The humorous title of Paper Tiger's latest release strikes a chord with the public perception of electronic musicians; Laptop Suntan is clearly what one gets after spending their summer indoors wearing out their digits tapping away alternating between the Moog and computer. Funnily enough, the chosen cover art couldn't be more manual. Taking the very human, rough-around-the-edges printmaking technique of linocut for the style, to produce an image of a robot face, again shows their cunning sense of wit.

Laptop Suntan is a long record. Fourteen tracks of varying lengths and approaches. At least Paper Tiger have taken the opportunity to use its scope for experimentation. Naturally occurring with the experimental approach is the result that some of it works, some of it doesn't. The first track, 'Gundam Bling' is pleasant and purely instrumental. It merges pseudo-futuristic noises typical of video games like Space Invaders with cool, predictable bass layers and rhythms. Second track 'The Sting' then comes as a big surprise with its irritating, uncoordinated vocals. The backing and the singer do not work together. Partway through it begins to sound more and more like a tribute act to The Streets.

'You're Here, I'm There' has a compelling intro, and we feel Paper Tiger have pulled their finger out. But then it doesn't go anywhere; it just fades out as soon as it gets going after one minute. Short and sweet, this intermediate track highlights the potential of the band. Fourth song on Laptop Suntan is called 'Air'. On first listen, unsure, but after repeatedly hearing it, the music just gets catchier. As the track progresses it just gets better and better, consistently more interesting and complex arrangements. Also 'Air' uses more selective vocals which don't compete with the instrumental parts for dominance, unlike in 'The Sting'. Therefore the entire composition works more effectively as a whole. It also has that stereotypical 'streetwise' feel, (typical of N-Dubz, Rudimental etc.) both in voice and backing, that signifies three things: young, British, real. Albeit a possibly phony attempt at cool, I can see this making 'Air' a chart hit.

'Treasure Town', the fifth number on the album, is atmospheric and spacey to begin with. There is a great choice of instrumentation, tiny doses of brass combined with electronic beeps. The rhythms and percussion parts are scatty, skittery and downright erratic, in a good way. 'Irresistible' follows, and is perhaps the most fully-formed song on the album in the traditional sense. A duet between guest female vocalist Sabira Jade and Paper Tiger's singer Raphael Attar, this track is honeyed and jagged in equal measure. 'Irresistible' just like its name implies, probably has the widest appeal of all the tracks on Laptop Suntan, mixing elements typical of electro/dubstep with soulfully sung melodies.

The subsequent offering, 'Crossover', is full of beautiful and charming, sparkly musical motifs. Unfortunately the whole composition is syncopated beyond belief to the extent that it is just damn right out of time. Not just slightly, to create effect, but so much that the listener's enjoyment is disturbed by the ensuing aural clashes. It should be light, airy and ethereal, but the disjointedness causes it to fall like a ton of bricks. The end sequence is however really very lovely, so why was the rest so? 'Crossover' makes you want to pick out your favourite components and rearrange them yourself, DIY music.

'David Starkey' is equally jarring. It's just not quite right. Too fast, too aggressive, lacking something. But the basic elements are clearly full of potential, so it's a shame the end effect is headache-inducing. Maybe I just don't like David Starkey, and my reaction is purely psychosomatic. Who knows?

'Got Your Number' is another soothing little interlude, leading us into the jazzy, twinkly and rather fantastic 'Expensive Samurai'. I think this may well be where the magic happens on Laptop Suntan; all the time you know it's present, but the conditions are not quite right throughout to enable the alchemical reaction that results in a pretty perfect piece of music. Better balanced than most on this record, 'Expensive Samurai' brings each part into a harmonious flow. The absence of vocal does not seem like a loss; where Paper Tiger succeed best appears to be in the orchestration of instrumental parts, not in lyrical genius or singing ability.

Slow moving to start, 'Drift' soon picks up pace. It makes use of cool, compulsive rhythms, hard-to-identify woodwind (oboe I believe) and multiple layers which clash and gel simultaneously. 'Silfra', another little filler track, follows, with yet more beautiful oboe and bubbly synthetic sounds.

This takes us to 'Make It Through', a definite potential single. Complete with beats to make you grind, skank and dare I say, twerk, it also features passages that are far more contemplative. It really is an unusual mix of styles, which surprisingly works well. That is probably because Paper Tiger don't remove listeners too far from their comfort zone, just slotting enough experimentation in to make the music their own.

The final track '...We Made It' echoes our feelings. It is a long album, but on the whole the listener pulls through, and it's worth it. There are certainly a few unique and special ideas that arise, which I can truly say I've never heard before. But on the whole I fear that Paper Tiger are still in an early, exploratory stage. They need to focus on their strengths: a talent for choosing the right instruments for the job, not for the genre. The use of unusual percussion instruments and woodwind amongst typical electronic basslines provided a refreshing, uplifting tonic. Amongst a deluge of emerging electronic artists, there is an even greater need for a niche. This could be theirs.