if you’ve never heard of Shinichi Osawa I don’t know what’s wrong with you!

 Mondo Grosso was originally a group led by Shinichi Osawa, then Mondo Grosso just became Shinichi Osawa’s alias for his work. Somewhere along the line, he shifted to electro house and started producing stuff under his real name “Shinichi Osawa” and released “The One” (There are several released versions of The One, I’m just starting to think of a bad joke related to all of this but I will hold back)

As Mondo Grosso, Osawa was signed to Sony Music Entertainment Japan and produced Eri Nobuchika and bird. He also provided music for the highly addicting PSP game Lumines, which was the primary reason that I became highly interested in his work in the first place.

As some background, Osawa has previously released material under the guide of Mondo Grosso - this material tended to be more traditional house, veering towards deep house. The fact that he has begun recording under his real name reflects a change in direction, with his sound reflecting more closely his DJ sets, which are also performed under his real name.

Osawa's The One opens with his glorious cover of the Chemical Brothers' 'Star Guitar' and it's difficult to pin-point what is so great about it, particularly as the original was so perfect, but the beefed-up distorted bass and vocals from Au Revoir Simone certainly help. Seriously, can we get Au Revoir Simone to provide backing vocals for Black Plastic's life please?

As an album opener and lead single, 'Star Guitar' does a good job of introducing Shinichi to a new audience. Rest assured, if you like what you have heard of Osawa's work so far you are likely to enjoy this. But for the uninitiated, this is what to expect:

The One is an album of pop songs containing fuzzy, distorted basslines and catchy vocals mixed with enough attitude and bowel threatening wooshes and noises to annoy the hell out of the person sat next to you on the train.

The One ditches any ideas as dull as a concept and focuses on soon just one thing well: sticking forteen of the biggest, most enjoyably upfront radio-friendly electro-dance tracks you'll have heard in a bit all on one album.

There is a nice flow to the album, with slower tracks ensuring everything is paced well (and probably ensuring there will be the opportunity for some nice extended club mixes at some point).

It may not be sophisticated enough to be regarded as a classic but The One has enough attitude and ideas that it doesn't matter: this is a damn good ride.