Dance music has always had its synthesists — the kinds of producers who knew there was more than just an “Amen” break and a penchant for diva vocals that united the strains of post-house music that erupted from the hardcore continuum at the turn of the ‘90s. And Sherelle is made for our moment in that category: with jungle, footwork, techno, and house all recognized as crucial interlocking components of a modern genre-polyglot sensibility, her tracks on With a Vengeance double as reclamation and expansion. If you’re even casually versed in classic dance music, you can probably catch on to what she’s doing pretty quickly: digging into the inner workings of these styles, rewiring some of the cables, and letting the breaks banter with each other until you forget what year she’s turned her time machine to. That makes it resonate — these aren’t retro moves, they’re sparring matches. “Enter the Void” busts out with a vintage Metalheadz d’n’b atmosphere that drops a kiloton of bass, only to reveal as it goes that the negative space between those woofer-rattling hits is where the tension is. “XTC” threatens to follow suit, only for its junglist maneuvers to get twisted into a burbling juke assault with vintage dub alarms and ocean-deep ambient washes — though its soaring vocal sample could move any floor regardless. “Freaky (Just My Type)” is there to remind you that neo-hardcore can still be pop; guest vocalist George Riley sings as though she’s ideally embodying a sort of universal depiction of ‘90s R&B and its lingering presence and impact in contemporary club music. And cuts like the hyperfrantic acid assault “Speed (Endurance)” and the Jamaican soundsystem-diaspora reconstructing, sax-smearing “Love Your Enemies” are so upfront in their unapologetic love for the hardcore continuum’s darker, heavier moments that every glimmer of light within stands out like a comet.