For all of 's far-reaching eclecticism (how many other artists have released a gold-certified country/pop/trap crossover and an ambient album within months of each other?), he's aware of his lineage in the dance music world, and he's always demonstrated a reverence for the history of house music, having included classic tracks in his sets since the beginning of his career. He kicked off his 2018 set at Detroit's Movement festival with 's seminal 1987 anthem "Strings of Life" (mashed up with 's "This Is How We Do It," forming a surefire party starter), and in 2019 he launched , a house imprint with an aesthetic that's more inspired by '90s club culture than his empire. 's self-titled 2022 effort focuses on tastefully produced dance-pop tunes generally more geared for the radio than clubs, and every song features guest vocalists or prominent vocal samples. Half of the track listing is taken up by previously issued singles, all of which reached the Top 30 of the U.S. dance charts. Two of the more successful ones, the -sampling "On My Mind" (with ) and the excellent "Looking for Me" (a co-production sung by ), were U.K. pop hits, with the latter reaching number four and earning a platinum certification. They're easily two of the best songs on the album, although their inclusion is a bit redundant, since both already appeared on 's 2021 EP , along with a few of his other singles. "Promises" (another / venture) and the collaboration "Don't Forget My Love" are also highlights, both featuring strong vocal hooks and piano-driven rhythms that build up without getting over-dramatic. founder and British duo add punk-funk bass and Italo-disco synths to the glimmering "Don't Be Afraid," while and 's "Forget About Me" is included in its "Nite Version," allowing it to stretch out compared to its faster, more compressed single edit. Some of the album tracks are more atmospheric, such as the simmering "High Rise" (featuring ) and the spaced-out "Waiting for You," a wild collaboration with 's featuring an extended spoken-word bridge and lots of dubby, fluctuating effects. A third -sung tune, the -co-produced "Let You Go," mixes ravey breakbeats and pianos with a slippery synth hook, resulting in EDM at its most retro-fixated. "Right 2 Left" (with ) constructs a tribal house banger using a sample of ' "Dangerous," which ends up being a good idea, although it feels somewhat unfinished at only two and a half minutes. Still, the mixture of proper hits and slight experiments makes for a well-rounded album, and contains some of the jet-setting producer's best work since the days. ~ Paul Simpson