AllOut

*Motor Cortex Stimulation* was released in 2020, but in reality it was shaped over a long period between 2015 and 2020.

The idea for the second All Out album already started forming while I was finishing the first one. At that point it was clear to me that the project wasn’t meant to stop there. The next step had to be stronger on every level — not just technically, but creatively, structurally, and in terms of overall sound identity.

That created a very specific internal challenge. On one side, I needed to continue the story of the first album and keep the identity of the project intact. On the other, I had to avoid repeating myself or falling into self-copying. The balance between evolution and consistency became the core problem of the entire process.

Over time it became obvious that this release couldn’t just be “more of the same.” It had to expand the language of All Out and push it forward. It wasn’t about replacing the first album — it was about growing beyond it.

The sound gradually shifted. It became louder, denser, more focused. Less clutter, more control. The production became more precise, more modern in terms of mixing and mastering approach, with a stronger emphasis on clarity, separation, and impact. At the same time, I didn’t want to erase the roots completely — the foundation was still there: breakbeat energy, bass-driven aggression, industrial tension, and traces of old-school influence, just filtered through a more refined production mindset.

Structurally, this album is very different from the first one. Instead of a continuous, almost monolithic flow, it became a collection of standalone tracks. Each track has its own identity, pacing, and internal logic. Some are short and direct, almost like statements, others are more developed and layered. In total, the album consists of more than 20 tracks of varying length and character.

The reaction to it was mixed. Some listeners felt it lost part of the raw underground energy of the first album. Others pointed out a shift away from that initial emotional roughness. From my perspective, though, it became more structured, more controlled, and in many ways even more melodic — just in a less obvious, less frontal way, embedded in rhythm and arrangement rather than surface-level hooks.

For me, the most important outcome of this album wasn’t external validation or reception, but something internal. It proved that I could evolve the project without breaking it. That I could take criticism into account, explore new directions, and still remain aligned with my own vision.

In the end, it marked a clear step forward — not just for the sound, but for the understanding of what All Out is and can become.

Listen to the full album here:
https://soundcloud.com/alloutproject/sets/motor-cortex-stimulation

10 years ago I released my first album — *Psycho Breaks*.

But in reality, it didn’t just “come out” — it was built over almost 8 years, from 2008 to 2016. It wasn’t a straight path. It was constant going back: listening again, reworking, deleting, rebuilding. Some tracks went through multiple versions, changing as I changed. Back then it felt natural — if you knew you could do better, you had to redo it.

Part of the material before 2011 was even released under different aliases. I didn’t really see it as a “project” at the time — more like a process of searching. No clear direction, no understanding of what it would eventually become.

I was influenced by the sound of that era — from acts like Hybrid and The Prodigy to Noisia and Orbital — but more than names, it was about a certain kind of energy: dense, overdriven sound, broken rhythms, heavy low-end pressure, where aggression coexists with melody, and club energy blends with something almost cinematic. Sometimes cold and industrial, sometimes raw and underground, sometimes wide and atmospheric. The goal wasn’t to copy it, but to pass it through myself and shape something personal — somewhere between old-school roots and newer sound design.

Technically, it was far from perfect.
I was learning mixing and mastering as I went, with whatever gear I had. And no matter how much I tried, I simply didn’t have the setup to really hear all the flaws and clean them properly. You can hear that now.

But that’s also part of what this album is.

It wasn’t made from calculation — it came from a state of mind.
A lot of personal tension, negative emotions, inner pressure, and the need to prove — mostly to myself — that I could actually create something meaningful.

Now, parts of it sound naive.
But it’s an honest kind of naivety — no filters, no distance, no pretending.

If I had to point to a few tracks that represent the album best:
— The Ravers
— I Choose Noise
— Into The Storm

That’s probably where to start.

A lot has changed in 10 years — experience, approach, how I hear sound, how I see the process.
But this is where it all began.

If you never heard it back then — here it is:
https://soundcloud.com/alloutproject/sets/psycho-breaks

And if you did — I’m curious what stuck with you.