The new breed of British Asian producer/vocalist teams who represent not just where they're from, but what they grow up with. The beats distinctly draw influence from the American hip-hop and R&B which litters our mainstream charts at present, but there is also inspiration from new age garage MC'ing and British hip-hop. On paper, you could not ask for a better representation of Asian urban Britain.

The front cover is what I thought we were trying to get away from. Menis and Nazza T have their pictures there and that is what the subject of 'Spot The Difference'. You know when you're 12 years old and make a newspaper front page in school; this is what it looks like. Red top, too much going on and put together in a collaged way it wouldn't grab my attention in a shop. Also, the two boxes shouting track names suggest that the disc is a sum of parts and not one project. I also hate it when they say what type of music an album tries to be…don't do everyone else, just do you.

The intro is good, capturing the claustrophobic ambience of a rave to begin, we cut to Nazza at work on a hospital nightshift where Menis updates him with how the rave is going as his patient dies…but going to the studio after his shift is more of a priority.

The first proper track is 'Sshh!', a satirical look at clubbing in the Asian scene. The Arabic-type flute work with the beat composition, but this is Menis's track from start to finish. His lyrics are hilarious in numerous places - 'When I'm drunk I'm not that fussy / my chat up lines were kinda rusty / so I took this girl back to my yard / and we got up to some masti' - and the anthem chanted hook are what made this a surefire radio hit many months ago.

We take an R&B flex for track three, with Esh and Renu providing some singing in between Menis's flows on 'Whoah.' Production-wise, much is left desired, with simple sounds and no catchy elements making you look for more from the human instruments on display. Esh's voice is nice but unchallenged, and the Asian vocal from Renu is put through that awful telephone decoder which a producer generally uses when his expensive vocalist has no talent but he can't afford to make he/she re-do the vocal.

'Pyar' is the next track, which has more of a desi influence on the music. The production skill is again not high, with the tablas standing out too much from the western drum sounds. Manjeet Dhaliwal joins Renu on singing duties, and although Renu's incessant wailing is irritating over Menis's off beat verses, the choruses and verses they sing are alright. Renu's words are recorded well and her voice sounds warm, but Nazza T must have tightened the vice holding Dhaliwal's balls to make him reach the high notes which he does in a shamefully off-key performance.

Number five is 'Club Vich', which - if you never guessed form the title - is one to get crunked on. The beat is good, on a reggaeton vibe, and Menis is on top of his game with his flows on this. Bob-E adds the 'desi daru' lyrics that you'll sing along with and the duo respect Reaggaeton's roots by including a Spanish verse in there too. Production is much tighter than we have seen, with tumbi, flute all sewn together over the beats and 'hoi hoi!' noises. The hiccup at the end is spot on as well.

After that madness, we slow down to a conscious track on a slower beat called 'Life'. Menis speaks of all the badness in the world. On a harmoniously produced beat with a nice piano roll. Conscious MC'ing can bring out the best in a lyricist, and Menis does well, but he seems to lack soul on what he chats about. I do not feel the emotion that such a track should automatically bring through. There is no power in his voice which gives an impression that Menis is paying lip-service while his competitors in the scene make tracks like 'Seven Seven' (Mentor Kollektiv) and 'Challa II' (Swami) and he has to be part of the gang.

Track seven is more of a skit than a song, but after Menis loses his temper with those who don't pay for music through downloads he spits some clever flows over a sounds from Rashad, a talented beatboxer. He names several music download programs and it takes talent to get these in as rhyming couplets. The doubling is good as well making him sound more passionate about people stealing his music than what he was chatting about on the previous track, and there's some hilarious adlibs in there as well which I can't repeat here but the swearing does not take anything away from the track.

'Don't Beg It' comes next and after a sample taken from what sounds like a film, a pull up replaces that with a thick grime-styled beat with Menis in his element. His verses are good, and his slang and flows compete with anything in the Asian scene now. The hook, however, has had its style bitten from Bruza, an East London grime MC who spits with a Cockney accent.

We have a little interlude from our beatboxer Rashad, before track ten, called 'Kinda Crazy' and featuring Hindi R&B singer Ray. The intro is quite dramatic and that is retained to some point throughout the track, although his chorus is sung in the same style to the bridge in 'Sshh!' It's an alright track, with minimalist production which works with good background noise and the drops are taken to high standard.

Nazza T goes Caribbean for the next track, called 'Bounce', which has a light dancehall vibe, but sounds like background music to Mario Kart. Menis's voice needs turning up a little bit, and Shani's R&B vocals sound mature but need a more soulful background. The tabla rolls sound good, and the chorus is a bit catchy but it doesn't find the repeat button.

We get another love song for number twelve, '3 Words', and this is the soul that Shani's vocal needed - she sounds amazing. It is Nazza this time who takes to the mic to chat about how those three words can mean so much or so little. His lyrics are alright, but when Menis adds a verse at the end, you will see how some people have a natural presence on the microphone. I liked this a fair bit, with production faultless apart from one off key and untimed guitar flop.

There's an interlude before the final track, a freestyle track from Menis on a dark tip. This track is called 'Road Runna', which is what Menis also calls himself, although there's a serious case of scitzophrenia going on because his bars throughout the album are as Road Runna.

'Spot The Difference' is not a total flop. Menis is a good lyricist with some presence on the mic, but lacks the emotion of Sarpanch and the bashy nature of AC. There is potential that needs refining which can be done with more practice. The production all over is up and down; it's great in some places but amateurish in others. There were poor choices with singers, the best of the bunch being Bob-E, but he is only used on one track and Shani is held back for the end. There are six guest vocalists but they only bring quality on three of the fourteen tracks. I'm gonna give 'Spot The Difference' 7 out of 10, which is decent as a debut release for the Xstreme Soundz label.