I'm informed that Brassica is a sought after producer and DJ. This is my first exposure to his work, and after a few listens I can exclusively reveal, here in this review, that I like it; it's good. Phew!

'Modern Magic' comes across as something of a combination of Lucifer by Peaking Lights, and New Order circa Technique, or the remixes that accompanied Republic. It may have something to do with the Hooky-like bassline that is stitched throughout the track, or it could just be the fact that it sounds low strung, but either way, it's a great song. There's an almighty drum break at the end as well that's worth the price of admission alone.

The next track 'Lose Him', starts with 'Thriller' like keyboards stabs, and is followed by vocals that you might find on the James Blake album (Hot Chip are an obvious touchstone here). At one point, walking home last night, it occurred to me this may well be the lovechild of Mr Oizo's 'Flat Beat' and Quincy Jones if Joe Goddard were to produce it. Man, I want to hear that. Stuart Warwick sings, "We're all slaves to someone, this love is slavery," And I can't help but agree with him.

Now, moving right along, we come to 'Milieux Matrix'. This needs a full production number, on ice, with a light show that would cause jean Michele Jarre to say it's a bit OTT and a full Torville & Dean routine. It's a predatory bass beast of a track, driven over a simple 4/4 beat, with warped vocals and keyboards providing a warm fuzzy feeling (it almost has a Pet Shop Boys feel about it too, although I can't quite work out why). It grinds to a halt with a cello sound and birdsong, accompanied by some top quality squelchy keyboards, and If you can't get on board with that, you have no heart.

Final track on the EP is 'Lydden Circuit'. It appears to have been around for a while on the scene. A cursory look at YouTube tells me at least 18 months, and in this rush for the new, that feels like a lifetime. However, it starts off like some sort of Chemical Brothers monster, a bass drum is 'thumped', as Violater-era Depeche Mode keyboards come in over the top. I'm half expecting Dave Gahan to start telling me about having a three-way with Jesus and Mary Magdalene, but thankfully that doesn't arise. Instead we get something quite thoughtful and enlightening, full of interesting lines of inquiry. A variety of keyboard lines mix together over a solid, squelchy bass line. How can this be wrong?

The EP comes with a couple of remixes of 'Lydden Circuit' from Om Unit and Capracara. The former is a slowed down version, the latter ups the anti in the 80's production stakes, but retains all that is good about the track.

This is a very upbeat EP, full of hooks and melody that take in elements of pop, new wave synths and even a bit of disco. It's a bit too 80s in places for me, but in smaller doses this is a great EP to have. I can't imagine popping it on on a Saturday morning to pop out to get a paper, but if you're just coming home then it's perfect earphone fodder.