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Yannick Ilunga, aka Petite Noir, has South African, Congolese and Angolan roots, but sings Western romances with all the affectation of a Thames-bred New Romantic. What results is a sporadically great collection of dancefloor Soul.

We live in a world economy of music. If anything is certain these days, it is that cultural hues are becoming harder and harder to discern in the melee that makes for popular music. Revivals of '70s African electro or early Calypso through widely disseminated compilations are signal flares amongst an already chaotic eco-system, often underpinned more (in the UK at least) by class than by ethnicity. What estate, suburb or spa town you come from can mean more than the colour of your skin.

I'm too young to say for definite, but I imagine listening to The Specials in the early '80s would give you a very singular feel for a new kind of Englishness, a new cloth interwoven with strong West Indian seams. At the time it must have seemed incredibly bold. UK artists this year have absorbed a bewildering range of cultural influences.

The introduction to this review is a little misleading. Ilunga may have roots distant to our island, but his sound through much of The King of Anxiety is strictly UK.

Opener 'Come Inside' shares several strands of DNA with Gorillaz's 'Kids With Guns', including the childlike, sing-along Greek chorus and an air of wistful didacticism. 'Chess' has a beautifully hushed falsetto vocal line reminiscent of Kele Okereke, bookended by crooning responses, painting a spikey conversation between dualing lovers. These two tracks show off a good eye for a restrained mix of smooth production and varied singing styles.

Beyond these promising signs, the EP reverts to comfortable indie dance. 'Shadows' pastiches Wild Beasts; substituting only their withdrawn acoustic drums, replacing them with simple programmed rhythms. Everything else about the piece, from its melodramatic falsetto and pinched high notes, to florid slap-back delay and a sense of impetuousness, are recognisable Noughteenie indie staples.

The EP becomes less interesting as it goes on. 'Shadows' is fine for fans of the aforementioned Wild Beasts, while 'Til We Ghosts' sticks tightly to this pattern adding in a dash of clashy Alt-J percussion. 'The Fall' shows a more tender face, within the genre boundaries Ilunga has set.

For an introduction to the sonic landscape of an emerging talent, 'The King of Anxiety' is pretty solid. Production is Yannick Ilunga's strongest suit, and he manages to assimilate a good selection of modern chillwave and white soul ingredients around a voice which loses its definition at exactly the same speed as his melodies and ambition begin to fade. Regardless of these drawbacks, it's a very solid, if lop-sided collection. He may well be saving the big hitters for a debut long player.

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405 Reader Tim Hutton submitted this review on Monday, 26th January. He decided to give the album a 8/10 rating. As is the case with all user-submitted reviews, nothing has been edited.

Yannick Ilunga, or should we say Petite Noir, or should we say The King Of Anxiety, today released his long-awaited debut E.P. on Domino Records.

The King Of Anxiety, five tracks in its entirety, is clearly an E.P. that has not been rushed. Ilunga first burst onto the scene in 2012 with the superb tracks 'Disappear' and 'Til We Ghosts', with the latter appearing on this record in a re-recorded format. Listening to the record for the first time, you can tell that the time taken over it is a good thing, given Ilunga's strong production skills. One only has to hope we don't have to wait a long time for a full-length album.

'Come Inside' is the opening track of the E.P. and sets the tone with its choppy drums followed by haunting vocals, with the call and response sounding like something off of Demon Days by Gorillaz.

'Chess' was released as the first track from the E.P. with a video that looked like he had dug out some old VHS tapes. The track itself is six and a half minutes of pure bliss and tapping your foot along. Ilunga's voice is almost unrecognisable from the opening track, showing his range as his voice blends effortlessly between high and low. There's something exciting about his low voice, and you can't help but try and sing along and do the same.

'Shadows' is a track that premiered recently and contains a very catchy chorus. Again Ilunga shows off his superb range of vocals, something I'd never actually picked up on before. Try getting this song out of your head.

'Til We Ghosts' is a re-work of a previous hit. It was the first Petite Noir song I heard and I was instantly hooked. The cleaner, crisper re-work again shows off Ilunga's production skills and makes this even more of a hit.

"When the night falls, I'll be yours for life."

'The Fal'l is the final track of the record, with its calming guitars and layered vocals, there's a real "The XX" feel about the track. The song is a perfect ending for any album, let alone an E.P.

It is a beautiful end to a record that will hold Petite Noir in high regard.

Noirwave is coming.