The TB-303 is one of the most iconic sounds in electronic music; a kind of acidic, alien howl that immediately places the listener in the world of techno and acid house. It is also, to be frank, one of the most over-used tools in dance music. Ever since 1987, when Chicago outfit Phuture released ‘Acid Trax’ — the first song to highlight the frantically detuned squabble of the 303 on a track designed for the dancefloor — not a day has passed when a bedroom producer hasn’t discovered the wonderfully seductive appeal of the 303 (or 303 simulator), resulting in the occasional acidic gem among reams of dull-as-ditchwater dancefloor detritus.

The problem for these producers is not just that their tracks sound derivative; it is that the definitive 303 album (with all due respect to Phuture and German knob twiddlers Hardfloor) was released back in 1993 by an artist who remains synonymous with techno today: Richie Hawtin, under his Plastikman guise. The album was called, in typically acidic fashion, ‘Sheet One’, and early CD copies came in a perforated sleeve that mimicked LSD tabs so effectively one unfortunate Texan fan was arrested for possessing it.

‘Sheet One’ was about acid, then. But the curious — and yet utterly wonderful — thing about the album was that it was both the epitome of the 303’s acidic soul and a thoughtful reaction to the hard, jackin’ sound of Chicago acid house. "I wanted ‘Sheet One’ to be this concept album listening experience thing in my mind," Hawtin told MusicRadar in 2016. "I knew I wanted it to be acidic but not Chicago acid. Not grating either. I wanted something beautiful, soulful and trippy like the guys in the ‘60s and ‘70s used to make."