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Haito – the man of innumerable faces and the Doctor Mabuse of German dance-floors.He got hooked by the eclectic early DJ-work of Hans Nieswandt and Eric D. Clark, well-trained on Berlin’s Loveparade vehicles, pressed into vinyl by most different labels such as Kickboxer, Malatoid, Spagat, Low Spirit or Acker Records…Well, this is our hero, up to every trick, well-versed producer and DJ. And that’s why Haito keeps his lines open all the time, gathers input like other people stamps and nonchalantly combines seemingly incoherent sounds. Yet as a gifted acoustic juggler, he always manages to land on all fours like a cat. This guy is definitely not afraid of heights because he’s got the best protection pad ever: skills.Which he obviously used to produce “Fiat Lux!” – the multiplex among the debut albums. In a colourful, thrilling and pictorial way, Haito tells us his stories from the club and turns out to be a real master of dramaturgy. “Es werde Licht (Let there be light)” represents not only the light that projects celluloid onto the screen, but also the start for a more than diversified round dance of styles, genres, ideas, sounds and beats. All at full-length and in a highly entertaining format. From the exhilarated groove of a gritty high-school comedy (“I ro love”), over the sticky heat of a foreign marketplace demolished by a wild chase with James Bond (“Pusher”), to the fizzling noise of a motor in a SF manga road movie – Haito seems to know how to set everything to music he’s got in mind, and that’s quite a lot.The hardcore continuum is cultivated by documentary means and elegantly rushed drum patterns (“Drug People”). Alfred Hitchcock’s shower curtain knifer is shot into the universe via electro funk (“Freedub”) and an harmonized depth of field meets an elegantly roughened, saw-tooth discourse (“Disconnect”). Even the Yakuza smasher with Renaissance costumes filmed in Andalusia finds its true destiny in the spinet rave of “Non Plus Ultra”. Sounds confusing to you? Don’t worry, it’s only the written description. When you listen to it, it all  makes sense: The music is the teacher. And above all, intelligent sample editing, four-dimensional, fluffy synths and springy percussion sounds can’t be wrong.The best yummy is the 2009 version of “E-Love”. It’s the revised version of the 2008 hit released on Kickboxer: a couple of tricky samba piano sounds are smuggled into the pockets of a subtly bouncing clapper while drawing a comet tail on its forehead for distraction. Last but not least, after the Wallstreet psycho thriller “Mummy”, and “Komm mal klar”, the new title song of “Good Times, Bad Times” (in a hopefully better world), you will even get a hymn for the closing credits: “The need to believe” with vocals by Eric D. Clark pulls out all emotional stops to keep the audience under spell even beyond the end of the last film roll. This summer’s blockbuster has a new name: “Fiat Lux”.