While their stadium-sized anthemic qualities are undeniable, it's a pity that their classical leanings aren't explored more often. But somewhere along the way, the duo seem to abandon their cinematic ambitions and head straight for the kind of bombastic, speaker-blowing pop-step favored by their label bosses, Chase & Status, such as the swaggering, metal-tinged wall of noise that is "Me and You," the fuzzy synth stabs of chart-topper "Promises," and the spacious early-'90s rave-inspired "Innocence," all of which contain the ethereal and often acrobatic vocals of Stephens' girlfriend Alana Watson. Having recently collaborated with the BBC Philharmonic Orchestra on an equally adventurous project, the pair are no strangers to epic symphonies, and the likes of the thunderous "Doomsday," a Dizzee Rascal-esque fusion of stinging guitars, filthy basslines, and techno beats, the euphoric arms-in-the-air instrumental closer "Departure," and the atmospheric, echo-laden "Scorpions" are all underpinned by the kind of grandiose orchestral flourishes that made Vangelis a household name. Right from the ominous proggy opener of "2808," the year their post-apocalyptic "movie" is set in, it appears that they are up for the challenge. The idea of creating a score for a fictional film is nothing new, but London producer Daniel Stephens and Joe Ray, aka Nero, are perhaps the first act from the increasingly dominant dubstep scene to tackle such an ambitious concept with their debut album, Welcome Reality.
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