Release date: (24/08/09) Website: http://www.myspace.com/felixdahousecat House music luminary, and damn hard worker, Felix Da Housecat is back with his 10th longer player, He Was King. In typical style, his new album again goes in a totally new direction from his last venture, Virgo Blaktro and the Movie Disco. It's a departure from the concept album to begin with, and rather than re-delving into his soulful roots, Felix has returned to Electro. This is a style he refers to as “his old sound” ironically enough, acknowledging that he knows the genre that allowed him into music's avant-garde elite in the first place. We All Wanna Be Prince, turns the headlights on for the album, showing you the road you’re being driven down. It a proper homage to the song’s namesake too, referencing not only his style but even his tracks by name. It sounds like the sort of music you would want Prince to be making now; a simple, pop dusted track with a futuristic edge to it. All too quickly though you are presented with the album’s main issue, in that it doesn't push any boundaries that FdH hasn't pushed before. Felix likes his repetitive beats played over with angelic feminine vocals and he has used this template for the bulk of the album. The tracks, Do we move your world, We, Spank u very much, Do not try this at home and Machine all follow the same distinctive path of soft vocal over a simplistic beat that’s set to repeat. There is the odd tweak to the format, and variation of bpm, but on the whole it doesn't vary enough to hold your attention. It’s all played out too safe in the pen that FdH feels most comfortable in. The album, just spends too much of it's time in dangling it's feet in the shallow shores of the Balearics to make any poignant waves. LA Ravers and Elvi$ do make a proper attempt at dragging this album towards euphoria though. Both are built to be played out to a crowd and they have the quality in them to compete aggressively with any floor filler. They are the two most innovative tracks on there and a departure from the ductile vocal melee on the rest of the 45 minutes. Were these two the benchmarks for album, then it would be a totally different affair and blatantly a more colorful and exciting prospect. It closes with He Was King – if this was a straight up, pop electro epic rendition of a track that we have heard FdH put out and master before, then it would have been aptly named given how pop has lost it’s very own king recently, but it’s not. It echoes back to main substance of the album, the much tested, and little to shout about, slow vocalised “soft-tric” sound. A fitting end to an album that threatens to get going but doesn't capitalize on its own flirtations with momentum. If you picked 11 of you favorite Felix Da Housecat tracks, you would have one of the best, fresh sounding and poignant dance records music has heard – but across one whole album, again, attention fluctuates too much and variation is sadly shelved in favor of comfortable security. If Felix Da Housecat drew upon his vast musical insight and experience, laid down an album that pushed his capabilities to the brink then perhaps, he could be king!