Imagine studying a snow globe filled with humanity. We would seem strange and exotic, a fascinating Rubik's Cube of emotional permutations. That process of observation is creative fuel for Australia's The Oddness. On his striking second LP, 'Observations as a Stranger', the results are undeniable. It feels honest and vital, each track a fully functional dancefloor weapon imbued with cathartic energy. Serving as the third full-length release for the Beat and Path label, its emotional sheen is a perfect fit for the Australian imprint.

Over the last five years, the Melbourne-based producer's star has been on a steady rise, finding favour with names like Eskimo Recordings and Satin Jackets. It makes total sense: the Oddness understands groove, he knows dub and he loves organic, three-dimensional 4/4 beats. Listen closely and you will also hear a fascinated humanist too. Across nine tracks he collaborates with a host of artists, oscillating from blues-tinged beats to slow deliberate house rhythms exploring the human experience - sometimes with devastating effect.

Take for example the deep, steady house of the first single 'Exhale' feat. Anita Musca. At points her affecting vocals is at breaking point, the painful process of self-destruction and self-recovery finally hitting home. The fluid bass and slightly rising melodic motif accentuate her stressed tone: she is caught between the lure of a new self and the grief of saying goodbye to the old. That's beautifully juxtaposed with the second single 'My Awake', written by and featuring Oddness collaborator Dylan Ja on vocals. It's a slice of 4/4 neo-pop ecstasy that feels young and fresh, yet somehow transcends the musical zeitgeist. Here Ja's vocal is infectious, a celebration of self-discovery and connection that dares to be hopeful. This variety throughout 'Observations of a Stranger' makes for an enthralling listen from start to finish.

Like a lover we've never met, opener 'Serenade' takes a knee with promises of a utopian future. Soulful keys reminiscent of The Doors, swirling ambience and a contained beat played in a smoky haze serves as the perfect start. On 'Vibin' the rolling bass and oh-so-smooth drums coalesce into a celebration of sex, sweat and soul. This is no-holds-barred dance music done dirty.

The Moloko original 'Sing It Back' was a subversive exercise in submission disguised in a feel-good summer hit. The Oddness exposes that in his dark re-imagining verging on the euphoric. The guitar strums feel ominous, almost post-punk, and the bass prods and throbs like an adrenaline-filled heartbeat. At the centre of it all is the pushing, urging voice of Lil Magdalena. She sounds erotic, a praying mantis ready to devour you after sex. By the time the orchestral breakdown hits, pupils dilate and you sync: you are ready to come to her sweet melody.

Former Infusion member Jamie Stevens collaborates with The Oddness on 'Tomorrow's Euphoria'. A tempered broken beat unites perfectly with subtle percussive elements, and stuttering vocal fx and synths rise and disappear like a low hanging mist on a cold morning. At the heart of it all is a longing melody which knows how to nestle itself between those painful cracks in your heart. After all, today's torment is tomorrow's euphoria.

'Ethical Lunch' wafts in from a dusty festival dance floor to overwhelm you into throwing your half-eaten falafel into the bin for a dance. The fractured beat has cowbells, shakers, rimshots and the stern humming of a man who sounds like he just caught someone doing something bad. And between the fissures of each sound are the low-level oscillations of a didgeridoo, played entrancingly by Australian artist LunchyBloom.

There is so much space in 'Tiger Eyes' you can sleep between the instruments. It's an illusion, of course, the combination of brooding bass, guitar and drumming finesse is just very tightly packed making for a precise experience. It keeps its friends close but its enemies closer. if you are after an exclamation point it would be 'Amplified'. The drums feel urgent, the hats are sizzling, the percussion frenetic and the clap more prominent. The breakdown splinters into a maelstrom of stretching acid visuals, rising from within a deep voice boom to deliver a message about metaphysical concepts. When the track cracks back into life it is. Absolute. Fucking. Rapture. This is modern music made for modern dance floors serviced by big massive modern soundsystems.