British producer Leon Vynehall has spent his career creating what is arguably some of the better deep house music to come out of the '10s. Out of the string of singles and EP's he's released over a six-year period, 2014's Music for the Uninvited and 2016's Rojus (Designed To Dance) stand as his most celebrated with both boasting some of the more consistently thrilling club tracks of this decade.

But on his anticipated debut album, Nothing Is Still, he throws something of a curveball. Like most producers who started off making fairly straight ahead dance music, Vynehall has let his creative spirit take control and guide him in entirely different directions, bypassing building off his previous efforts and fine-tuning his sound in favor of making something a little more challenging and ambitious with more than just a crowded dancefloor in mind.

There's no shortage of ambition to be found here either: Nothing Is Still is a project divided into three separate parts consisting of the album, a short film, and a novella co-written by Vynehall and Max Sztyber all of which was inspired by the experiences of Vynehall's grandparent's emigration from England to New York in the early 60s. Tracks are named after chapters and everything sequenced in a way that makes it feel like you're listening to an actual film score.

With the exception of 'Trouble – Parts I, II, & III (Chapter V)' where a throbbing kickdrum and harsh loops coax feelings of uneasiness to the surface, and the pulsing 'English Oak (Chapter VII)', he does away with relying on 4/4 beats in favor of ambient textures. For the recording Vynehall worked with a 10-person orchestra, and even though that might sound completely indulgent, the additional musicians only add to the cinematic quality while helping to provide further emotional depth.

The album's bookends, 'From The Sea/It Looms (Chapters I & II)' and 'It Breaks (Chapter IX)' for example are anxious, sombre, and stirring, feeling very much like the opening and closing moments of a film. Saxophones crop up on 'Movements (Chapter III)' and 'Drinking It In Again (Chapter IV)' pushing both songs into pleasantly woozy jazz territory and 'Ice Cream (Chapter VIII)' is a gorgeous piece that almost obtains a spiritual quality with its droning bent synths and eerie processed harmonies.

Even without knowing the backstory associated with Nothing Is Still, you can still appreciate all the luxurious beauty it has to offer. It's one of those albums that demands you give a certain amount of time and patience for it to reveal itself, and there's a lot to unpack here, but in the end, it's more than worth devoting your time and attention to.

Given his reputation as a celebrated house producer, making an album like this comes with certain risks considering the expectations riding on it. But the gamble pays off because it's frankly an astonishing achievement for Vynehall and one that solidifies him as one of the more exciting and inventive artists currently making music.