As a member of the Dream City Film Club, Michael J. Sheehy indulged in self-described "kick-ass rock'n'roll." Although he claims that this solo debut is a retreat from rock, Sheehy is actually forging ahead into deeply personal territory. Deep and soulful, this collection alternately makes your hips writhe to a smoke-laden groove and your heart leap from your chest with sympathetic identification. With a rich baritone reminiscent of Chris Connelly, Sheehy spins feverish tales which range from the insistent pull of "Oh Sweet Jesus" to the defiant apology of "Cross". Living in a bleak world, where even tracks like "Everything is Beautiful" contain such disturbing couplets as "Dubbed in German, subtitled in Greek / with their mouths always open but rarely to speak," Deep Blue Gene is gloriously twisted in the way that made films like Killing Zoe so powerful. On the more driving tracks, by marrying the spy themes of Portishead to the wild abandon of the Birthday Party, Sheehy gives his underbelly narratives simmering soundtracks of guitar and keyboards.

Elsewhere, as on the album's sweetest track (the gentle "I Can't Comfort You Anymore"), Sheehy stands on his own, armed with only his quiet croon and acoustic guitar. Despite his claim that "I feel so awkward/ and I feel so empty / in fact I can barely / speak at all," Deep Blue Gene speaks volumes with its straightforward honesty. After this revealing confession, he delves into "Auditory Nerves," which takes spoken word and binds it to complex and chaotic electronic loops in an attempt to hide the humanity behind a wall of sound. However, just as the machines reach their climax, Sheehy segues into a lullaby which tries to explain that "Daddy is a good man / pay no mind to what mummy said." Time and again, he carefully balances between trying to make up for mistakes and standing up for what he feels is right. This balance finds an excellent counterpart in the music, which teeters between urgent thrust and quiet introspection.

By presenting himself as a whole man, filled with pride and regret, stuck between self-interest and selflessness, Sheehy has made an honest and thoroughly engaging album.