IPI – Mounce EP [Enough! Music]

Our latest EP comes from IPI.

He’s a highly talented DJ and producer from Cologne. With his refined sense of atmosphere and groove, he crafts a distinctive sound that moves between modern club aesthetics and emotional depth. His productions are marked by clarity, dynamics, and a strong musical sensibility. With catalogue number 045, IPI delivers groovy beats that drive subtly while leaving plenty of space to sink into the music. Warm soundscapes meet an organically rolling rhythm — perfect for late hours in the club or relaxed listening sessions. Both tracks combine a sense of lightness with real depth, highlighting IPI’s talent for blending dancefloor energy with an atmospheric signature. Enjoy!

Track Title:

1. IPI – Mounce
2. IPI – Don´t Ya

Artist Link

Soundcloud

Artist: IPI
Title: Mounce EP
Record Label: Enough! Music
Cat. Number: 045
Release Date: 29 May 2026
Written & Produced: IPI
Mastering by Rob Small

Artwork and credits: Enough! Music
All Rights Reserved
2026 Berlin

Shyra Sanchez - Operator [The Remixes]

Making a welcome entrance, US artist Shyra Sanchez continues her international rise & presents a fresh array of remixes of her debut single, 'Operator'.

With the original lighting up across her native homeland & beyond, including hitting No37 on the Billboard Dance Mixshow Airplay Chart, No34 on Mediabase & No1 on the DRT Global Top 100 Independent Airplay Chart (for two consecutive weeks) - 'Operator' has gone onto pick up an array of support on both sides of the Atlantic, including UK Music Week club chart action & spins on the revered Kiss FM show Future Dance Anthems.

Fast forward to the present, a handpicked selection of artists now step up on remix duties & include Grammy-winning producer Dave Audé (coming off the back of remixes for Katy Perry, Beyoncé, Madonna & Jennifer Lopez), Bimbo Jones (whose previous remix credits include Lady Gaga, Rihanna & Kylie Minogue), along with Until Dawn, Marc Baigent & Try Harder.

With each taking 'Operator' in a different direction, whilst retaining the unmistakable Shyra Sanchez vocal performance - from the Funky House grooves of Bimbo Jones & chunky kick drum goodness of Dave Audé, through to the more bass heavy Until Dawn version & beyond, the remix package looks set to light up across an array of global club floors & airwaves.

Paving the way for the release of her next single, titled 'Dance With Me' & which is scheduled to drop in June - stay tuned for the remixes of 'Operator', fire up globally & the rise of Shyra Sanchez continues.

Stay tuned.

Connect with SHYRA:
www.shyra.music
www.instagram.com/shyrasanchez
www.soundcloud.com/shyrasanchez-music
www.tiktok.com/@singershyra

Killian Walsh Shares New Single ‘Let’s Play Bongos’ Ahead of Upcoming Album ‘Ise’

Experimental electronic artist and multi-instrumentalist Killian Walsh returns with new single ‘Let’s Play Bongos’, the latest track to be taken from his forthcoming album, ‘Ise’. Following the emotionally reflective first single ‘Let’s Float’ featuring Elise SW, the new release captures a different side of the album’s wider journey, embracing movement, release and reconnection through music.

‘Let’s Play Bongos’ reflects a point of transition within the album’s wider narrative. The track emerged from a period shaped by grief and emotional change, and channels moments where colour and energy slowly began to return. Built around hypnotic rhythms, analogue textures and a sense of freedom, the release draws influence from outdoor rave culture, communal experiences and the escapism found in music and dance.

Killian Walsh comments:

“There was a point where I started to realise my world was going from black and white back into colour a little bit, and I just wanted to dance, and to forget about life and what was going on. ‘Let’s Play Bongos’ is about those times going to raves with bonfires, people juggling and dancing around the fire. That’s what this song is about. I hope people enjoy it.”

As part of the wider body of work presented across ‘Ise’, ‘Let’s Play Bongos’ highlights Killian Walsh’s ability to move fluidly between emotional introspection and expansive electronic production. Drawing upon elements of Ambient, House, Trance and Techno alongside influences from traditional Irish music, the track continues to build the sonic identity of the forthcoming album while introducing a rhythmic and celebratory energy.

The forthcoming album ‘Ise’ was created during a deeply transformative period in Killian Walsh’s life following the deaths of his wife and father. What began as an unplanned creative outlet gradually evolved into a full-length project documenting grief, reflection and personal renewal. Developed alongside collaborators in Dublin, Berlin and Australia, including Tobias Neumann and Johannes Manuel, the album presents a broad and deeply personal electronic work shaped through lived experience.

‘Let’s Play Bongos’ is the latest track taken from ‘Ise’, with the full album set to be released via Ardchumhacht on 26th June 2026. Stream & purchase 'Let's Play Bongos' here.

Paul van Dyk Returns To ADE With Open-To-Close Set At Melkweg’s Rabozaal

Electronic music legend Paul van Dyk is set to return to Amsterdam Dance Event (ADE) with an anticipated open-to-close performance at Melkweg’s iconic Rabozaal. Taking place on October 24th, this special event promises an immersive, all-night journey through sound, curated by one of the most influential figures in global dance music.

A titan of electronic music and a visionary sound architect, Paul van Dyk has long been celebrated for his ability to craft emotionally resonant, high-energy sets that connect deeply with audiences worldwide. This year’s performance marks the fifth consecutive ADE appearance at Melkweg, with each edition having sold out and leaving an enduring impression on fans.

Paul van Dyk comments:

“I’m incredibly excited to make my return to ADE this October at one of Amsterdam’s most iconic music venues. Each year, I feel a deeper connection to the city, the crowd, and the energy inside that room. It’s always an unforgettable experience, and I can’t wait to take listeners on a journey across the full spectrum of my music.”

The open-to-close format offers a rare opportunity for attendees to experience the full spectrum of Paul van Dyk’s musical universe, from deep, melodic explorations to euphoric peak-time moments. With complete artistic control from start to finish, the night will unfold as a carefully curated narrative, guided solely by his vision and connection with the crowd.

Attendees can also expect an abundance of new and unreleased material, including exclusive previews from upcoming projects and fresh releases from the VANDIT Records label group. This makes the event not only a celebration of his legacy but also a glimpse into the future of his sound.

Set against the backdrop of ADE, the world’s leading electronic music conference and festival, tickets are now available to purchase for Paul’s forthcoming performance in Amsterdam.

Paul van Dyk - Open-To-Close - Amsterdam Dance Event, 2026

Tickets available: Here

Date: October 24, 2026

Venue: Melkweg, Rabozaal

Event Time: 6 pm Until Late

Find Out More & Follow:

Paul van Dyk: Instagram | Spotify | TikTok | Website

Aham Zahran Bio:

Adham Zahran isn’t just another name in house music, he’s one of those producers who seems born to it. Hailing from Egypt and growing up in Alexandria, young Adham began his musical journey listening to lots of minimal and house before learning production and music theory. His sound is steeped in an affection for house in all its shades and his musical influences resonate mainly from the Detroit culture and sound. Artists like Kyle Hall, Theo Parrish and Marcellus Pittman.

Adham’s catalogue of music already reads like a tour through the underground. From Galaktika and Manuscript to Moodmusic, Oh! Records, Neovinyl and a string of others, Zahran has stamped his mark across labels that thrive on quality. Now, with the Lunar City EP on Dealt With Records, he continues that trajectory with a body of work that’s both accomplished and adventurous.

His aesthetic breathes a natural affinity for ‘80s electronica, reimagined through a Detroit house kaleidoscope. Synths from his Nord Lead A1 keyboard to his Novation launch pad and xl controller, these instruments acts as conduits of alchemy, coaxing out textures that bring collective goosebumps to the room. On stage, he’s proved himself just as fluid, sharing booths from Cairo to London, Paris to Brussels, with festival slots at Sandbox and Some Weekend, plus turns alongside Claptone at Someday Block Party and at We Play House in Brussels. It’s a résumé that speaks of crossing borders and dancefloors form North Africa to Europe.

Love Connection EP

With Love Connection, Adham Zahran continues a journey defined by consistency, depth and quiet individuality. Over the years, his sound has evolved without chasing trends, anchored instead in a commitment to remaining both unique and unmistakably his own.
This latest EP for Dealt With Records is designed with deep afterhours in mind -those moments when the lights are low, the crowd is locked in, and mood outweighs everything else. It stands as a statement of pure Deep House: raw, analogue-leaning, harmonic and authentic. In three words, Adham remains unique, raw and deep - and Love Connection embodies that ethos in its most distilled form.

Track Descriptions

‘Logical Solution’ begins suspended in space. For the first ninety seconds, Adham invites you into a lucid drift - weightless, celestial, almost inter-dimensional in tone. It’s pure ambience, the kind that slows your breathing and stretches time itself. No urgency. No percussion. Just atmosphere unfolding in widescreen.

Then, almost imperceptibly, a pulse appears. Mechanical but warm. A subtle, robotic heartbeat emerging from the haze. Acid lines begin to seep through, softly distorted, as if playing from an old, worn-out speaker at the back of a forgotten warehouse. There’s nostalgia in that fuzz, it’s analogue emotion wrapped around digital precision.

When the rhythm finally settles, it does so with beautiful restraint. A bass drum. Maracas. Tambourine. Hand claps. Nothing more than what’s needed. It feels like future house imagined by artificial intelligence - not cold or clinical, but curious, yearning. The patterns repeat with coded insistence, like ones and zeros trying to become language. Beneath the circuitry, there’s something human reaching out. A track that doesn’t just process emotion - it searches for it.

‘Love Connection’ opens with a quiet optimism. There’s light in it from the outset - a gentle lift carried by a bubbling acid line that rises to the surface, glistens for a moment, then slips back beneath the groove. It never dominates. It breathes in and out, teasing — rather than demanding — attention.

The strings arrive like a memory from another lifetime - old-school, romantic, almost cinematic. You can picture it; grainy film stock, two lovers caught somewhere between euphoria and heartbreak, the kind of scene that lingers long after the credits. There’s texture in the nostalgia, a softness that contrasts beautifully with the track’s electronic spine.

If ‘Logical Solution’ felt like the first flicker of artificial awareness, ‘Love Connection’ is the next stage of evolution. The circuitry warms. The edges soften. There’s a sense of machine learning what it means to feel, not just to calculate. The groove carries hope, vulnerability, even tenderness. For a moment, suspended in its glow, you almost believe this robot can fall in love.

‘We Meet Again’ doesn’t rush to impress you. It draws you in. Adham opens with restraint and intent, building a track that feels less like a statement and more like a quiet understanding between artist and listener. It’s simple on the surface, but there’s weight beneath it - it has a slow-burn grandeur that reveals itself with every bar.

A warm, enveloping low-end cushions the senses, creating a calming, almost narcotic undercurrent. Then come the interspersed keys - bright, delicate, flickering in and out like distant city lights at 3am. The synth work swells and recedes with a natural looseness, like a late-night wander home in the rain after the pub, slightly off balance but always in control. Nothing is forced. Nothing is wasted. It’s atmosphere crafted with intention. Immersive, emotive, and quietly powerful.

• Artist: Adham Zahran
• Title: Love Connection EP
• Label: Dealt With Records
• Cat No: DW034
• Format: Digital & Streaming
• Genre: Deep House
• Release Date: 29th May 2026
• Buy / Pre Order: TBA
• Exclusive Link: https://dealtwithrecords.bandcamp.com/album/love-connection
• Web / Social Media Links: https://www.instagram.com/dealtwithrecords/

Välth - tracks_02 EP

The second instalment in Välth’s Bandcamp series - tracks - presents two slow-building tracks focusing on repetition. Both pieces evolve through finely tuned modulation, drawing the listener deeper without relying on constant additions or breakdowns.

Grab your copy of tracks_02 from Bandcamp

Mastered by Pheek

Välth on soundcloud / bandcamp / instagram

f: Hi Michael, it's a pleasure to chat with you today, how are you?

Michael Gray: Really good thank you. Life is going pretty well right now! Both professionally and personally. 

f: Please tell us a little about yourself, where you're from and what turned you on to making dance music and DJing?

Michael Gray: I grew up near Croydon with my Mum Dad and 4 older sisters. I’m the baby of the family. My eldest sister Cathy got married and left home when I was only about 5 years old, but having older sisters, they were a huge influence on me musically. I remember listening to George McCae “Rock you baby” and lots of Chilites, Stylistics records, sounds of Philadelphia and many more… I started DJing when I was 12 years old. I’d play at the school discos and a monthly event at our local church hall. I loved it. I spent everything I made on new equipment, new lights etc. to start with my Dad used to make a lot of my set up for me and he’d help with the advertising and take me and my equipment to and from the events. 

My sister Teen’s Husband Andy was a DJ at the time and I would see his equipment and I’d be in awe and I’d want to buy the same.  I’d also spent hours in my bedroom perfecting mixing on vinyl. I knew long before I even left school that I wanted to be a DJ and I only ever had one full time job in a hifi store for the first 2 years after I left school. I became self employed at 18 when the DJ bookings brought in more money than my daytime job.  I started producing when I was around 19/20. Working for DMC initially and back then mega mixes were really popular. I produced the Brits 1990 mega mix which went to number 2 in the UK national charts for 2 weeks and all the money went to the Nordolph Robins trust, which went to build the Brit School in London. That was the start of a true passion and I’ve been producing since!

f: Who did you listen to growing up and do they influence your music career at all today? 

Michael Gray: As I’ve said I was influenced by my older sisters, so I listened to the likes of stylistic / the O’Jays and early Philadelphia sounds. I truly believe that these early music experiences have added a much more soulful slant to the music I produce today. 

f: What was the first dance record you bought? 

Michael Gray: Edwin Star - Contact 

f: How would you describe your sound?

Michael Gray: I’d say groovy, uplifting, emotional and soulful. I really try to bring the balance between light and shade on my music to create that uplifting vibe on the dance floor. 

f: You were originally part of the acclaimed British House duo Hustlers Convention, later as Full intention, with Jon Pearn. What was your most successful release together? 

Michael Gray: My most successful release with Full intention was “America”. It was our 3rd EP and we wanted to break into the American market, so we basically fooled the industry into believing we were American producers. We put it out as an import from America and changed our names. I was Curtis Silvers and Jon was Herb Scott. We felt our sound was more American than British sounding at the time and we wanted to be taken seriously…and it worked. After that we had everyone from Pete tong to Armand van Helden playing it. It really opened the doors for us and was the start of a successful producing career together that spanned right until 2002. Then we had another stint working together 2012 to 2016 before I relaunched my solo career. 

f: Since going solo, which of your own tracks was the biggest labour of love to create / personal favourite? 

Michael Gray: I know it’s very recent, but “You & Me” is a personal fav for me. The sample is in a major key and I wanted to make the groove darker so I could play it in a club environment so it was a real labour of love to get this right. The mix between minor to major keys (the light and shade) to get that real emotional melancholy feel. Then working with Mike Dunn to add the vocals was just an added bonus. It just came together so well and that’s the magic of it. It goes down so well in clubs and I am 110% happy with the result. I think that’s because people are not quite expecting what’s coming next, so it takes them by surprise on the dance floor. 

f: What’s your most successful release as Michael Gray? 

Michael Gray: That would have to be ‘The Weekend’. It’s just hit over 200M all time streams on Spotify and 22 years since I produced it it’s still going strong in the clubs today.

f: And what’s the best remix you’ve done? 

Michael Gray: That’s “Optimistic” by Brian Power feat. Lucita Jules. It’s recognised everywhere I go and I know if I want to lift the dance floor, I can play this and it will have an immediate impact. I get asked to play it all the time. It was lovely to see Lucita and Brian at the Mi-Soul Grand weekender last month. I’m a great admirer of both of them. 

f: Your third artist album ‘You & Me’ has just been released, how is it all sounding?

Michael Gray: I mean I love it, but I’m obviously biased. It’s all music from my heart. It’s great to see the feedback from others. I’ve been playing a few of the tracks for some time now and I’ve tweaked them along the way after seeing the reaction on the dance floor. It has been great to see how different crowds across Australia, New Zealand, Europe and the UK have all reacted so well to the album tracks. 

f: You’ve worked with some brilliant talent on the album including Bran Mazz, Mike Dunn, Tania Foster, Phebe Edwards, Sian Lee, Dyanna Fearon, and many more. How did you go about selecting those and what did they bring to the table?

Michael Gray: I’ve worked with most of these vocalists before and they’re all fantastic and have a really good range. They all have strong character voices which I think it’s important, but most importantly they’re easy and fun to work with. I don’t want drama in my life so if someone is difficult to work with, I won’t work with them again. Working with Mike Dunn on “You & Me” was a pleasure. I have admired him for a long time as a producer and DJ and I knew his voice would work well and add the cool sound on the track I was looking for. It came together so quickly in the studio. He’s the ultimate professional!

f: What’s your favourite track from the album and why? 

Michael Gray: This is a really hard one, but it’s probably between “You & Me” and “Shake”. My favourite keeps changing because all of the tracks are so fresh in my mind at the moment. 

f: You also run your own label, Sultra Records, how’s that all going?

Michael Gray: Really well! It’s exactly as I’d hoped it would be. I started my own record label so I could get my music out quicker and when I wanted to rather than having to wait and fit around everyone else’s schedule. It means I can produce my own sound without having to obtain anyone else’s approval and put it out when I want to. That’s been really important to me and that follows through into the Sultra Brand generally. My Sultra gigs are all about being able to play the kind of music I want to play and especially new releases as most of the music I play is my own. I don’t really have time for the admin side so I don’t tend to release music by other people, just my own tracks. We’ve just launched our Sultra Records App too, which is well worth checking out. 

f: What’s your favourite piece of studio kit essential to the Michael Gray sound?

Michael Gray: A prophet 5 keyboard. It’s on a large proportion of my tracks and I use it because I like the real analogue sound that it gives and the character. 

f: What has been your biggest triumph and your biggest challenge so far?

Michael Gray: There a number of things I’m really proud of. The success of “The Weekend”, my Grammy nomination for mine and Jon Pearn’s Full Intention remix of “Amazing” by George Michael for example. 

But for me my biggest triumph so far has to been the resurgence of my solo career since 2016. I thought I’d only get one chance at this career and there were times particularly when EDM music came in and I didn’t want to go down that route that I thought my best days were over. But I’ve been proven wrong. Both my producing and DJing have gone from strength to strength, especially over the past few years. The support of my Fiancee Mel has meant a lot to me because it can be a lonely life on the road and so there were times when I didn’t take so many of the overseas gigs in the past. Especially when my boys were young. Having a travel partner to join me on this journey has made all the difference. Not only that, I am supported by Mel in all that I do so I can just focus on the music and that meant that I was happy to take on my first Australia and New Zealand tour for many years in February/March this year and it was a great success.  I feel happier in my career now than I ever have and hopefully, I think that shows in the music I’m producing and the gigs I am being booked for. 

I would also say that being able to pass on my legacy to my Son Ethan Gray makes me to happy. My Sons Cameron, Ethan and Joshua have all grown up around my music, as I grew up around my Sister’s music. I’m proud of them all and to see Ethan following in my footsteps and really thriving at the start of his music career makes me very happy. I love the fact that they all come to my gigs, as I never thought I’d still have a successful career as a DJ by the time they were old enough to come. 

My biggest challenge so far has definitely been getting through that EDM period of music. At the time I even considered taking on a different job as I wasn’t even sure that my genre of music would return again. It was a really difficult time for me and I’m so pleased to see the resurgence of House and Disco again. But I don’t take it for granted. I know the music scene could change again tomorrow, so I am really making the most of it right now as if this is my last chance!

f: Which dance track holds the most precious memories for you?

Michael Gray: That’s a really hard one as there are so many. And I’ve remixed or reworked many of them too! Nitro deluxe “Let’s Get Brutal” is one of my favs and I’ve recently reworked it. I have many fond memories of this from the start of proto house back in 1986/87. That’s when I knew music was changing and that is why we look back and call it proto house now. 

f: Having had a 30+ career in music production, what pearls of wisdom have you got to offer about production and keeping relevant as an artist in the music industry?

Michael Gray: Stay in your lane. Don’t be distracted by the latest trend. Don’t try and copy anyone else. Find your sound and stick with it. You will only feel disheartened if you try and go down other routes and you don’t produce what’s in your soul. Make your own records. It’s a labour of love. Don’t rely on AI or others to produce it for you as your soul will not be fulfilled and that comes across on the music.  When I make a new track, before I release it, I always try and mix it into another similar track. If it mixes well and feels just as powerful then I know I’m onto something. 

f: Where can we catch you playing this summer? 

Michael Gray: I have so many. This year has been insane! I have my Album launch 30th May at Night Tales Loft in London. 3 Ibiza gigs. 22 May and 31 July for Glitterbox at Amnesia and 18 July for Soul Heaven at OBeach. Then there’s Funky Dory 15 August and the massive Electric Paradise event at Milton Keynes 8 August. But I am literally busy with gigs most weekends and I’m sure I’ve missed many more amazing ones too. 

f: Who are your top 3 current producers?  

Michael Gray: That’s a hard one because there are lots of good producers out there, but if pushed, I’d have to say Dave Lee, Shapeshifters and Mousse T.  They all write and produce new and original tracks made for today’s dance floor. 

f: What else are you working on at the moment that you can tell us about?

Michael Gray:  An “I Get Lifted” Barbara Tucker remix. It’s been going down really well on the dance floor and we’re looking to get a release. I’m also working on “Love Don’t Come Easy” New Jersey Connection remix and “Happy People” Static Revenger remix. 

Michael Gray ‘You & Me’ album is out now on Sultra Records.

https://altramodamusic.lnk.to/WgFEid

Sonic Soul Orchestra follows the launch of his new People Watching label with a fabulous remix package. The debut single, 'Good Inside', already had that unmistakable Kathy Brown magic, and these new versions give it a fresh groovy vibe. Hungary’s N.W.N. leans into a deeper, moodier groove, building the track around a bright piano hook, warm rolling drums and a huge breakdown that lifts Kathy’s vocal into something even more radiant. In addition, Mexico’s top Disco specialist, Hotmood, flips the energy into a low‑slung, funky burner that moves with a potent bassline, classy strings, little brass and guitar flourishes and those trademark Hotmood vibes that always hit the spot. The truth is, when you've got an irresistible Kathy Brown vocal to play with in the studio, it's hard not to come up with something great!

f: Hi Grace Bones, it's a pleasure to chat with you today, how are you?

Grace Bones: Fantastic, thanks. I’m currently in Europe promoting my new album, 'By The Slice' on Moxy Muzik, and it’s also been great catching up with friends and family along the way.

f: Please tell us a little about yourself, where you're from and how you started making dance music?

Grace Bones: I’m originally from Essex and now split my time between LA and the UK. I began making music back in 1997 while working as a recording engineer, using any spare studio time to start producing my own tracks. 

f: Who did you listen to growing up and do they influence your music career at all today? 

Grace Bones: Growing up, I listened to a lot of electro and early hip-hop - artists like Doug E. Fresh, Street Dance, alongside icons such as Chaka Khan and Neneh Cherry, plus ‘80s bands like Men at Work and Oingo Boingo. The electronic textures, drum machines, and synth elements in those records left a lasting mark on me, and in many ways, those sounds are still ingrained in my production DNA today.

f: How would you describe your sound?

Grace Bones: My current sound blends US Garage House with distinct UK underground flavours.

f: We have to ask, what’s the story behind your name?

Grace Bones: The name Grace Bones actually came from one of my dogs, ‘Gracie Bones’  - a lovely, sweet blue pit. I’m a big dog lover, and my current dogs HRH Leo, Apollo and Rio are my unofficial ghost producers… I’ve written a lot of music with them over the years!

f: What was your first release?

Grace Bones: My first release under Grace Bones was City Lights on Nervous records

f: Which of your own releases was the biggest labour of love to create / personal favourite? 

Grace Bones: My current album, ‘By The Slice’, has been over a year in the making, with the tracks and vocals evolving as the vision really came together. One standout for me is ‘Dem Endz’ with Reanne Rain, a proper UKG-leaning underground cut that captures the raw energy and attitude at the heart of the project.

f: And your most successful release?

Grace Bones: Under Grace Bones, one of my most successful moments to date has been my remix of Chaka Khan alongside her sister Taka Boom, which received Grammy acknowledgment in 2025.

f: What’s the best remix you’ve made?

Grace Bones: One of my favourite remixes I’ve done under Grace Bones was Marc Cottrell’s ‘Make Me Feel’ on Plastik People Recordings. I’ve always loved Marc’s productions, so it was a real pleasure to rework that record. I’m also really excited about my new remixes for Mood II Swing - the first one, Critical, drops at the end of May and I absolutely love how it’s come together.

f: Your new single ‘Found Love’ has just been released on Let There Be House, what we can expect to hear? 

Grace Bones: I’m really excited to be landing on Let There Be House for the first time with my new single ‘Found Love’, alongside the amazing Jacqui B. The track carries an uplifting energy that sits right between UK Garage and House - two styles that have always shaped my sound. I wanted to bring the best elements of both together into something deep, soulful and slightly jazz-tinged, giving Jacqui’s heartfelt vocals the perfect space to shine. The result is an intimate, seductive record made purely with the dancefloor in mind.

f: You’ve teamed up with UK Garage legend, Jacqui B on this one. How did you guys get together and will you be collaborating on more releases?

Grace Bones: I’ve been a big fan of Jacqui B from back in the day, and when I moved into producing more UKG and US Garage House, I always knew her vocals would be perfect for one of my productions. Through the scene, I reached out to her and we made it happen. I’ve also got another record with her, Mr DJ, dropping on vinyl later this year on Plastik People Recordings, with more to come.

f: What’s your biggest learning curve in the music industry so far?

Grace Bones: The biggest learning curve for me has been persistence, staying in my own lane, keeping quality control high, and always being true to myself rather than chasing trends. I’ve also learned how important it is to have something fun outside of music; snowboarding is a big passion of mine and it really helps clear my head and keep me focused.

f: And your biggest triumph?

Grace Bones: There have been many triumphs along the way, my first vinyl release, my first play on BBC Radio 1, and earning two gold records, but the most surprising moment recently was receiving Grammy consideration for my Chaka Khan remix. A real full-circle moment, especially as I grew up listening to her as a kid.

f: What’s been your favourite gig of the year and where are you most looking forward to performing soon?

Grace Bones: I run an Après Ski event called House of Chic, inspired by my radio show of the same name on Select Radio and 91.9 FM Los Angeles. It’s something I’m really proud of - my own project, bringing House and Garage sounds up to the mountains of California in a unique setting. I host this multiple times throughout the winter season and just wrapped up the last one in April, yes, there’s still snow! I’ve also recently played a beautiful rooftop in Malta, which was great fun. Upcoming gigs include Ibiza, Paris and Amsterdam, and one I’m especially looking forward to is Joe’s Pizza in NYC this July, tying in perfectly with my album ‘By The Slice’ - pizza, House and Garage vibes… delicious.

f: A birdy tells us you have a new album, how is that all going?

Grace Bones: My album ‘By The Slice’ is out now on Moxy Muzik - 12 cuts rooted in UKG and US Garage House. Go check it out! 

f: What’s your favourite piece of studio kit?

Grace Bones: My laptop, it’s my all-in-one, do-everything, anywhere tool.

f: Which dance track holds the most precious memories for you?

Grace Bones: This is a tough one, there are so many great memories over the years. One of the earliest that really stands out is Orca at 4am, a proper DIY rave with good people and that raw atmosphere. It was one of the first times I truly felt the unity and connection that dance music can create, and, if I’m honest, the slightly questionable substances floating around probably added to the intensity of the moment too. 

f: Who are your top 3 current producers?  

Grace Bones: Grant Nelson, Marc Cottrell and Capri.

f: What else are you working on at the moment that you can tell us about?

Grace Bones: I’m currently working on remixes for the legendary NYC label Eightball Records, reworking classic material from artists like Mood II Swing, Junior Vasquez, Connie Harvey and Lectroluv. It’s a real honour to be involved with such iconic recordings and a label with such deep history in house music. I also have a projects in the works with Kenny Dope, Todd Terry and Roger Sanchez’s Stealth records which is something I’m very excited about.

Grace Bones & Jacqui B ‘Found Love’ will be released on all platforms on May 29th 2026 on Let There Be House.

https://www.traxsource.com/track/14684713/found-love-extended-mix

Grammy Award-winning producer, DJ, and House music pioneer David Morales collaborates with Italian-born, New York City-based vocalist Georgia Cee on new Afro House release ‘SABALALA’, blending driving percussion and deep rhythmic energy rooted in the global underground electronic music scene.

‘SABALALA’ is built around Georgia Cee’s distinctive vocals and captures the spirit of contemporary Afro House. The release brings together David Morales’ seminal production style with Georgia Cee’s distinctive approach to songwriting, creating a track designed equally for late-night dancefloors and home listening experiences.

The release features four versions of the track, each exploring a different side of its rhythmic and atmospheric identity. The ‘DIRIDIM Mix’ leans into deep percussive grooves and immersive Afro House textures, while the ‘Demo Mix’ presents a more stripped-back and raw interpretation of the record. The ‘Reprise Mix’ offers an emotive and melodic approach, and closes out the release with the ‘Chant Mix’, which places further emphasis on hypnotic vocal elements and tribal inspired rhythms.

With its infectious groove, uplifting energy, and blend of soulful and percussive elements, ‘SABALALA’ marks a standout collaboration between David Morales and Georgia Cee.

David Morales & Georgia Cee - SABALALA

Official Release: 5th June, 2026

Label: DIRIDIM

Stream & Purchase Here

Find Out More & Follow:

David Morales: Instagram | Spotify | Beatport | Traxsource

Georgia Cee: Instagram | Spotify | Beatport | Traxsource

DIRIDIM: Instagram | Beatport | Traxsource

Various Artists (Hotmood, Empher, Tommy Glasses, Scruscru, Mr. Moudz, Boogietraxx - XPRESS Remixes Vol.6 [The Disco Express]

Firing on all cylinders, TDE proudly reboots its XPRESS Remix series with Vol.6 - a pressure high comp with six club-ready reworks built for late nights and locked in grooves.

Featuring an elite roster of internationally renowned producers and remixers, XPRESS Remix Vol.6. From Empher’s soulful lift on Turn Around to Hotmood’s sun-drenched take on Jacuzzi Sunset, the energy flows through deep house, disco heat, and percussive drive.

Highlights include Mr. Moudz flipping Kaa Moto into a hypnotic mover, Boogietraxx tightening Nothing But The Music for the floor, and Scruscru closing with a slick, rolling rework of Discomeraviglia.

No fillers - just straight-up dance floor material.

• Artists: Hotmood, Empher, Tommy Glasses, Scruscru, Mr. Moudz, Boogietraxx
• Title: XPRESS Remixes Vol.6
• Cat: XPRESS110
• Label: The Disco Express
• Format: Digital & Streaming
• Release Date: 29th May 2026
• Stream & Download: https://go.protonradio.com/r/rlz1XKiJa_xCM
• Buy Link: https://thediscoexpress.bandcamp.com/album/xpress-remixes-vol-6
• Web / Social Media Links: https://www.instagram.com/thediscoexpress

Editura Save or Cancel (Cristina Popa și Andrei Racovițan) te invită la Bookfest 2026 unde vei putea discuta direct cu autorii

Editura Save or Cancel participă anul acesta la Salonul Internațional de Carte Bookfest 2026, unul dintre cele mai importante evenimente dedicate industriei editoriale și iubitorilor de carte din România, desfășurat în perioada 3–7 iunie 2026, la Romexpo, București.

Pe durata celor cinci zile de târg, publicul este invitat să descopere la standul B23 al Asociației Difuzorilor și Editorilor o selecție de publicații dedicate fenomenului de street art și artă urbană din România, volume și reviste care documentează artiști, intervenții în spațiul public, murale, practici vizuale contemporane și transformările culturale ale orașelor prin artă.

Un moment special al participării editurii la Bookfest va avea loc duminică, 7 iunie, între orele 17:00–17:55, când va avea loc o sesiune de autografe și întâlnire cu autorii Cristina Popa și Andrei Racovițan.

Vizitatorii vor putea răsfoi și discuta direct cu autorii despre publicațiile realizate în ultimii ani, printre care volumele Un-hidden Street Art in Romania (2019), Viața zidurilor în spațiul public (2022), Deciphering Streets Through Art (2024), Un-hidden Street Art Guide (2025), precum și colecția revistei Artă în lucru, publicată anual începând cu 2022.

Aceste apariții editoriale reprezintă unele dintre puținele proiecte independente din România dedicate exclusiv documentării scenei locale de street art și arte urbane contemporane. Publicațiile reunesc fotografii de arhivă, texte critice, interviuri, analize vizuale și cercetări despre artiști, comunități creative și relația dintre intervențiile artistice și spațiul public.

De-a lungul ultimilor ani, proiectele editoriale dezvoltate de Save or Cancel au urmărit atât documentarea fenomenului artistic urban, cât și crearea unei arhive vizuale și culturale accesibile publicului larg. Cărțile și revistele publicate propun o perspectivă asupra modului în care arta urbană influențează identitatea orașelor, discursul social și memoria colectivă.

Participarea la Bookfest oferă publicului ocazia de a descoperi o zonă editorială mai puțin reprezentată în România, aflată la intersecția dintre artă contemporană, antropologie urbană, fotografie documentară și cultură alternativă. În același timp, întâlnirea cu autorii creează un spațiu de dialog despre evoluția street art-ului românesc și despre importanța arhivării și documentării acestui fenomen cultural efemer.

Mai multe informații despre cărți, reviste și proiectele editoriale Save or Cancel pot fi găsite pe feeder.ro/shop și un-hidden.ro.

VA - XPRESS Singles Vol. 2: Nothing But The Music / 20 Buck Funk (The Disco Express)

XPRESS Singles Vol. 2 is here, and it's a certified dance floor weapon. Here at TDE, we're stoked to welcome back mystery London duo Dirty Supercar with a brand new cut, Nothing But The Music.

Powered by the deep, soulful vocals of Elliot Chapman, it’s a direct call to the floor. Lush, emotive strings glide over choppy 70s guitar licks, all driven by a throbbing house kick and bouncing bassline combination that hits with precision. It’s a confident, fully-formed house record that speaks to both classic and contemporary sensibilities.

On remix duties, Italian house music heavyweight Angelo Ferreri steps in with a fresh rework that’s already slamming our worldwide parties. A consistent force in the global house scene for over a decade, Ferreri’s catalogue spans chart-topping releases, millions of streams, and support from the scene’s most respected selectors. Regularly ranking among Beatport’s top-selling artists, his signature blend of groove-led, feel-good house is unmistakable. Here he delivers a version that’s primed for peak-time impact. Tested, refined, and truly defined house heat.

Fresh off strong support from Purple Disco Machine, DE SOFFER returns to TDE in fine form. The nu-disco specialist delivers two standout remixes, reworking 20 Buck Funk by Bustin’ Loose and Hot by La Felix. The latter was one of our label’s biggest records of 2025 and gets a slick extended treatment. Meanwhile, 20 Buck Funk is reimagined with a sharp, modern nu-disco edge. Both featuring West Coast's Relaye on the rap, these are both tight, energetic, and fiery Nu Disco bangers ready to cause club carnage.

A seriously strong vinyl package from front to back. Pressed in a limited run of 300 and already sounding exceptional on wax, this is one for the collectors and the selectors alike.

Web / Social Media Links

Artist: Dirty Supercar, Angelo Ferreri, De Soffer, Bustin' Loose, Relaye, La Felix
Title: XPRESS Singles Vol. 2: Nothing But The Music / 20 Buck Funk
Cat: XPRESS109
Format: Digital/Vinyl/Streaming
Release Date: 15/05/2026
Pre Save:
Nothing But The Music
20 Buck Funk
Pre-order

Ellen Allien And Anthony Rother Land At Ancient Temple For The Third Segesta Music Experience [Sicily]

The Sicilian day festival Segesta Music Experience announces its third edition, set within the ancient grounds of the Temple of Segesta on 27 June. Believed to have been built around 420 BC and one of the best-preserved Doric monuments in the world, the site offers a rare opportunity to experience electronic music within a setting of extraordinary historical significance.

This year’s lineup includes BPitch Control founder Ellen Allien, alongside electro pioneer Anthony Rother, who will perform a hybrid set. They are joined by Caruan, Palermo, rising Slovenian artist Mayell, DJ Freshh, Federico Alesi and Nunzio Borino.

Find tickets here.

Respect for the historic site lies at the heart of the event. The organisers aim to create a conversation between the past and present, blending the roots of electronic music with the breathtaking scenes to match. The carefully curated programme will evolve throughout the day, moving across genres and energies while honouring the origins of the temple and its vast history. 

Preservation of the site is essential. Attendees are asked to respect the environment and leave the space as they found it, while embracing the unique experience created within this remarkable location.

Segesta Music Experience Links: Instagram / Tickets  

MIN t Builds A Beautifully Damaged Electronic World On Before The After

There is a particular kind of electronic music that does not ask to be understood immediately. It pulls the listener into a space of tension, distortion and emotional instability, then slowly reveals the architecture underneath. Before The After, the third album by MIN t, belongs to that world.

Behind MIN t is Martyna Kubicz, a Polish-born, Berlin-based singer, songwriter, composer, producer and mix engineer whose work moves between electronic music, pop, R&B, bass music and experimental club forms. On this new album, released through Martyna Kubicz Music, she does not smooth out those influences. She lets them collide.

The result is an album that sounds restless in the best possible way. Before The After is not a linear journey from darkness to light. It is more fractured than that. The record feels like a series of emotional rooms: some claustrophobic, some euphoric, some strangely tender, all connected by the sense that the world outside is becoming less stable by the minute.

The title track sets the tone with force. Built around drum and bass-inspired percussion, a gnarly low-end and a chorus that hits with raw physicality, “Before The After” sounds like a night out turning into a confrontation with the self. From there, MIN t widens the frame. “Hope” and “Last Day” lean into UK garage textures without losing the fragility of her songwriting, while “Water” brings a more intimate emotional pull. These are not club tracks in the functional sense; they are songs built with club language.

Production is one of the album’s defining strengths. “Digital Flower” stands out as a beautifully damaged piece of electronic design, full of glitching textures and granular movement. “Hangover” introduces reggaeton-influenced percussion, showing MIN t’s ability to bend rhythm without losing her identity. Elsewhere, the album’s collaborations with John DLP and Graustaat add further depth without distracting from the central voice.

What separates Before The After from many genre-fluid electronic records is its emotional discipline. MIN t is experimental, but not evasive. She uses production as a way to expose feelings rather than hide them.

By the end, Before The After feels like a record about damage, but also about recognition. It understands collapse not as an ending, but as the first brutal step toward taking control again.

Stream Before The After by MIN t.

Gunnter – Coco Bango EP [RAWAX028LTD]

Raw house energy, machine-driven funk and stripped warehouse grooves define Gunnter’s latest analogue-focused statement for RAWAX.

RAWAX continues reinforcing its role as one of Europe’s most reliable institutions for underground electronic music collectors. Through consistent vinyl-only releases spanning raw house, deep grooves, Detroit-inspired textures and underground club functionality, the German imprint remains a reference point for selectors who prioritise authenticity over trend-driven dance music.

With Coco Bango EP (RAWAX028LTD), the label welcomes Gunnter for a four-track release built around raw rhythmic pressure, functional club architecture and unmistakable analogue character.

Stamped and distributed by DBH Music, the EP feels intentionally designed for underground DJs, warehouse spaces and long vinyl sets where groove discipline matters more than unnecessary arrangement theatrics.

Gunnter’s sound design feels direct, efficient and deeply rooted in classic house machine funk traditions, while maintaining enough personality to avoid sounding derivative.

This is club music built with purpose.

Track-by-track analysis

A1 — Coco Bango

The title track opens the EP with immediate dancefloor urgency.

Punchy drum programming, infectious vocal chops and rolling percussion loops create a groove that feels both playful and aggressive.

The kick drum remains thick but controlled, while shuffled hi-hats create continuous movement.

The vocal sampling is particularly effective—used rhythmically rather than melodically, reinforcing the track’s hypnotic nature.

From a production perspective:

• excellent drum saturation
• strong transient punch
• clean vocal placement
• highly DJ-friendly arrangement structure

A proper warehouse opener.

A2 — Passion

This track shifts toward deeper and more sensual territory.

Warm chords sit beneath tightly programmed drums while subtle melodic layers create emotional movement.

The bassline feels smoother here, allowing the groove to breathe more naturally.

The mix demonstrates excellent restraint—nothing feels overproduced.

This track balances intimacy and dancefloor functionality beautifully.

Flip Side

B1 — Weirdo

Arguably the most experimental moment on the EP.

Weirdo introduces distorted synth stabs, unusual rhythmic breaks and a more unpredictable arrangement structure.

The percussion feels intentionally rough around the edges, reinforcing its underground identity.

The track thrives on tension and instability.

Perfect for DJs looking to disrupt predictable dancefloor moments.

B2 — Get It

The strongest peak-time weapon on the record closes the EP.

Built around aggressive groove sequencing, repetitive vocal snippets and heavier low-end pressure, this track feels engineered for late-night club environments.

The arrangement remains stripped enough for extended mixing while delivering maximum dancefloor impact.

An effective and memorable closer.

Mixing Analysis

One of the strongest aspects of Coco Bango EP is its raw but disciplined mixing approach.

Gunnter clearly understands how to preserve hardware-driven character while maintaining clarity.

Highlights include:

• punchy drum transients
• warm analog saturation
• excellent low-end control
• restrained stereo widening

The mix avoids modern over-processing and preserves natural groove movement.

Mastering Analysis

The mastering feels intentionally optimized for vinyl pressing.

Low frequencies remain centered and stable while high frequencies avoid harsh digital brightness.

Dynamic range remains intact, allowing the record to breathe naturally on larger systems.

This is mastering designed for turntables.

Artwork

The artwork follows RAWAX’s familiar minimalist aesthetic.

Clean design choices allow the music to remain central while reinforcing collector culture values.

Functional, timeless and effective.

Exactly what underground vinyl enthusiasts appreciate.

About Gunnter

Gunnter continues building a reputation through raw house productions that prioritize groove functionality and analog warmth.

His sound feels deeply connected to classic machine-driven house traditions while maintaining modern dancefloor relevance.

This EP further solidifies his artistic identity.

About RAWAX

RAWAX remains one of underground electronic music’s most respected labels for vinyl collectors, consistently supporting artists committed to authentic club music culture.

Their catalog continues to be essential digging material.

Final Verdict

Coco Bango EP delivers exactly what underground DJs want:

raw grooves, analogue warmth and functional dancefloor weapons.

Gunnter proves that simplicity, when executed correctly, can be incredibly powerful.

A strong addition to RAWAX’s ever-growing vinyl catalogue.

Rating: 8.7/10

Funky Trip – Things Will Change [MAO-V002]

Deep groove mechanics, emotional restraint and refined minimal house textures shape MAONO Records’ compelling second vinyl release.

After launching its catalogue with the hypnotic precision of Barac, MAONO Records returns with a second release that broadens its sonic identity while maintaining a clear commitment to vinyl culture and underground dancefloor sophistication.

Things Will Change by Funky Trip moves into warmer and more groove-driven territory, combining deep house textures, subtle minimal structures and emotionally restrained melodic elements.

Distributed by Matter Of Fact, the release continues MAONO’s clear focus on physical formats, underground selectors and timeless dancefloor records built for longevity rather than temporary hype.

This is music designed for extended sets, intimate club environments and selectors who understand the power of subtle progression.

Track-by-track analysis

A1 — London Fog

The opening track immediately introduces a thick and immersive groove structure.

Deep rolling basslines interact with tightly programmed percussion while subtle atmospheric textures create an elegant sense of movement.

The groove feels warm but highly disciplined.

The percussive sequencing evolves through micro-variations that keep the arrangement constantly shifting.

From a technical perspective:

• highly controlled low-end
• clean percussion placement
• subtle analog saturation
• excellent dynamic balance

A sophisticated opener for patient dancefloors.

A2 — A Time Will Come

This track introduces more emotional depth.

Soft melodic layers emerge gradually while maintaining the EP’s groove-focused foundation.

The arrangement feels highly restrained, allowing atmosphere and repetition to create emotional tension.

The breakdown sections remain subtle and beautifully executed.

A deeply elegant composition.

B Side

B1 — Things Will Change

The title track closes the record with its strongest club statement.

The groove feels slightly darker and more hypnotic, with sharper percussion patterns and stronger low-end pressure.

Vocal fragments appear subtly throughout the arrangement, adding emotional texture without dominating the groove.

The track demonstrates excellent balance between functionality and musical sophistication.

A powerful closer.

Mixing Analysis

Funky Trip demonstrates impressive engineering discipline across the entire release.

The mixing feels extremely refined:

• precise low-frequency control
• excellent stereo placement
• natural percussion transients
• highly controlled harmonic layering

The record preserves warmth without sacrificing clarity.

Mastering Analysis

The mastering feels explicitly optimized for vinyl playback.

Dynamic range remains intact.

Low frequencies remain centered and highly stable.

High-end frequencies maintain clarity without sounding aggressive.

Excellent translation for club systems and home listening.

Artwork

MAONO Records continues its minimalist visual philosophy.

The artwork feels elegant, understated and collector-focused.

Its simplicity mirrors the sonic identity of the release.

About Funky Trip

Funky Trip demonstrates a strong understanding of groove architecture and emotional subtlety.

His production style feels mature, restrained and highly functional for underground DJs.

This release confirms significant artistic potential.

About MAONO Records

MAONO Records continues building an impressive catalog with strong artistic consistency.

Two releases in, the label already feels highly curated and worth watching closely.

About Matter Of Fact Distribution

Matter Of Fact continues supporting underground vinyl culture by ensuring niche independent releases reach collectors worldwide.

Their role remains increasingly important within contemporary electronic music.

Final Verdict

Things Will Change delivers exactly what modern underground selectors seek:

subtle groove design, emotional intelligence and timeless vinyl functionality.

Funky Trip delivers a deeply refined release that further strengthens MAONO Records’ identity.

A highly recommended record for minimal and deep house collectors.

Rating: 9/10

UNUM Festival Reveals Full Lineup for 2026 Edition and Unveils New Secret Stage Experience

&ME, Ricardo Villalobos, Ben Klock, Cinthie, Voigtmann, Raresh, Craig Richards, DJ Tennis and more confirmed — plus a hidden fourth stage set to redefine the festival experience

The final lineup is now complete — and for 2026, UNUM Festival introduces a brand-new secret stage concept, adding an extra layer of discovery to one of Europe’s most immersive underground gatherings.

 Returning to the untouched coastal paradise of Shëngjin, Albania, UNUM Festival 2026 will once again deliver five days and five nights of continuous music, now enhanced by a fourth, hidden stage designed for those who seek something beyond the expected.

 Since launching in 2019, UNUM has evolved into one of Europe’s most respected boutique electronic music festivals. Its distinctive format — five days and five nights of uninterrupted music — has cultivated a loyal international community of dancers, artists, and tastemakers seeking a deeper connection between sound, environment, and experience. Set along Albania’s Adriatic coastline, the festival offers a rare balance of pristine natural surroundings and uncompromising underground programming.

 Leading the final wave of artists is Keinemusik founder &ME, whose melodic and emotive sound has become a defining force on global dancefloors. Also joining the 2026 edition are Cinthie, Berlin’s house authority and Elevate Records founder, respected minimalist Voigtmann, Swiss innovator Alci, and Amsterdam favourite Reiss.

 Their addition completes a lineup that spans the full spectrum of underground electronic music — from house and techno to minimal and forward-facing club sounds — bringing together both legendary figures and the next generation of talent. Artists performing include Ricardo Villalobos, Ben Klock, Raresh, Craig Richards, Dan Andrei, Dan Ghenacia, DJ Tennis, Dyed Soundorom, East End Dubs, Franco Cinelli, Francesco Del Garda, Gerd Janson, Krystal Klear, Maher Daniel, Margaret Dygas, Praslea, Priku, Prospa, Richy Ahmed, and Tobi Neumann, among others.

 Following a landmark year that saw UNUM crowned Best Global Festival 2025 at the DJ Awards, the festival continues to bridge the worlds of minimal, house, techno, and eclectic club music. Its lineup is designed to evolve organically across the festival’s unique 24/7 format, shaped as much by its environment as by the artists themselves.

 Tickets start at just €95, with full packages including accommodation, travel and five days of festival access available from under €300, making UNUM one of Europe’s most immersive and accessible destination festivals.

 With demand for the 2026 edition already exceeding previous years, UNUM is set to deliver its most ambitious edition yet. Secure your place at unumfestival.com

 A New Secret Stage Experience

For 2026, UNUM introduces a fourth, secret stage, designed to push the boundaries of discovery and connection even further.

 Featuring a series of unannounced sets from headline artists, international talent, and emerging Balkan artists shaping the region’s growing electronic scene, this hidden experience will move between multiple locations across the festival site.

 Accessible only to those who can find it, the secret stage is reserved for those who truly become one, creating spontaneous, intimate moments that capture the essence of UNUM at its purest.

Tickets

Instagram

 FULL LINEUP (A–Z)

 &ME, Alci, Arapu, Ben Klock, Cap, CHKLTE, Cinthie, Craig Richards, Dan Andrei, Dan Ghenacia, DJ Tennis, Doudou MD, Dyed Soundorom, East End Dubs, Franco Cinelli, Francesco Del Garda, Gerd Janson, Krystal Klear, Maher Daniel, Margaret Dygas, Praslea, Priku, Prospa, Raresh, Reiss, Ricardo Villalobos, Richy Ahmed, Rossko, Saraga, Tobi Neumann, Voigtmann, Abel, Ageless, Alexandria, Alexia Glensy, All Shadows, Altin Boshnjak, And Hazel, Anitë, Anna Wall, Antares, Ares Carter, Artassassin, Azaad, Bani D, Bartolomeo, Bila, Bobby, Cameron Jack, Cheryl, Chris M, Dajku Twins, Dandara Sound, DIOSA, Fell Reis, Full Phatt, Gemza, Hajdar Berisha, Halfpint, Hartley, Harry McCanna, Indie, Isaac Carter, Jonny N' Travis, Jordan Masters, JustJoe, Kreshatech, Laila, Leke, Liburn, Lisbona Sisters, Maqossa, Marlie, Mar-T, Marlon Baleci, Mateo Dufour, MEAT, Miller, Nemax, Niko Stojan, Pach, Pumio Space, Rechulski, Rick Maia, Sahar, Sam Karam, Sebastian Konrad, Secret 47, Sindicato de Baile, Trefvik, Vithz, Wax Material, Will Davison

Horsemen – Southbound EP [Small Great Things – SGT013]

A warm analogue-driven house record built for open-air afternoons, intimate club basements and vinyl selectors who still believe groove is everything.

Berlin-based imprint Small Great Things continues to refine its identity with its thirteenth release, and Southbound EP feels like one of its most cohesive statements to date. Released exclusively on vinyl through the label’s steadily growing underground catalogue, the record marks the debut of Horsemen on the imprint—a move that feels both natural and timely considering their recent involvement as residents at Small Great House events at OXI Berlin.

Founded in 2019, Small Great Things has gradually carved a respectable lane in the underground circuit by focusing on limited vinyl releases rooted in house, disco and groove-heavy club music. Their philosophy—details make a difference—is not just branding rhetoric. It’s audible in their curation, their pressing choices and their growing roster of artists who prioritise warmth, dynamics and musical longevity over algorithm-friendly trends.

With Southbound EP, Horsemen deliver a five-track journey that balances sun-drenched musicality with peak-time functionality. The project feels deeply informed by classic house traditions while maintaining a modern European underground sensibility—somewhere between raw New York swing, Italian emotionality and Berlin after-hours precision.

Track-by-track analysis

A1 — Make Me Feel Excited (Vinyl Edit)

The opening track immediately establishes the EP’s DNA.

Driven by a filtered disco sample, loose percussion arrangements and a rolling low-end structure, Make Me Feel Excited feels intentionally imperfect in the best possible way. The groove breathes naturally, avoiding over-quantization and preserving a distinctly human pulse.

The drums sit beautifully in the mix:
tight but not overly compressed kicks, dusty hats positioned slightly wider in the stereo field and subtle clap layering that gives movement without overwhelming the arrangement.

The bassline deserves particular praise—warm, rounded and clearly designed with vinyl translation in mind. There’s no unnecessary sub-frequency excess, allowing the groove to remain powerful while ensuring proper needle stability.

This is sunset-house music with genuine emotional intelligence.

A2 — Napoliballa (feat. Guya)

Arguably the emotional centerpiece of the record.

Featuring vocals from Guya, Napoliballa injects Mediterranean warmth into the EP’s architecture. Jazzy chord progressions float over crisp drum sequencing while the vocal delivery feels playful, sensual and refreshingly understated.

Rather than forcing the vocal into a commercial hook structure, Horsemen allow space for repetition and groove development.

From a production perspective:

• exceptional midrange clarity
• Rhodes textures are beautifully EQ-balanced
• vocal treatment remains organic
• tasteful delay automation creates movement without cluttering the arrangement

This track feels like Naples meeting Berlin through analog house language.

A3 — Lighter Days

The most introspective moment on the A-side.

Built around melancholic piano motifs, Lighter Days shifts toward deeper territory while maintaining the record’s organic warmth. The arrangement feels more restrained, relying on subtle progression rather than obvious drops.

The reverb design here is particularly elegant—long enough to create atmosphere but controlled enough to preserve rhythmic focus.

This is the type of record diggers love finding unexpectedly at 7AM after a long weekend.

Deep, emotional and highly sophisticated.

Flip Side

B1 — Running

This is where the EP turns toward club functionality.

Running introduces stronger rhythmic pressure through a more direct kick pattern and a memorable organ hook that instantly commands dancefloor attention.

The low-end engineering here is excellent:

• kick and bass occupy distinct frequency pockets
• transient control remains sharp
• percussion layers create forward momentum without sounding aggressive

This track feels engineered for sound systems while preserving the musical warmth established on Side A.

Peak-time weapon.

B2 — Napoliballa (Club Dub) [feat. Guya]

A brilliant closing move.

Rather than lazily repackaging the original version, Horsemen rebuild Napoliballa into a more stripped-back club tool. The vocal becomes textural rather than central, allowing drums, groove loops and rhythmic tension to dominate.

The dub treatment is highly effective:

• more aggressive drum programming
• sharper hi-hat sequencing
• reduced harmonic density
• stronger DJ utility

This version will likely become the secret weapon for selectors who appreciate versatile vinyl records.

Mixing & Mastering

One of the strongest aspects of Southbound EP is its technical discipline.

The mixing feels intentionally analog-minded:

• warm saturation
• controlled stereo imaging
• natural drum transients
• restrained limiting

Unlike many contemporary house records that sacrifice dynamics for loudness, this EP preserves headroom and movement.

The mastering is clearly optimized for vinyl playback:

• low frequencies remain focused and mono-compatible
• highs avoid harshness
• dynamic range feels preserved

This is music made for turntables—not streaming compression.

Artwork

The visual identity follows the same philosophy as the music: understated, elegant and timeless.

Small Great Things continues its minimalist aesthetic approach with artwork that feels intentionally restrained, allowing the music to remain the central narrative.

No unnecessary visual excess.
No trend-chasing design language.

Just clean visual storytelling that reflects the record’s warmth and sophistication.

Final Verdict

Horsemen prove they understand something many younger producers often overlook:

great house music is not about complexity—it’s about feel.

With Southbound EP, they deliver a record equally suited for open-air sessions, intimate club rooms and long-term vinyl bags.

Meanwhile, Small Great Things continues proving why it remains one of Berlin’s most interesting independent vinyl labels for underground house lovers.

This isn’t disposable dance music.

This is a record collectors will still be playing years from now.

Dino Lenny - Piano Lessons At Eight EP (incl. Tal Fussman remix) [Rekids Records]

Emotional tension, cinematic piano arrangements and refined club functionality shape one of Rekids’ most elegant recent releases.

Few independent labels have managed to remain both culturally relevant and artistically credible for as long as Rekids.

Founded by Matt Edwards, the imprint has spent years balancing underground credibility with forward-thinking club experimentation, releasing music that frequently exists between house, techno, minimal and emotionally complex dancefloor compositions.

With Piano Lessons At Eight, Dino Lenny delivers a release that feels deeply personal while maintaining strong club utility. Known for his ability to merge melodic sophistication with underground sensibilities, Dino Lenny once again demonstrates why he remains one of electronic music’s most distinctive producers.

The addition of a remix by Tal Fussman adds another layer of sophistication, offering an alternate interpretation that transforms the original composition into a deeper and more hypnotic club experience.

This is not immediate dancefloor music.

It unfolds gradually.

And that patience is exactly what makes this release so compelling.

Track-by-track analysis

A1 — Piano Lessons At Eight (Original Mix)

The original version feels like an emotional dialogue between classical instrumentation and modern club architecture.

The piano arrangement immediately dominates the emotional narrative of the track—delicate, melancholic and deeply cinematic.

Rather than relying on predictable drops, Dino Lenny slowly introduces rhythmic layers that gradually intensify the composition.

The kick drum remains subtle but effective, while atmospheric synth layers create significant emotional tension.

From a production perspective:

• beautifully layered piano recording
• excellent harmonic separation
• subtle saturation processing
• highly refined dynamic control

The vocal textures are used sparingly, allowing the piano motif to remain central.

This feels equally suitable for late-night listening and emotionally charged club moments.

A remarkably elegant production.

B1 — Piano Lessons At Eight (Tal Fussman Remix)

Tal Fussman approaches the original with a more rhythm-focused perspective.

The remix strips away some of the original’s cinematic fragility and introduces stronger percussive tension, deeper low-end movement and a more hypnotic groove structure.

The piano remains present but becomes more fragmented—used as a rhythmic texture rather than the dominant melodic voice.

Tal Fussman demonstrates excellent restraint by avoiding excessive transformation.

Instead, he preserves the emotional DNA of the original while increasing dancefloor functionality.

The result is highly effective.

Deep, elegant and club-ready.

Mixing Analysis

The mixing throughout the release is exceptional.

Dino Lenny demonstrates a sophisticated understanding of frequency balance and spatial depth.

Particular highlights include:

• pristine piano clarity
• controlled low-end response
• wide but natural stereo imaging
• exceptional transient discipline

Nothing feels overcrowded despite the emotional density of the arrangement.

Mastering Analysis

The mastering reflects Rekids’ consistently high standards.

Dynamic range remains beautifully preserved.

The release avoids excessive loudness while maintaining enough punch for larger club systems.

The piano frequencies remain smooth and controlled, preventing harshness.

The vinyl translation feels exceptionally well executed.

Artwork

Rekids continues its refined visual identity with minimalist artwork that mirrors the emotional sophistication of the music.

Clean design language reinforces timelessness.

No unnecessary visual noise.

Elegant and highly effective.

About Rekids

Rekids remains one of underground electronic music’s most influential independent labels.

Its catalog consistently bridges house, techno and experimental club music with exceptional artistic consistency.

For vinyl collectors and serious selectors, Rekids remains essential.

Final Verdict

Piano Lessons At Eight is subtle, emotional and technically brilliant.

Dino Lenny delivers one of his most refined recent productions, while Tal Fussman provides an equally compelling reinterpretation.

This is music for selectors who appreciate emotional complexity as much as dancefloor precision.

A beautifully crafted release.

Rating: 9.1/10

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Moreno Ácido – The Messenger [RAWAX029LTD]

Soulful machine funk, emotional deep house textures and analogue-driven storytelling converge in one of RAWAX’s most refined limited vinyl releases.

Over the years, RAWAX has built a reputation as one of Europe’s most trusted homes for underground electronic music enthusiasts, consistently delivering vinyl-focused releases that preserve the original ethos of house and techno culture.

Through its vast catalogue spanning raw house, Detroit techno, electro and deep underground grooves, the German imprint continues to serve collectors, selectors and analogue purists who still value physical formats over disposable streaming trends.

With The Messenger (RAWAX029LTD), the label shifts toward warmer and more introspective territory through Moreno Ácido—a producer whose sound design feels deeply connected to classic Detroit sensibilities while embracing contemporary deep house sophistication.

Distributed and stamped by DBH Music, this release feels intentionally crafted for vinyl listeners, long-form DJ sets and late-night emotional transitions.

Moreno Ácido demonstrates impressive control over restraint, groove architecture and harmonic depth throughout the record.

Rather than chasing peak-time aggression, The Messenger explores emotional storytelling through subtle sequencing and elegant production design.

Track-by-track analysis

A1 — The Message

The opening track immediately establishes the emotional core of the EP.

Built around warm chord progressions, crisp drum machine patterns and soulful vocal fragments, The Message feels deeply rooted in classic Detroit deep house traditions.

The groove remains understated but highly effective:

• warm kick placement
• subtle shuffled percussion
• elegant chord layering
• restrained vocal processing

The mix creates exceptional space between harmonic elements and rhythm sections, allowing every layer to breathe naturally.

A deeply immersive opener.

A2 — Jena’s Flying

This track introduces more movement and dancefloor momentum.

A rolling bassline drives the arrangement while airy synth pads create uplifting emotional tension. The percussion programming feels sharper here, giving the record a stronger club orientation.

The hi-hat sequencing is particularly effective, generating forward momentum without becoming aggressive.

The breakdowns remain subtle and musical rather than formulaic.

This feels like sunrise material for emotionally intelligent dancefloors.

Flip Side

B1 — Never Get Lonely

Arguably the most intimate record on the EP.

Soft melodic progressions, melancholic pads and delicate vocal textures create an incredibly human atmosphere.

Moreno Ácido shows impressive maturity here by resisting overproduction.

The arrangement feels patient and cinematic.

From a production perspective:

• excellent stereo separation
• highly controlled reverb tails
• warm midrange saturation
• clean low-frequency management

A beautiful deep house composition.

B2 — Reach For Her Love

The strongest dancefloor moment closes the EP.

Built around punchier drums, brighter synth arrangements and a more energetic groove structure, this track balances emotional depth with club functionality.

The vocal elements remain tastefully integrated rather than dominating the arrangement.

The final breakdown introduces beautiful harmonic tension before resolving into a powerful groove-driven finale.

An elegant closer with strong replay value.

Mixing Analysis

The mixing throughout The Messenger is remarkably refined.

Moreno Ácido demonstrates clear understanding of analog-friendly engineering:

• warm saturation without distortion
• controlled transients
• spacious stereo imaging
• clean frequency separation

The drums maintain punch while preserving dynamic nuance.

Nothing feels over-compressed or artificially loud.

Mastering Analysis

The mastering feels clearly optimized for vinyl pressing.

Low frequencies remain tight and centered while high frequencies avoid harshness.

Dynamic range remains intact—something increasingly rare in modern dance music mastering.

This release translates beautifully for both club systems and home listening setups.

A strong mastering job that respects vinyl culture.

Artwork

The visual presentation reflects RAWAX’s longstanding collector-focused philosophy.

Minimalist artwork choices reinforce the timeless character of the release.

There’s a raw elegance in the sleeve design that complements the music perfectly.

Functional. Clean. Effective.

About Moreno Ácido

Moreno Ácido continues developing a sound rooted in emotional machine funk, deep house aesthetics and timeless analog sensibilities.

His productions feel deeply informed by Detroit traditions while maintaining his own modern identity.

This EP confirms him as an artist worth closely following.

About RAWAX

RAWAX remains one of underground electronic music’s most reliable institutions for vinyl collectors.

Their continued dedication to physical formats through labels like Chiwax, Housewax and RAWAX itself keeps underground culture alive.

Final Verdict

The Messenger is subtle, elegant and emotionally rich.

It’s a record built for selectors who understand that true dancefloor impact often comes from restraint rather than excess.

Moreno Ácido delivers one of RAWAX’s strongest recent deep house releases.

Essential vinyl for serious collectors.

Rating: 9/10