Much-tipped London duo Grand National could possibly be the first act who, though heavily influenced by the likes of Japan, the Cure and Public Image Limited, sound nothing like them. Partly this is because although they have visited that late-1970s/ early-1980s dancefloor, their magnesium funk grooves have been refurbished with the care you'd take over a classic Bentley. Otherwise, they exhibit a healthy irreverence.

Daylight Goes begins with a New Order bassline but mutates into what can best be described as a Caribbean version of the Police. Boner is possibly the first recorded example of New Romantic ska.

These would be mere details if Lawrence Rudd and Rupert Lyddon didn't have the songwriting talents to match their concepts. These are classic electronic/guitar melodies for sunny days and neon nights. The first seven tracks are nearly flawless, and the occasional wobble thereafter doesn't mar one of the year's most scintillating debuts.