During his decade plus on Sydney, Australia's Electronic scene, Alex J. has performed a dozen projects under more than a dozen names, experimenting with everything from unstructured clutter to ambient noise. Now he's headed in a new direction with his first studio album in several years. The Process Void's Arcane Matter. Self-released on the Green Mutant Recordings label, the majority of the album was performed by Alex with Adrian Bertram contributing synth on 3 tracks and 3 tracks mixed by Bill Barsby. With Arcane Matter, Alex J. leaves behind the stacked slabs of large sound that classified his earlier projects and takes Process Void into more structured rhythm patterns, arpeggiated synth melodies, and bass lines fused with sound collages, atmospheric guitars, moody keyboards and occasional vocals. The result is songs ranging from Comfort Zone, a quirky track based on a distinctive loop layered with synthbass, electric guitar, and a hard drum rhythm, to the punky, throbbing bass line and chaotic guitars of Seconds. Listeners will also find the instrumental Demoralizer with it's strange samples and eerie synth alongside the vocoded guitar riffs and coarse vocals of the metal punk track Fear Monger. While earlier projects have been the result of creative partnerships, The Process Void's Arcane Matter sets itself apart as a clear representation of Alex J.'s talent and his ever-evolving musical vision. Alex J. has been involved with avant-garde/electronic music since his 1995 cassette recordings consisting of a couple ghetto blasters, sauce pans, triangle, and whatever he could find around the house. The next few years brought new musical collaborators and new gear into the mix, giving rise to a period of rhythmic, sample-based compositions under the pseudonym Valley of Death. From 2001 to 2003 Alex teamed up with Garry Bradbury (Winner/Sweden/exSize/Severed Heads) and the duo paired dark textures with a fatter, bass-drum driven sound before stunning audiences at 2002's Big Day Out festival with their performance of punchy, atmospheric electronics under the name Velocity of Detonation. Though the project reached a point of notoriety, the partnership was put on hold for a variety of professional and personal commitments. In 2003, Alex began work on The Process Void with the idea to expand in a more synthetic direction. Alex credits groups such as Skinny Puppy, Fear Factory, DAF, Frontline Assembly, Killing Joke, Wire, Severed Heads, Nitzer Ebb and Big Black as heavy influences on the music of The Process Void.