Andy Stott has progressed from making high-quality dub techno to exploring singular and more adventurous strains integrating hardcore techno, post-punk, and dream pop — among other inspirations — that have evoked feelings ranging from dread to exhilaration. Stott returns with Late Loop, his first album in five years this October - the product of fewer tools than usual: made using no basslines, no reverb, and no other effects but a delay unit. 

The diverse sonic worlds Carmen Villain has built throughout her career are shaped by an endless curiosity for sound. Working somewhere between dub’s blunt rhythmic pulse, physical bass and the immersive textures of fourth world, Villain approaches composition as an act of memory and transformation, where sounds erode, repeat, and reappear in altered forms.

Channelling the rhythmically diverse MIDI experimentations of Mark Fell or Autechre and soaking them in bright synthesiser sound design, Church Andrews & Matt Davies have found a unique approach to their compositions and performances of electronic music, in which Andrews’s synth sounds and Davies’s drum performances act in response to one another.