For much of the late 2000s, Mike Paradinas put his output as µ-Ziq on hold, and instead focused on making his label Planet Mu the home of cutting-edge artists like Kuedo, Venetian Snares, and Starkey.

Aside from his Heterotic project with wife Lara Rix-Martin and Gravenhurst, which released its debut, Love & Devotion, early in 2013, Paradinas hadn't released an album of his own since 2007's Duntisbourne Abbots Soulmate Devastation Technique, which channeled the anguish of a breakup in its claustrophobic atmospheres, prickly beats, and barbed melodies.

Chewed Corners, the eighth µ-Ziq full-length, is as playful and eclectic as its predecessor was consistently bleak.

Before the album's release, Paradinas said he made this music for the sheer fun of crafting tracks; while he was one of several leading lights of late-'90s/early-2000s electronic music to make a comeback in 2013, Chewed Corners doesn't feel like a grand statement -- which, in some ways, is a relief.

Instead, pent-up creative energy bursts through these tracks, which range from pleasant, like the mellow, bouncy "Smooch," to exciting, like the seven-and-a-half-minute tech-house excursion "Weakling Paradinas" that closes the album with a standout bassline and soaring choruses.

What may surprise fans is the relative lack of wild beats, which are usually a staple of Paradinas' work.

Instead, he focuses on his flair for layered arrangements and dazzling counterpoint, both of which shine on "Melting Bas." He takes this layering a step further throughout the album, juxtaposing not just sounds but past and present influences, including artists from his own label's roster.

"Tickly Flanks" alone nods to Kuedo's fondness for brassy tones, as well as Chicago footwork and acid house; "Twangle Melkas" and "Wipe" incorporate dubstep and grime with '80s elements that could seem incongruous if they weren't blended so cleverly; and "Taikon," "Christ Dust," and the outstanding "Houzz 10" nod to the halcyon days of Aphex Twin and Orbital.

Ultimately, Chewed Corners may sound the least like a typical µ-Ziq album compared to the rest of his discography, but it reflects Paradinas' knowledge of, and pleasure in, over three decades' worth of electronic music.

Even if it's not as striking or emotionally resonant as Duntisbourne Abbots Soulmate Devastation Technique, it's certainly an engaging, welcome return.