In theory, this is a great idea. Take what is probably contemporary Australia’s greatest voice and combine with two of the nation’s most club-tuned producers. For those who aren’t familiar with the work of Katie Noonan, she’s a classically trained opera singer, and sometimes jazz singer, who captivated indie audiences in the early 2000s with her folk-pop band George. Her voice is truly magical: trills effortlessly cascade through octaves, with the notes escaping like air through the valves of a flute. The two-part production team includes John Course, who’s best known for his work mixing the various Ministry of Sound compilations throughout the year, and mrTimothy, responsible for the 2005 mega-hit I Am Tha 1. mrTimothy in particular should have been the ideal choice for this project, with his consistent ability to churn out diva-style vocal house. And yet, somehow it doesn’t quite work.

Perhaps it’s in the approach. This is a remix album, not a collaboration, and the producers are left to work with Noonan’s material from her lukewarmly received debut album. Oddly, the original album was first released nearly a year ago, so not only is the source material a little patchy, it’s also kind of old. But Noonan can’t shoulder all the blame; great producers have done better with less, and to paraphrase Paul Keating, this feels all parts and no sum.

Who Are You effects a sort of ‘footsteps on the dancefloor’ groove, accurately positioning the album as the adult house that it is. This is followed up with the clunky electro of Logic, and a fairly charmless Delta Goodrem/Vanessa Amarossi style dance ballad in Time to Begin. It’s here that you begin to realise Noonan’s voice is rushed, struggling to keep up with the necessary BPMs (even at this mum-house pace), and that her cheesy lyrics sit uncomfortably with such accomplished vocals.

One Step continues the over-35 vibe, complete with salsa guitar sure to make any dance school attendee sit up, while Return feels like an unfinished afterthought, hastily tacked on to ensure every Noonan original is given the Course/mrTimothy treatment. Love’s My Song is probably the best effort, as it moves past the detached vocals and achieves some sense of resonance though the Scissor Sisters disco pulses and rushy keyboard symphony. Bluebird is also a quirky take on piano house; a plonking, pitch bending piece where Noonan’s airy vocals are finally given room to breathe, echoed in the lyrics themselves.

But ultimately, this felt very much like a bunch of single ladies in their 30s and 40s catching up for cocktails at a comfortable lounge bar. The outfits are dated, the dance moves are dorky, and you can’t help but wonder what’s going on up the street where the cooler kids are hanging.