Since earning his stripes as a member of indie-dance manipulators Late of The Pier, Sam Dust had been occupying himself with scientific theory and crafting his own inventions. Alongside this, Dust tended to his musical work in secret, quietly reviving LA Priest, a solo project long forgotten since the release of one EP back in 2007.

Eight years on, Inji retains the bouncy electronic pop of previous work, but the artist’s increasingly analytical background shines through. LA Priest feels barely recognisable. Bright synth work twists and turns throughout while thudding bass leaps in and out, with Dust drawing on his experimental leanings to flit from genre to genre, instrument to instrument; from the jagged electro-grunge of Gene Washes With New Arm to the feel-good dancehall of Oino in the blink of an eye.

This meticulous fine-tuning is what defines Inji. It’s clear that Dust allowed himself time and space to focus and perfect his ideas: tracks feel thoroughly thought out, tuned and honed. While this slow, deliberate approach to songwriting means Inji can at points feel a touch methodical – a little bit too perfect – it’s also the album’s greatest strength. From grooving eight-minute epic Party Zute / Learning To Love to the simple, instrumental bass licks of Fabby, this album feels pored-over and assured, ultimately forging something that is unusual, unpredictable and enjoyable.

Henry Boon