This album followed a near death experience for Martijn Deykers, but you wouldn’t need to know that to feel deep introspection here. From the Burial-like “Manchester” – dedicated to Deykers’s late friend and mentor, Mancunian drum’n’bass mainstay Marcus Intalex – through to the fragmented, almost ambient “Dreamers,” it feels like you’re entering the corridors of his mind. It’s a consolidation for Deykers, who had come through drum’n’bass and post-dubstep: built around a UK garage rhythmic framework but with the kind of rugged surface textures that make it a 100% natural fit for Ostgut Ton, the Berlin label affilliated to the Berfghain club. Indeed, along with other late 2010s albums by Deykers’s friends Shed and Steffi, it helped cement Ostgut’s pre-eminence as way more than just a techno label. Gorgeous, intense and endlessly playable, this is the epitome of a dance artist reaching maturity.