Someone could say that there are less and less sound artist in that narrow field of the so-called abstract techno or that many of them are migrating to the neighboaring grounds of ambient or rhythmic noise, but giving it as a pretext to gather that there's nothing new to add to the scene could be quite irksome and "Supercodex", the album that ideally closes the trilogy, which started off with "Dataplex", the majestic sonic essay on data-within-sound, and carried on with "Test Pattern", a merely conceptual output where data became generators of sound, adduces evidence that something has been left undone yet and Ryoji Ikeda, one of the greatest ace of that scene, did it by following a staggering strategy. He doesn't add anything to his tested sonic soup, but he preferred to subtract indeed! With the exception of some occasional glomerules such as "Supercodex 14" and "Supercodex 15", where I heard a sort of suffocated barking (maybe an aural hallucination?) in the deluge of piercing pulses, or occasional outbursts ("Supercodex 17"), Ikeda trimmed sound particles by extremely scrupulous crumbling. Such an extreme pulverization of sound could be considered a proper quantum jump of Ikeda's investigations, which don't disappoint expectation at all by a somewhat quicksilver choice. Hats off!