It's harder for a an electronic musician to make an album about touring than it is for a band, but that's exactly what Derwin Panda has gone and done. He's captured the three years since Lucky Shiner within an expertly crafted album; all that touring has influenced the new material in unexpected ways, and it's executed in a manner which becomes even more impressive when it's considered that Half of Where You Live lacks any kind of traditional vocal presence.

There are no feature slots, no guest appearances, and while his second album does feature some samples scattered throughout its 48-minute running time, the globe-trotting expanse of the record is conveyed mostly through its hooks and melodies. What emerges from all this is a fascinating document of what life has been like for Gold Panda since his debut album made him a force to be reckoned with, building upon his previous material whilst simultaneously throwing something fresh, vibrant and dazzlingly new into the mix.

'Junk City II' ensure that the album begins on a high note, its curtain-raising intro leading into an explosion of sound, as well as the arrival of an infectious four-note melody that places the starting point of the record in the Orient.

The album hops between moods just as easily as it does countries: the self-confessed 'Asian caricature' of 'My Father in Hong Kong 1961' is nonetheless delightful; lead single 'Brazil' relies on upfront rhythms and an almost overwhelming busyness that brings to mind the centre of Rio de Janeiro during Carnaval. There are also instances of thinking globally but acting locally; 'An English House' and 'Community' are two sides of the same coin, the former bringing it all back home on what comes across as the most insular track on the album, more minimal and with a less ambitious reach than some of its counterparts.

Each track is however an integral part of the whole: Half of Where You live relies on ebbing and flowing as much as records by some of Derwin's contemporaries do. Without the twinkling, ethereal melody of 'S950' to set it up, propulsive album centrepiece 'We Work Nights' surely would not have the desired effect. In a similar manner, the crackling, melodic potency of 'Reprise' is given its rightful place within album context only by the stuttering beats and impressive urgency of penultimate track 'The Most Liveable City', which acts as the storm before the calm.

As before, Derwin's crafted an album that takes the listener on a journey, but this time around, he's done it in the most literal sense. Locations both familiar and exotic rub shoulders with each other in the tracklisting; 'Flinton' is named for a village in Yorkshire, but is a rather more cinematic track than its title would suggest, its soaring strings and juddering piano hook suggesting a bustling mid-sized town moreso than anything else. It's set against 'Enoshima', which takes its title from a remote Japanese island, a track on which Derwin changes things up once again for an intimate piece which prides itself on a particular attention to detail, intricate even by its creator's usual standards.

Half of Where You Live, as its inspiration would suggest, covers a lot of ground, more than can be taken in properly on first listen, but this is the kind of record on which there is still more to be discovered after listen number 10. It would have been easy for Derwin to throw together 11 tracks loosely based on the music of those countries he found himself influenced by, but he has instead taken all those influences and stitched them together in his own, fiercely creative way.