This Berklee dropout clearly loves the twitchy intensity of drum ‘n’ bass, but his frenetic electronic collages have little to do with dancing. On Oiseaux 96-98 (Reckankreuzungsklankewerkzeuge) Keith Fullerton Whitman (aka Hrvatski, which is Croatian for “Croatian”) uses breakbeats not so much for rhythm as for commentary. For instance: The breakbeat from “Amen, Brother,” a late-60s funk tune by the Winstons, is one of the most heavily used samples in drum ‘n’ bass–so Hrvatski sticks it into nearly everything, until it loses its identity as anything but an archetypal sound. Beneath the spastic beat schemes–which rival Squarepusher’s for giddy complexity at times–is a psychedelic symphony of electronically tweaked guitar arpeggios, brass charts, plucked piano strings, dissonant orchestral swells, and even twittering birds. Hrvatski’s bold breakbeat-splattered cover of Pink Floyd’s “Cirrus Minor” is worth the price of admission alone–not just for its conceptual cojones, but for how damn good the thing actually sounds. Salvo Beta and K-Rad, two of Chicago’s more interesting experimental electronic outfits, open. Thursday, February 22, 10 PM, Empty Bottle, 1035 N. Western; 773-276-3600.