people." Many of UR's earliest output would be the product of various experiments by Banks, Mills, and Hood - both solo and in collaboration. "The Theory" and "Eye Of The Storm" (Sonic EP) were among the two earliest UR tracks to be released in 1990, followed by a stream of EPs and singles including "Riot", "Acid Rain", and "Jupiter Jazz". The trio also recorded under the aliases X-101 and X-102, releasing both EPs such a "Sonic Destroyer" and "Groundzero (The Planet)" and the albums "X-101" and "X-102 Discovers The Rings of Saturn". When Mills and Hood moved on from the collective in 1992 to achieve international success as solo artists and DJs, Banks continued to lead UR releasing EPs during the mid-1990s such as "Return of Acid Rain", "Message to the Majors", and excursions into Nu Jazz on "Hi-Tech Jazz" as Galaxy 2 Galaxy. Increasingly acclaimed artists such as DJ Rolando, Suburban Knight, and Drexciya also joined the collective. 1998's "Interstellar Fugitives", the first full album credited to Underground Resistance, saw Mike Banks redefining the collective's sound as "High-Tech Funk", reflecting a shift in emphasis from hard, minimal club Techno to breakbeats, Electro and even occasionally Drum and Bass and down-tempo Hip-Hop. In 2014, UR took part in a lecture and discussion at New York's Museum of Modern Art. Conflict with Sony BMG In 1999, DJ Rolando released UR's most commercially successful EP, "The Knights of The Jaguar". Legal and conceptual ownership of the track became the subject of a battle between UR and Sony BMG, the details of which are contested. Sony claimed in subsequent statements that they first tried to contact UR to license the EP for release in Germany, recognizing the potential for a crossover hit. Receiving no response, they instead commissioned and released a trance cover version of the original, "tone-for-tone", which was released as a promo. For their part, UR denies that they ever received a request from Sony to license the track. Founding member "Mad" Mike denounced the release, arguing that it did not constitute a legitimate cover as it was intended to profit from rather than offer tribute to the group. When confronted, Sony justified its actions by stating they intended to credit Rolando as the composer of the work and grant him royalties on its sale. Although the group initially suggested they might pursue legal action, they instead conducted a direct action