Renegade Soundwave return from a two year break to spray the landscape with further soundbursts of eclectic noise, energy and character. Hailed in the late eighties for their inventive fusion of club sound and metropolitan character, they have continued to impress and surprise with a musical vision that encapsulates a variety of styles and influences. You may know them for their adventures in dub, their expert handling of the speeding tick of the dancefloor meter or even for their lyrical affection for hi-profile crime, low-down drug use or dirty sex. You can shuffle and deal their singles, 'Women Respond To Bass', 'Biting My Nails', 'Probably A Robbery', 'Kray Twins' and you will always come up with an ear and an eye for stimulating detail. So mostly you know them for their brains and not just their looks.

Befitting the arrogance of the band who name James Brown, Kraftwerk, and The Sex Pistols as their prime movers, they're back in the arena with an album that's flush with confidence, tricky little samples, characteristic tales of late night highs and early morning come downs and, of course, an array of instruments and subject matter that is only matched by their width of influence.

Sharpening their wits and hardening their fists for the world and their art, the standard continues to be flown on this their third album 'HOWYOUDOIN?' A [showreel of works that stands firmly apart from the rest of the studio based musicians around . Recording a selection of musical genres as diverse as dub, jazz and rock and roll, Renegade Soundwave continue to write an accurate score for their own inner-city tales, ones we can all identify with. The bold use of sound finds the Renegade Soundwave vision of London transcending the cliché of monochrome urban drama the documentary makers are hooked on capturing.

The band works from the same pallets as other artists, but where outsiders see streets of despair Renegade Soundwave recognise romance, recreation, and probability. They also know how to play the flute and the piano. By listening and responding to the deeper sounds of London and beyond, rather than simply accepting them, they create their own Capital beat and like most cities, and the best recorded works, this new album changes by the track, throwing up surprises, showing a more sensitised knowledge of what's going on.

Most importantly this new album never quits with its depths of musical variety Few other artists can create such a unified sound with so many differing parts, take 'Bubbaluba' with its be-bop vocal or 'Howyoudoin' with it's traditional black leather and chrome rock and roll riffs. Amidst all of this you hear old school techno, the spoken thoughts of a post war poet in thrall with the power of political insurgence, and even the heightened tension of the familiar British hard-news documentary theme tune.

The album starts and ends in style. If you believe the sound of the dancefloor to be cruising in a rut of its own then you'll be delighted by the introduction of acoustic guitars, violin concertos, dance hall name dropping in a rock style, porn kings, dancing queens.

The album was recorded over the last two years at the Mute Worldwide studio on the Harrow Road, self-produced and mixed by the band with Mark Stent and Steve Osborne. Having taken the time to perfect the quality of their writing they now look forward to performing live, they also intend to return to much required DJ duty across London. Their independence of any particular scene is clearly evident here. They balance between new age horror and old style dancehall mayhem, an intellectual violence and physical intelligence, whatever the hell that means.  But remember it's not what you read but what you eat that counts. This is an album for big sounds and deep science. Explore at your leisure.