Theo Keating waited about a year after his first release as Fake Blood to reveal his true identity. Formerly of 90s hip-hop duo The Wiseguys, he now devotes his time to a new duo; The Black Ghosts, along with Simian's Simon William Lord. But Fake Blood discards all bromance, with Keating's early releases 'Mars' and 'I Think I Like It' grabbing attention with his personal penchant for a clean blend of techno, house and electro, all executed perfectly. With Cells, a dubstep element is introduced, but don't hold that against him just yet. It's the atmosphere, like xx-like minimalist beats without any of the minimising. A terrified ambience lingers below that scathing electro Fake Blood introduced himself with. Keating's experiences sound-tracking a live screening of classic Italian horror movie Suspiria earlier this year at the BFI might have something to do with it.

Kicking things off, the creepy horror-tinged beats of first single 'Yes/No', slowly build up suspense with crafty layering, adding beats and drums until it sinks and starts from the bottom up again. Conflicting 'yes' and 'nos' argue in each ear, heightening that feeling of disorientation the track brings. With the drop, comes that thundering electro Fake Blood has become associated with, adding a zipped sound to imply complete destruction. It's never quite predictable in its tempo, but sucks you in until there's nothing left but a stomper. Similarly, comes the relentless 'Slideshow' or the subtle kick drum stabilising 'Let It Go', destroyed by the drilling bass until it completely dissolves into straight-up subterrene territory.

Cells is a showcase of Fake Blood's pristine ability to contrast between the heavy and dark with a light house-style. 'Phantom Power' is as atmospheric and bright as a sewer, a clock-like beat bellows below reverbing groans of the chords. It sounds like the underground—below the party—with injections of childlike shouts getting more hysterical and menacing until the beat is about as soothing as getting a tooth drilled. 'London' with its low, stomping cello and electro-infused strings take it to creepy territory—a tense and almost growling beat lie under haunted strings.

But then there are the lighter moments. 'Airbrushed' shows a discreet nod to Discovery-era Daft Punk, sounding like the inside of an alien-like futuristic nightclub. It still maintains that thunderous bass, but with a warm quality added to the beats. They're fuzzier, but still throw a fair hit with crisp production and fist-pumping kick drum. This continues on 'End of Days', sweetened with sugary whistles but still managing to sound like a videogame death-match under strobe lighting and beats so plump it's like a punch to the chest.

While the whole flow of the album is heavy and hard, 'All In the Blink' is an unexpected interval, swapping doomed bass and dirty drops with jaunty piano and a feel-good vocal. Keating's love for house is evident as it laps at unapologetic 8-bit techno. It's hard to take serious, just as 'Another World's sax-beats and scant strings hold hints of 'We No Speak Americano', if saturated with a wall unpredictable horns.

The distinct determinism to 'Contact' proves the ideal gentle comedown, with chime-like upbeat synths lying over generic but uplifting bass drops. There's less of a sense of doom than the album it bookmarks, a single chime dotting the finale—a perfect full stop.

Cells simply stretches Keating's electro muscle, no new ground is being broken here. That's not to say it's a bad record—it's a great one—but with such rich back-catalogue from diverse projects, Cells falls slightly short of the harrowing shock value expected from Fake Blood's debut. Let's just hope he keeps trying to scare us.