Despite admitting that he’s grown comfortable with the tagline, on his first album in a decade ‘HOTLIFE’, Canadian electroclash pioneer Tiga refuses to rest on his legend status, instead serving up a futuristic odyssey of boisterous synth slaps and hypnotic, sweat-inducing loops. That isn’t to say Tiga’s instantly recognisable, sultry signature doesn’t permeate throughout ‘HOTLIFE’’s 12-track run, it’s present in the commanding vocal riffs, scattered percussive build-ups and bubbling hats. Though, as is typical with a Tiga project, there’s a constant flow of new ideas injected through each track from an eye-watering list of collaborators including Boys Noize, Matthew Dear, Fcukers, MRD, Gesloten Cirkel, Paranoid London and Maara. We’re living that ‘HOTLIFE’ right now. 

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Pulling from Mexico’s multifaceted and diverse regional sonics, Mexico City’s reggaeton and cumbiaton queen Rosa Pistola connects tradition and evolution on her new eight-track project, ‘Incorregible’. Trying her hand at a more stripped-back, guarachero-laden soundscape, Pistola works through joyful, buoyant rhythm, austere bass and ricocheting drums to create a record is simultaneously harmonious and restless — take the otherworldly synth waves crashing against grinding percussion as it gently builds to a crescendo on ‘Niquitoa’, or the ardent guitar strums dancing in-time to clattered bass stabs on ‘La Guitarra’. It’s high-energy and bursting with contrast, with a rewind and alarm sample here and there to remind you exactly who you’re listening to. 

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A three-tracker is rarely the arena where a producer can really showcase their range, and yet Oakland’s Tom Marsi manages to offer up a riotous selection on new EP ‘ONETWOTHREE’ on Clasico. ‘1DAY’ features mind-bending, burning acid accompanied with a good ol’ piano banger riff, while ‘2MUCH’ combines low-end synths with bristling breaks. By third track, ‘TOUCH M3’, we’re in high-energy house mode, as slapping hats meet a scintillating diva vocal. Is there anything Tom Marsi can’t do?

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There are few words that could excite a club music nerd more than hearing the sentence: New Lone is here. After five years, Nottingham’s finest is back with a full-length record to ignite every sense, like its namesake, ‘Hyperphantasia’. Described by Lone himself as a record of “self-indulgent bat-shit pop music from an alternate dimension”, this glorious 16-tracker is a wormhole into fantastical club music where fizzing 2-step and restless breakbeats meet huge, ascending vocals and quickly descending drops. 

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It’s clear that the new collaborative record from PPP (aka Piezo, DJ Plead and DJ Python) is one of meticulous studio hours and intentional production work, landing two years after its production began on Facta and K-LONE’s Wisdom Teeth imprint. From its atmospheric opener ‘Wisco’ through to its synthetic title track ‘Bborn Again’, and even further through to its wind-down finale ‘Plz’, this is contemporary club music done right. 

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London’s Ehua and Lyon’s Flore made their debut link-up on TraTraTrax in April with ‘Pyrexia’, an unsparing six-tracker complete with remixes from dBridge and Martyn. Whiplash-inducing rhythmic shifts makes this record a true masterpiece in deconstructed club music, with its powerful log drums, snappy breaks and textured array of percussion. 

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There’s a stereotype of Italians in London’s dance music scene: fabric flockers who worship at the altar of Marco Carola. For a decade, Nervous Horizon co-founder TSVI has bucked that image, leaning into percussive intricacy with a flair for experimental club sounds. But on his latest EP ‘Dance Tripping’ he strides into big room territory with the dynamism of a marauding Nicolò Barella, and the results are next-level. Opener ‘Music Is Moving’ sets the pace with a monstrous bassline that’s primed for peak-time — a big room tech-house DJ tool which has duly been a fixture of Joy Orbison’s recent sets. Elsewhere, the groovier, trippier sounds the EP title promises are out in force in the title-track and the wonky ‘The Wasp Track’, while closers ‘Kataklisma’ and ‘Turbo Motion’ fire back into surging, unstable bass sounds that are both slippery and unrelenting in their momentum. Grande!

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Babyfather doesn’t miss, you’ve just gotta keep your ears to the ground. This four-track EP, which comes with features from DJ Escrow, TYSON, Vegyn and Wraith9, dropped with little fanmare this month, Opening on the menacingly raw ‘Pop’, it builds up to a more transcendent atmosphere on ‘slumpz’, while ‘bono talk’ is sweetless and light, and ‘icl’ closes out on the title’track’s alt-R&B.

Patrick Holland and Priori have a good thing going up in their Montreal base, working both independently and collaboratively on all sorts of excellent music. This latest outing marks the debut album from Jump Source, the duo they formed 10 years ago. Unfurling variously across slinky basslines, soft vocals, dusky percussion, melancholic, sci-fi synths, driving rhythms and some intriguing guest features which shift it in ever new directions, it’s a sprawling, triumphant record that has everything you could want from an ostensibly dance album.

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You can’t improve upon perfection, but you can create alternate forms. So rejoice: one of the best albums from one of the best producers of last year has been given a new shape to be enjoyed in. The roster of remixes tapped for this reworked version of james K’s ‘Friend’ album is exceptional, and the release delivers on that promise. Highlights include Special Guest DJ boosting the Balearic bliss of ‘Blinkmoth’ into a wobbly bass and shuffling percussive roller, Objekt fusing melodic flair into his take on ‘Play’, and Yushh stretching out ‘Idea.2’ with a mix of glitchy and aqueous textures, wriggling and gently lapping at your ears in duality. 

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