With the closure of superclub Cream confirming dance culture's slide into recession, this is not ideal timing for the release of Alexander "Sasha" Coe's official debut album (in fact, he released one in 1994, the underwhelming Qat Collection, but that has been erased, Stalin-style, from his history). Over a decade after Sasha became the first turntable pin-up, it is an impressive, if limited, piece of work. Compared with Paul Oakenfold's Bunkka, which strained to incorporate hip-hop, rock and the kitchen sink, Airdrawndagger is so purist it is almost hermetic: no samples, no guest stars, no vocals at all. Sasha and his studio partners have taken the atmospheric techno produced by Orbital, Future Sound of London and Aphex Twin in the early 1990s and updated it with laser-guided precision. Synthesised melodies swell from ambient trickles into great, lush waves and splash over crisp breakbeats. Accomplished enough to thrill initiates while too cloistered to win many new converts, Airdrawndagger says a great deal about dance music's state of play.