This third album of the lavish collaboration between former Ultravox! front-man musician Dennis Leigh aka John Foxx and East London-based sorcerer of synthesizers Ben "Benge" Edwards aka The Maths, a winning twosome of electronic music pioneers, is, unbelievable but true, even better than their previous releases, "Interplay" and "The Shape Of Things", and maybe the best act with the reassuring signature of John Foxx after Ultravox!'s gilded age. The solid bond between John's songwriting, which sometimes seems to come from parallel dimensions, and Benge's sonic wizardry, which adapts modern structures to sonic antiquary, generates out-of-time euphonic freaks and such a complementarity is clear both on more rhythm-focused tracks, particularly on the first half of the record, and on more weird stuff, so that listeners could be under the impression to handle with mysterious perfectly polygonal objects with an inner secret gnostic code, clockworks and equations about universal principles, whose origin and function are unknown, while digging into their sound. They don't stood still while veering towards more dubby and atmospheric declensions, which could vaguely resemble the elliptically mesmerizing dub diversion on "Heligoland" by Massive Attack, Japan's most interesting period just before its disbandment (accordings to some biographers for the "dictatorial" behaviour by David Sylvian) and electronic pop. Besides the "kraftwerkian" cover of Pink Floyd's "Have A Cigar" and the reciprocal remixes with Gazelle Twin - their tip-top remix of "Changelings" and Gazelle Twin's remix of "A Falling Star" where you could imagine Foxx surrounded by enchanting singing mermaids are undoubtedly the most striking moments of the whole album -, there are many great moments: the chewing clappy pad-synths over a sort of electronic oral rinse on the icy ego-trip of "My Town", the dreamlike stroll by Foxx on electronic promenades of "Walk", the refined electronic-pop papules of "That Sudden Switch" with the support of NY-based duo of Xeno and Oaklander, the conversation of a sleeper (performed by Matthew Dear from Ghostly International) in his own dreams on the heady nightmarish obliqueness of "Talk (Beneath Your Dream)" and its rehash on Moog by Tara Busch, the narcotic dub drops of "Neon Vertigo", the entrancing existential nag of the title track, featuring Luis Vasquez from The Soft Moon and the proper evidence of this album, coming together scattered evidences of evergreen style, the sweetened nostalgia "Only Lovers Left Alive", whose melody was found on an old-discarded reel-to-reel and becomes more enjoyable after the prepaparation of the emotional field by the electronic harp of the preceding track "Myriads".