Where a sense of shyness helped make Pull My Hair Back so charming, Lanza’s increased confidence provides so much more color on Oh No.

Wrapped in a overwhelming number of influences, Oh No vaults across an infinity of cultural milieus to find itself. Soft and sensual, alone in a room of millions, Lanza weaves past and present, dance and desire as one in a dizzying, strenuous aesthletic attempt at its future.

Driven by crispy drum machines and shimmering synths, Lanza’s second full-length Hyperdub offering is instantly more direct and relatable than its predecessor; cloudy reverb is replaced by sheeny production.

Thematically the songs stick to the familiar pop terrain of love – the least adventurous thing about them – but Oh No nonetheless makes a convincing case for broadening the term "pop star" beyond the glamazons.

Oh No aims for pop and hits it squarely. This might not be usual top-40 fodder, but any song will seamlessly fit into the rotation of music whose primary aim is to be as appealing as possible.

Oh No is a gorgeous and deadly pop music manifesto that proves yet again the sad girls are not vulnerable and silent subjects.

Oh No is an inventive and enjoyable pop record that only falls short of Lanza's own standards.

While Oh No may have sparse songs, there are rarely moments of silence or extended low energy moments.