Selling is the musical baby of the coupling between Gold Panda’s Derwin Decker and Jas Shaw of Simian Mobile Disco, two heavyweights of the electronic music scene. They have previously worked together on Gold Panda’s albums, Shaw having mixed two of them. Jas Shaw was recently diagnosed with AL amyloidosis and the news is that his course of chemotherapy is going well. Such circumstances make it hard reviewing an album, particularly when the reaction may be seen as less than glowing, so let me get it out of the way now – this is a decent album but one that is prone to meandering.

There is a sharp and often alarming rhythmic directness in the back catalogue of Gold Panda and the early releases of Simian Mobile Disco, which is on the whole missing with this release. Gold Panda tracks such as ‘An English House’, ‘Mayuri’ and ‘You’ burst with energy and Simian Mobile Disco’s ‘Hustler’ simply orders you to move your body, whether you want to or not. It is a shame, then, that in many ways this level of exuberance and joy is lost in Selling’s offering, which is much more pondering and often hesitant. The signs for this album were there in both Gold Panda’s release of 2016, Good Luck and Do Your Best, and this year’s disappointing and largely forgettable Simian Mobile Disco album Murmurations, both of which sound fatigued in places. The only point of interest in the last SMD release was that the intro to the track ‘Hey Sister’ reminded me of Madness’s ‘Driving In My Car’ (this is not necessarily a good thing, by the way).

The nine tracks of On Reflection have a clear uniformity to them and they sit well together as a body of work, but this often means that one tune slips into the next all too easily without the listener noticing. There are highlights on the album, though, particularly in the shape of the lead single ‘Keeping Txme’ which moves into gear pretty quickly and sustains its forward trajectory throughout, centring itself as it does around a minimalist arpeggiated keyboard which nags away at your ears until it changes just at the point of submission. There is intelligence in this album, but perhaps it is a little too self-aware and there is a certain sense of contrivance which is unsettling. ‘Dicker’s Dream’, the second track on the album, exemplifies all of the potential frustrations that listeners may have with the album as it starts brilliantly, yet loses focus towards the end of its eight-and-a-half-minute duration. The song begins with almost two minutes of overlaid sounds, each seemingly disconnected to the others, which entwine to create a nicely claustrophobic feeling as it builds towards the introduction of the beat. You know it’s coming, but when it arrives it does so in a satisfying manner. The track then continues to build and build, adding layers of sound as it does, so the ideas seem to run out and the track essentially fades itself out for the last minute and a half when you are willing it to explode into life.

This is a decent enough album, but one that will likely have a relatively short lifespan in the record boxes of those DJs who play out on Sunday afternoons in cool independent coffee shops in Shoreditch for the non-attentive vanilla bullshit latte cappa guzzling crowd. It’s a shame as there are moments of magic in On Reflection such as the glorious ‘Moon in the Water’ which has a very There is Love in You-era Four Tet feel to it, but then maybe therein lies the problem – this album lacks originality and does not offer as much as could be expected from these two undisputed talents (and that’s not even taking into account the fact that Luke Abbott was also involved in the arrangement of some of the album’s tracks).

Overall, this is an album with fleeting moments of joy, but these are not sustained.