With a massive four years since his last album, fans have been starved of Vitalic goodness. So it’s with massive anticipation that Flashmob finally lands. While fans where introduced to Vitalic on OK Cowboy back in 05, where they got their first introduction to heavy synths and tight sampling, as the aptly named Flashmob finally drops, it proves a worthy, if not stronger follow up, and while the formula hasn’t drastically changed too much, still dominated by heavy claustrophobic beats and big synths, this time around the new LP comes equipped with more Crystal Castles esque vocals, and a big injection of disco. Flashmob introduces us to a new, warmer sound, with bigger variations in productions, from chillout, electro and rave.

While obvious comparisons are inevitably drawn between Vitalic and both Justice and Daft Punk, you can’t be blamed for thinking Vitalic is their bastard child, even though some may argue it was in fact the much hyped Justice who looked to Vitalic for inspiration. However, it seems the French are clearly leading the charge as the pioneers in mastering the art of electro, heavily dominated by synths and big beats. Setting Vitalic apart is the constant glittery disco feel, a dominate on Flashmob.

The biggest change in sound for Vitalic is a much warmer and sweeter sound, as a result of the disco infusion which replaces some of the more techy elements on OK Cowboy. This is at its most obvious on Poison Lips, which feels like it has Donna Summer stamped all over it. With its airy, This Is Love inspired vocals there is a strong homage to the original Queen of house.

The title single Flashmob, is more reminiscent of previous works, with a hint electronic vocals, and charged synths. The paces spills over onto One Above One, before Vitalic slows things down on the more ambient, chilled out Still, which again, features another, more haunting Donna Summer-esque vocal. By this stage of the LP its clear that disco is a dominate aspect, and while it the album completely avoids being another camp house record, its through Vitalic’s, cleaver use of electronic experimentation and layering of electronic sounds, that while it’s clearly disco infused, it remains an electro record.

Keeping things ravey on Termiateur Benelux and Second Lives, the album delivers a well packed conclusion to Flashmob. The anthem worthy, See the Sea (Blue) finishes what was started on the See the Sea (Red), and from here the next three tracks result in an all out electro musical assault. Chicken Lady, potentially the biggest tune on the record, sees Vitalic at the top of his game. With its nonsensical vocals and thick, grindy electro synth this has potentiality for the summer festival season.

Despite all the things Vitalic is or isn’t, this album largely proves he has mastered solid electro productions, and while critics will continue to try and pigeonhole him, perhaps the most engaging aspect of Vitalic is his ability to evolve and challenge his audience by not allowing his sound to completely stagnate. While this is a solid album, it isn’t ground breaking, and at times there’s a hint of deja vu in terms of the sound, but this stems from sitting between two of the biggest electro acts in the world. But having peers like Justice and Daft Punk can’t be a bad thing, can it?