If you turn Seth Horovitz's Sutekh tracks down really low, it sounds like a rainstorm leaking through your kitchen roof, playing irregular percussion off your copper cookware. If you turn it up, you'd think your ears and mind are having a communication breakdown. A complex machine cranks out rhythms on gears that are missing many teeth. Percussive sounds echo and overlap, accumulating into nearly oppressive density. The electronic equivalents of tearing paper, slapping rubber and dripping molasses are slotted into a clinical, funkless dub. Sutekh's tracks are so orderly, they come on like pure chaos.