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The intro, ‘Tuvuk’, initially puts you on edge; it’s little more than an extended scream, distorted till it starts to sound like the noise a keyboard might make if it was being murdered. And at nearly two minutes long, it’s rather unsettling. Luckily this proves to be a bit of decoy, as the rest of the album is only scary if you have a fear of dance-floors.

First track proper, ‘Plastic Fantastic’, sets the scene for the rest of the album. Seriously funky squelches and a tasty little beat soon build into a full on floor-filler; hints of the Chemicals’ ‘Hey Boy, Hey Girl’ and Josh Wink’s ‘Higher States Of Consciousness’ abound, while the rather amusing vocals suggest a playful love for life of the kind which makes Basement Jaxx’s work such a pleasure.

After that the rest of the album goes past in a bit of a blur: ‘Heel Of God’ has a lovely little bongo breakdown halfway through before the pounding Roland crashes in again; ‘The Funk’ lives up to its name, with a bass line so tight you could hang your washing off it; ‘El Magnifico’ sees some great toasting and some Brazilian whistling which makes you wish that Carnival didn’t come just once a year, while ‘Dope On Strings’ manages to be both mellow and absolutely pounding at the same time.

As with many dance albums it’s hard to really judge the whole thing as a body of work; it’s obvious that Madox’s background is in DJing as Urban Plastic flows more like a club-set than a traditional album. But for anyone with a love of beats, bass, wooshes, beeps and anything designed to pack the dance-floor, Urban Plastic by Madox will do very nicely I’d say.

Madox’s profile on MySpace