"To create rhythmic dreams for a given space" is how Pavel Fajt characterized one of his musical goals during an interview last summer. At the time, Fajt was busy recording a video-art supplement to Václav Cílek's upcoming book on 18th-century Czech architect Jan Santini. In the past, Fajt's work has included extraordinary collaborations with Iva Bittová; forward-reaching, hard-edged rock poeticism with Mikoláš Chadima; and nuanced art-rock work with the Brno band Pluto.

Knowing all this, I was curious yet skeptical upon hearing that Fajt had teamed up with a didgeridoo player for his new project, Autopilote. Fajt and Ondřej Smeykal, who form the core of Autopilote, suggested we meet at Prague 7's Oukey Doukey Café to further discuss their latest musical adventure. Offering tangerines from a bag to snack on, Fajt made a few quick comments on the "atmospheres" of ancient structures built on mystic geometry before Smeykal began recounting a site-specific experience of another sort in the north Australian bush.

"If you go to the bush and see [Aboriginal art] in its context, you see it as just a natural, simple thing," Smeykal said, extending that line of thinking to his archaic instrument of choice, the didgeridoo. He went on to defend it as the perfect organic "parallel between the analog synthesizer, where the lips, throat and chest work like oscillators and filters to the didgeridoo's wooden cylindrical resonating amp."

He described Fajt's drum sound in similar terms: "Pavel uses his drum set, his own innovated sound generator and loop station, to play live loops and live rhythms." To that, Smeykal said, he'll be adding the "natural sound of the didgeridoo, aided by effects like the harmonizer or octaver. My sound is based on the drone of the didgeridoo and making grooves."

Fajt and Smeykal's knack for making grooves on their upcoming CD (on the Indies label) will include session work with Congolese singer and multi-instrumentalist Elvis Kititi, Japanese punk-indie-pop singer Yumiko Ishjima and Czech pioneering guitar god Pavel Richter. It's a musical foray reminiscent of the groundbreaking work done by David Byrne and Brian Eno on My Life in the Bush of Ghosts.

"Eno has always been a inspiring creature for me," Fajt said. "Be it as a producer or composer, he is always pointing in new directions." Yet Eno's heavenly studio works differ inherently from Autopilote's more earthbound, danceable departures. Guitarist/composer Fred Frith, who has shared projects with both Fajt and Eno, describes Fajt's work this way: "Like all great musicians, he has a strong and personal sound. ... Fajt is sparing and precise."

The upcoming Autopilote concert offers a great opportunity to hear the integrity that Fajt brings to his projects, which, as Frith reminds, "is always a pleasure to hear."