Suche:ex confusion

In early 2018, Jas Shaw, one half of Simian Mobile Disco was diagnosed with a rare health condition – AL amyloidosis – a disorder of bone marrow cells. Having just completed SMD’s 7th studio album Murmurations and with a special show at the Barbican scheduled for April, things were thrown into confusion. At the time, no one, including Shaw, knew how the prognosis would pan out. Jas had to start chemotherapy almost immediately, which meant cancelling the tour. The duo decided to go ahead with the Barbican show in spite of Shaw’s illness, which was especially poignant as all involved knew it could potentially be SMD’s last ever live performance – in the end it turned out to be a tour-de-force. If this was SMD’s swansong, so be it.

In the year that followed, Jas spent months receiving weekly chemotherapy, learning to live with his condition, and when he felt well enough, spending hours in his studio making music.

The result of this was twofold, firstly a collaborative album with Derwin Dicker (Gold Panda), released as Selling – On Reflection, on City Slang Records Secondly, a growing archive of solo work, which is now ready for release. Entitled “The Exquisite Cops”, this 20+ track growing body of work will see the light of day via SMD’s Delicacies label – with a 2-track single released every fortnight /month and a limited
edition double LP scheduled for 27th September.

At the end of 2018 a difficult year was capped with hopeful news. With his condition in remission, able to stop chemotherapy Jas is able to start DJing and playing live again.

Jas: “The Exquisite Cops tracks seem to have made their own system for creation. Normally I record electronic music like a band would, as a take. So, it’s kind of surprising to me that that this batch of tracks wasn’t made this way. Instead of a single take that gets edited and developed these tracks were all made in bits, usually months apart. Some days I’d make a drum track, often editing it down so that it’s some sort of semblance of a structure; on other days I’d end up just making a synth sound or texture. This wasn’t something that I gave into reluctantly, it’s nice to be able to give a feedback based pad your whole attention rather than just set it up and only attend to it if it gets really out of hand.

The process of matching these misfits together was originally born out of laziness, rather than break open the synths to make something to develop an idea, what if I could just use something that I already had; slack. The interesting thing was that in pulling two takes together that were done months apart, they cast each other in a different light and though sometimes making them fit together was a hatchet job, sometimes they locked up together in an improbable way, making the rough structures that I’d improvised make a different sort of sense; often a more interesting sort of sense.

The more I did this the more it felt like this was not just a slacker’s way to use up offcuts, this resulted in combinations that I’d probably not have chosen if I’d done the tracks in one go. Also, and I know this isn’t something that’s important to everyone, there was a level of fastidious detail that I’d never have got if I’d had the textural and rhythmic elements playing together. It’s a longwinded process but it’s changed how I record and how I think about recordings I’ve made; plus I enjoy all parts of it so why cut it short?”

Juan Ramos opens his debut album with The Problem With Ambiguity and Finding Space—speaking to a societal confusion, a fragmented sense of self, and a pull toward many (often unwelcoming) directions—this turmoil in which he’s spent considerable time, sees him invest grave efforts to express the inexpressible. Changing Hands is a time capsule of that dark period in his life, an overtly honest musical diary which puts his emotional coming-of-age on full display, hoping to reach kindred listeners. While his previous output for the ESP Institute used a certain level of complication to push limits on the dancefloor, this immersive work cuts deep in to a frayed psyche, dismantling our preconceptions of Juan and plunging listeners deep into a stew of jarring textures, incomplete phrases, and circus-like abstractions of pop culture. There is a nonchalant and unhurried experimentation that accumulates over the album’s first half—disconnected and anxiety-riddled personality traits constitute various musical roles, sporadically converging in fleeting moments of optimism although never fully climbing out from the abyss—and yet amidst this chaos there is a watershed moment in which the artist successfully gleans a golden morsel of hope from his emotional junkyard, guiding us across the threshold into the album’s second half while diligently protecting the glow of this rock bottom treasure. Juan begins to reveal his inner b-boy—a distorted view on golden-age Hip Hop roots, an affinity for muddy break-beats, sultry loops and metaphoric interludes—the crown prince of a newly-found safe space. It’s as if he had us searching on all fours for a misplaced joint, but now that it’s finally lit, he assures us that everything’s going to be alright.

History of Heat is an eroto-intellectual retelling of a love story. It is the scholarship of heat, and the sources of its production in the body: desire, exaltation, anticipation, fear, rage and mourning . It is a fable circulating through the nerves, pumped and distributed by its own mythologies. Through different chapters, we follow the heroine of our story from the initial desire to love, the sensual pull which oscillates between the grotesque and sacred longing of the flesh (‘L’Enfer en pleine lumière’ translates to ‘Hell in plain sight’)...to the sudden ghostlike appearance of the Other (Apparition) as a projection of the dream. We enter into the spiritual, the seeing visions and the blindness of love. ‘Animal’ speaks of instinct, the smell of the beloved, already the deconstruction of the divine back into the realm of the physical. The title track ‘History of heat’ sings the hesitation of love, the precipice of openness and the invitation of the contract: Dance with me... (This is where the metaphoric marriage is forged). In ‘Perfection’, the pressure which keeps the relationship on the pedestal of the absolute stunts and paralyses love. Unrealistic expectations of the self and the other person creates the push and pull of the not wanting what one wants and the fear to get what one has been asking for. ‘Tiny engine’ speaks of mechanical attachment, attachment to the lover as habit, as a second nature, and the call to the other person as a magnet. In ‘Ditectrice’, the madness and the folly of separation spawns war and confusion. It is the violent refusal to live without the other... the pleading with god. ‘Feed him’ follows with resignation and exhaustion. Love has become the beast of burden who eats away at itself insatiably. ‘War text’ brings forth the devastation, the peace treaty and finally the metaphysical Divorce. In ‘Guttermoon’, the vita contemplativa begins, the blood starts to cool, the scene is a ghost town. ‘Wrong god’ similarly winds down as an ode to remorse and mourning. Finally, ‘Cinema Verité’ closes out the album with a mistrust of ‘reality’: the heroine becomes a philosopher, she becomes an artist... did the relationship ever exist or was it a projection “In front of a movie screen” ?

History of Heat is an experimental narrative and cinematic pastiche of all original and self recorded material. A chaotic mix of sounds both analog and digitally produced recalls a warlike interpersonal breakdown. The mood established by the lyrical content of the piece is meant to be demanding, enclosing the listener within a unique and compelling cocoon of otherworldly sound. the Album is framed within a discursive love story which reflects larger relational problematics and interpersonal traumas. looped vocals act as incantations woven in and out of lyrical singing and spoken word. The instrumentals embrace chaos and intensity. Improvised violin and broken down beats compliment and balance the melancholic overtones which flutter above off the grid rhythms in this charged ficto-personal account.

We Are Mattimatti. Two Mattis Living In Different Countries - Sweden (malmö) And Germany (berlin). We Travel Around The World Playing Music While Asking Ourselves, 'who Are We'. The Answer Seems To Change Just As Our Surroundings Do. But The Music Stays With Us And So Does The Friendship. It Is Cliché That It's Hard To Put A Label On Music. And To Say It Has Almost Become A Cliche Itself. But Whole Meaning Of Music Is To Listen To It And Create Your Own World By It. To Create One's Own World One Needs Space. Space That Is Not Interrupted By Either Style Or Defining Categories. Mattimatti Is An Attempt To Step Into That Space Creating Music That Is Solely Built On Improvisation. Our Music Is An Invitation To Places Not Yet Known, Where Rhythmic, Suggestive And Meditative Soundscapes Meet The Present Moment. Music Represents Many Things For Us. First Of All, It Is In-sync With Our Friendship, When The Relationship Is Stuck So Is Our Music. Our Music Is Therapy. We Need To Be Authentic With The Music In Order To Have A Real Friendship And The Other Way Around. As Friends And Musicians We Welcome The Unexpected. This Has Lead Us To Places Where We Never Would Have Ended Up In If It Weren't For The Music. In That Way, Music And Life Walk Hand In Hand. If We Dare To Be Real About It. We Are Living In A World Full Of Confusion When It Comes To Identity. It's Easy To Loose Yourself. All Of A Sudden You Are Standing There Playing Music But Missing The Music At The Same Time, Or Hanging Out With Your Best Friend While Missing The Friendship. We Are Trying To Stay Connected. It Is A Constant Task. We Lose It But Then We Find It Again, Just Like Everybody Else. Sometimes It Ends Up In Music For The Moment. Sometimes It Ends Up In The Shape Of A Record. We Met On The Streets Of Berlin In Spring 2013 While One Of Us Was Playing On The Streets. After We Played The First Time Together, There Was No Question That We Would Travel A Musical Journey Together From That Day. Mattimatti Was Initiated. On Our Quest We Began Playing Improvised Tunes On Sitar And Hang On The Street While Travelling Through Sweden And Germany. This Lead Us To Be Invited To Numerous Festivals All Over Europe While Constantly Developing Our Music And Sound. Since Then Our Set Has Added New Instruments Such As A Drum Kit With Hang, African Harps, Sitar, Guitar, Harmonica, Clarinet, Hank Drum And Vocals On Top Of It Extending The Sound With A Space Echo. The Long, Intimate Tunes That We Are Creating Have An Original Structure And Sound. There Is A Certain Present Resting In The Music Which Is Hard To Describe But Easy To Experience If You Listen To It. Our Live Concerts Have Been Dubbed Mythical, Hypnotic, Magic And Epic. Traveling Is Our Biggest Influence On Music. Mattimatti Are Now Both Based In Berlin & Malmoe And Work Together With The Contemporary Circus, Dance And Music Group - kollektiv Knaster .

Virtuoso compositions, subtle synthetic atmospheres, voices oscillating between pure intentions and dreamlike fantasy, a confusion of feelings and desires, time and space...Garden of Love, the 3rd album by electro duo Scratch Massive makes an impression from the first moments that you hear its enigmatic beauty. Like a ghost train moving along a tightrope - between shadow and light, failure and redemption, violence and melancholy - this fourth studio album reaffirms the Parisian DJ/Producer duo style/vibe with their hybrid sounds and sensory experiences. For 15 years, Maud Geffray and Sebastien Chenut have maintained artistic and aesthetic control as they participated in the 'revolution of the dancefloors'. In the early 2000s, 'Made in France' electro became known for its hedonism and as the savior of an entire techno generation ready to fight (or at least on the dancefloor!) for a future that was increasingly frustrating and hypothetical.


On first glance, Garden of Love, appears to be an invitation to love and peace, however, nothing is ever that simple, as the album cover evokes a multitude of interpretations. The lyrics speak to the depths of the soul, covering a range of emotion from love, emotions, and fears ... Garden of Love is for our hearts and bodies to become receptive again: the disenchanted poetry of the Last Dance, the sumptuous opening track set against a backdrop of electro-pop murmured in the light and shadows as painful caress; the psychedelic scent of Sunken (a duet recorded with the complicit and poisonous voice of Léonie Pernet); and the dark-tech shores of "Fantome X" with the evanescent and hypnotic pop clarity of Feel The Void (both magnified by the vocals of Romain Thominot of the Reims pop band Grindi Manberg). Scratch Massive draws the outline of an electronic music in search of redemption - reinventing their icy grooves and confronting it with a naive elegance and a disillusioned romanticism that embodies our time.

The latest release on Arma comes from Dutch legend and devoutly deviant underground operator Ruud Lekx, aka Rude 66. With a legacy that reaches back to the early 90s and the rough and ready Dutch electro sound of Bunker Records and The Hague, he's maintained a distinctly non-conformist approach that touches on acid, Italo, techno and more besides, all finished with the punky attitude that sets him and peers like Unit Moebius and I-F apart.

The tracks gathered together on The Witch Trials EP come from throughout Lekx's career. As the artist himself says, 'tracks from wildly different eras and sessions suddenly can combine to form one coherent EP. It's almost like the A-side tracks were waiting for 20 years to be combined with the B-side tracks.'

The overriding theme that binds together these timeless machine excursions is that of medieval witch trials - a global phenomenon that peaked in the 15-1600's. Considering the suspicion, propaganda and mass moral panic involved in this strange curio of distant history, Lekx points to the parallels with the current age, 'of political polarization and fake news accusations flying all over.' The EP title is also a tribute to two records close to his heart: The Fall's Live At The Witch Trials, and the one-off Witch Trials project by members of the Dead Kennedys, Adrian Borland and Christian Lunch.

'Werewolves & Poisoners' and 'The Crusade Against Idolatry' are both archive tracks from the 1994-5 period when Lekx made his first albums for Bunker Records. The first track's charging arps, rugged kicks, nagging acid lines and discordant paranoia all speak to that trailblazing period, while 'The Crusade...' revels in canny programming of interwoven synth lines feeding into an unhinged, psychedelic rampage that reflects the righteous fervour and spiritual confusion of the EP concept.

'The Absence Of Diabolism' opens up the B-side with a different tone, having been produced in 2016 and demonstrating the deeper acid undulations Lekx has become known for in more recent years. Still delivered via the same trusted tools he was using in the 90s, the sound feels like an extension of the Rude 66 vision rather than a separate entity. 'Envious Are All The People, Witches Watch At Every Gate,' a cut from the late 90s, closes the EP out in a spacious, snarling exploration of broken acid electro laden with cinematic sweeps of synthesizer and a constant sense of unresolved tension.



Across these four tracks, Lekx displays the scope of his craft as Rude 66 while also proving that timeless music can make sense in any context, and that the threads of inspiration in an artist's journey can be followed, explored and even resolved 20 years later, when you least expect it

Quest, transit, chaos, mutation, transfiguration, ascension and illumination. These are some of the steps followed in the journey of life that are embodied on each track of the album Adonai. The solo debut of the multi-instrumentalist composer Marco Paul condenses a career of more than ten years, in which, the search for the truth of oneself and authentic sound has traveled and nurtured from different genres and cultures. Adonai is an odyssey that combines sounds and images of the earthly and oneiric worlds: an audiovisual work that opens several windows to the different perceptions of the facts that make up the life of the human being.

After 9 years of constant international touring, 6 albums and more than 400 live performances with the bands Sour Soul, Ratbot and Funk My Jesus, as well as the conception and musicalization of the award-winning short films "Undermine" and "24K All You Need Is Gold", Marco Paul decided to retire to an island in the Caribbean, where he found and refined his sound. Thus, between 2014 and 2016 he created the music for Adonai, a work produced by Aitor Etxebarria under the label of Forbidden Colours.

The recording includes guest musicians from different countries such as Aitor Etxebarria (synthesizer, electronic magic) and Hibai Etxebarria (double bass) from the Basque Country; Michael Alan Hams (drums and percussion) and Joe D'Etienne (trumpet) from the United States; and Fatima Gozlan from Hungary (Ney and Derbake).

The consummation of the work is a mid length film created in 2018. It consists of 5 chapters directed by 5 different directors.

The audiovisual journey begins with the conception of the philosophical "Filius", an alchemical symbol that represents the inner child, which transforms the experiences of life into the soul's gold. Later, in "Sylvian" (title that refers to the brain fissure that contains the auditory cortex), by listening to the subtle message that surrounds us, our consciousness and perception expand. Then, in "Tiamat", the pristine chaos that gave birth to the gods, embodies chaos, the confusion generated by the multiple voices: on one hand the moral and imposed precepts, on the other hand, the inner voice that seeks the liberation of the infinite possibilities. In "Hawa", through the recognition of the power of solitude and introspection self-reflective awareness is reached. Finally "Adonai" is the ascension to enlightenment: the further connection with the absolute. As an encore (only available in vinyl) "Teurári" is a gift: a tiny flower where all the points of the universe merge.

Oslo based Bulgarian, Ivaylo makes a welcomed return on his Bogota imprint with two dance floor cuts on America EP. Warm Rhodes chords and funky bass lines inform the sound of 'Trendy Jose", taking the listener on a groovy ride with Ivaylo's vocal directing the sound: 'Jose is Mexican and he likes it, trendy! Spicing up the House groove ton the flip is a remix from Dallas native, JT Donaldson. Donaldson brings the heat, with his funky deep remix, whose percussive interpretation opens up the track for any dance floor. Ivaylo's second track 'Jacks Confusion' places you directly into Berlin's vibrant sound. Ivaylo hypnotises with the perfect combination of percussion and bass line on the steady 4/4 chi house beat. America EP is Ivaylo's 4th release for Bogota Records since label's existence and its' the beginning the producer's self-styled 'new sound' with more focus on percussive elements within the warm, deep sound that he's known for.

Repress

The wait is over. The Outside Agency and Ophidian unite on the 20th Genosha release to collectively blow minds, expand vocabularies and sow the seeds of confusion. We could describe the tracks to you, but that would spoil all the fun and/or disappointment. If you have ever asked yourself what would happen if these three got together and made a whole EP, then the answer to your question is available for you to purchase right here. Boom.

The Land of Look Behind soundtrack returns to vinyl in a remastered and expanded edition that includes a download of three previously unheard and unreleased tracks from the original sessions. Alan Greenberg, who wrote and directed this film documenting the funeral of Bob Marley, provided K. Leimer with location tapes which were used to originate many of the rhythmic patterns for Land of Look Behind. Loops of the monologues and phrases that exhibited more distinctive cadences and pacing, the words, glottal stops, clicks and coughs of witnesses were used as cues for the percussion instruments. In effect, speech became the organizing principle of the musical score. By eliminating the accuracy of click tracks, musicians were prompted to rove through the inconsistent intervals of the voice-derived patterns. Also included is a four-page insert featuring an essay by Paul Dickow.

K. Leimer founded Palace of Lights in 1979. Leimer's early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s — his current catalog includes seventeen albums plus two collaborative albums with Marc Barreca.

Leimer's work is included in the collection of The British Library.

In those times of newfound experimental conformity, it is sometimes needed to go back to simplicity. This may be where DJ OIL is leading us to. You think you know what you can expect but common ground is not always in your head, it is sometimes under your feet.

This is the second 12' of the BREF AVENIR collection (to be released digitally later this month), our Southern activist using well-known tropes and samples to provide necessary confusion.

TELEPHUNK is nothing else than a monster breakbeat funk (away from the new Lynn Collins dictatorship), unfashionably cool if you see what we mean. If PARESSE is its twin dark sister, locking electro in its black music roots whilst remaining strangely 'European', then FALL is its downer baggy brother.

For the first X/OZ release of 2018 we have brand new material from Russian musical prodigy Nikita Zabelin. His first release in two years, Nikita brings us a fresh take on minimal techno with a breadth of styles and approaches to the genre. Previously releasing on Nina Kraviz's Trip label this will be Nikita's X/OZ debut. This release, Trans Siberian Express also features a remix by label head Exos, thus combining the forces of both artists to create the Russian/Icelandic collaboration of the year.

Released in March of 1962, Bob Dylan's debut album announced the arrival of a singer-songwriter who would change the face of 20th century music and popular culture. Though it was Freewheelin' the following year that would make him an international star and the voice of a generation, this debut is a crucial piece of folk music history and a stunning example of his early song-craft. Back in print with a beautifully redesigned cover on Wax Love.

"Feeling numb from all the electronic dancemusic coming out, moaning about how its become a bit samey, or are you just tired of your shitster friends saying its not like in the 90's anymore. This record will shut everyone in the room up. A1 is a deeply psychotic acid death march into confusion, so minimal and primitive (kick, snare, acidsquelch) it will challenge every beard and armpit and might even hypnotize the dj to the point he cannot mix in the next one. A2 is a straight up Commodore 64 SID track with mongoloid data elephants tooting over a wobbly and tarded electroish beat. B1 is a dystopic dreamy rave stomper, starting out kinda datacuddly but gets more and more serious, with choirs of fable mooers taking you into that virtual bad trip you need. b2 continues as expected with more c64 SID madness, so snary I cant even determine if its in 115 or 230bpm. But it leaves you with the feeling your ears and mind just been wrestled, smacked and poked at, and thats the point. This is no record for the safing chickenshit DJ." - /DJ Joakim Cosmo, Sweden.

Under the moniker Shed, Pawlowitz published three highly ambitious albums in which he defined his work more and more as his own way of musical narration. 'The Final Experiment' is definitely the temporary highlight of this evolution. As musical work it does establish Shed conclusively as one of the most interesting and substantial electronic music artists of our time. It carries a vibe, that links Shed to other boundary breaking artists such as Ryuichi Nakamoto, Brian Eno and Carsten Nicolai. However, Shed found a way to develop a highly individual way of communicating electronic music, that is self-sufficient. 'The Last Experiment' is a mostly homogeneous piece of work, a meditation, where the stylistic confusion seems less important than then musical statement that it represents.

Six years after his last album on Miasmah, Schattenspieler, it's great to find Marcus Fjellström resurrected after several long years spent composing his audio-visual opera Boris Christ.

Born out of shattered dreams and an obscured vision of the future, Skelektikon is a delirious yet lucid exploration of the farthest and most conflicted reaches of the heart, teeming with confusion, passion, and ghostly shadows. Being no conventional composer in any way, Marcus stumbles further down his musical domain of detuned orchestral (re-)arrangements and pain-inducing synth passages, arriving at a most unique and personal result. Where Schattenspieler gave way to noir filled alleyways, Skelektikon fills them with paranoia. It's the sound of Limbo, of dancing amoebas, of deviant skeletons, nostalgia and futurism, or quite possibly none of that.

Inhabited by the bizarre and the beautiful, Marcus's music is a blurred yet encouraging representation of how you can never trust your own feelings - or eyes and ears for that matter. And yet, we can't shake the idea that the truth is to be found somewhere within this alien language, as delivered to us through the speakers. Opening our eyes after the final track has dissipated, we wouldn't be surprised to find someone or something there, staring at us, in silent and unsettling knowledge.

First complete Sonic Youth album is one of Thurston Moore's favorites. Includes live cover of The Stooges' I Wanna Be Your Dog'. Vinyl includes digital download. Originally slated to be a 7' to follow up their self-titled debut, Sonic Youth's Confusion Is Sex blossomed into the band's first album: a brain-bludgeoning, completely fried endeavor of dissonance and disarray, a perfect soundtrack for running from a chain-wielding gang near the SIN Club. This was the sound of 1983 New York City, nothing like the jangly roots of college radio rock starting to formulate in Athens, Georgia. It sounded like no one else on Earth, for that matter. The raw, Wharton Tiers 8-track production is dark, the Kim Gordon- scrawled cover figure art of Thurston Moore is dark, Lee Ranaldo's back cover photo-collage and Catherine Ceresole's crumpled-xeroxed images that adorned the inside are dark. It's an album that moves Sonic Youth forward from their first EP almost by devolving backwards into true ugly, lo-fi primitivity. The bareboned arsenal of junkpile guitars and implementation of alternate tunings was growing, and so were the songs that matched the individual attributes of each instrument: certain ones groan and growl a specific way that the band started to realize itself could become the compositional germ of a song. Herein is the threshold of a new explosion of the band's creativity, replacing the comparatively cleaner buzz of the Sonic Youth EP with guitars that spew fractured, uglier chunks of sound everywhere, held down by menacing minimalist basslines (actually played by Thurston on half of this LP, and for the only time ever on Protect Me You,' Lee) and the brutal-yet-controlled metronomic drumming of Jim Sclavunos, augmented with replacement drummer Bob Bert's notable bashing on Making the Nature Scene' and grotty no-fi live rendition of I Wanna Be Your Dog.' Hearing the crashedwindow intro of Inhuman' and subway-brake screech of The World Looks Red,' you can attest that while Sonic Youth's guitars are not quite yet being utilized in the totally controlled, lyrical fashion seen later on albums like Evol, Daydream Nation et al., they were well aware of the colors and tonalities that were unfolding and the possibilities presented. Also, they were getting a grasp on adding colors to the chaos with tempered, simmering moments like Gordon's Shaking Hell' and Renaldo's chimy, home-taped Lee is Free.' Making the Nature Scene' and The World Looks Red' even toss in glints of hip-hop vocal approach way ahead of its time, albeit through a blender. While its confrontationalism might have put off some critics, time has rewarded Confusion with a truly distinctive air and atmosphere in the Sonic discography, enough to have Moore declare it his fave along with the band's swan-song The Eternal. Brian Turner, WFMU.

Opening their doors every Saturday for mind-altering shock treatment, Power Station has been giving their raging punters a potent dose of megawatt reality. Their curatorial expertise has established an institution that will now extend the mythical energy generated with a record label in the form of annual limited 12"/digital compilations, grouping tracks that have already become the club's signature tunes. Resident, booker and co-founder Kris Baha finds himself on both sides of the inaugural disc, with the ball of confusion solo production 'Something Something, and again as Heavy Concern in collaboration with Otologic's Nick Murray, a name synonymous with the Melbourne club circuit being one quarter of the Animals Dancing massive. Young gun Disrute captures the optimum warm up set with the shape shifting slow burner 'Ka-Bu' while scene veteran and Haul Music boss Mike Callander discovers a new lab mutation of sci-fi soundtrack, damaged funk and cerebral house.