In the words of the man himself, this is “another recent jam” by Matthew Brown. It’s a little less minimal than we’re used to, managing to maintain a sense of structure and event across its five minute course rather than lulling us into a state of retro-futuristic torpor via repetitious pulses. It reinforces that Brown’s approach – while apparently rooted in analog sounds – continues to evolve.

I’ve not had the chance to see Brown perform live yet, where apparently he shines. If you’re in Sydney on December 14 you’ll have the opportunity to see him play alongside Michael Ozone, Lucy Cliche (Naked on the Vague, Half High), Pettigrew and MOB at First Draft Gallery. That’s definitely a great line-up.

We’ve already gone slightly apeshit over Matthew Brown’s tightly wound electronic music before, but here’s some more for you, and this time we’re dealing with something considerably more minimal. If you can imagine a smartly dressed Optimus Prime ever so gracefully (sexually?) budding from his practical vehicular form into a robotic mech-jiver to be reckoned with, then seriously: let’s meet up for a beer. You might also appreciate this Matthew Brown track. Brown describes it as a “post coffee breakfast jam”, which isn’t very futuristic at all.

Back on topic, ‘Heady Foot’ isn’t much of a departure from that earlier material we showcased: it’s got a slightly dusty occult vibe to it, which is a byproduct of the age of this aesthetic, I guess, more than intent. Make sure you listen to this on a set of headphones, because through computer speakers it sounds kinda like a ringtone. You need to hear/”feel” the bass, because when you do, you’ll come one step closer to knowing why 128bpm pulses are actually right up there with blast beats and pork rolls on the great shit-eating grinner’s list of the very best things.

One of the best websites on the internet at the moment is Matthew Brown’s Soundcloud page. Brown plays in used to play in Zond and Super Ryden Machine, but alone he makes unfussy techno music, unfussy because it usually comprises a simple 4/4 with a straightforward lead line and quiet peripheral texture build. ’34 Nomophilia’ is all strobing raster graphics and greyscale shadows  – a minimal digital vista that thumps when played really loud.

Brown’s Soundcloud has been updated regularly of late, and there’s four tracks of material to cue up: recent highlights include the comparatively maximalist ‘Revll’, which calls to mind fellow Melbourne retro-futurists Forces. My favourite though, is the beatless drift of ‘Nihilarian’, which plays out like a walk through a low-poly 3D moonscape.