Before Daniel Avery earned one-to-watch status with the leftfield techno of his 2013 debut Drone Logic, he was a teenager playing bass in rock and shoegaze bands. But the London producer never really left them behind. Over the next decade, as he swapped his guitar for synths and DJ decks, he drew their distortions and droning soundscapes into his world. Though the club still thumps through Tremor, the noisy textures of his youth push to the surface, shrouding the record in a thick haze that feels both heavy and weightless. Tremor’s shape formed almost by accident. A chance run-in with Wolf Alice’s Ellie Rowsell led to a joint studio session; once she hit the mic, he knew he’d found its sound. That song, “Haze”—heaving rock with frayed edges—was one of its first finished tracks, along with “A Silent Shadow,” whose spectral acid creep dissolves into bright piano and sunrise synths. The juxtaposition of light and dark, control and chaos, continues: the whispered intensity of “Greasy off the Racing Line,” swirling serenity swallowed by a fuzzed-out drone on “Until the Moon Starts Shaking.” Tremor’s wealth is also in its collaborations. Rowsell joins a wide cast of guests—from friends and contemporary peers Cecile Believe, yunè pinku, and yeule to Avery’s musical heroes Alison Mosshart (The Kills), Walter Schreifels (Gorilla Biscuits, Quicksand), and Andy Bell (Ride, Oasis). Behind the console, he recruited mixers David Wrench (FKA twigs, Frank Ocean) and Alan Moulder (Smashing Pumpkins, Nine Inch Nails). Tremor is less a producer’s solo vision than what he calls a “living and breathing collective.”