Enigmatic Mancunian producer Andy Stott‘s output, these past few years, have been an exquisite portrait of what’s been going on in the post-dubstep electronic world. Dubstep’s ferocious bassweight is tempered with intricate, precise grime beats; weightless, ethereal, dreamy synthpop – all polished and poised, seemingly, by the human hand. This particular phase of Stott’s career started with 2011’s essential twin releases, We Stay Together and Passed Me By, when Modern Love label head Shlom Sviri suggested to Stott that he start incorporating found sounds, field recordings, and real world textures into his hardware-infatuated Detroit Techno emulations. Stott’s previously pristine Techno became slavered in hiss and static, seemingly emerging from some nightmarish late night radio program, tuned between stations. Stott further abandoned the cleanroom confines of the digital with the following two LPs, 2012’s Luxury Problems and 2014’s Faith In Strangers, which incorporated vocals from Alison Skidmore, Stott’s teenage piano teacher. Together, the pair dished out a kind of slo-mo post-industrial New Wave, somewhere between the graceful pop deconstructions of Arthur Russell, the existentialism of the …