IDM is quickly becoming the emo of the electronic scene; the genre that people seemingly couldn't get enough of a year ago has rapidly fallen from grace with beat-heads and blip-hoppers alike. Less than a year ago, young Richard Devine was the toast of IDM-dom, the newcomer who had both the skills and the creativity to bring the then-burgeoning genre into mainstream consciousness. His debut mini-album, Lipswitch, won him such critical acclaim here and across the Atlantic that, in many circles, he was regarded in the same high esteem as such pioneering stalwarts as Aphex Twin and Squarepusher. But that was then, and Aleamapper is now. The blips, skips and bleeps that sounded so fresh a short time ago now sound rudimentary and stale. They are victims of the proliferation of a genre that he helped create, which for the last year has mercilessly thrust itself and its second- and third-hand wares upon listeners the world over. The demonic thrill of grinding, beat-driven compositions like "Foci Duplication" and "Horizontal Deflection Plate" is gone, replaced by indifference and boredom. We've been there. We've done that. Even the album's most inspired moments -- particularly the minimalist, sci-fi ambience of "Float 82" and the steely industrial resolve of "Error Trapping" -- fail to stimulate the senses the way that Lipswitch so effortlessly did. The strange thing is that nothing has changed for Devine -- he's still at the top of his game on Aleamapper. It's just that while he was off practicing his loops, someone changed all the rules without telling him.