Boundary Object marks a shift in Lázár’s style, technological and otherwise. The producer programmed his last couple of albums, 2018’s Unfold and 2020’s Source, using Logic, the ubiquitous software on which he cut his teeth as a young beat whiz frequenting Budapest clubs. Full of sinuous techno, these releases were deeply pleasurable and coyly nostalgic. Yet Lázár sought more control, so he produced his latest using the endlessly customizable software application Max. The album revels in the plasticity of sound, offering an unblinkingly serious technological immersion he hasn’t attempted since his early career. Newer fans may miss the propulsive grooves, but Boundary Object expands on many of Lázár’s strengths while pointing toward another kind of physical movement. The LP’s jerky tempos and frantic, arhythmic bass drum seem more modern dance accompaniment than soundtrack to a night out. For Lázár, such an opaque language is innate: He performed each track in real time and then released the recordings unedited. (Pitchfork, Daniel Felsenthal)