FACT Magazine XXL Freshmen 2014 announced; includes Kevin Gates, Chance the Rapper and more @ Musique Non Stop |  |
- XXL Freshmen 2014 announced; includes Kevin Gates, Chance the Rapper and more
- Clay Rendering, Lussuria and Dual Action gear up for Hospital Productions summer tour
- King Britt, Mister Saturday Night and more to perform at DC’s Forward festival
- Listen to Atlanta rapper Lil Silk’s ‘I Know’
- Watch How To Dress Well and Deadboy review the week’s singles
- Tracklist revealed for Nightmares On Wax anniversary compilation N.O.W. is the Time
- Stream Swans’ new album, To Be Kind
- Rihanna reportedly leaves Def Jam for Jay Z’s Roc Nation label
- Listen to FaltyDL’s remix of Disclosure and Friend Within’s ‘The Mechanism’
- “File under GUNFINGERS / AIRHORN / SHIRT-OVER-THE-HEAD”: Mumdance, The-Dream, Four Tet and more reviewed in the FACT Singles Club
- Experimental rap duo Shabazz Palaces prep new album Lese Majesty
- Asiatisch
- “To us, we’re normal”: Pixies talk legacy, identity and Steve Reich
- See who has the largest vocabulary in hip-hop (hint – it’s not Drake)
- FACT mix 439 – Lord of the Isles
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Posted: 05 May 2014 03:42 PM PDT
 The hip-hop magazine announces its rappers to watch on BET’s 106 & Park. XXL headed to BET to announce this year’s freshman class, dubbed “The Dirty Dozen.” Chicago is repped heavily with Chance the Rapper, Lil Durk, Save Money’s Vic Mensa and Free Crack street spitter Lil Bibby on the list. The list is heavy with guys that sing more than rap (Rich Homie Quan, August Alsina and Ty Dolla $ign), which makes sense in a rap scene dominated by the likes of Drake and Future. TDE’s Isaiah Rashad and newcomers Troy Ave, Jon Connor and fan-voted Jarren Benton round out the list. 2013′s Freshmen list included Ab-Soul, Schoolboy Q, Angel Haze and Chief Keef, among others. Past classes have tabbed Kendrick Lamar, Future, YG and Danny Brown, but XXL has had their share of busts (Charles Hamilton, anyone?). As expected, there is a bit of crossover with FACT’s list of rappers to watch in 2014, with Gates appearing on last year’s Hip-Hop for Dummies list.          |
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Clay Rendering, Lussuria and Dual Action gear up for Hospital Productions summer tour
Posted: 05 May 2014 01:43 PM PDT
 It’s summer, and just in time for the long days of sunscreen, mixed drinks and cook-outs, Hospital Productions have announced an extensive tour. Entitled Summer Always Summer (what else?), the tour will be carried by Clay Rendering (the blistering hybrid project from Mike Connelly (Hair Police, ex-Wolf Eyes) and Tara Connelly), dark ambient practitioner Lussuria and Dual Action, a solo project from one of the members of Hospital vets K.P. Excitingly for noise junkies such as ourselves, there will be a Hospital merch table at every show featuring new, old and out of print Hospital titles. So not only do you get to see unfuckwithable new material from three of Hospital’s most exciting acts, but you get to fill in the gaps in your collection too. What are you waiting for? If you fancy hearing a little more from the Hospital stable (including a taste of Dual Action) then make sure you take a listen to FACT’s recent East Village Radio show, with special guest Dominick Fernow (aka Prurient). Tour Dates: 05/31 – Cleveland, OH at Now That’s Class 06/01 – Pittsburgh, PA at the Shop 06/03 – Easthampton, MA at the Flywheel 06/04 – Providence, RI at Machines with Magnets 06/05 – Boston, MA at Deep Thoughts 06/06 – Philadelphia, PA at the Side Chapel of the First Unitarian Church 06/07 – Richmond, VA at Auxillary 06/08 – Norfolk, VA at the Iguana 06/09 – Asheville, NC at the Mothlight 06/10 – Atlanta, GA at Eye Drum 06/11 – Chattanooga, TN at Sluggo’s 06/12 – Nashville, TN at Tower II 06/13 – Lexington, KY at Green Lantern         |
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Posted: 05 May 2014 01:14 PM PDT
 DC’s leading electronic arts festival returns for its seventh year. FORWARD is a five-day festival scheduled to take place from May 14 to May 18. Focused around the theme “Perspective,” the festival will hold various events around Washington, DC at clubs, galleries and the Jefferson Memorial. The musical highlights include sets by Mister Saturday Night, Hyperdub’s King Britt, Detroit veteran Daniel Bell, Spain’s Le Parody and a special, to-be-named guest from Bristol. The festival also includes a screening of synthesizer documentary I Dream of Wires, a hardware expo, production workshops and more. For tickets and more information, head to the FORWARD website.         |
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Posted: 05 May 2014 12:08 PM PDT
 One of FACT’s rappers-to-watch in 2014 gets salty. Lil Silk follows up February’s Son of a Hustler mixtape |
FACT TV interviewed Silk at SXSW and also chatted with his associate Chilly Chills, who just dropped the first taste of his upcoming mixtape, ‘Prayer’.
Posted: 05 May 2014 11:28 AM PDT
For our latest edition of the FACT Singles Club, How To Dress Well and Deadboy are in the hot seats.
In London for a Boiler Room session, How To Dress Well and Deadboy rated the week’s singles, including new songs by Future, SD Laika, Hannah Diamond and more. How To Dress Well will release his third album, What is This Heart?, on June 23, while Deadboy just dropped a new EP on Numbers.
Posted: 05 May 2014 10:49 AM PDT
George Evelyn, aka Nightmares On Wax, celebrates 25 years with Warp on compilation N.O.W. is the Time
The album was announced last month, but now we’ve got more information, as Warp have finally revealed the tracklist. The main album will be on CD and be split into two parts, collecting up the producer’s best-loved work, from the Quincy Jones-sampling classic ‘Les Nuits’ to the more recent ‘Mind Eye’.
Most excitingly however, is special vinyl set, which will collect up a series of rarities and remixes, with versions from Special Request, LFO, Morgan Geist, Loco Dice and more. Both sets will be released via Warp Records on June 16, and you can take a listen to Ashley Beedle’s dubby rework of ‘Now Is The Time’ below. [via XLR8R]
Tracklist:
Disc One: Nightmares By Day
01 You Wish
02 Mind Eye
03 Argha Noah
04 Calling
05 Dreddoverboard
06 Thinking Of Omara
07 Be There
08 Les Nuits
09 Morse
10 I Am You (Live In Chicago)
11 Passion
12 Give Thx
Disc Two: Nightmares By Night
01 195 Lbs
02 70s 80s
03 Flip Ya Lid
04 Be, I Do
05 (Man) Tha Journey
06 Now Is The Time
07 Bless My Soul
08 Da Feelin
09 African Pirates
10 Mega Donutz
11 Mission Venice
12 Dextrous
13 Aftermath
14 I’m For Real
15 Set Me Free (Piano Dub)
16 Nights Interlude
Deep Down: Remixes & Rarities (Vinyl)
A1 Dextrous (JD Twitch Optimo Remix)
A2 Biofeedback (Morgan Geist Remix)
A3 A Case Of Funk (Loco Dice Remix)
B1 Aftermath (LFO remix)
B2 Aftermath (Special Request Redux)
B3 Aftermath (Acid Mondays)
C1 Burn Me Slo ft. OC
C2 Keep On (86 In It Mix) ft. De La Soul
C3 Gambia via Vagator Beach (Mr Scruff Remix)
C4 Survival Dub
D1 Hiyaself
D2 Da Mess Sticks
D3 Da Feelin (Hungry Ghost Remix)
D4 Now Is The Time (Ashley Beedle Warbox Dubplate Special)
Posted: 05 May 2014 10:46 AM PDT
Michael Gira and company rip it up for more than two hours on their latest album.
Swans will release To Be Kind next week, and following early previews ‘A Little God In My Hands’ and ‘Oxygen’, you can listen to it now via NPR.
To Be Kind features guest appearances from St. Vincent, Cold Specks, Little Annie and more, with a good portion of the material developed live during Swans' 2012 and 2013 tours. It is due out May 13 via Gira's Young God label and Mute worldwide on triple vinyl, double CD and a deluxe CD version that comes with a live DVD.
FACT’s Maya Kalev recently spoke with Gira about Gustav Klimt, Fela Kuti and… tantric sex — read that interview now.
Posted: 05 May 2014 09:49 AM PDT
Shine bright like the Roc.
A decade ago, Rihanna auditioned for then-Def Jam president Jay Z, who promptly signed her to a six-album deal on the spot. The Barbadian pop star has since released seven albums on the label, but it looks like the follow-up to 2012′s Unapologetic will once again find the singer aligned with Jay Z, on his Roc Nation label.
Rihanna has been managed by Roc Nation since 2010, but Complex reports that the singer has quietly signed with the Roc’s music label, as well, where she’ll join J. Cole, DJ Mustard, Calvin Harris and more.
The singer released Unapologetic in November 2012 and has toured almost non-stop since then; no word yet on her next album. Update: The Hollywood Reports writes that Rihanna’s new album will be distributed by Def Jam, with an announcement expected “soon.”
Posted: 05 May 2014 09:12 AM PDT
The Ninja Tune producer gets in the game.
Last month, pristine house duo Disclosure teamed up with Liverpool’s Friend Within for the wobbly ‘The Mechanism’. Now, Blueberry Records boss FaltyDL has shared his remix of the track, opting for a subtle rinse rather than a full makeover.
Stream the remix and the original below. For more FaltyDL, his anarchic ‘Power’ drops today on Swamp81.
Posted: 05 May 2014 08:46 AM PDT
Each week on the FACT Singles Club, a selection of our writers work their way through the new music of the week gone by.
With the way individual tracks are now consumed, the idea of what constitutes a single has shifted dramatically in the last half a decade, and its for this reason that the songs reviewed across the next pages are a combination of 12″ vinyl releases, mixtape cuts, Soundcloud uploads and more. All are treated equally – well, most of the time. On the chopping block this week: Mumdance, The-Dream, Chance the Rapper and more.
Posted: 05 May 2014 08:37 AM PDT
The Seattle-based rap vanguards are back with the follow-up to 2011′s acclaimed Black Up.
Comprised of ex-Digable Planet (and Sub Pop A&R man) Ishmael Butler and Tendai ‘Baba’ Maraire (son of Mbira master Dumisani Maraire), Shabazz Palaces understandably garnered plenty of hype when they made their official album debut with 2011′s Black Up. Thankfully, it was all worth it, and the album was among the year’s best, and one of the most intriguing underground hip-hop tomes in recent years.
Last weekend, the duo debuted their eagerly-awaited second album Lese Majesty at Seattle's Pacific Science Center Laser Dome, and by all accounts it’s going to be another winner. Accompanied by a dazzling laser show (c’mon what show isn’t enhanced by lasers?) the duo rattled through their fresh material for a handful of lucky attendees.
The album’s name Lese Majesty comes from the French lèse-majesté, which is a term referring to an attack against an injured state. This would seem to hint that the record will be markedly more political than its predecessor, and for those of us who weren’t at the Laser Dome, we’ll have to wait until June 29 to hear the album in full, when it will be released on Sub Pop. [via Consequence of Sound]
Posted: 05 May 2014 07:13 AM PDT
For an artist releasing their first LP, you don't get much braver than opening with a four-and-a-half minute cover of Sinead O'Connor's 'Nothing Compares 2 U' sung in nonsensical Mandarin and sounding as though it was recorded in a karaoke-bar-cum-monastery. For Fatima Al Qadiri, this is par for the course. 'Shanzai' is the baptism of fire that welcomes the listener to Asiatisch, Al Qadiri's debut album on Hyperdub, and one that sets out to fill its listener with that familiar-not-familiar feeling from the very first digitised teardrop.
Al Qadiri is a conceptual artist, but she's also enormously talented at expressing disparate concepts in her own unmistakable voice. Initially introduced as Ayshay via her WARN U EP for Tri Angle in 2011 – in which she warped traditional Sunni and Shi'ite a capellas that were familiar to her from her childhood – she soon began releasing projects under her birth name to make sure her own identity wasn't clouded by her conceptual experiments.
Her next release, Genre-Specific Xperience on UNO, created audiovisual homages to a handful of genres including hip-hop and Gregorian chant. In writing, it's the least cohesive release imaginable, but in sound, Al Qadiri's deft way with at once re-creating and alienating the familiar was the crux of the work, and resulted in trippy anti-jams like 'Hip Hop Spa'. Again, in her 2012 Desert Strike EP, which re-imagined the 1990 Iraqi invasion of Kuwait through the sonic palette of a familiar video game, she depicted something far removed from her past releases – something unimaginable for most Western listeners – and brought to it a sonic signature of brutal, hard-edged sincerity that made it unmistakably her own.
All this brings us to Asiatisch, where the opening ode to Sinead O'Connor – heard through the filter of a Western imagination of a Chinese interpretation – is at once totally strange and totally Al Qadiri. The album's concept is of a Chinese mythology and history conjured by outsiders, as expressed through a musical tribute to the much-maligned early-2000s subgenre of sinogrime. The title means "Asian" in German, and the tracks all have a foreignness that is not innate to a particular place, but to a global idea of that foreignness itself. So 'Shanzai', the title of the 'Nothing Compares 2 U' cover, refers to China's knock-off culture of slightly distorted fashion brands, recognised the world over; the suitably choppy 'Wudang' refers to a classification of martial arts, known to millions of non-martial artists as the preferred fighting style of RZA, GZA and the rest; 'Shanghai Freeway' and 'Shenzhen' refer to industrialised areas of China that hold the roots to the country's blooming economy and population.
Once 'Shanzai' floats away into the ether to leave you wondering if it was all a strange dream, Al Qadiri's signature grime influences, all synth-brass swarms and sinister vocal injections, come into play with force in the album's epiphany moment ‘Szechuan’ (a track that's named for a bold, spicy food, and has the same kick). Inflected throughout with sinogrime's favoured black-key flourishes, the record's biggest achievement is its capturing of the push and pull between organic Eastern influences and the perception of those influences – the warm pan flutes of 'Hainan Island' unravel straight into the cocked guns and metallic crossfire of 'Shenzhen'; the English-spoken warning of "I've got a dragon tattoo on my arm/ And I need to cause you harm" on 'Dragon Tattoo' sits side by side with distorted monologues of ancient Chinese poetry on 'Loading Beijing' and 'Jade Stars', and Al Qadiri's pervasive otherworldly vocal manipulations lend the whole project a solid central voice to hold onto.
Where the album might falter is in the question of what that central voice is saying. Occasionally it feels reverent, for example in the rich choral tapestry of 'Shanzai', but then that reverence is brought into question by the very fact that the cultural phenomenon being examined is presented as a knock-off, a garbled interpretation. Sometimes the effect is terrifying, as with the prowl of 'Dragon Tattoo', but that dystopic nightmare sits alongside something as lush as 'Hainan Island'. Al Qadiri's voice exists all over this album, but unlike with her previous releases, where she related very honest, tangible personal experiences of listening and living that her audience were invited to empathise with, it refuses to act as narrator. Instead, Asiatisch is a mirror, glittering with the cracked conflicts of a thousand different stereotypes about Chinese culture, and as Al Qadiri stares into it, she raises more questions than answers, more observations than opinions.
Back when she was going by Ayshay, Al Qadiri told Dazed " I never think about recording albums because I get bored really quickly. I think the EP is my favorite format. I approach music conceptually, I make a statement and then I move on to the next one." It's the sheer difference in scale between EP and LP that makes the listener expect a little more guidance or finality from Al Qadiri on Asiatisch, but arguably the leap from one format to another echoes a more mature development in the producer's approach. Asiatisch explores a global web of folklore and imagery in a way that none of Al Qadiri's releases have yet dared to do, and so it's natural that it might feel open-ended, or require more listens to chew over. Where the album wins me over completely is in the nuance with which it grabs its subject matter, creating a listen that's full of open space and calm-before-the-storm moments, allowing personality to play against imitation as Eastern instrumentation plays against a metallic grid of noise. It's a fine tightrope between sounding like a gratingly repetitive Sinead O'Connor tribute act – or, worse, a fetishist of another culture – and pulling off a stunningly realised portrait of the dilution of that culture through globalised eyes. Al Qadiri doesn't just walk the line, she strides.
Posted: 05 May 2014 06:43 AM PDT
I have to admit, I was daunted by this one.
Like just about any vaguely alternative teenager coming of age at the end of the 1980s, Pixies meant everything to me. The intellectual intensity and strangeness of their music was staggering – yet they still functioned on the very basic level of making you want to rock out to the absolute maximum – and they were a gateway drug into all kinds of even odder music: Pere Ubu, Butthole Surfers, surf music, the back catalogue of 4AD, it goes on.
Their image too has been oddly forbidding. Not because they were rock monsters, though – quite the opposite in some senses. They always seemed like some kind of withdrawn, alien creatures, existing slightly removed from the rest of the world in almost every way. Obviously this was partly a projection based on Charles "Black" Francis’s surrealist, sometimes gruesome, lyrics, but it was hammered home by the 2006 loudQUIETloud documentary about their reformation tour, in which they appeared to literally never speak to one another, let alone anyone else.
It was kind of shocking, then, to discover that guitarist Joey Santiago and drummer Dave Lovering were, well, fun. Though they seemed a bit jetlagged and tired having just launched into the promo trek for new album Indie Cindy – the first without bassist/singer Kim Deal – they were relaxed, focused, and didn’t seem to roll out pat answers or get evasive. Joey in particular – munching on a bowl of prawns as we talked – was as far from the awkward and withdrawn character in loudQUIETloud as could be imagined, and in fact was frequently laugh-out-loud funny. They seemed, quite rightly, to be very comfortable with their band’s place in the world.
How’s the promo trip going?
DL: Well we’ve been here [London] a million times, it’s like home.
JS: Yeah, people ask us "what did you do while you were over", and it’s like "well what did YOU do last night?" What DO you do? You watch TV, you hang out. I’ve just been hanging out. I love it, because it is another home for us. We’re comfy here.
London and the UK took you to its bosom early on, right?
DL: Yeah, it was a different story being here. There was a different feel about absolutely everything once we got here.
JS: Yup, this is where we grew up!
DL: Our record company was here, we spent the most time coming here, it’s our stop off on the way to other places, and really it’s where we’ve done the most shows. Our first proper show was at the Mean Fiddler here in, what, 86, 87, and that was a different story.
JS: The question of why the UK is something that keeps coming up, and the more I think the more I can say that it came down to one man. It’s that one guy that broke us: John Peel. He was the gatekeeper, you get invited to the BBC for a session and it’s "wooooooooo!"
DL: It felt insane to us to be on the main national radio station. There’s nothing like that in the States.
There’s nothing like John Peel here nowadays.
JS: Who’s the guy who took over?
There’s no one person now. Lots of specialist shows, but nobody who runs the full gamut of alternative music. "Alternative" really meant something in the 1980s, before grunge, right?
DL: I guess there was more of a signification then, yes. More of a difference from what was just called "rock".
JS: One thing was that labels really meant something then. Sub Pop was Sub Pop, 4AD was 4AD, Wax Trax was Wax Trax – they all had this thing that was their own thing. They had clear parameters. Now I dunno if it’s so clear, it’s like "what’s popular out there?" Whatever format works.
DL: But we didn’t think anything special of it back then. It was just what we did.
So you didn’t actively think of yourselves as alternative or outsiders?
DL: Nope.
JS: Nope.
DL: What we did was what we did, there was no thought or formula.
JS: We were incredibly lucky that that worked.
“You could ask me now and I still don't know any Pixies lyrics to this day.”
Even once you’d signed to 4AD with its legacy and identity?
DL: Nope, not even. Not even. That didn’t change any of our attitude or anything. It was really exotic to think we were there, it’s a really exotic label, that was crazy – but it didn’t do anything to alter what we were doing, not at all. We did what we wanted, this was what it was. Now we don’t have a record label we still do what we want, it’s the same thing, we’re in a band… no big deal.
JS: They signed us for whatever we were, and we stayed being that.
You certainly got a following that loved the strangeness of Pixies – the surrealism of the lyrics, he imagery – but as instrumentalists, did you ever wish there was more focus on what you were doing?
JS: Nah, I think people loved the music too.
DL: I didn’t think about it.
JS: We intertwined it, there would be lyrics that went "blah blah blaaaaah" and that would be part of the sound.
DL: You could ask me now and I still don’t know any Pixies lyrics to this day. I don’t, I honestly don’t. I have a broad understanding of it, but I don’t listen to lyrics, even in my favourite bands – I like the melody line and the tone. I guess I know some words of Pixies lyrics because I used them as cues along the way. But no, the question means nothing, I just liked the music.
Did you get a sense of how intensely people connected to Pixies as a whole, though?
JS: Just at live shows.
DL: You could see it, sure, but understanding it, not so much. I mean, I understand it, but it’s very hard for us to relate to. If you play in a band it’s always nice to get these acknowledgements, but it’s hard to relate to. We’re too close to it to understand. I can relate it to bands that I love, and put it in context that way, but I can’t see what they see.
JS: It’s nice if people want to have conversations about the lyrics, because they’re surreal. Charles doesn’t know what they’re about himself – really, he doesn’t! They’re there because it sounds like "blah-bliddy-blah-blah-blah" a the right moment. Because it rhymes.
It felt like those songs just poured out of the Pixies machine – you were pretty prolific!
JS: Once a year…
DL: …but that’s all we knew. That’s just the way things were going. When you look back on it, you go "oh yeah, I guess we did quite a lot of stuff," but then we knew no different.
JS: Pixies was all of our first band. We knew nothing. I thought we actually had to contractually put out an album a year. It’d be coming around and I’d be like, [quavering voice] "oh nooooo, we gotta put an album out!" I really thought that was the contract.
DL: Really, Charles had a lot of songs, and he wanted to record. The only thing I didn’t like was, as each album got quicker and quicker, it got frustrating to record those albums. It was the classic story: the first album, Come on Pilgrim, with Surfer Rosa kind of falling into it, we’d played those songs in Boston since we were a beginning band, we knew them and when we went into the studio we could play them easily. Then of course with each album we’d have new songs, and there was a frustration of wanting to be as perfect as I could be, but I didn’t know this part or that fill because it was so new. With Indie Cindy it’s been different, we’ve been learning and playing those songs for a long time so I had a lot more confidence going in. There was a new attitude going in – this is the first album that was fun, since Come on Pilgrim!
Posted: 05 May 2014 05:50 AM PDT
Who’s technically the “rap god” after all?
NYC-based Coder Matt Daniels appears to love rap as much as he does tapping out strings of letters and numbers, and luckily for us he’s managed to combine those two talents for the benefit of humanity. His last two projects were great – an etymology of the usage of the word “shorty,” and an exploration of Outkast through statistics and graphs.
His latest project, however, is his best yet, as he’s managed to work out pretty definitively which rappers are as verbose as they claim to be, and who’s left burbling like a newborn. Daniels took 35,000 words from each artist – that’s about 3-5 albums, and if there weren’t enough albums in the rapper’s catalogue then he’d jump to mixtapes, or exclude them entirely.
As a benchmark for greatness, Daniels humorously included word counts from Herman Melville (writer of Moby Dick) and Shakespeare, and amazingly certain rappers actually managed to outdo even the bard himself.
We’ll put you out of your misery – Def Jux survivor Aesop Rock ended up in first place (by almost 1000 words), and Staten Island’s extended Wu-Tang Clan weren’t far behind, with GZA, RZA, Ghostface and Killah Priest all making the top 10. Canibus and Kool Keith also notched up a tidy score, as did MF Doom, E-40, Nas and Common.
Master P, Drake and Too $hort didn’t fare so well however, occupying the very bottom of the list, with Ruff Ryder DMX taking the coveted bottom spot.
Check the whole list here.
Posted: 05 May 2014 05:38 AM PDT
If consistency breeds success, then crown Neil McDonald a champion.
The Scottish producer has been one of dance music’s reliable artists for several years now, releasing records on Shevchenko, Phonica and more. And although Lord of the Isles‘ sound is rooted in classic house, boogie and techno – gradually automated drums loops, big Detroit-ish synth melodies, the usual – he’s often at his best when he indulges his love of ambient and early electronic records, crafting vivid tapestries more in tune with the cosmos and the countryside than the club.
With McDonald enjoying a particularly special run of form at the moment – 2014 has already seen EPs on Mule Musiq and Permanent Vacation, while 2013′s ‘Nustron’ found a home in our 100 best tracks of 2013 – and with another 12″ in the pipeline for our friends at Phonica, the time seemed right for a FACT mix, with his own productions enjoying centre stage.
Tracklist:
Bryte – Lord of the Isles [unreleased]
Lord of the Isles – 301C Symphony [Permanent Vacation]
Merwyn Sanders – Eternal Freedom (Linkwood Remix) [Hot Shot Sounds]
Dano Aken – Cosmicity [unknown]
Lord of the Isles – Ultraviolet [Adult Contemporary]
Lord of the Isles – Ultraviolet [forthcoming Adult Contemporary]
Tony G – Simple Dreams (Young Marco Remix) [Infinite Juju]
Omar-S – Frogs [FXHE]
Sano – Anestesia [Comeme]
Marquis Hawkes – Roger Funk [DABJ]
Lord of the Isles – Greana [forthcoming Phonica]
Lord of the Isles – Xit [unreleased]
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