Dubstep guru and Bristol import Sir Hiss pays homage to the early days of FWD and Plastic People on his latest release, ’Selenki’, which dropped alongside B-side ’37 Surrey Street’ this month. Released via his own imprint No More Mailouts, the producer melds this snarling bassline with piercing kicks on a classic 140 track channelling the early energy of London’s Big Apple Records.

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Tirzah’s velvety voice has a way of cutting through even the heaviest of beats, but on her latest track ‘Ribs’, that recognisable falsetto vocal shines through on its own with the help of a simple, effortless acoustic riff. Written alongside long-time collaborators Coby Sey and Mica Levi, ‘Ribs’ is a step away from her last release and has the makeup for a new era of Tirzah - simple, poetic, and downright charming.

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Percussive producer TVSI and Hyperdub’s Loraine James are the duo we didn’t realise we needed until the release of their new collaborative EP, ‘053’. Amongst the deluge of sharp, intricate tracks piecing classical instruments with electronic experiments, standout number and opening piece ‘Gloom’ features a delicate piano chord injected with punchy, clunky drums, almost indecisive of its place up against this experimental five-tracker, but fitting all the same.

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XHOSA’s recent hip hop belter ‘Push It’ received a special rework from Jersey Club sorcerer UNIIQU3 earlier this month, shifting the pace from funky New York flair to pure club hedonism. Flipping the track double speed, UNIIQU3’s remix chops up the singer’s euphoric vocal and rebirths it in this energetic, lightning-speed flip.

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Harkening back to the halcyon of euphoric, early-noughties Eurodance, TDJ’s ‘Sway (The Places She Goes)’ is a harmonious voyage into rapturous trance from the get go. The first single from the Montreal-based artist’s album ‘TDJ123’ is laden with dreamy pop hooks, unabashed rave ecstasy and a whole lot of heart. Soft vocals from the producer, real name Geneviève Ryan-Martel, are delicately laid over punchy drums and burgeoning, intense synths. In true 2K style, the boisterous drop is easily the high point, with just enough sharp build up and a bouncy, valiant bass at the peak that you will find it nigh-on-impossible not to want to raise your fingers into lasers in bliss.

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The lead single of More Time Records boss’s first EP since 2020, ‘Spaceship’, is a perfect combination of Ahadadream’s signature cacophonous percussion and some out-of-this-world bass. Inspired by Ahad’s first time back in his native Pakistan for 10 years, the record oscillates between those ever-so-punchy UK funky-esque drums, eerie lasers and tinny cowbells to create a full-bodied, high-energy club track, just yearning for a sweaty basement spin.

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Bold, effervescent and catchy as hell, M.I.A’s ‘The One’ sees the British/Sri-Lankan rap superstar demonstrate why her brand of sugary, pop-rap is as relevant and vibrant now as it was in 2007 with ‘Paper Planes’. The track was announced alongside confirmation of her new album ‘MATA’ — and feels more like a sales pitch for M.I.A’s new era (or old era) than a standalone single. She rowdily raps about her cultural prowess declaring: “head for the gate art in the Tate, I’m the thing that sons imitate,” while later posing a bit of a declaration of intent, promising to return to her clubroots with: “new era I'm gonna bring it in to the basics get the club bubbling” over a mix of soft trap and hyperpop-esque squelches.

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Spanning 3.30 minutes, the first single from Morgan’s upcoming album ‘Ghostin Me' is a shiny, endlessly complex peak-time banger that manages to find just the right balance between uproarious drums and silky 80s-synths. It’s a meandering, blissed-out track full of those addictive peaks and valleys that will have you glued to the spot, eyes-closed and hands raised to the ceiling in euphoria. Vocals from Lisbon-based vocalist Jules are employed over the hastening drum beat and woozy high-pitched chimes like a synth, trickling deeper into the track until there’s nothing else left. The kind of track you’ll hear 10 times and find something different within its depths upon each listen.

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This track, from Kendrick’s newest album ‘Mr Morale & the Big Steppers’, tackles themes such as ingenuity, hypocrisy, the state of a materialistic society and self-awareness. Narrated by expressive synths and an infectious beat, ‘N95’ is as musically complex as it is lyrically introspective. It provides a rich commentary on the superficial nature of much of today’s society, all while Lamar gets the opportunity to show off the range of his musical and lyrical skill.

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Space-like, soft, and full of bouncy rhythms — this track showcases the merging of Lava La Rue’s various musical influences, from rock to acid rave. This track has a wide sonic range that will keep listeners on their feet, with one moment being ethereal and the next moment being hard-hitting. Featuring fellow NiNE8 member Biig Piig, ‘Hi-Fidelity’ captures the DIY ethos of the collective by sounding raw, emotional and is fuelled by creativity.

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‘Heaven’ is a rave-ready track full of pacing drums, deep drops, and a propuslsive BPM. Seasoned with South Asian influences, Surusinghe shows off the versatility and accuracy in her production skills as the track sounds crisp, fast, and varied. It’s made for dark dancefloors, and is a surefire turntable favourite over the summer festival and winter club seasons.

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You likely heard this housey banger upon its first release back in 2012, however it has now been re-released for streaming along with remixes by Denham Audio and Logic1000. With almost eight minutes of layered goodness, it is a near-perfect track with its gradual build-up and solid beat. Released on Dusky’s very own 17 Steps, it may bring back memories of past parties or could be just the thing you’ve been waiting for.

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KH AKA Kieran Hebden AKA Four Tet’s ‘Looking at Your Pager’ is a real hit from the electronic pioneer. Merging his twinkling twangs of atmospheric production with some teeth-clenching bass as well as a sample of 3LW’s 00s hit ‘No More (Baby I’ma Do Right)’ - this track has it all.

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The rumours of Aitch sampling the iconic The Stone Roses ‘Fools Gold’ felt like it could be a make-or-break moment for the artist — however it was love at first listen. With a hook that is so catchy and built within English culture, it's great to hear it revitalised for the younger gen to enjoy. Aitch’s forever witty lyrics echo the light-hearted nature of this sample and nod to the rise of Manchester-based talent.

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An enchanting track that makes you feel as if you were travelling through space, this echoey and mysterious collaboration is filled with harmonies. A tactically orchestrated song, ‘Prayer’ does have a religious sense to it with its angelic cries.

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