No microhouse album has ever been so sexy, so brash, so defiantly macro as Luomo’s sophomore effort. Where the tunes on 2000’s Vocalcity indulged in sustained foreplay, the tracks here strike with a greater sense of urgency, as bulbous bass tones attack the body while platinum hooks burrow their way into your brain. As Australia’s Tim Finney so rightly observes on his weblog (at skykicking.tripod.com), Luomo is the don of neuromanticism, adorning micro music’s frame with lustrous melodic refrains and dizzying dubwise accents. As befits his status as the laptop scene’s matinee idol, some of his concoctions (like the Prince-esque “What Good”) play like the aural equivalent of haute couture, reveling in their own sense of excessive refinement. But the best of these tracks (“Tessio” and “Shelter”) are astonishingly pristine, spilling out of speakers like diamonds dropping from the skies-radiant and deadly sharp all at once.