Let's be honest, these days a lot of techno takes itself far too seriously. Too many artists are so consumed in their pursuit of a beard-stroking cliquey tug-job that their work ends up bordering the narcoleptic. People forget that techno should be about having fun - about strapping stupid sounds to a killer bassline and seeing what happens when you light the touch paper. Well, it seems not everyone has forgotten. Andrea Fiorito certainly hasn't...

Each of the three tracks on the Moderato Zoologico EP is seemingly more bonkers than the last, but what makes each so brilliant is the understated manner in which this is revealed. Take the lead cut, ‘Escape From Myself', as an example. After opening in the fairly innocuous manner of a typical slice of dancefloor techno, with steady bassline, pitched down vox and splashy, jackin beat, things only start to go doolally at the three-minute mark. Subtle Rhodes stabs mix with an off-kilter medley of atonal keys, while the bassline goes for a brief stroll to put some jam in the toaster. Then, after a timely interjection from a hitherto unseen female opera singer, there's a brief breakdown, a slight pause, and things return to the relative normality of the start. Brilliant.

B-side ‘Zoraida' takes even longer to play its had. After two minutes of crisp, compressed drums, in creeps a bassline, followed by a dreamy arpeggio, some rather odd strobing FX noise and a round of cheeky key stabs. Then, just when you think you've seen all that the tune has to offer, out of nowhere come the caramel tones of vocalist Amelia Saul at the five-minute mark, lacing the beats with a sweet touch of human soul. It's unfussy but completely unexpected, and that's what makes it, again, absolutely brilliant.

Finally, not one to be left out in the crazy stakes, digital-only bonus track ‘Jazzato Minimo' weds some techy, droplet percussion with warm deep house chords for the opening three minutes. Then (you guessed it), right out of leftfield comes an impromptu random piano solo. As the reverb on the keys is ramped up the bassline continues underneath, before - bam - in comes the deep house beat of the opening, this time backed up by some super fly jazz organ to really get you eating glue and shouting at your nearest lamppost.

So, it's a triple-whammy of silliness from Fiorito, but if all three of these cuts aren't massive this summer then maybe we all should head to the nearest loony bin.