Unbelievably, this Bill Leeb side project is now on its sixth entry. Noise Unit has always been a leftfield experiment to what Leeb and his various collaborators have produced over the years, from the grinding industrial angst of his main project Front Line Assembly, to the ethereal/trancey gloss of the more commercially viable Delerium.

This time Leeb teams up with long-standing associate Chris Petersen to produce another installment of Noise Unit’s unique brand of biting electro-synthesis. It’s true that Leeb tries a little harder than usual on Voyeur to vary his heavily stylised brand of techno-EBM, even if the results are not always as successful as one might like. Although it must be said that the track titles still suffer from what I like to call “Leebisms”.

Illicit Dreams kicks off with a typecast lengthy intro – eventually joined by a clattering break beat and whispy vocoded vocals. The track has a strong underlying melody and is likeable. Seclusion then blends in and takes over, beginning with some sparklingly imaginative melodic tones darting over a pulsating beat and growling analogue noises. Unfortunately, the track doesn’t really expand on this interesting new direction, and all too soon falls into a disinteresting comfort zone, the sort of predictable Delerium-meets-Front Line Assembly hybrid that has soiled too many of Leeb’s recent albums.

Surveillance is more interesting; this harks back to the early days of pre-commercial Delerium, when Leeb and Rhys Fulber used to write long drifting ambient numbers that were rich in atmosphere. Paranoid is probably the only track that actually sounds like a Noise Unit track, as stacked up samples breed over a killer Leeb bass line – although forgive me for saying that the bass line does sound stunningly similar to the Boards Of Canada track Roygbiv.

Liberation meanwhile lifts off into a Front Line Assembly stratosphere, with Leeb bellowing vicious, politically inclined lyrics over powerful live drumming – he should have put some of this track's frenetic energy onto the last FLA album, the lacklustre Civilization. Strapdown, and the following Submerged swiftly follow – two driving tracks with copious amounts of overlapping samples, grooved with electronics. It's listenable, but not inspiring. The album closes as it opens, with Monolith, a lengthy, wraithlike instrumental-sounding track; with ghostly synths rinsing over a pounding break beat.

You get the feeling that this one was for the fans, knocked up by a duo with time to kill. Nothing wrong with that at all, but this is not the best Noise Unit album. Although the production aspect is much more polished than on previous releases, the songs aren’t quite as memorable as some of the corkers to be found on the brilliant Drill, and its predecessor Decoder. But considering the genre it represents, it's more than passable.