Damu debuts here, having been talked-up by the likes of The Street’s Mike Skinner and Mary-Anne Hobbs, amongst others, as one of the more exciting up-coming dubstep producers.

The album certainly starts brightly with the twinkling atmospheres of the title track eloping into the sparkling glisten of the pretty Breathless, and capped off by what I’d consider to clearly be Unity’s highlight, L.O.V.E with its calypso drums bouncing off sped vocals, spotless keyboard melodies and richly intricate percussion.

The soulful fourth entry, After Indigo, further pushes Damu’s glistening production to the forefront – even if its myriad of cascading tones almost drowns the mix.

However, Unity takes a bizarre turn from here on in, with the macabre ambient interlude Weapon#3 stitched to the gruesome instrumental Maths Is Fine For Sum, of which the title is a lot more cleverly rendered than the music’s gurning, distorted wall of proto-industrial noise.

The album struggles to recover from here; Cheat When U Compete is imaginatively produced but seems too self-absorbed in its own programming to embrace, whilst Trim’s contribution to Ridin’ The Hype has to be one of the most passionless and tone-deaf raps I’ve ever heard.

Unfortunately, Unity meanders to its close with several lengthy instrumentals that are all style over substance, with glossy effects little substitute for the stylish, focused r’n’b/dancepop forged on Damu’s opening clutch of tracks. Don’t Cry In My Bed ends in a superficial mess of syncopated melody tones and horribly affected vocals, and Damu appears a little lost.

Overall, there are signs here that Damu is gifted enough to bring something new to the dance world, and it’s brave that he tried a few experiments midstream – even if they appear a little awkward and misplaced, but an independent set of ears may have been needed to strip back and refocus the second half of the album to match the first.