With appearances from Young Thug, Gunna, Yung Kayo, Ken Carson, and SeptembersRich, this is a major release from the 22-year-old Yeat. Releasing yet another umlaut-deecorated album, Yeat has now expanded his sound to new realms. Opener ‘Poppin’ is a fan favourite for its beat morphing of the worlds of electronic music and rap, along with his autotuned delivery. His lyrics throughout are mostly drug influenced and trippy, which pairs well with the featuring artists.This album depicts the modern world of rap, becoming something doesn’t rely on just bass and autotune over classic beats.

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The Bristol-born 20-year-old Willow Kayne is crashing onto the scene with her funky pop-meets-rap new six-track EP. The opening track ‘Opinion’ you’ve probably already heard on TikTok as its catchy chorus and Y2K vibes screams Gen Z. ‘Two Seater’ is the star of the EP however, as its cheery chorus and slick verses are bound to get you moving. This album is like Charli XCX meets Remi Wolf for its playful pop sound.

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American rapper and producer Cities Aviv’s latest album, ‘MAN PLAYS THE HORN’m is packed, and I mean PACKED with some crazy samples. The 35-track release acts as an audio collage with sounds of horns gently resonating throughout. A particular favourite on the album has to be the jazzy sound of ‘WAYS OF THE WORLD’ with Cities echoing distorted vocals over a scratchy beat.

After postponing the release of ‘GHETTO GODS’ back in January, EARTHGANG’s new album has finally dropped. A huge hype has been behind the release and luckily, it’s lived up to its expectations. The hip hop duo released the album trailer back in November with a video narrated by 2 Chainz. The full release includes features from Future, J. Cole, Cee Lo Green, Ari Lennox, and of course 2 Chainz, as well as others. This trap-fused album sees the duo Olu and WowGr8 speak on the subject of Black men being perceived as “targets” especially within the track ‘All Eyez On Me’. Another notable track is ‘American Horror Story’ as it edges away from the other work on the album as its chilled vibe paired with soft vocals and harmonies make it into a completely new style for EARTHGANG.

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Saba’s latest album sees the rapper embrace his funkier, soul-infused side. Keeping the clever lyricism from his previous LPs ‘Bucket List Project’ and ‘CARE FOR ME’, this project has a more varied sound and takes listeners on a step-by-step emotional journey with the rapper as he tackles tough topics such as grief, suffering and personal growth.

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The five-track EP put out by Junglepussy gives us interesting lyricism, catchy rhythms, deep drums and downbeat tempos. We hear Junglepussy in a more vulnerable and emotional light — a stark contrast to her more saucy and raunchy lyrics from previous projects. Her lyrics scream out at you on first listen, and she continues to be a fascinating and innovative songwriter. ‘JP5000’ finishes too quickly, yet always leaves you craving more, coming in at under 12 minutes.

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Drum ‘n’ bass titan Wilkinson returns with a 12-track album, his solo solo full-length since 2017, which has allowed people to fall back in love with his music. ‘Cognition’ contains elements such as deep bass drops and floaty synths which capture the whole range and space of what drum ‘n’ bass is, and features some impressive collaborations, from Becky Hill to Issey Cross to Amber Van Day. This album contains some bangers, such as ‘Here For You’ and ‘On Your Mind’, which will undoubtedly be favourites for DnB DJs playing festivals this summer.

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In ‘Hardcore and Rubble’ Tim Reaper gives us four tracks of unbridled hardcore breakbeats and jungle. These bangers will be potent drop into high-tempo mix, and once again cements the producer as a growing icon in the genre. The breakbeats are cleverly chopped, you can hear the synth influence, and the beat is perfect to keep you bouncing around on the dancefloor. ‘Agony Tonight’ also has some audible dancehall influences, showcasing Reaper’s eclectic range of influences and his output capability.

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Newcomer LUXE makes her debut this month on HAAi’s Radical New Theory with a stellar four-tracker journeying through acid and dubstep basslines. The DJ and producer, who started her career as a classical composer, dropped her first full-length record with the help of Mixmag cover star HAAi, who state “we haven’t stopped playing it” since first listen.

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After delivering a high-energy hour-long mix for our Impact series earlier this month jam-packed with amapiano cuts, Breaka went on to release his debut album ‘We Move’ just a week later, a nine-track masterpiece catering to the producer’s kuduro, footwork, and UK funky interests. A virtuoso in all things 150 BPM and higher, Breaka truly delivers with this debut record.

Melbourne’s Pugilist hasn’t been out of the studio for too long since his last release, but his latest record ‘Static’ has been two years in the making, with the experiences felt and time spent on the music in that time coming through in its expert sound. Rippling through waves of dub and broken beat, this downtempo record boasts five tracks honouring “the frequent mood changes and feelings of relative isolation experienced in the last two years”.

Singer-songwriter Bakar is typically known for his take on guitar-led indie rock, but occasionally takes the plunge into a wider span of genres when he feels suits. In his latest project, a whopping 14-track LP titled ‘Nobody’s Home’, Bakar shuffles between dark profound ballads and more optimistic synth-driven tracks such as opening numbers ‘Youthenasia’ and ‘The Mission’. Bakar’s accomplished storytelling shines through on this latest record.

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With a career spanning decades, elusive producer Shinichi Atobe has earned a reputation for some of the best, be it unorthodox, minimal techno around. So we were slightly surprised upon first listen of his new record 'Love of Plastic' to be given nine-tracks of chirpy, high-tempo deep house. Ranging from churning video game-esque synths to blissed-out sunshine dub to the dopamine-inducing 'Loop 6', the record is clearly a switch in direction for the Japanese producer's sixth outing. The result is a record perfect for just about any occasion — soaking in those last rays on the beach with pals, picking up the tempo at doors open or kicking off your shoes after a long day.

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When the news broke of Mitski's hotly-anticipated return to releasing music late last year, there was a collective sigh of relief... finally we would have an anchor for all of our isolation-induced, wild inner thoughts. 'Laurel Hell' doesn't disappoint: wriggling through themes of loneliness, vulnerability and jealousy — all through the lens of romance. For every moment of deep introspectivity, there's a moment of flashy '80s synth. A perfect mix of slick high-tempo electronic, that will really get you on your feet and moving, and devastating, soul-affirming pop.

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Gasping for a spin in the club, 'Mutations I: Death Taxes and Hangar' from Canadian-born, Berlin-based producer Aquarian is a masterclass in nimble chimes, boisterous filter house and luxuriously employed amen breaks. Released on Dekmantel's UFO series, the record is made of juxtaposing A and B-sides. While 'Death Taxes and Hangar' and 'Rene Likes the Steak' on side A are darker, fluid dancefloor fodder, full of high-tempo jungle and unrelenting drums. On 'Sam Handwich' and 'Dead Whale' he creates a playful, yet poignant narrative, meandering between pensive synths, erratic percussion and charged bass.

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Undoubtedly a UK club favourite right now is that middle ground between ethereal and down-and-dirty rave: see Overmono, Two Shell... Burial. 1-800 Girls taps into this with his Shall Not Fade return, 'When You Call'. Utilising ever-so familiar breaks, pitched-up vocal samples and haunting synths — the record fluctuates between making you want to scream in exhilaration and cry like a baby. 'OCB' and 'Move with Me' are pensive and slow, while we can imagine ourselves getting completely lost in the high-speed jungle inflexions in title track 'When U Call' and the off-kilter grinding drums of 'Start Over'. Long may emotional rave reign supreme.

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The fifth instalment of Dar Disku’s essential catalogue brings more Middle Eastern flavours reworked for dancefloor impact. This release sees founders Vish and Mazen join forces Milan’s Eternal Love and Egypt’s Amr Mahmoud, serving up multiple versions of the tracks ‘Zawgy Al Azeez’ and ‘Yom Fil Kahera’, which Mahmoud originally produced for Sally back in the ‘90s. Each cut is bursting with a calypso-fuelled energy that’s primed to get a club jiving in bliss.

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Kings are made not born, and DJ Lag has been putting in the work for more than decade to rightfully take up the title as the foremost figure in the dark and atmospheric genre of gqom. On his debut album, he takes his artistry even further, channelling influence from across South Africa’s rich dance music scene, working in styles such as amapiano, Afro house and Afrotech to create his biggest, most emotionally-stirring and impactful release yet.

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Bad Boy Chiller Crew transcended from outsider renegades to fully-fledged stars with their debut album. The 16-track effort was only pipped by Ed Sheeran to the albums chart top spot, bringing their most polished and chart-friendly sound yet, that’s still fuelled by the ‘90s bassline influence that they’ve successfully popularised back into the mainstream. Something we can all be grateful for.

The Príncipe mainstay’s latest EP is a typically propulsive four-tracker, riding an erratic pulse of clattering percussion, haywire rhythms and throbbing bass. ‘Madeso’ is a disorientating and angular opening; ‘Gás Natural’ feels like an attack of tropical birds, pairing sharp cries with whooshing wind swipes; DJ Firmeza collab ‘Sanzaleiro’ is as filled with ideas as you'd expect from two genius producers working in tandem; and closer 'Sasuke' hits contrasts hard acid bass with unsettled rhythms.

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Alice Glass’ eponymous debut EP — released in the same year which she published accusations of abuse against her former partner in Crystal Castles, Ethan Kath — was an agitated and abrasive exploration of trauma. On her debut solo album, she takes a more commanding stance, making for a powerful statement of self-conviction and defiance. Her voice is the most clear it’s ever sounded, as she flips the script and takes sneering and dramatic swipes towards the album’s subject matter, such as: “I’ll cut your tongue out your mouth and wear your fingers” and “Now, when you’re suffering I’ll smile.”

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