Review: Mark Broom collaborated with James Ruskin on Domwen back in 2018, and now the pair come together again for Basement Jams. This is a direct dance floor EP and sees the UK techno veterans deliver rough and raw tracks. "Pr1", with its tweaked wiry groove, is a good example of their approach, while on "Ocs", the pair up the tempo and intensity levels to deliver a bubbling, insistent track. On "Tkn", Ruskin and Broom veer into Hood-style territory for a visceral, analogue workout, while closing out the release is a more gritty, restless take on Detroit minimalism in the form of the doubled-up claps of "Sn7".
Review: James Ruskin and Mark Broom have a history of collaborating together that goes back the best part of a decade, and Domwen on Ruskin's label finds them in fine form once again. The title track is a dense banger that resounds to pummelling kicks and dense textures, while at its heart an eerie riff filters its way through the arrangement. "Screwface" is leaner and laced with acid as the pair drop firing percussion and wave upon wave of filtered builds. Finally, "Okt" sees the formidable pair strip their sound right back to a tough, grinding rhythm track - ideal for DJs who love looped techno.
Review: In 2010 James Ruskin and Mark Broom turned more heads than usual with the release of their No Time To Soon and Erotic Misery EPs, both of which found a release on Blueprint. Following this the pair formed a new project called The Fear Ratio, and they've just released a new album on Skam. But if you're after another taste of the booming warehouse techno that took hold around the turn of the decade, this two-track single will give you a reenergised version of "No Time Too Soon" (with extra 2015 industrial scrapings) and, for all we know, a reduced version of all time classic "Erotic Misery".
Review: Two of UK techno's most reliable producers get straight to the point on Bites. Unlike The Fear Ratio project, this EP is all about the dance floor at 4am. The title track is an insistent roller, its concrete beats sounding like SP-X, but the series of break downs and chord builds coming across like that other ultra-functional new schooler, Psyk. "D.O.D" is more noisy and grinding, as splintered beats and fractured rhythms compete with ghostly chords for the listener's attention. "Nel", meanwhile, is dubbier and less uptempo, but don't let that fool you - the atonal, surging bass at its centre is tough enough to level a powerful sound system.