Not only does he claim that it takes a backseat to his other creative endeavors graffiti and illustration taking center stage there but he eschews playing live and has uncompromisingly labeled the majority of his back catalog shit.

Enthusiastic crowd cheers swiftly turn to slow-clapping and booing as the first isolated notes kick in.

It feels increasingly as if Siriusmos distaste for live performance, his dismissal of his musical achievements and his extremely fractured musical identity are all intimately linked: not only does Mosaik want to please everybody; it also genuinely doesnt seem sure what its strongest assets are.

Sirimande restlessly chops up rave and Balearic into an irresistible ADHD pinball assault, the aforementioned High Together is a slice of joyful churning house, while Nights Off combines blissful swells with a sugary nave melody.

The latter two, arguably the best moments on this full-length, will however already be familiar to followers of Siriusmos progress: they appeared on the excellent 2009 The Uninvited Guest E.P.

While that release had a vibrant assured coherency, however, Mosaik opts for a sweeping journey through European scenes, taking in everything from his home countrys Kompakt label, through Warp and Londons dubstep culture, and a generous helping of Ed Banger.

Feed My Meatmachine almost feels like a parody of Vitalics harsher moments.

The combination of death-metal vocals, music-hall piano and Morricone whistling that are mashed together for the brief (and aptly named) Peeved could never have been anything other than a silly diversion.

Siriusmos guidebook is perhaps understandably strongest the closer to home he strays.

Siriusmo was the first signing to the German duos Monkeytown label, and the marriage of military percussion and subterranean bass to a dreamy synth radar blip that runs through Signal and the menacing motorik blare of Goldene Kugel owe a considerable debt to Monkeytowns honchos.

Safe ground for Siriusmo is post-Justice chopped-up synth grandeur, and for all the flights of fancy this is ultimately the grout that holds this mosaic together.

And without spawning any real bangers, Siriusmos generally pretty good at it.

The albums best moment, though, is also its sweetest, calmest and most measured.

The uncomplicated Idiologie clocks in at under three minutes, but the deliciously bobbing fairground synths map out a melody so winning that its progenitor dont dare mess with it.

Too often on Mosaik, though, Siriusmo is guilty of over-egging the pudding.

Siriusmo has decided to throw in bits of everything from disco to skweee and vocals in at least three languages without genuinely thinking about how they will mesh with his sound.

Its not a subtle marriage; instead the genre delineations between songs are stark, and their stand-alone nature means that their derivatives are brought into sharp focus.

With trademark self-deprecation, Siriusmo is widely quoted as saying that he employs technical devices and a lot of fantasy to artistically cover up lacking musical abilities.

Look at that from a different angle and all youve got is a passable definition of electronic music, but it also sums up Mosaik s faults.

The irony here though is that Siriusmo shows despite the bluster that he is a compelling enough producer not to need to distract the listener nearly as much as Mosaik does.

Siriusmo Uninvited Guest Rar