With “Gone”, the established London-based duo of Natalie Williams and Mark Courtney toe a fascinating musical line that skirts around genres with ease. It’s electronica, but not quite, it’s alt-pop, but not quite, it’s hauntology, but it also contradicts it, and so on. It certainly never settles down long enough to be pigeon-holed.

The warm synth arpeggio that emerges once the initial noise collage of opener “Gillett Circle” has subsided feels momentarily like a set-up for a steady electronica journey- yet it’s followed by the abstract anti-pop of “London Gone”, where sparse lyrical moments play against sporadic and arhythmic waves of atmospherics and found sounds, ranging from traffic noises to much more indistinct elements. Yet the tables turn again with third track “Farfasaline”, which starts with a beat and a slightly obtuse trip-hop groove that persists throughout, almost flatly but with enough detail to avoid being dull.

The tonal changes (if not gear changes) persist through the rest of the album- the dubby hollowness of “Morskie Oko”, the robotic and vocalised bass oddness of “Abstract Armour”, the stuttering glitches of “Feverfew 2” and greater pulsing urgency in “Attenzione!”.

It’s a rich and moody electronic excursion absolutely full to the brim with expression, and the variety between tracks keeps you engaged as well. Although I wouldn’t prescribe it to anyone feeling the pinch of lockdown isolation right now thanks to the certain underlying bleakness it exhibits, on a musical level this is certainly something I’d recommend wholeheartedly.