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DJ Support: Paul Woolford, Machinedrum, Kettama, LDLDN, Sinistarr, A.Fruit, Machine Woman, Octo Octa, Paco Osuna, Bradley Zero, Tzusing, Lefto, Synkro, John Tejada, 12x12 and many more

BBC6Music - Gilles Peterson

NTS - LDLDN

BBC6Music - SHERELLE - DJ Mix and Interview

NTS - Ross Allen
Enter the kaleidoscopic world of Lone - returning to Greco-Roman for his first album in five years, ‘Hyperphantasia’

An artist who has been soundtracking dancefloors since the early 2000s, Lonemade his production debut in 2008 with “Lemurian”, a hip-hop inspired release before moving into the vibrant future-facing soundscapes we have come to know. His back catalogue ranges through house, rave, ambient and electronica, and on ‘Hyperphantasia’, Cutler sets himself the challenge to bring all of those influences together for one body of work that he describes ‘like an album in my mind’. Referring back to the album title, the definition of hyperphantasia is a condition characterized by exceptionally vivid and detailed mental imagery and for this album he tested himself to see how close he could get the music to sound exactly like what he was hearing in his imagination.

On Hyperphantasia, Lone deepens his relationship with vocals. Having previously relied on vocal samples or more abstract live vocal treatments, this latest album marks a shift toward richer, more pop-leaning sensibilities. Cutler makes a clear lyrical statement, enlisting a diverse and carefully chosen cast of collaborators: London-based artists and fellow Greco-Roman affiliates Ell Murphy and Lou Hayter, Barcelona’s breakthrough singer Bikôkô, cult Nottingham rapper Juga-Naut, and Hong Kong-born, London-based musician Merry Lamb Lamb. Together, they contribute to what stands as a career-defining project.

The end result is a cinematic experience exploding full of colour. You are introduced to the album with an old school rave anthem ‘Life Spark’ and an interlude welcoming you into this musical world. Like chapters in a novel, the album ebbs and flows beautifully between stripped-back melodies ‘Opening A Portal’, ‘Photographs That Don’t Exist’, ‘Sickly, Sweetly, Summer Movie’ and ‘Fruit Rots, Water Floats Downstream’, bubbling feel-good house ‘Affinity (Cloud Four Four Mix)’, ‘Triton’ and ‘ Wemove’, the rap-influenced ‘Throw The Ember’ and epic future-pop tracks ‘Miracle Mile’, ‘Big World’, ‘Scattergun’ and ‘Home’. The album ends with a full circle moment, back to the early hardcore and jungle rave scene, on ‘Ascenscion.png’.

Geboren im Sommer '96/'97 - dem Jahr des Höllenschweins - brannten Mustang als soziales Experiment aus der Innenstadt Tasmaniens heraus. Sie kamen mit ziemlich viel davon, andere hätten für weniger wohl nicht mehr gleich ausgesehen.Sie sauf-ten, machten Sachen kaputt und brachten dieses Chaos in das Schreiben von Banger-Songs - während sie sich bei den ,Proben" XXX Ales reinzogen und bei sehr wichtigen ,Bandmeetings" Protokolle führten.Mustang schütteten Benzin über ihre tasmanische Ödnis, bevor sie 7,69 Millionen Quadratkilometer Landmasse der Erde in sich aufsogen und dort ,dominierten", auf die einzige Art, die sie kannten: laut, wütend und zu ihren eigenen Bedingungen - und nahmen dabei Horden williger Partygänger mit auf die Reise.Über drei Non-Studio-Alben und eine Handvoll kleiner Veröffentlichungen hinweg bauten Mustang einen Katalog auf, der von Bier, Speed und störrischer Unabhängigkeit geprägt war. Kein Glanz. Kein Trendgehechel. Kein Buckeln vor dem Mann. Sie ritten ein, tranken, was da war, und hinterließen klingelnde Köpfe.Cut Up Rough (2015) war ihr Schwanengesang - geboren in einer Heuscheune am ausgefransten Rand von Tasmaniens Rock-Hochburg. Aufgenommen über zwei schlaflose, bierselige Tage wurde das Album mit improvisierten Drum-Takes, aufgedrehten Gitarren und purem Instinkt in die Existenz gerissen. Die Band lebte während der Aufnahmen buchstäblich in der Scheune - schiss ins Gras, schlief zwischen leeren Dosen, und ließ Isolation und Absurdität direkt in billige Mikrofone bluten.

Grounded in a season of life that has been earned rather than borrowed, Benjamin Tod speaks with the ease of someone no longer running from himself. There is joy now - a steadiness that comes from commitment. With the recent arrival of his son and a deep well of new music on the horizon, Tod is firmly rooted in both purpose and possibility. That clarity is evident in Vengeance and Grace, the Lost Dog Street Band frontman's forthcoming and most expansive solo album to date. Conceived as a "dual-version" release, the project presents two parallel worlds: (Alone) is a stripped solo-acoustic version, along with its full band counterpart.

Together, the two versions form the full range of what Tod is capable of: restraint on one side, force on the other. At the core of Tod's writing is a simple conviction: music should serve something larger than the moment. His writing speaks to mind, body, and soul, shaped by faith, discipline, and a hard-earned understanding of consequence. The darkness that once defined him is neither denied nor indulged. It is understood and no longer in control. Today, Tod moves with a sense of calm that wasn't always there. He is grateful, settled, and intentional, continuing to follow the compass that's guided him from the beginning. Rooted in traditional country and folk, his work stands firmly in the modern music landscape, shaped by experience, restraint, and the life he's built around it.

Mit „Stabile Poesie“ liefert Bosse ein kraftvolles, emotionales Album, das seine unverkennbare Handschrift
zwischen Indie-Pop, Tiefgang und unmittelbarer Nahbarkeit einmal mehr unter Beweis stellt. 12 Songs voller
Haltung, Wärme und poetischer Direktheit, gemacht für große Bühnen und intime Momente gleichermaßen.
Zum Release stehen attraktive physische Konfigurationen für Fans und Sammler bereit:
Die Standard LP erscheint auf schwarzem Bio-Vinyl und vereint alle 12 Tracks in hochwertiger Ausstattung.
Ergänzt wird das Angebot durch die CD im Mintpack als kompakte Alternative.
Die Ltd. 2CD im Hardcoverbuch kombiniert das Album mit 10 Live-Tracks und punktet durch hochwertige
Verpackung.

KONNAKOL, ZAYNs fünftes Studioalbum, ist sein bisher am stärksten kulturell geprägtes Projekt. Das
poporientierte Album erweitert den Sound, den die Fans erstmals auf seinem rekordbrechenden DebütStudioalbum ”Mind of Mine” hörten. KONNAKOL ist in seiner Definition der Akt, perkussive Klänge mit
der eigenen Stimme zu erzeugen, aber was es für ZAYN bedeutet, liegt viel tiefer. Es ist ein Klang, der
den Nachhall einer Zeit vor der Existenz von Worten in sich trägt. Inspiriert von seinem eigenen Erbe ist
dieses Album eine Weiterentwicklung dieses Verständnisses, in dem er jetzt mehr denn je weiß, wer er ist,
woher er kommt und wohin er gehen will.
ZAYNs fünftes Studioalbum ”KONNAKOL” erscheint auf Vinyl & CD.

Marking both the debut of the label and his first solo EP, Sasho Uzun fuses classic and contemporary house influences into 4 percussive and sensual cuts crafted purely for the floor. Shaped by the legendary club “Sektor 909”, this EP embodies raw groove, deep tension and southern warmth that perfectly captures the sound of Bare Minimum.

Mastered by DJ Goce Artwork by David Manev

Following the critical success of last year’s ‘Cold Feet’ LP, producer, DJ, and multi-instrumentalist Alek Lee returns to Isle of Jura with his most introspective work to date, the ‘Blue Bird’ album. Across eight tracks, the Athens-based artist explores what he describes as a "Peculiar state of minds & Dub Orientated Feelings," blending his signature guerrilla style production with deep, organic soul.

The album’s centerpiece and title track, ‘Blue Bird’ features the haunting vocals of singer-songwriter Keren Ilan. It is a raw, heartfelt exploration of the aftermath of a breakup. The lyrics speak of a "desert heart" and a "loss that grows tall and loud," eventually finding a path toward healing as the "blue bird sings the dawn." Musically, the track is anchored by hazy, sun drenched guitars, a central instrument that weaves a consistent Balearic thread throughout the LP.

The journey through ‘Blue Bird’ is one of shifting shadows and unexpected textures. ‘Treasures’ is a standout instrumental, leaning into a grit-flecked, bluesy "twang" reminiscent of Duane Eddy, while ‘The Beach Road’ sees long time collaborator and ‘Shame On Us’ bandmate, Yovav, lending his magical bass and guitar work to a track that feels like a slow drive toward the horizon.

Side B shifts the energy toward the dancefloor and the sophisticated leftfield pop of the 80s. ‘First Rain’ is a subtle house leaning gem underpinned by a kick drum and lush, synth heavy emotive chord progression. ‘Thanks to Sade’ is a seductive downtempo groove with epic guitar lines shifting through, while ‘Remember the Good’ brings a subtle reggae skank and a French-influenced organ sound into the mix. The LP comes full circle with a smoked out Dub version of the title track ‘Blue Bird’.

A 180 gram pressing in a 3mm spine full colour sleeve and sticker designed by Bradley Pinkerton.

Dirty Dike's legendary High Focus Records debut 'Constant Dikestar' featuring classics such as 'Pork Pie', 'Hi I'm James' as well as appearances from Jam Baxter, Fliptrix, Ronnie Bosh, Edward Scissortongue, Mr Key, Leaf Dog, BVA, Stig Of The Dump and more!

Limited edition 15 year anniversary repress on colour vinyl, full colour 350gsm reverse board sleeve. 14-track LP over 1-disc. Shrink wrapped.

Silver foiling on the '15 Year Anniversary' text on front of sleeve.

Album comes with digital download upon purchase.

‘Batteries Not Included (Brain Sold Separately)’ EP Arrives Via No Static Automatic

No Static Automatic is proud to announce the new EP from UK Electro legend Phil Klein under his Mental Note alias. Titled “Batteries Not Included (Brain Sold Separately),” this release marks the dynamic follow-up to the acclaimed 2020 debut “Voices In My Head (Noises In My Pants).”

Few authentic Electro producers from the UK can wear the badge ‘legend’ with the same level of justification as Phil Klein, aka Bass Junkie. Active since the late 80s, Klein has tirelessly shaped his distinct vision of Electro, both as a solo artist and through storied collaborations with icons like Dynamix II, Keith Tenniswood (Radioactiveman), and Si Brown (Dexorcist). As a DJ, remixer, live act, and the driving force behind the seminal Battle Trax label, his influence is woven into the fabric of the genre.

With essential releases on labels including DMX Krew’s Breakin’ Records, Andrea Parker’s Touchin’ Bass, and Billy Nasty’s Elektrix, the Bass Junkie sound seamlessly bridges the old-school beats of Electro’s origins with a potent, borderline-industrial edge. As noted by Andy Barton of Bass Agenda: “From funky to ferocious, Bass Junkie’s discography is a must-have for anyone claiming passion for the genre – influential, individual, and infectious with every beat.”

Now, as Mental Note, Klein continues his exploration of electronic psychedelia. The new EP, “Batteries Not Included (Brain Sold Separately),” is a four-track expedition through the Electro cosmos:

“Brainwash” immerses the listener in swirling, hypnotic synths.
“They're Not Blue, They’re Purple” delivers a masterclass in crunchy, textured drums.
“Primordial Soup” showcases frantic, intricate programming.
“Kluster Funk” offers a moment of deep, sonic relief and groove.

Each track reinforces Mental Note’s signature: a journey that is cerebral, raw, and irresistibly rhythmic.


About Bass Junkie/Mental Note:
Phil Klein, operating primarily under the alias Bass Junkie, is a cornerstone of the UK Electro scene. For over three decades, his work has defined and evolved the sound, earning him a revered status among peers and purists. His Mental Note project is a focused outlet for a deeper, more experimental strand of his production genius, further solidifying his legacy as an electronic music innovator.

Wanda Felicia ist wieder bei Timmion Records mit ,Reflections Of Love" b/w ,All In The Game", einer gefühlvollen und echt menschlichen Doppel-A-Seite, die zwei sich ergänzende Facetten ihrer Kunst zeigt. Diese Veröffentlichung, die aus ihrem Debütalbum "Now Is The Time" stammt, rückt Wandas ausdrucksstarke Stimme und emotionale Klarheit in den Mittelpunkt, unterstützt von der unverkennbaren analogen Wärme von Cold Diamond & Mink. Auf der A-Seite sorgt ,Reflections Of Love" mit einem entspannten Funk-Unterton für mehr Tempo. Wandas Stimme schwebt selbstbewusst über dem Beat und vermittelt eine Reflexion über die Liebe, die ebenso tanzbar wie herzlich ist. Wenn sie ,you really got me now" singt, ist der Zuhörer bereits ganz bei ihr. Die B-Seite, ,All In The Game", verlangsamt das Tempo zu einer kraftvollen Beat-Ballade, in der Geduld und Ausdauer im Mittelpunkt stehen. Unterstützt von einem langsam brennenden Groove liefert Wanda eine Performance voller Entschlossenheit und stiller Stärke und erinnert uns daran, dass Liebe - wie das Leben - sich nach ihren eigenen Regeln entfaltet. Zusammen bilden diese beiden Songs eine wunderschön ausgewogene Platte, die Wanda Felicia von ihrer überzeugendsten Seite zeigt und ihren Platz als eine der faszinierendsten Stimmen von Timmion bestätigt.

Wanda Felicia ist wieder bei Timmion Records mit ,Reflections Of Love" b/w ,All In The Game", einer gefühlvollen und echt menschlichen Doppel-A-Seite, die zwei sich ergänzende Facetten ihrer Kunst zeigt. Diese Veröffentlichung, die aus ihrem Debütalbum "Now Is The Time" stammt, rückt Wandas ausdrucksstarke Stimme und emotionale Klarheit in den Mittelpunkt, unterstützt von der unverkennbaren analogen Wärme von Cold Diamond & Mink. Auf der A-Seite sorgt ,Reflections Of Love" mit einem entspannten Funk-Unterton für mehr Tempo. Wandas Stimme schwebt selbstbewusst über dem Beat und vermittelt eine Reflexion über die Liebe, die ebenso tanzbar wie herzlich ist. Wenn sie ,you really got me now" singt, ist der Zuhörer bereits ganz bei ihr. Die B-Seite, ,All In The Game", verlangsamt das Tempo zu einer kraftvollen Beat-Ballade, in der Geduld und Ausdauer im Mittelpunkt stehen. Unterstützt von einem langsam brennenden Groove liefert Wanda eine Performance voller Entschlossenheit und stiller Stärke und erinnert uns daran, dass Liebe - wie das Leben - sich nach ihren eigenen Regeln entfaltet. Zusammen bilden diese beiden Songs eine wunderschön ausgewogene Platte, die Wanda Felicia von ihrer überzeugendsten Seite zeigt und ihren Platz als eine der faszinierendsten Stimmen von Timmion bestätigt.

For his new full-length on Second End Records, Lyon-based artist Jonnnah turns deeply inward. Conceived as a form of therapy, as much as a reflection and a testimony, the record retraces a process of introspection and confrontation with one’s own history, looking back at origins, DNA, and the invisible ties that connect us to our ancestors, while opening paths toward new connections.

The double-sided structure of the album makes this journey tangible. The first side lingers in uncertainty : opaque atmospheres, fragmented rhythms, and restless textures mirror the doubts, questions, and fragile states of self-analysis. The second side, in contrast, embraces clarity and resolution, dense yet luminous soundscapes where reconciliation and acceptance take shape, culminating in The Blue Comet, a piece charged with finality and revelation.

Opening with the multipart suite N-zero, symbolizing the beginning of therapy, and closing with O-one, evoking the soul’s original purity, the record traces a complete emotional and spiritual cycle. Between them, the third edition of Insomnia Never Ends once again portrays the struggle between sleep and the irresistible pull of musical distraction, a fragile tension that runs through the album as a whole.

The record condenses Jonnnah’s language into something rawer and more direct. Layers of dub and dub sonic resonate against ethereal ambient passages, while techno impulses maintain tension and forward motion. Each piece feels at once intimate and expansive, designed as much for solitary listening as for collective experience.

A new chapter in Jonnnah’s trajectory, the album is a document of transformation : from shadow to light, from questioning to acceptance.

The fifth release on Objekt’s Kapsela imprint is (re)weave, an EP of crystalline club tracks from Detroit-born, London-based producer Tristan Arp.

(re)weave was written during a prolonged period of flux for the artist. “When I started making this record, my life and the world felt like a maze,” he recounts. As he routed and re-routed through past and future homes – Mexico to New York to Detroit to Mexico and finally to London – his output bore the marks of this repeated uprooting. “I was thinking about making music that reflected these twists and turns, and the knotty pathways through them. I was also re-reading Borges around this time, which must have influenced my interest in labyrinths.”

Accordingly, the EP is a mycelial puzzle, a tangle of spidery, undulating ostinatos and earthy percussion, stitched through with syncopated kicks. Employing the sounds of multitudinous critters and kin – whales, insects, thunder, water, forests – the arrangements sum to a sentient mesh of organic matter, the compositions living and breathing like earthly beings. Kaleidoscopic tendrils explore in every direction but are always underpinned by a driving, percussive backbone. It’s not easily classifiable: it’s bass-driven, but to simply call it “bass music” would sell it short.

In keeping with the winding geographical paths traced over the EP’s creation, (re)weave saw Tristan Arp revisiting and reinterpreting unfinished sessions and incorporating them into newer ideas. Rhythms and sounds have been transplanted and self-recycled from previous projects and woven into the fabric of the record. In this way, (re)weave also describes a looping back over time, a recalibration of the self from past to present through interlocking rhythms, channeling and communing with versions of oneself from times gone by.

The closing track, Wish Server, slows the EP to walking pace and hints at tentatively emerging from the deepest jungle into a delicate, innocent light. Tristan Arp imagines it as a dialog with a baby-self. “Some of my earliest memories are of sitting at my mother’s loom,” he offers. “The sequence of these tracks traces these feelings and follows the thread back to the primordial soup… through mazes… to a feeling of levitation.”

Arguably one of Get Physical’s most influential tracks, ‘O Superman’ sees a new release with remixes from Man Power and SIS alongside the 2008 version from Robag Whrume and a remaster of the now classic original. Man Power kicks off the new interpretations with an epic, ten and half minute version that patiently stretches the original’s melodies into pads and held bass tones across crisp, micro-house styled beats before unleashing loose, clattering breakbeats after a striking, extended breakdown. SIS’s dreamy, percussive version sees the German producer in hypnotic, and tracky form, focussing on the ebb and flow of the original’s tuneful vocoder and synth work that drift across his perfect groove. Robag’s Pumper-Nikkel remix, for those that missed it some years back, is yet another funky, chopped, sliced and diced piece of work from the playful producer and still sounds as fresh as ever. M.A.N.D.Y. vs Booka Shade feat. Laurie Anderson - O Superman Remixes are released on Get Physical 12” in late July with a digital release following in the Autumn.

mixed by aloisius

mastered by Amir Shoat

tracklist poem written by Isaiah Hull

releasing on digital + physical (Vinyl, CD & Cassette) 9th April 2026. Physical editions will feature a secret unlisted bonus track.

aloisius is a prolific, artist and producer, who recently produced a full length album for Pretty V, which released via life is beautiful records (and sold out at Big Love & Rough Trade). aloisius has also collaborated with artists such as: James Massiah, CTM, Nova Varnrable, DJ Spanish Fly, Cities Aviv, zukovstheworld, Kenichi Iwasa & many others.

‘vernacular’ is the debut studio album by improvisation-based artist, and founder of life beautiful, aloisius.

Built entirely from layers of improvised instrumentation recorded via laptop microphone, using various instruments such as guitar, piano, cello, trumpet, saxophone, drums & voice. vernacular is inspired by the spirit of collective improvisation, and embodies aloisius' instinctual & organic approach to musical composition.

Crafted solely by aloisius (except for track 6, which features a layer of piano by life is beautiful member, friend & collaborator Bianca Scout).

To celebrate the release of the album, a semi-improvised interpretation of the project will be performed live by ‘orchestra379’ (a collective improvisation project curated by aloisius, consisting of a fluctuating lineup that differs on each occasion of performance). Initially in London, then at a select few cities across Europe.

DJ Support: Kerri Chandler, Folamour, Louie Vega, Jazzy Jeff, Dimitri From Paris, David Morales, Dave Lee, The Shapeshifters, Brian Tappert, Quentin Harris, Michael Gray, Terry Hunter, Hector Romero, Tedd Patterson, Dr. Packer, Marcel Vogel, Dj Pippi and many others

Groove Culture main men Micky More and Andy Tee are once again at the controls as the label presents its' Third collection of “Groove Is In The Heart”. As with the popular imprint's various EPs, the focus is on joining the dots between organic house, revivalist disco, uplifting dancefloor soul and colourful jazz-funk. There's much to admire from start to finish, a very strong bunch including MM & AT,Gianni Bini and Angela Johnson celebratory cover of EWF swirling disco-funk ‘In The Stone', a wonderfully rolling and funky-House joint titled ‘Let The Rhythm’ from Ralph Session & Djfudge, Memi P. And Gisele Jackson tasty Feel Good Classic-house Tune “Make It On My Own” and the soulful-house warmth of Audiowhores ‘Touch The Ground' Feat. Angela Johnson.

Peter Karp gehört zu den unverwechselbaren Stimmen der amerikanischen Americana-, Blues- und Roots-Szene. Seine Musik verbindet kraftvolle Emotionen, feines Storytelling und eine tiefe Verwurzelung in den Klangtraditionen des amerikanischen Südens. Aufgewachsen zwischen New Jersey, New York City und Alabama, entwickelte er früh ein Gespür für die Energie urbaner Songkultur ebenso wie für die Ursprünglichkeit des Blues. Künstler wie Robert Johnson, Muddy Waters oder Howlin" Wolf prägten ihn ebenso wie die poetische Kraft von John Prine und die erdige Direktheit von Joe Ely. Karp schreibt Songs, die das Leben so zeigen, wie es ist: ehrlich, rau, humorvoll und voller beobachteter Details. Seine markante Stimme, sein expressives Gitarren- und Pianospiel und sein Gespür für melodische Hooks machen ihn zu einem der respektiertesten Songwriter seines Genres. Kritiker loben seine Fähigkeit, Blues, Folk, R&B und Americana zu einem eigenen, zeitlosen Stil zu verbinden. Peter Karp steht für authentische amerikanische Musik - tiefgründig, mitreißend und voller Charakter. Ein Künstler, der die große Tradition des Songwritings fortführt und gleichzeitig seine ganz eigene Handschrift setzt.

Baby‘s Gang - Happy Song, der Italo-Disco-Hit aus dem Jahr 1983 ist stilvoll zurück auf farbiger Maxi-Vinyl.

Auf Seite A befinden sich die Original Versionen und auf Seite B gibt es zwei exklusive, neue Remixe von Pulsedriver und BK Duke – perfekt für Sammler und DJs, die den RetroSound mit frischem Drive schätzen.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.