Fun, bouncy, and a much-needed touch of summer - this electro and house EP by Jordan Nocturne is a feel-good refresh. The project is made up of three tracks, ‘Day 2’, ‘Balaearia’, and an “Acid Version” of the title-track. All thrree make for great additions to any house set, as each has its own bit of flavour.

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This EP is a beautiful plethora of sounds, a true exploration into the multitude of genres that shaped who Ahadadream is. An ode to sounds of South Asia, the UK, and global club music alike - this EP is as vibrant as it is varied. Made up of four tracks, each song on this project transcends genres and fuses the likes of bass, Afrobeat, amapiano, UK funky and more. ‘Piano Skank’ is full of bass-fuelled piano riffs, and ‘Peak’ has a heavier drum pattern, fused with South Asian sounds. Individually, these tracks are all suited to club turntables and will make a stellar addition to any set.

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For his second full-length release, Edinburgh’s Barry Can’t Swim drops another corker of a four-tracker, ‘More Content’. Opening with the mellowed-out ‘Sonder’, the producer’s trademark vocal samples pepper throughout the entirety of the EP before hitting ‘God Is The Space Between Us’, a soulful rendition in collaboration with Taite Imogen. Elsewhere on the EP, Laurence Guy offers his hand on the joyous deep house cut ‘Can We Still Be Friends?’.

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Funk aficionado Black Loops delivers his latest EP, ‘These Changes’, on Freerange with three new house tracks. On the record’s title cut, the German producer links up with Cody Currie who brings his own vocals to the five-minute roller before melding into the jazz-infused ‘People’. It’s the record’s finale track that brings this one together, ‘Driver’, a surefire dancefloor filler featuring a punchy bassline and deep, hypnotic groove.

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Low End Activist’s debut album got its release on his Sneaker Social Club label earlier this month, and in true LEA style, pays homage to the place in which he grew up. ‘Hostile Utopia’ follows the producer’s ‘Low End Activism’ and ‘Invite Chaos’ EPs, similarly abrasive at the edges with gritty influence from his dubstep and grime predecessors. From the grime infections on the record’s title-track to bass-heavy experiments on ‘Exotic Possibilities’ and ‘Afflicted’, LEA’s debut record certifies the producer as one to watch.

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London’s Laurence Guy has always been one for feel-good rhythms, but in a team-up with R&B musician Miller Blue, the pair’s brand new EP ‘My Heart Still Leans On You' offers something slightly different from the DJ and producer’s usual up-tempo house favourites. With two original tracks and two instrumental cuts, the new EP slows the pace with projections of heartbreak and finding your feet amidst pain.

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Five tracks of bliss from Sensu. Playing through the speakers you can hear every single detail in each track, especially the opening song ‘Heartbreak’. An airy garage-like cut is a taste of the modern clubland. Sensu is an artist that is one to watch and this EP is putting her on the map.

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Revisiting the likes of some of his earlier work, µ-Ziq has produced a chaotic yet beautiful whirlwind of an album that feels like a juxtaposition between light and dark. ‘Turquoise Hyperfizz’ is the perfect example of this. Starting with the twinkling of electronic fairies, the track drops into a middle eight of distorted techno beats before jumping back into its heaven-like state. ‘Goodbye’ is, without doubt, the most obscurely interesting and most-listened-to track on the album, mixing holy-like noises, piano and a crashing beat.

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Built out of grief, Tourist has crafted an album from the depths of sadness that communicates his own process of dealing with tragedy. ‘Speak in Symphony’ is particularly emotionally-charged, before rolling into ‘Your Love’ which feels more uptempo and is a celebration. The note of hope is present throughout linking to the struggle to battle with grief as well as the mission to get out of lockdown which was when the album was created.

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The first track on May’s debut album starts with an outstanding lyrical performance that is unlike any of work before going into a grime-esque beat. The most enchanting track on this album has to be the funky pop track ‘Go Girl’ featuring RAYE for its empowering and free-feeling spirit. Vocals are also notably impressive in tracks such as ‘In My Feelings’ which seem similar to the likes of SZA or Jorja Smith who in fact features on ‘Hard For It’.

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Having quietly become the producer behind a good number of your favourite club drops, Otik’s debut on his own imprint, Solar Body, is expectedly wide-spanning — driving between hard UK bass sounds and enticingly ethereal chimes and synths. ‘Eden Portal’ and ‘Skylines’ build through a caphophy of off-kilter samples, providing an immersive and atmospheric location deep in your mind to lose yourself within. Title-track ‘Psyops’ puts the boot in with some blistering, rolling breaks and space-age bleeps and bloops, while ‘Presence Ultra’ slides up the tempo — with its erratic bassline and punchy percussion. Soul-affirming and melodic, with a pinch of boisterous rave sound, we love.

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Name us a better dúo than the “magic city’s” very own Nick León and Bitter Babe. From Miami with love, the pair’s EP ‘Fuego Clandestino’ (Clandestine Fire) combines León’s penchant for big drums and reggaeton influence with Bitter Babe’s Latin flair and rousing basslines — creating a record that showcases dark club sounds and sexy riffs. Created with “a 2050 illicit perreo party in Miami” in mind, the EP features two collaborative tracks ‘Tu Castingo’ and ‘SMS_229-305’, alongside standalone productions from each, with León’s ‘Latigazo’ and Bitter Babe’s ‘Como me miras’. Finishing off the billing is a full throttle remix from French DJ and producer Simo Cell. Five tracks of frenzied beats and intoxicating rhythms… we might need a lie down.

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As the first release on his white label project since 2017, Objekt’s two-tracker 'Objekt #5' delivers the exact kind of naughty club fodder we’ve come to yearn for in his releases. ‘Bad Apples’ is a futuristic, grinding track with one of those other-worldly, frantic basslines that will have you checking your phone on the dancefloor just to make sure you’re still on planet Earth. While ‘Ballast’ descends far more into rhythmic territory, with its bouncy kick drum and spine-tingling bleeps and bloops destined for some final-hours forest rave with nary a laser in sight. Great things truly comes in #5s.

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It’s intense, it’s silly, it’s packed to the brim with UK rave references and daring flair — pretty much what we’ve come to expect from the duo the heads can’t stop talking about. ‘Icons’ certainly does feel like new territory however, ‘home’ and mixtape ‘ꫀꪻꫀ᥅ꪀꪖꪶᦓꫀꫀᦔ’ held a lot of charm in their DIY nature… whereas this record feels like a fully realised declaration of where the pair stand as producers. There’s a clear, melodic narrative running through the entire record — growing more and more zealous with each track, while still taking moments for respite. ‘Icons’ and ‘Pods’ flourish with a strong, impactful synth underbelly, while the first half of third track ‘Dust’ builds into a booming, percussive crescendo — its second half is a woozy, blissed-out pause. ‘Memory’ kicks us back off again, like we’ve taken a minute to rest on a big walk and now need to hit the road with increased fervour. While ‘Mainframe’ feels like the obvious conclusion, a track undeniably pop-influenced, happily rotating between its high-NRG basslines and reposing breakdowns. ‘Icons’ is a coherent and grown up record that doesn’t spare on the otherworldly, childlike fun that draws us to these two over and over again.

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