I worked for a logistics company once helping out with a system migration. It was, without a doubt, one of the dullest jobs I’ve ever done although I found it strangely compelling in that peculiar way that mammoth, repetitive tasks can be. Which is not too dissimilar to listening to albums of unmixed drum n’ bass tracks, rim to in, every cracker and dodgy B-side filler from end to end. However, the new LP from Logistics Reality Checkpoint is not like that and actually (how rare) works as a straight up artist album, with a progressive flow and imaginative musicality.

Glitch is a bit of a hidden gem on this album, building in intensity as it progresses to really suck you in. The extra drum here, the extra squirk there. The second drop is the real drop, a sharp switch from electronic bleeps and static to a driving siren, sucking you in, the bongo congo drums and then the surging ebb tide of the full plethora of sounds, culminating in a ghostly riser and two level bass line. Probably the best track on the album.

Continuum is a compulsive driving track, which seems to be a theme of this album – driving, forcing you forwards. There’s a lot of momentum to the tracks and I can easily envisage them dropping on the dancefloor and getting the feet pumping. With Lullaby I’d probably want to close my eyes and imagine I’m flying, in fact it would make a great soundtrack to flying if I ever achieve it, a near organic, soothing track.

On the subject of flying, the high pitched twinkle on track 96 had a euphoria about it, think old-skool like Omni Trio or Ratpack and the soul inspired Trying Times has that near trademark Hospital sound. Jazzy, upbeat, fun, smooth, pulsating and, in the latter’s case, a bobbly bassline that all combines to get you fired up and thinking about dancing (even when sitting on the train).

Back Where We Started is a hugely atmospheric track that rounds off the album. Heavy bass precedes the drums even with a crazy surge of helicopter chop that seems to be growing in to something but then doesn’t. The full drums never come, the heavy bass never takes over. Your expecting them but… it’s not, a drum n’ bass track. Tempo-wise it could act as a break for sure, and it’s of a mood, a technical muggy mood. That’s the trick. Cocoon too shrugs off the drum and bass yoke to introduce a bouncing break beat, along the lines of Andy C’s Body Rock. Borders get hard to define at this point, genres merge. These tracks sit somewhere between breaks and dubstep, but I wouldn’t want to say quite where. But they work, which is the most important thing.

Logistics is the sibling of another Hospital artist NU:Tone, but there’s no nepotism here. After an award winning first LP this is a strong offering that confirms his strength as a powerful tune producer. Some of his melodies and constructions remind me of TeeBee, which is a compliment of course. Almost all of these tracks grew on me a lot the more I listened and even some of the weaker numbers such as Slow Motion – which sounded a bit too much like it was DnB angels creating a track from the clouds, and album opener Daybreak Sequence which just had a bit too much going on; even these are commendable efforts. The real achievement though was the cohesion of the 14 tracks together as an album, something quite rare. So what’s next for Logistics then? Based on this album I’d say we can expect big things and a few more pleasant surprises.