It would be an understatement to say the debut full-length record from Australia-by-way-of-London Mall Grab has been a long time coming. We did expect a record pulling together influences from the multitude of sonic directions this vacillating DJ/producer has gone in for the past six years. What we didn’t expect was a record that was so deeply personal — filled-to-the-brim with introspection, self-awareness and sentimentality. ‘What I Breathe’ comfortably traverses breaks, house, electro, jungle, techno — all the while touching on a few unexpected paths; namely hip hop, soul and grime. Enfolding slick production with roll-up-your-sleeves DIY elements (a nod to his lo-fi origins no doubt), the record isn’t afraid to mash together juxtapositions — but it never feels forced or sloppy. Instead, with a focus on melody, he manages to balance together club and narrative. With features from D Double E, Nia Archives and Novelist; at first glance you’d be forgiven for thinking this was a UK-focused record. But it’s anything but, instead it feels like a lifelong narrative of Mall Grab himself — and all the spaces and faces that he’s come across.

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Never one to shy away from genre mash-ups, Stretchy Dance Supply co-founder Dubrunner’s two-tracker on Jamz Supernova’s Future Bounce pays tribute to UK steppa-style dub reggae — but with a modern, methodical twist. Bringing together the prized slow-paced smoothness of classic ‘90s dub records, the Leeds-based DJ and producer meanders between the gaps with sharp-edged percussive loops, burgeoning drums and diligently employed bassline squelches that pays homage to the afrofuturistic legacy of Iration Steppas, Alpha & Omega, The Rootsman and more — without easing up on form and structure. Along with a feature from Breaka, ‘Spirit/Pursuit’ is a double-sider that you will not be able to stop thinking about.

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Look, maybe we are desperately clutching onto the last remnants of Summer with the skin of our fingertips here — but what could possibly be more apt than some White Island themed tech-house/disco bliss? Nothing! Created for “cocktails under the sun” — ‘Beefa Soundies’ from Scottish producer Liam Doc takes a humorous look at ‘90s Chicago faves, naughty tech-house rollers and booming deep house cuts. Standouts include second track ‘Manager of Pikes’ — a deep ‘90s house/tech-house blend that samples the now infamous TikTok of Pikes night manager Nicholas Sheehy explaining over WhatsApp voice note that a customer is “in a K-hole” — and the euphoric big Calvin Harris-esque vocals of ‘Only Want U’. We dare you to listen without furiously checking Skyscanner for a one way to Eivissa.

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After debuting ‘Mango Feedback’ during his set at Glastonbury 2022, the dancefloor-ready anthem has been released as a two-track EP alongside ‘Watersynth’. The project showcases the true versatility of Four Tet’s production skills and combines raucous dancefloor energy with ambient bliss - as the tracks meld together well but also work as separate cuts suited for club turntables.

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Featuring two raucous bootlegs, this EP will undoubtedly get your body moving. The first track is a naughty rework of Daddy Yankee’s ‘Gasolina’, infused with beat drops and Desi sounds. The second track is ‘Panjabi MC ‘Mundian To Bach Ke’ (yourboykiran's no lightbulbs just fingerguns remix) - which ups the bass and gives the British-South Asian classic a rehash for 2022.

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Marking HudMo’s third studio record, and typically lengthy spanning a huge 19 tracks, ‘Cry Sugar’ is arguably the producer’s best yet. After a huge return with Lunice as the uncompromising double act TNGHT earlier last year, Hudson Mohawke’s maximalist sound makes a solo return melding trap beats with enormous experimental sounds that fit his usual off-kilter productions. This leftfield album jumps out on tracks such as ‘Intentions’ or ‘Dance Forever’, the titan standouts that build and build to a dramatic, absurd climax.

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On ‘Transfiguration’, London-based DJ Slolek puts on his production hat for a new five-tracker exploring the field of club-centred sonics. From the ambience of the EP’s namesake opening track to the harder, faster tempos on ‘Lamb’ pushing the low ends forward, ‘Transfiguration’ feels like a versatile and captivating master stroke in Slolek’s small discography - and we’ll surely be seeing this on-the-rise producer more in the coming year.

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207’s latest 140 BPM release is the slow-burning ‘Koto’, a four-track EP with a feature from Ourman as its centrepiece, out via UK dubstep label White Peach. Through the textured percussion on the record’s title-track to the sharp experimentation on the album’s closing track ‘Živ’, the Croatian DJ and producer lays bare his background in hip hop production on this four-tracker.

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Wonderfully weird as always, Sylvan Esso have created a highly improvised album of 16 tracks. The duo of Nick Sanborn and Amelia Meath fuse the latter’s vocals throughout the album to fuse with popping beats that are especially impressive in the track, ‘Look At Me’. The whole album interwines twinkling electronic synths and drums to make delicate tracks. One, in particular, is ‘Sunburn’, with lyrics including “when you move it stings” to a mixture of sound effects from bells to claps. Overall, the album is a huge creative project unlike anything heard from the pair before.

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This major album and reunion from Danger Mouse and Black Thought is astonishing from the get-go. ‘Sometimes’ kicks things off with an orchestral grand opening that quotes moments of Black history. Raekwon and Kid Sister jump on the mic for ‘The Darkest Part’ that has a juxtaposing jolly piano riff. A more mellow track is ‘Belize’ which has a posthumous verse from the late legend MF DOOM. As soon as DOOM comes in onto the soundscape, his rolling vocals give the strong layer this track needs. Other features that must be mentioned include Joey Bada$$, Michael Kiwanuka, Conway the Machine and very unusual vocals from A$ap Rocky.

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Unlike his recent shows with many guest appearances, this album is purely Kenny’s beats. This debut solo album encapsulates Kenny’s world of instrumentals. ‘Hold My Head’ has a chorus of high-pitch vocals that float above hip hop beat of drums and guitar. ‘Family Tree’ has a similar feel to it but rather the chilled-out version. On the other hand, ‘Still’ may be one of the slower tracks but gospel vocals and a jazzy drum beat sound like something built for Ye. Overall, this whole album has many treasures and refines why he is such a renowned producer and collaborator.

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