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Review: Mark Broom and James Ruskin re-ignite as The Fear Ratio, with their third appearance on British IDM imprint Skam. Under this alias, the pair of techno figureheads explore styles outside of their usual techno trajectory - pushing their sonic repertoire into the realms of extreme electronics and UK derived splintered beat explorations. Featuring exclusive versions of tracks taken from their last album Refuge of A Twisted Soul, and made in preparation for their live sets. The industrial strength breaks of "GBA" can match anything by fellow brethren British Murder Boys, "Onefiveoooh" is as much hyperware as it is completely contorted, while the deep and atmospheric slow burner "Era" allows you a moment to come up for air.

Review: James Ruskin and Mark Broom return with a third installment of their wayward electronica project, The Fear Ratio. Far from the bruising techno they normally throw down, "They Can't Be Saved" is an introspective trip into the knotted realms of hip-hop influenced machine music produced down to the nth degree. The beats crunch hard and the atmospheres come shrouded in mystery, slotting in perfectly on the legendary Manchester label Skam. Both a wonderful revival of leftfield electronica and a vital, fresh approach, this third album is another triumphant one. Slap this one on and revel in the sound of two hugely accomplished producers cutting loose and having fun in the studio.

Review: As solo artists, James Ruskin and Mark Broom are celebrated for the uncompromising nature of their techno tracks. Yet when they come together as The Fear Ratio, the resulting off-kilter electronic music is much more akin to the angular, electro-influenced IDM work of fellow Skam associates Autechre, Gescom and Freeform. "They Can't Be Saved", their first full-length for five years, continues in this vein, delivering a distorted, mind-altering fusion of clanking, left-of-centre drum machine rhythms, otherworldly aural textures, alien electronics, ghostly chords and cybernetic melodies that more often that not skittishly race across the soundscape. Its impressive stuff all told and should appeal to all of those who appreciate the more skewed and unearthly end of the electronic spectrum.

Review: As solo artists, James Ruskin and Mark Broom are celebrated for the uncompromising nature of their techno tracks. Yet when they come together as The Fear Ratio, the resulting off-kilter electronic music is much more akin to the angular, electro-influenced IDM work of fellow Skam associates Autechre, Gescom and Freeform. "They Can't Be Saved", their first full-length for five years, continues in this vein, delivering a distorted, mind-altering fusion of clanking, left-of-centre drum machine rhythms, otherworldly aural textures, alien electronics, ghostly chords and cybernetic melodies that more often that not skittishly race across the soundscape. Its impressive stuff all told and should appeal to all of those who appreciate the more skewed and unearthly end of the electronic spectrum.

Review: UK techno veterans Mark Broom and James Ruskin first joined forces under The Fear Ratio alias back in 2011, delivering the inventive - and hugely enjoyable - IDM-meets-techno full-length, Light Box. Several years on the pair realign as The Fear Ratio for a second album, issued somewhat surprisingly through Skam, which gleefully explores similar sonic territory, whilst throwing a few more influences - most notably experimental hip-hop and vintage electro - into the pot for good measure. The result is a hugely entertaining album that naturally doffs a cap to Skam Records' dystopian roots, as well as the heavyweight soundsystem throb of dubstep, the hypnotism of dub techno, and the crackling electronic wizardry of Autechre.

Review: UK techno veterans Mark Broom and James Ruskin first joined forces under The Fear Ratio alias back in 2011, delivering the inventive - and hugely enjoyable - IDM-meets-techno full-length, Light Box. Here they join forces once more for a follow-up that gleefully explores similar sonic territory, whilst throwing a few more influences - most notably experimental hip-hop and vintage electro - into the pot for good measure. The result is a hugely entertaining album that naturally doffs a cap to Skam Records' dystopian roots, as well as the heavyweight soundsystem throb of dubstep, the hypnotism of dub techno, and the crackling electronic wizardry of Autechre.