Studio wizard Roberto Di Gioia’s Marsmobil project is an interesting vehicle for the producer’s pop sensibilities, and here on his second album Minx he refines his edgy Air/Gainsborg styled fare while turning the night lights down a little. The end result is a very sultry affair that makes you want to wear a turtle neck, sip Mai Tai’s and leer at prospective lovers across intergalatctic transit lounges.

Di Goia and his vocalist Martine Rojine have created a gorgeous album of atmospheric electronica that has a real quiet sensitivity in its aim to seduce you. It triumphs at this without fading completely into the background, and that is in large part to due to the almost flawless amalgamation of moody electronics and live instrumentation Di Gioia revels in. Rojine’s velvety vocals also rise above the layers of sonic to stamp a personality that has equal measures of fragility and confidence.

However, the concept of influence and imitation is a fine line, and on Minx it does become a slight problem. At times they sound too much like an Air cover band, opener Magnetizing recalling that band’s Moon Safari era, and Lily Blossom rides dangerously close to plagiarism, and not just in the name to the Parisian pair’s Cherry Blossom Girl! For the majority of the album, though, Marsmobil create a sonic supernova of unique psychedelic slow burn pop.

Astralbody and Call Me are truly mesmerising, spacey analogue bleeps and distant Moog keys that collide beautifully into Rojines vocal purring, and the Beatle-esque Reversed Mantra has enough sass and sludge in its percussion to give the summery mantra some well meaning menace. Mangia Amore is gloriously obtuse sounding, like Herbert conducting a hand clapping cosmic gospel, and closer From Elsewhere to Nowhere truly packs on the atmosphere and space psychedelia without ever sounding contrived. Cut the chord on your spacesuit and head blissfully into the void!