The follow-up to IVVVOs Good, Bad, Baby, Horny sees him unpackage and build upon that EP in all directions at once in a viscerally corporeal and sorely emotional salvo intended to be taken as his definitive opus to date. Across its 15 songs the London-based, Portuguese producer spells out a narrative as vividly hypermodern as a Nicolas Winding Refn flick but set in the fashionista underbelly of London, with crucial assistance on two of the albums highlights coming from soundtrack composer and Hollywood Medieval producer Maxwell Sterling.
Like a magpie with fancy taste, IVVVO picks the shiniest and most affective elements of contemporary dance/rock/pop and electronica - from deconstructed trance synths to blockbuster sound design and choral arrangements - and then weaves them into searing, reactive expressions of modernity. The results are skizzy, veering from anxious to ecstatic and often in the space of one song.
Kicking off with convulsive samples of Korns Jonathan Davis wedged into the nerve-jangling opener This is Dog, the LP bleeds with emotion at each step, from the heart-bursting Lorenzo Senni-esque style of Life to the clenched and knotted grunge reflux of Forever Your Mouth to the visceral, Arca-like incision of Blade, while two pieces with Maxwell Sterling, the Coil-like arabesque Untitled and the vertiginous flight of Last Days, seal the deal with decadent flourishes.