Hari Shankar Kishore.  A true performer,  Hari incorporates brass bowls, underwater contact microphones, and sometimes an shepherd’s cane into his craft, all punctuated by a sort of seemingly demented conductors oversight. Manipulating two turntables laden with dub plates he presses himself, his set builds from drones, to howling dogs, to old Bollywood film samples, oozing slowly towards juke-esque beat meditations, teasingly surfacing into slight and then unforgiving breakbeats, veering finally into merciless 160BPM territory. He commands the stage with a seemingly impossible grasp over the complex rhythms he creates, as only someone who has authored the work could possibly do. Over the course of an hour, the typical reaction of a crowd is along the lines of initial abject confusion and discomfort, to a sort of capacity to understand a new language, and then utter realization and release.