One of the most striking aspects of this album is the vast range of styles which the adept Mr Immel is capable of producing- he's certainly an eclectic character, one minute creating densely-layered dub-tinged breakbeat tunes, the next flipping acrobatically into driving squelch techno, then chucking in guitars or other seemingly inappropriate instruments before the listener has even noticed. He also has a propensity for switching the style of a tune dramatically, by introducing choruses, manic bass interludes and other such stunts, yet somehow making it all work perfectly- even though such antics sometimes occur completely unexpectedly, they always seem to fit. He's a low-frequency ninja of some description, leaping out of the shadows to deliver killer bass assaults without a moment's warning, particularly on the title track, which features some of the best wobbling bass I've heard in a long time- it's just so big -so big, in fact, that the first time I played it it caused some sort of seismic disruption and made my tape collection fall from its perch.