What do you get when you combine the synth-pop smarts of Depeche Mode with the sleazy, dirty lyrical imagery of Nine Inch Nails? To be honest, I've never really asked myself that question, but if you have been asking it, then the answer is "Seabound". This German duo have created a rather distinct sound that blends the sounds of the two bands above, and surprisingly, it's a combination that works very well.

The Depeche Mode connection is especially valid, because Seabound vocalist Frank Spinath sounds like he's somehow related to David Gahan, so much so that if the mere thought of Depeche Mode sends you into spasms of revulsion, you're unlikely to get much out of this record. This is especially highlighted on some of the more conventional "pop" oriented songs on the record, such as Transformer or Poisonous Friend, which sound like they may have been pinched off an obscure Depeche Mode or Joy Division album.

On the other hand, Seabound manage to avoid the lyrical self-loathing and hopelessness of those bands, the lyrics here take the form of narratives, usually with a dark, nihilistic, sleazy bent. There are echoes of Trent Reznor in the lyrics, although Seabound are infinitely more subtle and skilful with their lyrical evocations. Be it the story of the friend who turns out to be a murderer in Poisonous Friend, the sleazy story of tying a girl to a tree, taking pictures of her, and uploading them to the Internet of Digital, or the simple declarations of Go International ("South American poetry never worked for me/Italian pornography sometimes did."), the band is adept at conveying a mood that is dark, seedy, and somehow sexy at the same time.

It's not all good though. At several points on the album, the band falls into the trap of producing harsh-sounding tracks that really serve no purpose except to highlight just how good the good songs on here really are. Examples of this are Contact, which is basically a simple beat mixed with some abrasive synthesisers. At points, it approaches the musical meltdown of NIN's "The Fragile", although it never quite gets as bad.

Still, it's a tribute to the quality of about two thirds of the songs on this album, that they manage to eclipse the one third that are absolutely woeful. "Beyond Flatline" is a record that is dark, brooding, menacing, sordid, and at times surprisingly danceable. It's not going to be to everyone's taste, but fans of intelligent electronica or new wave music will really enjoy this.