NYC-by-way-of-Sacramento experimental producer Lee Bannon has been steadily amassing a legion of plaudits over the past few years, primarily due to his involvement with the Pro Era crew, of which Joey Bada$$ is head honcho - Bannon prominently contributed to Bada$$'s recent Summer Knights mixtape. However, it's not just his skew-whiff hip-hop knob-twiddlings that have been piquing interest; he's also dabbling with avante-garde electro-dance techniques, melding jungle, drone and D&B sounds together into one almighty pyre of molten rhythms and invasive hooks.

His new LP, out on Ninja Tune and titled Alternate/Endings, isn't one for subtlety. There is the occasional moment of serenity, but it's more of a 'calm before the storm' scenario than any trance balladry or future-garage beats. For Bannon, on this foray, it's full throttle only, and even only slower or more serene segments, there's a relentless, ramrod percussion that harks back to London in the late '90s.

Lead single '216' is a jarring bout of macabre ghost-train piano samples (courtesy of Black Atlass) and dense minimalist soundscapes - it's incredibly tough to imagine someone like Bada$$ unloading a bravado-laden spiel over it. The beats lurk, creeping underfoot in true post-dubstep fashion in portions, but there's also moments of sci-fi jungle taped on top. It's an intense cut, rife with the kind of atmospherics that have made 65daysofstatic such cult heroes. Oddly enough, Bannon claims Requiem For A Dream and There Will Be Blood as major influences, which potentially explains the cinematic vibe evident throughout.

Adding to the off-kilter film qualities that Bannon places front'n'centre is the twisted bass work from notorious sonic necromancer Juan Alderete (The Mars Volta), which "ended up forming the basis for every song on the record." It's in interesting way to form tracks, especially for a producer so heavily invested in modern hip-hop and dance revival scenes, but it provides a USP for Bannon which aids to set him apart from the tsunami of bedroom producers.

'Perfect/Division' is reminiscent of Aphex Twin: weld together industrial D&B loops, pedalboard-drowning found samples and echoing steel groaning, and you have yourself a weird-ass dance cut, but one that'll find a home on a dancefloor somewhere. 'Resorectah' is so insanely quick and jagged it's like sandpapering your brain, and by the time you clock what's going on, it's over. Well, not quite, but the outro encompasses about 2/3 of the track. 'Cold/Melt' (Bannon bloody loves his forward slashes) is one of the less 'out-there' efforts, and could be feasibly spotted on a night on the town, though probably in a side room towards the end of the evening.

This album will fare much better in specific crowds. Jungle and experimental D&B are pretty niche areas of music, and while you may be able to appreciate it for being technically sound, it's probably quite difficult to love if you're not partial to a slice of rave-y sound. Bannon's likely to find himself a hot commodity if Pro Era's meteoric rise continues at its current pace, and as one of their chief aural architects, there'll be a throng of aspiring - and probably well-known - wordsmiths eager to work with him. Whichever of his two prongs ends up more fruitful, there's very little doubt that Lee Bannon is going to become a serious contender in hip-hop and electronic music one way or another.