Three years on from having their debut album frequently mentioned in the same sentence as compatriots Air, French instrumental trio Telepopmusik return with a cinematic second, this time with the aid of three vocalists.

Although technically classed as electronica, they have a keen sense of orchestration that shows a willingness to include strings, brass, piano and even harp. Meanwhile the singers ensure that while the album remains down tempo it contains plenty of variety.

Angela McCluskey and Deborah Anderson both fit the bill for late night slow burners, although the former's way with Don't Look Back is over mannered, despite the immediacy of the chorus. Both suffer from over exposure to the vocoder, a trick that works in making them sound dated, but means they are at risk of losing the essence of what they are singing. Indeed, as the brass and string forces gather in Love's Almighty, McCluskey's voice becomes submerged beneath the richness of the texture.

Third up for vocal duties is Mau, a singer/rapper, whispering atmospherically on Last Train To Wherever, or providing a lovelorn lyric to Anyway, a promising song marred slightly (or enhanced, depending on your opinion!) by the ambiguity of its main line: "Well I try at least, anyway".

With these criticisms it's easy to overlook the quality of Telepopmusik's arrangements, many of which take a leaf out of Nellee Hooper's book. The atmospheric Swamp, acting as a prelude to Nothing's Burning, uses a mysterious harmonic language, as does the orchestral opening of Love's Almighty. The use of harp is particularly good, its nicely pointed lines giving a new colour at the end of Into Everything.

When taken as a complete piece of work the album's structure makes sense, although it's to Mau's disadvantage that he gets the shorter tracks near the end. McCluskey gets the centrepiece - Brighton Beach, a potentially autobiographical song that finds her pondering: "I don't put a smile on your face no more". The closing 15 Minutes is in fact made up of fourteen minutes of silence, being one of those annoying hidden tracks that make you jump just when you thought the record was finished.

Despite reservations, Angel Milk can be recommended as a good after hours album, providing you're content to let the music wash over you, and its subtle tour of down tempo musical styles will keep you largely satisfied, if perhaps a touch melancholic.

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Mercury Prize 2009 nominees