When thinking of Alex Ridha’s Boys Noize imprint, the expectation is you’ll hear acid tinged electro, sometimes (purposefully) dumb, often intelligent, always geared toward the dance floor. There aren’t many moments of introspection on this label – time after time, it’s the soundtrack to a really hard dance. Scntst offers a welcome new flavour for the imprint.

At just twenty years of age, Berlin based Bryan Muller understands the workings of such an important label. Self-training himself in Ableton software three years ago, he has quickly mastered the art of production and in just a short few years has made the transition from bedroom producer with a couple of releases on random labels to an artist of great promise. He’s also achieved something many producers before him have failed at – the consistent electronic long player – and also managed to produce something which embodies the ethos of Boys Noize label whilst sounding nothing at all like a typical artist on the label.

Opener “Velour” acts as an electronic lullaby, intricate with subtle beats, the rich, dreamy basslines transporting the listener to an altered state of consciousness. “Wavez Change” is equally as understated, tinkling pianos and dub basslines coat delicious Neptunes influenced beats, it’s a deceptive intro as the album quickly cranks into a number of pounders, “Park by Night” and “Percee Scan”, for all the robust techno bluster they give off, both still retain a melodic edge. “Murder”, equally as hard utilises jazz drum breaks into its 4/4 punishment to jaw grinding effect, “Loqui”’s glitchiness is reminiscent of of early 90’s Aphex Twin whilst “Chillinger Track” indicates a love of old Kruder & Dorfmeister remixes of hip hop tunes as well as other Warp acts such as Autechre, Black Dog and Boards of Canada.

Jazzy drum n bass also makes an appearance with the mournful “Fovea” before effortlessly switching into early 90’s trance on “Mintra”. The album closes with the title track, the disconsolate despair of it all sounding like it was recorded in the middle of the night after struggling for inspiration during a ten hour studio session. It was worth the angst – he found it, it’s beautiful.

Self Therapy wilfully plunders from a myriad of styles from electronic music’s rich past and visits a large number of emotions while doing it. It’s pre-partying get togethers, its 5am at Berghain, it’s back to mine for afters and the inevitable headache that follows. Muller has shown vast skill to visit such a variety of sounds and present it with such cohesion, the schizophrenic approach to his productions could have been his downfall – instead, it’s what makes Self Therapy such a thrilling ride.