Isn’t it great when you realise how great something is after not having it around for what feels like a lifetime?

The feeling you can get after not having Salt ‘n’ Shake crisps, or the humble Mars bar for what feels like a lifetime can be brilliant. Not only does it taste as good as it did the first time, but it also comes loaded with memory montages.

As title track We Are The Night explodes into life on The Chemical Brothers’ latest album, it’s like being transported back to 1999’s Surrender, when songs like Music:Response and Under The Influence scalped you on the spot at the start of their third release.

They don’t half keep you guessing though – especially if you have the 12” release. When opening track No Path To Follow reverberates around your cranium, it starts so slowly, it’s plausible to start checking the speed of your turntable out of pure confusion.

Once your speed has been thoroughly adjusted, All Rights Reversed brings another head-scratching moment. It sounds completely like the Klaxons! But wait – that’s because it is the Klaxons! One of the six guest appearances through the duration of the LP brings diversity and intrigue where other albums would sag under ‘same song syndrome’.

Although it starts akin to a remixed version of Red Alert, All Rights… eventually shows its credentials as a future single release, before Saturate throws out the dirtiest, most contorted bassline you are likely to have heard recently. Fortunately, it only gets better.

Just as you think it’s going nowhere, out snaps a snare-roll and the whole song just flies off the handle. There is a sense of slight repetition on Burst Generator later that has slightly more in common in places with UNKLE’s War Stories, but both are incredible works of art that can’t fail to enthral.

There are tracks that can divide opinion though. First single Do It Again featuring Ali Love sounds like a cautionary tale of what can happen when Justin Timberlake’s Sexyback becomes far too raunchy and autonomous at the same time, in both lyrical and musical content.

Das Spiegel and The Salmon Dance may find many friend and foe too. The former sounds similar to the stratospheric dreaming that is a staple part of the Brothers’ repertoire, but does come with what sounds like high-pitched childlike screeches that can become highly irritating.

The latter is a fairly amusing skit featuring Fatlip; and while it does also carry some encyclopaedic knowledge within the song, it can be easily skipped over after a few listens. 

The final third of the album provides some of the best highlights on the album overall. A Modern Midnight Conversation is high on a 70s to 80s disco-synth feeling, complete with yuppie shoulder-pads and flared trousers, and Battle Scars featuring Willy Mason sees the troubadour provide some immensely impressive vocals to an ice-cold rhythm.

Harpoons admittedly isn’t a particular highlight as it ambles around with no real conviction, but aside the badly-titled The Pills Won’t Help You Now featuring Midlake’s Tim Smith, it’s a blissfully wild and anthemic ride of glorious sensitivity and delicate beat selection.

Besides the odd slip-up, it’s fantastic to hear that a prestigious dance act hasn’t lost its edge – just like Sherbert straws and Refresher chew bars…