Former sound engineer Andy Hunter follows up on his debut album Exodus, released 5 years ago. To date, Hunter is probably best known for writing music for computer games (Black Hawk Down, Need For Speed Underground), movie trailers (The Matrix Reloaded, Tomb Raider 2), and TV Shows (Ugly Better, Alias) but with Colour, Hunter tries his hand at downtempo electronic pop.

Sound Pollution opens with lush and grandiose strings, in-keeping with the soundtrack world Hunter most frequently inhabits. Fast-paced beats are gradually introduced along with clashing electro melodies, although the lyrical structure sounds somwewhat old-fashioned, some of the programming introduced later in the song is invoving, tipping a hat to the defunct Psybient project, Shpongle.

Hunter’s influences become further evident on Stars. Its building piano melodies set to soft beats reeks of Moby (likewise the title), as the track develops into a fairly likeable electronic pop ballad. The same can be said of the following Shine, this time featuring the female vocals of Shaz Sparks - pleasing ethereal pop.

On Smile we find ex-Ultravox lead singer Midge Ure delivering lead vocal, a passable effort, and Ure delivers gracefully despite being a strange choice in this day and age.

For the most part, however, Colour flatters to deceive throughout. It’s expertly mixed – as you would expect from someone of Hunter’s background. Unfortunately, however, the transition from sound engineer to soundtrack producer to record producer is not seamless. Hunter’s upbeat dance-based tracks are mostly perfunctory; loaded with unfashionable drum pads and overly-melodramatic vocals. Elsewhere, his downtempo pop songs often lack conviction, whilst the album's reams of strings, plodding pianos and numbing beats lack imagination. Hunter is a producer that needs a producer.