3 years on from their impressive 'Killing God' album, Ultraviolence move ahead with that unmistakeable techno/cyber style, this time aiming to appeal to a slightly wider audience. Whilst, Killing God, fused cyber-house with gabba, 'Superpower' dispenses with the harshness of the aforementioned, and now thanfully dissolved Gabba genre, and concentrates on the more 'marketable' techno-dance scene. 'Superpower' contains Ultraviolence usual mix of pulverising beats and treated gothic cyber-vocals, however, this falls short of 'Killing God' simply because the songwriting strengths of that album aren't quite as evident this time around. Despite that, there should be more than enough to get people dancing in the clubs, particularly 'Elektra' with its repititious, formulaic house-style lyrical euphoria and relentless, thumping dancefloor beats. The killer track is undoubtadely the title track, fusing drum and bass, Prodigy style vocals and anthemic electronics.

Another feature of Johnny Violents latter day songwriting is the fusion of classical samples with powerhouse dance-beats, as displayed on 'Airbreak', although he doesn't really hit it off successfully on this occasion. Much of Superpower is geared towards live performance, and Johnny aims to please. On 'Race Face' he excels in revving up and reversing the beats to ridiculous velocities, however, none of it really means very much and these are not new Johnny V party tricks we're hearing. Crash and burn is certainly the theme of the album, but too often 'Superpower' races through one ear and out the other all too fast, and its not the longest of albums at 45 minutes. Nevertheless, it still has its moments, 'Separation' is a superb track, more thoughtful indeed, with Johnny V's vitriol on top form. 'Team UVR' closes the album, and as you would expect Ultraviolence throw the lot into the boiling pot. Despite certain deficiences, and whilst this is certainly not likely to be ranked as a classic Ultraviolence album, it should still please fans of Johnny V's unique style sufficiently enough, if only because he is undoubtadely unique and his music still retains that essential self-depreciating humour.