**ONE HUNDRED LIMITED COPIES AVAILABLE BEFORE THE OFFICIAL RELEASE IN 2010** Mind-blowing singles, EPs, remixes (for the likes of Simian Mobile Disco, Little Boots, Royksopp, Lykke Li, Au Revoir Simone�), a quickly-growing label (Fondation Records), and the night is his in most of the world's major cities: Danton Eeprom had it all, to the exception of a long-playing record. After making a name for himself with hits like Confessions Of An English Opium-Eater, Grindhouse or Face Control, it was time to go off the beaten path and show the way once again. Would he go for a fairly logical sweat-ridden dancefloor riot? Not precisely. Not only. Danton would make a revolution of his own, in dandy mode. Three words that will soon be on everyone's lips: Yes Is More. In a cloud of smoke, over a tight booty beat and keys delving deep into thirty years of electronic music, the french londoner sings for good and is all axes out on "Thanks For Nothing", making things clear from the very start. As one can expect, the society of cool we live in is eager to hear some singles. So be it, here's "Give Me Pain" for starters. Starting with an accordion riff, then going down and dirty with a low, sexy bass line and an organic rhythm, Danton goes where he's never been and manages to achieve something very few could be proud of over the past few years: blending different genres and brewing one of his own, in style. That's what he's going to do all along the LP, betting and taking risks instead of going safe. Everything's got his trademark smell of lust, naughty things are whispered to boys and girls' ears, all casual-like, making his tunes stick to the skin like glue. Don't think you'll be able to put the LP in a category already, as you'll soon loose track of him when hitting "The Feminine Man", co-written with french talent Chloe. Tip-toeing in a sensual and troubled world to the rhythm of strange bells, live from the gates of uncanny. Not being one afraid of paradoxes, he then makes us dive into pop grounds with a rework of disco classic "Lost In Music", with partner-in-crime Au Revoir Simone's Erika Forster. To make it complete and a definitely mad affair, Danton then indulges in the ultimate guilty pleasure -which is of course the almighty slow dance- with "Vivid Love", a haunted ballad going round in circles and exploring a maze of void and memories. All of this could almost make us forget that Danton is above all a precisely-built, error-proof mechanism. His cold and systematic beats from a few years aback evolved into a hand of pleasure he clenches more or less when he wants: Unmistakably You, Stilettos Rising or Tight are here to prove it. The last numbers seem to be here to soothe all the pain inflicted beforehand, and they're most welcome, as Attila and What's A Ballon But A Bag Of Air are as evocative as a night under the stars: Danton, until the last note, owns the night in its own way. Danton tore down the styles maps but doesn't point out which way is the way to go. All he gives is clues, hoping for the best and "keeping waving all along". If there's a life after Bret Easton Ellis' Less Than Zero, call it "Yes Is More" if you wish, but "No Future?" certainly not, Sir.