Forget the American Dream, it seems producers and artists in 2013 are flocking the sun-soaked, French celebutante magnet, St. Tropez. Mysterioso Fyfe wowed us with his stellar cut a few months ago, and as the lead single from his second EP, FTSE - the alter-ego of Midlander Sam Manville - has teamed with with Atlantan artist ForteBowie for an effort of the same name.

The continental paradise seems to inspire feelings of desperation and longing for Manville; he croons amidst auto-tune: "Grab your shit we'll got to St. Tropez together/ 'cause when we go we'll forget about it all," backing ForteBowie's wilder R&B vox. It's got a sleek early '00s pop vibe, though there are more ribs showing - synths are crisp, beats tribal and bass scarce. It's an animated ode, exuding the faint scent of Graduation-era Kanye and R&B/pop girl groups like Sugababes.

'Brave New World' is intensely intimate. Manville's semi-gasp is prominent in the mix, and it sounds like he's whispering in your ear, igniting hackles. It's a 4am tangled-in-the-sheets ditty, ravelled in post-dubstep clicks and the echo of '80s guitar; synth organs fill the skeletal noise, injecting an 'urban hymn' quality. Clearly Manville's time touring with AlunaGeorge has had an impact - the electro R&B chart-botherers are adept at crafting slick pop, and during 'Lost In Translation', featuring FEMME, Manville demonstrates his knack for a similar strain of sound. Everything sparkles, twinkles and glitters - there's synthetic harps - and London chanteuse FEMME, whose dulcet tones are normally reserved for more kinetic synthpop, channels her innermost heartaches for an emotionally charged performance.

The EP as a whole showcases a morphed timbre from what we initially heard by Manville's FTSE project. The experimental Florence-meets-James Blake 'New Sum' and the jagged reggae-house of 'CNT HLP MSLF', with its tripping rhythms, are worlds away from the Disclosure-esque noises we see him dabble in more regularly now. It's not a billion miles away from what he dabbled in before, and he's always had a future-garage streak (tracks like 'Float' and 'Shadahs' prove this), but on FTSE 2, it's considerably more prominent and pop-oriented. Gone are the spasms of techno, the odd drop and machete'd samples - instead, he now slots nicely into a rising cadre of soon to be Rudimentals.

The EP is gorgeous. Manville is blatantly adroit at his chosen career path, and he provides a lovely take on the oft-clinical dance music of our Top 40 today. However, we've seen in the past that he's at his strongest when he lurches outside of moulds and into either wacky or shrouded territories; the more he toys, the better he is. As it is, FTSE 2, whilst being a pleasure to behold, plays it quite safe.