I like to talk about myself in the 3rd person on soundcloud because it is professional. Yellow square is a 11 year old producer who loves to drop bass and party rock.
-Respected supporters-
Electrode(Official), Glass Bones, Skrillex, Pink Square, Red_Square, Neon Green Square, Rainbow Square, Blue Square.

         <3 Much love to Electrode forever. Love ya homie, drop it hard.<3

Every week since 2010, we feature exclusive house, breakbeat, and drum 'n' bass mixes from our own roster of DJs as well as from Krafty Kuts, Ardalan, Yo Speed, Left/Right, A.Skillz, Plump DJs, Elite Force, Slyde, and more.

After 12 years in the game, Kissy Sell Out continues to be one of the most influential and globally respected names of the British dance music industry. With fresh projects evolving in 2018 as the label manager of Stepper Man and Lengoland, his bass house productions and world-class DJ mixing talents have forged the start of a second chapter in his vibrant and prestigious career. 

With his critically-acclaimed new album as KSO called “Style From The Westside” – described by UKF as “the realest bassline album you’ll hear all year” – Kissy has used his wealth of experience to shred up every old habit and signature sound he has honed in the past and re-written the rule book of electronic music production yet again. 

The list of collaborators featuring on the album reads like a who’s who of heavy-hitters in the current bassline and bass house scenes; including DJ Q, Darkzy, Dread MC, Pavv, JG, Tengu, Sam Supplier, J69, Jaikea, and The Wideboys. 

KSO’s lists of achievements in the music industry and public-eye are as long as they are astounding. He started at the tender age of 21 working on official game-changing remixes for A-list pop-stars such as Mark Ronson, Calvin Harris and Gwen Stefani (all while he was still at London’s Central Saint Martins art college), and went on to find success across the globe as an influential taste-maker at BBC Radio 1, global brand ambassador for Pioneer DJ, regular tour support act for The Prodigy and Fatboy Slim, as well as a unique music industry personality and public figure who can claim to have debated against Stephen Fry at Cambridge University and composed official music for the 2012 London Olympics ceremonies in Trafalgar Square and Buckingham Palace.

Kissy Sell Out Management & Worldwide DJ Bookings: barry@freshdjs.co.uk

ALEX M.O.R.P.H.: “Music is the Key. Melodies are the Path. 
Beats are Universal”.

Since the mid 90s Alex M.O.R.P.H has set out to shapeshift within the dance scene as per his alias, leaving no facet of trance unturned and showing the top of the tree is a position that he’s grown rather fond of. Even in a time where stats and streams, followers and figures are pushed to the front, the maths behind M.O.R.P.H’s staying power are frankly mind-boggling. ‘Not All Superheroes Wear Capes’ said the man on his 2016 album – but M.O.R.P.H. is deserving of honours fit for a king. “Passion, discipline, a lot of hard work, and most importantly the love for music”, ensure his crown never slips.

From collaborations with Paul van Dyk and Armin van Buuren (both of whom have always repped M.O.R.P.H. to the fullest), to remixes of Dash Berlin, Gareth Emery, Aly & Fila and Faithless, M.O.R.P.H. is the epitome of can’t stop-won’t stop, earning VIP entry to the globe’s most in-demand clubs and arenas as he continues with the energy and passion of his 1996 self when the Seelenlandschaften imprint came calling. It’s telling that M.O.R.P.H. being the first and only German DJ to play New York’s legendary Madison Square Garden, puts his touring and gig commitments in a different league considering his knocking-out-the-park performances at Cream Ibiza, Mayday, Ultra Music Festival and the ubiquitous A State of Trance spectaculars. Godskitchen, Ushuaia Ibiza, Space Miami, his own HeavensGate takeovers – all mega-scale spaces the German has commanded with ease and never taken for granted, delivering shows and sets living long in the memory while leaving you fiending for his next throb of beats. 

With M.O.R.P.H. still on a high-riding rollercoaster after all these years, cruising through ‘Sunset Boulevard’ while keeping the vibe at ‘Maximum Overdrive’, he has never lost sight of the true goal in life: “find your personal balance, keep things in line – and don’t risk your health!” A true exponent of knowing the scene never sits still, M.O.R.P.H.’s longevity and get-up-and-go overlaps into his handling of the Universal Nation label and podcast series: the man eats, sleeps and breathes music. Global lockdown may have forced a temporary timeout, but it only stirred creativity and tapped into other production processes, ready for when the world was good to go again.

Anyone with a keen ear for the High Contrast label over the last 18 months or so will have heard M.O.R.P.H. hiding in plain sight with a surefire supply of thrills and spills, adding to his reputation as a master of sounds under multiple names maintaining both melodic and attacking instincts. Again it’s all about balance and the right way of going about keeping things simple: “it’s just so important that all elements fit together well: that’s how you keep the atmosphere instead of just adding some big and loud synths in the break that rips the audience in two. It might work fine on the dancefloor, don’t get me wrong, but it’s not how I do things”. Always an in-demand remixer, if you’re given the keys to take on hall-of-famers such as ‘Madagascar’ by Art of Trance and ‘Carte Blanche’ by Veracocha, you know you’ve been doing something right. “One thing has never changed – a heart beating for music”.
 
Back to those statistics. M.O.R.P.H. is an all-time trance bestseller on Beatport and has twice entered the fabled DJ Mag Top 100 list. With a calculator-smashing amount of productions, remixes, compilation mixes and single of the year awards, M.O.R.P.H. has proved time and again his music is for the masses, with streams for favourites such as ‘An Angel’s Love’ and ‘The Reason’ racing into the millions upon millions. On top of being A State of Trance go-to guy and a Vandit Records MVP, he has released on major movers such as Ministry of Sound and Armada. And M.O.R.P.H. isn’t done yet. “I want to get trance back there where it belongs - to the main stages, to more people, sharing with them how gorgeous our music is, and how essential it is to experience it together”. With two new singles reflecting his worldwide adventures - ‘Calling Berlin’ and ‘Calling San Francisco’ – and another album in the pipeline, you believe Alex M.O.R.P.H. is still the man to make all these things happen.

Dot Square began as the side project of Jason DiBartolo, who started recording under that name after finding that many of the songs he wrote as a member of his first band did not fit the group's style. His home recording experiments resulted in two full-length albums [Infinite Planetarium (2006), Dot Square (2008)] and one EP [People Living in Caves (2010)] over a four year span. As DiBartolo’s self-produced bedroom recordings became increasingly ambitious, it was clear that finding musicians to form a supporting band was the next step in the evolution of Dot Square.

DiBartolo turned to long-time friend Steve Sachs for help with the project. The two had learned to play guitar together as teenagers and had collaborated on recordings as far back as 2005, when Sachs lent DiBartolo a 4-track recording device. DiBartolo’s college roommate Josh Mayer was added on percussion, and after a hectic search for a dedicated bass player, the group was introduced to guitarist-turned-bassist Tim Fitzpatrick. In the fall of 2010, DiBartolo, Sachs, Mayer, and Fitzpatrick began rehearsing with the intention of performing DiBartolo’s "People Living in Caves EP" in its entirety, but quickly found themselves eager to do more. They elected to set out in a new direction, working collaboratively on new songs that would expand the sound and scope of DiBartolo’s earlier work.

Dot Square rehearsed relentlessly for the next three months before playing their first show to a packed house at the Mill Hill Basement in Trenton, NJ. Three months later, a mere six months after their formation, Dot Square’s Hightstown, NJ rehearsal space was flooded, forcing them to relocate to DiBartolo’s home in Lambertville, NJ. A small home studio was set up so the band could produce demo recordings of the new songs they had written together. The demos from these sessions caught the attention of audio engineer Peter Gary (Music Mix Mobile), and in the fall of 2011 the band enlisted Gary's help in recording a professional demo.

As Gary and DiBartolo began mixing the as yet untitled demo, Dot Square released The Love [B_Sides], a compilation of love songs left over from DiBartolo's solo era that featured a demo of "Jupiter" performed by the band. Following it's Valentine's Day 2012 release, the band shifted focus back to live performance. By the end of the summer of 2012 Dot Square had made appearances at various venues throughout Philadelphia, including the Trocadero Theatre and WXPN's World Cafe Live, and had also been featured on 104.5FM's - Live at 5.

As winter approached, the demo, now titled Tesseract, was readied for it's Jan 1, 2013 release. Engineered by Peter Gary and mastered by Andy VanDette (Chief Engineer - Masterdisk), Tesseract was the culmination of two years of work as a group and marked Dot Square’s first official release as a full band. Following it's release, Dot Square headed back to their home studio in Lambertville to record material for an anticipated 2014 release.

The Freestylers: 28 Years of Bass, Beats & Global Anthems

With a career spanning nearly three decades, the Freestylers—Aston Harvey and Matt Cantor—have made their mark on the electronic dance music scene. From playing the world’s biggest festivals and clubs to appearing on Top of the Pops, they’ve remained at the forefront of the genre without ever standing still.

Origins & Breakthrough

Aston Harvey began as an engineer and producer, working with Rebel MC / Congo Natty and co-producing the jungle classic Spiritual Aura with DJ Rap. Matt Cantor, meanwhile, was part of Strike, co-producing the dance hit U Sure Do. The two met at Fresh Records, bonding over their love of hip-hop, electro, and breakbeats, leading to the birth of the Freestylers.

Their debut album brought them international success, with hits like B-Boy Stance and Ruffneck landing in the UK, Dutch, and German Top 20. A major US record deal followed, leading to a spot on Lenny Kravitz’s American Woman tour and a legendary Glastonbury 1999 performance.

Global Hits & Reinvention

Over the years, they’ve released a string of anthems, from Push Up, a #1 hit in Australia, Holland, and Belgium, to Cracks, which became a dubstep classic with 80+ million streams. They’ve also collaborated with Pendulum and held festival residencies worldwide.

In 2025, they’re set to release their seventh studio album, Enter the Sound—a collaboration with Dub Pistols featuring reggae legends like General Levy and Tippa Irie. With a packed schedule of festivals, remixes, and new music, the Freestylers are still going strong. In the words of LL Cool J: “Don’t call it a comeback—they’ve been here for years!”

For all bookings & enquiries please contact-

abel@fingerlickin.co.uk

White Square Records is a Record Label that supports producers and artists that deserve more recognision. It was founded on 10-06-2013 and supports Trap, House and Moombahton  tracks. Send your track to whitesquarerecors@gmail.com. We will post your sound with free download on Soundcloud and Youtube and at the end of the year al tracks released will be promoted in a White Square Records Mixtape.

Will Anderson: Lead Vocals, Guitars, Piano
Kit French: Saxophone, Keyboards, Vocals
Alex Hargrave: Bass
Johnny Stubblefield: Drums
Nate McFarland: Lead Guitar, Vocals

For the members of Mercury Records group Parachute, the name of their third album, Overnight, could well be a sly commentary on the hard work and commitment it’s taken for them to experience the success that’s been building over the last four years and first two albums. Their 2009 debut Losing Sleep featured the Top 15 single, “She is Love” (boasting more than 6.5 million views), while 2011’s The Way It Was included the #1 iTunes Rock Song “Kiss Me Slowly” (co-written with Lady Antebellum) and the Top 15 hit “Something to Believe In.”

Or it could refer to the late evenings put in by chief songwriter Will Anderson, burning the midnight oil, writing in his new Nashville base, after moving from the band’s hometown of Charlottesville, VA (where they were discovered and signed to Dave Matthews Band’s Red Light Management out of college). Anderson composed more than 50 songs for the album with a variety of collaborators, including Ryan Tedder (the first single, “Can’t Help”), as well as Grammy winner Chris DeStefano [Kelly Clarkson] and Ashley Gorley [Carrie Underwood, Keith Urban] on the title track.

“Even though there’s plenty of pressure to break through on your third album, the actual recording process was much less stressful,” says Will about the band’s sessions at Ocean Way in Nashville with producer Oren Yoel, a young contemporary who has worked with hip-hop phenom Asher Roth as well as Miley Cyrus, among others. “All of us were on the same wavelength. We all kind of knew exactly what we wanted without having to say it out loud. There was a weird sense of peace that we knew where we were going and where we needed to be.”

From the pop fervor of “Can’t Help” and the powerful simplicity of “Hurricane,” composed on acoustic guitar by Will after a long frustrating day, to the ‘80s Phil Collins-meets-U2 flair of “Waiting for that Call” and the slow Peter Gabriel/John Mayer jam of “The Other Side,” Parachute prove adept at combining guitarist Nate McFarland’s Edge-influenced arena-rock guitar licks with Will’s melodic sense of what will resonate with their passionate fan base. 

It’s no surprise for anyone who has followed the band’s history. Will has been playing with drummer Johnny Stubblefield, bassist Alex Hargrave and saxophone/keyboardist Kit French since they were high school classmates in Charlottesville almost 10 years ago. Anderson met Nate while attending University of Virginia together, and the guitarist joined the band six years ago.

“We’re just now getting to know one another as musicians as well as we know each other as people,” says Will. “We wanted to capture a sound in the studio that reflected us as a band. And we all know which parts each of us had to play to get that sound.”


The band’s stylistic palette can run the range from old-school legends like Stevie Wonder, Elton John, Paul Simon and Bruce Springsteen to newer acts like U2, Coldplay, Weezer, Ben Folds, Maroon 5 and John Mayer.

With producer Yoel, the band has even begun to stretch the boundaries, with Will’s spoken word vocals adding almost a hip-hop flavor to a new song called “Didn’t See It Coming,” about an actress friend of theirs in Hollywood excited to land a gig, only to discover it was an X-rated feature.

“That’s probably the catchiest song I’ve ever written,” he says. “I just laid down this spoken-word track, thinking we’d replace it later, but everyone loved it so much, we kept it on.”

Anderson is most proud of “Hurricane,” a song he wrote before going to sleep by strumming an acoustic guitar.

“It’s like the feeling you get when you think you’re never going to be able to write another song,” explains Will. “Once I started, it all came spilling out.”

Anderson credits guitarist Nate with creating parts that were “just perfect” for each song. “He really nailed it, with a unique spin to every song that made them epic, but at the same time, within a pop framework. That’s something we’ve always tried to do, melding his rock guitar to my sensibilities, making it work both for the arena and within the melodic sense of strong hooks. I think we really nailed it this time.”

Having played more than 400 shows over the last few years, touring around the country with everyone from NeedtoBreathe to Andy Grammer, Parachute’s live show continues to grow and impress. They’ve also played before several million at a New Year’s Eve celebration in Times Square, as well as appearing on NBC’s The Tonight Show with Jay Leno, ABC’s Good Morning America and Jimmy Kimmel Live and CBS’ The Early Show. The band’s songs have been featured on MTV’s The City along with CW’s One Tree Hill, Vampire Diaries and 90210.

“It’s so nice to have three albums’ worth of material to choose from in concert,” says Will, while the band has always played an eclectic variety of covers, from Spencer Davis Group’s “Gimme Some Loving” to vintage tracks from Elton John, Billy Joel, Bruce Springsteen, Stevie Wonder, the Commodores and Motown. “We’re just now hitting our stride as a live band. We’re better musicians who have come to trust one another. We all have our pocket and fill it. But we still have a long way to go.”

Overnight has a little something for everyone. Longtime fans will recognize their favorite band, with a fresh sound bound to intrigue newcomers.

“The last album was like taking a brand-new car straight off the lot,” says Will. “This album is just as fun to drive, but it’s like a vintage Mustang, a little more muscle and grittier, built to last.”

On their third Mercury Records album, Parachute is firmly in the driver’s seat.



M-Square is thw nick name ، 2nd year ، طب المنصورة ، ربع قارئ ، غاوي أي حاجه تافهه غير الكورة ، اللي ما يعرفني يجهلني طبعا xD ، عاشق للراب النضيف ،و كدا حلو أوي

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