That said, there's not a hell of a lot happening on the A-side, Onyx, the more testing of the two. Over an embedded, prodding bassline, a relentless, reverbing clank is the centrepiece: bouncing, stuttering and dubbing hypnotically throughout, like a kinetic ball toy with ADD. Klock varies the precise machine-like percussion to add definition, while the harsh, scuttling FX add menace. It's pure, pressure-cooker minimal techno intended for the headstrong. But keep focused on that relentless, trance-inducing stab and things become more interesting.
'Sean' is brighter and better. Klock builds a simple, shifting groove (made for the mix) and then teases us with it: he lets it roll for half the track as, at the command of a convincing swoosh, various snares, pads and kicks build and drop, come and go. Its simplicity makes the arrival of the main event doubly-impressive – a deep, angular and very memorable bassline that elbows its way to the fore, a sharp, Teutonic re-imaging of a classic Mr Fingers moment. (In fact, 'Sean' has been ringing in my head since I heard Klock play it two months ago… roughly around 10 minutes before I decided it was time to call it a morning.)