James Atkin is on something of a roll. Following on from EMF’s stunning return to the fray with Go Go Sapiens, he has somehow found the time to author a solo album (his sixth) that captures a similar vibe, albeit filtered through the lens of mid-90s dance. Beautifully produced, the album draws from a range of influences, including FSOL, Orbital, Faithless and, of course, EMF, to deliver a stunningly varied set that has something to offer regardless of whether you’re a hardened dance fan, or a casual observer attracted by the shared spirit of a packed-out dance tent. Most impressively, the album has a conceptual flow that feels (as its name implies) like a day in the life of a festival goer, from the early rush of Loved Up Lovers through to the closing ambience of Ravedigger. As such, it is an album that deserves to be heard in one go (preferably on vinyl), rather than split up and reordered via a streaming service.
As noted, the album opens with the heavy, commercial dance buzz of Loved Up Lovers. While the track evokes EMF, thanks to James’ instantly recognisable vocals, it’s set to a blissed out musical backdrop which, with its gleaming synths and sampled backing vocals, feels custom built for giant sound systems, preferably set up without the full knowledge of the local authorities. With a more aggressive vocal, Planetary Cautionary may revolve around the same core synth set (think 808s and 303s), but it takes a darker turn as it progresses, with some dirty grooves emerging in the second half. Such aggression works in small doses, bringing a touch of grit to proceedings, but the overall vibe is closer to that of Glastonbury’s elysian fields, and there’s a warmth to the production that comes from James’ obvious love of the scene. Certainly Perfect Cadence feels like an anthem for the festival goer, although the layered vocals add an unexpected Depeche Mode twist to the mix. Next up, the stabbing chords of Disco Damage hark back to the mid-90s, although the track takes some unexpected side paths as it progresses. Such eclecticism is given greater weight on Mamushka Babushka, arguably the closest track to EMF’s recent (and exquisite) Go Go Sapiens found here. It’s a highlight, but it’s also one of the few tracks on offer that really feels like it could use Ian Dench’s presence on guitar.
Opening with a hazy, arpeggiated synth, Good Morning has a taut, Leftfield pulse to it that neatly underpins James’ breathy vocals. It’s another memorable song thanks to a darker edge and a strong production that sees the beat snap sharply into focus, James keeping one eye on the dancefloor, even as his song writing maintains enough depth to keep the interest of the home listener. Pulsing sound effects pave the way into The Circle Continues, which sounds like The Orb and Health engaged in a synth battle. Once again, the production is excellent and, as James layers synth upon synth, so you feel the track surround and envelope you. As if shaking off a reverie, James ups the ante with Friends Like These another track with an EMF aspect and a tough beat. Imagine it playing in a trippily-lit big top and you’ve got a good sense of the vibe on offer here, and it would make another strong single. Next up, James indulges one of the albums most addictive tracks in the form of It’s Love We Trust, a song you’ll find yourself humming wherever you go, even after just one listen. Having set the dancefloor alight, James helps to ease the listener back to the world with the woozy, anaesthetized beats of Ravedigger. A track that effortlessly captures that sense of staggering home, blearily taking in the daylight after a night spent moving to spirit lifting beats, it nods in the direction of Faithless, and brings the album to a heady close.
An endlessly varied record, you could pick any track off Circadian Rhythms and find yourself misled as to the album’s direction. Broadly, you’d probably place it at the ambient end of the dance spectrum, with the gorgeous haze of Good Morning, The Circle Continues and Perfect Cadence all capable of sitting comfortably alongside Orbital, The Orb or Underworld at their most eclectic. That said, you also have tracks like Loved Up, a perfect white label single, or Mamusha Babushka, with its EMF pulse, both of which serve to shake things up more than a little. However you choose to categorise Circadian Rhythms, one thing is clear: James Atkin is a more than capable song writer and producer, whose wide ranging interests make for a compelling album that captures the youthful spirit of dance, but which is packed with enough melodic heft to trigger a touch of nostalgia in the home listener. In that sense, it feels like a raved-up companion piece to Go Go Sapiens, another album that taps into that amazing energy that comes from sharing your music with a crowd of similar minded people, and it is surely one of those records that you feel a compulsion to share with your friends, regardless of their individual taste. 9/10
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