Max HeyraudWe caught up with UK techno legend Mark Broom ahead of his return to Belfast tonight to reflect on his pioneering role in shaping British techno, from his early ’90s influences to his ongoing evolution across multiple aliases. He also shares his thoughts on the 2024 Hardgroove resurgence, the impact of social media, and what’s next for his music, including his upcoming hybrid set at Berghain.
In a world where the term “DJ’s DJ” is thrown around with regularity, the phrase “producer’s producer” is a rarer distinction—one that is rightfully earned by artists like Mark Broom. A true pioneer of UK techno since the ’90s, Broom’s contributions to the genre have helped define the sound of British techno, a scene often overshadowed by Detroit and Berlin. Alongside contemporaries like Ben Sims, Mark Williams, and James Ruskin, Broom played a pivotal role in shaping the future of techno, grounding the genre in the raw, hypnotic, and unapologetically funky sounds that are still felt today.
Tracks like Shanty Star and Things have become blueprints for high-octane, tribal-infused techno: gritty, irresistible, and endlessly dynamic. While the term “timeless” is often overused, Broom has earned it. A veteran of the scene, his output in 2024 proves that his creative fire is burning brighter than ever. Throughout his career, Broom has shown a remarkable ability to reinvent himself under a variety of aliases—Lighter Thief, Star B, Kingpin Kartel, Casino Classix, and more—constantly evolving from his roots in slamming tribal techno to exploring everything from minimalist cuts to disco-soaked house.
Mark Broom’s career is the epitome of longevity and reinvention, and if there’s ever been an artist who has grafted to remain at the top of their game for as long as he has, it’s Broom. He’s earned every accolade, and his influence on techno is undeniable.
You can purchase final tickets to Mark Broom at Thompsons tonight here.
How did you first discover techno?
I wish I could pinpoint the exact moment, but it was sometime in the late ’80s or early ’90s, through the sounds coming out of Detroit. Before that, I was heavily into Acid House, but techno started creeping in and just hooked me. Having some legendary record shops in London, like Fat Cat, helped a lot. It was a Mecca for vinyl lovers and a place for meeting people with the same obsession.
When did you start DJing and making music?
DJing was definitely first, with production following a little later. I used to hang out with Ed and Andy from Plaid (then Black Dog), and they were a massive help in the early days, showing me the ropes in the studio and engineering my stuff. This was around 1992. My first few releases came out on GPR Recordings, a local infamous record label that went on to feature artists like Luke Slater and many more!
DJing and producing seem like more viable career paths than ever before. When did you first realise you could make a career out of it?
I took the plunge around’ 93-’94, quit my day job, and went fully into the music business, and it was the best decision I’ve ever made. I had a strong passion, especially for the DJing side early on, constantly practising and making mixes all the time; I realised I couldn’t see myself doing anything else. I had to follow my heart, and luckily, it worked out.
You’re often considered in the elite tier of techno producers, thanks to your consistent quality across various shades of techno and house. Despite evolving, you’ve never compromised to suit trends. Do you have any principles or ethos that guide your work?
I just love making music and experimenting with different styles. Over the years, I’ve been fortunate to work with some of the world’s top record labels and to just focus on the music. When you’re really passionate about what you’re creating, trends don’t phase you. I’ve been in the scene for such a long time, and you build this musical knowledge bank that just naturally guides you.
If you could leave one piece of advice for up-and-coming techno artists, what would it be?
Get yourself an Octatrack!
Let’s fast-forward to the present. I’m curious—how did you start posting videos of yourself playing on the Octatrack?
It started as a fun way to show people how ideas and jams come together in the studio. The Octatrack is perfect for capturing raw ideas and turning them into jams. I have loads of enjoyment working with this piece of equipment, and it’s a perfect sketch pad for me to get quick ideas flowing.
What are your thoughts on social media’s role in the techno scene?
No comment!
Earlier this year, I spoke to Ben Sims about the 2024 Hardgroove resurgence. He mentioned that calling anything with a loop or sample “Hardgroove” is “kinda annoying.” How do you feel about this?
Just throwing in a bongo sample and calling it Hardgroove totally misses the point. Like any hype genre, you’ll have good and bad moments, and the real test is longevity. Artists like Ben, Mark Williams, and myself are still here, still pushing things forward and inspiring the next wave, and that’s what matters.
On the flip side, there’s a wave of new techno artists reinterpreting the late ’90s and early ’00s sound. Do you have any favourite emerging artists?
Westcode, Duty Paid, Lorcan Kelly, Stipp, Volster, Alec Dienaar, Leod, Angel Science, Andrew Bon Bosher, and Nicolas Volger are all doing fantastic work. I’ve got to give a shout-out to some of the artists who’ve released on my Beardman label too, Uncertain, Skov Bowden, Gene Richards Jr, Inta, Confidential Recipe, and TWR72. They’re pushing boundaries and keeping things fresh!
You’re returning to Belfast this weekend. Do you have any memorable experiences from playing there over the years?
On my last visit to Belfast, I played with Phil Kieran, which was cool. I’m looking forward to another memorable night this weekend with the Twisted Events crew.
Next month, you’ll be playing a hybrid set at Berghain. Can you tell us what goes into preparing for these kinds of sets? And with Berghain sets typically running long, how do you handle the physical and mental demands of a hybrid set?
The hybrid show consists of pre-saved loops and more advanced tracks on the Octatrack, blended in with DJing. I usually start with my Octatrack and slowly start incorporating music from my USB stick. A four-hour set isn’t a problem, especially if the crowd’s energy is with you; it can pass by quickly. The last set I did like this was in Amsterdam, and the vibe was incredible. I can’t wait to bring that energy to Berghain!
