Gábor Lázár's albums Unfold and Source were vivid, mind-bending efforts that contorted grime, garage, and techno rhythms into mathematical exercises, yet were unmistakably fun and danceable. Boundary Object, his second Planet Mu release, is a series of unedited tracks recorded in real time using a compositional interface created by Lázár himself. It contains the type of snappy, elastic rhythms and shimmering textures that Lázár had developed through his previous releases, but it feels like he's constantly throwing wrenches in the machine and producing spontaneous disruptions. It's far more ordered than the juddering, arrhythmic chaos of his earliest releases, but it still has a bit of that sense of anarchy, making it feel like he's hacking into the structure of his previous two albums and manually reconfiguring them. At some points, this results in glitch overload, like on "Boundary Object II" and "VI." Other tracks, like "IV," are like dub techno records being smashed and tossed into a sinkhole. "VII" constantly interrupts the rhythm to insert thick, bassy squiggles. Far less DJ-friendly than Lázár's previous two records, Boundary Object is nevertheless a fascinating album that feels like a direct trip deep inside the music in order to subvert the process and uncover unexpected outcomes.