Once the novelty of that has worn off, though, Leeming's first proper album settles into a spacey, reverb-soaked groove that, while never less than well-turned, doesn't always leave much of an impression. "Betrayal Of Another," for instance, takes about four minutes to get to its rather underdeveloped melodic lead. Songs like "The Tracker" and the equally relentless "Beneath The Mine Chamber" sound rather samey. This despite Leeming's intention, clear in the press notes, that Beyond The Heliosphere should work as an album of tonally distinct tracks.
What Leeming is great at is bringing non-techno elements into the mix. "A Hero Scene" is a sonic weapon of serrated synths and whomping bass, equal parts dubstep and techno. "Battle For The Tabernacle," which gradually evolves from cool, purring electro into a violent storm of lasers and shattering glass (complete with a stadium-ready breakdown), could easily slip into a Boys Noize DJ set.
In the context of Beyond The Heliosphere, this kind of thing adds vital colour to Leeming's palette. At its brilliant extremes—the Vitalic-esque vibes of "Pipes At The Helios Canyon," the widescreen ambience of "Free Man"—there is clearly a lot more going on with Leeming than mere Detroit revivalism. He is, you suspect, more talented than this album suggests.