Tetsu Inoue has become one of the most respected minimalist electronic artsists around, highlighted by his collaborations with ambient producer Peter Namlook.

Yolo is Inoue’s ninth solo album to date and continues his love affair with the dissection and manipulation of field recordings and synth sounds – amalgamating them into jagged, rhythmic compositions envisaging a variety of moods and environments.

For example, Remote’s heaving wall of strings reminds one of the warming up of a classical orchestra processed through a wall of feedback until it slowly dissipates note by note into the atmosphere. Particular Moments is more cinematic – with widescreen strings providing soothing tension as a variety of microscopic sound particles playfully investigate.

Inoue’s more traditional ambient-techno minimalism is also on show on the opening Tane, and Flow – where Inoue injects more emotion than many artists in his field. His work isn’t repetitive, rather always in a constant state of flux – although Yolo does thaw towards the end, as its digital processing methods becoming increasingly apparent.

Complex, abstract and imaginative, Yolo is not easy listening – but seeps into the consciousness over time. Probably not his best album, but the first half in particular is likely to be very well received by admirers nevertheless.