The way how the venomous opening "Anthracite" ignites this amazing output by HOX, the collaborative project by Wire bassist Edvard Graham Lewis and Andreas Karperyd - partner-in-art within He Said Omala - could sound like a proper hoax, if you pardon the pun, as its amalgamation of mid-tempo bassline and liquefied synth-driven sequences could be mistaken for some stuff by Bomb The Bass before they begin to entangle listeners into a sort of narrative plot and well-forged toothed sonic belts. The following "Javelin" lights the fuse of a definitively more electro-pop oriented output than their previous "It-Ness", but in spite of such a mutation towards more "easy listening" areas, the above-mentioned features, i.e.the remarkable accuracy of lyrics, sung in a fittingly melodic way - many followers of Lewis's stuff believe he could be considered a poet, who arranged in the professional treatment of sound! - and sounds, which often hook some identified flying objects engined by Wire (particularly on tracks like "Correct Co-ordinates" and "White Space Conflict"), really matter. The ventricular sci-fi fibrillations of "It's Too Much", the sweet moments of computer aided bass-driven abandon of "X In Circle", the gum flavoured by fuzzy electronics and Colin Newman's oblique interpretation of bass music that we could imagine chewing while listening to "Track and Field", the amazing "Goodbye", which sounds like a false start of New Order's "Blue Monday" or some tune by John Foxx before they begin to say goodbye to some good friend, and the final bath into a sort of melancholic serendipity on "Freequency" are the other meaningful chapters of this sonic storytelling, where an important role got played by Christoph Grote-Beverborg's wise mastering.