It was nearly a dozen producer who’d worked and had created musical soundscapes for the album of the best male vocal’s ever characteristic voice in dance music industry. Jimpster puts bubbling deep-house onto the table. Ian Pooleys brings straight-up retro disco. Atjazz is pleasing with a creamy, down-beat alike track. Charles Webster operates with electro-pop elements. Whoo’s here with proper club-house, and the trancy, alternative piece of TJ Kong makes the picture even more colorful, yet the 77 minutes long album doesn’t really step out of house music’s halo; and this is quite interesting sometimes: one couldn’t place the predictable house songs paired with gentle, smooth and tricky vocal bends for the first time. Mind you, not everything need to be understandable for the first time. Perhaps, the sympathy for this way of approach is the reason how Robert Owens – just like Compost Records itself – keep being innovate.