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Munich's Claire, harrumphing into earshot with blinding synthpop bangers like 'Games', find themselves locked'n'loaded, ready to be fired at parties and strewn like streamers across bustling dancefloors. Like a Germanic Mausi, they combine lite-house, gorgeous R&B and tropicalia into their synthpop batter, creating something deliciously fresh - zesty, even. However, unlike Mausi, we have Claire's debut LP writhing in our laps. Entitled The Great Escape, it's an anthology of awesome you'll kick yourself for missing.

We've already had Claire's carrot dangle luridly four inches from our teeth. 'Pioneers', pulsing like sore blood with tousled hi-hats and post-dubstep electronics, feels more like trip-hop - perhaps a Portishead for the 22nd century - due to the red-mist aura and general breathlessness of the vocals from Josie-Claire Buerkle. It's surprisingly understated for dance noise. Unlike the aforementioned 'Games', which is a blazing Ark Of The Covenant in terms of pop hits. There's a smattering of Disclosure, a daubing of Theme Park, a touch of Daisy Finetto finesse and George Reid smooth. It's for shimmying on white sands or suppin' champers in a VIP area; it's for rowdy pub frolics and splashing cider on the back of guys wearing mankinis. There's a universality to it, to the 'party' it embodies. Deliriously simple glory.

With a deft dubby flick of the wrist, Claire summon whomping grit on 'Next Ones To Come' : "we taste honey/we smell blood/raise your fists/open your heart, we are the next ones to come/you won't take us down!" they yell, like Icona Pop before a bareknuckle boxing match. 'Resurrection' is an elegant artillery barrage. It's arguably more understated, despite the TRON-cum-Daft Punk techno blips, with Buerkle cooing with pained grace. With a similar aura, 'Broken Promise Land' whirls and glides, using a comparative calm to convey heartache. We've heard a lot already from Claire, but that doesn't stop it being great, and in line with sonic brethren they shine brighter.

Of newer efforts, the band still generate greatness. The title-track is a tad wonky, living for the wee hours of the morning along the streets of continental Europe. Massive lovelorn ballad 'My Audacity' is utter chart-bait. 'Neon Love' dazzles, the M83-aping 'Overdrive' could be a Kompakt poster-band hit. Claire have a wide repertoire of sounds, continuing the vertigo-high calibre of German electronic music, and they wield an ambitious energy too, clamouring to be seen by as my eyes and heard by as many ears as possible. They may be lurking in the undergrowth at the moment, but they won't linger for long.

Claire's debut works on themes and ideas we've seen from them already. That doesn't mean it feel stale or like something they've offered already - though there are a multitude of efforts that followers of the band will likely already be familiar with. They've taken those initial building blocks from early EPs and loose ends, and evolved, giving us something much bigger, much grander and much meatier. If you've been looking for this year's This Is... Icona Pop, then The Great Escape's what you're after. That's not to say there's much comparison between the two bar glancing similarities, but there's no band this year that have given such a strong, party-centric record.

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