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Review: If you're familiar with the Forza franchise you will know two things; the game is best played to a D&B soundtrack and Hospital Records in-game radio station. Now for the first time (definitely in Hospital history, perhaps in D&B history too) the label have created an album of tracks specifically for the game.

And your DJ sets. Cue Hospital's finest operators, each proffering stone cold gems. S.P.Y's 'Rock Da House' is an impeccable hypnotic stepper that's been doing the business on dub all summer, Urbandawn's 'Caffeine' has enough filtered disco pump to put led in your pencil for about 20 years while his collaboration with Whiney 'Loki' is a splintered step jam with dramatic orchestral twists. Elsewhere London Elektricity gets sincerely symphonic on 'Now That's A Switch', Hugh Hardie goes all Good Looking on 'Offshore', Lakeway does some serious damage with the junglised grime hybrid 'Stomp Your Soul' and Krakota gets absolutely filthy on 'Mismatch'. And that's not even half of it. May the Forza be with you.

Review: Acid Pauli and Nico Stojan's label presents the original film score and soundtrack for the new German film 'Once upon a time there was Indian's Land' which is centred around 12 brand new songs by Acid Pauli aka Martin Gretschmann (The Notwist, Console) who plays a central role via his close collaboration with director Ilker Catak. Gretschmann's music is eclectic and adventurous. From dystopic, carnivalesque moods via moments of high intensity to deep melancholia and fragile atmosphere - boundaries are being teared down. Sometimes psychedelic and far out, sometime focused, catchy with one eye for the dancefloor: but never predictable. The soundtrack is a mixture of his old and new tracks plus music of artists that he works with.

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Review: Rolf Peter Kahl's A Thought Of Ecstasy has been released below-radar, and it's the sort of film that demands appreciation from a particular type of audience; after all, it's been released on Germany's most prolific 'bass' imprint since the early 00's, the formidable Monkeytown Records. Two young talents from the wider 50 Weapons collective, Gajek and Anstam make up the majority of these tunes, delivering leftfield shades of moody electronica through a bass-filtered approach that sits just right with the arguably tenebrous vibe of the movie. Shape-shifting and constantly on the prowl for that extra but of euphoria, their expertise is made doubly effective by the appearance of Moderat on the score, another duo whose love for electronic intricacies leads them to paint a rich and compelling picture of society.