As a flag-bearer for Belo Horizonte’s leftfield, cavernous iteration of baile funk - DJ Anderson do Paraíso’s ability to inject an eerie, frantic energy into a genre already known for its frenetic chaos has rightfully earned him the intrigue of the Brazilian underground — and it’s likely that following ‘Queridão’, a collection of his previously-released music compiled by Nyege Nyege, that intrigue will be going global. Masterfully combining extroverted lyrics from MCs on gang culture, sex and drugs with stripped-back, atmospheric production - ‘Queridão’ constantly switches between an intense cacophony of percussion, never really allowing us to settle in one place for very long. While baile funk is typically identified by the dancefloor-angled Rio and São Paulo sounds, Anderson’s dark leanings show the genre in a new light — toying with echoing beats and piercing bass.

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Marking Nathan Micay’s latest foray into the scoring TV/film following his work on HBO’s Industry, ‘Reality OST’ once again sees him create an otherworldly soundscape for an otherwise down-to-earth setting. Created for HBO Films’ Reality - which tells the story of US whistleblower Reality Winner, played by Euphoria star Sydney Sweeny - Micay employs moody synths, effervescent vocal samples and eerie chimes and symbols to communicate the character’s increasing consternation. Described by Micay as a “science fiction soundtrack”, the record would feel just as at home within the Alien universe as the background for an anxious opening of an email — though we don’t recommend taking your first listen while partaking in the latter.

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It’s with great pleasure we can say this: spooky dance music is back — well, if Barcelona-based producer TUNIK’s four-track tribute to F. W. Murnau’s terrifying bloodsucker is anything to go by that is. Combining the high-camp atmosphere of vintage slasher soundtracks with a cerebral electro beat, ‘Nosferatu’ takes its time to amp up the tempo while allowing both the sometimes-silly horror synths to dance above a high-energy array of bass and percussion. If you like creeping around the dancefloor with your elbows pinned to your sides, hands splayed wide like Christopher Lee, then this is your perfect record.

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Climbing the ladder of the UK rap scene, this EP has seen BXKS leap into everyone’s headphones. Only a few weeks from its release, the project has notably impacted the scene with support from the likes of Unknown T, KwolleM, p-rallel and more. BXKS’ flow throughout gives testament to her natural ability as a rapper and to the sharp grime productions weaved throughout the EP. Kicking off with ‘Microphone Sex’, this title doesn’t leave much to the imagination as BXKS’ smooth-talks her way through the track in style. From here onwards, the album continues to melt with ‘Everything’ sampling Radiohead's ‘Everything In Its Right Place’ to the Jersey club-inspired ‘Back It Up’. BXKS is truly one to watch.

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Solidifying his status, Nemzzz represents the new-wave drill scene of Manchester with this well-formulated album. Even at 19-years-old, he has proven that age is just a number with a tape that sees him work with the likes of rap giants such as Headie One, Clavish, Lil Yachty with a rumoured Central Cee collab is still in the works. His track ‘ETA’ has already been picked up as a viral sensation for its playful drill beat and his quick wit lyrics, while ‘PTSD’ remixes the soulful classic of Sade’s ‘Like A Tattoo’. This album showcases his raw talent with each bar that he spits sounding poetic while also throwing in the odd cheeky remark. Last year saw Nemzzz complete his first sold-out headline tour, but after this debut album the sky's the limit.

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‘BLUE LIPS’ is an earnest insight into the artist that ScHoolboy Q truly wants to be. Falling for more of an alternative tone than seen in his highly-respected ‘Oxymoron’, this new chapter sees ScHoolboy become a more adventurous artist. ‘Yeern 101’ catches your attention for its deep vibrations juxtaposing the fast-paced, non-stop flow that has him skip a chorus altogether, using the track ultimately as a place to prove his worth. Meanwhile on tracks such as ‘Cooties’ and ‘Blueslides’ ScHoolboy attempts to keep things slow covering subjects from fear and gun crime to love and regret. Overall, the five-year wait for new music has paid off. He can continue to wear the badge of Top Dawg Entertainment with pride.

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Danish producer and multi-instrumentalist Caius has released his second EP, following 2022’s ‘Chromantic’. ‘Stange Motions’ sees Caius seamlessly slip between house, R&B and UK garage across five uplifting tracks. Picking up the BPM this time around, ‘Strange Motions’ steps into spring with a light touch, delivering soulful nostalgic vocals over heartfelt instrumental melodies. ‘Devotion’ is the epitome of this, with a rising beat over bouncing piano and expressive distorted samples.

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After making waves with hit single ‘Johnny Dang’ last spring, That Mexican OT wasted no time releasing his first album ‘Lonestar Luchador’ in summer. Just three months into 2024, the Houston rapper strikes again with ‘Texas Technician’. Spanning 16 tracks with no less than 15 features, the record is a celebratory showcase of Houston rap and East Coast hip hop stylings. With rolling consonance, comical quips and slick instrumentals, ‘Texan Technician’, evokes the creativity and loyalty of old skool hip hop. Laid back but not lazy, each track is effortlessly cool and That Mexican OT holds his own amongst the variety of respected rap names including DaBaby, Paul Wall and Slim Thug.

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‘Intercession Before Charlotte’ is the latest album to arrive from Montell Fish’s alter ego, dj gummy bear. Opening with haunting R&B vocals and moody echoing guitar, this introspective six-track EP journeys through dreamlike textures, with softly sung emotive lyrics and lightly thrumming guitar. Tame Impala fans will enjoy the falsetto-heavy fourth track, ‘I Know I Failed You’, while the third track ‘Break From Her Spell’ might appeal to fans of Billie Eilish’s early sound. dj gummy bear’s ‘Intercession Before Charlotte’ lies between indie and R&B, arriving neatly at a soft and thoughtful sound with dark undertones lurking beneath gentle instrumentals.

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Four Tet’s first full-length record in four years sees the British producer merge echoes from the past with his more recent big room era. ‘Three’, the first LP under his primary alias since 2020’s ‘Parallel’, is recognisably Four Tet - harps, cascading synths, and flushed-out ambience are reminiscent of his prolific mid-2010s records, but as the LP progresses, you’ll hear more heavy-hitting club tracks that align with his big stage tear-ups alongside Skrillex and Fred again.. of late. The eight-track record traverses garage, breaks, and a few twinkly ambient cuts before rounding off on ‘Three Drums’, a lengthy mellowed-out closer.

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Australia’s Club Angel promised a “large, loud and fast” EP in the run-up to his sophomore release, and that it is - gritty UK garage meets pacey club beats on ‘Soundbwoy’s Destiny’, his latest offering on Astral People. Inspired by ‘90s UK dance music with a focus on garage, 2-step and jungle, the six-track release looks back to a time “when dance music was extremely raw and unforgiving”.

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Years on from his come0up in the UK dubstep and grime renaissance working alongside heavyweights including Commodo and Kahn & Neek under his Hi5ghost moniker, Yuseemi tilts toward dancehall-inspired productions. On his self-titled EP via Bristol’s Club Djembe, he dives deeper into that sound, enlisting vocalists XL Mad and Merky Ace, with Hyperdub legend Scratchclart on remix duties.

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The debut release of LA party crew Fast At Work’s newly launched label arm is a statement of intent following the “Fast Not Hard” ethos. Helmed by co-founder Carré with remixes from Priori and James Bangura, the five-track EP packs plenty of bone-rattling bassweight alongside lighter moments of skippy melodies and shuffling percussion.

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Opening on earth-shattering bass rips which erupt then abruptly give way to fast, punchy percussion, this new five-track EP from Parisian producer De Grandi sets like its riding a bassweight battalion into battle. From there on in there’s plenty more seismic sound design, including ‘I Can Relate’ which fluctuates from ambient gabber to hypnotic dubstep, before ascending to tranquility via uplifting closer ‘Creepy Teeth (Colgate Mix)’.

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South African singer Tyla stakes her claim for superstar status with an exquisite debut album that perfectly blends Western R&B sounds with the Afrobeat, amapiano and gqom influences of her home continent.

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This Blank Mind compilation promised ‘Blissed Out Breakbeat Hardcore’ and has duly delivered, plucking eight early-’90s out for reissue, made in the ecstatic years leading up to the rave scene savaging Criminal Justice And Public Order Act of 1994. These tracks provide an irrefutable denial of the characterisation of ravers as no-good trouble makers — this is deeply beautiful, resonant music for the soul. You’ll only find peace and love here.

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The truly one-of-a-kind artist Jlin keeps her peerless form going with a new album that will reconfigure your brain in the best way. This time collaborating with the likes of Björk, Philip Glass and Kronos Quartet, she marks herself out among these greats, with her revolutionary approach to working with vocals, avant-classical composition and breakneck drumwork is on exemplary display, pushing them into mind-altering frameworks that toe the line between ghostly and gripping.

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Cakes Da Killa hits a career high with his latest album ‘Black Sheep’, growing into his songwriting by recruiting Wuhryn Dumas, Stout and Dawn Richard to perform his words, while bringing plenty of his own sharp bars about nightlife, city living, community, sex and diving down rabbit holes to the table above Sam Katz’s energising production.

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Moor Mother album drops are always an occasion to sit down and listen with openness and intent, taking in the radical, Afrofuturist lesson that arrives wrapped in a bow of haunting, scorching music and lyrics. This ninth album, a nine-track rumination Great Britain’s role in the transatlantic slave trade, sees her at her thought-provoking, ferocious best, delivering cutting insights amidst unnerving, complex musical textures.

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TSVI embraces the Italian dance greats of old with this Italo-infused EP that dips into the progressive ‘90s and ‘00s sounds popularised by the likes of Gigi D’Agostino and Mauro Picotto. It’s propulsive and euphoric, while still packing plenty of percussive punch with the inventive drumwork we’ve come to expect from the Nervous Horizon co-founder. A fierce collab with raptor house pioneer Dj Babatr featuring the immortal declaration “hard house generation!” steals the show.

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The peerless Príncipe artist and purveyor of frenzied batida club music changes pace for his latest album ‘Chá Preto’, serving up sparse, sublime tracks that are in no rush to draw you deep into their warm, introspective realm.

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One of the most consistent producers in the game drops another masterpiece, rolling through funky dub techno, atmospheric breaks and blissed-out ambient that’s good the soul. Get your wallet out and cop it from Bandcamp, because as ever, this will not be on streaming.

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Anetha’s debut solo album feels every bit as momentous as the career that’s led to this moment. The 10-track LP from the French electronic music extraordinaire has plenty to say, and does so while showcasing the full range of her artistry, tackling themes such as music industry sexism, motherhood, personal growth, self-empowerment and eco-consciousness in a spectrum of energising sounds, collapsing techno, trance, acid, d’n’b and house into colourful arrangements that whisk you into Anetha’s world.

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