And yet Eric San's creation manages not to draw too much attention to his efforts on the turntable, by making surprisingly emotive connections between the multitude of samples and beats he uses.

San's semi-autobiographical album is his third as Kid Koala, a personal approach that ends up with two tracks lasting just over half an hour between them. And before you cry robbery, there's so much going on musically in that period that by the end there's no complaints.

Interestingly,Kid Koala has gone back to the reel to reel approach of ten years ago, hence the two 'sides' of music that make up the record, left and right apiece. It's an original approach, and means each section is recorded live, with little to no post-production required. Generously, San recorded the album without an advance from Ninja, indicating the base of trust and mutual admiration that exists between artist and label - surely a rarity these days.

As the play between soundbites and hip hop rhythms unfold, San intersperses them with amusing vocal samples - affectionate and often funny, such as the complaint that DJs shouldn't be playing after the 10.15pm curfew. Riffs abound - hints of 12 bar blues, jaunty guitar lines and unexpected bursts of old time jazz music, all shot through with a scratch or two that's never intrusive, sympathetically done.

Several themes run throughout this aural movie, drawing reference to some of San's forthcoming characters, no doubt evident in the live show. Firstly the hints of a clarinet-playing mosquito, then the musical puppet show, then three tests from a new group Slew, no doubt featuring lovingly drawn characters.

The sheer concentration of motifs, scratching and melody can be overwhelming at first, but with more listens everything falls into place and the two strands hang together well. Lovers of experimental hip hop will love it, and those already familiar with the mischievous Canadian will know not to hesitate.

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Mercury Prize 2009 nominees