Between Dark Sky and Breach, there’s no shortage of production talent on “The Click” b/w “The Fallout.” Across the course of Dark Sky’s six releases, the trio of producers—Tom Edwards, Matt Benyayer, and Carlo Anderson—has become known for the pristine quality of its tracks and the way the group can handle a powerful low-end with impeccable skill. Similarly, between his Breach alias and his multi-instrumental and vocal work under his birth name, Ben Westbeech has made a decent attempt at proving he can be all things to all dance music enthusiasts. As such, it’s no surprise that both cuts on this collaborative 12″ sound utterly fantastic; each sounds dense and powerful without ever feeling cluttered, as they’re full of rich synths and crisp percussion parts that all sit perfectly in the mix. However, whether either track has any particularly new ideas to offer is a different question entirely.

That’s not to say that both tracks aren’t exciting. “The Click” is a nicely composed, brooding house tune; it builds into a groove formed around reverb-laden sticks and heavily filtered synth stabs, which eventually gives way to the sort of killer bass hook that one would expect from anything with Dark Sky’s name attached to it. Throughout the song, there are plenty of detailed vocal and percussion touches and the rhythm builds to a satisfying peak. “The Fallout,” meanwhile, is a harder track from the jump. Going straight in with a powerful 4×4 kick and energetic drum-machine claps, it opens up into a lively mix of colorful synths, vocal stabs, and a weighty low end. There’s certainly no shortage of pace in the shuffling percussion and vibrantly fizzing hats, all of which bring to mind classic Chicago house. In short, both are tracks that will instantly sound great in a club.

The problem is that neither track really captures the personality of either outfit’s best moments. Stacked against the memorable rhythms of Breech’s peculiarly anthemic “Fatherless,” or Dark Sky’s joyfully retro, rave-ready synth jam “Neon,” both tunes here seem a little forgettable. Even compared to Breach’s last collaborative outing on Naked Naked, the immensely enjoyable “101” b/w “Somewhere” with Midland, these tracks seem closer aligned to the more straightforward ends of modern dance music. Both “The Click” and “The Fallout” are ready-made club bangers, albeit ones that don’t stand out that far from the rest of the house-informed ‘bass music’ crowd occupying UK clubs right now. Still, neither track is without its charms, and both are impeccably produced, so who really cares whether or not we’ll still remember them 12 months from now?