It seems strange to be reviewing the new musical world of constant stimulation, synthetic fantasy, curated eclecticism, mild appropriation and raging self-promotion in much the same way, with the same terms and more or less the same expectations as music was reviewed thirty and forty years ago; to review a piece of pop that was not so much simply music but an engineered and/or ingenious series of signals, rhythms, ideas and poses, without paying attention to the most important aspects – its qualities as a special effect, designed to thrill, as erotic distraction, branding opportunity, advert for the self, as a demand for attention, as a form of energy that can blast through and compete with all the technologically channelled commercial noise.