futuristic 3D printer, represents Zohar trying to escape the cage or "EDM Bubble" which he had put himself in. It also represented the general struggle of humans with their boxes, with them attempting to emotionally and spiritually break out of them. The influence for Self Assemble came from late 90s to early 2000s-era dance music, in which Zohar wanted to create permanent "homages to the past". This led to him placing only tracks with non-specific genres on the album, which led to Zohar rejecting a drum and bass track as it felt out of place. Zohar also described the theme of the album as a "score for a film that doesn’t exist", as he grew up around classical music and had always wanted to write music for films as a hobby. The record also touches on the topic of dystopianism in the future; about how technology makes everything immediate yet arises new problems as humans approach the singularity. Critical reception Writing for Dancing Astronaut, Christina Hernandez said that the tracks in the record "seem to mirror Zo’s current feelings about the state of electronic", with him "translating" the "weight of his jaded thoughts" into each composition. She continued by commenting on the presence of nostalgia as an uplifting role for "Soul Food" and "Sinful", which makes one "reminisce of older, carefree times with each instrumental riff". The critic concluded by describing the album as a "more refined extension" from his debut album which has a "matured, jaded feel" combating the optimism presented in the latter. Raymond Murphy of We Rave You noted that the album "flows incredibly well as the tracks move from one to the other almost telling a story of the different styles of electronic music" and observed its similarity to Zohar's 2013 BBC Essential Mix in the way it progresses. Timmy Kusnierek from Your EDM was impressed with the way the tracks "blend together" and the story which was told with "surrealist segments", and capped "Sinful" as an "instant classic". Beatmash Magazine stated that Self Assemble "strips everything that was not necessary in his previous work [Damage Control]" to focus on building a record which is "conceived as a unique musical piece" where each song "engages with the next". The critic continued by commending the different listening experience upheld in each track and the presence of multiple genres such as future bass, dubstep and progressive house. Mixmag's