By now the name Gnarls Barkley should be familiar to you, if only for their recent chart domination with the single ‘Crazy’, quite possibly one of the singles for which 2006 will be remembered. The fact that it was the first single to achieve number one status on digital sales alone has given the song a level of historical status. Add to this the fact that what seems like every radio show in the UK made it their single of the week gave you an indication that something of note had reared its head. Now usually when a band or artist comes flying out of nowhere with a track of this magnitude the chances of a follow up, never mind an album representing anything like similar quality is a rare thing. Thankfully St Elsewhere is one of those times when the lead single is only scratching the surface of what the album has to offer.

The first collaborative effort between Danger Mouse and Cee-Lo is fourteen tracks of musical consistency. Its hard to pin exactly where this album sits in terms of genre because at any given moment it finds itself pulling in any number of different directions. The soulful vocal performances provided by Cee-Lo give you an indication of where the album’s loyalties might lie but the fact that he can break into high octane fuelled raps at any given point stop the listener from being lulled into any sense of security. For instance the track Necromancer with its dark comedic subject matter (romancing the dead) is a million miles away from the plaintive pop soul offerings of Crazy.

The backdrops are real magpie constructions which reach into the past and tear chunks from the worlds of gospel soul and Motown in equal measure, whereas in other instances there are twitchy patchworks of breakbeat and house and that’s before we even get towards the broad canvas strokes of Morricone inspired soundtrack stylings.

The first listening makes for something of a slap in the face because despite the fourteen tracks on offer the experience is over very quickly. Rather than expand and extend the tracks as many would have done the songs on offer here have been kept trimmed and lean, they end leaving you wanting more which for my money is what a good song, especially ones that work in the dance genre should do.

While the standard here is high there are of some real standout moments. There’s a wealth of material here that could sate the appetite of the singles market, from the 21st Century soul boy stomp of Smiley Faces right through to electro breaks patterned Storm Coming and the funk tinged closer The Last Time.

If you only buy one album this month I recommend it be this one.