A bit like a pair of jeans that come pre-distressed with frays and scuffs, the debut full-length from dance duo Rezzett sounds like a once-pristine master recording that has been sun-baked, waterlogged, sandpapered and worse. And like the jeans, some might see this as a pointless pose: why resist high fidelity? But the pair – Tapes and an anonymous producer believed to be Lukid – announce the beauty in degradation, perhaps a grimly salutary lesson as our environment and politics are eroded. The album opens with a trio of excellent 4/4 techno tracks, getting huge mileage out of ethereal melody lines that soar as if through the smog generated by the industrial kick drums below them. They might sound like they were made on an eight-track, but they are actually powerfully dense, threaded with imaginative details such as the vocals that roil meaninglessly under Longboat.

But the album then broadens out stylistically, from beatless ambient (Yunus in Ekstasi) to frenetic jungle (Worst Ever Contender). In between there is Wet Bilge, a stretch of dub as dank and glittering as the title suggests; Tarang, a confidently high-speed blur of tabla and hymnal organ; and Gremlinz, a grime instrumental (perhaps a Terror Danjah homage?) with bright video-game tones glinting through the pond-water. Certainly influenced by Actress but more determinedly rooted to the dancefloor, Rezzett’s album shreds the veneered surface of digital dance to find the rich, raw grain beneath.