for the podcast? What influenced your decisions? 

I had a lot of the casting already in my mind, for sure. David and Jeffrey both have such distinctive voices that have a really fascinating balance of power and restraint. They were in my head from the beginning, especially as a pairing. And then sometimes I’d be talking with a friend and hear them a certain way, and I’d think OH! I have to beg you to be in this with me! Austin was like that – we were chatting about something, and I realized he’d be brilliant for Sean. 

Are you planning to record a second series of Aftershock? If yes, are you able to advise/give any hints on the timeline for this?

I’ve got ideas for a season two.  I’m not sure how podcasting works, getting ‘picked up for more seasons… I’m kind of learning as I go. But I have known from the beginning how the story ends, and I’d love a chance to get all the way there.  

How long did it take to produce Aftershock?

Forever. Thanks to the pandemic. But it was something creative to work on while all the sets were shut down, and that was such a gift. It made it a lot harder, production-wise, because we couldn’t use sound booths. But it did make scheduling easier – none of the actors had conflicts because no one could shoot during that peak Covid time when we were recording in our homes.  

If you had to detail both your highest and most challenging moments throughout the whole journey, from writing through to production what would these be?

Learning to write for audio was certainly a new skill set for me. Balancing voices, making sure there weren’t too many people in a scene to follow, realizing there’s no such thing as an audio close-up…. it taught me a new way of telling stories. As for a high – the first full mix I heard of the first episode was a thrill. Our audio engineer, Jeff Schmidt, is a genius.  I had no idea how he would make the earthquake real, the aftershocks, the tidal waves. It seemed impossible. But Jeff’s a genius, and he brought it all to life. That was pure joy to hear.

Questions put to Jeff Schmidt, sound design on Aftershock

I really enjoyed the immersive sound design created within Aftershock, and acknowledged Jeff Schmidt as a fifth Beatle!
Would it please be possible to understand in a few simple words how he created the incredible soundscape within this podcast, as I would love to be able to share this with my followers? 

In Film & TV, the primary role of sound is to support the image. In audio stories, sound IS the image, so it’s been helpful for me to think about sound in Audio stories more like Cinematography, which is more upfront than “Sound Design,” which is traditionally more supportive. I design the soundscape to be as rich and stylized as the story warrants and then push it a bit more. Like saturation and light with camera exposure, I want the world to pop and feel alive with detail as if it were a character itself.

I want the characters to be tightly glued into this world to avoid sounding like actors in close-ups with sound effects as background. So all the character movement and interactions within the world need to be present and as detailed as possible. I also experiment with mimicking camera techniques like the “Push Zoom” (as in Lawrence’s death scene and Cassie meets Wayne in the RedCross Shelter scene from Episode 1).

Question put to Noel Brown, Podcast Lead Executive Producer iHeartRadio

Within my review, I quoted how the show raised awareness of climate change. Apart from that, and fantastic writing, what was it that iHeartRadio saw within this podcast series?

“Aftershock” has the rare distinction of being both an incredibly immersive action series and a poignant and thoughtful story of women’s empowerment. We knew this show would resonate with podcast audiences from the moment we first heard the pilot. Sarah and her team have truly created something special.


Well there you have it folks my first exclusive Aftershock scoop neatly wrapped up for you. I really hope that you enjoyed this snippet into the making of this amazing podcast?
I also hope that through my writing you can visualise the effort & collaboration that went into making this review a success. Again, a shout out to Imran for connecting the dots, and opening the door for me (cheers fella!)

As you can see my writing style is more cult classic, than best seller. I take inspiration from everything that life’s rich tapestry has to offer and try to creatively weave this into my writing. So if you are looking for a review as edgy as the next Radiohead album, you are in luck.

Are you are a writer, creator, or production company looking to have your podcast reviewed? Perhaps you like this Q&A format, and are looking for your own review? If that is the case, then maybe (just maybe) I am the Independent Podcast Critic Writer you have been looking for. Please get in touch via my contacts page, or email me directly at

‘Aftershock’ can be found on Apple Podcasts & Spotify or from wherever you get your podcasts from.

For further Tea in the Sahara reviews please check out my other podcast & audio-book reviews. Until the next time podcast people cheers, Kev.

Aftershock- iHeartRadio podcast review

Aftershock- iHeartRadio podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Hello podcast lovers, this week let’s shake things up like a loose can of soda with my review of the awesome ‘Aftershock’ (pun intended!) However, before we jump in with both boots on let me quickly give a shout out to Imran over at Great Pods for Introducing me to this week’s podcast review.

Imran, the creative engine behind Great Pods are absolutely crushing it as a platform for pioneering, professional, podcast critics helping the listener to find your first or next podcast to listen to. Imran reached out to me about a month or so back, and it appears we read from the same hymn sheet when it comes to podcasts, the podcasting industry, and exactly how exciting this niche space is going to get.

If you are a podcast freak like me, constantly looking for the next best podcast to listen too definitely check Great Pods website for indie reviews on every imaginable podcast genre!

Great Pods, Tea in the Sahara salutes you!

Man alive why didn’t I listen to this podcast earlier!

If you are looking for a podcast packed with zing, intensity, stunning audio, and a cocktail of emotions riding on the pulse of environmental events, then Aftershock should definitely be the next scripted podcast you must listen to.

Aftershock was recorded locally at actors homes in multiple locations against a backdrop of a global pandemic, directed & created by Sarah Wayne Callies (Prison Break), co-written by Patrick Carman, Ben Haber & Sarah Wayne Callies, co-produced by iHeartRadio, with Nomadic Engine & Salmira Productions.

There are a ton of super talented, creative people attached to this podcast so if I do miss anyone out within this review my apologies.


The podcasts hinge point is set around an enormous earthquake within Los Angeles that levels buildings, and creates widespread pandemonium across the cities population. Amongst the chaos is a giant island that seemingly emerges ten miles off the mainland from the depths of the Pacific Ocean.

What is it about islands that signify a touch of drama for the audience? Treasure Island, Lord of the Files, heck even sodding Jurassic Park to name but a few books about islands proving that throughout time Joe public loves a drop of mysticism when it involves an island.

The show darts back & forth through past & present timeline’s like Reservoir Dogs, as the series opens with what appears to be a military interrogation between lead character Cassie (Sarah Wayne Callies) and a starchy jobs-worth Major.
Cassie & Wayne Sharpe (David Harbour) of Stranger Things fame provide the narrative following recent events that led up to our current timeline. We learn that twenty-four dead bodies were found on the island and that the military is now onsite having seized control.

(Remember that choppy timeline?) We then cut to some playful byplay banter between lead character Cassie, and her married lover comfortably lulling the listener into thinking life couldn’t get any better. The moment is shattered as their world literally caves in around them.

The atmospheric sound design created within this podcast is outstanding, dragging the listener through the frantic carnage of what sounds like the end of the world! Sirens, screams, overhead helicopters, underwater scenes, and distant car alarms bring this drama’s soundscape to the extreme forefront as LA is brought crashing to its knees.

Not quite the opening twenty minutes of Saving Private Ryan, but equally not Netflix & chill either. Aftershock is an equal blend of pace & character development for those wanting their cake, and enjoy eating it too. A huge amount of credit should be bestowed on Jeff Schmidt for the sound design, and phenomenal contribution to this podcast making ground zero almost a reality for the listener.

The stories emotional backbone is Cassie’s hunt to find her now-deceased lover’s teenage daughter McKayla (Tati Gabrielle) last seen sailing, and now stranded on the island. Knowing that Cassie is the ‘other lady’ adopts a modern approach to the usual married couple & missing kid format Hollywood often likes to present. Through her struggles, Cassie stumbles upon Wayne, a prison guard from the local clink now with nothing left in his life. Wayne is an interesting character seemingly willing to drop everything and aid Cassie with her quest to get to the island and rescue McKayla.

Wayne has my caution antenna at half-mast, and I do hope he is who he claims to be however, I also enjoy a left-field blindsided plot twist that you never see coming (here’s hoping!) Be that as it may, my money is on the island being something engineered by the government, as the military action following the earthquake has all the hallmarks of a national cover-up conspiracy. Again here’s hoping!

Kev’s Thoughts

So to my favourite segment of a review, why should you listen to this podcast? For a start, the series totals only ten episodes in length which is just enough for any newbies to submerge yourself into if you are new to fiction based podcasts.

This audio drama deals with some very current issues, raising the importance of our impact on climate change. The message is not delivered in a Sir David Attenborough educational format, more suggestively with references on previous cataclysmic climatic events that have taken place within recent times.

The show is bang on trend for the here & now quoting hand sanitiser, and a possible contagion outbreak for the military to contend with which neatly links back to the previous eighteen months of our own Covid world.

The fabulous depth & emotions displayed through its actors whilst dealing with an earthquake emergency is awesome. Casting David Harbour adds a touch of je ne sais quoi to the show with his recognisable voice adding character, and carefree aloofness into the mix.

A quick shout out should also go to Jeffrey Dean Morgan for killing the staunch Navy Captain character Mark Dover to a tee. Slipping into the arrogant “wheres my coffee” & “drop-down and give me twenty” military-type with ease.

I mentioned earlier that I was impressed with the progressive idea of Cassie’s character being the mistress, not Laurence’s wife. Flipping the lead heroine on its head, and firmly giving the two-finger salute to the status quo; the inner anarchist in me really admires this approach for sure.

The decision to include an inter-racial relationship into the drama adds yet another dynamic to the storyline which should be something we see/hear more of within podcasts.

Aftershock is not all education & seriousness it also includes a healthy dose of comedy, proving that even when facing immense danger, and potential harm you can defuse a heart-stopping moment with a cheeky throwaway comment from David Harbours character Wayne.
Apart from the education on tsunami’s, earthquakes, sailing, and kayaking techniques I even managed to learn what a go-bag was. So cheers Aftershock for giving my nearest & dearest Christmas present ideas for 2021.

All of the good stuff does not mean that the show is completely showered in gold. In my unique opinion although the show moves in parts with blistering pace, at times it feels like we learn nothing about the island and why it suddenly popped up in the first place.
Slight critique I know, and I can appreciate that Sarah Wayne Callies is probably building the ‘how’ bit into the end of this current series for a grand finale. And I guess depending on how successful the show is will look to potentially further develop the ‘why’ part into season two.

Final thoughts from me – now I am not sure if this is Sarah Wayne Callies first crack at writing, directing, and starring within a podcast or not? Personally speaking, she definitely added another string to her bow, and I look forward to series two of Aftershock or any other audio dramas that she might be linked with.

‘Aftershock’ can be found on Apple Podcasts & Spotify or from wherever you get your podcasts from. If you are a writer/creator looking to release your podcast and require a bespoke review ahead of your podcasts release date feel free to get in touch via my contacts page, or directly –

As you can see my reviews are not machine box-pressed, and I do not shy away from giving my own opinion; if that approach is your bag, then maybe (just maybe) I am your guy for your podcasts grand premiere.

For further Tea in the Sahara reviews or any other business please do check out my other podcast & audio-book reviews cheers Kev.

The Poison Throne – Audible review

The Poison Throne – Audible review

Tea in the Sahara

Kev – Fiction Podcast Critic

Hello guys this week’s particular Tea in the Sahara review hits a small indie reviewing milestone of twenty reviews (small fanfare please!) Before I dive into my latest review I would quickly like to thank all of those who have supported me throughout this journey so far.

It goes without saying my friends & family continue to inspire me by keeping me both sane & humble. To the new set of pals & talented writers that I have met along my own ‘Scott across the Arctic’ writing quest, I would like to show my appreciation to you for welcoming me into the fold. Cheers!

With this week’s review we switch things up, dip the clutch, and return to the sandy cut-throat oasis city of Tumanbay with their latest audiobook instalment ‘The Poison Throne’ written by the incredible writing team Walker Dryden, published by Orion.

Naturally, I will be reviewing the audiobook version of this novel released on Audible, however, it can also be found in soft/hardback, and Kindle formats if any of those options is your jam.

This isn’t my first rodeo when it comes to writing a review of some of John’s previous works. I have been fortunate enough to have reviewed a few of John Scott Dryden’s other works, including the first novel within the Tumanbay cannon ‘The City of a Thousand Faces’ which is definitely worth checking out for a much more rounded picture of the Tumanbay landscape.


For those not so acquainted with the grand city of Tumanbay where this continuation novel is set let’s take stock. The theme of the novels is loosely based on the Mamluk slave dynasty of ancient Egypt. Or if you’d like my simplified version in my mind Tumanbay is a hybrid of the 1990’s video game Prince of Persia, with all the seediness of Jabba the Hutt’s Palace!

Since the sultans of this particular dynasty were themselves earlier slaves, or the sons of former slaves, the Mamluk dynasty became to be known as the slave dynasty.

There’s a city far way…
My parents often spoke of it as if it had always been there and always would be…
I had seen it in paintings, I had read about it in stories, the richest, most powerful city on earth the centre of everything.
It drew people from every corner of the empire and beyond, hungry for wealth and power, or in some cases, more wealth and more power. They were dazzled by its brightness…Tumanbay!

Returning to this series with ‘The Poison Throne’ offers another glorious deep dive into the magical world of Tumanbay and its new ruthless owners. But what is in store for its inhabitants under Mya’s rule?

I had almost forgotten how pivotal this second book was within the Tumanbay timeline. Not quite an Easter egg hunt, however, events which take place in this chapter within the series will surface at the final stages of the story.

I will keep schtum and let you work this out for yourselves! Naturally, audiobooks offer a different, granular version that books offer over podcasts which adds more elements to the history of Tumanbay.

Once the most magnificent city on earth now the previous empire lies in ruins. The chronology timeline for this second instalment feels roughly to be nine months after the closing events of the previous book.

A closing chapter within the Tumanbay legacy ended with the execution of its former Sultan Al-Ghuri. Opium addict Madu replaces his uncle as a puppet Sultan conjuring an illusion that all is well within the kingdom.

The mysteries Mya and her legions of black guard soldiers march into Tumanbay seizing power beginning the process any new dictatorship performs, eradicating the old regime and rewriting it’s own narrative.

Within the stripping out, and pillaging of the previous empire we are introduced to some new Tumanbay talent like the Inquisitor Barakat. A ruthless hatchet man hiding behind his unquestionable faith, and allegiance to queen Mya who reminded me of the snake Kaa from Jungle Book.

It is Barakat’s responsibility to root out heretics within the city, a job he seems to gleefully enjoy too much. And like an oil warning light coming on in your car in the middle of winter, you should be wary of Barakat.

With the changes in senior management gone are the buzzing markets, and humdrum of the city only to be replaced with curfews, patrols, and eerie silence across this once thriving city of commerce.

Life in Tumanbay under its new ownership is a bleak, shadow of its former self which now has all the hallmarks of a 20th-century Communist state in full purge effect!

Don’t worry if you were a fan of the previous Tumanbay cast all of the likely suspects are back including Gregor, crafty Cadali, and general Qulan who is still wonderfully defiant as ever. Manel another character favourite of mine returns as a rebel fighter cross between Lara Croft & Princess Leia which was quite cool to follow.

I really enjoyed the recap and detailed explanation for what happened to the character simply called ‘Boy’ from the first series. The lack of an in-depth explanation of what became of him within the podcast always left me wondering where he disappeared too. Of course, John & Mike have this covered within the audiobook version satisfying my own very niche curiosity.

In my opinion, stand-out moments included the triumphant 36-minute battle led by general Qulan and his rabble of slaves against the hordes of Mya’s armies blow-for-blow account was exhilarating. The Stanley Kubrick Spartacus-styled slave uprising, and overthrowing of their captors whilst repairing a dam to halt an outbreak of plague was captivating to listen to.

The narration changes from the accomplished Clare Corbett to Peter Polycarpou for another masterclass in delivering multiple accents of slaves, sultans, and Cadali with ease. If this is the audiobook format of using different voice actors every novel then I am excited to see/hear who will be rocking the mike to narrate the third instalment.

I especially enjoyed being entertained by Peter’s vocal performance as the Opium addict puppet Sultan Madu who sounded like a stoned Keith Richards. Peters’s accent for Gregor making him sound slightly like Sir Michael Caine was hilarious in parts; I won’t use the blow your doors off metaphor don’t worry!


Okay, so I am a massive fan of the Tumanbay podcast and its audiobooks as you can probably tell. The in-depth writing partnership of Walker Dryden continues to take me on a rollercoaster of emotions, much like the final scene acted by Bob Hoskins in the cult classic film ‘The Long Good Friday’.

That specific scene where Bob’s character is driven away by the IRA to meet his maker before the credits roll (remember that?)
Well, that range of emotions expressed visually by Hoskins which you witness him go through – surprise, denial, frustration, anger, and finally realisation is the exact same journey this audiobook took me on. That journey could also be yours if you choose to download the audiobook!

The overall writing lends a certain patina to the hallowed city of Tumanbay which I thoroughly enjoyed listening to; bravo!

Just like a Swiss army knife ‘The Poison Throne’ really has everything tucked away ready to unfold for you the willing listener. This audiobook is absolutely dynamite and adopts very non-linear writing which will appeal to those who know the world is far from PG-rated.

So after reading this review of ‘The Poison Throne’ I really hope you are contemplating having your podcast reviewed by Tea in the Sahara. As you can see my reviews are not written in a cookie-cutter uniformed style as plenty of work goes on in the background with every review delivered; which I really hope you the reader appreciates.


So people if you have enjoyed this particular review or any of my others please do consider doing a few kind things to help me grow my website. Please consider leaving a small comment in the comments section below each review, and whilst there why not like the review (it all helps!)

These simple actions on your behalf really go a long way to help promote what I love to do, collaborate with talented writers, and hopefully write an EPIC review, or two along the way. Well, that’s the cunning plan anyway.

You can reach me via my contacts page.

Before I sign off one more thing, if you feel there is a podcast out there that needs a plug please do let me know by getting in touch. For further Tea in the Sahara reviews & tomfoolery please check out my other reviews. Until next time folks cheers, Kev.

The Cellar Letters – podcast review

The Cellar Letters – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

As we glide into summer even here in Blighty we’ve been blessed with a rare appearance of that elusive fireball in the sky, the rest of the world likes to call the sun! This sadly is where the charming anecdotes end this week as we go dark, and a touch creepy with the immersive horror podcast ‘The Cellar Letters’ created by long-term pals Jamie Petronis & Jay Sayers. I would also like to thank the lads for bringing this podcast to my attention, and for allowing me the chance to look under its bonnet & kick the tyres. Shout out to Jamie for the introduction (cheers fella!) 

Both chaps write & provide voices within this stripped-back indie podcast, designed with a ‘found footage’ sound production that I personally liken to what ‘The Blair Witch Project would sound like if it were made into a 2021 podcast. For me, the sound of this podcast feels like you are within a first-person shooter-style video game. Right there in the middle of the action!

The guys make no bones about being green to podcasting citing the awesome ‘Magnus Archives’ & ‘The Black Tapes’ as big parts of their inspiration for their fledgling audio drama.  Jamie came up with the initial concept for the podcast, and Jay came on board having no idea what an audio drama was!

The chaps train of inspiration also calls in at Haunting of Hill House, Paranormal Activity, and Cabin in the Woods. I will also include into that mix of artistry Sam Rami’s Evil Dead for a touch of thrills & laughs and quirky horror. So what I’m hoping to do for you readers is paint a visual image of the personal inspirations of Jamie & Jay’s podcast (he hopes!)


The plot for The Cellar Letters really is quite a straightforward scripted horror audio drama, however, don’t let that detract from what is a refreshingly distinctive podcast concept. Two pals and one dog relocate to Maine in a bid to start out new with a clean slate. Nate voiced by Jamie Petronis rents a big old house for the guys to set up shop and begin their fresh start.

To fill in time, and jump on the ever-growing trend of people making random podcasts Nate decides to create his own documentary-style podcast to capture current events. Proving the need to decompress at a time of anxiety, and unlock a creative flow. Well, I thought that statement sounded quite articulated even if no one else does.

These podcast recordings are where this podcast differs from others. With its raw style of recording, it allows the show to wire the listener into each episode. It is also through these recordings that Nate begins to hear strange knocking noises coming from their abode basement; why does creepy knocking always start in either a basement or attic?  

Sidenote – friendly advice time guys! Enjoy this podcast however you like to listen to podcasts, however in my opinion to truly appreciate the fully immersive experience of this audio drama I highly recommend listening through headphones as it just sounds mega. I cannot stress how jumpy the horror is within this podcast. Cliche doors banging, and ghostly voices really get the adrenaline coursing through your veins just like four double vodka Red Bulls, only without the alcohol, hangover, and caffeine overload!

Back to the drama and Nate investigates said knocking and discovers a room within the basement which holds filing cabinets filled with scores of creepy letters. If Nate is the straight no-nonsense part of the double act Steve (Jay Sayers) is definitely the joker in the pack. I like to think of them both as a modern-day Riggs & Murtaugh style pairing.

After the friend’s personal private eye investigation, Steve concludes that the house’s landlord Jim, or Jim the reaper as Steve prefers to call him is behind the creepy basement letters. Steve’s addition to the podcast lends a touch of comedy to the show making it less dark and more Scooby-Doo in parts.

To visualise Steve would be to think of the most annoyingly upbeat friend you have, the type of person you like as a pal, but can only be taken in small doses before you feel drained; but in a totally harmless lovable way.

The gruesome letters found within the basement are not the only theme running throughout the show. As the podcast progresses what becomes clear is Nate is clearly escaping from an event from his past which involves his ex-girlfriend walking out on him. This is the real motivation & driver for Nate moving to the East Coast adding backstory, context, and dimension to this audio drama.


I know, I know you are probably thinking why have I enjoyed this podcast, and who is it for? Well, I initially listened to this audio drama and blasted through five episodes without even noticing; which is rare for me and an indie podcast. I found myself absorbed in the stripped-back no-nonsense nature of the show. The no frills, no theme music, and no endless credit listings at the end of each episode are quite appealing to my inner minimalistic character.

I lmao at the NYE episode (ep.5) where the lads get tanked up and attempt to create a retro beatbox about Jim the reaper. The scene was pure comedy gold, and I would love to know if the writing of that scene was largely influenced by Jay…

Intentionally, or non intentionally I enjoyed the ingenious acting from Jamie & Jay as they slightly lose their minds desperately trying to understand what is going on. Being a nuance freak I found the way in which scary, jumpy scenes were delivered was nothing short of brilliant. The strange, lighthouse keeper hysteria created by our two pals as they descend into madness was excellently executed.

What makes the show is the chemistry between our two main characters. This is something that is not easy to re-enact if you are not already the best of buddies. Both chaps are super talented, with Jamie (Nate) coming from an acting background, and Jay (Steve) having worked at Disney, which does not surprise me!

My only minor criticism is that lack of divider when an episode ends, and the next episode begins means there is no real marker other than the beep of Nate’s phone/voice recorder. This is just a personal preference thing, and probably my personal OCD working overtime so feel free to take that statement with a pinch of salt lads.


I hope that you have enjoyed reading this review of ‘The Cellar Letters’ which can be found on Apple Podcast, Spotify, or wherever you grab your podcasts from. Albeit podcast novices Jamie & Jay have made a cracking podcast here that needs recognition. If you are looking for a different podcast offering some horror mixed with hilarious banter, and clever plot twists you should consider giving this podcast a shot! The guys are doing a great job of carving out their own niche.

To coin a phrase by the late great David Bowie “never play to the gallery” and the chaps behind The Cellar Letters are certainly in no danger of doing that!

If you want to find out more about the guys and The Cellar Letters, head on over to their website for more info about the show. Whilst there you should positively check out their merch store on Redbubble for some ultra stunning podcast art by Jess Syratt. Let’s get on board with indie podcasters and show some support by rating & reviewing!

A while back someone commented on a review that I did for QCODES Soft Voice saying that the podcast wasn’t their typical jam, however after reading my review they tuned in, and really enjoyed it; this is the reason why I blog. Bringing you guys podcasts that you might not normally entertain. This is the reason why I write reviews.

So after reading this review, are you considering having your podcast reviewed by Tea in the Sahara? If so you can reach me via my contacts page. If you have enjoyed this particular review or any of my others please consider doing a few kind things to help me grow my website.

Please consider leaving a small comment in the comments section below each review, and whilst there why not like the review (it all helps!) These simple actions on your behalf really go a long way to help promote what I love to do, collaborate with talented podcast creators & write EPIC reviews. Well, that’s the master plan anyway.

Likewise, if you feel there is a podcast out there that needs a plug please get in touch. For further Tea in the Sahara reviews & shenanigans please check out the link boxes below. Until next time, cheers, Kev!


Kev, I am so thankful for the incredible review you wrote for our little show. Your passion for them shines through in every line. The genuine passion and enthusiasm you show are the exact reason why creators like us do what we do. I genuinely believe you’re going places with your site and you will be an authority on the medium as it starts growing. Thanks again!

Jamie Petronis Writer/Creator of The Cellar Letters

The Night Post – podcast review

The Night Post – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

A few weeks back I tweeted a call to arms asking the land of Twitter and its inhabitants for an exciting new podcast crying out for an independent review by Tea in the Sahara. Answering that call was the guys behind ‘The Night Post’ produced by Station 103. The Night Post is a weekly supernatural podcast created by an all-LGBT team. An extra special mention goes out to Rae Lundberg for introducing me to this creative new podcast; cheers Rae.

The TNP players are Rae Lundberg, Ethan Thomason, Tyler Anderson, and Elizabeth R.C Lundberg who all take rotational turns in writing & producing the show which airs every Wednesday. Ethan Thomason is also the show’s composer creating the soundscape within which the show exists.

The guys admirably & unashamedly admit that they are novices to the whole podcasting scene. Kicking off season one in the autumn of 2020 amidst a global pandemic, which would have been far from easy. Openly admitting that they bought a cheap microphone, and winged the podcast. This admission alone in my eye shows spirit. That spirit for having a go (a bloody good go at that!) And is all part of the TNP charm; trust me guys you smashed a debut!


The Night Post is set within a fictional shadowy dystopian backdrop of Gilt city where communication in general between Gilt city & the Skelter has gone down the pan. For further clarification, The Skelter is technically the entire region of Gilt City and surrounding areas with locals using the term to distinguish what lies beyond the metro area. Or as I interpreted it as the difference between the outskirts of town. For London folk, this is how they would comfortably class the rest of the UK!

The idea for the podcast came to the shows writer’s as the US postal service became a hot topic for public debate. You see the TNP team all live within the rural south, where it appears internet speeds and mobile phone coverage is pretty shocking. This lack of modern-age communication ability made low-fi ways of communicating i.e. pen & paper more tangible to our podcasters. And so with this initial concept and blueprint, the TNP podcast was outlined.

The podcast does have its own centralised bunch of characters (Nicholas, Milo, Clementine, and Val) written with their own individualised backstory with one of the biggest plots being Milo (Tyler Anderson) who finds himself endlessly searching for his missing husband Ashley. In my opinion, it is the actual stories taken from the letters with which our couriers deliver, and the storytelling narration delivered to the audience’s ears that make the show.

The couriers, or pigeons as they are known at the post act as an integral nocturnal postal service connecting communication dots for many inhabitants of Gilt City. The couriers are treated with unfair contention by most, and that theme sadly derives from real-life experiences our writer’s experience living within the South. That slowness and reluctance for change within a society where you don’t always fit in seem to be the focal message running within the background of this forward-thinking podcast.

You have to remember that this podcast is written and produced by an indie podcasting team with a limited budget. There is a raw production quality to some early episodes where the audio sounds just a little squiffy, especially if there is a scene where an actor raises their voice. To be fair the TNP guys do cover these audio teething problems during their recent Q&A episode. And this really is me nitpicking as the audio steadily improves becoming flawless as the show progresses. I even had the ‘ding, ding, ding’ guitar theme music created by Ethan Thomason buzzing around in my head days later!

The writing within the show on the other hand is the real star of the podcast. The use of vocabulary and articulated line delivery in certain letter reading scenes is bang on the money. I mean who else wouldn’t want to title an episode ‘Centrifugal Force’ right? I also think that the way the TNP team sets out their stall and takes turns to write & produce the show really makes every storyline quite unique in its own right.

Look out for episode 04. ‘So Below’ was easily my favourite episode from the first series. The detailed evocative, almost claustrophobic description Val gives whilst exploring the city’s underworld setting was a deeply immersive experience and was brilliantly written (kudos guys!)

Kev’s thoughts

So who could this podcast be for? Well anyone that enjoys a show that is a mish-mash of genres really. TNP is advertised as a supernatural podcast, however, it is not your out-and-out ghost story type of paranormal podcast you might be accustomed to. Sure, there are creepy events that take place giving the show a cool edge to it, however, I see a deeper meaning behind the podcast. If I may, I see this podcast as more about relationships, some close, some strained, some blossoming (I’m talking about you Val & Clementine!) However at the nexus of TNP is the characters, and how they navigate the relationships they create as the series progresses. The slightly deep-meaning answer I know, but hopefully, you get the gist.


I really hope you have enjoyed reading this review for ‘The Night Post’ which can be found on Apple Podcasts, Spotify, or wherever you grab your podcasts from. If this review strikes a chord with you I highly recommend you head over to the official The Night Post website for more details about the show. Or better still why not rate & review their podcast and perhaps jump on the Patreon bandwagon for early episode releases, and proposed bonus episodes? Roll on season two guys.

The TNP team are on it like gin & tonic pulling out all the stops to make this fantastic podcast a success, and if you cannot already tell I am personally passionate about indie podcasters. So all you podcast reviewers out there let’s get behind this visionary team. TNP is giving out show postcards for every review they receive so what’s not to like about some awesome merch bribery? They have also launched a TNP playlist called Gilt City Radio over on Spotify for eager fans to get their inner TNP groove on.

Plug time! Are you considering having your podcast reviewed by Tea in the Sahara? You can reach me via my contacts page. If you have enjoyed this review please consider doing a combo of kind things by leaving a cheeky comment, and liking this review. These simple actions on your behalf really go a long way to help promote what I love to do, collaborate with talented podcaster’s & write EPIC reviews. Likewise, if you feel there is a podcast out there that needs a plug please get in touch. For further Tea in the Sahara reviews & shenanigans please check out the link boxes below. Cheers, Kev!


Nicholas Best – voiced by Ethan Thomason
Milo Cylix-Wilder – voiced by Tyler Anderson
Clementine Keys – voiced by Elizabeth R.C Lundberg
Valencia Torres – voiced by Rae Lundberg

The Battersea Poltergeist bonus episode – podcast review

The Battersea Poltergeist bonus episode – podcast review

Billed as “if you’d made up your mind up..think again” the hit investigative documentary podcast The Battersea Poltergeist returns for one more roll of the dice in the shape of a conclusive bonus episode for its legions of adoring fans.

And like whacking on your favourite, comfortable pair of trainers (Adidas if you are interested) we rejoin investigative journalist Danny Robins, flanked by his team of supernatural experts Ciaran O’Keefe and Evelyn Hollow, for one final deep dive into the ongoings at 63 Wycliffe Road.

With this ninth bonus episode, Danny & his team pull out all the stops with fan theories, the inclusion of a 1990’s TV host superfan, and one final Q&A session with the lady of the hour Shirley Hitchings herself. So strap yourself in one final time Poltergeist fans, lets bonus up for 57 minutes as Danny does his best to finally close the chapter on the most intriguing ghost story podcast which has gripped millions.

But before we press on one short pause. If for some reason The Battersea Poltergeist slipped by you, and you are now reading this review scratching your head going “huh?” Here’s some super quick context to help enlighten you.

Journalist Danny Robins & his team of ghost hunters try to unravel a precursory poltergeist case, set within the backdrop of a post-war 1950’s Battersea, London. The podcast is centred around a teenage girl, Shirley Hitchings, her family, and a poltergeist called Donald seemingly trapped within the family home. Danny & co try to unearth the truth of this sixty-five-year-old ghost story aided by the original case notes left by paranormal investigator Harold (Chibs) Chibbett.

As additional side notes, if you also missed my first review of The Battersea Poltergeist which I wrote back in mid-February, I highly recommend you take a quick peek if not for my own fan theory on the show.


Episode nine kicks off exactly how Danny started the series way back in January with Danny in his garden shed with a box of case notes left by Chibs; a touching anecdote for the show to come full circle in man’s little oasis the garden shed. With my review, I aim to signpost, in my opinion, the most poignant parts of this bonus episode.

Danny begins by reeling off recent fan notions with my favourite being about the River Heathwall. For me, this is the most tangible theory for the noises, and house shaking that the Hitchings began to experience back in 1957.

Fun fact, apparently the land on which Wycliffe Road resides was originally located between the River Heathwall and The Thames, creating an island on which Battersea sat. The Heathwall or Heathwall Ditch/Heathwall Mill Pond was later converted into a sewer in the 1880s, and apparently, through looking at old maps this sewer runs directly under Wycliffe Road. Again the most feasible explanation supports the noise element conundrum without having a handy time machine to see if the theory stacks up.

As I comfortably sit within team sceptic I appreciated both Evelyn Hollow and Ciaran O’Keefe’s professional analysis of recent key elements connected with the case. That new necklace story that Shirley regaled about looking in a shop window whilst with her pal, is further ammunition that the whole poltergeist story is exactly that, an elaborate story.

Shirley claimed to have said that she liked a particular necklace that was on display in said shop window, and poof as if by magic it miraculously appears on the table in Wycliffe Road. Although Shirley denies she stole the necklace there is no other way for it to turn up at her house. Now I am not calling Shirley a thief, however, if this was true, and Shirley had this gift why didn’t she walk past a Rolls Royce showroom muttering that she liked them big flashy motors!  Again, the only one alive to collaborate this particular tale is Shirley (go, team sceptic!)

Evelyn Hollow goes further and provides evidence on this situation by discussing a similar case on fraudster Alma Fielding, who conned people into believing she could make objects vanish, and then reappear. That Alma Fielding account sums up how clever trickery and sleight of hand can easily baffle people.

That’s even before you hear Ciaran O’Keefe’s credence by dropping wisdom bomb’s on Shirley levitating, and sheet pulling episodes. I must say in defence of ‘team believe’ you have to remember this event happened in the 1950s. No internet, no Google, and also a time when some folk’s thought rock & roll was the devil’s music! So it’s easy for me to conclude my own thoughts that this was an almighty charade, with my very 21st-century mindset.

Okay, so I am not going to run through this whole review continuingly pouring scorn over everything Shirley’s claims as blatant conjecture. I genuinely enjoyed this podcast, and the journey it took everyone on was totally absorbing. During one of the listen along together episodes Danny mentioned that it felt like a little club, us all listening in together. That interaction Danny & the BBC offered to the listener within the show made it feel like you were part of his team trying to unlock this grand ghost tale. And this tale about Donald the poltergeist clearly resonates with a really wide audience.

That audience also includes one time 1990’s TV presenter royalty Sarah Greene of Blue Peter & Going Live fame. Sarah mentions how she enjoyed following the podcast during a brief chat about the show, with comparisons drawn between podcast, and mockumentary TV show Ghostwatch (1992). This collation was drawn by some listeners who wrote into Danny concluding that Danny had cooked up the whole podcast story about Shirley & Donald referencing Ghostwatch.

Ghostwatch was a TV series that claimed to have a legitimate ghost house with all the trappings of shadowy goings-on beamed live via the tele to the British public. Well, this show fooled millions! Being a teenager in the UK in the early nineties I vividly remember that Halloween episode of Ghostwatch as the so staged haunted house was set in Northolt, where I grew up. Back then I remember kids jumping on their BMX’s cycling around housing estates hoping to seek out the Ghostwatch house. So this proves I am not impervious to media hype in a time long before the internet.

Danny also speaks with Shirley’s cousin Bill to get his take on events which adds another dimension to the proceedings. To close out this bonus episode Danny puts listeners questions directly to Shirley in a final Q&A round seeing Shirley answer, and defend herself, which I must say she does admirably.


Summary time! Returning to this podcast with last weeks bonus episode aiming to tie up loose ends was a great way to try and draw a line in the sand. I still position myself firmly within the non-believer camp as I personally deal in fact, not fiction. I also still strongly believe either Shirley or one of the Hitchings family has Tesla level creativity when it comes to storytelling. I might get Monstered in the comments for saying that, however, I am the first person to flag down a black cab, and head for real street with tales of the supernatural.

But then again without this story, we wouldn’t have this wonderful podcast, and lord knows society loves events that cannot be rationally explained. That grey area somewhere in-between the lines that make us all become armchair detectives is simply within Joe public DNA.

And like the special buy centre aisle of Aldi, The Battersea Poltergeist always delivered massively on surprises. Those surprises in turn connected with its audience on a bigger scale that possibly even Danny wasn’t expecting. In short you truly never knew what was going to happen next, and that ultimately is this shows winning formula. People who believe in the paranormal really do believe. And those on the other side of the coin (myself included) love debunking those wild theories. Until the next podcast Danny!


Thank you for taking the time to read my review of ‘The Battersea Poltergeist’ which I genuinely hope you have enjoyed. All of the episodes can be found naturally on BBC Sounds, Apple Podcasts, Spotify, or from wherever you choose to get your podcasts from.

If you are considering having your podcast reviewed by Tea in the Sahara you can reach me via my contacts page. Check out my reviews on Dirt, and Wandering with the Dead, if you are interested to see the level of detail which goes into one my independent reviews.

Hopefully, if you have made it this far down the page you have enjoyed my style of writing? I wasn’t going to plug my other reviews en masse, but then again if I am not going to blow my own trumpet who will, cheers Kev.

Tea in the Sahara

Where podcast reviewing is far from beige!

Real Dictators – Noiser Podcasts – podcast review

Real Dictators – Noiser Podcasts – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

This week guys we Delve into the depths of history’s darkest past with a podcast that deals with some heavy historical subject matter. Real Dictators is designed to retrace and chronicle some of the 20th century’s most evil tyrants to have walked the planet. This is done by offering the listener a deep dive (45/50 mins) into the private personal lives of individual dictators charting their birth, rise to power, and subsequent downfall across several individualised chapters.

As you can imagine this podcast deals with some hard-hitting disturbing historical events, with acts of total brutality and barbarity against humanity that I can appreciate is not easy listening for every reader. As with all of my reviews I set out my stall, present the facts, coupled with my own personal opinion and allow the reader to form their own decision to engage with the show, or not. I have also tried to remain sympathetic with my review because of its nature and content. However, history lovers will certainly enjoy this original, forward-thinking approach to podcasting.

Entering its second season ‘Real Dictators’ was created by Pascal Hughes of Noiser Podcasts; a UK-based podcast production company that pride itself on specialising in dramatic storytelling. Our escort and adept guide/presenter throughout these events is Paul McGann of Dr Who fame, whose vocal delivery blends harmoniously into the show perfectly. The secret lives discussed during the first few seasons include dictator heavyweights such as Joseph Stalin, Mao Zedong, and Adolf Hitler, as well as others not so widely known like Papa Doc, General Tojo, and Colonel Gaddafi.


To try and understand the mechanics of how each dictator brainwashed entire countries, seized power and caused the deaths of millions, the podcast revisits these events using leading professionals within their own fields. The invaluable experience of authors, historians, professors, and first-hand witnesses is used to recount each event as it happened.

As the show suggests it gives the audience rare access to peer behind the curtain, like a fly on the wall placing you directly within each tyrants meeting rooms, private quarters, bunkers, and battlefields explained first hand by those who were there.

Where this show differs from other historical podcasts is by setting the scene of how these violent tyrants became the embodiment of evil modern society associated with them. Those pivotal, powderkeg moments from their early formative years put them on a trajectory of not just changing nations, but also shaping the world around us. Their complete tyrannical metamorphosis is documented throughout each chapter right into adulthood, and later twilight years. What follows within the series is their totalitarian regimes, political uprises, civil wars, revolution, and calculated takeovers by force, propaganda & fear brought to life by historians. The production quality (Joel Duddell), and attention to detail throughout Real Dictators is outstanding, leaving literally no stone unturned.

Having watched the excellent Netflix series ‘The Last Czars’ documenting the ill-fated Romanov royal family I was curious to find out more about Joseph Stalin, and where he personally fitted within the Russian Revolution. The chapters on Stalin within this podcast, regarding his early years helped fill in some of my own inquisitive blanks, adding historical context by unmasking the former Georgian bank robber who would later become the Premier of the Soviet Union.

I must also mention the music & sound design used within this podcast, which is almost like having its own independent character embedded within the show (if that makes sense?) That immersive atmosphere created really puts the listener onsite within those scenes, the sound team are trying to portray. Whether that be a bleak, desolate, crunchy-snowy scene in Siberia, or frantically running through the cobbled streets of Munich with bullets pinging out overhead, Head of Music Ollie Baines, & Tom Pink (Sound Design) have you covered. The stirring theme music with its dark jaunty strings sets the tone for the podcast beautifully, with a string arrangement by Dorry Macaulay. If like me you geek out over a good soundtrack make sure you check out the Noiser website for the complete soundtrack used within both seasons so far.

Kev’s Thoughts

So who is this podcast for? Well obviously anyone that is interested in historical events that’s a given. However that being said, even the hardened history buff can take something new away from this podcast as there are still plenty of surprising revelations to be found within its chapters.

Extra kudos for having author, Second World War historian, & YouTuber Mark Felton within the show’s ensemble of experts. I already follow Mark over on YouTube, so hearing his comprehensive account on the General Tojo episodes was a real bonus for me.

My personal takeaway from this podcast is the truly breathtaking scale, and cruelty of some of the atrocities created by each dictator. The show in essence caused me to pause, and think much wider & broader. The regime’s of Mao, Stalin, and Hitler are gone, however, that does not mean the world we live within is completely dictator free; and that is something we as a society should not forget.


Thank you for taking the time to read my review of ‘Real Dictators’ which I genuinely hope you have enjoyed reading. A new episode of Real Dictators is released every Wednesday. In the second series Real Dictators are charting Adolf Hitler’s rise from Austrian third rate painter, to the leader of the Third Reich. All episodes of Real Dictators can be found on Spotify, Google, or from wherever you choose to get your podcasts from.

This is my first historical podcast review, and here’s hoping it won’t be my last! This review was challenging for me given I normally tend to review fiction podcasts, so I really hope you can appreciate the extra effort that went into my writing.

If you enjoyed my style of reviewing why not check out my previous review of Soft Voice for something a tad lighter on the old content front? If you are looking to have your podcast or audio drama reviewed by Tea in the Sahara, whatever your genre please do get in touch via my contacts page and let’s have a chat! Cheers, Kev.

Soft Voice – QCODE podcast review

Soft Voice – QCODE podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Over the last few weeks, I have been blessed with reviewing some truly out-of-this-world, A-plus, exciting, independent podcasters. So to keep things fresh, and mix it up a little, this week I thought I would head on down Main Street, and mosey on into Commercial Town with one of the best production companies (QCODE), and their latest podcast offering ‘Soft Voice’.

Even as I write this review Soft Voice sits at #1 on Apple’s podcast charts which is totally insane. Why the insanity you might ask? Well this top spot, number one charting position comes just after one episode of Soft Voice airing. This early winners medal comfortably demonstrates (early doors) how on-trend, and in-demand this awesome show already is!

But before my review, and all of that good stuff if you haven’t you should check out my review of ‘Dirty Diana’ which has recently been nominated for a handful of Ambies awards, including a podcast of the year & best fiction podcasts (fingers crossed QCODE!) This review of Soft Voice brings my tally of QCODE reviews to four lovingly put together; not that I’m not counting you guys!

(Spoiler ALERT) if you have not already listened to the first few episodes just yet, as I will be dispensing my own early thoughts, and opinions on the podcast within this review.

Written, and created by James Bloor, with Naomi Scott playing Lydia, Bel Pawley as Soft Voice, & Olivia Cooke as Dark Voice giving this show a British all-female-fronted casting which is fantastic! All three actors co-produced the show, which is also directed by James Bloor.


Soft Voice’s plot is based around Lydia (Naomi Scott), a twenty-five-year-old estate agent from London with an unusual companion, Soft Voice (Bel Pawley). Soft Voice is not your traditional podcast companion as Soft Voice resides inside Lydia’s head as an internal imaginary voice offering up the best solutions, tactics, & advice on Lydia’s everyday life. That selection pivots on advice ranging from which trendy yoghurt to buy, how best to sell a flat, to personal matters such as which boyfriend to date, how to master Italian, and successfully play the oboe.

Soft Voice originally came into Lydia’s life when she was a child, and through Soft Voice’s ongoing guidance Lydia triumphs with everything that she does and prides one of her biggest achievements on having her own flat with a jacuzzi bath. Ahh, how good life is with Soft Voice?

The writing style of Soft Voice really reminds me of the hit series Fleabag by Phoebe Waller-Bridge, and you can draw similarities between both shows as I think they are universally relatable shows. Okay, let me expand a little on that sweeping statement. The clever way the framing & direction of scenes set within Soft Voice really bring the show into focus.

For example, Monday morning sales meeting at Hatchet & Sprig with Branch manager Trevor creeping it up to maximum. For me (in my head) this is how I envision estate agent meetings to go. The Hugh Grant-Esque barrister boyfriend Graham who only chats to Lydia through WhatsApp notes almost made me fall off my chair in laughter!

And that’s the trick and winning formula you see. Making ordinary people with seemingly dull jobs come to life in a way that we can all relate to. Those relatable thoughts help to link the listener almost directly into the show (if that makes sense?)

Being an ex-Londoner I can instantly visualise events that take place within the big smoke. The after-work pub drinks on a school night that progressed to a nightclub ushered in my own memories of doing that very exact thing which was a welcomed drop of nostalgia.

The cleverly embedded nuances of finishing said night out, and finding everyone in your group lives in SE London, and you live in East, meaning a solo tube journey home drunk can have only been written by someone that has lived that experience!

Another reason why this podcast has all the hallmarks of a winning show is the beautifully immersive way that the surroundings sucks the listener into Lydia’s headspace along with Soft Voice. The cute ‘jam tomorrow’ milestone targets Lydia sets in order to reward herself for doing something she hates is something as humans we all intrinsically do.

I also like that Soft Voice isn’t just a quiet performer she comes with her own set of ground rules. Those no-nonsense, strict rules include no radio, no satnav, and ironically definitely no true crime podcasts (wonder if that was an in-house joke?)

Life and winning seem to go hand in hand for Lydia until one-day Soft Voice suddenly leaves! No reason, no explanation, pure radio silence. This is where the wheels of success fall off for Lydia in a massive way as we are introduced to another voice inside Lydia’s head who’s just moved in, Dark Voice (Olivia Cooke). I cannot wait to see what Dark Voice has to install for our Lydia as I think things are about to get even crazier. Or as the kids might say sh*t is about to get real!

Character-wise I adore Bel Pawley’s strict, monotone, nonchalant, vocal delivery as Soft Voice which is the standout performance of the show so far. Another character I really liked for all the wrong reasons was the ‘difficult man’ within the apartment viewing scene. A hilarious condescending pr*ck that we have all had the displeasure of meeting at some point in our lives. This character was excellently written in a wonderfully awkward British setting.


So why is this podcast as popular as a sea shanty at the moment? Again the writer’s imaginative way of writing about ordinary events we can all relate to makes this podcast impossible not to like. That, and being flanked by some absolutely talented actors in Naomi Scott, Olivia Cooke, and Bel Pawley makes this podcast one of the most exciting releases of the year. I mean who wouldn’t want your own Soft Voice? I guess there are times in life we all wish we had someone telling us what the optimum route to success was to take. Or a personal barometer telling us the right path to choose, or even an inbuilt Geiger counter to warn you of impending danger!

I personally wouldn’t review a podcast until at least three episodes in however, such is the class of this show I decided to take the plunge early. I am also going to break the trend and nail my colours to the mast and state that if Soft Voice doesn’t continue to be the runaway success it deserves, I’ll eat my own hat (hat on standby!)


I really hope you have enjoyed reading this review for ‘Soft Voice’ which is so worth checking out on Apple Podcasts, Spotify, or wherever you get your podcasts from. If my review strikes a chord with you I highly recommend you head over to the official QCODE website for more details about all of their other great podcasts. Or better still if this review has piqued your interest please rate & review the show in order to spread the word! And lastly best of luck to the QCODE family with The Ambies in May I’m sure you’ll bring home some silverware.

Are you looking to have your podcast or audio drama reviewed? Well look no further you’ve unexpectedly found your perfect partner; Tea in the Sahara! Whatever your podcast genre please do get in touch via any of the below methods or through my contacts page, and whilst you are there why not check out my other podcast reviews (links below) and perhaps leave a cheeky comment! Cheers, Kev.

Wandering with the Dead – podcast review

Wandering with the Dead – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

The concept of this week’s review started out life back in 2010 from very humble beginnings as a short film that never got off the ground. Fast forward ten years, and like NASA’s aptly named rover Perseverance, that ambition and script concept switched out from silver screen to audio drama.

‘Wandering With The Dead’ is the brainchild of Cody Signore, an ambitious filmmaker from Boston, USA. The spark and idea, is a menacing western horror thriller set within the lawless Wild West of the 1870s. A cowboy setting with a much darker edge than often portrayed within mainstream visual entertainment.

For me, this audio drama is kinda like what the TV series Westworld would be like if it were given an adult 18 rating! It is also worth pointing out that this podcast admirably covers some challenging themes, which might not be everyone’s cup of tea. So if you are a fan of podcasts that include the following – happiness, unicorns, candyfloss, and rainbows; WWTD might not be your jam. Hopefully, if you are on my page you are blessed with an open mind and will continue in that vein.

Like most indie podcasters, WWTD is written, directed, edited, mixed, and mastered, all by its creative engine Cody Signore. Oh and if there weren’t already enough plates spinning, Cody also narrates the show throughout the series. Hats off Mr Signore, and cheers for introducing me to the WWTD universe.

Customary spoiler ALERT if you have not already binged listened to the three episodes of WWTD just yet, as I will be offering up my own thoughts, and opinions on the show within this review. These theories may blow some plot holes in the story, so consider this your fair warning.


The plot outline see’s us follow anti-hero Christian Anderson (Brian Stivale) travelling across varying American territories throughout three chapters. Brian’s vocal delivery of Christian fits in with this weathered, no-nonsense, loner of a character seamlessly. Christian is not your stereotypical ‘man with no name’ bounty hunter as he harbours a shadowy past, including carrying along with him some rather precious cargo. The contents inside Christian’s saddlebag consist of a man’s mangled corpse riddled with months of decay. But why is Christian carrying such a foul freight? Or to coin a phrase used throughout the series “what’s in the bag?”

Through Christian’s travels he encounters some disturbing characters, and strangely all of them recognise who the person is within the body bag. In episode one Christian meets a bunch of ruthless cannibals. Mama & the Animals, which if they weren’t cold-hearted cannibal killers would be an ultra-cool name for a band. Mama (Kim Ramón), and her gang try to drug Christian and steal his prized corpse. Fortunately for our gunslinger, the Mama gang are a couple of gunmen short of a posse, and Christian gains the upper hand and escapes. This is the point where Christian also meets and saves a young girl Hannah who becomes his almost silent companion in his quest to Missouri.

During episode two Christian stumbles across Daniel, a travelling cameraman for hire, a confidence man using his influence to fulfil an unsettling fetish on his unsuspecting prey. A despicable character brought to life literally made my skin crawl! Cody’s detailed description of the early camera process techniques is a nice touch reminding us how images were painstakingly made in those pioneering days of photography. A shot of Christian & his corpse can be seen below. I guess they didn’t say “cheese” back in the day then!

A brief character mention should also go out to Elizabeth (Heather Foster) who gives a sterling performance as the inquisitive saloon gal Christian is introduced to within chapter three’s bar scene. I loved the way she phrased her lines in that wonderful Deep South drawl.

The shows timeline buffer’s about like Tarantino’s movie Pulp Fiction as we move back & forth from past & present keeping the audience firmly on its toes. As the series progresses we learn more about Christian’s humanity as he mentions that he, himself has young children, and in chapter two we establish that sadly like most uneducated people of that era Christian cannot read. These small clever refinements included within the writing help the listener build, and form a more human picture of Christian. Perhaps he might not be the initial monster we all had him pegged out to be (just maybe).

As we follow Christian’s epic pilgrimage the descriptive writing, and portrayal of landscape, terrain, surroundings, and topography is splendidly brought to life. For example, if said scene features weather that is cold, and desolate the listener gets a window seat into that extreme environment. If the mercury suddenly soars and the settings change to stifling heat, the listener gets sunburnt (it’s that good!)

All of this before I begin to mention how trailblazing Cody’s writing is within the western world of WWTD. Nuance alert, the level of detail, and the distinction delivered within his narration fit this audio drama like a glove! Credit must also go to the amazing Bond-Esque, pre-title sequences with every new episode, peppering the podcast with yet more added dimension. The twist and turns within the show definitely keep the listener guessing.

Let me make a bold statement about the sound design within this show. It truly is the Tesla of sound design! Rain, horse hoofs, crackling campfire, blizzards, honky-tonk piano, stooping vultures, and locomotives it has all been encased and crafted by Cody. The way the background music interlaces within the framework of a scene is super slick. That slickness also allows individual artists to close out an episode with their own unique musical style. My favourite of these tracks is the bluesy, ballsy ‘Stormy Shapes’ by Soldier Story, which reminds me slightly of the opening of ‘Love Spreads’ by The Stone Roses. I digress, the inclusion of all three tracks seems to resonate with the landscape of this audio drama perfectly (tracks listed below).

“Carry me Home” by The Sweeplings
“Stormy Shapes” by Soldier Story
“Beware” by Beware Of Darkness


So who is this podcast for? For any fans of horror & westerns, and keen eyes for details. Fans of the author Stephen King would also enjoy this unrighteous take on the old west. You can tell that Cody has poured his heart into this project to make it work, and real talent always shines through!

I would also like to personally thank Cody for walking me through the voice casting process he adopted whilst casting WWTD in a covid world. This particular process has long been of interest to me. That insight into the mechanics of the podcasting world. Script run-through, director notes, and requests for specific line deliveries were such an eye-opening, and invaluable education for me. Cheers fella.


I really hope you have enjoyed reading this review for ‘Wandering With The Dead’ which is undoubtedly worth checking out on Apple Podcasts, Spotify, or wherever you get your podcasts from. Cody is yet another extremely talented independent podcaster that needs more recognition for his perseverance, and unbelievable work. If my review strikes a chord with you I highly recommend you head over to the official WWTD website for more details about the show. Or better still if this review has piqued your interest please rate & review the show in order to spread the good word.

If you are looking for another indie audio drama positively brimming with creative class I highly recommend that you jump on Dirt by the equally talented podcaster Kris Kaiyala. You will thank me.

Are you looking to have your podcast or audio drama reviewed like Cody’s? Well look no further you’ve unexpectedly stumbled across your perfect partner Tea in the Sahara. Whatever your genre you can reach me via my contacts page.

Hopefully, if you have made it this far down the page you have enjoyed my style of writing. If you did why not check out my other reviews, and maybe like and leave me a comment cheers, Kev.

Dirt – an audio drama – podcast review

Dirt – an audio drama – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

As we creep from a relatively dull February into March and with spring finally in the post (albeit on a 2nd class stamp), I have yet another extraordinary podcast for you guys to load up into your podcast player of choice and submerge yourself into!

Master of his own destiny Kris Kaiyala, writer, producer, director, voice actor, and all-around superstar behind the wonderfully immerse ‘Dirt audio drama’ from STUDIO5705 is the next solid entry into the Tea in the Sahara reviewing cannon. And I for one am as happy as Larry to have been introduced to this ultra-modern & fresh podcast. Cheers, Kris.

Spoiler ALERT, apologies if you have not already binged and listened to the whole series just yet, as I will be offering up my own thoughts and opinions on the show within this review. For those people at the back not paying attention, you have been warned!


The plot follows our main character and shows narrator Joseph (Kris Kaiyala), a successful Seattle playboy CEO, and owner of a futuristic app development agency over the course of six chapters. Joseph receives a letter in the post from his grandfather, which in normal circumstances wouldn’t make for much of a gripping storyline however, Joseph’s grandfather Aimo passed away over thirty years ago!

Joseph is not your average CEO and Dirt is not your average storyline as we discover that Wiley old Aimo might just be leaving his grandson ‘Joey’, what the kids call today a trail of Easter eggs to follow. The quest for answers sends Joseph on a personal adventure back into his family’s past, trying to uncover what it is that Aimo is trying to tell him from the grave. Aided by his sister Kim (Genie Leslie), Joseph gets caught up in some interesting, if not challenging situations. Including almost getting killed on a side crossing, which I think we Brits call a zebra crossing whilst wearing a fake moustache & eyebrows, thus making him an unknowingly social media sensation overnight. You see guys it takes skills to write this type of script.

Through some clever detective work, Joseph returns to a childhood farm, now run by family friends which he spent time on as a kid that his grandfather helped to set up back in the day. It appears that Joseph is not the only person to receive instructions from the late Aimo, as we discover that current farm owner Salvador Flores (Jhonattan Fuentes) knew that Joseph would return to the farm.

If you are scratching your noggin right now, fear not the picture becomes clearer as the Flores family including love interest Antonia Flores (Megan Morales) use an old beat-up metal detector left by Aimo to discover, and dig up a jewellery box that holds a key, and a letter containing the next clue in this cryptic puzzle. Aimo also likes to write his letters in a poetic, almost riddling fashion that certainty turns the old brain matter over like a cement mixer which is great.

The show dances back and forth in a kaleidoscope fashion with an ongoing hazy dream that Joseph has about the sea, boats, and of course Aimo. It’s at this point I would like to highlight the stunning production & sound effects used within this show which to my untrained ears is pretty damn spectacular. The soundscape atmosphere which is crafted throughout the series is flawless. The sound of crickets at night time accompanied by that airhorn sound you associate with huge American trains, to boats bobbing about in a harbour, is all expertly blended & embedded within Joseph’s world.

I even strangely enjoyed the binky-bonky ‘start your day’ music used within the scene where Joseph is getting ready for his day. As Kris mentions, enjoy this audio drama wherever, but for a truly immersed experience, it is best listened through quality headphones. I also salute another podcaster keen to invite the audience further into the show by releasing an artistic soundtrack of songs featured within season one, which for fans of the music used within the podcast will be a welcomed innovative move.

As for the writing within the podcast, it definitely draws the listener in with its multiple layers of description, which for someone like me who is a nuance freak is music to my ears. I hope Kris doesn’t mind me saying this, but those intricate levels of narrative description and visual scene framing really reminded me of another podcast ‘The Leviathan Chronicles’ by Christof Laputka.

In terms of characters (and myself being British dry and sarcastic), I was immediately drawn to Kris’s assistant Mel (Jessi Brown) who plays dry, and slightly sarcastic perfectly. Sarcastic mannerisms are not easy to pull off with conviction without becoming fairly arrogant which jars. Kudos Jessi, on an amazingly balanced performance that often made me smile. Joseph’s character voiced by Kris Kaiyala is also an interesting enigma that I liken to a modern version of Steve McQueen in the film The Thomas Crown Affair. A successful businessman, marginally aloof, with smarts, however minus all the crazy bank heists McQueen’s character relishes. Plus I couldn’t quite see the proclaimed king of cool wearing a fake moustache & eyebrows combo either!

I especially enjoyed the heartwarming scene when Joseph meets up with the Flores family who had not seen them for many years. The warmth and harmony written within that scene portray kindness that only lifelong friendships can bring. In a crazy modern Covid world it seems like a distant memory catching up with friends & family who we haven’t seen for far too long. So within this unique podcast format, it is refreshing to be reminded of how good that togetherness feeling actually is (I hope that makes sense?)


So the million-dollar question is, who is this podcast for? Dirt is an intriguing podcast when listened to, its narrative completely absorbs the listener into the fabric of the show. Pretty much everyone enjoys the thrill of a good treasure hunt right? It’s almost human nature not to get caught up in the romanticism of an expedition into the unknown. Well, Dirt gives the listener a healthy double shot of a good old-fashioned mystery. I for one am in (lock, stock, & barrel) and cannot wait for season two, which will be dropping at some point this year so you won’t have long to wait to find out the next instalment in Joseph’s crusade.

Final thoughts, if you like what you have read in my review, definitely take a look at Dirt’s official website which is packed full of information about the show. It is also worth pointing out that Dirt is an independent podcast, with Kris wearing multiple hats seamlessly, and if this review has piqued your interest please rate & review the show in order to spread the word. Kris is currently running a small trivia competition to receive a Dirt sticker which is another cool touch that I will most definitely be partaking in!


I really hope you have enjoyed reading this review for ‘Dirt – an audio drama’ which is unquestionably worth checking out on Apple Podcasts, Spotify, or from wherever you get your podcasts from. If you are a fan of Dirt, then I highly recommend another puzzle-based podcast ‘The Cipher’ written by Brett Neichin.

Are you looking to have your podcast or audio drama reviewed? Well look no further you’ve unexpectedly found your perfect partner; Tea in the Sahara! Whatever your podcast genre please do get in touch via any of the below methods or through my contacts page, and check out my other reviews cheers Kev.

From Now – QCODE podcast review part two

From Now – QCODE podcast review part two

Tea in the Sahara

Kev – Fiction Podcast Critic

‘From Now’ sadly finished just about a month ago, however that hasn’t stopped the growing global demand and thirst for this exceptional juggernaut of a podcast no, no! My original review of the show a month back still stands as one of the most visited reviews that I have written which is a true testament to the quality of this show. If you haven’t already checked out my previous review of the podcast I highly recommend checking it out before we dip into this review (pt.2) where I will pick up from ep.4 onwards.

From Now, written and created by Rhys Wakefield & William Day Frank, starring & executively produced by Scottish actors Richard Madden (playing Edward Fitz) most famous for the TV series ‘Bodyguard’ and being mooted as the next James Bond, star alongside veteran theatre, television, & film heavyweight Brian Cox who plays Hunter Fitz.

Australian Rhys Wakefield of ‘The Purge’ also directs the show, and spoiler ALERT if you have not already binged listened to the whole series just yet, as I will be offering up my own thoughts, and opinions on the show within this review.


We pick up my review following the heated scene where Edward almost strangles his elderly brother Hunter to death. Hunter recovers and recalls a dream that may just hold the only clue the twin brothers have to the 35-year mystery of the USS Hope. We also sadly learn how Hunter was beaten by his parents, and the brutal emptiness he felt in the aftermath of Eddie’s disappearance. Back to that dream/hunch which amounts to answers potentially hidden at Eddie’s gravesite now seemingly the only card left to play.

Meanwhile, vintage meteor space debris crashes out of the sky all around Arizona causing FBI agent Elisa Watkins (Betty Gabriel) to return, and link up with our brothers alongside android nurse Helen (Erin Moriarty) and exit stage-left in a flying car to the destination Eddie’s cemetery. Hunters health at this point is a constant worry, and there are grave concerns that he might not make the mission.

‘The Southern Light’s episode connects a ton of dots and is the biggest “ah-ha” episode as we hear the inflight recordings of the USS Hope, which is an absolutely harrowing scene to listen to. If you can visualise the terror, and claustrophobic final scenes from the movie Alien that’s how this scene left me. The maiden voyage and takeoff went buttery smooth until the spacecraft appears to fly into something and all of the USS Hope’s crew, except Edward, are mercilessly sucked and grimly fused alive into the walls of the ship. For the crew of the USS Hope barely twenty minutes had gone by, but in reality, as the spaceship re-enters the earth’s atmosphere they have been gone for thirty-five Years!

The Russian Federation try to blast our guys out of the sky en route to the cemetery. Queue a standoff where Eddie freezes time like Neo from the Matrix allowing our heroes to escape. Our motley crew arrive at the cemetery with the mystery lying within Eddie’s headstone in the shape of a drive with the black box recording one of the events played out on the Hope. This exonerates lieutenant Edward Fitz as the killer of Hope’s crew (phew!) Elisa’s FBI partner turns up and is a grass selling them out to the Russian Federation. Nurse Helen gets shot up, and our gang are captured by the underground resistance; talk about frying pan to fire scenario!

The resistance literally lives underground like The Wombles, being that they are miners who mine the green power source that currently powers everything above them in our dystopian future. The leader of the resistance agrees to help Eddie & co. return to the site of the USS Hope via an underground railway system of minecarts. When I heard this part the kid in me could not stop thinking about a similar scene from Indiana Jones & The Temple of Doom!

The camaraderie slightly warms between our siblings as Hunter shares the reasons why the planet is dying due to man’s requirements for power like a weapons-grade industrial revolution. It now rains and snows in the state of Arizona because of mankind’s lust for ways of powering the planets sprawling urban jungle. Again, I like the social-environmental awareness of what could happen to our planet if we allow ourselves to not be accountable for our actions.

Fear not, we are now on the homeward stretch people, don’t worry. Our team pop up on the USS Hope, and it appears battlefield lines have been drawn up between the Americans & The Russian Federation. Hunter plays the black box recording from nurse Helen to the population thus letting the world know about what really happened to Hope’s mission. The Russian’s on the other hand plan to fly USS Hope back through the wormhole window to complete its original mission.

Edward again uses his insane alien DNA powers to freeze time on the spot allowing enough time for Hunter to say some goodbyes and fly the ship directly into the wormhole. In the cockpit, Hunter talks us through what appears to be five minutes of flight time within the wormhole before re-entering the earth’s atmosphere (this seem familiar?) Podcasting sound effect guys must love using radio static to ramp up the suspense as ground control ask Hunter to identify himself over the radio. Above the white noise and static Hunter’s reply is “I’m American, where am I? When am I?” Has Hunter returned at the same point he left at or has he travelled forward thirty-five years into the future just as Eddie did? World-class ends as Hunter’s voice fades and the credits begin to roll. Thank you QCODE.


My thoughts for the future? Without using the USS Hope to travel forward in time I will dispense my ideas on the show (see what I did there?) From Now has all the hallmarks of an HBO series for certain, and I know my followers are probably saying to themselves “Kev says this weekly!” However such is the quality of the writing within this podcast it could easily transverse into a film or TV series; that’s all I’m going to say.

In my original review, I highlighted the two main characters Hunter & Eddie Fitz who are acted out fantastically. However, I would also like to shine the spotlight on Betty Gabriel who plays FBI agent Elisa Watkins. As the show opens up and progresses I really enjoyed the development of Elisa’s character and her own personal attachment to Hope’s ill-fated mission. Moving into a second season, which we all want to see for certain, I personally would love to see how the writers execute the arch from the first series into the second. When you write a show this good the expectations settings for a positive follow up will no doubt be skyscraper high (no pressure guys!)

I really hope you have enjoyed reading this continuation review for ‘From Now’ which is worth checking out on Spotify, Apple Podcasts or from wherever you get your podcasts from. I know that the good people of QCODE have some imminent podcasts about to drop which will no doubt be class, so keep your ears peeled people.


Are you looking to have your podcast or audio drama reviewed? Well look no further you’ve unexpectedly found your perfect partner; Tea in the Sahara! Whatever your podcast genre please do get in touch via any of the below methods or through my contacts page, and check out my other reviews listed below cheers, Kev.

Tea in the Sahara

Where podcast reviewing is far from beige!

The Battersea Poltergeist – Bafflegab Productions – podcast review

The Battersea Poltergeist – Bafflegab Productions – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

This week guys I have a very different podcast review for you to immerse yourself into, in the shape and guise of The Battersea Poltergeist which is a part investigative documentary/part enigmatic drama. A show which includes a unique interactive opportunity for the listener to peer through the furnace door and share their possible theories, sentiments, and potential thoughts on the case of the podcast; more on that later.

This show is based on the book ‘The Poltergeist Prince of London’ written by James Clark & Shirley Hitchings. The Battersea Poltergeist podcast is written & presented by Danny Robins, produced by Bafflegab Productions for BBC Radio 4. Bafflegab already has an honourable roll-call of podcasts being the guys behind the sinister podcast production of the 1970s TV series ‘Children Of The Stones’ which is absolutely worth checking out if you remember the children’s show and fancy a retro reminisce.

Oh and as always spoiler ALERT. Apologies if you haven’t started to listen to The Battersea Poltergeist just yet, there are some spoilers blown ahead in my review.


Journalist Danny Robins & his team of ghost hunters try to unravel a precursory poltergeist case, set within the backdrop of a post-war 1950s Battersea, London. Centred around a teenage girl, Shirley Hitchings (Dafne Keen), her family, and a poltergeist seemingly trapped within the family home. The podcast cleverly darts back & forth from 1956 to the present day, providing the listener context as Danny tries to unearth the truth of this sixty-five-year-old ghost story. Aided by the original case notes left by paranormal investigator Harold (Chibs) Chibbett voiced by Toby Jones.

The story goes, that Shirley Hitchings discovered a large, ornate silver key on her pillow which does not fit any lock within the house. The strange key goes missing, and the residents of 63 Wycliffe Rd start to witness unwelcomed banging in the loft which cannot be rationally explained. The banging ramps up, and out of frustration the Hitchings family nickname the supposed source of all the racket Donald. Harold (Chibs) Chibbett, a tax inspector by day, and paranormal investigator by night sets about helping the Hitchings try and solve the mystery of why their home is potentially haunted by a poltergeist. And also ironically proving that the taxman is still after you, even if you are a ghost!

Back to the present day, where Danny & his team armed with 21st-century technology try to use modern methods previously unavailable in 1956 to try and solve the case. The 3D method of virtually mapping the Hitchings home so that Danny can visually immerse himself into the Hitchings shoes like he had his own Delorean time machine was insane, and I would have totally loved to have seen it!

The families unfortunate Fred Karno circus circumstance gets a mighty upgrade from noises to flying objects, and Donald communicates with them through a sequence of knocking sounds. The press rocks up and ratchet up the tension, as there are rumours of Shirley levitating, which is corroborated when our 2021 journalist Danny visit’s the sole remaining member of the Hitchings family, Shirley now in her eighties.

Episode 4, and back in 1956 the Hitchings family finally lose it and agree to allow a chap called Harry Hanks to hold an underground seance to hopefully rid Shirley & her family of their unwanted spectre, Donald. Photographic evidence of that very seance is shown below with Harry Hanks in the middle, and Shirley to his right. Harry (David Troughton) in my mind is your typical situational, charlatan praying on desperate people in order to make a quick pound note.


So at four episodes in it’s my turn to play DI Bergerac and offer up my own thoughts on the podcast, including my stance on the poltergeist plot the show is based. Starting with the podcast I really like the idea of an investigative journalist revisiting a super old case armed with modern technology. There’s something quite exciting about listening to Danny and his team as they try to piece together the different elements of the puzzle both from a sceptic, and believer standpoint.

Using new methods to try and debunk theories like the VI recreation scene, and getting insight into modern exorcism puts a 2021 detective spin on the series which, for those like myself who enjoy playing detective will love. The production of the podcast is also on the money with some scenes feeling claustrophobic only for the silence to be broken by a large bang or scream to make the listener jump out of their skin!

I especially enjoyed the case update episode inviting Joe public to email their own theories about the show which is a bold, engaging form of interaction between the podcast and its audience.

My theory on the whole haunting, and poltergeist piece is simple. My Grandad used to say “don’t worry about the dead, it’s the living you need to watch out for!” And there is an element of truth within that statement. I think both investigations, past & present have focused on proving what is not there, and in so discounting the obvious. The Hitchings family themselves.

In my opinion, I believe that the poltergeist was engineered by the Hitchings family with each playing their own part in the deception. Perhaps the hoax went too far when the press got involved, but my money is on the family, or an individual family member creating the ruse independently. Listening to the show money doesn’t seem readily available within a very full household, and knowing that the country was financially still on its knees following the war perhaps the story was cooked up to make an extra bob or two out of an elaborate ghost story that perhaps went too far. Maybe I am being too overtly cynical, but if you haven’t noticed one of the authors who wrote the original book linked with this investigation is indeed Shirley Hitchings. Again, my personal opinion so I’ll let you mull that one over for a moment.


Who is this podcast for? This week this is a total no-brainer, anyone! Let me bolster that statement out a tad more for you. This podcast would suit anyone that is a fan of the occult, enjoys ghost stories, and unsolved mystery cases, and likes the use of modern CSI-style detective work to crack a case. The podcast is super engaging, incorporating the listener into the show with their thoughts/hunches during the Q&A episode, which for me was a very astute move.

Final, final thoughts from me, it is also worth highlighting the shows haunting title music co-written by Ben Hillier and the talented Nadine Shah which fits in perfectly with the whole spooky theme the podcast is trying to project.

I hope you have enjoyed reading this podcast review for ‘The Battersea Poltergeist’ podcast which is hands down worth checking out on the BBC Sounds App, Spotify or wherever you get your podcasts from. The email address is below if you want to email the series with your very own hunch or theory on the show

Are you looking to have your podcast or audio drama reviewed? Well look no further you’ve unexpectedly found your perfect partner; Tea in the Sahara! Whatever your podcast genre please do get in touch via any of the below methods or through my contacts page, and check out my other reviews listed below cheers, Kev.

The Cipher – Goldhawk Productions – podcast review part two

The Cipher – Goldhawk Productions – podcast review part two

Tea in the Sahara

Kev – Fiction Podcast Critic

Following on from the huge success of the hit podcast The Cipher’s series finale last week I thought perhaps a follow-up review was in order. If this is your first time landing on this page (hello & welcome), for those who haven’t listened to The Cipher podcast yet I would strongly recommend that you check out my previous review from a few weeks back of ‘The Cipher’ which covers off the first five episodes in my own unique way. With this follow on the review part two I will be diving into the series at the midway point, so from episode six onwards.

Written & created by Brett Neichin with support writing by Janina Matthewson, produced by Emma Hearn, and directed & executively produced by John Scott Dryden. The Cipher is a Goldhawk production commissioned by BBC Sounds, the very same production company who brought us the EPIC Tumanbay’ which I reviewed in 2020.

So are we ready to return to Narnia, perhaps crawl through a washing machine and once again fall down the sci-fi thriller rabbit hole? Oh and as always spoiler ALERT, apologies if you have not already listened to the complete series so far there will be some serious spoilers blown ahead.


We pick up the adventure continuing with that same blistering pace set within the first five episodes as we establish that Sabrina’s dodgy dad Harry worked for a secret collective of scientists called The Storks. The Stork’s headed by Ian Sinclair, played God establishing a gene-editing program thus mixing a strand of alien DNA with human DNA generating a hybrid resulting in Sabrina (Anya Chalota). Yep, you heard me right our very own anti-hero, and genius Parallax solver is part alien. Moreover, Sabrina is not the only hybrid, she also has 30 more siblings (bombshell no 1!)

Sabrina, Benny, & Fergus travel to Iceland to meet up with Sabrina’s online pal Isabella, voiced by Hera Hilmar. Queue a magic carpet ride from Black Beach, Iceland via a derelict aeroplane/spaceship and our gang end up on a tropical island where bombshell no 2 drops; Sabrina’s mum is not dead! Sabrina’s sketchy mum was originally part of The Stork’s but set up a splinter group called The Swan’s believing that AI and robotics are the future for humanity, not splicing alien & human DNA. And if that wasn’t enough, war is apparently imminent between the aliens & mankind.

The island is a front for The Swans to operate out of and learn that they are also a dab hand at engineering realistic-looking human robots like a next-level Lex Fridman. If you read my first review, you will remember that I said that I had a niggling feeling about Benny (Chance Perdomo), which I couldn’t quite put my finger on. Well in episode eight all is explained as our resident super-nerd Benny, not only works for Sabrina’s mum, he is a bloody robot! Excellent plot twist which totally blind-sighted me, and I totally enjoyed the “ah-ha” plot revealing moment.

Our trio travel to Tokyo to meet with Dr Aoki, voiced by George Takei. If this actor’s name is not familiar to you, he was the chap who drove the original Starship Enterprise in Star Trek and is also an active spokesperson for human rights campaigns to boot. Long story short, Dr Aoki was a member of The Stork’s and claims to have a vaccine for the piercing hum noise that the hybrids hear. This hum is a hypnotic noise used by the aliens, which Dr Aoki calls The Blues. Dr Aoki tries to cure Sabrina & Isabella (also a hybrid) as we get a character 180 about-turn, as the good Dr Aoki is ruthlessly murdered by Isabella who turns out is not as shy as on first impressions, and rocks venom-tipped razor blade fingernails. Who knew Revlon made such a shade?

In the ensuing fracas, Fergus (Samuel Adewunmi) is mortally wounded and sadly dies. The creativeness of the way this scene was written and poignantly delivered is a true credit to both direction and the actor’s incredible abilities. Sabrina & Benny evade Isabella & the deceitful Efrat (Olivia Popica) from Arrow and set up shop in Japan.

The pair decide that if war is coming they will need all the help they can get, and if life gives you lemons, make lemonade. They create their own cipher Parallax calling card to reach out to Sabrina’s hybrid siblings for help in the fight. The final scene is genius as the pair finally receive a phone call from Elkin, one of Sabrina’s siblings who decoded their cryptic message. Sabrina & Benny suggest for the three of them meet up; “Where are you Elkin?” asks Sabrina, queueing a long silent pause… Elkin quietly says through the static “I’m not on earth!” Bosh roll the theme music, and credits, and whilst you are there pick up my jaw from the floor. Fantastic open way to close out the series’s leaving the audience dangling on an eroding cliff edge wanting more.

Kev’s Thoughts…

My thoughts for the future of the show? Off the bat, 100% there needs to be a series two to further expand on this already amazing scripted storyline. Not to sound like The Cipher hype man, but if someone has not already had the conversation about converting this awesome podcast into what could be an award-winning TV series, you should. Take note of Netflix, BBC, and Amazon, the writing within The Cipher would easily transition to a successful TV series. Just looking at the number of people that viewed my initial review I did for the show the interest & demand are certainly there.

Why do I like this show? If you haven’t already guessed it I am a big fan of this podcast. For me, this is the first fiction podcast that I have come across that causes you to actually think, backtrack, and revisit previous episodes. The show is cleverly littered with Easter eggs like a millennial podcast version of ‘Where’s Wally’ or ‘Where’s Waldo’ if you live in the States. The smart inclusion of popular cultural references (Tinder, Reddit, Tiktok) coupled with geographical locations, and nuances is an ingenious contemporary approach to podcasting. It’s almost pioneering in terms of where the writing takes the listener. To enjoy this podcast I personally find you don’t have to be a fan of the sci-fi drama, however, an inquisitive open mind will serve you well. Even I did not know what ‘IRL’ meant to millennials, so it goes to show you can teach old dogs new tricks!

I also have somewhat of a scoop for you as I write this review. Through valuable sources, I have learnt that The Cipher’s main character Sabrina was based on a real-life person called Sabrina Gonzalez Pasterski an American theoretical physicist dubbed the next Einstein. Sabrina’s Wikipedia page makes for very interesting reading, and you can clearly draw parallels from where the inspiration came from for the shows leading lady.

Lastly, I would also like to thank the show’s writer Brett Neichin & director John Scott Dryden for personally writing to me to thank me for my previous review. Apparently, within the writing of my review, I managed to capture the spirit of The Cipher. Well, I tried my best chaps!


I hope you have enjoyed reading my continuation review of ‘The Cipher’ which is 100% worth checking out naturally on BBC Sounds and Spotify, or wherever you choose to get your podcasts from. Hopefully, you have enjoyed this review. If so, please do check out my other reviews including the interstellar From Now’ or perhaps the indie comedy podcast Mike Prowse Solo Travel’ which are both amazing!

Are you looking to have your podcast or audio drama reviewed by Tea in the Sahara? Well, you’ve found your perfect partner! Whatever your genre please do get in touch via any of the below methods or through my contacts page. Cheers, Kev.

From Now – QCODE podcast review

From Now – QCODE podcast review

Let’s kick off a brand new year with my intergalactic podcast review of ‘From Now’ completing my own personal hat-trick of reviews from those studio production guys down at QCODE. If you haven’t already, you should definitely check out my other two QCODE podcast evaluations in the shape of the sinister Ghost Tape and risque Dirty Diana both polar opposite podcasts, yet astounding in their own rights.

‘From Now’ written and created by Rhys Wakefield & William Day Frank, starring & executively produced by Scottish actors Richard Madden (playing Edward Fitz) most famous for the TV series ‘Bodyguard’ and being mooted as the next James Bond, star alongside veteran theatre, television, & film heavyweight Brian Cox who plays Hunter Fitz.

Australian Rhys Wakefield of ‘The Purge’ also directs the show, and apologies spoiler alert if you haven’t already listened to the first three episodes.


A psychology space-age thriller set within a dystopian 2060 future with the plot anchored around the returning of a spaceship, the USS (United States Ship) Hope from her ill-fated maiden voyage, somewhat late by exactly thirty-five years to be precise! The mysterious ghost ship returns amidst a media frenzy, and as the crowds gather to watch on the hatch opens and the soul survivor lieutenant Edward Fitz from a seven-man expedition steps out. The whole crew aboard the famed vessel have been found dead, and Edward, startled & confused has not aged one day in thirty-five years.

Back on terrafirma Edward’s identical twin brother Hunter Fitz (Brian Cox) now a 65-year-old man suffering early stages of onset dementia has been brought to the landing site by the FBI to ascertain, and question where his brother Edward has been for the past 30 years. Could Edward be a clone, and what brought about the demise of the rest of the USS Hopes crew?

Hunter apparently has his own demons to exercise, which have been living within his head (rent-free), and as the return of the USS Hope, those demons have also been kept hidden for thirty-five years. And more importantly what part did he have to play with the secretive ‘operation window’? Assisted by Hunter’s android robot helper nurse Helen (Erin Moriarty) the two brothers meet for the first time in an epic showdown with some excellent byplay sibling rivalry on display as both men demand answers.

Let’s back things up for historical landscape context. The USS Hopes primary mission was to formally seek an answer to our global climate change as mankind has nearly poisoned the planet into extinction. NASA deem the only viable option, and escape for mankind is to create a space program using identical twins as astronaut’s to charter an odyssey to seek out a planet called Fader-Seven (guesswork on the spelling) which hopefully holds enough natural resources to sustain life. I must say I like what the writers have done here with the story focusing on the mission, and underlying theme on climate change, and what a lack of respect could subsequently do to our planets endgame if not taken seriously.

QCODE production has a fantastic array of ace podcasts and are equally lucky to have had their payroll blessed with some seriously high calibre acting talent. Brian Cox is a major coup adding much-needed depth, and experience to the sadly mentally detouring character Hunter Fitz. Through Brian’s immense acting abilities he really brings to life the inner strength within Hunter in what is his ultimate defiance to not let his condition beat him. Beautifully scripted, and superbly executed.

The other leading character within the show is Edward Fitz voiced by the excellent Richard Madden who certainly knows how to make the needle move with a performance! If Hunter is calm & collected Edward is the opposite being irrational, demanding, and prone to acts of violence. The first scene where the twins meet where Hunter says that he was previously a handsome man is a genius scene. It’s too early to fully understand what, or even who Edward is however Richard Madden plays the former confident hotshot astronaut in a confused & frightened tone balancing like a high-wire trapeze act of intrigue & menace.

Erin Moriarty also needs a quick mention for her portrayal of Hunters assisted helper nurse Helen. The way the two bicker & squabble like a married couple even though one of them is a machine brings a lighter tone to this otherwise dark 2060 future we find our cast set in.


Three episodes in my theory is this, Hunter & NASA have engineered a way for the USS Hope to travel through a self-created wormhole ‘operation window’ which through trials was perceived as safe. Something obviously went wrong with Hope’s mission which leads us to the guilt that is all-consuming Hunter. The ‘who done it’ part with why the crew are all dead I haven’t quite figured out yet. Although I’m not ruling out Edward losing his mind and carrying out the macabre act. But is that too obvious? Perhaps the Russian Federation have a secret part to play…

If I am to nitpick (sorry), my only small gripe with the show is that they used actors with very English sounding accents to play the parts of the younger Eddie & Hunter when they move to America to begin their space program. Yet fast forward 30 years, and on Eddie’s return via the USS Hope, he strangely has a seriously thick Glaswegian accent. Now I’m no accent specialist, but I’m pretty sure you don’t pick up a Scottish accent in Nevada, or deep space comes to think of it.

So who is this podcast for? Again guys another week, and another awesome sci-fi thriller innovatively scripted which really delivers. If like me you like an audio drama with some genuine acting talent on display, and a podcast that keeps you guessing where the plot is heading, look no further. Hit that download button now and take the From Now plunge. You might just thank me!

(Final words I promise!) The visually stunning retro artwork used for the podcast depicts the very essence of the show in a futuristic neon nightclub kinda vibe with the Fitz brothers looking like guest DJs bang in the middle of the shot. QCODE, if you haven’t got this image in mind for some cool looking merch you should consider it.

I hope you have enjoyed reading this podcast review for ‘From Now’ which is definitely worth checking out on Spotify, Apple Podcasts or wherever you get your podcasts from. UPDATE! If you have enjoyed this review you might want to read my continuation review of From Now (pt.2).

Are you are a writer or creator keen to have your podcast given the once over by an independent podcast critic? Have you enjoyed the previous Q&A blogs that I have done, and are thinking I’ve gotta get me one of them?! If that is the case, then maybe (just maybe), I am the chap for you. For all podcast submissions, you can reach me on my contacts page, or email me directly

Until next time podcast lovers cheers Kev!

Tea in the Sahara

Where podcast reviewing is far from beige!

The Cipher – Goldhawk Productions – podcast review

The Cipher – Goldhawk Productions – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Let’s start this review by stating that Santa came a day late on Boxing Day gifting us the first five episodes of the totally addictive podcast ‘The Cipher’ to gorge ourselves on during the festive break. And I for one couldn’t wait to dive into another immersive fiction-based podcast drama that was apparently a year in the making.

Written & created by Brett Neichin with support writing by Janina Matthewson, produced by Emma Hearn, directed & executively produced by John Scott Dryden. The Cipher is a Goldhawk Production commissioned by BBC Sounds, the very same production company that brought us the magnificent Tumanbay that I reviewed earlier on in the year. If you haven’t already listened to it, should totally be on your ‘listen to next’ podcast playlist.

The plot moves with a serious pace covering multiple geographical locations, so strap yourself in folks for some heavy reviewing pre-context as the writers introduce us to characters galore whilst falling further down the sci-fi thriller rabbit hole. Oh and spoiler warning apologies if you haven’t already listened to the podcast yet.


The Cipher centres around lead protagonist Sabrina, an orphaned 16-year-old uber-intelligent schoolgirl played by Anya Chalota of Witcher Netflix series fame. I like to think of Sabrina as a switched-on millennial safecracker combination of Steve Jobs, Albert Einstein, & Indiana Jones with bucket loads of sass thrown in for good measures.

Sabrina has a recurring dream of black rain which culminates when she awakes with the words “Kasamar Debon Kouru” which I am probably butchering and no doubt spelling incorrectly. Originally born in Afghanistan, Sabrina now lives in Wolverhampton with her adoptive father Harry a supposedly humble bespoke umbrella salesman; more on Harry later as it seems the dad definitely has something to hide.

We have established that Sabrina has incredible smarts with easily an IQ level far above someone three times her age. With this intellect and bad insomnia, Sabrina solves an impossible online puzzle cipher called the Parallax which no one else across the globe has managed to unlock. The way Sabrina solves the door element of the Parallax puzzle by using Indian takeaway boxes gives you a tiny porthole into the way her brain solves complex problems seamlessly with everyday objects.

With the Parallax unlocked Sabrina unknowingly makes a phone call to an American policeman as the creator of the Parallax scientist Dr Usman has recently been murdered. Our puzzle solver unwittingly gets swept up with a mysterious international agency called Arrow headed up by Efrat, and voiced by the talented Olivia Popica. It transpires that the Parallax was used as a recruiting tool by Arrow in order to seek out the world’s best codebreakers to crack the mystery of the deceased scientist. Certainly trumps a recruitment drive by Google for creativity! On her reluctant travels, Sabrina is also introduced to an Illuminati-style group that claims to hold the answers to why/how she became to be orphaned and the true identity of who her secretive dad really is (hopefully still with me?)

The characters within The Cipher are outstanding with a truly stellar cast of talent on display. You already should have a good handle on Sabrina’s character deftly brought to life by Anya Chalota. The other main character within the show is Benny, an American lad (also 16) who is the second person to defy the odds and crack the enigma grade Parallax puzzle. Benny, played by British/American actor Chance Perdomo does an amazing job of rounding out Benny’s inner geek and introverted nature as the podcast advances.

Sabrina meets Benny within her local bookshop at the beginning of episode one as he tries to impress her with his photographic memory of a book she wants to read titled ‘A Girls Guide To The Galaxy’. Although Benny comes across as innocent, there is something that does not quite sit right with me about what his true motives are. Let’s just say it is a niggling feeling that all is not well in Denmark! That said I do like the smart scene between Sabrina & Benny when held captive to hold a non-verbal conversation using the unique lettering found within the black & white squares of a chessboard (a clever bit of writing guys!)

As this is a Goldhawk Production we are reintroduced to some quality actors last heard within Tumanbay in the shape of Nabil Elouhabi as Sabrina’s teacher, and a genius piece of the casting of badass Arrow agent Efrat played by Olivia Popica. Another quick mention goes to The Ciphers getaway driver Fergus played by actor/director Samuel Adewunmi who has the whole modern Huggy-Bear (ears to the street vibe) coupled with a soft heart down to a tee.

Kev’s Thoughts

Early doors into a new podcast I usually like to play Magnum PI and offer up my own thoughts on where the story may take us, however, the writers of this particular audio drama have me completely stumped. The story already includes murdered scientists, alien plots, and what appears to be an international cloning syndicate thrown into the mix, four episodes in. So my guess is as good as yours as to where it is heading, which is also half the fun!

So who is this podcast for? Well off the bat if you are someone that loves a sci-fi thriller this podcast is a must. But that would be doing the show an injustice as it is much more than that and can reach a much wider audience. The plot taps into the relevance of modern-day technology angling the show slightly towards the internet generation with cultural references such as Uber, Skype, Deepfakes, Reddit, and social media sites like Tiktok, and Facebook, with even Justin Bieber getting a nod. The geographical locations the show takes your eardrums on reads like a hipster’s passport full of stamps from destinations like Boston, Iceland’s Sólheimasandur, & even London’s trendy Brixton.

So to summarise if you are seeking a fresh exciting podcast that is gripping, yet rich with astounding content produced to premium quality with a stunning roster of actors, written by writers that clearly have their fingers firmly on the pulse of what is ‘current & fresh’ to kick on with your new year The Cipher could be right up your alley. That and the fact that this podcast was commissioned by BBC Sounds means zero annoying adverts, which in my eyes is a massive plus point perfect for any tier of lockdown!


I hope you have enjoyed reading this podcast review for ‘The Cipher’ which is definitely worth checking out naturally on BBC Sounds and Spotify, or wherever you get your podcasts from. Someone kindly left me a message to say that they checked out ‘Tumanbay’ off the back of my review of the show. I would like to thank you for all your kind words of support, this is exactly the reason why I blog.

For any budding podcaster/writers out there that are looking to have your audiobook or podcast reviewed by Tea in the Sahara, whatever your genre please do get in touch via any of the below methods or through my contacts page. Happy new year to all and here’s to a better 2021! Cheers, Kev.

Ghost Tape – QCODE podcast review

Ghost Tape – QCODE podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

If like the UK you are hunkered down in another enforced covid lockdown and are looking for a new podcast to get your teeth into, you might just like this next review. Ghost Tape is another excellent immersive audio podcast introduced from those creative types down at QCODE. Those same creative types behind another insanely good podcast Dirty Diana which I reviewed a few months back, which you should also have a gander at.

The premise of horror audio drama Ghost Tape is centred around its lead protagonist Tessa Dixon played by the fantastic Kiersey Clemons, and a mysteriously haunted audiotape said to have been recorded during a massacre in the Vietnam war. QCODE has exceeded my expectations again with a stellar writer Alexandra E Hartman, and heavyweight co-creators Aron Eli Coleite (Netflix Locke & Key) & Nia DaCosta of movie reboot Candyman are more than capable of pushing that creative dark envelope. The show is directed by someone called Malakai, which I assume in that sense is like Madonna and only uses one creative name.


This psychological storyline starts with the recent suspected suicide/murder of Tessa’s grandfather, Byron Dixon. A distinguished military vet, voiced by the actor Bill Duke of vintage Predator movie fame. The podcasts are divided into sessions, and that is expanded on as every episode is set (so far) within a shrink’s office situated within Fort Taylor a Texas military training camp where Tessa is completing her basic training (still with me?)

The mysterious tape in question is said to be possessed by evil spirits of villagers savagely murdered during the Vietnam war some 40+ years ago, upon Tessa listening to the tape, she unwillingly releases the evil spirits. Within Tessa’s possession, the tape previously belonged to her late grandfather, who appears to communicate with Tessa via the tape as if stuck between two worlds, and he was indeed a genie trapped within the magic lamp.

Tessa perceives that this individual audiotape has more to do with Byron’s suspicious death and subsequent cover-up than the military is willing to let on. So spurned on with anger, fueled by hate of a heroin-addicted father Tessa enlists within the US army in the hope of somehow establishing the truth about her grandfather’s untimely demise. Oh, and the reason army recruit Tessa is in the brig (army prison) it’s because her battle buddy private Philips has gone missing casting further suspicions over Tessa’s recent erratic behaviour.

This podcast reminds me slightly of Hellraiser by Clive Barker, and that’s not in the sense of Hellraisers twisted macabre horror you witness from the film, more the similarities, or magnetic pull that the tape has over those who possess it. Once the owner has the tape they won’t let go, and for those who have held it, it will stop at nothing to retrieve it.

Ghost Tape really is a heavy-hitting audio drama at its best with Kiersey Clemons who is also an executive producer bringing to life a sassy, ballsy Tessa Dixon that doesn’t take sh*t from anyone, skillfully executed with reckless flamboyance! Tessa’s character is troubled that is for sure, and it is worth reminding listeners that this podcast does tap into some real-life raw subjects such as addiction, suicide, coming out as openly gay, and the horrors & brutality of war. So if you are someone who prefers their podcasts to have a rainbow happy ending twinned with a traditional love story, Ghost Tape might just not be the one for you.

The writing & acting is top-notch especially with the scenes between Tessa and the armies Psychiatrist Oscar Martinez, reminding me of that sexually charged scene from Basic Instinct where Sharon Stone’s character is taken into the police station for questioning at the beginning of the movie. And no before your mind wanders, not that specific scene you first thought of, more the tense atmosphere that the directors of that film created within that particular scene. The clever little nuances of a stereotypical office clock on the shrinks wall ticking away as the questioning becomes more stressful, and the deliberate nonchalance, evasiveness from Tessa’s responses towards his line of questioning is wonderfully scripted.

To add some much-needed humour to the podcast you should listen out for larger than life performances of Tessa’s grandma (Tessa’s dad’s side) who’s timing, and dry sarcasm add a touch of comedy to help briefly lighten the moment of this otherwise gripping audio drama. I must also mention the sound engineers, and music used within Ghost Tape as the mashup end theme music of a military march blended into what sounds like traditional Vietnamese music is outstanding; hats off to Darren Johnson, an award-winning pianist and composer & his team.

Kev’s Thoughts

This has been a slightly longer review for a podcast-only three episodes old, but there is so much to unpack I didn’t want to write a review and miss anything out. So I will close with me playing detective and give you an early inner critic theory on Ghost Tape that has been kicking around in my head for a while. This might just be me and my overactive mind working overtime, but am I the only person that has picked up that Tessa mentions about being cold quite a bit? Now here is the curveball, is Tessa already dead and this is some weird ghostly paradox that we find ourselves listening to? Is she already possessed? Don’t call me Kojak just yet, but definitely food for thought.


I hope you have enjoyed reading this podcast review for ‘Ghost Tape’ which is definitely worth checking out on Spotify, Apple Podcasts or wherever you get your podcasts. If you are considering having your podcast reviewed by Tea in the Sahara you can reach me via my contact page. Do check out my reviews on Dirt, and Wandering with the Dead, if you are interested to see the level of detail which goes into one of my independent reviews.

Hopefully, if you have made it this far down the page you have enjoyed my style of writing? If you did why not check out my other reviews, and maybe like and leave me a comment (review links below!) Cheers, Kev.

Family Business – Tamer Hassan – podcast review

Family Business – Tamer Hassan – podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Context is everything right? I first came across British actor Tamer Hassan when he was an up-and-coming actor in the London drug gangster film ‘Layer Cake’ opposite the next James Bond (Daniel Craig), and also another relatively unknown actor called Tom Hardy (sound familiar?) Tamer then went on to play the joint lead in the Nick Love, Costa del Sol classic 80’s film The Business. Both are excellent films that I highly recommend you watch.

Hopefully, for those not familiar with Tamer’s film work this slice of movie context can at least help you picture the chap I am writing about. If there was a London hardman to be played out in true authentic style Tamer is most certainly your man with this full-time geezer! Contextual lesson over.

Now in a world of actors & so-called celebrities seemingly jumping on the current podcast phenomenon with the likes of David Tennant, Peter Crouch, and just recently Danny Dyer all making podcasts my interest piqued when I saw that Tamer had launched his very own. Podcasting is rapidly becoming an overcrowded, confined platform, one which I have to admit I was slightly worried to see Tamer had joined the ranks with his podcast ‘Family Business’ (but how wrong was I!)

Tamer brings his ever charming South East London swagger to a completely unique podcast on Global Player about one of the most important things in the world, family. He discusses the ups & downs, highs & lows, tantrums & rucks by opening his personal phone book of celebrity pals & sporting stars, engaging in open conversations trying to bottom out what ‘family’ really means to us. I have said this before but life is definitely not all candyfloss & rainbows so it’s refreshing to hear podcast conversations about people’s real thoughts about family life (good & bad). A final caveat, this podcast is also not for the fainthearted as there is a sh*t ton of swearing throughout which might not sit too well with shrinking violets.

Tamer has a wonderful way of showcasing a story like your very own naughty, checkered past uncle as he chats to various celebrities about what really makes families tick for a period of about an hour. With three episodes to enjoy so far, we are treated to guest conversations with his daughter Belle Hassan, fellow Londoner and film legend Ray Winstone, and if that wasn’t enough for you to pick up your headphones and automatically listen, Tamer also has a chat with the talented Trainspotting author Irvine Welsh.

No question is too awkward, or small as Tamer guides us through questions that we probably wouldn’t even ask our own families. Like “what was I like as a dad?” Conversations that make you laugh uncontrollably, cry, and take a pause for thought to think about your own family lives in this crazy 2020 that we find ourselves in. Which I must say is quite a talent to bring to the party as a newbie podcaster.

Not knowing who the first guest Belle Hasan was, coupled with not being an avid follower of Love Island I found their conversation between father & daughter fiery, heartfelt full of love & laughter and completely brutally honest. Which in my mind is how a conversation should be between your nearest and dearest. The conversation between Belle & Tamer, about her younger days, and now Belle being an ambassador for mental awareness encouraging families to speak to each other made my respect for her skyrocket. Their conversations are not all of a sad nature as we all know there are family moments in life that make you almost piss yourself with laughter, and there are plenty of these moments shared between father & daughter.

Tamer’s conversation with Ray Winstone is an absolute gem to listen to as the two old pals reminisce, catching up on old times like they were in their local boozer, and we the listener are sat at the table opposite them eavesdropping. The two actors discuss early upbringings, their parents, and what role their mums & dads played in their upbringings. Ray’s daughter Jamie makes a fleeting appearance in this all-family Zoom call.

I urge you to listen to all of the ‘Family Business’ podcasts, however, if you only have time to catch one I would highly recommend you listen to the third episode with Scottish novelist Irvine Welsh whose insanely jam-packed life makes astonishing listening. And as Tamer says, anyone interested in the author they are in for a “real fu*king treat!”
Growing up in Leith, Edinburgh on the wrong sides of the tracks this is a first-time world-exclusive conversation which covers some real-life personal tragedies like Irvine’s dad’s illness and the pain that came with his passing, ditching heroine, and the events that led to writing his first legendary novel Trainspotting. Irvine also charts his rather eccentric career choices from kitchen porter, tv repairman, librarian, DJ, and then to the bestselling author which is a testament to natural ability, and a bit of old lady luck. One interesting titbit that I learned about Irvine was that he lived with some family in Southall, West London, a part of London that I am very familiar with growing up close to.

I hope you have enjoyed reading this podcast review for ‘Family Business’ which is definitely worth checking out on Spotify, or wherever you get your podcasts. For any budding writers out there that would like a frank & honest review of your audiobook or podcast whatever your genre please do get in touch via any of the below methods, or through my contacts page.

I am not a professional blogger, however, if you have enjoyed what you have read please feel free to leave a comment (or two), it helps to know that my writing strikes a cord, and engages with someone out there!

Dirty Diana – QCODE podcast review

Dirty Diana – QCODE podcast review

Tea in the Sahara

Kev – Fiction Podcast Critic

Dirty Diana’s opening credits warn the audience that the show contains adult language & explicit scenes, and is therefore not advised for persons under the age of 17 to firmly paint the image you’re not in Kansas anymore! Dirty Diana is an adult-themed podcast by QCode, created by Shana Feste, acted and produced by silver-screen actress Demi Moore. Think of the show as a hybrid between Sex in the City, and the 1990s film Basic Instinct, however within this podcast no one dies; well least not yet anyway.

To set the scene Demi Moore plays the lead character Diana, who on the surface appears to be your stereotypical wife/mom living in middle something America that the rest of the world is accustomed to when thinking of the big U.S.A. Diana starts out in the series as a helpless lady surviving within a boring male chauvinist finance firm, coupled with a rapidly failing marriage and unsettling addiction to prescription drugs. Is there a way out for Diana? Well, that escapism and sanctuary come in the shape of Diana running her own secretive erotic sex-positive website called “Have a Good Wood” where she records intimate female fantasies for her ever-growing popular podcast. I bet you didn’t see that one coming now did you?

Each episode is aptly named after the lady sharing her particular secret fantasy, and without giving away the obvious, and trying to remain British some of them are quite risque. Naughtiness aside the show is much more than provocative fantasies as the podcast deftly documents Diana’s car-crash life as it entangles and spirals out of control right in front of you. This ingenious writing concept by Shana Feste is quite revolutionary placing the female character centre-stage allowing the listener almost Hitchcock “Rear Window” access to Diana’s very intimate life.


Charting marital infidelities, counselling, and trademark estranged mother, the show all-be-it the very extreme end of life really does showcase how easily lives can spin out of control. The writing is flanked by a stellar cast of actors like Danish actor Claes Bang, actress Mackenzie Davis of Terminator Dark Fate fame, and one of my personal favourites fellow Brit Carmen Ejogo as Petra.

As mentioned the quality of actors on display would give Netflix a hit show, however, convert that into audio and you really see if an actor is worth their hefty price tag as there is nowhere to hide within audio dramas. I will highlight two of my favourite characters from the podcast, but before that, I want to also acknowledge how class Demi Moore is as Diana. Her instantly recognisable husky voice really lends to the spicy theme of this audio drama as she takes to audio work like a duck to water. You should also keep an ear out for Eric the hapless gringy bartender who pops up during ladies’ night with all the cheesy one-liners. His inclusion was comedy genius.

Petra played by Carmen Ejogo is a real force to be reckoned with, her presence adds a much-needed classy, no-nonsense, foxy panache to the show. Petra is the recent sole heiress of her father’s wealthy estate which is linked to Diana’s financial firm. Petra is a lady that knows exactly what she wants, and how to have a good time whilst she gets it. This is another shrewd move by the writer allowing a strong female character to co-exist with the lead character, but not too allowing Petra’s performance to overshadow Diana’s story.

The second actor I would like to mention is Claes Bang who plays Diana’s husband Oliver, whom most Brits might recognise as Count Dracula from the recent BBC TV series about the famous bloodsucker. Like Diana, Oliver’s character also starts out life as a fairly useless man coasting through life desperately trying to save his ailing marriage as it veers ever closer to the impending rocks. Claes brings a talented sense of tragicness and desperation to the role of Oliver which was wonderful to hear acted out. My favourite scene with Oliver takes place at their daughter’s school singing performance where Oliver and Diana share a moment of recollection of how their life used to be, the fun, the laughter which was quite a touching scene of joint reminiscence.

I couldn’t write this review without mentioning the music used throughout the podcast which was ace! Original music & composition was supplied by Darren Johnson who weaves the music into the very fabric of this audio drama. I want to highlight a super cool track that was dropped in the show which worked so well. The nightclub scene where Oliver takes Diana to meet the stripper he has been visiting is backed by a track called ‘Painting Greys’ by a chap called Emmit Fenn which sounds slightly Dr Dre’ish in parts and works perfectly for that particular sleazy nightclub scene.


So who would listen to Dirty Diana? Well if you are reading this blog I would like to think that you hopefully have a thirst for seeking out interesting, challenging podcasts not shy of offering you the listener something different. The theme is very much on the seedier, raunchier side of things, but life is not all unicorns & candyfloss, right? However, the core message of this ongoing story for me is all about Diana and how she loses control and turns a corner towards turning that around (that is all I will say). This is just the first season of Dirty Diana so I personally cannot wait to see what antics the writers have in store for Diana come the second season!

The show can be found on Spotify, Apple Podcasts or wherever you use to listen to your podcasts. Oh, and just some friendly advice if you choose to listen to Dirty Diana I would recommend using headphones as there are some more, well let’s just say adult scenes that should not be played on your Amazon Alexa whilst you make your dinner; just friendly advice!

Are you looking to have your podcast or audio drama reviewed? Well look no further you’ve unexpectedly found your perfect partner; Tea in the Sahara! Whatever your podcast genre please do get in touch via any of the below methods or through my contacts page, and check out my other reviews cheers, Kev.

City of a Thousand Faces – Audible review

City of a Thousand Faces – Audible review

“There is a city far away, my parents often spoke of it as if it has always been there, and always will be. I had seen it in paintings and read about it in stories the richest most powerful city on earth, the centre of everything. It drew people from every corner of the empire and beyond, hungry for wealth & power, or in some cases more wealth & more power. Dazzled by its brightness, and like moths drawn to a candle many were burned alive by its candle… Tumanbay!”

‘The City of a Thousand Faces’ written by Walker Dryden, and read by Clare Corbett is a deeper dive into the absolutely amazing world of BBC4 audio drama Tumanbay. I previously reviewed Tumanbay in some depth a few weeks back, and enjoyed the audio drama so much I just had to download the Audible version to compare experiences. And boy I wasn’t let down!

Tumanbay is a historical mystical world based on the Mamluk slave dynasty of ancient Egypt. Since the sultans of this dynasty  were earlier slaves or the sons of former slaves, the Mamluk dynasty came to be known as the slave dynasty. Visualise a desert city far away built by slaves ruled by the almighty sultan where wealth, greed, power, and corruption sit side by side as the natural order of society; and sultans are dethroned, or assassinated as frequently as the changing of the seasons.


The City of a Thousand Faces stage is set within the first season of Tumanbay’s audio drama world. The depth, and journey the writers take you on actually brings the characters to life in such an astonishing way it feels like they literally jump off the page, or in my case out of my headphones. Clare Corbett’s narration is absolutely spot on, and I was completely blown away by her vocal ability to make every character sound defined and unique. I was also massively impressed with her varied accents as she switches between both sultan and peasant, and back again with ease within a world built out of beggars, spies, and emperors.

This book and the subsequent dialect from the audio drama run pretty much in parallel with one another, with the book naturally adding more contextual details about events not so present within the audio drama version. The wonderfully crafted scene between Cadali & Gregor where they share a mutual joke between themselves at the expense of the sultan is absolutely fantastic writing; normally enemies they both enjoy a brief moment of dare I say it associated amusement.

I also enjoyed the detailed description as you discover the depths of Tumanbay’s city of the dead, where a much richer, the nuanced picture is presented of the dark catacombs where Gregor is held in court by the underworlds thieves & dwellers.

The high stakes powerplay story of love, betrayal, and corruption is all there in grizzly high definition for readers to fully immerse themselves into, as the story builds towards the cities slow process of self-destruction. I comfortably chewed through the one hundred chapters within days as I enjoyed the storyline and enchanting journey that much. My one hope is that the writer’s John Dryden & Mike Walker continue the story beyond this first book/season, and continue the epic saga on into the other three seasons already associated with the audio-based drama. Perhaps that was always the plan. Either way, I know that if this was to happen it would make for excellent reading/listening (fingers crossed!)

However you chose to enjoy this book of historical fiction in either audio or book format, they both can be purchased from either Amazon or Audible for your reading/listening pleasure. I can also highly recommend listening to Tumanbay via the BBC Sounds App, or what other method you chose to listen to podcasts on (Stitcher, Castbox, Spotify).

For any budding writers out there that would like a frank & honest review of your audiobook or podcast whatever your genre please do get in touch via any of the below methods, or through my contacts page.

Tea in the Sahara

Where podcast reviewing is far from beige!

Tumanbay – Goldhawk Productions – podcast review

Tumanbay – Goldhawk Productions – podcast review

“There is a city far away, my parents often spoke of it as if it has always been there, and always will be. I had seen it in paintings and read about it in stories the richest most powerful city on earth, the centre of everything. It drew people from every corner of the empire and beyond, hungry for wealth & power, or in some cases more wealth & more power. Dazzled by its brightness, and like moths drawn to a candle, many were burned alive by its candle… Tumanbay!”

Written by John Dryden & Nick Walker this epic four series audio drama Tumanbay is a historical boundless BBC Radio 4 drama based on the Mamluk slave dynasty of ancient Egypt. Since the sultans of this dynasty were earlier slaves or the sons of former slaves, the Mamluk dynasty came to be known as the slave dynasty. Visualise a desert city built by slaves ruled by the almighty sultan where wealth, greed, power, and corruption sit side by side as the natural order of society; and sultans are dethroned, or assassinated as frequently as the changing of the seasons. The fear of secretive, elusive Queen Mia from the Amber Provence and her advancing armies cause panic to run through the very fabric of the already shaken, unsettled city. Is it just the city that Mia wants to rule? Or perhaps there are supernatural forces at work?


Each episode follows events that take place within Tumanbay, this cut-throat sandy oasis, set against a backdrop of opulence and political intrigue, like a hybrid of a 90’s video game Prince of Persia, with the seediness of Jabba the Hutt’s Palace, only with excellent casting. Each of the four series feels like they are set out individually with their own storyline, yet masterfully link together with one glorious theme; which is super clever writing. The timeline is never mentioned however, if you take into account the plot development, and the passing of each sultan I would estimate that the show’s timeline is about fifteen-twenty years which leaves plenty of time for the plot to unfold.

The actors used in Tumanbay are quite simply outstanding. The display of accents and vocal abilities really makes you feel like you are within the city walls, walking alongside the cast on those secretive cobbled streets. There is a whole host of talented actors on display within Tumanbay, like Heaven played by Olivia Popica. However, I would like to briefly introduce you to the two key cornerstone characters that I enjoyed the most throughout this audio drama.

Rufus Wright voices Gregor, who entered Tumanbay as a boy and rose through the ranks over the years to the commander of the palace guard. A straight-talking, no-nonsense character who manages to stay one step ahead of everyone else by relying on his wit, and ability to weed out palace spies. Gregor also has the insane ability to make sure he holds all the aces all of the time and prefers to live within the shadows rather than within plain sight. Gregor also acts as Tumanbay’s narrator and guide, providing the listeners with his thoughts and opinions on the precarious situations he finds himself in. If you were in a very tight jam Gregor is the chap you want in your corner, and definitely make sure you are not on the receiving end of who can be at times a ruthless man.

Matthew Marsh plays the crafty Cadali, the grand vizier to the sultan, or whoever might be in power at that point in time. Matthew really helps you visualise and bring to life this disgustingly, conniving, corrupt creature that is Cadali. He is also the polar opposite of Gregor, only sharing their need to survive as a common interest. It is Cadalis job as grand vizier, to advise and influence the sultan in matters of the city. You can already see from my opening statement that he prefers to angle the cut of the cloth towards that of his own needs and interests. The fantastic casting of this particular character, which we all love to hate; every good series needs its villain to boo and hiss at!

I also want to touch on the beautifully crafted music incorporated throughout the series composed by Sacha Puttnam. Sacha really gives the listeners that magical Arabian night feels in a smart subtle way. The way he blends, and then fades the music into the end of every episode is nothing short of genius. I almost wish I didn’t know this was happening because it sadly signals the end of the episode you are listening to. It is definitely worth checking out the Tumanbay theme (titles 1) to see exactly what I mean about Sasha’s music, and whilst you are there explore the other brilliant music used within the show.

Whilst I am on this musical/sound theme I also wanted to briefly mention the sound design team responsible for all of the amazing sound effects, quirks, and other weird noises that bring this show to life. Without Eloise Whitmore & Laurence Farr we wouldn’t have the wonderful, creative, sound scaped world that is Tumanbay.


I like to end on the most obvious question, who would listen to Tumanbay? Well, each episode is about 45 mins long so you do really need to set some time aside to fully immerse yourself within this audio drama. The show is built around the city’s political unrest, and skulduggery which features all of the common trappings you would expect from a city where life is cheap, like prostitution, slavery, and violence; the show is no shrinking violet. That said if you enjoy a really solid audio drama set in a semi-fictional past you couldn’t ask for better than Tumanbay.

Naturally, the BBC have the financial clout to produce this show in such a magnificent way, but no story is any good without creative writing, and John Dryden & Nick Walker have this comfortably in the bag. I wouldn’t be surprised if there is not a potential spin-off, or dare I say it sequel to Tumanbay on the cards (and here’s hoping). At this point, it is worth mentioning that the writing partnership of Walker & Dryden has just released a book based (also available in audio format) on the Tumanbay series called ‘The City of a Thousand Faces’ that I will certainly be checking out. Whatever format you enjoy book or audio it can be purchased from Amazon or Audible, if like me you prefer listening to the audio version of dramas. Tumanbay is produced by Goldhawk Productions and you can check out the other dramas that they have produced like their podcast LifeAfter via their website Goldhawk Productions.
You can find Tumanbay on the BBC Sounds app, or from wherever you listen to your podcasts.

For any budding writers out there that would like a frank & honest review of your podcast, whatever your genre, audio-drama, factual, comedy, please do get in touch via any of the below methods, or through my contacts page.

Tea in the Sahara

Where podcast reviewing is far from beige!

Crypto-Z – Euphonie – podcast review

Crypto-Z – Euphonie – podcast review

My review starts with a small disclaimer. Fear not this is not one of those idiotic disclaimers warning Joe-public that their hotel bathtub becomes “slippery when wet!” Or even to be careful because a recently purchased bag of peanuts “may contain nuts!” No, my disclaimer has the purpose of letting the reader know that this podcast review is science-fiction based. Looking at the title of this podcast you don’t need to be Columbo to work that one out however, sci-fi can easily split the pack on taste and preference hence the early waiver.

If you are still continuing to read on, thank you for having an open mind.


Written by Danielle Trussoni, and produced by Hadrien Royo, Crypto Z is set far in the future where mankind has finally managed to kill the planet and plunge the world into its sixth ice-age, or sixth extinction. We follow Crypto Z agents Jane Silver (Fiona Sheehan), & Felix Bright (Jamieson Price) on their mission within the French Alps as they track the elusive Icemen, who might just hold the key to save humanity escape its self inflicted ice-age.

Crypto agents or Cryptozoologists for those who are unaware (myself included) try to substantiate the existence of, or the search for, creatures whose reported existence is unproved, like the Abominable Snowman or the Loch Ness Monster. Their mission is simple, to save humanity from its own extinction by tracking down the so-called Icemen who supposedly have managed to survive and flourish through five previous ice-ages. What dark secrets will we uncover about our two intrepid adventurers, and what part does the mysterious Ark & Dr Ludwig Jacob Feist have to play in locating the Icemen’s village.

Listening to the shows first five episodes the development of its lead characters has been utterly sublime. Fiona Sheehan really brings protagonist Jane Silver to life. With every episode we dive a little deeper into this characters own personal secrets as to why she volunteered to seek out the Icemen. Personally Jane Silver is my new favourite person for pronouncing the title word in the British format of Zed instead of the American pronunciation of Zee!

The added inclusion of heavyweight voice actor Jamieson Price was a masterstroke. Jamieson, a seasoned actor has worked for numerous years as a voice actor within Japanese Anime, playing pivotal roles in series like Bleach, Naruto, and the Colonel in the occult film Akira. And if that wasn’t enough, Jamieson also has his finger firmly on the video game pulse supplying his voice to video games like Call of Duty Black Ops, World of Warcraft, and the Announcer in Mortal Kombat! Trust me the list is endless. So overall I hope you get the picture, you are in very safe hands with Jamieson’s distinctive booming tones.

The depth of writing, sound quality, and production on display within Crypto Z really make you feel like you are in there, alongside these two hero’s stuck in the snow, frightened trying to survive. In my opinion, that ability to create immersive suspense within an audio drama easily rivals that of any heavily funded NetFlix series. Although Crypto Z is a sci-fi thriller, the creative writers managed to tap into actual current events like global climate change, and the fragility of both planet and humanity.

What impressed me during a break between episodes was how the show’s producer Hadrien Royo recorded conversations with its team of actors, writers, and audio pioneers about the world of voice acting, sound design, highlighting what it actually takes to make a podcast happen. Think of this shrewd audience engagement with its listeners like you are receiving a free masterclass on how to get into the audio drama industry from those who know it best. Very clever marketing guys!

I would also like to mention that this show is recorded in at least 6 different locations including London, New York, and LA which is by no means an easy feat. That is before you launch the podcast against the backdrop of an unforeseen global outbreak, which at times must have felt just as challenging as the journey our Crypto Z agents find themselves in! A well-deserved round of applause needs to be bestowed on the Crypto Z creative team for pulling this off, and for making the show happen every week in these uncertain times.

The feeling I get from the Euphonie team who create this weekly podcast is that of gifted professionals, humble, and open-minded to develop the series the best way they can. Another winning side-note from my point of view is that they also don’t overfill the podcasts with super annoying sponsored adverts that no one pays any attention to; nice to know they haven’t sold out to corporate America just yet.


So who is this podcast for? Well to start with you don’t have to be a sci-fi junkie to appreciate Crypto Z. If like me every now and then you enjoy a story podcast full of excitement guiding you through twenty minutes of true escapism Crypto Z could be the ticket for you. And no, before you ask I am not sponsored by Crypto Z however if there are any Crypto Z agents reading this feel free to send some cool merch my way.

Subconsciously I didn’t want to give too much of the plot away allowing you the chance to dive in and discover this podcast for yourself. The SOS style trailer below genuinely helps frame the story of this incredible podcast perfectly; if by chance my ramblings haven’t already convinced you to take the plunge and have a listen. You can also listen to the podcasts on their own website, Spotify, or the old fashioned way by using the podcast player of your choice.

For any budding writers out there that would like a frank & honest review of your podcast, whatever your genre, audio-drama, factual, comedy, please do get in touch via any of the below methods, or through my contacts page.

Tea in the Sahara

Where podcast reviewing is far from beige!