It’s hard to imagine that this year William Gibson’s Neuromancer celebrates its 40th anniversary. Having recently re-read the book for the first time in a great many years, the world building Gibson undertook in that text and the lingering cultural spectres he conjured, feel ever so evocative of moments of our contemporary lived experience. The books continued cultural resonance has resolved in a way that captured a future reading of an, at that time of its release, unknown internet era. It was an era of promise, and imagination, of speculative hope and down right uneasiness in equal parts.

In 1994, as the books 10th anniversary was on hand, New York duo Black Rain were commissioned to make a soundtrack to the audio book version of Neuromancer. Read by the author himself, this document, originally publish on a series of cassettes, would go on to be recognised as a unique glimpse into Gibson’s sensing of the characters and places that make up the Neuromancer zone.

Following a period of work as an expanded collective, Stuart Argabright and Shinichi Shimokawa, the two core members of Black Rain, decided to strip back their unit largely to a duet format. Their focus became more engaged around studio practice, and it was this refocusing that was ultimately serendipitous. As they started work on Neuromancer a number of new approaches and techniques emerged and with them came a new sonic language the pair had only imagined previously.

The audio book was a huge success and the soundtrack too was recognised for its brooding and post-industrial electronic grind. Since that time however, the recordings have largely remained in obscurity. While a couple of the pieces have surfaced in various editions including an excellent compilation by Blackest Ever Black, the entire suite of pieces has remained unpublished until this moment.

Working off the original master tapes, this edition (like the book), folds and morphs over itself in an episodic stratification. Pieces emerge, like strange architecture, from one another forming a sonic environment that feels almost tangible. I spent many weeks working on these tapes and also on the connections between the pieces. In collaboration with Stuart, our joint aim was to create a version of the soundtrack that speaks to the very atmosphere of the text itself. It’s a delight to share this collection of work for the first time.

• Lawrence English