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Opening track In The B kicks off proceedings in no uncertain fashion. It s 100% wall shaker material, the type of techno music best paired with strobe lights and towering speaker stacks. It mesmerises with its low-slung undulating bassline and Detroit rhythms before giving way to some riotous old school Essex stabs and sharp claps. No messing, this is a certified 3 AM red light burner! Track 2 Chocolate Biscuit accelerates proceedings! Beginning with unfussy drums and a robotic, bleep-heavy melody driving it off into a wonderfully off-kilter direction. Its arpreggio d rhythms may be brutish and wrestle a growling sense of menace out of the track, but the overall feel, however, suggests considerable care and attention has been paid to make it sound this way. There s clearly an uncommon musicality at play here to make something this complex feel so simple. The BPM drops next on Jenny s Hall but from the offset, there s enough funk and thrust in the motorised synth line to get bodies gently grooving without the beauty getting lost in the slower loop. This is blissed out, psychotropic techno - the kind of track where it feels like you re floating and falling at the same time, but all the while making sure you still remain fit for purpose on the dancefloor. Ian Blevins takes on remix duties this time and the Berlin-based DJ/producer offers up a sleek peak-time banger that fizzes, bubbles and percolates. He gives the rhythm on Jenny s Hall less space to swing and ties it to a tight motorik beat turning it into a slice of shiny, modern techno but with extra shoulder-checking force. Its vibe drawing from a sense of outsider-party fun with a wry smile, and a knowing wink running throughout before bringing the package to a suitably left of field crescendo.