Robert Koch's nom de beat, "Robot," is more than a play on words. If it was just that, it'd be stupid. The idea of an indeterminate grey area between human and machine pervades every element of his debut, and so just as he's retrofitted his human name into a piece of equipment so he struggles throughout Death Star Droid to find humanity within his equipment. It's a heady, intermittently brilliant trip, recalling most directly in its plush post-hip-hop bounce Flying Lotus's Los Angeles moreso than Koch's glitchy and club-centric ...