Richard Fearless is the moniker of London based producer and musician Richard Maguire, better known as founder of Death In Vegas. He announced the release of a new album called Future Rave Memory which will be out on November 5th via Drone. “Our Acid House” is the first excerpt.

According to the press release, it follows his critically acclaimed psycho-geographical techno masterpiece “Deep Rave Memory’”.

Across titanium kosmische, industrial ambience, weightless acid and dark drone, this new record is an instrument of evocative wonder and heavy emotion. Now bereft of dancefloor distractions, it leaves the listener no choice but to surrender themselves to its murky depths, adjust their perspective and revel in moments which glow like embers through tenebrous fog.
The two records were written and developed in tandem at Fearless’ Metal Box studio on the Thames, across the water from heavy industry and surrounded by the harsh but starkly beautiful sprawl of London’s riverfront. Both albums have emerged from his decade long exploration of dissonance and wonder in desolate settings – a theme he has developed through both music and art.
Metal Box, my studio, is located where the River Lea converges with the Thames, near East India Docks; it’s a Ballardian landscape, which constantly inspires. ‘Tamas’, the opening song, is a Sanskrit word that means darkness, which some believe is the origin of the name Thames.
On my way to the studio I pass some of the most deprived areas of London, many of which sit under the gaze of the financial center of Canary Wharf. I cycle under shadows cast by colossal data storage buildings that feed the corporate machine of the Docklands.
I think of the East India Company and the events their activities set in motion. When the wind is right, I smell the Tate & Lyle Factory downstream and contemplate the trans-Atlantic slave trade that fed this country’s love of those white crystals. On the other side of the Thames is the Millennium Dome, hovering mostly idle apart from the billboards flashing ads in unison after dark. 
I hear the constant screeching of metal-on-metal from the adjacent steel factory, and the drone of flights to and from City Airport. I sit among their ambience, feeling the pulse of the city, with the dark water a constant presence. The energy from this junction where two tidal rivers collide is powerful; it seems to heal. I think of the German word ‘Strom’, which means the flow of electricity, the flow of water.”