The debut album from Devastations members Conrad Standish and Tom Carlyon makes for great late-night listening. The music on Deleted Scenes is quite far removed from what they serve up as two parts of the self-styled 'noir rock' trio, but one can't deny that the pair definitely have chemistry - it's probably why they decided to stick together for this new venture rather than go their separate ways, and it's just as well that they did. There's a similar kind of darkness to some of the songs on the debut album from their Standish/Carlyon project, but this time around, the focus is firmly on pop, and this makes for an engaging and rewarding listen.

Across the album's 10 tracks, we're treated to the so-called futurist dub pop that the duo have been working on for much of the last two years. Kicking off with the ponderous bassline of 'Critics Multiply', attention is immediately drawn to Standish's voice and lyrics; the former works best when he's employing his suitably smooth baritone, but he doesn't just limit himself to what he's best at, pushing himself out of his comfort zone on 'Moves, Moves' with an impressive falsetto that matches the funk-infused track perfectly. Indeed, the mark of a great vocalist in this part of the musical spectrum is when they know not to use vocals at all; the music contained on this album creates an atmosphere all on its own. Standish lets the music do the talking on the exquisite 'Industrial Resort', and it stands out as one of the highlights purely because it's so different to everything else the record has to offer.

It wouldn't exactly be pushing the boat out to suggest that Deleted Scenes could have worked just as well as an instrumental album, but then again, Standish's performance on 'Nono/Yoyo' is not to be sniffed at. Some may argue that the album doesn't have enough presence to make a serious impact, but that's exactly the point; if one's looking for brash, up-tempo pop, there are plenty of other artists around who can provide. Standish/Carlyon move in entirely different circles, and there's plenty of ambition to be found on their debut. Closer '2 5 1 1' returns to the instrumental format for an ambitious finale which suggests that this may not be the last we hear from the duo's side-project. It would be foolish of them not to pursue it further, as there are plenty of roads they can travel down from here.