- I’m afraid of Corin Ileto. The heavy drones, metallic ringing percussion, sweeping airy textures, dizzying panning, tectonic bass. I genuinely felt fear when I heard the first strains of her new joint Araw; And it’s not just because she’s a scarily good producer.

It’s the woozy disorientation of ear, inner and outer. Dangerously vertiginous, the vestibular overwhelm, bass that sounds somehow louder than it really is.

Production wise, there's some real special sauce here. Corin's weapon of choice used to be a solo Nord synthesiser, one she wielded with a clinically icy precision. Now though, she has embraced a much wider set of tonalities, and we are all afraid.

At a time when electronic music could only fall deeper into the fetishisation of analogue warmth, Corin brazenly embraced the digital cold, creating wintry soundscapes with sharp edges and crisp sheen.

With Araw the sound palette is expanded far beyond the clinical drilled live arpeggios of her early work, but the sonic world-building is first-rate. It's captivating and frequently surprising despite the gentleness.

Meaning 'sun' in Tagalog, Araw sees Corin finding a real warmth in her sound, with deep sinewave bass providing counterpoint to the frosty upper reaches. Araw sounds like a letter from the future, an AI remembering how to render ideas as sound.

Ambient music has seen a real surge in recent times, but Corin remains three steps ahead of the game with Araw. This is a mesmerising and at times frightening and challenging listen.

- Kieran Ruffles.