By Azzam Bilal 
HangupsMusic.com – LONDON, The rhythmic landscape of electronic music is often defined by its steady pulses—the unwavering four-to-the-floor of house or the driving backbeat of techno. Yet, nestled within the cracks of London’s club history lies a genre defined by its refusal to settle into a predictable groove. Broken beat, or "Bruk" as it is affectionately known by its devotees, has long existed as the sophisticated, restless cousin of the UK’s more mainstream dance exports. While genres like UK Garage and Grime have enjoyed massive commercial peaks and cultural saturations, broken beat has largely remained an underground treasure, perpetually fluctuating between states of dormancy and revival. The latest endeavor from fabric Records, titled SELECTS VIII, seeks to capture this elusive energy, offering a comprehensive look at a genre that continues to thrive on the fringes of the dancefloor.
The "SELECTS" series from fabric has become a vital barometer for contemporary UK club sounds. Previous installments have meticulously cataloged the nuances of tech house, bass music, and the resurgence of UK Garage. By turning its lens toward broken beat for the eighth edition, the label acknowledges a sound that is as historically significant as it is technically demanding. Broken beat emerged in the late 1990s, primarily out of West London, pioneered by collectives like Bugz in the Attic and the CoOp crew. It was a fusion of jazz-funk, soul, and fusion, filtered through the lens of modern drum machine programming and sampling culture. It was music that demanded a certain level of rhythmic literacy from its listeners, and SELECTS VIII honors that tradition while introducing a fresh generation of producers who are carrying the torch.
The compilation opens a window into a sonic world where the "break" is the primary focus. Unlike the Amen break of jungle or the swing of garage, broken beat utilizes a stuttering, syncopated rhythm that feels both mechanical and deeply organic. The ten tracks featured on this collection emphasize this elasticity. They avoid the trap of over-polishing the sound, instead leaning into the rougher, more tactile edges that give the genre its character. This is music that breathes; it expands and contracts, utilizing the harmonic language of 1970s jazz fusion to provide a lush backdrop for complex, interlocking percussion.
One of the standout contributions comes from Donsurf, whose track "The Model" serves as a masterclass in the "warm" side of the genre. It utilizes jazzy chord progressions and organic timbres that evoke the sun-drenched heritage of the West London sound. There is a gentleness here that contrasts with the more aggressive tendencies of modern electronic music, proving that the dancefloor can be a place of melodic sophistication as much as rhythmic intensity. Similarly, Streeton’s "Ginko Dub" explores the global influences that have always informed broken beat. By layering rich percussion with Latin-inflected rhythms, Streeton creates a soulful, percussive tapestry that feels timeless. It is a reminder that Bruk has always been a "world" music, drawing as much from the polyrhythms of the African diaspora as from the synthesized sounds of the UK.
However, SELECTS VIII is not merely a tribute to the smoother side of the spectrum. It also embraces the grit and friction that define the modern London club experience. Ben Hauke, a producer known for his ability to bridge the gap between house and Bruk, delivers "Love This," a track that pushes the compilation into tougher, more industrial textures. The rhythms are still syncopated, but the sound palette is darker and more driving. D’Monk follows a similar path with "Daza," a track that pairs crisp, snapping claps with heavy, undulating basslines. The result is an off-kilter groove that feels like it could collapse at any moment, yet remains held together by a tight, internal logic. This tension—the feeling of a rhythm being pulled apart and stitched back together—is the very essence of broken beat.
A significant portion of the compilation’s strength lies in its connection to the genre’s lineage. The inclusion of Mark Force and Afronaut, two foundational members of the legendary Bugz in the Attic collective, provides a direct link to the genre’s golden era. Their track, "Carnival (AfroForce Vox Dub)," is a dense, percussive workout that utilizes vocal fragments, whistles, and complex rhythmic layers to recreate the frantic energy of a street festival. It is a masterclass in arrangement, showing how multiple rhythmic ideas can coexist without overwhelming the listener. Furthermore, the appearance of Maddslinky (an alias of the prolific Dave Jones, also known as Zed Bias) brings a sense of historical discovery to the record. His contribution, "UNTITLED AS YET," is a previously unreleased recording from the original CoOp era, offering a nostalgic yet vital glimpse into the roots of the movement.
Despite these strong connections to the past, the compilation has faced some minor scrutiny regarding its curation. Longtime fans of the scene might note the absence of certain "heavyweight" figures who helped define the sound, such as IG Culture, the visionary Kaidi Tatham, or the contemporary pioneer Shy One. These artists have been instrumental in keeping the broken beat flame alive during its leaner years. However, the decision to focus on a mix of veterans and newer names like Donsurf and Ben Hauke suggests that fabric Records is more interested in showcasing the genre’s ongoing evolution rather than simply providing a retrospective. The newer artists on the tracklist hold their own, proving that the technical proficiency required to produce Bruk is being successfully passed down to a new vanguard.
The enduring appeal of broken beat lies in its refusal to be easily categorized or commodified. It never had a signature "drop" that could be easily marketed to a mass audience, nor did it rely on a singular, repetitive loop that could be easily digested on a casual listen. Instead, its identity is found in the "friction" between styles. It is a genre where the sophisticated harmonies of Herbie Hancock or Lonnie Liston Smith meet the raw, bass-heavy requirements of a London sound system. It is music that bridges the gap between live instrumentation and electronic manipulation, between the cerebral and the physical.
As the compilation draws to a close with the caramel-smooth chords of "Bakura," there is a palpable sense of optimism. SELECTS VIII does not treat broken beat as a museum piece or a dead language. Instead, it presents it as a living, breathing entity that continues to inspire. The "revival" of broken beat is a narrative that has been written many times, but perhaps the truth is simpler: the genre never actually left. It merely waited for the rest of the world to catch up to its rhythm.
In an era where much of electronic music can feel programmed to fit an algorithm, the human, "broken" nature of this music feels more radical than ever. fabric Records has succeeded in creating a document that honors the pioneers while giving the next generation a platform to experiment. Whether through the soulful depths of "Ginko Dub" or the gritty pulse of "Love This," SELECTS VIII serves as a definitive statement on why broken beat remains one of the most intriguing and resilient corners of the UK’s musical heritage. It is a celebration of the groove that refuses to be fixed, and a testament to the enduring power of the syncopated soul.
