North/South America: hagi@detroitpremiereartists.com
European Bookings: marc@dskonnect.com

All bookings please contact - verticalspectrum.contact@gmail.com



Other labels - Faut Section, Dynamic Reflection, Animal Farm, Illegal Alien Records, Wunderblock Records, Concerns Music, Dolma Records, Methodical, New Rhythmic, Subsist and more

Bookings: francesco@cruelmachinebooking.com

Blazej Malinowski
Take any of Blazej Malinowski’s numerous projects—his wide-ranging productions, powerful DJ or live sets, events, radio shows or record label Inner Tension—and you will find the same ethos at the core. They’re all built on a passion for creating uplifting moments through electronic music, and on an open-mindedness to explore, collaborate and evolve.

Malinowski started DJing in early 2000s Warsaw, while eagerly discovering early US house and techno music. Together with his friend Michał Wolski, Malinowski started the Fünfte Strasse Project as an event series and radio show. From there, gigs quickly began to flow. His skills behind the decks stood out, and before long Malinowski was playing across Poland and around the world, delivering beloved sets of driving, contemporary techno.

While developing an uncompromising musical identity as a DJ, Malinowski began to translate his nuanced interpretation of techno, ambient and experimental music into productions. His first released works landed in 2012, laying the groundwork for records on acclaimed labels such as The Gods Planet, Svreca’s Semantica and Claudio PRC’s 012. Fast forward to today and Malinowski is a go-to name for tripped-out, psychedelic grooves for pitch-black dancefloors.

Despite his acclaim as a techno artist, Malinowski holds the more experimental side of his craft in equal standing. He is the founder of the A/V event series Why So Silent?, which pairs electronic music with silent movies, and also continues to push his boundaries through collaborations, such as the leftfield duo Keen Distress, or B2B sets.

Though Malinowski recently made the move to Berlin in order to fully realise his ambitions, he remains as committed as ever to his native Poland’s musical landscape, holding down a residency at Jasna1 and tirelessly championing the country’s cultural  history and vibrant scene. From his new home, a global hub for dance music, Malinowski is pushing himself to explore the full range of possibilities within techno’s ever-evolving framework.

Mutant Metropolitan Culture. 
DJ | Writer | Platform | Brvtal Vision 
Inquiries: contact@thebrvtalist.com
The Brvtalist DJ bookings: booking@thebrvtalist.com

Pick up our tote bag at: https://thebrvtalist.com/shop/human-resources-carry-all-bag

Brvtalist Sound Recordings: 
New releases: 
https://thebrvtalist.bandcamp.com/

Booking: stefano@genomesequence.com

https://acr-label.bandcamp.com

FLOORPAN "THE MASTER'S PLAN" (CLASSIC MUSIC):
https://cmc.lnk.to/cmcd141d

Before I got into this music I wanted to be an originator ; I wanted to be original".
Founding member of the legendary group Underground Resistance as a 'Minister Of Information' with ‘Mad’ Mike Banks & Jeff Mills, his seminal works on Jeff Mill's Axis and his very own M-Plant imprint paved the way for a wave of stripped-down dancefloor minimalism that directed much of techno's path throughout the late Nineties.
Robert Hood makes minimal Detroit techno with an emphasis on soul and experimentation over flash and popularity. 

"Growing up in Detroit, I grew up with Motown in the house - a lot of Motown and Philadelphia soul, artists like Marvin Gaye of course and Curtis Mayfield. I remember Isaac Hayes, the soundtrack from ‘Shaft’ had come out. My father was a jazz musician; he played piano, trumpet and drums. My mother was in an R’n’B group.
We listened to a lot of Motown - in fact, my grandfather’s first cousin is Berry Gordy.
"I was influenced by my father - I wanted to play trumpet like he did."
Robert's father tragically died when he was just 6. The photo of Robert siting down holding a trumpet is his fathers.
"I had to beg my grandmother to let me borrow the trumpet to take a picture with it"

In the early 90's he began to concentrate on his own production 'Vision EP', the 'Riot EP' and X-102 were big stepping-stones for him as they were the first releases he worked 100% on his own. The X-101 to X-102, were Waveform Transmission projects with Mills for Tresor. He slowly progressed to work more and more on his own, but collaberated on some of the first Axis releases with label owner Jeff Mills as H&M (Hood & Mills) with ‘Tranquilizer EP’ and ‘Drama’.

He soon decided it was time for him to start his own label to focus on what was in his soul musically. M-Plant started in ’94. I had developed this “grey area” sound - what I mean by that is that in Detroit, even when the sun is out, there’s something in the atmosphere. I don’t know if its pollution or whatever, but the sky has that grey haze over it. It’s got to be something from the industrial factories there. I’d never really heard a sound like that before and it came from a Roland Juno - it was a chord sound that really went along with my depiction of what Detroit was at that time. A lot of buildings were abandoned and there was a lot of lifelessness in the city, especially downtown. The M-Plant, in minimalism, kind of reflected that. I remember thinking of Detroit like a museum. You know, like a work of art standing still, suspended in time. There wasn’t a whole lot of activity going on.

Releasing singles such as "Internal Empire,", “The Protein Valve” "Music Data," and "Moveable Parts", "The Pace", more recently "Range", "Alpha" and that isn't even touching his other monikers Floorplan, Monobox, The Vision, etc.
"M-Plant is what I've always wanted to hear: the basic stripped down, raw sound. Just drums, basslines and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart, mind and soul. “It's a heart-felt rhythmic techno sound. M-Plant is just M. minimal. “

Although his desire to remain underground has been replaced by an urge to reach a wider audience, mainly via his housier, disco, gospel moniker Floorplan with his daughter Lyric Hood,   Hood remains fiercely critical of artistic and economic movements destructive to inner-city communities and has combined his musical enterprises with outreach and social activist ends.

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