A true pillar of electronic experimentation, iconoclastic producer Matthew Herbert, has long operated at the forefront of the British leftfield. A master at recontextualizing and reinventing entire sonic worlds, this self-taught contemporary musician is simply the ultimate word in hybrid forms. Since the mid-nineties, Herbert’s highly conceptual yet ever-accessible practice has excelled at shimmering house, experimental techno, musique concrète, sampler-sweeping big band (as The Matthew Herbert Big Band) and dance music that doubles as persuasive political manifestos. Having inspired the name of a major homegrown film (Café de Flore), this incomparable soundshaper more than makes up for an eight-year absence with three highly potent performances at MUTEK 2013, including, The End Of Silence. The project is inspired by the sound of a bomb’s immediate impact, as captured by photojournalist Sebastian Meyer in war-torn Libya. In this improvised performance, featuring Herbert and three other musicians, the conscientious showman confronts us with sobering global truths by delving deep into the terrifying ten-second recording, playing on its infinite variations and echoes.