There’s no doubt that Tom Jenkinson has a very different mindset today than he did as the young, introverted musician that produced hard-to-grapple-with free-jazz electronica of the late 90s, such as Music Is Rotted one Note and Budakhan Mindphone.

In many ways, Ufabulum returns to source, applying the considerable knowledge he has built-up to what is more akin to a modern-day Hard Normal Daddy. Like that album, his sophomore - released in 1997, Ufabulum is less pretentious, highly technological and more willing to pander to the whims of what he knows is like to be a receptive audience of nerds.

Yes, however, cool and bespoke Ufabulum may be it inescapably appeals to the nerd in all of us.

A racy affair, the album blasts into orbit with 4001, a pungent, anthemic ballbuster merging humungous melodic pads and whatever twisted sounds Jenkinson can burgle from his bruised and heavily circuit-bent armoury of homemade gear. The merging of 8-bit computer game melodies and furious drum’n’bass/acid jazz motifs is so slickly rendered and with such dexterity that one gets the impression Jenkinson might need to give a holiday in the Antarctic to cool off his arsenal of frazzled microchips.

The following Unreal Square – and indeed much of what follows - continues the theme, delivering passionate, splatter-gun glitch-based electronics to an audience for whom Jenkinson knows he knows how to please.

The maudlin Red in Blue, which sounds much like an ode to a tortoise, is a much-needed rest from the ferocity, but Jenkinson ups the tempo even more on the second half of Ufabulum, particularly on notable efforts such as Drax 2 and Dark Steering. For the first time in Jenkinson’s career, he seems more than happy to give his audience exactly what they want rather than make them work for it – although newcomers to Squarepusher will no doubt still approach Ufabulum with a sense of open-mouthed wonderment.

After 15 albums, the natural question to ask might well be is Jenkinson still cutting it? Well, the passion is evidently still there, and so is the brow furrowing attention to detail; the programming is dense, dissident and caustic, and offset by some beautifully rich, perpendicular melodies.

Udfabulum is certainly not a groundbreaker, but a revisit; yet having come out of a period of collaboration - this was probably the best time to do it; you can almost sense Jenkinson’s joy at being back in a more secluded environment, breathing new passion into a previous existence.