Together, Shenggy (KORG MS-20, drums, percussion, sampler, vocals) and Shou Wang (guitar, organ, pedals, dome theremin, vocals) have conjured a sound - part electronic shimmer, part cosmic industrialism - that arrives like a nocturnal transmission, complete with advertisements and radio static, through a neon rain.

The heartbeat of the band, beneath Shou Wang's delicately bowed loops and slashing atonal freak-outs, is Shenggy's KORG MS-20, generating everything from a seismic, murky techno pulse to Throbbing Gristle-esque waves of distortion, making for an album of contour and contrast, one moment gripped by suffocating paranoia, the next carefree and gloriously ebullient: witness the giddying theremin assault that opens that album, the warm washes of kosmiche organ and, crucially, Shenggy's rich, bright vocals that unify and personalise these trips into the Asian ether. This is the sound of Beijing in 2009 - hypermodern, Chinese yet defiantly aware of the world beyond, operating within a twilight space that finds its rhythms in the silent accumulations of CCTV cameras and the jangle of omnipresent consumerism.

As would be expected of an album produced by Blixa Bargeld, beneath the heart-stung melodies and urban anxiety, there are oblique percussive flourishes and an attention to textural detail that gives the album its satisfying weight and density. During recording, the band had full access to Neubauten's unique collection of rhythmic tools, as well the engineering team that went into making the Berliners' last album. Whilst the subtle yet unmistakable influence of Bargeld gives the record focus and power, the finished product very much matches the vision White had in mind when performing in Beijing.