With a career spanning more than three decades, Ryoji Ikeda has been a unique aesthete in contemporary electronics, both in music and visual arts. Ever since his first works were published back in the 90s, the Japanese musician has written and rewritten his own language, exemplarily singular, exact and precise, looking at the smallest particles of sound and light as a kind of DNA representing the physical and digital world that surrounds us. Perhaps that's why his works have grown in scale and importance, in museums or large outdoor spaces, as if his universe is expandable and resizable. And since we are talking about elementary particles, it is not strange that after a 10-year hiatus, Ikeda returns to records using material recorded between 1989 and 1999, proposing yet another hypothesis and reinterpretation of his own sound grammar. And better than that, he is also finally returning to concert halls, so soon we’ll be able to hear and see ultratronics in all its musical and visual boldness.