It’d be unjust to describe Beatrice Dillon as a techno producer. Hailing from London, her musical life began with studies in classical guitar and other instruments before she progressed to electronics. Dillon is a listener and producer with a much wider worldview musically and a quote on the subject of techno in a recent interview in The Wire is very telling: “That’s the most interesting music now. The kind of dance music that I like tends to be made by people who sound like they’re not strictly listening to that, but that’s what they want to make.” As her techno-flavoured productions are perhaps the most immediate, maybe that’s the simplest way to pigeonhole her work but Dillon is a pure experimenter unconstrained by virtual kicks and claps, as, for example, her work with Rupert Clervaux illustrates. And how many musicians get reviews that list Jan Jelinek, Basil Kirchin and Moondog as reference points? She may be appropriating familiar tropes on occasion but Dillon is on a musical journey and we’re excited to see an instalment of it unfold before our ears at TUSK.