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Tomas Barfod was somewhat taken aback by the popularity of his debut record, 2012's Salton Sea. An excellent collection of forward thinking dance tracks that evoked the best of Daft Punk's Discovery, but with a distinct sound all of its own, it was an album that was made for club land as much as for personal enjoyment. It understandably left expectations high for his follow-up, Love Me.

The release of the Pulsing EP earlier this year, only hinted at the direction of Barfod's new record, which takes the template of Salton Sea and reworks it into a new musical direction - one which at times seems much closer to electro-pop than the house stylings of his debut. 'Pulsing' which features collaborator Nina K on vocals, is a clear example of this. Whilst Salton Sea had its guest vocalists, on Love Me they are much more of a focus, with Nina K appearing on half of the tracks. There is much more emphasis on the lyrics of the tracks that takes these songs further from the club and more towards a solitary experience.

'Pulsing', which makes an early appearance on the album, is one of the stand-out tracks. Melding a pulsating bass line with a bouncy house lead, it gives the album its first boost of energy. Nina K's vocals meanwhile have a delicacy that works as a perfect counterpoint to the deep rattle of the bass, and also suit the opening line "down with the time, light as a feather." 'Pulsing' neatly segues into 'Destiny's Child' the first of Love Me's instrumental tracks.

It opens with an up tempo arpeggiated synth lead, which is soon joined by a range of shimmering synthesiser sounds, a beat that mixes shuffling percussion and hand claps, and a steady bass, that bubbles just under the surface - almost as though it is one sustained note. 'Destiny's Child' is an intricate and richly textured track, and certainly brings the focus onto Barfod's skill as an electronic musician. Even when he introduces elements of experimentation into the track, such as the off kilter drums that appear just after the halfway mark, there is a clear sense that everything is under his control, ready to be reined in at a moment's notice. And when he does take the percussion back under control, we are treated to a glorious middle eight of booming, atmospheric drums and synthesisers pitched to sound like a robotic choir.

Throughout Love Me Barfod shows a range that we've not seen from him before. In many ways the tracks on this record could have been picked from a number of wildly different electronic records, but somehow Barfod manages to create something cohesive, with each track having a sense of fitting within his signature style (whatever that may be). That's why we can have something like 'Busy Baby', a down-tempo synth-pop track featuring Nina K, which deserves to be a huge hit this summer as it's prefect for those short, cool nights, sitting right next to 'Honey'. The latter track, which features Sleep Party People's Brian Batz, is out and out electro-funk with a sampled guitar loop that gets chopped and screwed throughout the track. Meanwhile, the percussion claps, rattles and pounds along creating one one the record's brightest, most vibrant moments. Despite the rather unconventional percussive styles, and lack of a musical hook, Batz' lyrics deliver the ultimate of lyrical ear worms - guaranteeing that it'll be hours before this track leaves your head.

'Aftermath' sits a little awkwardly in the middle of the record, and represents one of a number of missteps Barfod makes on an otherwise great second record. There's nothing wrong with the track itself, Nina K's vocals are sublime throughout and the music - cooly atmospheric, without veering too far towards darkwave - is incredibly evocative. Yet the whole thing feels like an album closer, the lyric "meet me after dark" calling to mind the end of a night out clubbing, stumbling into the harsh light of morning.

'Bell House' which opens the album, also marks a weak point on Love Me. Musically it's interesting, a simple piano melody giving way to soft synthesisers and fluttering percussion, but Luke Temple's strained vocals push the track towards uncomfortable melodrama. Amongst the catchy electronica on offer, it sticks out as not just an odd opening, but a strange digression from the album's sound. Whilst the other tracks tend to flow from one to another with ease, even in the case of 'Aftermath' following 'Honey', the transition from 'Bell House' to 'Pulsing' is too sudden, and as an opening track it seems at odds with the remainder of the album.

Barfod's collaboration with Jeppe Kjellberg returns the album to the club, with a track that practically bounces along. Featuring a thumping beat and a sprightly synthesiser, amidst an array of bubbling noises, 'Blue Matter' is perhaps the albums surrealist moment. It also marks the point where Barfod really approaches his collaborator's voice as though it were another electronic instrument, stretching and modulating Kjellberg's voice into long vowels that gently cycle between pitch. It's often difficult to tell where the synthesisers end and Kjellberg's voice begins, particularly towards the end of the track as what sound like fog horns threaten to engulf the track.

'Waiting For Us' is another track that could have easily closed the album. Nina K's vocals complimented by a melancholic guitar riff during the song's first verse that makes the whole thing feel like a more successful take on the sound of 'Bell House'. Unlike the album's opener, 'Waiting For Us' feels more in line with Barfod's sound on Love Me. The shimmering synthesiser and steady beat preventing the song from heading too far towards the preening singer-songwriter vibe of 'Bell House', while the gradual build up through the song (just wait for the guitar to properly kick in) allows Nina K to really show off her range as a songwriter. If there's a song to show just how beautiful this album can be, then it is 'Waiting For Us'.

The final instrumental, 'Mandalay', unfortunately feels like a track in need of vocals. It has an undoubtedly funky beat, but after seeing what Barfod can get out of his vocalists it means that it seems lacking, possibly because it just doesn't go anywhere. We end where we began and the track is over before it can make an impression other than to remind you of a couple of other euro-dance tracks.

The final two tracks don't manage to bring the album back to the heights of its earlier tracks, and certainly aren't as memorable as 'Pulsing' or 'Honey'. 'Sell You' which features a soulful vocal refrain from Winston Yellen of Night Beds has a dark wave backing that gets interesting towards the end when Barfod allows the synthesisers to take on a life of their own, but for much of the track it seems happy to tread water with a simple, repeated lyric. 'Lost' features a tender performance from Pell, but with two tracks earlier in the album that would have made for great closing tracks, this all feels a little anti-climactic. Maybe that's the point: the idea of the high of the night fizzling out. Taken on its own merit 'Lost' is a wonderful track, the sort that really grows on you if you give it chance. Again, Barfod has managed to complement his vocalist perfectly, with a falling synthesiser lead and a soft beat that will encourage appreciative nodding, if not enthusiastic dancing. The record with a chirping synthesiser in the background that sounds like the dawn's birdsong. Tomas Barfod may not have produced a perfect album, but then when has love ever been about perfection?

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