If you're deep into Euro-electronica, the name Styrofoam is likely known to you. Belgian sound producer Arne Van Petegem has worked with so many, including Valerie Trebeljahr (Lali Puna), Andrew Kenny (The American Analog Set), Ben Gibbard (Death Cab for Cutie, The Postal Service), Bent Van Looy (Das Pop), Markus Acher (The Notwist, Lali Puna), Miki Yoshimura (Munk) and Alias, just to name a few. 'We Can Never Go Home' is his 8th album under the name Styrofoam, with more EPs and singles, and his first full album in 8 years. Although his name is familiar to me, I can't say I've even heard his work before, so I guess I'm coming from an unbiased perspective, one way or another. The album is full of percolating synth sequencing in a myriad of shimmering, bubbling dimensions underpinned with legato basslines and slap-dashy but effective percussion, giving the impression that some of this has been well thought out, and some of it just throwing caution to the wind saying "what the hey..." So in a sense, it sounds partially like some pieces could be adapted as background for real commercials, while others have no commercial potential whatsoever. Regardless of some unconventiality, the format is largely standard with synth sequencing (arpeggiated, or otherwise) being the core, percussive elements nudging things along, a slow-moving bass bottom and synth melody or something more abstract (sometimes abrasive) on the top. I guess this is just what Styrofoam is, or does, but it would have been nice to hear something that didn't conform to the format at all. At times I was reminded of earlier Kraftwerk (you know, before they got into pop songs) but not exceptionally so. My one beef with the music is that a couple of tracks took way too long to end - a single note just sustained for what seemed like eons. Some of the song titles are as abstract as what you hear - "It Isn't Real So It Doesn't Count," "The Crook of Your Elbow," and "Did Your Mouth Buy You This Scar?" but it hardly matters as 'We Can Never Go Home' seems to be more of a complete work than a collection of (instrumental) songs. Perhaps most telling is the picture on the front of the album cover, a dead pool at some resort or civic center. It fully looks like summer in the background but no swimming fun here! So in a sense, this album has the sonic trappings of nostalgia, but none of the depth the first-hand experiences of it. In that sense, we never can go home. Handmade cardstock CD container, limited to 300 numbered copies.