Generally, when a band but outs out an EP as good as NYC Stuff And NYC Bags, you sit up and pay attention. Vondelpark put themselves on the map with that 5-tracker in 2011, and have had to live up to it ever since. They've been involved with well-respected Belgian electronic label R&S Records since their inception, and the London-based trio (comprised of Lewis Rainsbury, Alex Bailey and Matt Law) have come a long way since introducing themselves with the Sauna EP since then. They used to hide behind mystery, but decided to step out into the spotlight a while back. It's just as well, because Seabed would have forced them out of the shadows anyway - it's a genuinely refreshing debut, one on which the band try to be many different things at once, but consistency is never an issue. While genre-hopping can often lead to accusations of a band being unfocused, people will hear this and, with a shrug of their shoulders, say "oh, that's just Vondelpark."

Crucially, they never try to be anyone else but themselves over the course of this 10-track odyssey, taking influences from genres as disparate as ambient, synth-pop and bass music, throwing all these ingredients into the pot, mixing them together and serving up something special. Releasing a reworked version of Sauna track 'California Analog Dream' as their debut album's lead single was a good move, showing how far they've come in the three years since the original version, whilst hinting at what was in store on Seabed. Placed alongside the easy-going ambience of 'Closer', the track has an even more pronounced effect. There are also times when the trio display their ambition to fill dancefloors in their own unique way: the title track may be a mid-tempo, bass-heavy epic, but the skittering synth melodies and lithe-sounding hi-hats over the top hint at their desire to be more than just purveyors of chilled-out, genre-defying electronica - not that there's much of anything wrong with what they're currently up to, mind. Even if the amusingly-named 'Bananas (On My Biceps)' may be a little hard to take seriously due to its title, it ups the tempo towards the album's close and stands out even more in the process.

There is an effortlessness to much of this album which belies the intricacy and musical invention on display. The band flirt with a darker sound on 'Dracula', and while it presents a much different side to Vondelpark than the rest of the album, impressively it manages not to jar with the overall vision of Seabed, opening doors for the trio in the process. Who knows, they could come back in a year or two and sound completely different, but they don't ever sound like they're ready to settl:. 'Blue Again'; 'Come On'; the meditative 'Outro for Ariel' which closes the album; these three tracks point out that Seabed works best when digested from start to finish. There's too much variation on the record for people to nail the band's 'sound', and this dexterity is their greatest asset. Albums which rely on mid-tempo moments like this one does rarely sound so restless; most others would find something they like and stick to it. It's difficult to pin down, but, well, that's just Vondelpark.