West Norwood Cassette Library mixes up an exhibition of the rudest sound in contemporary jungle for Manchester-based label Torre’s Numbers mix series. It clocks in at a clean one hour and is driven by precise percussion, though the sounds are above are ruff n tuff, featuring murky cuts from the likes of Stratton, Low End Activist and a delirious close from Jane In Palma.

Bassline badman DJ Q is on a tear up in this set for BOG Bristol at Clock Factory. It’s too much fun throughout, drawing for rabble-rousing classics from the likes of Zinc and filthy reworks on well-known cuts from the likes of Peggy Gou, Bell Biv Devoe, Dave & Central Cee. A moment that sums it up is in the 12th minute when he fires from bars of Shakira’s ‘Hips Don’t Lie’ into a ferocious bassline drop via machine gun bullet sounds, and the MC can only lift his head to the sky and scream “What!” with a delirious grin and gun finger salute.

For her contribution to the G-FORCE mix series, Elissa Suckdog open with a playful podcast-esque sample of a woman cussing Formula 1 out. Given it’s a series themed around F1 that comes complete with interviews digging into DJs’ relationship with the motorsport,w hich has seen its popularity exploding among women in recent years, it’s a perfect tee up for a mix that goes against the grain. In this case, the Berlin-based DJ eschews the high BPM ‘hard and fast’ sound of the moment, trying to “subvert what felt like the obvious interpretation of ‘high speed’ in music” by setting herself a limit of 125 BPM, weaving through a hotter and heavier selection.

Irish bass head EMA is on mad form in this mix for Peder Mannferfelt’s series. Opening on the haunting sounds of Løt.te’s ‘From Jenin to Rafah’, taken from an EP exploring “Israel’s use of artificial intelligence in its current war in Gaza”, she steadily transitions through of low-end pressure, wigged-out electro, fraught techno and eccentric braindance with consumate mixing throughout.

A long-time linchpin of the UK dance music scene, particularly for repping the culture in the North East of England, shines as he steps up for Radio 1’s legendary Essential Mix series. He gets appropriately grandiose for the occasion right away, opening on the scene-setting atmospherics of Vangelis, before leaning into what he does best: mixing up a heaady blend of sounds spanning ecstatic house, wiry electro, classic rave, rowdy Baltimore club, energetic edits, and more.

Following the cancellation of Disclosure’s Boiler Room set in August, one half of the family DJ duo Guy Lawrence paid a visit to Islington-based independent radio station, Kindred, to play the set that would have been. “The Boiler Room that did not happen is happening right now,” he says before letting loose on some absolute stompers. Keeping the energy high and happy throughout, the internationally-acclaimed producer plays a classic Disclosure set, switching seamlessly between house (provided by the likes of Basement Jaxx, Chris Lake and Disclosure themselves) and UKG (from Higgo, Sammy Virji and Bushbaby).

London Afro house specialists Tribal Brothers are joined by UK funky legends DJ Ma1 and DJ Naughty for their Rinse FM residency. It’s a full circle moment for the hosts as they recall growing up listening to their guests on the very station they are about to go B2B on. And, if this doesn’t get you on your feet and dancing, then we don’t know what will. With MC Ramzee on the mic, the mood is kept infectiously lively, with the occasional wheel up transporting you straight to the club. Meanwhile, the four DJs compete to bring you the naughtiest, bounciest, and deepest cuts from UK funky out there.

Switching effortlessly between vinyl and CDJs, underground house connoisseur JADALAREIGN gives a masterclass in deep house. This is the type of house you want to hear played out of the world’s best soundsystem in order to hear every single delicious and intricate layer, from melting, jazzy chords to soul-stirring vocals to futuristic synths. Playing new releases from Theo Parrish’s Sound Signature label and tracks by Fred P and Larry Heard, the New York native spans eras with her selections, while maintaining a strong footing in the canon of Black American house music.

In a surprise b2b, Chloé Caillet joined DJ Seinfeld at this year’s magical Lost Village Festival. Conjuring up a sweet treat for the ears, the pair dive in and out of some summery trance, Ibiza house and even weaving in some bassline towards its closing hour.

Celebrating 25 years of London’s favourite nightclub, p-rallel has given us a taste of what you’d hear at his set in the club. Playing possibly 99% of his own tunes, you know exactly what you’re getting yourself into with this one. You won’t be disappointed.

Opening with the iconic DJ Rashad’s ‘In Da Club Before Eleven O' Clock’, DJ Spinn takes us through the ultimate footwork mix with some fun surprises to boot. Blending the likes of DJ Manny’s ‘All I Do Is (Smoke Trees)’ with Thundercat’s ‘Them Changes’ to dropping Pitbull’s ‘Hotel Room Service’ amid a flurry of fast-paced beats, this is one hectic mix. Going through some of the genre’s greats whilst partying in a lift in his Teklife hat; what more could you want?

Recorded live at HVYWGHT, Fearless Dread and Axle go toe-to-toe on this effortless mix sifting through old skool dubstep and moody 140 BPM cuts. Featuring unreleased cuts locked deep in the vaults and a few tracks from the likes of Goth-Trad and Axle himself, this set brings it right back to the late ‘00s.

You’ve seen Jayda G dance coolly behind the decks surrounded by fans, but have you seen her do it seven months pregnant? When Jayda G stepped into Mixmag HQ to perform live in The Lab LDN, the Canadian DJ and producer said she was advocating for “more pregnant DJ streams” after struggling to find many online. This hour-long mix takes you on a classic Jayda G journey, comprising of groovy house, euphoric disco, and quintessential club cuts - all with a baby on board.

With this peak-time mix for Crack, London’s Angel D’lite provides pure sonic bliss and playful blends over the course of 75 minutes. “Lots of smoke, strobes, a diverse and up for it crowd,” as she describes it, “as if I was playing a closing set at [Manchester’s] The White Hotel, lights up!”. This one is packed with rave and club sensibility, perfect sun-up material.

The interface between post-punk and dance music is often seen as a wide corridor rather than a thin line. However, acts such as High Vis, who in the symbolic sense encourage audiences to dance to rapturous, up-tempo music, and in a literal sense blend through dance genres such as house, breaks and UKG, are helping to slim down that gap — charting the parallels between rock and electronic through the lens of Madchester-inspired fusion. So it makes sense that the Merseyside crew’s breakneck NTS mix this month, which saw them enlist the help collaborator and garage DJ and vocalist Ell Murphy, saw them mix through tracks from the likes of Fun Boy Three, Delilah Holiday, New Order, Nibiru, The Cranberries and more.

In a world of jam-packed line-ups, high-profile B2Bs and hour-long DJ streams, it can sometimes feel like those wide-spanning, narrative-driven sets are becoming more and more rare. Thank God for Brussels’ very own master of atmosphere, Nosedrip — who shared a spine-tingling hour-and-three-quarters snippet from his set at Meakusma Festival this month. Easing in with a chug-heavy array of ‘80s synth gems, scuttering low-end percussion and moody rhythm by way of Antaeus’ ‘Byzantine Meditation’, Nosedrip kicks things up around the 40 minute mark with some blistering bass, sweltering kicks and fractured acid squelch from Random Factor’s ‘Broken Mirror’; finishing off with a punchy mix of The Antenna’s ‘Just Your Love’.

Ecuadorian DJ/producer and Infinite Machine alum Entrañas dishes up a turbulent hour for Mixmag’s The Mix series, showcasing the wealth of frenzied percussive club music from producers across Latin America alongside a selection of his own creations — blending Bomba del chota, albazo, guaracha, Latin bass and more. The result is a full-throttle mix that rarely lets your pulse slide down from 130 BPM, with a varied percussive soundscape that still manages to place rhythm at its heart.