One of the last things I expected to be reviewing as an amateur music journalist writing for Neuweltmusic was a full blown album, but let it never be said that I am prejudiced towards the unknown. When I head out to hear new music or dance, odds are that what the DJs are spinning will have only iota’s in common with what’s in my CD collection and it’s that kind of habit that’s given me a passive taste for the likes of house, reggae and world music. So let’s expand our horizons.

“No problem” is faced paced and frantic like a freerunner, although it’s fast enough to be mistaken for freesprintingforyourlife. “Fire in Your Eyes” takes a very metal approach to dance, and it does flow smoothly into place. “Let You Go” sweeps downwards so gracefully that you want to get up and dance with it descending. “Blind Faith” takes on gospel vocals and rises where “Let You Go” slopes down. “Fool yourself” tries to come off as bombastic, but doesn’t muster up the strength or effort to have such an effect. “Hypest Hype” takes a tad from industrial and sounds mock American Western, but leans into metal while looking to full-blown electro for the most of its work and overall, it works. Very well at that.

“Hitz” breaks out the scratching and rapping and flows into more rapping with a nice reverb and background sounds that do echo with an aurally pleasing sense of alarm. “Brixton Briefcase” brings in reggae vocals and dubstep that’s much more step then dub, but that’s cool as it all works nicely. “Hocus Pocus” bangs about but doesn’t become something of significance. “Flashing Lights” takes a few steps back and puts its feet up to calm down, while “Embrace” lolls magnificently in the doldrums but keeps true to the form of the album. Shame it seems positively suicidal, but maybe I’m being too morbid.

“Time” mixes smooth female vocals with some noisy percussion and synth and works all too well. “Midnight Caller” is slow and seems rather sombre compared to its previous kin, but it gets rid of distractions to bare its soul to the world in a way that speaks to my inner ethereal fan. “Closing Credits” wraps it all up with some acoustic guitar leading the way and swings in to full-blown dance territory.

Not exactly material to a soundtrack to a darque soul in torment and not that innovative either, but to be fair it’s having too much unashamed fun that it makes it worth investigating further then a mere review. An absolute must for dance fans and DJs looking for fuel to throw on the dancefloor.