Music For Existing is a moody and nocturnal club record that uses a sonic palette lifted from jazz in the same way as Amon Tobin, Squarepusher and DJ Shadow with Roni Size’s double bass. Whether the drums are programmed or recorded, they sound like a live jazz kit, and that quality of humanness is central to what separates this record from other electronic releases that borrow jazz samples without understanding the genre.

Heavy Sound opens the album like St Germain’s Rose Rouge if he’d been raised on dubstep rather than house, with a sick 140 shuffle in the lineage of Mala. Phantom Jazz follows at a hip-hop tempo sounding like the kind of track Mr. Scruff might drop with an MC over the top. You could even imagine Q-Tip and Phife Dawg rapping over it. No One Plays The Game has a similar quality to DJ Shadow’s ...Endtroducing in the way it stitches jazz elements together to make hip-hop that’s not quite hip-hop. Hypnotoxic Laser is the closest thing to a dancefloor track in the conventional sense with a classic breakbeat roller that calls Special Request to mind, and then Musa at Erbil arrives as a two minute interlude as poet Musa Okwonga speaks about the beauty of creation as process rather than product. Remnants, featuring Duval Timothy on piano and Lucinda Chua on cello, is closer to film soundtrack territory sounding thematically heavy despite having no words and Whiplashed with Mark Cisneros on saxophone is the closest thing to actual jazz on the record with live instrumentation recorded with improvisational spirit sitting alongside the electronics. When The Sleeper Wakes closes the album across seven minutes of astral beauty, and the whole record is a rich tapestry of dubstep, hip-hop and cinematic textures held together by jazz DNA. With sub bass frequencies always present this music could soundtrack a contemplative evening at home, or rattle a sound system.