He is in fact Keith Tenniswood, a regular DJ at Fabric and one half of the infamous 90’s electro outfit Two Lone Swordsmen. Growl is Radioactive Man’s eagerly awaited third solo album, the first since his self-titled ’04 long player.

Personally I’ve not heard of the chap before, but more the fool me because he is the mastermind behind over a dozen albums and notorious on the electronic house scene. Describing the premise behind this album he says "I wanted it to be pretty dancefloor, but still the kind of album you can pop on at home and enjoy on headphones."

The opening two tracks don’t sound to me like something I’d enjoy listening to on headphones. ‘Basement Business’ is four minutes of electronic noise, which sounds strangely like the contents of a Comet store malfunctioning . Whilst the longer ‘Pieces of Eight’ is more of the same repetitive beats and strange beeps and blurps.

Persist until track three however and you will be rewarded, by ‘Nothing at All’, featuring vocals from the beautifully talented Dot Allison and a brilliant anthem. With an acid laced background of funky beats and the dulcet tones of Allison, this is a euphoric dance floor filling number. ‘Double Dealings’ is another track to make use of vocal sampling, this time it’s the dark and menacing vocals of Andrew Weatherall (the other half of Two Lone Swordsmen) who stabs his lyrics over the track. Listening closely I can perceive some crazy light sabre sounds and some kind of fog horn or something deeply disturbing going on in the background, which would sure wake you if you happened to be dozing off at this point. This track marks the half way point and a turn in the direction of the album, with a darker dirtier electro sound being employed in the latter tracks.

‘5 Armed Skeleton’ is as strange as the title suggests, sounding like a house track played through water, coming out sounding like electro-wob. Radioactive Man has said on paper that he doesn’t obsess over the technology and the process of the music, he’s just intent on making something that sounds good. The latter half of the album however sounds every bit like the guy has been flicking the switch on every sound effect he can find. ‘Up In The Air’ serves as light relief from the intense pulsating stabs of sound, with a dreamy floating slightly fuzzy piano riff ascending peacefully through the sound waves. Alas, it is only an interlude and Radioactive soon glows true to his acid roots again with the manic techy triptych ‘Dalston to Detroit’, a hectic slice of beats and boomerang beeps.

There is no doubt this is an underground sound, a specialised album for fans of the genre. I’m sure I haven’t really done it justice given that I’m not the biggest fan of this type of music. To me, this kind of Brit acid, with its twisting and jerking beats and repetitiveness is indigestible, but given that even to my amateur eye there are some good tracks, I’m inclined to think this might be a good Brit acid album.

‘Growl’ is out now on Vital