Alright then! Oliver Ho appears bang up for it on four Brum-via-London techno welters built under his Broken English Club alias
After nearly a decade putting his best energies in Broken English Club, which began with sides for Juan Mendez’ Jealous God, and Veronica Vasicka’s Cititrax in 2014, the Ho gets deeper into his thing with killer, effortless traction on each count.
It’s all about the way he syncs the kicks/bass here, exploring fine, powerful integers of the EBM-techno sound between the booming warehouse canter and prowling bass of ‘The Hunt’, to the almighty momentum of his pendulous wrecking ball kicks and offset EBM stabs on the monstrous ‘Chambers’ (swear down we’ll be rinsing this at The White Hotel), to the no nonsense sharks-eyed darkroom drive of ‘Trench’, and ’Descent’.
Dangerously good.
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Alright then! Oliver Ho appears bang up for it on four Brum-via-London techno welters built under his Broken English Club alias
After nearly a decade putting his best energies in Broken English Club, which began with sides for Juan Mendez’ Jealous God, and Veronica Vasicka’s Cititrax in 2014, the Ho gets deeper into his thing with killer, effortless traction on each count.
It’s all about the way he syncs the kicks/bass here, exploring fine, powerful integers of the EBM-techno sound between the booming warehouse canter and prowling bass of ‘The Hunt’, to the almighty momentum of his pendulous wrecking ball kicks and offset EBM stabs on the monstrous ‘Chambers’ (swear down we’ll be rinsing this at The White Hotel), to the no nonsense sharks-eyed darkroom drive of ‘Trench’, and ’Descent’.
Dangerously good.
Alright then! Oliver Ho appears bang up for it on four Brum-via-London techno welters built under his Broken English Club alias
After nearly a decade putting his best energies in Broken English Club, which began with sides for Juan Mendez’ Jealous God, and Veronica Vasicka’s Cititrax in 2014, the Ho gets deeper into his thing with killer, effortless traction on each count.
It’s all about the way he syncs the kicks/bass here, exploring fine, powerful integers of the EBM-techno sound between the booming warehouse canter and prowling bass of ‘The Hunt’, to the almighty momentum of his pendulous wrecking ball kicks and offset EBM stabs on the monstrous ‘Chambers’ (swear down we’ll be rinsing this at The White Hotel), to the no nonsense sharks-eyed darkroom drive of ‘Trench’, and ’Descent’.
Dangerously good.
Alright then! Oliver Ho appears bang up for it on four Brum-via-London techno welters built under his Broken English Club alias
After nearly a decade putting his best energies in Broken English Club, which began with sides for Juan Mendez’ Jealous God, and Veronica Vasicka’s Cititrax in 2014, the Ho gets deeper into his thing with killer, effortless traction on each count.
It’s all about the way he syncs the kicks/bass here, exploring fine, powerful integers of the EBM-techno sound between the booming warehouse canter and prowling bass of ‘The Hunt’, to the almighty momentum of his pendulous wrecking ball kicks and offset EBM stabs on the monstrous ‘Chambers’ (swear down we’ll be rinsing this at The White Hotel), to the no nonsense sharks-eyed darkroom drive of ‘Trench’, and ’Descent’.
Dangerously good.