Across three seamless tracks on New York label Human Pitch, Kundai takes the reins on this vocal-led, club-turned-pop record finding the sweet spot between her Zimbabwe/London roots. Kicking off with the bright, bubbling ‘Energy’ followed by the murkier production of ‘Seance’, Kundai’s latest EP closes on one enormous cut made for the early hours of the club, picking influence from soundsystem culture.

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Loraine James is back with her first full-length solo project since her wildly popular sophomore album ‘Reflections’ in 2021, this time in homage to legendary composer Julius Eastman. ‘Building Something Beautiful For Me’ spans eight tracks, and through Phantom Limb’s connection to the late composer, enabled Loraine to connect with his brother, Gerry, to bring a drive filled with surviving Eastman compositions. Allowing the modern producer to carry the torch for Eastman, this record reuses the same motifs, imagery, and samples, but with a typically Loraine James twist.

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Five Bollywood-infused tracks fill this EP with a medley of house and disco. The lead track ‘Asha’ brings us up to speed with a simple bassline, cheeky guitar riff and of course some Bollywood vocals. Moving into ‘Sadhana’, you want to flail your arms in the air to its four-on-the-floor rhythm. The whole project perfectly aligns a mixture of genres together and is certified to get you grooving.

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Sampling DJ Snake’s ‘You Are My High’, Central Cee punches through with the line, “Some of these guys just bad on a desktop tryna bring on a 'net war” before powering through the rest of the opening track ‘Chapters’ without taking a breath in a wild freestyle. Cench digs into growing up in Shephard’s Bush to talking a lot about money he makes now. ‘One Up’ is the star of the EP for its recognisable drill beat and flutters of dance music notes that spill through.

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We’ve waited five years for a new Nosaj Thing album and it’s finally here. Possibly his most collaborative project with more than 10 artists featuring on the 12-track album, Nosaj - AKA Jason W. Chung - is clearly welcoming experimentation. An angelic piano piece opens the album sewing an atmospheric thread that is embroidered throughout. ‘We Are (우리는)’ featuring South Korean band Hyukoh is a tranquil yet spritely song with energy that rolls into ‘Condition’. This track softly uplifts the vocals of Toro y Moi with an orchestrated interchanging hum of instruments. ‘Blue Hour’ has a similar approach as Julianna Barwick’s vocals are harmonized with a lengthy note.

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With a handful of illustrious EPs to her name, including 2020’s decadent ‘MUAs at the end of the world’, Ariel Zetina dives head first into a rich, conscientious concept for her debut album on Local Action. Named after the imposing velvet curtains found at theatres in 19th century Germany, ‘Cyclorama’ is full of nods to Zetina’s stage background. Each of the record’s 10 tracks are steeped in narrative, and while individually they differ in form and structure, each seems to have a little something that’s left out — an off-kilter synth here, a unfinished vocal loop there — building up in a crescendo until the all-out peak of final track ‘Tropical Depression’, which incorporates elements of the entire album and wraps it up in a thunderous pirouette. While ‘Cyclorama’ is a sonically pleasing record, it’s also undeniably deeply personal — with the Smartbar resident drawing on her experience as a trans woman of colour; seeping into the raw vocals on ‘Slab of Meat’ and ‘Have You Ever’ — the latter of which is a collaborative effort between Zetina and Cae Monāe, who is just one of a number of the producer’s trans sisters who have joined her on the record. It’s a magnificent showcase of everything Zetina can do technically, while still giving us a glimpse into Zetina as a human being — with all the joy, vulnerability and fury that comes with it.

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Since turning his hand at Fruity Loops in his university halls over 10 years ago, Hagan has been on a journey as an artist. For his deeply personal debut album, the London-born artist of Ghanaian heritage chose to take inspiration from the people, places and communities that have made him. This can be heard in the sample of his grandmother praying in the Ayeisha Raquel-featuring ‘Pray For Me’, or more subtly in the emotionally-charged chords and delicate percussion of ‘Outro (Balfours son)’ — a reflection his late fathers “endless patience.” Recorded in Accra, ‘Textures’ spans across the electronic spectrum — with nods to gqom, bass, amapiano, UK funky and more, alongside a multitude of sounds from across the global diaspora — alongside a plethora of features from the likes of Griffit Vigo, Bryte, Meron T and more. Despite the clear introspection on ‘Textures’, Hagan delivers a record that is bursting with connection and experimentalism — leaving you with a deep feeling of anemoia as it draws to a close.

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Demonstrating exactly why the Hessle Audio co-founder has maintained a reputation for creating the best peak-time heaters of the past 15-years, Pangaea returns with a techno-adjacent four tracker fated to set gun fingers akimbo. Consisting of title singles ‘Fuzzy Logic’ and ‘Still Flowing Water’, plus additional edit cuts of each, Pangaea meanders between fast-paced kicks, rowdy peaks and boughs, and blazing electro basslines In his first release since 2020’s Sound Of The COVID Summer ‘Like This’. ‘Fuzzy Logic’ expertly lays buoyant bleeps and bloops over razor-edged percussion and hollow synths; while ‘Still Flowing Water’ injects some frenzied high-pitched stabs and bubbling bass to an undercurrent of rolling percussion.

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A star of Chicago’s underground, Jamal Moss AKA Hieroglyphic Being has been doing it his own way for the best part of two decades now . ‘There Is No Acid In This House’, Moss’s third full album, is a 14-track epic, full of disconcerting sonics and broken rhythms – an explorative journey to find the boundaries of electronic music.

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Blending the sounds of traditional instruments with repurposed trash and everyday objects, Kinshasa’s Fulu Miziki have cycled through numerous members and birthed a number of offshoots (including two members who would go on to form KOKOKO!), hence the complex name. Taking influence from their native Congo’s soukous music, post-punk, industrial electronica and even jazz, their latest album is a gripping, singular listen from start to finish.

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Not strictly a debut album from the Frankfurt-hailing producer, ‘Air – A Retrospective’ presents a collection of Ludwig A.F.’s productions made over the past eight years. It’s a floaty, seated-on-your-settee listen, with soft breakbeats purposed as relaxing, head-nodding tools in among lush ambient soundscapes.

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