(Domino)The singer and producer has absorbed
Chicago house, Robyn-style pop and dub reggae, and refashioned them into an album about being ‘consumed by night’
![Georgia: Seeking Thrills review – a bold British hymn to hedonism](https://i.guim.co.uk/img/media/a1d7ba30eeeeb594e6215d41f746777698562868/0_541_3000_1798/master/3000.jpg?width=1200&height=630&quality=85&auto=format&fit=crop&overlay-align=bottom%2Cleft&overlay-width=100p&overlay-base64=L2ltZy9zdGF0aWMvb3ZlcmxheXMvdGctcmV2aWV3LTQucG5n&enable=upscale&s=6d7bdbc5ba400d0872909ea4c26e1aa9)
The photo on the cover of Georgia Barnes’s second album seems telling. At first glance, it looks like one of those classic late 80s/early 90s club shots that get ageing acid house veterans moist-eyed with nostalgia. If you were hopelessly prone to romanticising, you might imagine that the people in it were dancing to a track made by Barnes’s father Neil, one-half of progressive house pioneers Leftfield. But it isn’t anything of the sort. On closer examination, it’s not a vintage photo of a rave but of a kids’ party; a 1988 image by photographer Nancy Honey, titled St Stephen’s School Disco, Bath.