With the rebrand of Back To The Future Records, BTTF seeks new and up-coming talents to take centre stage in their releases to come. With this dedication in mind, the name re-brand was set to be the only choice in mind for this particular EP. Starting off with a heavy beat that is slowly added to, and carrying an altogether more relaxed and casual vibe in comparison to the proceeding tracks, Maksy’s ‘HD’ has a much more classic sound. The softness of the relaxed, broken vocals contrasted with the harsh drumming beat make this a track good for the floor. Next up, ‘Ked Sector’ by Damien Zala. Despite a deceptively slow beginning, a staccato of sound brings with it a collaboration of new beats. With a slow, steady bass the whole thing is held together with broken vocals, including a couple of lengthy sentences thrown into the mix, helping to quicken the pace, and a base track to steady it. Dudley Strangeways and Michael Mclardy’s ‘Undertow’ has another sinisterly slow start, with a quick crescendo leading into drumming of an almost punctilious nature, before a bass track is added. Falling into a familiar regularity, with an occasional disruption of sound, this is a relatively fast paced yet relaxed piece. Last on the list, with a vaguely funky vibe from the offset, almost retro video game tone through, Adam Curtain’s ‘Yeah Right’ is a relaxed track, and heavy on the bass. A compilation of basic beats, complimented by the vocals which help slow the pace down slightly, Curtain’s mix is broken up by an occasional switch in tone, allowing a break in the repetition, whilst simultaneously keeping a steady rhythm. The collection of all artists on this EP has really set out a different tone to match the new sound of BTTF. Whilst not compromising on quality, Back To The Future have furthered their expectations and seem set for future releases to follow suit.