In the transcendent union between Modeselektor and Apparat, opportunities to find fault are scarce. Moderat found resounding applause for their self-titled debut back in 2009, and as separate entities have struck rich, golden veins, with Modeselektor releasing the acclaimed Monkeytown and Apparat focusing on OST work (which has seen him compose for theatre and feature on Skins and Breaking Bad). They combined once more, in the first half of 2013 to craft the long-awaited follow-up to that immensely lauded debut, aptly monikered, Moderat II.

Based in Berlin, the holy trinity of Sebastian Szary, Gernot Bronsert and Sascha Ring feel as if they've aged making the record: "We aged about 10 years while making it. We still think it was worth the trouble," reflect the trio on their site. Reportedly going 'underground' for the creation of the LP, they appear to have stowed bitter spats and barbed fracas' in favour of knuckling down. The process of carving Moderat is rumoured to have been a turbulent one, but the threesome eventually powered through to release sheer gorgeousness. With their personal differences shuttered away in some padlocked safe, they were able to make Moderat II with attention on forming something grand, beautiful and captivating.

'Ilona' assembles an exotic, almost tribal rhythm section - cavernous beats rattle against a droning bass mantra. Above that, Apparat's signature spacey touch infects the skewed vox, invoking the power of aural hypnotism. It's a relentless pulse that acts as an entrancing lullaby; the beat is so portentous in the cut that it sits in lofty recesses above the synthesised harmonies. 'Milk' finds a way to manipulate your limbs, tingling nerves with addictive ostinatos and providing a heady dose of late-night neo-house into the record. It's a ten-minute opus featuring downtempo tendencies that burns real slow, but by the time you reach the halfway point, you're hooked on chest-thumping rhythms. The real star here is the beat; it's basic, gradually adding some embellishment, but it remains simple enough to bob your head to - no complex 7/4 polyrhythms here. Again, it demonstrates Moderat's ability to transfix your senses on one focal point and lull you into an electro-coma. This could be the soundtrack to the world's most chilled-out rave.

Although a large part of the album is about providing tranquil twilit efforts that knock you into a sleepy stupor, there's also a sizeable portion dedicated to off-kilter dance-pop. 'Let In The Light', with its rotund hooks and pitch-shifted James Blake-ities, recalls glacial Scandinavian electro or the Gallic synthgaze of M83. It's all shimmering synth pads and icicle lead stabs, swirling in a glitzy salmagundi of whirring vocals and percussion and keys.

'Bad Kingdom' injects a sort of screwed future-R&B; there's soulful vocals and lyrics, bubbling like jacuzzi bubbles among the quaking rumble of dance bass and 808 snare (you could argue there's a trap element). For a collective apparently 'underground' for six months, they've managed to keep on point with their sonic trends. It's gloriously poppy, texturally thick with lucid harmonies and toe-tappin' boom-pat drums, showcasing their flair for the kind of ditties that get spun at clubs - it'll never be Top 40, but if it came on on a night out, you'd swoon.

If all modern dance music was as intelligent and well thought-out, we'd melt into scubby piles of goo on the floor. They tick every single one of the right boxes: it's original, full of titantic rhythms, superb basslines and viral melodies; it may take a while to get going in places, but that's part of it's charm - it doesn't need to thrust everything into your face at once. It's a confident sophomore effort, and gives you the best of both Modeselektor's glitchy techno and Apparat's trip-hop-lite dream-gaze IDM; even if they did suffer creative differences – which they don't seem to have - it doesn't show. When all's said and done, this album is an immersive pleasure that is more than the sum of its parts.