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Alex Romane; Audioscape Builder
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Alex Romane; Drum and Bass History

Latest Drum and Bass production:

Alex Romane ft. Daddy Freddy; War 2021
Exclusive MP3 release

Drum and Bass Mix
Electro Dub Mix
Daddy Freddy War 2021 [2 track bundle]

All info compiled by EMP;

Since 1986 and through various roles and aliases, Drum and Bass producer Alex Romane has worked with:

• Daddy Freddy [4 times world's fastest rapper + creator of Ragamuffin Hip Hop]
• Lorna Harris [Goldie/Metalheadz]
• Decoder [Kosheen]
• Evil Evan [20 Seconds To Comply - Silver Bullet]
• Gilbert Gabriel [Dream Academy]
• Reggae Revolution
• Macka-B
• Vivian Jones
• Sylvia Tella
• Prince Malachi
• DJ Reason [Birmingham, UK]
• Nathan Robinson

Alex has also worked with sound engineers and producers such as:

• Howard Bullevant [Ice House Studios]
• Arthur Anderson [Rolling Stones]
• Chris Hardcastle; ABC Studios/Monitor Music/Arena Sound and Vision

Alex's career and life mentors:

Howard Bullevant [sound engineer and producer]
Thomas Dunbar [The head of Drama and Tech Studies at Alex's secondary school]
Bill Plumber [The head of one of the primary schools Alex attended]
Kevin Nicholson [London-based Bass guitar player]
Two-fingered Eddie [Folk muso and close family friend]


Sting; Fields of Gold [2000]
KWS; Please Don't Go [2003]
Tobtok ft. Mila Falls; New Levels [2021]

• Delirious [world's first ever Drum and Bass album]

Alex Romane; Drum and Bass Producer

Recording and Publishing: EMP
International Licensing: PPL
Distribution: Believe Music/Sony Music
Management: Urban Sunrise/Believe Music/Sony Music

Since 1986, Alex Romane has worked with Electro Hip Hop, Folk, Thrash Metal, House, Techno, Acid, Hardcore, Trance, Punk Rock fusions [when engineering, co-writing, and producing for Punk Rock and Thrash Metal bands], Reggae, Dub Reggae, and Drum and Bass. During 1990, he also worked intermittently at Chrysalis in London as a trainee music producer under Stuart Slater's publishing department where the focus was on Acid and Acid Jazz with producer Evil Evan [20 Seconds to Comply - Silver Bullet].

At that time, the inter-play between layering processed drums with acoustic rhythms, synthesis, and sound engineering were Alex's passions and not wanting to be famous, he turned-down a publishing and recording contract with Chrysalis who wanted him to front and to promote his own music and instead, set out to establish himself as a freelance dance music producer and drum and synth programmer, writing and producing for others.

Since 1987, Alex sampled various drum sounds, drum loops, and bass sounds into his Yamaha VSS30 sampler and then also into a borrowed Boss DSD-2 Delay Sampler guitar effects pedal during 1990-91 so as to back-up his Alesis drum machine rhythms in his Acid, House, Progressive Hardcore, and Trance experiments and, it was during early 1990 that he started to sample break beats into his Progressive Hardcore when using a friend's Akai S1000 sampler.

Alex Romane Drum and Bass Music; FX DSD2 Alex Romane Drum and Bass Music; FX PH1 Alex Romane Drum and Bass Music; FX CE2 Alex Romane Drum and Bass Music; FX OD3

Alex Romane Drum and Bass Music; Yamaha Sampler VSS30

Alex Romane Drum and Bass Music; Akai Sampler

Alex Romane Drum and Bass Music; Alesis HR 16

The Breakbeat genre itself was created by early 1970's New York Funk and Soul DJs who started to mix the drum break parts of records back-to-back and, the Breakbeat genre may also be the world's first musical genre created without using instruments. Most of today's Drum and Bass history writers and intelligentsia believe that UK producers exclusively sampling the Winstons' Amen, brother break beat into the Akai S3000 sampler led to the creation of Drum and Bass but, this is incorrect. The S3000 wasn't available until 1993 and, we believe that the truth of Drum and Bass history can only come from those who can prove their direct involvement with Progressive Hardcore, Hip Hop, and Breakbeat [its roots] at that time, and therefore with the creation of Drum and Bass as a genre.

As far as we believe, Lennie De Ice and Alex Romane were the only producers who re-triggered, dissected, edited, and rearranged Breakbeat drum samples [the essence of Drum and Bass] prior to 1991 and in Lennie's WE ARE i.e. [released in 1991], the Breakbeat drum sample [from The Winston's Amen, Brother] is re-triggered [twice in each bar] externally and isn't sliced or dissected by using the sampler's editing tools. Other than Lennie, no one else released any tracks containing re-triggered and dissected break beats before mid-1991 and although Alex's first Drum and Bass releases weren't available until after he was signed-up in 1992, he has been regularly dissecting and editing drum samples in his productions since 1987.

In 1991, Alex started adding his dissected Breakbeat samples to his Progressive Hardcore [as part of a conscious experiment to create a new genre] and shared demos with various A&R departments, record company executives, managers, and producers. At around the same time, WE ARE i.e. was hitting the clubs and going national. Akai S3000 samplers weren't even available until 1993 and so obviously, they had no impact upon the creation of Drum and Bass but, Drum and Bass did though have an impact upon Akai samplers - with many producers who already had an S1000 or an S1100 suddenly now using them to sample and edit break beats [after mid-1991] but, replaying them re-triggered, dissected, edited, rearranged and, faster.

Alex says; "It's really simple; none of the artists who are cited by the mainstream media and Drum and Bass intelligentsia as being the pioneers of the genre have ever claimed to have created the Drum and Bass genre and this is because while they did have access to powerful samplers for years prior to 1991, none of them were using them so as to edit break beats in the particular way that I was and, this is why no one can play you any of their own Drum and Bass tracks from before mid-1991 - they don't exist."

We do not believe that WE ARE i.e. being released around the same time that Alex was distributing his Drum and Bass demos was a coincidence [WE ARE i.e. was produced in 1987 so could have been released any time before 1991] but, we do believe that Lennie's decision to release WE ARE i.e. at that time was made regardless of anything to do with Alex's music and, we believe that Drum and Bass established itself so fast due to Lennie releasing WE ARE i.e. while Alex was pushing Drum and Bass in the background.

In 1987 and in WE ARE i.e. Lennie re-triggered and dissected a Breakbeat sample and, we can only assume that Lennie had not heard the potential for a new genre when he did this and so didn't rush to release any follow-up tracks. On the other hand, Alex actually set-out to try and create a new genre in 1990 and, he describes the moment in 1991 when his two existing elements of a faster speed and irregular bass drum rhythms finally started to meld with a third element of re-triggered and dissected Breakbeat samples [new to everyone except for Lennie]. He also describes seeing multiple different arrangements and configurations for re-triggering itself [for examples of highly original reconfigurations, Alex suggests checking-out Rob Playford's work with Goldie from around the mid-1990's, any Drum and Bass from Ronnie Size and Reprazent from around 1997 and, any Drum and Bass from Kosheen from the early 2000's].

We also don't believe that the speed of Drum and Bass and its new bass drum rhythms [moving away from flat-beat to irregular] are coincidental either because while WE ARE i.e. has a regular flat beat bass drum rhythm and is only 136 BPM, Alex consciously chose in 1990 to increase the speed and to diversify the bass drum rhythm away from flat-beat [which was standard in most House and Hardcore tracks] as building blocks for a potential new genre.

Drum and Bass history write-ups compiled by others who use retrospective revision can only be inaccurate and, omitting information about the world's first Drum and Bass album is an obvious giveaway. To the Drum and Bass intelligentsia and to other non-musicians, musical genres will always appear to evolve because they are generally not aware that there is [by default] a progressive front within every genre [whether it be Folk, Rock, Reggae, or Hardcore etc] and, the intentional and very obvious jump in BPM was one of the three defining elements of Drum and Bass [only nature evolves - anything else is a creation]. With Alex choosing not to disclose his Drum and Bass history and not to republish Delirious until 2013, the belief that Drum and Bass evolved from other genres has been unchallenged.

Alex says; "Not one track cited by the BBC, the deejays, and the Drum and Bass intelligentsia as being tracks that started the Drum and Bass genre contain edited break beats or run faster than 140 BPM. Some do though contain sub bass lines but, this was common to many Techno, Acid, Blip, and Dancehall tracks since 1986. Put simply; The Drum and Bass genre was the result of a conscious, heavily-experimental and aggressive drum engineering technique, and is not the result of any musical transition or so-called 'evolution' at all.

I think it's really funny how the zombie, pro-establishment Drum and Bass intelligentsia believe that music has a consciousness and additionally, self-awareness, and that it consciously decided to evolve itself and, specifically by speeding itself up, and by editing, cutting, slicing, and rearranging break beats and, all completely unaided by human interaction and therefore influence. I thought that beliefs about inanimate entities having self-awareness, free will, and therefore souls was purely an Old Testament thing but clearly, I was wrong."

To summarise; The Winstons' Amen, Brother break beat and many other break beats were being sampled into Akai samplers in various releases by multiple producers [including Alex] and even in the relevant Hardcore and Progressive Hardcore genres for at least 5 years prior to 1991 but, Drum and Bass did NOT occur during this period. Drum and Bass occurred only AFTER the dissection, rearrangement, and speeding-up of sampled break beats that were featured in releases since mid-1991 and as is now evident, only Lennie De Ice and Alex Romane were doing this prior to mid-1991. Drum and Bass is NOT a sub-genre or a hybrid and so did not 'evolve' from any pre-existing genre and, while acknowledging Lennie De Ice's statement about him not consciously trying to create a new genre when he composed We Are i.e. in 1987, we therefore summarise that both Lennie De Ice and Alex Romane co-created the Drum and Bass genre between 1987, and 1991 - when Alex's Progressive Hardcore and Lennie's We Are i.e. Proto Acid track then became known of and termed as Jungle in London.

A key aspect and commonly-noted constant within much of Alex's music [of any genre] is that of tribalism and, we believe that the BBC and Drum and Bass intelligentsia never hearing and commenting about this element within Drum and Bass when its presence is so obvious is further testament to their lack of knowledge regarding Drum and Bass. However, with the BBC [and therefore many others] regurgitating that Drum and Bass was an evolution, the truth of Drum and Bass history becomes oppressed before it is even disclosed. It is overtly obvious that they fail to hear the difference between a break beat that is dissected and one that is not, and so can not distinguish between Progressive Hardcore, and Drum and Bass.

When it came to the racist, paedophile-protecting BBC, its managers and producers were the last to cave-in to Drum and Bass. John Peel [who played some of Alex's music on Radio One in 1991] gives an example of the BBC’s attitude in as late as 1995;

“Jungle makes people uneasy. Their prejudices are being confronted. When I started playing rap, a senior producer came to me and said, you shouldn't be playing this music. It’s music for black criminals and crack dealers."

The Drum and Bass intelligentsia also apportion to evolution the creation of Breakbeat [by DJ Kool Herc], Hip Hop [by Africa Bambata], Jack [by Steve Silk Hurley], LRRRT/Trance [by Li'l Louise] and Ragamuffin Hip Hop [by Daddy Freddy and Asher D] as well as Drum and Bass [Lennie De Ice and Alex Romane].

Unfortunately, it seems that many people still believe that while being the government's mouthpiece, the BBC is somehow also a bastion of honesty and integrity?

BBC journalist confirms pro-Cameron bias; "Trust nothing you read or watch."
BBC journalist; "I am ashamed to call myself a Journalist."
BBC's John Simpson attacks BBC and rest of MSM for pro-Cameron bias
Anti-homophobic DJ fired by the BBC - hear what he said

The main reasons as for why no one has been able to establish the truth of Drum and Bass history and for why this has been such a contentious issue is because Alex Romane didn't publish his demos from 1990/91 and Delirious until late 2013 and, because Drum and Bass did not 'evolve' naturally from any current genre. It was instead the result of a conscious effort during 1990/91 to create a new, highly-aggressive, urban dance genre and although Alex was on his own during the moment when he first dissected the James Brown drum loop, artists who he worked with on the new music [particularly Alex Newman] during 1990/91 have been ignored by the Drum and Bass intelligentsia and, they have also ignored Lennie's own statement about We Are i.e NOT being a Drum and Bass track.

Where all of today's current Drum and Bass producers are pro-establishment, gong-collecting conformists who pander to the establishment so as to maintain their pro-division, pro-left/right media coverage, status, and fame, Alex Romane went-on to establish the world's first true democracy/unity template in 2010, and to then crack 'impossible' perpetual motion in 2017 and this is why he has no support from established artists [even from those who he has worked with] who are aware about his true democracy movement and his perpetual motion technology that delivers free, clean, safe, infinite energy, but who stay clear for fear of being blacked-out and disappeared by the media, just like how Alex was.

During the same time that Alex was developing Drum and Bass, he was also developing a trance-oriented genre but he says that this had nothing to do with the Trance genre of the mid-1990's because unlike his Drum and Bass, he worked on it alone and never sent a single track to anyone. In addition, he says that although his Trance was put to a flat-beat drum rhythm, it was very literal and quite dark and was not a dreamy, euphoric interpretation.

The reason for why Alex only chose to disclose his full involvement with the creation of Drum and Bass in 2013 is because at this time, Alex had his first chance to produce an album since Delirious [while signed] and as with other artists, Alex's Drum and Bass history is now relevant and, the new album is intended to be used to raise awareness of the UK's potential for direct democracy [which Alex feels is an urgent issue]. This was the single initial reason for his disclosure regarding his Drum and Bass history and for producing and releasing a new album in his real name.

The first four tracks of Demokratia are of another new genre [a Trance/Techno/Hip Hop hybrid] that as with Drum and Bass, alex also didn't name.

Regarding Drum and Bass history, every sound engineer knows that samplers are simply digital memory banks and are not responsible for the character of rhythms or their complexities [these aspects are managed by sequencers] and during 1990/91, Drum and Bass [known at the time as Progressive Hardcore] was happening in London without Akai samplers.

• Propellerhead confirms exactly how Drum and Bass was and is created.

The Delirious album was produced during 1991/92 using only an EMU sampler, an Alesis HR16 drum machine, and an Alesis MMT8 sequencer. No Akai samplers were used and, the reason for why there wasn't a follow-up album or for why no further units were distributed was because while the first run of the album was selling [92/93], the associated record company and studio collapsed. By this time, Alex had also sold or lost most of his own studio and so without a record company and after moving away from the Bristol area in 1994 Alex had to start from scratch, and so was hiring recording studios in Birmingham up until 1998.

Alex says; "During this time and up until sometime after 94, it was friends such as Darren [Decoder] from Kosheen who kept me going by giving me access to their private studios. I met Darren via my family years before he established Kosheen and we were sharing advanced ideas on engineering, psycho acoustics, and track structure within minutes but after 96 and while living in Birmingham, I lost touch with most people who I had worked with and with no studio or record company, I had to start from scratch and so was working outside of music again - mostly in IT sales, IT marketing and project development, and community work.

It wasn't until 1999 that I had a studio again but about 6 months into production of a new Drum and Bass album - some of it featuring MC Robbie D, something happened in my personal life and outside of music that absolutely devastated me. I became deeply affected and extremely ill and it is this event that led me into political activism. I made a choice to fight those behind what had happened and by the end of 2001, music production was no longer part of my life. I was instead launching three concurrent court cases - one of which involved successfully over-turning a police conspiracy, and in response to what happened and also to an unrelated incident in early 2001 where a child protection strategy I created was blocked by the state for "political reasons" until it was ran by the FBI, I established a political movement and authored a book which is published by the British Library. Without direct democracy - democracy meaning rule of the people, the police enforce the laws of the UK parliament - not the laws of the UK people, and UK armed forces fight for Queen and government - not Queen and country."

Nick Margerrison interviews Drum and Bass producer Alex Romane [2015]
Direct Democracy interview with Alex Romane [2021]

Alex's political activism has so far involved authoring documents [published by the world-renowned British Library] regarding Political Architecture and Religious Theory, working on the Mid-East Peace Process directly with the Palestinian Authority, creating a potential £2 BN aid package for Somalia, forecasting and trying to prevent the UK riots of 2011, creating government-adopted policies, creating a potential solution for rising sea levels and diminishing water stocks [with TV presenter and inventor Trevor Baylis], publishing about Prism [and more] pre-Edward Snowden, working with various governments [confidentially] on the Syrian conflict, creating sustainable solutions for the UK economy and for democracy, and cracking perpetual motion in early 2017 by using the quantum sciences.

Alex Romane lawfully infiltrates UK Government to gain insight
MP3 published in 2010 [pre-Edward Snowden] explains Prism
Alex Romane fights to end lawful child abuse via PAS/Forced Surrogacy

WE ARE i.e. by Lennie De Ice [mentioned for years by the BBC and others as being the first ever Drum and Bass track] does consist of a dissected sample of The Winston's Amen, Brother break beat but as mentioned previously, it has a flat-beat bass drum rhythm and runs at 136 bmp and, it is only by using retrospective revision that people wrongly assume that this track is even a Drum and Bass track in the first place. Lennie himself confirms that he produced the track in 1987 but didn't release it until 1991 and even now, he denies that it is a Drum and Bass track or even a proto-Jungle track, stating instead that it is a hybrid Acid track.

The first ever Drum and Bass tracks were never signed-up or published and Alex still has possession of some of the first Drum and Bass ideas and demos from 1990/91 and although Alex did send material to various major labels, nothing [even including the Delirious album] was signed-up or published by any record company until 1992. During 2014, Alex published some of the Drum and Bass ideas that he produced during 1990/91 and, he believes that the reason for why nothing he did during 1990/91 was signed was because his first Drum and Bass tracks were literally just drum parts and bass lines only [due to limited sequencing/multi-tracking ability].

Alex says; "While having others produce my music and while as a trainee producer at Chrysalis, I was advised many times never to play semi-built tracks or concepts to anyone until completed and, I have learned through experience for why I should never have ignored this advice. You end-up getting inappropriate negative feedback while influencing others who are better-placed to move forward with your own concepts."

Originally released in May 2014, the dissected break beat used in Always With You is an exact duplicate [speeded-up] of a cassette recording made in 1991 using the sampler pedal.

He says; "I thought that if they could get what I was doing and give me studio time to produce full tracks then something could happen but, the mainstream media didn't take to Drum and Bass until after the underground scene had established itself nationally. The major labels, radio networks, and the BBC were the last to get involved in the Drum and Bass scene, yet what they say now regarding Drum and Bass history is taken as fact. I sent stuff out and worked with others in both London and Bristol and according to some of my friends who partied abroad, DJs playing across Europe were sampling bits of my music into their records. I used to have regular meetings across London with various major A&R departments who would share my music with colleagues but according to the mainstream media and the Drum and Bass intelligentsia, my music had no influence and it's all just coincidence. During 1991 and when trying to promote my Progressive Hardcore/Drum and Bass directly to the BBC, they actually told me that they would not promote underground music forms because "they were produced by criminals and so were illegal" - even though it has never been a crime for criminals to create music and, despite not all underground Progressive Hardcore and Drum and Bass producers even being criminals in the first place. I also discovered parallel incorrect beliefs outside of the music industry, with companies I would try and sell web technology to believing that my company was illegal simply because I was running it form home but, it has never been a crime for anyone to run a business form home.

It was suggested to me by my bassist Stepfather in 1986 that I work with genres outside of Hip Hop and EMD so as to be able to expand it, and this is why I was working with Thrash and Punk Rock bands up until mid-1991. being that most musicians, DJ's, and promoters work within only one genre, it's not surprising that non-musicians, the Drum and Bass intelligentsia, and industry middlemen think that genres 'evolve' all on their own - as if they were living, conscious, free-thinking entities. Some producers who were working with Hip Hop, Hip House, and Hardcore before mid-1991 and who are now promoted by the BBC and the Drum and Bass intelligentsia as being pioneers of Drum and Bass can't present a single Drum and Bass track that they themselves produced before this time and I'm sick of all the bullshit, lies, and hypocrisy in both music and politics and after facing-off an open and direct threat from the US State Department in 2011 and from other jokers since, I don't give a s**t who attacks or derides me anymore when I talk about the truth about Drum and Bass or democracy.

The last thing I needed at this time was to feel to publicised myself as an individual in any regards - hence the formation of the Urban Sunrise collaborative in 2008 and the PA in 2010 as fronts. I'm still dealing with issues on various levels that relate to what happened in 1999 and I'm far from being in the best place for any public activity but, I truly believe that if the UK people choose to let those paedophile-protecting, self-serving psychopaths who occupy Parliament continue with their past voting patterns for just another 5 years, that humans will be extinct by 2030 because, the decisions that Parliament will make in 2015 alone will have irreversible consequences for the entire world - especially with regards to the environment, energy, and warfare.

If I didn't believe this, I wouldn't be rushing to promote true democracy by fronting my own music, I wouldn't be disclosing my links with Drum and Bass history, and everyone could carry on living happily ever after in Cameron and the BBC's world of bullshit. It amazes me that after working with him and with my history of political activism which includes working directly with the Palestinians - a risk to any Westerner's media career, that some people don't see why Cameron, the BBC, and the rest of the MSM need to deny my influence, and therefore my existence."

Media giants running anti-Palestine agenda

"This doesn't affect just me either but currently, most musicians aren't politically motivated so they don't see or don't care that the entire independent music scene is under threat in the UK. The nation's independent local radio stations have now all sold themselves to global corporate media organisations that use centralised play lists so, the only way that local artists can get any exposure is through on-line mechanisms, radio pluggers, or via the BBC's Introducing service. Generally, unknown artists can't afford web marketing agencies and radio PR and so they end-up submitting to the BBC but, the BBC is wholly subservient to any sitting government and the combined effects of all of this amounts to a gatekeeper system that see's only politically-conformist artists becoming mainstream."

Free downloading discriminates against independent and disabled musicians

"If I'm wrong about 2015 then no harm done but it's not something I'm prepared to gamble on or to leave to politicians and unlike other cultures, not being politically and socially considerate means that most people in the UK don't realise how the UK parliament has influence in over 90% of the world's countries either politically, militarily, or culturally and therefore, that they alone can change the world. They don't know that the US war machine is fuelled by BP and therefore that the US and UK can go to war together even without a UK parliamentary vote to support it and with no understanding of NATO politics, they believe that Russia invaded Ukraine just because the BBC said so and, despite it never publishing a single image of a single Russian troop in Ukraine. This is extremely dangerous because it confirms that the UK people are now so brainwashed that they are prepared to take what the BBC and others say in words alone as fact, without seeing or even demanding to see any evidence - it's the government's dream scenario."


Although produced in 1992, Empathy [from the Delirious album] is typical of the Progressive Hardcore drum styles that Alex Romane was producing during 1990 and 1991 and Delirious actually does contain Punk Rock and Hip Hop-influenced drum parts that were produced prior to1990 using the Alesis.

"I started playing around with instruments and composing poems and verses when I was eight and I'd been experimenting with engineering and bass since I was around twelve and, this all started while attending a church meeting with my mother. I noticed the PA system that was being used for the bands who performed on the stage and it consisted of an H&H six channel mixer with a built-in coil reverb unit and power amplifier - and two f**k-off big H&H speakers that had to be transported by their own trailer!

The first time I approached it I could see all the cables leading from the instruments and into the mixer and then out to the speakers and I just sat there with the sound engineer watching everything he was doing. As soon as the meeting finished, I told my mother that I wanted to do the sound engineering for the meetings and after a few weeks of learning and of assisting, the mixer arrived at my home so that I could have a play with it and use it in between meetings. By this time, my mother - who played piano and guitar, was in a relationship with the bass player from the church band and, he let me use his Fender Precision bass guitar whenever I wanted.

By around thirteen years old, I had a bedroom studio that consisted of the bass guitar running through various pedal effects units and then into the mixer which was then slaving my hi-fi where I could record on its built-in cassette deck while monitoring everything through the hi-fi speakers - a very tasty pair of B&Os. The soon-after addition of a Tascam four track real-to-real recorder enabled me to multi-track bass recordings and for the next couple of years I just explored, experimented, and learned but, it wasn't until I was fifteen that I could afford my first keyboard, synth, and sampler - all separate devices.

The hi-fi's built-in cassette deck had an instant and silent pause button and I developed a technique where I could create extended versions of any record by slamming the pause button down in beat at the end of any bar. They became known by my friends as 'Alex's pause-button remixes' and until I left home, they were regularly asking me to create ten minute versions of their favourite records. At the same time, local nightclubs were playing my own music on cassettes but, it wasn't until I was sixteen that I obtained the Alesis drum unit."

It is also wrongly assumed by some non-black people that the aggression expressed by the drum rhythm styles in Drum and Bass relates to oppressed aggression within the black community in the UK and therefore, that Drum and Bass must have been created by black producers but, this is nothing more than pure racism and generalisation of the black cultures by non-blacks who again, were not involved with Drum and Bass during 1990/91. Whilst the orientation of Electro Hip Hop, House, Hardcore, and many other related genres does stem from the black cultures, the aggression in Drum and Bass comes from the influence of Punk Rock music, combined with Alex's resentment towards Margaret Thatcher's discriminatory anti-Rave policies at that time and, Alex Romane is of mixed-Mediterranean race.

This means that despite the music of black origins being half of the influence in the creation of Drum and Bass [via Breakbeat, Hip Hop, and Hardcore], that Drum and Bass is itself not of either a black or white origin. It is a music genre of British origin influenced by music of both black [Breakbeat, Hip Hop, and Hardcore] and white [Punk Rock] origins but, it is not a sub-genre or a fusion form [initially, there were no literal Hip Hop or Punk Rock elements within Drum and Bass]. All of this is just one more reason as for why the true origins of Drum and Bass has been oppressed by the mainstream media and associated Drum and Bass intelligentsia.

One of the later Punk Rock influences in Alex's Progressive Hardcore//Drum and Bass drum machine rhythms came from his work with the band Of Perception in London in early 1991 [shortly after turning 19] and specifically from Pete [the drummer] while he was producing their album So Join Mr Dreams under the Alias A.Harvey. As a direct example, Alex cites Pete's drum rhythms in the title track and in I see You, You See Me [starts from 2:02] as being typical of the type of Punk Rock rhythms he was emulating with his drum machine since 1990 in his Progressive Hardcore, and after deciding to try to create a new genre.

In the House/Rock fusion EP Acid Dreams that was commissioned by the record company behind the album, there is also an example of Alex's emulation of break beats [in the intro] that he had been creating with his Alesis drum machine since 1988.

In Spoken Introduction, Alex also programmed, composed, and performed the synth pad part and this was the track from the album that John Peel played on Radio 1. In addition, the MCPS also informed Alex that through his work on this album, that he had just become the youngest British artist to perform on and to engineer and to produce a Rock album and, Acid Dreams is now selling for anything between £15-£30 per copy.

As mentioned previously, Drum and Bass did not evolve from any current genre and, neither is it a fusion form or sub-genre.

As well as providing the influence for the aggression regarding drum rhythms, the influence from Punk Rock music is also why it is no coincidence that when musicians add distorted guitars, wind instruments, organs, and other non-electronic instruments to Drum and Bass drum rhythms, the music will then sound like a Pop/Big Band/Cabaret sub-genre of Punk Rock.

During 1990/91, no other artist anywhere produced tracks consisting of dissected break beats running faster than 140 BPM with irregular [not flat-beat] bass drum rhythms and, it is the presence of these three specific components that initially defined Drum and Bass. In not recognising this, the Drum and Bass intelligentsia's mistake regarding Drum and Bass being an evolution and not a creation becomes more obvious and, it is no coincidence that Alex co-wrote and co-produced the first ever Drum and Bass album. If others were also working on Drum and Bass during or before 1990/91, they've had 30 years to prove it and, you would therefore already know of the truth of Drum and Bass history. At this time, Alex was actually saying to friends and other producers that in his opinion, the opportunity to create a new genre had never been so blatant.

During this period and in the years prior, friends of Alex's who had Akai samplers and who also sampled break beats [including the Winston's Amen, Brother break beat pre-1991] all maintained a policy of replaying whole Breakbeat samples without any dissection, editing, or rearranging [evident in any release in any genre before mid-1991] and while Alex used to accuse them of ripping-off and being lazy, they would tease him for being "too stiff" about copyright infringement and for maintaining his policy of dissecting, editing, and rearranging Breakbeat and other rhythm samples. They literally took the p*ss out of Alex for what he was doing and their resistance to dissecting and editing samples [of any nature] was maintained but by 1994, they were all doing it. Due to Lennie's influence in 1991 and to the general popularity of the Winston's Amen, Brother break beat in the years prior, many others then also started dissecting this particular breakbeat in the same way that Alex had been doing but from the end of 1991 and for personal reasons, Alex never publicly disclosed his links with the roots of Drum and Bass or his Drum and Bass history. When working on the Delirious album in 1992 with Nathan, all Alex said to him was that if they produced a Progressive Hardcore/Drum and Bass cross-over album right then, that it would be the first of its kind.

Alex says; "I did consider throughout all of these years that others could have been working along similar lines and that I just never knew about them. I never had any guarantees that this wasn't the case and it's only possible now and by using the web to see that no one other than Lennie and me were dissecting break beats before mid-1991.

I messed-up once before in this way; In the late 1980's and early 1990's I had unknowingly re-invented the Haas stereo imaging effect - without realising that it was originally invented in the 1950's. I did though expand upon it by further widening the stereo field and I did share the expanded technique with other producers but my point is that at that time, I did not know that someone else had invented this technique before I had.

I knew even before experimenting with Progressive Hardcore what it feels like to have others claim your music as their own and I didn't want to risk doing this to someone else and, I also had no specific reason or desire to be disclosing my full involvement regarding Drum and Bass history until now. Despite what I did being intentional, I've never myself claimed to have created Drum and Bass because I never thought about it in this context or as something I needed to claim. Drum and Bass has always been a part of me - how do you claim something that's already yours and, why would I even be thinking like this if I didn't want to be famous?

To those who believe that Drum and Bass was an evolution based exclusively around the Amen, Brother break beat and/or Akai samplers, myself and many other producers were sampling the Amen, Brother break beat into Akai samplers for years prior to 1991 but, it wasn't until I started dissecting, rearranging, and speeding-up this and other break beats in my Progressive Hardcore in 1991 that Jungle was born. Obviously, the sampling and unedited playback of break beats - including the Amen, Brother break beat, was never enough to give birth to a new genre.

Alex Romane Progressive Hardcore demo project - 1990:

Drum and Bass Preview

I understand that people resent me contradicting their Drum and Bass history write-ups years later but if they couldn't hear that Drum and Bass was based around dissecting and rearranging Breakbeat samples, then then that's their problem and has nothing to do with me.

I've never written music for the Drum and Bass intelligentsia, Drum and Bass promoters, DnB DJs or any other middlemen. I've always written music for myself and so obviously, no amount of public derision from the BBC-loving, Drum and Bass intelligentsia and other establishment worshippers will ever change this."

Gregory Sylvester Coleman [the drummer behind the Amen, brother break beat] died homeless and pennyless in 2006 and Alex encourages all Hardcore, Progressive Hardcore, and Drum and Bass producers, musicians, and deejays who have benefited in any way from using any portion of his work to pay respect in a meaningful way - such as assigning royalty rights via their licensing organisations or making a donation to his family or fellow band members.

While still at school, one of Alex's younger sisters asked if she could use a piece of his unpublished music in her music class. After performing the piece, the music teacher told her that she knew that it wasn't her music and when Alex's sister protested and asked her how she knew this, the teacher then told her that she knew it wasn't her's because she herself had written it! Alex didn't even attend this school and had never met this so-called 'teacher' and, the argument only ended when Alex's sister confessed that it wasn't her music, and then threatened this teacher with telling Alex about her attempt to steal his already-copyrighted music.

At his own school, he made history by becoming the first student to create, record, and perform the sound effects for the annual school show for two years running [which in one year, also included composing and recording an entire musical composition] and in the final year, he became the first student in the history of the South West to be awarded an A for a performance sound track. He was also asked to do it for a third year running but being that he would no longer have been a student at the school during that year and that on this basis, his girlfriend from the year below was encouraging him to let one of her classmates do it, he agreed with her and, her classmate was Mark Pritchard.

At the same time and also demonstrative of his technically-prolific abilities, Alex also made history at his school by becoming the fist student to be consistently marked A1 for all of his technical drawing coursework and, right up until being forced to quit so as to instead study GCSE Music. However and only after completing his GCSE Music course, was Alex then told that his exam result would be marked-down by a whole grade simply because he was using electronic equipment. The implications of this meant that Alex would not be able to study music anywhere at any level and so he protested on the grounds of discrimination and after hearing just a few seconds of just one of his pieces of his music during an appeal hearing at his new college [incidentally, the same piece of music that his sister's music teacher tried to steal and, Alex's first ever completed composition], the college confirmed that he could choose any course on the curriculum and so instead of studying A-Level Music, he chose Psycho Acoustic Music Production.

Alex is used to others trying to hold him back, trying to claim his music as their own and, used to being publicly derided and so, he therefore perceives the attitude form the BBC and the personal attacks from the Drum and Bass intelligentsia and other Drum and Bass middlemen since 2013 to be just more of the same. It has been explained how Drum and Bass did not 'evolve' from any other genre, how Drum and Bass did not occur as a consequence of sampling the Winston's Amen, Brother break beat [or any particular break beat] alone and, how Alex Romane is the creator of the Drum and Bass genre. Up until changing his stance regarding personal publicity [for political reasons] in 2013, this information and Alex's Drum and Bass history hadn't been publicly disclosed. It is no coincidence that no other Drum and Bass pioneer has ever claimed to have created the Drum and Bass genre and, Lennie never released another hybrid Acid track and no one from either within or outside of the Drum and Bass intelligentsia can present a Drum and Bass track produced before 1991.

The three fundamental components that initially defined Drum and Bass:

1. Dissected break beat
2. Irregular [not flat-beat] bass drum rhythm
3. 140+ BPM

In a UK industry now largely ran by the pro-government BBC working along-side pro-government corporates, banks, and major labels and, with their de-politicalisation of Hip Hop music and their watering-down of Drum and Bass [via the BBC, Pete Waterman, and other mainstream producers], the BBC and the rest of the mainstream media can't afford to disclose the truth about Drum and Bass history - especially when it would now also mean inadvertently promoting the UK's only direct democracy party while it remains under a media blackout and, the BBC has form when it comes to politically-motivated blackouts.

PA direct democracy media: UK-relevant news that the BBC kept from you

PA direct democracy video: Pop stars and celebs betray you and democracy
PA direct democracy video: Chuck D; "Political musicians are public enemy"
PA direct democracy video: Chuck D; "Major artists sold social ethics for cash"
PA direct democracy video: Professor Griff - Miley Cyrus and musical porn

In 1973, DJ Kool Herc was the first DJ to loop a break beat by running it from two records back-to-back therefore, Kool Herc created Breakbeat as a genre and, he was also the world's first Hip Hop DJ. Late 1970's Funk/Soul-Electro fusions [roots in early 1970's Electro and Techno initially created by Kraftwerk and Yellow in Europe] then led to the creation of the world's first definitive Hip Hop track Planet Rock [Africa Bambata - New York 1982].

In 1986, Coldcut released Say Kids, what Time is It? which featured a James Brown break beat which later appeared again in Fresh 4's Wishing On A Star in 1989 and so in 1990, Alex also started to experiment with this particular James Brown drum rhythm along with rhythms from Skoolly D's Somewhere In The Land of No Rap album.

The James Brown break beat was originally recorded by Clyde Stubblefield in Funky Drummer [1969] and was released as a single in 1970 but, it was not widely known until the release of James Brown's In The Jungle Groove album [1986].

Alex's guitar pedal sampler had a memory of around one second so, only part of the James Brown break beat was able to be captured and replayed. To perform a full bar [four beats] of drum music, the sample would be repeatedly re-triggered and to eliminate the resulting rigid flat-beat feel of the re-triggered one bar sequence, Alex re-triggered it at irregular/off-beat intervals throughout the bar and, mostly before the partial sample had ended. Doing this over the length of one or more bars provided a dissected and chopped feel to the Breakbeat rhythm and also intermittently threw the snare drum away from its original position on the regular 'up' beat and, this off-beat re-triggering was the key defining aspect of Drum and Bass.

If Alex had access to bigger sampling devices, then the need to re-trigger break beats would never have arisen [as demonstrated in this 1990 demo where he used an Akai sampler and the Amen Break beat] and, Alex believes that it is him being forced to re-trigger the break beat, combined with consciously speeding-up Hardcore while replacing the flat-beat bass drum rhythm with irregular off-beat rhythms is why no one else was doing it before 1991 and, it was also not common for underground dance music producers to be working with aggressive Punk Rock or Thrash Metal bands. In addition, Alex always pushed the life out of all of his studio gear, simply because he was rarely able to afford current technology and, he always noticed that his colleagues who always had up-to-date gear were never doing this [he was optimising].

The typical underground home studio consisted of midi or combined midi-analogue equipment. Atari computers with 64 track sequencing software [Notator and Creator] were the norm and so for Acid heads working underground and from home, there was no need and more importantly, no will for re-triggering and dissecting samples and, there was no exposure to analogue guitar effects units or, exposure to the aggression of Punk Rock and Thrash Metal either for these programmers and producers and, owning a sampler of any type was still rare.

As there were no time-stretch facilities on the sampler pedal, the pitch control was increased so as to speed up the BPM of the sampled drum loop and this also naturally changed the tone of the drums making them sound a bit more 'techy'. The Line-out signal taken from the sampler was then routed directly into additional Boss guitar Phaser PH1R and Chorus CE-2 pedal effects units to act as intermittent fill-ins at the end of 4 and 8 bar sequences so as to regularly refresh the feel without using additional sounds. Again, using these effects on whole drum parts was unheard of at the time but eventually, it became such an influence that whole track parts [not just the drums] across other genres soon started conforming to the use of these effects in this particular way also.

After routing the sample through the Phaser and Chorus units, a Boss guitar Overdrive OD3 pedal effect unit would then be used to industrialise the dry James Brown drum sounds into something bigger and more industrial. The Overdrive effect also provided an edge that was common in Punk Rock and Thrash Metal and so the aggressive drum styles that Alex loved working with at the time carried through.

Finally, the signal was then fed directly into a Boss RPS-10 Digital Pitch Shifter Delay [Echo] Modular effects unit. With the Feedback setting on medium and the Rate setting on maximum with a medium volume ratio output for the Delay effect, the sample was able to ricochet off into the distance when applied to the final quarter-beat [1/4th] or the final snare strike in any 1,2,4,8 or 16 bar sequences.

At the end of the effects daisy chain, the Pitch Shift effect from the RPS-10 enabled snares [particularly] to spring up or down a pitched scale adding even more character if activated after the Delay.

The Alesis drum machine that Alex was using was at the time, the only drum machine in the world that used acoustic drum samples instead of processed/synthetic sounds. As the Alesis was specifically a Human Rhythm Machine, drum parts could be altered in ways that other drum machines couldn't do. For example; timings could be manipulated to mimic the looseness of a real human drummer and, the pitch of every instrument within the unit could be altered independently of other incidences of the same drum within the same sequence.

As the Alesis was designed specifically with psycho acoustics in mind and, as Alex had previously completed a diploma course in the study of the science of psycho acoustics whilst at college, it was natural that some heavy experimentation in drum music would ensue - even before introducing samples.

During 1989 and in his Electro Hip Hop, Acid and Hardcore music, Alex started to use these facilities and he would commonly re-pitch dry acoustic snare strikes within tracks. He continued to use this effect in his Progressive Hardcore more and more and snares soon started flying up and down the scale to act as intermittent fill-ins whilst a dissected break beat ran on top.

All of the effects units were set up to be used independently and on the fly, meaning that more personality could be expressed throughout the entire track length as opposed to just within sub sequences, giving more personality to the entire track itself.

Alex was also studying the patterns within Hardcore and noticing that in London, the tempo of Hardcore was gradually increasing from around 130 BPM - particularly at events held by Orange Club [1990-91]. In a conscious attempt to create a new form of underground dance music, he used his new dissected aggressive drum rhythm style at 140 - 150 BPM with Hardcore, Techno and even Trance [known at the time as LRTTT music - Li'l Louis French Kiss being the originator in 1989] and continued to develop this music [as a form of Progressive Hardcore] with others.

He sent demo's of various Progressive Hardcore projects to a handful of the major labels and publishers in London throughout 1990/91 and worked on new projects with friends in London and the South West but, the new music was not received positively by the majors who at the time had a policy of not working with underground producers - despite John Peel playing related tracks by Alex on BBC Radio 1 at the time. The last A&R manager who Alex spoke with regarding his Progressive Hardcore actually asked him when explaining why he wasn't interested; "What is it?" and while Alex tried to explain how him questioning this demonstrated that it was at least something new, he instead chose to play it safe.

Alex never believed in holding a monopoly on ideas within the studio and generally shared his latest experiments, ideas, and resources with others around him and, he had also qualified in Psycho Acoustic Music Production and so was sharing techniques oriented in the science of how sounds affect humans subconsciously. Whether sharing newly-created engineering techniques, advising upon psycho acoustics, or simply trying to secure recording and publishing deals for friends, Alex has always encouraged new developments in music both directly and through others.

The hope was that by the time any tracks were released, that they would naturally be in sync with a faster Hardcore movement but, with the addition of a new aggressive and dissected Breakbeat drum rhythm style and therefore, potentially having more success in establishing itself as a new music form.

Conventional string and piano pads and samples from the House scene and general synth and guitar parts were largely eliminated as they often made Progressive Hardcore sound tacky at higher speeds and it wasn't until mid-1991 that the major labels started to realise that they would have to shift their outlook but, only because Pop tracks released by rival independents were now starting to feature aspects from the underground Acid, House, and Hardcore scene.

Alex believes that this wouldn't have happened without The Prodigy's Charlie hitting the UK number 1 spot in August because now, managers working with the major labels and the independents were starting to hire producers from the underground to make their pop productions more trendy and so, it was the major labels that eventually sold-out to the underground - it was never the other way around.

Alex explains; "This is why those who accused acts such as The Prodigy and The Shaman of 'selling-out' got it completely wrong. If the masses outside of the underground scene also appreciated their music, then isn't that a massive achievement? How pretentious and elitist would it have been if The Prodigy had intentionally pulled units from shop shelves to stop them charting simply to satisfy the intelligentsia and more importantly, what is so wrong with artists from any scene making as much money as they can if people are happy to pay for their music?

The intelligentsia will always to some extent consist of non-musicians and failed DJs who sit around the edges judging the artists and conditioning the audiences and, they are also regular inhabitants of A&R departments within both major and independent labels. They have nothing to do with music creation or with music as a language and everything to do with revenue generation and, the internet was their enemy until monetary decisions forced them to get friendly with it - especially the majors."

Pirate Party founder interjects - then refuses to justify his disability discrimination
Musicians kicked-out of the music business by corporates and free downloaders

Since 1994, Alex was experimenting and learning about on-line PR mechanisms and by 1997 he was already working on viral marketing concepts and so, it shocked him when he was threatened with legal action upon merely suggesting to one particular record company that they upload some tracks to the web for free so as to use limited and controlled piracy as a form of viral marketing and promotion.

Alex says; "I've always been ahead technologically and I'm not bragging. It's actually been a problem throughout my life and, a problem that has often kept me broke. For example; During the Mid-1990's, I failed to convince any of the major TV, film, music, and video companies, broadcasters, and distributors to go on-line and to let me build showcases for them that would have proved the benefits. Now, it would be inconceivable for any of these entities to not consider promoting, publishing, and selling their content on-line. In 1999, I tried to sell web audio concepts to the corporates but again, they had their reasons as for why they didn't want to know. Now, most corporate websites feature audio in some context somewhere on their websites. With music and sound engineering techniques, I was always ahead here too but with not wanting to be famous, I lost-out when anything I did in this area took off. In 2001, I started a version of Amazon called Shopperlink but couldn't get enough shops onto it before running out of capital and since 2010, I've been experiencing the same regarding true democracy and again since 2017 regarding perpetual motion Geocircuitry and with both of these concepts, I fear that the world will not wake up in time to benefit from them."

In Alex's opinion, the whole argument about 'selling-out' is false because once an artist has made the decision to sell their music for monetary gain at any level - they have already sold out. He believes that we have all sold out from the day we are born because this is when we accept a life that revolves primarily around money-making [especially in the West]. Alex believes that an underground movement will always exist in any scene whilst there are musicians and producers who do not seek fame and, whilst musicians and producers are not recognised by promoters and labels [recognition from the wider public is not required in order for underground producers to maintain a viable career].

Up until the change in attitude of the major labels, the underground scene was dominated by regular Acid, House, and Hardcore and Progressive Hardcore releases into a purely 12 inch, DJ-based market from forward-thinking independents [such as Profile Records in London - who were also largely responsible for doing the same in New York with Electro Hip Hop during the 1980's] and, it was after this shift that Alex soon started hearing his fast-paced, dissected Progressive Hardcore drum rhythm styles being re-branded and duplicated by others as Jungle. The addition of Reggae-oriented rhythm parts and Ragga vocals after 1991 fuelled various further developments followed by claims from within the Ragga scene that Jamaican toasters and rappers created this new music [some claims made even as late as 1994] so Alex decided to look for a fresh start away from London but, to continue to work with Progressive Hardcore/Drum and Bass fusions, Electro Dub forms, and Electro Hip Hop, but separately. Incidentally, it was during 1994 that prominent UK Jungle DJs [such as Fabio and Groove Rider] decided to rename Jungle in an attempt to filter-out the negative aspects of the Ragga scene - hence the term Drum and Bass.

Alex still has possession of some of the very first recordings he made during 1990/91 using the process described above to create the origins [1990] of what would soon become known in London as Jungle music [1991], and then later known as Drum and Bass music [1994].

Demo project - Decoder's [Kosheen] studio - 1990:

Drum and Bass Preview

The Amen break, which Alex and others were sampling throughout 1987-91 but in Hardcore and, not dissected.

Drum sample performed by Gregory C. Coleman [The Winstons Amen, brother]

Progressive Hardcore backing track - home studio 1990/91:

Drum and Bass Preview

No instruments were used, no drum machines were used, no Akai samplers were used and no computers were used - just a cassette deck, a James Brown tape, a Yamaha VSS30 sampler and an array of guitar pedal effects processors being played live as instruments.

Drum sample performed by Clyde Stubblefield [James Brown Funky Drummer]

Progressive Hardcore backing track - home studio 1991:

Drum and Bass Preview

Later using a sampler with a reverse facility [Yamaha VSS30 pictured top of page], the rhythms are multi-layered with effects applied pre-sampling.

Drum sample performed by Clyde Stubblefield [James Brown Funky Drummer]

Progressive Hardcore backing track - home studio 1991:

Drum and Bass Preview

Using the same sample with a House vocal effect and an additional snare on the up-beat but, with the sample being triggered from the second 16th.

Drum sample performed by Clyde Stubblefield [James Brown Funky Drummer]

Progressive Hardcore backing track - home studio 1992:

Drum and Bass Preview

Further experiments with multi-layering.

Drum sample performed by Clyde Stubblefield [James Brown Funky Drummer]

FULL TRACK [Apache - Holocaust] home studio - 1992:

Drum and Bass Preview

Individual drum sounds from Skoolly D's Somewhere In The Land of No Rap album were sampled routinely by Alex since 1987, with Skoolly D's rhythms then being dissected in 1990.

Drum sample performed by Skoolly D [Gucci Time]

Delirious [written and produced by Alex Romane and Nathan Robinson] World's first non-compilation Drum and Bass album

During 1990-1992, Alex worked and lived in both London and the South West traveling between them every two weeks before settling on the outskirts of Bristol where in collaboration with Nathan Robinson [a true Rasta and conscious artist], he released his first Progressive Hardcore/Drum and Bass album [Delirious] under the name Apache through Big Music Records. He didn't move to Birmingham until 1994 and up until 1992, Bristol dance music culture was still mostly influenced by House and Hardcore with break beats [un-dissected Knuckles and Bones] backing-up drum machines and so Delirious with its dissected James Brown, Skoolly D break beats [among others] and even human beat box and scratch dissections, was new and even months after its release, tracks were played during the opening night at Mallorca's 10,000-capacity BCM club [at the time, Europe's second-largest nightclub].

Apache were diverse and experimental and so Delirious is wide-ranging in its scope and because of this, it contains ideas that later re-emerge as two of the various Drum and Bass sub-genres; Ambient/Intelligent and Darkcore. At the time though, all of this music was perceived by Alex and Nathan as Progressive Hardcore and Jungle only.

By mid 1992, Delirious was stocked by both Virgin and Our Price [cassette format] as well as by many independent record shops throughout Bristol and the South West and Jungle music had established itself throughout the UK.

Alex Romane; Delirious  Drum and Bass Album 1992[Side A]
1. Reachin'
2. Circus 7
3. Delirious
4. True Guidance
5. Holocaust [Darkcore]

[Side B]
1. Empathy [Ambient/Intelligent]
2. Dwell in This House
3. Do Something to Me
4. Reachin' [Reprise Mix]

Since 2007 and the re-release of War with Daddy Freddy [original mix produced in 2002], Alex focused on promoting his own productions through Urban Sunrise - an experimental collaborative of artists and activists from various backgrounds and countries that was disbanded in early 2019 so as to instead emphasise focus on each individual artist.

Experimental music: Techbeat

Urban-oriented Electro/Acid/Techno fusion with an Industrial feel and a tempo range around 150 BPM.

Labelled by DJs as new and progressive, Alex developed it and eventually created the term Techbeat as most of the sounds and styles used are electronic and oriented in Electro Hip Hop and Acid and, because of the hard-edged drums and dark sounds in the bass and atmosphere with various sound effects adding an Industrial feel which finalise its identity [structures influenced by Psy Trance and Classical music].

Alex's first Techbeat experiments were produced in 2007 and played by Alex in Bora Bora [North Africa's largest nightclub] in 2008. From there, CD's were copied and played in many other venues across Tunisia by Alex and other DJs, with some bringing copies back into Europe.

Alex Romane's main musical influences:

Vivaldi, Kate Bush, Blurt, The Police, Gary Newman, Jean Michelle Jarre, Howard Jones, Paul Hardcastle, Harold Faltermeyer, Tim Simenon [Bomb the Bass], all Electro and Electro Hip Hop artists [1983 onwards], Egyptian Lover, Curtis Blow, Skoolly D, Africa Bambata, Sugar Hill Gang, Grand Master Flash, Scorpio, Whodini, Full Force, Stetsasonic, Brian Davis, Get Fesh Crew, LL Cool J, Eric B, Roxanne Shanté, Run DMC, Mantronix, Public Enemy, Thompson Twins, Eurythmics, Depeche Mode, New Order, Human League, Tears for Fears, Ofra Haza, ZZ Top, Propaganda, Clive Stublefield [drummer with James Brown], Steve Silk Hurley, Silver Bullet, Knuckles and Bones, Sly and Robbie, Peter Tosh, Mad Scientist, Professor, Howard Boulevard [Ice House Studios], Jellyfish [Kevin Nicholson], London Punk Rock bands [1989-91], Soul 2 Soul, Technotronic, 25th of May, The Goats.

All info:

Kerrang Magazine
Alex Romane
British Library
Alex Romane would like to give special thanks to:

- Everyone at EMP
- Mark Jackson
- Ian, Mel, Kevin Nicholson
- Robert Stark and Pilleater
- The guys at BCC Artsfest 2009
- Everyone at Believe Music/Sony Music
- The guys at the PPL
- Howard Boulevard
- Evil Evan and the guys at Chrysalis
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