Chelonis R Jones’ second record Chatterton opens with the slow sound of individual synth notes, processed by a grain delay that alternately sounds like vinyl crackle and rain falling against a mic. It’s an appropriately atmospheric opening for an album that sits somewhere between house, electronica and techno, with a dose of experimentation thrown in for good measure. And it’s all topped off by Jones’ wonderful voice. But here’s the thing – it almost feels like he’s using that wonderful voice in spite of the experimentation.

Chatterton is my first exposure to his solo work. I wasn’t expecting this record at all, having heard his house vocal work with Royksopp, M.A.N.D.Y. and Booka Shade, and Marc Romboy. Chatterton almost feels like the same journey that a Tujiko Noriko album takes you on; a trip deep into a new sonic universe, guided by our muse’s pure voice juxtaposed against the music.

Some say the album’s title is a reference to an English poet who poisoned himself at 17 and was only recognised after his death. Perhaps it is an indication of Jones’ wish to be considered forward thinking? There are moments of Radiohead-esque vocals and melody ( Underdog Anomaly ) and the distinctly club-oriented track Pompadour, interspersed with almost Prince style excursions like On The Run and Bathroom Mirror Legend.

There are moments where the vocal simplicity of the record annoyed me but I found this one a slow-burner. Jones’ “other life” as a house vocalist and the fact that Systematic released this album both promote false expectations. Give it some time and withhold judgment – the two versions of Pompadour are particularly interesting to give a creative insight. Genius? Only time will tell. Visionary? Very much so.