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Rupert “Photek” Parkes’ debut full-length is not the body blow I expected after the “Ni-Ten-Ichi-Ryu” 12-inch (unfortunately not included here). But Modus Operandi does deliver on the claustrophobic paranoia of “The Hidden Camera” (fortunately present): Every track sneaks up behind you, peers over your shoulder, and whispers in your ear tales of the dark side. (Both David Lynch and Wes Craven could benefit from a Photek soundtrack.) Parkes is at his anxious best when he works with just drum ‘n’ bass, letting the odd sound effect flutter by. “The 5th Column,” “Smoke Rings,” and “KJZ” are virtuoso workouts of skittering drum patterns, sliding all different ways like Fred Astaire on uppers. Parkes’ minimalist beat excursions become more lush on the “Minotaur,” “Aleph 1,” and “124” trilogy, but they still sound as barren and dusty as a desert, with only the occasional ornamental flower to break the arid expanse. The title track, with its vague triphop leanings, morphs into a menacing stalker when its sparse bass line creeps in. Such eeriness and dread are not new themes for jungle, but where the No U Turn techsteppers bludgeon with force, Parkes hammers by implication. And both approaches render the same result: haunting slay tracks. Modus Operandi is a silent killer.

—Christopher Porter