13 years on from the release of ‘100% Galcher’, the mix that thrust the US DJ and producer firmly into the gaze of underground aficionados across the globe, ‘Vestibule’ is total, peak Galcher Lustwerk. Marking his first EP release in two years, this decadent three-tracker pertains to all of our Galcher cravings and then some — trickling percussion, smooth vocal riffs, laidback harmonies and a pillow-covered kick thump to keep you upright, spanning feather-edged deep house on ‘Shorty Out’, synth-laden electro on ‘Wet Bulb’ and buoyant atmosphere on the EP’s title-track. 

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While Stones Taro may be exploring deeper, more low-tempo soundscape on the first of his new self-released EP series ‘Foglore#1’, there’s still a spattering of bass bin-worthy drums on offer throughout this arcane four-track odyssey. Frothy bleeps glide over formidable bass wobble on ‘Obscured Breath’, while rapid-fire hi-hats kick back in harmony against punchy percussion on ‘New Mineral’. Created with the aim of tracing the parallels between “deep house, dub and techno”, Kyoto’s bass whizz manages to pair up complementary textures to create a wholly idiosyncratic take on low-end club music. 

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Few producers lend themselves to obsessive nostalgia like Danny L Harle, and on his latest album ‘Cerulean’, the PC Music affiliate offers his take on mid-'00s Ibiza floorfillers with a distinctly hyperpop twist. Some of these nods you can hear a mile off, such as the ‘Stereo Love’-esque accordion on ‘Island (da da da)’ and the unbridled Tiësto trance on closing track ‘Teardrop in the Ocean’. While others are a little more obscure, such as pushing the synth up against the high notes of Kacha’s vocal on ‘Te Re Re’ that feels deeply reminiscent of Mel C’s hook on ‘I Turn To You’, or the early EDM-ish way the beat on ‘Laa’ prances is so Basshunter-y. While the superstar collaborations may work some way to prevent ‘Cerulean’ from digging too deep into all-out smoke-machine-going-off-in-Cream territory, many still manage to fit into its fastidious narrative — PinkPantheress’ vocals add a sugary energy to maximalist hyperpop on ‘Starlight’, while there’s something deeply unruly in chopping up Caroline Polachek’s operatic tenor across the Eurodance-inspired ‘Azimuth’. 

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At 22 years old, Ledbyher is quickly asserting her place among the most intriguing creative voices in UK music.She’s amassed a significant following off the strength of a run of singles, extended projects and features, and now cements her breakout year with her first major mixtape ‘The Elephant’. It sees the Scottish-Indonesian artist, real name Rachel Aisyah Diack, who works across the disciplines of rapper, producer, singer-songwriter, poet and video director merge her myriad influences and references into a sleek, distinctive 12-tracker that transforms across textures and sundry sounds — only vaguely categorisable by tags like alt-R&B, UK jerk and her self-ascribed term ‘lady trap”. Opener ‘What’s The Reason?’ fires out the gates with urgent atmospherics while closer ‘Backwards, Into U’ drifts off into a dream of blissed-out haze; songs in between include the gun finger-raising ‘Remember, Remember’, satin smooth Biig Piig collab ‘Yu’, and hyperactive ‘Up 2 My Neck In U’. As one of the few women gaining prominence among the sonically diverse ‘UK Ug’ scene, Ledbyher is a refreshing artistic voice to follow. 

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Following a standout contribution to TraTraTrax’s ‘no pare, sigue sigue 3’ compilation with ‘Gum Seleks’ - named among Mixmag’s Best Dancefloor Bangers Of 2024 – Edinburgh-based LWS makes his full EP bow on the Colombian imprint with a four tracks of thrilling dancefloor fuel. The title-track is huge and delirious, sounding like a more unhinged cousin track to ‘Steady On’ from his ‘Palloon’ EP with out-of-control synth tones surging and squeaking in an unstable framework. It’s just about held together by a galloping beat, though not without moments of silence-before-the-drop tension and release. ‘Oddest’ opens with a more straightforward kick and sprightly melodic pattern, before background whirring creeps in ominously and soon signals a haywire crescendo and collapse, while ‘Where Did The Time Go’ sounds like a chainsaw buzzing through the bleeps of a teleportation device. The latter comes backed with a remix to close from Venezuelan producers DJ Yirvin and WOST who put a changa tuki spin on the track.

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It’s daunting writing about this record from Lurka — AKA your favourite producer’s favourite producer — because he’s already given perfect descriptors to each cut online, in a style resembling the Hard Wax desk being stormed by a Bristolian badman. The EP’s opener ‘Tech Demo’, with its rasping bass, searing synth tones and syncopated beat, is described as “unnerved 2-stepp monsterised reese pressha” for instance. The EP needs shouting about, though, as it’s one of the most unique records you’re likely to hear all hear. Categorised by Lurka as “UK/Jump-Up/Minimal/Dark Ambient hybrids”, it also comprises off-kilter piano keys clattering into mutant bass on ‘Bliss Portrait’, ominous textures panning to dizzying effect on the title-track, and the slower ‘Lazer’ that creeps forward with a sinister edge.   

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Shanghai artist Gooooose lands on his regular home of SVBKVLT with an EP aimed at weirding out the club. Choice cuts include ofbeat opener ‘Chrome’, which is dizzying in its deployment of percussion; ‘Relay’ and its riding of adrenaline-spiked patterns that judder between transcending and piquing anxiety; and the gasps and groans of ‘Doner’ set against unpredictable drumwork and layers of fuzz. Remixes from Hodge and Beatrice M. round it out in light-headed then dubby style respectively. 

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For anyone schooled in British viral trends of the '00s who may be wondering, yes, that is a sample of Salad Fingers on opening cut ‘PULSE’ (for anyone who’s not… look it up). Those creepily infantile murmurings and unnerving deep, pleasurable breaths fit the tone of the cutting bleeps and noise abrasions punctuating the track, teeing up this haunting EP of headfuck club-not-club music. It’s this type of out-there approach that has made Aphex Twin a fan of KAVARI, and as the EP skulks forward, the Glasgow-based producer showcases more of her prerogative for unconventional dancefloor delirium, including Prodigy-esque breaks below a clunking melody on ‘IRON VEINS’ and the twisting, crunching layers of ‘SERPENT CHAMBER’, with croaking samples competing with gun-fire percussion for the most haunting element.

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Facta and K-Lone have worked tirelessly to build Wisdom Teeth into one of the UK’s most respected labels across the past 12 years, serving up many shades of electronic music from wigged-out pingers anthems to introspective daydream listening. This latest release sees the label heads flex their curatorial muscles halfway across the world with a compilation of music from central Japan, working in tandem with local Nagoya artist abentis, real name Yuya Abe. The resulting eight-tracker is a fine example of why Wisdom Teeth releases have become appointment listening for fans of experimental music that doesn’t fit neatly into prescribed genres or moods. “The city’s music scene is characterised by a freedom to mix genres and an open-door approach to creatives of all disciplines” the release notes explain, and the sounds duly range from soul-affirming haze to bumping minimal grooves to dub influence propelled out of this world, and beyond.

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Zora Jones called 2025 “simultaneously the most difficult but also the most transformative and cathartic year. Coming out the other side, she sounds refreshed and invigorated on her first solo project in five years, which lands via her new creative platform Bellyfat. Her musical transformation evolves across a fluttering ‘Intro’ into a succession of fleet-footed, glossy and impactful club tracks, including unbridled euphoria that nods to Timbaland on ‘Make Up Bag  Part 1’ and a taking a moment to embrace emotions head on with closer ‘Tokyo Tears’.  

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Edinburgh producer Proc Fiskal returns to Hyperdub with a brand new EP that label boss Kode9 himself says had him “hooked” from the gaudy madness of lead track ‘Disease Again’. In this hyperactive, glimmering display of existential club joy, Proc Fiskal pieces together elements of buzzy hyperpop, grime instrumentals, hazy footwork, video game-reminiscent synths and distorted classical strings inspired by the “utopian idea of the pastoral”. 

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London producer re:ni and her father, legendary Magic Drum Orchestra musician BiggaBush, have joined forces on a gorgeously mellow new four-track EP via Illian Tape. Slowly lifting from the downtempo openings of title-track ‘Bass Is The Space’ to its bass-forward stylings on ‘Death by Dubplate’, this record shows off a certain sensibility in dub that the pair explore effortlessly by being on the same, harmonious father-daughter wavelength. 

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Marking a pivotal moment in his life after a move from San Francisco to London, Farsight has launched a new record label, SITUATIONS, with its inaugural release exploring “renewed inspirations” from his new life in the UK. On ‘SITU 001’, he journeys across bass styles and dub reggae in a homage to UK-centric dance music. “This body of work is a reimagining and recontextualisation of several of my most fundamental influences,” he explains. 

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