It says a lot about the loose-limbed creativity of this Danish quartet that their third studio album opens with a guest feature from Atlanta-based rapper Killer Mike. It's the first of many surprising moments on Infinity Pool, but this is precisely how the band operate; the band's frontman, Nikolaj Mauel Vonsild has said that the band 'have to surprise themselves' if they are to keep making music. In other words - why bother at all if there are no surprises? Painting a picture of their sound requires finer strokes than most people will use; they've been lumped into the electro-pop bracket, but there seems to be more of an R&B sound to their new album as a whole. Indeed, 'Iodine' crosses over into pure pop with its unexpectedly joyous-sounding chorus, and 'Infinity Killer' shines the spotlight on Vonsild's trembling falsetto, and finds the band in exploratory form, warped-sounding strings guiding the song for its first three minutes before a simple beat drops and transforms the song. What used to sound fragile becomes powerful with the addition of rhythms.

Much the same can be said of the other songs on the album - the atmosphere can change at the drop of a hat. Sometimes they keep it minimalistic: Jonas Kenton's menacing synth bass line takes centre stage on 'Degeneration', laying the foundations for another impressive vocal from Vonsild. It's a song that builds very gradually, the bass line picked up by keys as tension begins to increase, but there's no moment of resolution, the song instead shifting into a downbeat coda which leads nicely into 'Mannequin', a song which the band try to disguise and dress up, but is ostensibly a pop song at heart, containing one of those choruses that it's difficult to argue with. By contrast. 'Order' wears its pop heart on its sleeve. It says a lot about WGSM that some of their new record was influenced by rave music - at least until they deconstructed the songs and stripped them down. If it hadn't been mentioned in the press release for the album, I would have been none the wiser.

A lot of Infinity Pool seems to delight in turning expectations on their head. It's more electronic than anything else the band have done, but there's an organic feel to songs like 'Webs' and the head-turning closer 'Slave to the Take in Your Heaven' that's undeniable, and it adds to the appeal of an album that's rewarding and immediate in equal measure. If you're having trouble pinning down their sound, that's exactly the point - When Saints Go Machine are at their best when they strive to challenge and confound. Some of the elements on the album shouldn't work, but the band ensure that nothing feels out of place, and end up creating quite a cohesive record in the end. They're about to surprise a lot of people.