Contemporary chill-out - it’s a tricky beast.

Stopping your album from being a pretentious, rectal gazing exercise rather than being a lovingly crafted album that seduces as much as it sedates is a tough manoeuvre. It has to aim to get your attention, but without being far too obscure.

Shlomi Aber does it - nearly. There are patches here that show quality in this Israeli producer, but others where you can easily find yourself drifting off and thinking about what you want for dinner, or if anyone has left you a Facebook message recently.

As an after-party or Sunday morning wakeup call, it will probably make more sense, so taking it out of its normal setting is probably doing it a disservice – but then again, great music should be able to cross boundaries, so it’s best not to be too sympathetic.

Starting off with Looking In Gods Eyes, and it’s all looking peachy. Its ethereal appeal and the ‘My First Kraftwerk’ appeal makes it interesting and challenging in equal blows, before Eastern Breeze utilises the Oud, a rare Yemeni instrument that is similar to the lute to create a subtle battle between the traditional and the modern.

With State Of No-One, it’s plausible to hear a person’s battle with individuality with the synths on show wrapping themselves around the main X-Press 2 styled beat to create a deeply isolated sound, which leads nicely into Never Cried, with another set of tunes that are simple on layering, and unnerving to zone in to.

There’s also an incredible remix to be had here too, as it has all the hallmarks of a smash hit with a bit of extra tempo and a possible female accompaniment on the mic.

With all these ideas bouncing around, it’s a shame that the next thought that flashes into the mind is how My BAO Dreams sounds like a chilled version of Gershon Kingsley’s Popcorn, before both Don’t Be A Fool and The Thing That Nobody Knows fly by before you’ve even had time to acknowledge they were even there.

To continue the lazy terminology, Moods takes patches of what nearly sounds like the Exorcist theme tune and blends them with a lo-fi beat to create a tune that could well be a laid back beat from outer space. Subtle understatement really is the key.

Then it’s back to the ‘blink and you’ll miss it’ music again, as The Paradise Garage an its drum kit kick out a terribly predictable jam, and Sea Of Sand feels as ill-fitting as Speedo’s on the beach.

This doesn’t provide a damp squib to the album though, as Random Fiction captures segments of Everything But The Girl, Aiio and even Bjork, thanks to Anat Ben Hemo on vocal duties. Same But Different rounds things off with a sound that is true to its name. With a slightly upped ante and optimistic aura, it’s a great way to round off the LP.

It’s by no means perfect, but who cares? Just Relax!