Where Detroit native Robert Hood spent much of the 2010s concentrating on Floorplan, his gospel-sampling house duo alongside his daughter Lyric, Mirror Man marks a return to the steely, no-nonsense techno with which he made his name in the '90s. With his 1994 album Minimal Nation, Hood drew up the blueprint for the coming decades of minimal techno, sculpting undulating synth patterns around unsparingly austere drum programming. On Mirror Man, his sounds are beefier than they once were: His drums pack a heftier punch, and in place of the silvery slivers of classics like “SH-101,” we get the cavernous chords of “Nothing Stops Detroit” or the burnished tritones of “Run Bobby, Run.” But while Hood rolls out heavier artillery than he used to, his habits are as spartan as ever: Every track makes do with just a handful of synth sounds, which pump and glisten like the components of a well-oiled machine. It’s a vision of techno at its most breathtakingly efficient. A handful of ambient interludes, meanwhile, round out his martial floor-fillers with pensive atmospheres that serve as escape hatches to destinations unknown.