#19 Feat. New Releases in Electro (Classic / Detroit / Modern)

B.AI has been quickly rising to prominence within contemporary electronic music, and, arguably, one of her most enticing feats is her ability to make the minimal, electro and tech house genres she navigates her own by injecting them with a unique sense of melody. On The Best EP, the Chengdu based artist shows she can not only write memorable hooks but can do so while covering a broad array of registers. Nightdreaming is a moody builder: although new, sturdily patched layers keep being introduced and the pace never slows down, a sense of restraint remains. This atmosphere quickly changes on Satisfy, which, with its tapestry of indeterminate arpeggios and EBM-evoking vocals, takes a nervous turn. The Best on the B-side is a slab of vigor tailored for the peak time. Set to an effective bass groove, modulated chords, white noise sweeps, delicately mixed moans and bright pads nearly trip one over another. On Crash Landing On Nimas B.AI , together with Diego Santana, unleashes a batch of detuned and portamento heavy square wave patterns. The EP, diverse yet balanced, ends on a note so ominous... the contrast with how bright we imagine the future for this maverick talent could not be starker.

B.AI, Diego Santana

#23 Feat. New Releases in Electro (Classic / Detroit / Modern)

DMX Krew has been turning out electronic music from his analog-laden studio since 1994. Having produced over a hundred EPs and albums, he has built a discography nothing short of prolific. He mixes tech savvy with a firm understanding of club music and a penchant for catchy and clever hooks. The Powerplay EP forms a great display of this, and we are elated to offer it as our third release. On the A-side, House Twerp works up the sparks as a gentle bassline, bubbly synths and bright chords rub against one another. I love Kevin continues along the openers groovy tone, but with the tempo pitched up a notch, a cheerful brass lead and vintage transposed vocal samples, it full on targets the floor. It is a slab of feel-good machine funk, ideal for brightening a room that is far from having its lights turned on. Masked Man on the B-side is the most bare-bones club track of the collection. The twitchy lead is modulated left and right: set to a subtly crushed drum track, its tension is continuously building and falling backwards. Closer and title track Powerplay is a sparse and subtle slow-builder. Flanged percussion, menacing chords and a classic roving bass sequence are the central ingredients for this muggy and eerie house cut. ALT003 provides a diverse selection, entirely in correspondence with the artists ability to create within a wide array - from rude electro to synth pop and a lot of the space in between. Ed DMX never really cared much about how his music is categorized, though. And rightfully so, as, even if it indeed tackles many genres, in the end it only sounds like him.

DMX Krew

#44 Feat. Banner in Indie Dance

DMX Krew has been turning out electronic music from his analog-laden studio since 1994. Having produced over a hundred EPs and albums, he has built a discography nothing short of prolific. He mixes tech savvy with a firm understanding of club music and a penchant for catchy and clever hooks. The Powerplay EP forms a great display of this, and we are elated to offer it as our third release. On the A-side, House Twerp works up the sparks as a gentle bassline, bubbly synths and bright chords rub against one another. I love Kevin continues along the openers groovy tone, but with the tempo pitched up a notch, a cheerful brass lead and vintage transposed vocal samples, it full on targets the floor. It is a slab of feel-good machine funk, ideal for brightening a room that is far from having its lights turned on. Masked Man on the B-side is the most bare-bones club track of the collection. The twitchy lead is modulated left and right: set to a subtly crushed drum track, its tension is continuously building and falling backwards. Closer and title track Powerplay is a sparse and subtle slow-builder. Flanged percussion, menacing chords and a classic roving bass sequence are the central ingredients for this muggy and eerie house cut. ALT003 provides a diverse selection, entirely in correspondence with the artists ability to create within a wide array - from rude electro to synth pop and a lot of the space in between. Ed DMX never really cared much about how his music is categorized, though. And rightfully so, as, even if it indeed tackles many genres, in the end it only sounds like him.

DMX Krew

#44 Feat. New Releases in Indie Dance

DMX Krew has been turning out electronic music from his analog-laden studio since 1994. Having produced over a hundred EPs and albums, he has built a discography nothing short of prolific. He mixes tech savvy with a firm understanding of club music and a penchant for catchy and clever hooks. The Powerplay EP forms a great display of this, and we are elated to offer it as our third release. On the A-side, House Twerp works up the sparks as a gentle bassline, bubbly synths and bright chords rub against one another. I love Kevin continues along the openers groovy tone, but with the tempo pitched up a notch, a cheerful brass lead and vintage transposed vocal samples, it full on targets the floor. It is a slab of feel-good machine funk, ideal for brightening a room that is far from having its lights turned on. Masked Man on the B-side is the most bare-bones club track of the collection. The twitchy lead is modulated left and right: set to a subtly crushed drum track, its tension is continuously building and falling backwards. Closer and title track Powerplay is a sparse and subtle slow-builder. Flanged percussion, menacing chords and a classic roving bass sequence are the central ingredients for this muggy and eerie house cut. ALT003 provides a diverse selection, entirely in correspondence with the artists ability to create within a wide array - from rude electro to synth pop and a lot of the space in between. Ed DMX never really cared much about how his music is categorized, though. And rightfully so, as, even if it indeed tackles many genres, in the end it only sounds like him.

DMX Krew