After a failure to secure a release for the (still unreleased) follow up to 'Lunik', a highly limited album on Gemanys successful cult label Adnoiseam, Huggett embraced exile and obscurity once again and began a much more ambitious piece of work - a modern day industrial progressive epic. A near total hiatus of guitar playing ended also, and the new songs began to form around a core of thick, gritty bass guitar and martial programmed drums: harking back to Godflesh or God, along with Magma and perhaps Heldon: but always failing to sound like anything other than itself.

Relinquishing most of the noise, tech-industrial or dancefloor trappings of Combat Astronomy's earlier phases, Huggett finally began to create the music he had been trying to capture since ten years previous. Intuitively realising that a totally solo project was as much limiting as liberating, Huggett contacted Martin Archer This liason sparked off a highly productive contributions that led to the landmark album 'The Dematerialised Passenger', which has received enthusiastic commendations from a wide range of critics for its singleminded and multi-dimensional modern progressive fusion of metal, free-jazz and ambient noise into a compelling and unique whole.

Work continues on more material, with greater use of Rhodes piano and more sophisticated and dynamic compositions.

Live performances very occasionally occur, tending to be improvised electro-acoustic performances with bass guitar and a laptop computer.

Huggett's influences range from space/krautrock (Hawkwind, Can and Amon Duul), classic rock (Joe Walsh, Queen, ELP) through to French zheul (Magma, Dun, Zao/Seffer), avant metal/doom rock (Sonic Youth, Gorguts, Meshuggah), space jazz (Alice Coltrane, Sun Ra) and a host of others... Fela Kuti, Kate Bush and Electric Wizard being recent favourites.