So relaxation, or kicking back in almost any sense may not be the first thing that comes to mind when you hear the name, Miss Kittin, because after all, she's pretty much the pinup girl for anything ending in clash. She's got a personality that's hard to ignore. As far as my own appreciation of Miss Kittin goes, it's always been a thing for late nights and dark dance floors (due mostly to her collaborations with The Hacker and Felix da Housecat), however, she does have some really nice songs for quieter times. You can really tell she's embracing her "dark" side (not that she's ever played the part of "ray of sunshine"), but it's more obvious, as you can tell simply from the title of the album. But, are there quiet times to be had on her latest full-length, "Batbox"? Or is it all "clash" and smoke filled rooms?

1. Kittin is High
2. Batbox
3. Grace
4. Solidasarockstar
5. Barefoot Tonight
6. Play Me a Tape
7. Pollution of the Mind
8. Wash 'n' Dry
9. Metalhead
10. Machine Joy
11. Sunset Strip
12. Playmate of the Century
13. Lightmaker

When you're listening to her uncollaborative works, Miss Kittin actually comes across with a fairly serene way about her. If you're familiar with the work she's produced alongside The Hacker, then you already know something of how Batbox sounds as a whole. The vocals, though still prominent, are pushed back in the mix so the percussion takes lead. The drums most often adopt the stiff, 4/4 marching pattern of her club hits of the past; bass, snare, bass, snare, bass, snare, with the bass kick on every up and down beat. Her vocals however, while still true to her trademark, are in some way more mature, more refined than raw.

"Solidasarockstar" is among the first tracks to break the marching pattern as it takes the tempo down nicely, while Miss Kittin's vocals drop a certain kind of melodic 80s glow that gives everything an ether-dreamy sheen. This song doesn't have the strongest lyrical display though. You can expect tracks like the upbeat stomper "Barefoot Tonight" to resonate, both lyrically and percussively with many Kittin fans.

"Play Me A Tape" is among my favorites. It revisits the melodic 80s dreaminess of the aforementioned song, but this time the lyrics just add strength on strength. Past, present or future, this is a perfect, simple song with incredibly arranged synth work to sonically enhance anyone's omni-futuristic nostaligia.

"Metalhead" drops an amazing percussive groove for those who like a strong and persistent, up-tempo bass kick. Kittin's languid vocal style contrasts with the tempo so even though it thumps solidly, you could almost drift into a sleepy trance as you listen to it. I can't help but think "Machine Joy" is a lightly coded homage to the popular (1989) Die Krupps/Nitzer Ebb song "Machineries of Joy", which is itself an homage to the Ray Bradbury short story collection of the same name, while "Sunset Strip" makes me recall how much it really sucks to see someone who doesn't (or perhaps does) realize the glamour of Hollywood has drawn them in and is having its way just driving them into the ground. Seriously, listen to it. You'll understand.

For a French girl, more often than not, Miss Kittin produces a sound that vividly conjures up what I'd imagine the sights and smells of Berlin's city streets to be (for good and bad). The influences going into these songs are many of the same ones Kittin has indulged in since releasing her First Album in 2001; disco, 80s wave, industrial electro, and selected variations on the electronic darkwave theme that keep making me think of the more somber songs on Depeche Mode's "Violator" album for some reason.

Does Batbox live up to the tone and quality of sounds I'd expect from Miss Kittin? Absolutely. Throughout its 13 tracks you'll experience just about every high and low, in sound, feeling and tempo as you could hope for. It even comes with a 12-page booklet with illustrations by the creator of Emily The Strange.

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