This review is late. Several days late. And that's very bad form. Sorry 405 editors. I hope you don't take it as a disrespect. I certainly hope Active Child don't, because, well, it's definitely a compliment. Let me explain: the reason this review is late isn't that there isn't much to say about Rapor, or that enough hours weren't set aside to get it written, or that it wasn't listened to enough times to consolidate a solid opinion. No, check my Last FM for the last two weeks and you'll see that these six songs are pretty much the only thing that's been listened to since I got my hands on it.

So why didn't this get written until two days after the allotted deadline? Basically, because as soon as play is pressed on Rapor - even if it's play number seven-hundred and nine (which I suspect I'm approaching) - it immediately becomes very difficult for any intellectual activity to occur which doesn't involve the phrase 'ERMAHGERD; FEELS'.

It's pretty well acknowledged that music has the ability to take the mind away to far off places if you let it, but Rapor doesn't wait to be allowed. The solid layers of sensuous, glistening sounds are so all encompassing that's it's impossible to even scribble notes on the songs until the EP's firmly over and the brain's had at least a minute to recuperate and get its footing back in the room. And that's only if you can get there before you immediately hit play again.

Pat Grossi's impossibly angelic vocals pay no heed to reality as they rise up into the sky, shimmering through dark crevices of his mind, while the discernibly '80s, but no less pure and wonderful sounding synths oscillate somewhere in the periphery of the layers of voice. Opener 'She Cut Me' doesn't even bother with lyrics. It doesn't need to. Wordless utterances break into scattered bursts, shining through from the aural undergrowth of harp and synth and readying us for when Grossi's voice breaks in proper.

In essence, the songs here aren't drastically at odds to what we heard on debut You Are All I See (The 405's Album of The Year 2011) and Rapor feels very much like a continuation. The main difference is really the addition of the collaborations, first Mikky Ekko and then, somewhat unexpectedly, pop princess Ellie Goulding. Ekko's input takes second track 'Subtle' from burning snythy darkness into soaring high-energy dance material with his impossibly catchy falsetto mid-way through the song, even if his vocals feel somewhat lacklustre next to Grossi's.

Goulding's presence in 'Silhouette' suffers a similar problem, her voice feeling somewhat weak and breathy in compassion. Or at least this is the first impression. Once the EP's familiar, however, 'Silhouette' forms a satisfying centre piece, off-setting the one-man-show and taking Rapor out the other end more rounded, and better for it.

Aside from the collaborator's inputs, Raporis largely lyrically-illegible, with the odd hook standing out as words amidst the impossibly high notes, but this feels like it probably adds to the feeling. Were we able to pick out the heavily romanticised lyrics throughout, it might have much less impact. As it is, Rapor very much allows us to hear whatever we want to hear.

As a whole, however, overly romantic or not, what Active Child have come out with here is a sodding wonderful follow up to what was an intrinsically beautiful debut, and although what we have here isn't all that new to the ears, it's still utterly enchanting. Second album please.