It’s very telling that they recently recorded an excellent version of Giorgio Moroder’s "The Chase" to celebrate his 78th birthday; disco rhythms inform their second album throughout in the same way it for Public Image Ltd as they recorded their ground-breaking 1979 album Metal Box.

Opening track "Chop Chop" is a shattering nine minutes of urgency, angular guitar lines, key changes which manage to be angry and euphoric at the same time, nagging disco arpeggios are fused with crashing drums of fury with percussion being king throughout. The driving, metronomic beat isn’t only influenced by the syncopated rhythms of disco, but also that of Klaus Dinger, whose devastating skills behind the kit drove the music of both Neu! and La Dusseldorf, two bands which were both pre-disco and pre-post punk.

"Morris More"’s use of thrashy guitars and proggy synths conjure up musical anxiety, nervously progressing into their version of the EDM ‘big drop’ then expertly crashing into double tracked rock riffs and disco basslines. It’s as if Rick Wakeman featured on Daft Punk’s Discovery, which on paper sounds ridiculous, through the speakers however the results are spectacular.

The darkly ambient "Zabriski"’s first half begins with beatless atmospherics and reverbed guitar twang, joined halfway by tribal percussion and emotive driving synth work, melancholy running throughout, the dramatic soundscapes indicate many a night examining the contents of Pink Floyd’s Dark Side of The Moon.

Elsewhere, "Leopolderson" is dark and soundtracky, while "Bark" utilizes complex jazz drum patterns adding a thumping 4/4 beat halfway as it mutates into a thrilling piece of live techno, as offbeat basslines and slashes of guitar are executed atop rave riffs that indicate a love for that short-lived new rave of new rave scene of a decade ago.

Like their compatriots Soulwax and Goose, Go March know the limitations caused by the confines of rock music, and ignore them with dazzling results.