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Blueprint
Played by: Juno Recommends Techno
Review: Originally issued on vinyl back in 2018, this three-part release from Rommek Boyer is now available digitally. Trilogy covers a lot of ground. There's the hypnotic drones of "Komatiite", which will appeal to fans of Abul Mogard. The dense muddy drums of "Obsidian" are also shot through with dreamy tones. On "Rhyolite", Rommek ventures down a different path, with rickety broken beats underpinning menacing synth sweeps, while the brooding bass-led "Greywacke" follows a similar path. On "Scora", Rommek delivers a masterclass in slow, building techno as brooding tones and jagged feedback are set to funereal drums. Blueprint also commissioned remixes, with Makaton's angular rhythmic take on "Obsidian" and Broken English Club's death march version of "Komatiite" really impressing.
Review: With a background in drum'n'bass, Vinicius Honorio has pivoted seamlessly to techno and makes his debut on Blueprint. However, he hasn't abandoned his roots. On the title track, dense polyrhythms prevail, providing a pummelling backdrop to atmospheric synth lines. "Reiki" is also powered by an opaque groove and tough kicks - on this occasion, Honorio uses them as the backdrop for swirling filters. "Uruk" sees the Brazilian artist venture down a more purist techno path. Led by a pounding metallic groove and noisy percussive bursts, it drops unexpectedly into chord-led breakdowns. Closing out the release is "Visions", a peak-time banger that centres on a spiralling rhythm.
Played by: Juno Recommends Techno
Played by: Philippe Petit
Review: Utterly brain-assaulting techno onslaughtery from the collaborative duo that is Alexander Johansson and Mattias Fridell (Lomsk), debuting this new EP for Blueprint. As ever nailing their conscious decision to make 'playful and mischevious' techno, this one finds sadistic pride in pummelling our ears with womp and repetition, for its own sake. The double-clapping 'Klot' in particular reigns supreme over this EP for its Birmingham-style chord stabs, while the overall pleasing mix of 'Koner' rounds things off on a cuspy, raspy, wally note.
Review: Andrew Shobeiri aka Rene Wise has been entrusted to deliver the latest outing on Blueprint and it's fair to say that he rises to the occasion. "Shaman Whistle" is an expertly weighted tribal track, with Wise layering mysterious sound scapes over tough drums and a nagging acid line. "Don't Care" sees the UK producer venture down a stripped back path, as nagging vocals unravel over a repetitive steely rhythm, while on "Frown Like Brown", he offers up a visceral take on minimalism, thanks to the use of analogue bleeps and gritty kicks. The title track sees Wise pick up the pace, dropping a dense groove and rolling snares - a great testament to Blueprint's tough techno heritage.
Review: While Kr!z originally made his name through DJing and running the seminal Token label, increasingly he is becoming known as a producer. This release on James Ruskin's Blueprint serves as a reminder of his skills; "Vortex" and "Mirage" are searing minimal techno workouts, powered by an expertly weighted combination of raw analogue tones and rasping percussion. On "Neutrino Systems", he ups the intensity levels to deliver a Millsian peak-time track, led by a looped, visceral riff and a relentless rhythm, while "Levitate" is an insistent minimal stomper that keeps on building - making a fitting finale to this fine, hard-hitting release.
Review: Kerrie makes her debut on Blueprint with her most intense work to date. The title track is inspired by the extreme end of Jeff Mills' sound, with wave upon wave of dark analogue tones building over a dense, grimy rhythm. In contrast, "Native Intelligence" sounds like a follow on from Sandwell District's style, powered by a rumbling bass and stepping beats, with these elements interspersed with bleak tones. "Polly Tension" is an angular, stripped back rhythm that teems with acid-soaked energy, while Kerrie heads in a different direction on "Turning Point", with more mellow tones unravelling over an understated arrangement.
Various
Review: To celebrate its twenty-fifth anniversary, Blueprint has delved deep into its back catalogue. "Post Traumatic Son", a collaboration between label owner James Ruskin and Karl O'Connor, features three times in remixed form, with DVS1 dropping a deep take, Robert Hood turning the track into an angular, metallic jacker and Marcel Dettmann remodelling it into a grainy Berghain stomper. In as much as dance floor tracks like "Son..." and the coruscating, gnarly rhythm of Outline's "Encounter" have defined the label since the start, so too does its more abstract work. A shadow of textured sound looms over Ruskin's "Correction Centre A"; Samuel Kerridge's "Operation Neptune" is a trip into the world of grungy electronics, while Lakker's "Static & Amp" fuses haunting vocals with a hissing, humming groove.
Review: The latest release on Blueprint marks two milestones in its journey. This EP sees label owner James Ruskin team up with DVS1 to celebrate its twenty fifth anniversary, but this collaboration started five years ago when the opening track, "Page 1" was first released. Deeper and more atmospheric than typical Ruskin material, its loping groove and cavernous effects made it one of the most popular tracks when Blueprint marked its twentieth birthday. Of course, the pair make up for this esoteric approach with the bee-sting loops and airy synths of "Page 3" and the stripped back, steely rhythm of "Page 2", which unravels to the sound of noisy tones. "Page 4" completes the release with staccato drums providing the backdrop for swirling, eerie synths.
Review: As part of its 25-year celebrations, Blueprint invites Dustin Zahn to make his debut on the label. Control pushes in many different directions. The title track is a loose tribal groove that resounds to clanging percussion and rolling drums, while on "Studio 5/4" the veteran US producer creates a throbbing groove as the basis to deploy a cacophony of buzzing, noisy synths. Changing tact again, Zahn moves into stripped back territories for the loopy rhythm and insistent stabs of "Wet, Hot Heat", while on "Rising Tides", a dense, stepping rhythm and insistent, Sleeparchive-style tones complete this exemplary release.
Review: The second instalment of Broom and Ruskin's Basement Jams series follows in the same vein as last year's first volume. "Latch" is a lithe, linear track that resounds to a warbling acid line and a snaking groove, while on "Twister", the duo opts for a more visceral take, with rough drums and loose percussion providing the basis for tweaked 303 sequences. "Zone" is similar to "Latch", with a funk bass-line supporting dubbed out chords and filtered hi hats. Rounding off this fine second volume of Basement Jams is "Drive", where the storied techno pair twist news sounds and shapes out of their 303 against a dense, steely rhythm.
Review: Two of modern techno's most singular artists team up for this raw and lean techno release on Ruskin's Blueprint. "Shortcut" is a twitchy, frenetic minimal track that resounds to dynamic percussion and freaked out electronic stabs. On "Hang Up", the Blueprint owner and Truncate focus their efforts on dense drums and gradually building, electronic tones for a measured but effective arrangement. But all bets are off on the closing track "Drums Eyes". Based on visceral industrial drums and a pile-driving rhythm, it sees the duo draw on Mills during his Waveform Transmissions period for inspiration, delivering an intense, intoxicating track.
Review: British techno veteran James Ruskin resurfaces on his esteemed Blueprint label, for a series of executions in direct impact techno. As fierce and as functional as you'd surely expect, the three cuts on his latest Shortcut EP feature all the hallmarks of his idiosyncratic sound. Starting with the slow burning title track: an off-kilter expression in greyscale futurism with a seething atmosphere throughout. Picking up the pace next is the rolling, bass-driven stepper "Hang Up" which will captivate you with its intricate rhythm programming, and ending with the chilling and dystopic ambient journey of "Drums Eyes".
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".
Played by: Juno Recommends Techno
Review: 2020 looks set to be a busy year for James Ruskin; already he is about to deliver an artist album with Mark Broom as The Fear Ratio for Skam, while also preparing to release Consumer Patterns, his first solo EP in five years. The title track is a pile-driving affair: led by rolling snares and visceral, noisy riffs, it unfolds to a frenetic tempo. "Social Acceptance" sees the Blueprint boss head in a more hypnotic direction with frazzled synths looped to infinity. In contrast, on "Weakness of the System", Ruskin heads down an esoteric route, with dreamy synths underpinned by an abstract, glitchy backing.
Played by: Juno Recommends Techno
Review: Few if any contemporary producers do heads-down techno better than Truncate, as his latest EP for Blueprint demonstrates. What really sets the LA producer apart is his ability to tease out new sounds and nuances while still maintaining maximum impact. For example, "The Bell" is a rolling, rhythm-heavy affair that resounds to ticking percussion and pounding drums, but also drops into atmospheric reveries. Similarly, on "Initials", Truncate visits Miill-style minimalism, but adds his own touch with some deft, detuned sounds, while "Timbre" sees him deliver a rolling percussive affair that builds and drops subtly thanks to some wild tonal progressions
Review: Reality is James Ruskin's first solo Ep in a number of years. The Blueprint owner's absence has left techno a poorer place, but as Reality.. shows, he hasn't lost his magic touch. The title track is a streamlined, linear affair that showcases his ability to craft functional but distinctive dance floor tracks. Similarly on "We Are Everywhere", Ruskin carves out a firing techno track that progresses through visceral builds as it peaks and drops. He leaves the best till last: "'Disaffection", with its grimy acid lines and tight rhythm, sounds like the kind of track that you would expect to find on a vintage Lost Recordings release.
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.
Played by: Juno Recommends Techno
Review: This is the final instalment of Rommek's Set In Stone project and sees Blueprint call on some of techno's best known artists to provide remixes. First up is Makaton's take on "Obsidian", with the UK producer dropping razor-sharp metallic riffs over a dense stepping rhythm. Oliver Ho's Broken English Club project is next up with a radically different rework, turning "Komatiite" into a slowed down, atmospheric dirge. Label owner James Ruskin steers the release back to the dance floor with his hypnotic, orchestral take on "Grintstone", while he pairs up with Karl 'Regis' O'Connor for a menacing mid-paced stepping take on "Flint".
Played by: Juno Recommends Techno
Review: This is the second part of Rommek's Set in Stone Trilogy for Blueprint and sees the emerging producer embrace a range of styles. "Greywacke" is a moody stepper, led by robust broken beats and a searing bass, while on "Grintstone", he lays down a straighter techno arrangement, one that is swathed in atmospheric textures and led by pounding kicks. In contrast to these pieces, "Arkose" is more understated; revolving around break beats, the rhythm is stripped back and the synths that shine through are eerie and creepy. "Flint" sees him shift gears once again, taking the tempo down a few notches to replicate the disarray that the troubled US town of the same name suffers from.
Played by: Phase Fatale
Review: With a title like All Kneel, Makaton is clearly having a laugh. That said, the UK producer, who usually releases on Token, isn't messing about when it comes to his music. "We Believe" revolves around a noisy, spiky rhythm and layer upon layer of textured synths. It's an abrasive affair, but the musical accompaniment ensures that it doesn't sound too visceral. On "Blood Purity", Makaton uses a similar structure, but this time around, the drums are cleaner-sounding, supported by a distorted acid line. "Reclamation" is a straighter track, led by a linear drum pattern and a surging, prowling bass, while on "There to Here (Noise)", Makaton's penchant for the unusual plays out in the form of what sounds like Henry Rollins taking about the hardcore (punk) scene against waves of white noise. Bizarre but brilliant.
Review: Rommek previously released on Sonntag Morgen and Weekend Circuit, and doesn't disappoint on this, his first release on James Ruskin's label. Combining atmospheric textures with robust broken beats and tough kicks throughout, on "Forbidden Planet", Rommek ventures into the kind of territory that the Blueprint boss himself normally inhabits. There, eerie bleeps unfold over mesmerising percussion and cavernous off beats. "Arcane" is even more utilitarian and sees the upcoming producer lay down a full on, hammering industrial workout, albeit with some atmospheric textures playing away in the background. "Archetype" is just as intense, but for different reasons; a muscular, predatory bass weaves and insinuates itself over a stepping rhythm and bleak soundscapes. Rounding off this impressive EP is the eerie, broken down "Doldrums".
Review: Hot on the heels of a fine new version of Truncate's 2014 single "7_1" comes this fresh EP of dancefloor dynamite from David Flores's best-known project. Appearing on James Ruskin's long-running Blueprint label for the very first time, Flores kicks things off with the no-nonsense techno roller that is "Terminal 5", a dark, brooding foray into pitch-black techno territory typical of the British label's output. "Process" is similarly minded but slightly more positive in outlook, with mildly foreboding electronics and a repeated vocal sample riding a rubbery techno groove. "Tribal Tool", an exercise in drum machine percussion and dense African drums, completes a rock solid package.
Review: Deployment is the debut release from mystery act R.A.S.P and it starts in explosive mode. "Deployed" revolves around a hammering rhythm, surging bass and rolling snares, while a strangled shriek that plays on repeat lends it a truly individualistic feeling. "Fortified" is a more controlled, but also features hollowed out drums and acrid 303s, while R.A.S.P takes it down a notch on "Insert Point". Deeper and more mysterious sounding than the first two tracks, it has the kind of atmospheric nuances that prevail on James Ruskin and Lakker's recent work for Blueprint. Closing the release is "Strong Hold", where R.A.S.P show that they are adept at working 303 elements into a Baby Ford-style minimal groove.
Review: Steve Bailey's Makaton project is most closely associated with the singular Rodz-Konez label, but over the years, he has also released the project's uncompromising music on Token and Blueprint. Sea, his second outing on James Ruskin's label, starts with the oppressive bass and strings of "Durdle Door", before sliding into the high octane rhythm and dense, metal-plated drums of "High Priestess". Despite shifting so quickly between these contrasting styles, Bailey then moves again to a more stepping techno sound on "Coast to Coast", which has defined his output for Token. The final track, "Through Fire & Water", has found a natural home on Blueprint, as its visceral minimalism is redolent of James Ruskin at his most austere.
Review: Over the past few years, Blueprint has opened up its sound to experimental artists like Lakker. This is to be welcomed, but as its owner's latest release shows, the London label is still focused on underground techno. Conspiracy is a re-mastered, reissued release from 2002, and its centre piece is the harsh, abrasive percussion and meaty bass of "After Dark". The dark ambience of "Fader" shows that Ruskin has always had an ear for the abstract, but it's an exception here. "Take Control" revolves around surging percussion and breeze block weight broken beats, while proving that Blueprint is very much a techno label, this reissue also includes an intense, broken beat take on "Take Control" by Surgeon.
Played by: Umek
Review: This is the first new O/V/R material in five years, but in the interim it sounds like not much has changed. Both Karl 'Regis' O'Connor and Blueprint owner James Ruskin continue to bring their distinctive techno sound to the collaboration. On the title track, this is articulated through O'Connor's grimy drums and dense sense of arranging, while Ruskin's fingerprints are all over "Everyday Impulse". Clearer and more defined than the title track, it mines Detroit minimalism to deliver a sharp, looped affair. "Excerpt In Dreams" sees both sensibilities come together as an acid-infested groove rides O'Connor's unmistakable dense drums.
Various
Played by: Juno Recommends Techno, Cristiano Balducci, Resident Advisor, Umek, Complikeyted Disorders, N-TER
Review: To mark the twentieth anniversary of the foundation of his label, James Ruskin has put together this massive compilation. It includes long-term friends and associates of the label - like Oliver Ho, Regis and Luke Slater - as well as newer additions to the roster, including Lakker and Rommek. Apart from uniting artists from different generations, the compilation also showcases the label's various hues; from the broken beats and intricate rhythms of Ruskin and Regis' O/V/R project and the hypnotic soundscapes of Lakker's "Orange" to the trace stabs and 10 tonne kicks of Regis' "Party Spoiler Too" and the chaotic industrial rhythms on Truss' "Wanastow", this compilation offers to newcomers an invaluable introduction to Blueprint, or to long-standing fans an indispensable reminder of why the label is unique.
Review: He is best know these days for his ebm and wave-influenced work as Broken English Club, but Oliver Ho first rose to prominence as a heads-down techno producer during the 90s. This release, originally issued on Blueprint back in 1999, has been re-released as part of the label's twentieth anniversary celebrations. Despite the passage of time, these four tracks have not lost their raw energy. Furious bursts of percussion, insistent stabs and regular vocal chants, all underpinned by murderous kicks, ensure that Ho's sound has not aged. The fourth and final cut is the most abrasive, a jarring locked groove that makes modern-day purism sound tame by comparison.
Played by: Paul Mac
Review: Blueprint's 20th anniversary celebrations wouldn't be complete without a new EP from British techno veteran Oliver Ho, who first appeared on the imprint way back in 1996. Opener "Burning Heretics" is a typically no-nonsense affair, with Ho effortlessly joining the dots between contemporary Surgeon, modern industrial techno, and the ragged intensity of purist acid house. "Worship" is deep, out-there, metallic and partially ambient, while "Control" is a near perfect exercise in bouncy acid techno. Finally, Ho presses the button marked "tribal" on the loose-limbed, broken techno brilliance of "Genuflect". As the old cliche goes, this is "all killer", with "no filler".
Played by: Simon Heartfield, Paul Mac, Juno Recommends Techno, Cristiano Balducci, JAK, Resident Advisor
Review: To commence their 20th birthday celebrations, British techno imprint Blueprint has naturally turned to some of their pals for fresh material. Thus, we get Search Deep Inside Yourself, Surgeon's first appearance on James Ruskin's imprint for 19 years. The Birmingham producer naturally rises to the occasion, surging between metallic loop-jams ("Inside"), bleep-heavy broken techno brilliance ("Deep"), and surprisingly warm, tribal-enthused techno anthems ("Search"). Arguably best of all, though, is closer "Yourself", which sounds like Jaydee's "Plastic Dreams" after 20 years on crack, several spells in jail, and a brutal gang beating. Sure, there are few surprises, but when does Surgeon ever disappoint? You know the drill.
Played by: Rodhad
Review: London based producer Romek Boyer aka Rommek follows up releases on Weekend Circuit and Sonntag Morgen with a Berghain ready and absolute killer for James Ruskin's Blueprint. He wastes no time getting down to business on "Moth Hole", a pulverizing peak time monster with industrial strength groove, bleepy sonar aesthetics and massive menacing pads: sold yet? "Boiling Point" or "Solvent" are high octane peak time journeys in the vein of Rodhad or Post Scriptum; proper futurist groove assault! On the flip we have 'Beyond Desire", probably the most restrained effort on here. It's a dark and brooding, body bashing modern industrial workout that fans of AnD or Killawatt will appreciate.
Played by: Kessell
Review: Having disappeared from view at the tail end of the noughties, veteran UK techno producer Makaton returned to action last year with the typically bombastic Ra Ra Replica EP on Token. Here, he continues his comeback by delivering a trio of tracks on James Ruskin and Richard Polson's similarly vintage Blueprint label. He begins with the creepy intensity of "Point Suspension", where crackling kick-drums and relentless cymbals combine with ragged, acid-influenced electronics to create a suitably psychedelic mood. Twisted, oddball electronics also form a key part of the slightly deeper and slower - if no less impressive - "Six Feet Under In Love", while "Cold Black Heart" is a quirky chunky of floor-friendly glitch-funk.
Review: London's Progression returns to Blueprint Limited with four high-powered slabs of machine noise, characterized most appropriately by the term 'techno'. This naughty, hand-stamped piece of wax is dark, foreboding and distinctly industrial in texture, where cuts such as "Omnipotent 3", "Obscuro" and "CH1" explore all of the genre's tricks and no nonsense sonics. The bleepy outlook of "The Coriolis Effect" is a particular highlight!
Played by: Paul Mac
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: Last year Rumah debuted on the Church label with the Stutter/Murmer EP, a record which seems to have grabbed the attention of Blueprint boss James Ruskin. This SC1 EP, a collaboration between Rumah and Progression, provides the label's BPLTD series with its first release that's not by Ruskin, and it's a minimal and dark affair. Respectively "SC1" and "SC2" are linear and progressive, dubby and downbeat - similar to a Truncate production - while "SC3" harks back to the days of early MDR releases. The final track, "SC1 (Creech)", then offers a broken beat alternative to the straight up techno before it.
Review: The techno-not-techno music of Samuel Kerridge has made its way to one of techno's most techno labels in Blueprint. Since it reintroduced itself in 2009, James Ruskin's operation has embraced the more experimental side of the genre in similar ways to Stroboscopic Artefacts without venturing as far away from the dancefloor. This release by Samuel Kerridge is the furthest Blueprint has travelled to date and over four tracks Kerridge rains down a thunderstorm of industrial and gothic mayhem that sounds like a power station being ravaged by lightening from the top and ripped apart by the underworld from the bottom.
Played by: Paul Mac, Paul Langley, Detroit Grand Pubahs, Joachim Spieth (Affin), Roberto Rodriguez (Manolo), RADIAL, Juno Recommends Techno, Slam, Chris Liebing, Trevor Benz, Resident Advisor, Inigo Kennedy, Lo-FI Funk
Review: Once in a while James Ruskin reveals just how diverse a producer he can be, and so it is on this new Blueprint release with its crisp electronica undertones striking a chord with the recent Function / Inland release. The title track especially balances deft, broken rhythms with bold, brassy sweeps of synth, keeping a primal analogue feel to the production and sounding not dissimilar to early Autechre. "Shallow Pool" is even further out in leftfield with its languid guitar tones and distant piston-pumping beat, while "Dependant Stage" comes over all electro as though suspended in mid-air.
Played by: Simon Heartfield, Paul Mac, Paul Langley, Mudrost, Detroit Grand Pubahs, Luke Slater, Joachim Spieth (Affin), Wesley Matsell, Juno Recommends Techno, Donnell Knox, Chris Liebing, Tek-No-Bee, NBMD, Resident Advisor, Pixelord, Woo York, DJ Skull
Review: James Ruskin has of course individually collaborated with Mark Broom, as well forming The Fear Ratio project for Blueprint, and he's worked with Regis as O/V/R, but a solo record from the boss on his own label hasn't been heard since 2009. Throughout the Silt EP, sounds from these collaborations creep in and out of the three productions, while the title-track sounds like something that would fit right into a [Phase] EP. There's a definite Warp, albeit Lakker and The Fear Ratio sonic to the melancholic "Wisdom Of Youth", while the murky slither of "Emotional Erode" is the EP's unexpected, ambient, and rhythmic dub-leaning highlight.
Review: Blueprint Records kick off a sub-series dedicated to reissuing early material from the label's discography in fine fashion here, with the first transmission from the Outline project label boss James Ruskin was involved in alongside Richard Polson (RIP) presented for contemporary ears. Together as Outline, Ruskin and Polson launched Blueprint in 1996 with First Contact and the pair recorded a further four EPs together for the label in little over a year. A chance to bask in "fully re-mastered and substantially beefed up" takes on both tracks from First Contact should not be missed! Modern audiences looking for greater insight into the no holds barred techno of mid 90s London should pay attention here!
Review: The reason why Dublin-based duo Lakker has attracted a lot of attention is due to the fact that they sound genuinely different. As "Mustard Crying" demonstrates, they are unafraid of dropping a track consisting mainly of beats that sound like someone falling down a flight of stairs and loads of noisy feedback. "Ciar" is only slightly more palatable and revolves around a sludgy bass and walls of screeching noise. But Lakker also have a softer side and even thought they frame it against an itchy, scratchy minimal groove, "Summer Rains" has a fragile beauty to it, its eerie synths feeling like steam rising from the ground after a brief spell of rain on a hot day.
Played by: Paul Mac, Paul Langley, Abnormal Boyz, Juno Recommends Techno, Posthuman, Resident Advisor, Forest Echo One, Cari Lekebusch, Psyk
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.
