In 2011 Kirk Spencer released a seven track EP of weird, guttural electronica influenced by Indian and Asian sounds (Enter The Void); an amalgamative effort which found a receptive audience on the likes of BBC Asian Network. Originally from Nottingham, Spencer was previously a guitarist before moving into production. Clearly, Enter The Void, spoke of a time in his life calling upon Dub-Step influences on tracks like 'HotaHoi', which doesn't now resonate as prominently. Spencer's latest EP, offers a new direction and new concept but also displays an artist striving for experimentation with genre and reference points.

The paradigm of difference speaks quite obviously between EP titles. Wonderland lives up to its dream-like connotations where Enter The Void similarly plumbs ominous depths. His latest sees him taking a lead from soaring qualities of Techno and House, instead of the maniacal and heaving Dub sound.

This is not an artist reinvention (after two EPs that would be unlikely), rather a change of direction to explore another pocket of the spectrum. Prominent on Wonderland in a way that was noticeably vacant of Enter The Void, are the lyrical hooks and melodic trills which are undeniably pop orientated. These short, understated clips although prone to cliché ("live for the now not tomorrow") carry an addictive minimalist R&B motif that's difficult to resist.

Contributions from Louis Scott and Marita bring the soulful juxtaposition to messianic beats and futuristic notes. The productive restrain along with that of the vocalists creates a dreampop serenade tempting us into gradual encapsulation with its aesthetic which remains unaware of its own beauty. The true success of Spencer's work is the paring back of his production, and other elements, that creates a few vulnerabilities for the listener to explore.

In some ways, this is anti-DubStep by virtue of its subtlety, but there is still the dub essence driving the beat. Spencer still revels in transforming seemingly placid sonic spaces into dynamic, fracturing sound. But here, he's accentuated the qualities which were always at his heart by refining and simplifying. Subsequently, the sound is more dynamic and powerful. That may seems like an oxymoron but it's clear that Spencer wants to compel us into his distorted chaos, except that he more effectively displays that aesthetic by juxtaposing it with the superficially pleasing.

On Enter The Void, we're overcome by bass, but here, there's a certain leisured tempo and remarkable tone of understatement which is paradoxically more expressive. There's an almost apathetic sense of what relation the greater scheme of the world has upon the songs' protagonists, but that could be interpreted as the carefree, unaffected nature of art, or indeed, love.

This record doesn't tackle disillusion in any form other than to present it as a background reality to this dream. Wonderland is unsubscribed from these concerns not out of ignorance but a more sincere focus on the soulful refrain which seems universally powerful. Spencer doesn't explore great depths and swathes of an idea and pass through infinite parallelisms in order to get you, the listener, into that space. Instead, he hints; suggests and alludes in graceful shifts that express more. The potency of each motif is intensified, and the approach sharpened for the considered arrangement and simplified constructions. Wonderland is a seamless journey through the perspective of an artist who has deconstructed his form in order to intensify it. It's restrained, understated, and subsequently, beautiful.