Amanda Butterworth – otherwise known as Mücha – makes dreamy, sometimes dark, analogue and digital songscapes that shimmer, challenge, and always tell a story, if you listen closely.

A fine artist by training, self-taught multi-instrumentalist and DJ since her late teens, Mücha possesses a radiant singing voice, reclusive in some works (The Colour of Longing, 2016), less so in others (Misc. Works, 2018), and always there – an instrument and portal, medium and message, omnipresent in her oeuvre in shifting forms and modes. Her releases to date, for her native London’s Blank Editions, Misc. and, most recently, lauded Glasgow drone-house Broken20, paint a picture of continuous expansion – sonic, thematic and methodological – and graft: digging in, knuckling down, pushing on and through against the flow/odds. This is how artists, real ones, roll.

And Mücha’s art is just that: hers; hard to place; a constellation of influences and ideas that sits in a space of its own, both ‘inside’ and ‘outside’ the genres it courts. Of these, there are many: vintage space-pop and the shoegaze that spawned it, rolling ‘94/5 jungle (with the bouncing bass and clattering breaks), the inaugural techno of Atkins and Hood, whispery ‘IDM’, Krautrock, and the overlapping avant-futurisms of Cage, Reich, Riley, Derbyshire and Anderson. A melting-pot approach underpins everything Butterworth does, but also a purism. Miscellany, work, colour and longing… it’s all there.

“Reframing dance music” is, in her words, what Mücha seeks to do. She hasn’t set herself an easy task. But recent gigs at (arguably) London’s best club, support for (arguably) the world’s best band, and a new release in the pipeline alongside figures from both sites, suggest the direction of travel is, right now, just fine.