As perfectly affable as Chris Cunningham probably is down the pub with a bitter and a cigarette on a Sunday afternoon, as far as character scans go, this doesn’t conjure a pretty picture. If he lives as he works you can bet he’s not at the top of many Christmas card lists. He has the freedom of the city of your darkermost thoughts, and he goes there all the time. Although this collection does paint (pixellate?) him out as a broader artist than many who just know him as the guy who sewed Aphex Twin’s face onto all those little gingham-dressed girls and scared the bejesus out of you the first time you stumbled on ‘Come To Daddy’ in the early hours of the morning may believe. However, in ever single instance he seems to be similarly playing chicken with the musical track. Inevitably though neither move an inch and he dislocates limbs-a-plenty in a numerous creative head-on smashes. From the vamp-serenity of Madonna’s ‘Frozen’ and soft bliss of Porishead’s ‘Only You’, to the staggering cold mechanical passion of Bjork’s ‘All Is Full of Love’, to the harsh disorientation and dark humour of Leftfield’s ‘Afrika Shox’ and certainly in Squarepusher’s outrageously frantically hilariously distorted ‘Come On My Selector’, he is magnifying the atmospheric premise of the song and hijacking it, staffing it from his own warped worldview. Exactly which world isn’t clear, if it’s this one it’s looking through one hell of a lens. His adverts aren’t as much cop but his ‘Monkey Drummer’ video instillation is exactly the kind of craziness TV screens were made for.