Don't be alarmed, this is most definitely not an EP from the FTSE 100 (that would probably be a Band Aid-style collab of all the companies' CEOs warbling a line or two each about money), but from West-Midlands-based producer, Sam Manville (who's previously found fame under Blakfish, Greatest Hits and Hymns). FTSE1 moves away from the vowel-allergic 'CNT HLP MSLF', a squelching dance number with percussive bombast, R&B passages and abrasive synths. Instead we have sleek partnerships with Saint Saviour and Kenzie May. Instead we have future-garage and post-dubstep.

'So Much Shine', replete with glitchy harp noises and cooing pads, is an ode to the night. Perhaps it's just all the spacey reverb, xx guitars and Ghostpoet vox that indicate a penchant for midnight. It's a fairly raunchy number: lyrics like "I just wanna make you sweat/ you've got so much shine..." plus the allusions to way-past-bedtime-time, mean pretty much only one thing - rudeys. A jaunty respelling of 'consume', 'Consoom' begins life as a tidal wave of electroclash guitars. Sharply though, the aggression subsides, to be replaced by dance-pop synth stabs. Over the course of the track, massive abrasions and sombre smoothness converse - it's a bit Klaxons-meets-Calvin Harris-meets-James Blake. Unusual, yes. Great? Also yes.

FTSE's brand of noise is rapidly garnering plaudits and wider recognition; case in point: AlunaGeorge have asked him to open their album launch, which if you hadn't already gathered, is a massive deal. Funnily enough, FTSE's Kenzie May-featuring track, 'Float', is a fairly AlunaGeorg-ish. Crisp, cool synth bloops and stubborn beats glide underneath silken, luscious R&B vocals; it's dance-oriented, emotionally wrought and harbours the same pop sensibilities. There's not much similarity between FTSE and AlunaGeorge anywhere else, but on 'Float', it's rather uncanny.

FTSE is gathering steam as one of the brightest young producers around, a title he shares with at least a million other producers. However, unlike the masses of promising talent, he has actually scored himself some pretty big-league chances; after the unrivalled rise of Aluna Francis and George Reid over the past 365 days, all eyes will be on them at the launch show, and subsequently, all eyes will be on FTSE. That's mighty good news indeed. With tracks like these on offer, he's sure to go down a storm. He captures both electronic fragility and pop hugeness, flicking flippantly between the two to sculpt a chaotic style that's ridiculously addictive.