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Who is Mano? Is it this guy? That's not a random image by the way, that's Mano, legendary Bollywood singer and media guru. Perhaps the 'Mano' refers to the Spanish word for 'hand'? It's beginning to seem like we'll never get to the bottom of this modern mystery, this contemporary enigma on par with the Lord Lucan's disappearance, the grassy knoll conspiracy, or how people still collapse, convulsing in the throes of orgasm at any news about an Oasis reunion.

Whoever Mano may be, Mano's Daughter are doing just fine. In fact, they're doing pretty ruddy well - the Londonshire twosome splooged debut single 'The Machine' out to rapturous applause, and are following it up with the Smart EP. Their press release sees them slapped with labels ranging from Moloko to Jessie Ware to Little Dragon to Florence + The Machine to Bon Iver (though if we're honest, MS MR would be more apropos). They've also garnered Tim Minchin's cachet. Strange as that may be, he wields clout (not Klout - yet, anyway) and having him championing your cause can't hurt your ascent into popdom.

Indeed, 'The Machine' didn't exactly need a helping hand. A glossy, shimmering lagoon of molten gold, it's a track that oozes luxury and impassioned moxie from every beat-pore and curled lip-hook. Sarah Carter's velveteen vox have an air of trip-hop flightiness, like Lamb or Portishead, but there's a neo-soul/noir&B lining to be gleaned as well - Carter's a retropunk lounge singer, crooning in smog-laced jazz clubs to the sound of Korgs, Moogs and Rolands. Combined with epinephrine synths, crispy percussion and emotive jolts, the whole cut becomes a unique pop fusillade you'll have genuine trouble trying to extract from yer noggin.

The EP doesn't rest on 'The Machine''s laurels, however. 'Tailored', to cite one example, rivals the lead single for 'standout cut' status. It's a bout of raspier, rapier-pointed poignancy, tugging on each emotional puppet string, manoeuvring your feels on a whim; there's far less bombast in 'Tailored' in general, but in contrast, the chorus is an immense tidal wave of Charlotte Church-esque experimentalist pop. Echofest 'Only Words' tumbles through the stratosphere, bouncing between clouds. The dreamy electronica backing from Matthias Garrick provides ample room for Carter to let her voice flow free-range like Waitrose chickens. She soars between dynamics and registers, using subtlety as a weapon of mass emotion, proving that although Mano's Daughter do 10-tonne synthpop impeccably, they can strike from the undergrowth too.

It's not often that bands can deliver such a fully-formed and well-rounded EP on their first jaunt out. What we have in this EP, and furthermore, in Mano's Daughter, is a rare treat. They're undoubtedly going to skyrocketed in 2014 with releases this strong, and we therefore await further developments with bated breath.

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