Midnight Evolution Midnight Evolution continues his run of new music with ‘Solstice’, a Progressive House single landing on Addictive Sounds alongside a remix from Vasily Goodkov. The release follows appearances on labels including Freegrant Music, FSOE Argento and Elliptical Sun Recordings, with Midnight Evolution continuing to develop a sound centred around melodic progression, atmosphere and driving club energy. ‘Solstice’ builds from a rolling bassline and tightly controlled percussion, with textured synths and ethereal melodic elements gradually expanding the arrangement. A weighty low end keeps the track moving while its brighter melodic elements provide contrast above the groove. The production opens up during a vocal led breakdown, where sustained swells and wordless vocal motifs shift the focus towards its more emotive side. As the rhythm returns, dynamic leads and hypnotic melodic sequences bring the track back towards the dancefloor without disrupting its steady progression. Vasily Goodkov provides the accompanying remix, offering an alternative interpretation of ‘Solstice’ and extending the package beyond Midnight Evolution’s original. The single arrives during a productive period for Midnight Evolution as he continues to expand the project beyond studio releases. Alongside new music and live appearances, he is also preparing to launch ‘Midnight Diaries’, a new radio show intended to provide another outlet for his wider musical direction. With ‘Solstice’, Midnight Evolution adds another release to a growing catalogue of Progressive House productions while continuing to establish the melodic and atmospheric qualities at the centre of his sound. Midnight Evolution Beatport | Instagram | Spotify Addictive Sounds Beatport | Website

Mack Loenz Barcelona-based Mack Loenz represents the latest evolution of Larry McCormick, the producer long established within electro as Exzakt. Rather than leaving that history behind, the project opens it up, bringing vocals, melody and pop sensibilities into a sound still grounded in electro, bass and synthesiser-driven electronics. That progression comes into focus on ‘From The Heart’, his new ten-track album on Maceo Plex’s Lone Romantic. Moving between glistening arpeggios, heavy subs, soaring pads and melodic vocals, the record explores melancholy, romance and futuristic tension while retaining the physicality of McCormick’s club-focused roots. For this edition of Influences, Mack Loenz traces that evolution through five records with direct connections to different stages of his life. From Kraftwerk’s approach to arrangement and the electro record that started his collection at 15 to the track that made him want to produce and a later influence on the Mack Loenz project itself, each reveals another part of the story behind ‘From The Heart’. Kraftwerk – Numbers / Computer World 2 “I've always loved the way "Numbers" moves directly into "Computer World 2" and feels like one continuous piece of music. That transition really stuck with me. I loved the idea of combining two different songs into one experience and letting one idea naturally lead into another. Kraftwerk obviously had a huge influence on me and on the Exzakt sound, but this particular record made me think about arrangement and progression in a different way. It showed me that a song can feel like a journey instead of just being one idea repeated from beginning to end.” Kavinsky – Nightcall “"Nightcall" had a huge influence on the direction of Mack Loenz. I loved the way it combined electronic production with vocals and a pop feeling while still sounding authentic. I also loved it in the movie Drive, where the song and the atmosphere of the film worked together perfectly. That combination of electronic music, strong vocals, melody and emotion really connected with me. It helped reinforce the idea that I could bring more of those elements into my own music while still keeping the electro foundation I've developed over the years.” The Egyptian Lover – Egypt, Egypt “This was the first record I ever bought. I was about 15 when I heard it at the skating rink, and I immediately went up to the DJ to find out what it was. I went to the record store and bought it, which started my own record collection. Before that, I had only been listening to my grandmother's old records. I didn't know it at the time, but the deep electro, melodies and vocals stayed with me and became a foundation for the way I hear music. Looking back, I can hear how much of that first experience eventually found its way into my sound as Exzakt and Mack Loenz.” Wicked Wipe – 10:59 P.M. “This was the record that made me want to produce. I heard it years after discovering those early electro records, when I was older and going to clubs. One night, an alternative night turned into a rave, and when this track came on, people started forming a breakdance circle. It immediately brought me back to being a kid. I ran to the DJ booth trying to find out what it was, but I couldn't figure it out until years later. That experience stayed with me because it was the first time I really thought about making electronic music myself.” The Beat Club – Security “"Security" connects directly to my Miami roots and is a great example of the personality I love in electronic music. It has vocals, scratching and a very distinct Miami feel, and all of those elements give the record a character that really stayed with me. It's not just about the electronic production. You can feel the personality of the people making it. That connection to the Miami sound is a big reason it has remained important to me and why I hear a direct relationship between this kind of music and my own sound as Exzakt.” Taken together, Mack Loenz’s selections trace a path through the ideas that have stayed with him across different stages of his career. Kraftwerk’s approach to progression, The Egyptian Lover and The Beat Club’s electro foundations, the formative impact of Wicked Wipe and Kavinsky’s meeting point between electronic music, vocals and emotion each connect with a different element of his work. On ‘From The Heart’, those threads meet within a project that builds on the foundations of Exzakt while giving McCormick room to explore a more melodic and emotionally direct side of his music. Mack Loenz Instagram - Beatport

Dan Andrei Romanian producer Dan Andrei has made his Half Baked debut with ‘Orange Sunrise’, a new three track EP released on 7th September. Marking the label’s 26th release, the project finds the Rainbow Hill Records boss working through the deeper end of his minimal house sound, pairing stripped back grooves with the hazy atmosphere of late summer mornings and afterhours sessions. ‘Orange Sunshine’ opens with a pensive electric piano before a rising bassline moves into focus. Synth melodies drift throughout the arrangement, giving the track a warm, spacious quality while Andrei keeps its rhythmic foundations deliberately understated. ‘Sticky’ heads deeper into minimal territory. Throbbing kicks establish the groove before an unusual lead synth enters the mix, with shakers and smaller percussive details gradually adding movement around it. The result is a more playful and abstract counterpart to the EP’s opener. London duo Brainsurfers complete the package with their interpretation of ‘Orange Sunshine’. Formed by Sam Bangura and Harry McCanna, the pair bring the approach developed through their NorthSouth Records output into Andrei’s original, adding greater low end weight and touches of acid to create a more direct club version. The release adds Half Baked to a catalogue that has already seen Andrei appear across some of minimal house music’s key labels. His previous output includes releases connected to [a:rpia], Amphia and Pressure Traxx, alongside regular appearances at Sunwaves, fabric and Bucharest’s Club Guesthouse. Across ‘Orange Sunrise’, Andrei keeps the focus on subtle changes, groove and atmosphere, delivering a compact release suited to the point where the night begins turning into morning. Dan Andrei Instagram / Website Half Baked Records Instagram / Soundcloud / Website

Jewel Kid Malta’s Jewel Kid has spent more than two decades carving out his place in house music, with releases on labels including Toolroom and Abode alongside his own Alleanza imprint. His latest move sees him land on Radio Slave’s Rekids with ‘Explicit Behaviour’, a three-track EP built around chunky drums, classic piano stabs, hypnotic vocal loops and stripped-back late-night pressure. Across the title track, ‘In The Dance’ and ‘The Tribute’, Jewel Kid leans into a raw, club-focused sound while keeping the groove front and centre. For his Hot Picks, he shares ten records that continue to resonate with him, moving through French house, techno, vocal house and electro-leaning club music. Thomas Bangalter – Colossus “This French House weapon from 1998 still finds its way to my sets as I think it’s one of the strongest bangers ever made. From just a couple of samples, Thomas Bangalter made a timeless masterpiece that still amazes me every time I hear it.” Filter Science – Darkness Falls (Joey Beltram Remix) “This is the first record I played in front of a crowd when I was just 14 years old. My friend was DJing at this bar/club and him knowing that I was spending 12 hours every day learning how to mix vinyl, he asked me if I wanted to play a track in public for the first time. This was the track I chose and when it dropped the crowd went nuts. The rest is history :)” DJ Rolando – Knights Of The Jaguar “Where do I start? Even listening to it now gives me goosebumps. I remember the very first time hearing this track around the year 2000. Me and my friends were in awe and till this day I still can’t figure out how DJ Rolando made this, especially during that time.” Dr. Kucho – Forbidden Planet “This track takes me back to my first production days. Dr.Kucho’s tracks were the benchmark for me. The complexity in all of his productions is just monumental. One masterpiece after the other. He was also the first professional artist that wrote back a huge email explaining what I’m doing right and wrong in my tracks. Beyond grateful.” Bel Amour – Bel Amour “This track came out around the time I started DJing in 2001. It was my gateway to house music and how music could elevate your feelings. Something I had never experienced before.” Junior Jack – Thrill Me “I remember a time where we used to buy vinyls from magazines, without even listening to them; a small book that was called “Hard to find records”. This track was one of the tracks I bought blindly. When it arrived home and I laid that needle on the record, it was like I struck gold.” Robbie Rivera – Sex “Going by the name of it “Sex” was the track that made me feel how music could actually bring out sexuality in people. I remember the first time hearing this track and seeing everyone letting lose and the club being filled with endorphins.” Le Knight Club – Nymphae Song “This was around the time when I really started falling in love with French house. Crydamour was the home of most of this genre. A feel-good sound that takes me back to the summer of early 2000’s.” CZR featuring DELANO – I Want You “I think this was the first full vocal track that I fell in love with. Probably also the first Subliminal track which moved me into becoming a die hard Subliminal Records fan.” Benny Benassi – Satisfaction “I remember buying a track that I liked and on the other side of the vinyl there was a test-press of a track called “The Bizz”. The moment me and my brother played this at home, we couldn’t believe what was coming out of the speakers. Such a powerful compressed sound that we never heard like it before. This track sent shockwaves that disrupted the house scene into becoming more electro sounding, and I’d like to believe that I was amongst the first to hear it :)” Jewel Kid’s selections move across several strands of club music, but all share the same emphasis on impact, groove and identity. From French house and classic vocal records to tougher techno and electro-leaning moments, the playlist sits naturally alongside the raw, late-night energy running through ‘Explicit Behaviour’. Jewel Kid Instagram - Soundcloud - Facebook - Beatport Rekids Instagram - Soundcloud - Beatport

Kraak & Smaak After more than two decades together, Kraak & Smaak have reached the point where evolution no longer means abandoning what came before. Across seven albums, Oscar de Jong, Wim Plug and Mark Kneppers have built a sound rooted in funk, disco, soul and electronic music, but flexible enough to absorb new influences without losing its identity. That continues with Velvet Seas Remixed, a new companion to their 2025 album Velvet Seas. The original record was shaped between Leiden and Los Angeles, and that contrast between home comforts and creative disruption became an important part of its character. Get your copy here. “Back home we have all the inspiration coming from our record collections and of course the studio where we invite befriended musicians and do our thing with the vintage gear we gathered over time,” they explain. Los Angeles offered something different. “Once in a while you just have to get yourself out of that comfort zone and then L.A. is the place to be for us. There is something that you can only find in the City of Angels.” It was less about chasing a Californian aesthetic and more about the working culture they found there. “For us it’s just the session culture and the openness of L.A. musicians and songwriters, and the willingness to work with total strangers, that makes the difference.” That openness fed naturally into the remix project. Rather than treating Velvet Seas Remixed as a simple extension of the original album, Kraak & Smaak wanted each producer to pull the music somewhere new. “We always have a list of personal favourites,” they say, pointing to Harvey Sutherland as one artist they were particularly keen to involve. “But generally we try to sense whether an original might fit the particular sound of other producers.” The results span several different club cultures. Yuksek brings a bright Nu Disco energy, Ray Mang stretches the title track into a dubby disco workout, while Diogo Strausz pushes ‘Travel Light’ towards Brazilian funk. “Yuksek always delivers great Nu Disco club remixes and you can trust Ray Mang to come up with a moody and dubby version too,” they say. “And Diogo Strausz’s version of ‘Travel Light’ just oozes with Brazilian funk vibes.” Despite the variety, they resisted over-directing the remixers. “The vocals are an important part of our tracks nowadays, so it would be great if they take that into account,” they explain. “But of course you ask them precisely because of their own input.” That freedom has made the project even more eclectic than the original. “Ha ha, it seems that the more eclectic, the better!” Ray Mang’s version of ‘Velvet Seas’ became one of the clearest examples of that philosophy. His remix strips the track back while allowing Izo FitzRoy’s vocal to remain at the centre. “Ray Mang is a long-time favourite of ours as well, and it didn’t disappoint,” they say. “Stripped-down, Balearic and laid-back funky, while Izo’s amazing voice gets as much space as possible.” That balance between their own identity and the personalities of collaborators has become a recurring part of Kraak & Smaak’s process. Velvet Seas brought together artists including Izo FitzRoy, Butter Bath, Kosta G and The Undercover Dream Lovers, but finding the right voice for a track can take time. “That’s always difficult, finding that balance between maintaining your own sound but also being open to influences from outside,” they explain. “But at the same time that’s what keeps the work interesting.” The process often starts with demos before the trio begins searching for the right collaborator. “That could take months and months, but in most cases we find them just before we go or when we arrive in a city like L.A.” Their relationship with funk, disco and soul has evolved just as much as the way they collaborate. Early Kraak & Smaak records were built heavily around samples pulled from their own collections. “We started out with sampling everything from our private collections, which resulted in the first couple of 12 inches and the first three albums.” Over time, that gave way to recreating those textures themselves through vintage synths, studio equipment and a lot of experimentation. “We discovered how to make that sound that was so close to our hearts ourselves.” That evolution is still ongoing. “We are at the point right now where we want to explore more songwriting, but at the same time get deeper into the world of electronic music.” After more than twenty years, the internal dynamic has also changed. In the early days, all three members spent almost every studio session together, but the scale of the project eventually required them to divide responsibilities. “After we gained some success, of course we had to divide our tasks, everyone doing what he’s best at. DJing, playing live, travelling, doing interviews, making remixes, running a label and delivering new music.” The fact that the partnership still works after two decades is something they clearly value. “Here we are, still going strong.” When asked which moment most changed the scale of Kraak & Smaak, they point to ‘Squeeze Me’. “You just felt something was going to happen, but not really what,” they recall. “If you look back, that was indeed the watershed moment for us.” The live show has become another important extension of the project. Rather than forcing every studio track onto the stage, Kraak & Smaak treat the DJ sets, albums and six-piece live band as related but distinct entities. “They all have to live and work under the same musical umbrella, but when a song doesn’t work in the live set, we don’t feel forced to play it.” Sometimes the solution is to rebuild it. “We always try to make alternate versions or play remixes of it, and that’s exactly where we are now. Amsterdam Dance Event 2026 is coming, so we are in the midst of remixing Velvet Seas.” That perhaps sums up Kraak & Smaak better than anything else. After more than twenty years, the project continues to move because nothing is treated as completely fixed. Albums can become club records, collaborations can redirect songs and old influences can be rebuilt through new technology. Velvet Seas Remixed is another step in that process, not a look backwards, but another example of how Kraak & Smaak continue to reshape their own musical language without losing the warmth and groove that has always sat at its core. Get it here. Kraak & Smaak https://www.instagram.com/kraakandsmaak https://open.spotify.com/artist/7c5qu1gNlg8jWDzzmlp89O https://soundcloud.com/kraaksmaak

L-R: 40D, Zoe Kypri, MSHU Collaboration works best when each artist brings something recognisably their own to the room. For Mozambican-born producer 40D, MSHU and vocalist Zoe Kypri, ‘Holding On’ grew from three different musical perspectives that found common ground without any of them having to force the process. Their paths initially crossed online. MSHU and 40D connected through social media, while MSHU had approached Kypri several years earlier after discovering her work. For Kypri, agreeing to collaborate came down to something more instinctive than credits or career strategy. “There was a real sincerity about him and I could feel how much he loves music,” she explains. “I could tell he wasn’t someone chasing anything. He let me do my thing and the song was born.” That freedom proved important. MSHU had already established the foundations of ‘Holding On’ when he sent the track to Kypri, who immediately connected with the music. 40D then entered the picture, bringing another production perspective shaped partly by the rhythms of his Mozambican heritage. Traditional sounds remain embedded in 40D’s approach even when their influence is not immediately obvious. “Traditional genres such as Xigubu will bring that raw energy, Marrabenta adds an elegant percussive rhythm, while Pandza, also known as Dzukuta, inspires a youthful spirit,” he says. “All of the above happens naturally without deterring the essence of Afro House.” On ‘Holding On’, however, he credits MSHU with establishing the melodic framework around which everything else could develop. 40D saw his own role as enhancing its sonic character, “almost like adding colour to a canvas”, while ensuring the right elements carried the emotional weight of the finished track. For MSHU, the collaboration arrives alongside his debut on Sondela, but he does not see it as a deliberate reinvention. His relationship with house has always been broader than one defined sound. “I’ve never really seen myself as an artist with one specific direction in the first place,” he says. “For me, house music is much bigger than one particular sound. It represents all the different genres and influences that I love and live.” The emotional centre of ‘Holding On’ comes from Kypri’s vocal, and its origins are considerably more complex than the relationship narrative it might initially suggest. The song began as an exploration of the human psyche, inspired by Kypri’s vivid dreams and her fascination with the line separating physical experience from what happens within the mind. “When I wake up I can still feel the remnants of the emotions that the experiences in my dreams caused,” she explains. “Hence the line ‘which one’s reality’. I find it so interesting that the body cannot differentiate between what happens in the physical and what happens in the mind. It treats both as if they are real.” Originally titled ‘Mind Control’, the song evolved during a writing session with Jay and Sheamus. They encouraged Kypri to bring its abstract concept towards something more immediately relatable. A recent breakup gave her the route into that second perspective. She rewrote around half of the record, turning those questions around perception and intuition towards relationships without completely abandoning the original idea. “It ultimately ended up being about holding on to who I am and not losing any parts of me,” she says. “Never doubting my intuition.” That balance between personal songwriting and club production became clearer as 40D developed the track further. Kypri remembers receiving the first version following his involvement and immediately recognising the difference, particularly in the final build. MSHU had much the same reaction, recalling that “after the first take from 40D, I immediately knew we were onto something.” For all three, the breakdown and subsequent drop became the point where ‘Holding On’ properly found its identity. Its eventual home at Sondela carries a different significance for each artist. 40D already counted releases from the label among his favourite Afro House records, while Kypri had previously met Louie Dunmore in Mexico and remained in contact. She was particularly drawn to the team’s focus on building something with longevity rather than chasing individual moments. MSHU’s reasoning was equally personal. “With Sondela, I felt heard as an artist from the very beginning,” he says. “I never had the feeling of being treated like a product. There’s a genuine respect for the artist and the music.” The release ultimately reflects the value of allowing contrasting backgrounds to coexist. 40D brings a rhythmic language connected to Mozambique, MSHU provides the melodic foundation and Kypri places a deeply personal idea at its centre. For 40D, the experience reinforced how collaboration can push music somewhere an individual artist might never reach alone. It also created a genuine relationship between the three. Kypri is currently focused on a run of forthcoming collaborations and her own Zoe Kypri material, while MSHU remains open to wherever the connection might lead next. There are no immediate promises of another record, and perhaps that suits a collaboration that developed without one in the first place. As MSHU puts it: “I’m always open to anything that feels good and happens naturally.” 40D https://www.instagram.com/its40d https://open.spotify.com/artist/7uvCVtgyDcHAN5H0W1uF9x https://soundcloud.com/its40d MSHU https://www.instagram.com/mshu.music https://open.spotify.com/artist/3wySvhK7nuvWrNBBzla1VK Zoe Kypri https://www.instagram.com/zoekypri https://open.spotify.com/artist/0FP3GDsv47TrSrV2elyhWX https://soundcloud.com/zoe-kypri

Aske Izan And Augusto Gagliardi Aske Izan and Augusto Gagliardi are returning to Déepalma Records with ‘Cosmic Symphony / Outside World’, a new two track release landing on 11th September. Reuniting for another collaborative outing, the two organic house producers explore a deeper and more atmospheric direction across the EP, combining rolling rhythms with melodic detail and spacious electronic textures. ‘Cosmic Symphony’ opens the release with a steadily developing groove. Deep percussion and low end provide its foundations while atmospheric synth layers, warm chords and understated melodic elements gradually move through the arrangement. Rather than building towards an obvious peak, the track maintains a measured progression throughout, allowing its individual elements to develop around the central groove. The result sits firmly within the deeper end of organic house, balancing warmth and movement with a restrained approach to arrangement. ‘Outside World’ shifts into darker territory. Intricate arpeggios and expansive pads establish a more cinematic atmosphere, with new layers gradually emerging as the track develops. A haunting male vocal takes centre stage during the main breakdown, briefly pulling the focus away from the rhythm before the groove returns. It provides the track with its main emotional focal point while reinforcing the contrast between its atmospheric passages and club focused foundations. Together, ‘Cosmic Symphony’ and ‘Outside World’ show the complementary approach Aske Izan and Augusto Gagliardi have developed through their collaborations. Both tracks prioritise gradual movement and atmosphere, while retaining enough rhythmic weight to remain rooted on the dancefloor. The release also sees the pair return naturally to Déepalma Records, with its combination of organic house, melodic depth and late night atmosphere closely aligned with the label’s established sound.

Oddball Creatives Oddball Creatives, the curious new production partnership between singer songwriter Joseph Malik and co producer musician Daniel Walls, are stepping forward with a brilliant new single release, ‘Wondering & Wishing Like Me,’ on Echo Labs. The duo have built a tight circle of cool collaborators on team and this new track brings them all into the frame with a unique jazzy sound that’s captured the attention of the soulful bigwigs, including Craig Charles on BBC 6Music. American artist Kameela Waheed delivers her unmistakable vocal presence that fits beautifully alongside Joseph’s, Colin Steele adds his award-winning stellar trumpet work, Darren Morris brings Hammond and Wurlitzer colour, and ENIA completes the picture with backing vocals. The Oddball Creatives story began with the single ‘Only Fans’, later remixed by X Press, followed by ‘Adult Contemporary’. From there Malik and Walls shifted their attention to producing Kameelah Waheed on standout releases including ‘My Whole World’ and ‘Be A Lion’. Everything changed when Joseph Malik was diagnosed with stage 4 lung disease and lost his vocal cords. During that period he discovered an old vocal take recorded years earlier at the Young Fathers studio. He brought it to Daniel Walls, sparking months of work across different cities with a cast of musicians who understood the weight of the moment. ‘Wondering & Wishing Like Me’ emerges as a soulful and deeply human piece of music. Joseph and Kameela fit together like peas in a pod, blending melody and spoken word in a way that nods to the Native Tongues soul hip hop movement, while keeping the sound fresh and forward. Joseph Malik’s history runs deep, from his MF Outa National release on MoWax Records in 1994 to his Café Graffiti Lizard Lounge nights and acclaimed albums on Compost and Ramrock. Daniel Walls, formerly Digital Liquid, built his reputation blending live instrumentation with electronic dance floor elements. Their connection grew through shared roots in Glasgow club culture and studio work that eventually shaped the Oddball Creatives identity.

Richie Hawtin Richie Hawtin has revisited his 1993 Robotman classic ‘Do Da Doo’, re-recording the track with new vocals from house pioneer Marshall Jefferson alongside fresh remixes from Jamie Jones and DJ Minx. Originally released through Definitive, ‘Do Da Doo’ arrived during a formative period for Hawtin and became an underground crossover record adopted by DJs across both house and techno. More than three decades later, its return connects that history with three new interpretations spanning contemporary house, Detroit groove and Hawtin’s own acid roots. The story behind Robotman also runs particularly close to home. Hawtin initially credited the track to ‘Richard Michaels’, while his father Mick Hawtin appeared across campaign imagery and merchandise. Mick worked as a robot technician at the General Motors car factory and provided the inspiration behind the project. Jamie Jones leads the new remix package, bringing ‘Do Da Doo’ into the territory he has explored through Hot Creations and Paradise. His version is driven by a bouncing low end, funky drums and sharp, laser-like synths, reshaping the original as a warm, contemporary tech house cut. Detroit veteran DJ Minx takes a deeper approach. Having released underground favourite ‘A Walk In The Park’ through Hawtin’s Minus label in 2004, her involvement brings the relationship full circle. Swung drums underpin fragmented vocals and lush chords, with Minx keeping the arrangement restrained and firmly focused on its groove. Hawtin completes the package himself with the original Plastikman Acid House Mix. Stretching towards 12 minutes, the version is built around classic 909 percussion and an evolving 303 acid line that shifts continually in tone and intensity. With Marshall Jefferson now adding his voice to the record, the return of ‘Do Da Doo’ brings together figures from several generations of house and techno while revisiting a track that helped connect the two worlds in the early 1990s.

Hot Since 82 Hot Since 82 returns to his Knee Deep In Sound imprint with ‘Obsessions’, a new album that finds Daley Padley looking beyond the dancefloor to explore the experiences and emotions shaping his life today. Released on 4th September, the project was written during a period of extensive touring and reflection. While house music remains at its core, ‘Obsessions’ moves freely through deep house, breakbeat, melodic electronica and tougher club territory, reflecting an artist who has rarely confined himself to one corner of electronic music. “Some days feel heavier, some thoughts harder to hold. But music still reaches the places words can’t. It’s therapy and a reset button.” That relationship with music stretches back to Padley’s early years making and playing records in Barnsley. Long sets in small rooms provided the foundations for a career that would eventually take Hot Since 82 around the world, while his Knee Deep In Sound label gave him a platform to develop his own musical direction and support other artists along the way. ‘Obsessions’ opens with ‘All That Matters’, introducing the more personal tone running throughout the album. Lead single ‘Shaded’ draws from classic house while keeping its production firmly rooted in the present, before ‘Life’s Too Short’ and ‘Eternity’ widen the record’s palette through piano, breakbeat and subtle Afro influences. The mood darkens as the album develops. ‘Wow’ heads towards hypnotic late night territory, using tension and restraint to create one of the record’s more club focused moments. Kuuda joins Hot Since 82 for two collaborations, ‘State Of Mind’ and ‘Time’, with both tracks pushing the album towards a bigger and more physical dancefloor sound. The closing ‘Another Life’ changes pace again. Featuring vocals from Lydia Kaye, the track combines downtempo breaks, ambient textures and deep house elements for a restrained final chapter that brings the album’s reflective side firmly into focus. Across ‘Obsessions’, Padley connects the different strands of his musical identity rather than settling into a single formula. Club records sit alongside quieter moments, with the album moving between intensity and introspection as Hot Since 82 documents where he finds himself more than a decade into his international career. Hot Since 82 https://www.instagram.com/hotsince82 https://open.spotify.com/artist/1tRBmMtER4fGrzrt8O9VpS https://soundcloud.com/hotsince-82

Megatronic When Megatronic released There’s Truth In Gospel through Razor-N-Tape in 2025, its foundations reached well beyond the conventional parameters of a club record. Gospel provided a starting point, but the UK-born, Lisbon-based artist approached it less as a fixed musical tradition than a means of exploring soul, community and collective expression through her own global musical perspective. Now the project is being opened up again. Jamie 3:26, JAMIIE, Karizma and Sotomayor have been handed its component parts and given the freedom to reshape them for the dancefloor, turning something deeply personal into an increasingly collective piece of work. Grab your copy here. “The entire experience was deeply refreshing,” Megatronic says. “There is nothing quite like hearing a rework or re-edit of a piece of art you created.” What makes the process particularly interesting is that most of those involved were artists she had admired without actually meeting. Their inclusion was not an afterthought devised once the original EP had been completed either. Megatronic already had several of them in mind while writing it. “They were on the tip of my tongue from the start because I knew their sound and direction would elevate the project into a completely new record, rather than just a collection of edits.” That distinction matters. Rather than commissioning remixes designed to make slightly more functional versions of the originals, Megatronic wanted the artists involved to impose their own identities on the material. Once those choices were made, she stepped away. “I took a total hands-off approach,” she explains. “These artists were chosen precisely because I wanted their distinct artistic visions to pull the tracks into new directions, styles and rhythms. They had complete creative freedom.” Jamie 3:26 and JAMIIE provide perhaps the clearest demonstration of that philosophy. Both reinterpret ‘In Our Soul’, yet arrive at markedly different destinations. Jamie 3:26 takes it deeper and more soulful, while JAMIIE pushes towards a more percussive, driving framework. For Megatronic, the common thread between them is what happens to the voice. “Both renditions are absolute fire. They bring such distinct perspectives, yet both push the vocal performance right to the forefront,” she says. “Above all, both versions highlight the incredible vocal power of Fawziyya Heart.” That relationship between Megatronic and Fawziyya remains intact even as the musical surroundings change. “She truly understood the assignment, and it’s wonderful to hear how our voices continue to complement each other across such different sonic landscapes.” Karizma’s treatment of ‘All I See’ takes another route entirely. The Baltimore veteran strips the record towards its rhythmic core, building around stomping drums, repetition and a looping piano figure. Megatronic’s response was immediate. “I loved it immediately. He made it so bouncy. As we’d say in London, ‘it’s hard.’” The collaboration also carries a personal sense of continuity. Karizma has occupied Megatronic’s record collection long before appearing on one of her own releases. “Karizma is a master at manipulating vocals over a thumping bassline,” she says. “Having played his track ‘Spirit’ and so many of his other works in my sets over the years, I knew I needed him on this EP.” It has since become more than a remix she admires from the sidelines. Karizma’s ‘All I See’ is now a regular feature of Megatronic’s DJ sets, while JAMIIE’s interpretation of ‘In Our Soul’ has been incorporated into her live PA performances. The remix project has therefore started feeding back into the way the original material exists in front of an audience. Sotomayor’s transformation of ‘Mother’, meanwhile, provided the biggest surprise. “That might be the remix with the most intriguing result for me,” Megatronic admits. “It feels more like a complete reimagining than a standard remix.” The Mexican duo pull the song into Afro-Latin dub territory, changing its rhythmic language while retaining its emotional core. “It brought such a fresh, unexpected perspective to the track. It caught me completely by surprise, but I absolutely love it.” That geographic and stylistic breadth feels particularly appropriate for a project concerned with gospel. The remixers bring connections to Chicago, Amsterdam, Germany, Nigeria, Baltimore and Mexico, but Megatronic is wary of reducing their contributions to where each artist happens to come from. “Historically, gospel has often been presented through a strictly American lens in popular media,” she explains. “But for me, gospel isn't just about a specific church culture. It’s about a collective spirit, consciousness and shared voice.” That interpretation gets closer to the heart of both versions of There’s Truth In Gospel. Different musical histories inform the remixes, but Megatronic sees their connection as something more fundamental. “It’s less about regional identity and more about a universal human reaction to a shared feeling.” The dancefloor is an obvious environment for that idea to manifest. House and its surrounding forms have long turned repetition, voice and rhythm into collective experiences, and Megatronic always suspected the original material could make that transition. “I knew right from the start that once remixed, these tracks would naturally translate to the dancefloor,” she says, noting that ‘In Our Soul’ was already working in clubs in its original form. Yet she deliberately avoided allowing functionality to dictate the songwriting. “It can be risky to write songs strictly for the dancefloor, especially when they are vocal-heavy and rooted in classic songwriting. I realised early on in the project that I just wanted to make great music that people could connect with anywhere, at any time.” That decision ultimately gave the remixers more to work with. Instead of simply rebuilding club tracks for slightly different club environments, they were responding to songs with voices, emotions and ideas strong enough to survive significant changes in rhythm and arrangement. Hearing those interpretations has also changed Megatronic’s relationship with the original EP. “The process has given me an even deeper appreciation for the original work and the incredible collaborators who helped bring it to life,” she says. “I still listen to the project regularly, and it’s still a bit surreal to realise that this is something I created.” There is validation in hearing respected peers find their own meaning within it too. “Having artists of this calibre reinterpret the EP has reassured me of the work's quality and vibrancy. Receiving that kind of recognition and care from your peers is a really beautiful thing.” Perhaps that is the most fitting evolution There’s Truth In Gospel could have had. A project built around the idea of collective spirit has stopped belonging solely to its original creators. Different artists, cities, rhythms and dancefloors have entered the conversation, each finding something different within the same songs. The result does more than reposition Megatronic’s EP for club play. It extends the very idea sitting at its centre: individual voices becoming more powerful when they are allowed to move together. Get it here. Megatronic https://www.instagram.com/megatronicuk https://open.spotify.com/artist/3aU6ncVBmlnA8TtCXDwJKZ https://soundcloud.com/megatronic

BIIA Portuguese DJ and producer BIIA enters a new chapter with ‘Die For Youth’, the debut release on her newly launched DYSTONIA imprint. Built around ideas of youth, freedom and nostalgia, the single expands on the high-energy techno sound that has driven her rise while introducing a more reflective emotional dimension. That balance between intensity and feeling sits at the heart of BIIA’s wider evolution. Releases on Teletech, Solamente, Taapion and Tomorrowland Music have established her as a force within contemporary techno, while a growing international touring schedule has taken her to stages including Tomorrowland, Awakenings, Monegros, Neopop, Sziget Festival and Hï Ibiza. For this edition of Influences, BIIA looks back at five records connected to pivotal moments in her relationship with music. From rave classics that embody collective freedom to productions that marked turning points in her own career, each selection reflects a different part of the journey leading towards ‘Die For Youth’ and DYSTONIA. Da Hool – Meet Me At The Love Parade “This track brings me back to the early days of electronic music and the rave scene. There’s something about it that captures the raw sense of togetherness and freedom that first drew me to this culture.” Underworld – Born Slippy “This track has always carried a very particular feeling for me, something restless and youthful, but also fleeting. It reminds me of how intensely we can experience certain moments without knowing how quickly they’ll become memories.” BIIA – Numbered Procreation “This one is important because it was the first track I ever released. It represents the beginning of my journey as a producer and everything that came with taking that first step.” BIIA – Don’t Get Lost In Heaven “I made this track during a particularly sensitive period in my life, so it carries a lot of emotion for me. It was also my first real hit and the track that really positioned me as an artist and producer.” Hans Zimmer – Time “I’ve always had a strong relationship with the idea of time, and this track makes me step back and put life into perspective. It has a way of making everything feel both smaller and more meaningful at the same time.” Across these five selections, BIIA’s influences are less about genre boundaries and more about feeling, memory and the moments that change an artist’s direction. The communal release of early rave culture, the fleeting intensity of youth, the significance of a first release and the emotional weight of personal milestones all feed naturally into the ideas behind ‘Die For Youth’. As DYSTONIA begins its first chapter, the record feels like both a reflection on where BIIA has been and a statement of where she intends to go next. BIIA Instagram - Spotify - SoundCloud - Beatport