Sun Glitters - Everything Could Be Fine (LebensStrasse)

Like any innovation, repeat it enough times and it soon starts to sound hackneyed and stale. When Burial introduced the world to the spooky joys of disembodied rave vocals floating over stuttering, shuffling garage beats, it was a juxtaposition few had heard before. But then other people picked up on the trick – and perhaps the most obvious post-Burial influence is now to be found in the group of producers that were nearly called Witch House (before, in that oh-so-post-modern way, the badge started disintegrating under its own self-awareness).

In all likelihood, we are probably reaching saturation point for this style of production: the blogosphere is full to bursting with expertly engineered but somehow unsatisfying Burial-esq beats. But when an album as good as Sun Glitters' Everything Could Be Fine comes along, concerns about the longevity of the post-Burial scene should be put to one side. There are a dozen other acts that sound like this at the moment, but Sun Glitters does it better than everyone else.

Sun Glitters makes a very ‘now’ type of music: quietly snarling bass lines, edgy, stuttering beats, malfunctioning melodies and pitched-up snippets of female vocal hooks fading in and out of focus. But while this might be familiar territory, the quality of the songs lifts them above the competition. Show me someone who can listen to the heartbreaking 'Too Much To Lose' without the hairs on their neck standing on end, and I’ll show you the scar around their forehead where they had their lobotomy.

The cloud-walk stomp of 'Softly & Slowly', featuring the vocals of Rob Boak, is expertly executed – a star-gazing, tear-stained embrace. The ghost of Burial looms largest on 'Find a Way (see)' – but there’s a clockwork rhythm to it that drags it slightly closer to Boards of Canada territory. And elsewhere, as on penultimate track 'Love Me', the sound is closer to the menacing warmth of Moderat’s moodier moments.

It’s a brief album – only eight tracks, and most of them come in well under four minutes. There’s no self-indulgence in the music, no point where you think you’ve heard enough. If anything, the songs are fleeting – never a bad thing, as it guarantees repeat listens. One slightly unusual twist is that because the album was released outside of the UK some time ago, a remix album (the fantastically titled Everything Could Be Remodelled And That Would Be Fine) is already out. So, once you’re done sipping on the spectral beauty of the original, you can gorge on the remixed versions. Bon appetite!