Caleb Laurenson and Danny P For Caleb Laurenson and Danny P, some of their most successful music has come from bringing two different approaches to house music into the same studio. The Liverpool and Dublin producers have spent years developing a partnership that combines euphoric melodies with tougher, garage-influenced grooves, creating a sound neither makes quite the same way independently. Their latest two-track EP on ABODE Records, featuring ‘Telling Me’ and ‘Kick That Bass’, brings those contrasting instincts together. It also closes a significant year for the pair, following collaborations that have generated millions of streams, releases connected to Defected and AlunaGeorge, and performances at venues including Chinois Ibiza and Manchester's Joshua Brooks. The partnership began during a studio session in Dublin, although neither initially expected it to develop into a regular collaboration. “I met up with Luke Kearns to make some tracks, Danny came with him to get into production and just watch the session. He ended up diving fully into making his own stuff and we kept making music together all the time.” Caleb recalls. For Danny, the relationship developed through conversations and remote production sessions. “Myself and Caleb met up for the first time in Dublin Ireland in a studio through a mutual friend, we kept in contact and would jump on discord to help each-other produce and just basic catch-ups.” Their individual musical identities have become central to the partnership. Caleb gravitates towards emotional melodies and euphoric arrangements, while Danny brings a stronger emphasis on garage rhythms and harder-edged club sounds. “Caleb is a lot more euphoric in his own productions and when I make songs I like to bring elements of grit and garage to my work so when we sit down on call or studio both worlds click so well!” Danny explains. That contrast is particularly apparent across the new EP. ‘Telling Me’ is built around soaring synthesisers, expressive vocals and a sense of anticipation designed to create a defining moment during a DJ set. ‘Kick That Bass’, meanwhile, strips the formula back to darker basslines and direct dancefloor pressure. “We wanted to really focus on the euphoria but something that still hit in a club, I think ‘Telling Me’ hits this perfectly. ‘Kick That Bass’ was a very club heavy focused track too, trying to make something a bit meaner and darker for the B-Side.” says Caleb. Danny describes ‘Telling Me’ as a record intended to change the energy of a room. “For ‘Telling Me’ we wanted a moment track for the middle of the sets that set a statement from the minutes of warmup prior we made the track with a lot of elements people would be familiar in our productions chords, plucks, synths etc.” The track draws on influences including Robbie Doherty, Kettama and Chris Stussy, artists whose productions have helped shape Caleb's appreciation for the emotional possibilities of underground house. “It just gives me a certain vibe when listening to their music that appeals to me. So I really wanted to focus on the emotion and euphoria with this one.” Achieving that balance requires considerable attention to production detail, particularly when combining dense melodic elements with powerful low-end frequencies. “I think getting that perfect balance between euphoric and hitting hard on the dance floor is a tough task you don’t want sounds to clash or sound to busy, but it all comes down to processing your sounds right to blend into each-other smoothly and keep similar aspects of each element.” Danny explains. ‘Kick That Bass’ explores the opposite end of their shared musical spectrum. Built around an early bassline and drop idea, the track developed into a darker, more direct production that has already attracted support from Joseph Capriati, Chris Stussy, SOSA and Chloé Caillet. For Danny, hearing established artists play their records remains a particularly rewarding part of their progress. “Mental and still doesn’t get old seeing people you listen to or go to see for their track selections pick your own production for their sets and get the approval off them!” Their collaboration has also developed alongside significant changes in their individual careers. Caleb began producing at 13, initially exploring more commercial electronic music before discovering the creative possibilities of underground house. “I feel like I just felt like it was rinse & repeat with the more commercial music I was making, no creativity anymore. When I first heard music like the tracks I’m making now, it felt like it had opened up another world of music to me, like I could be creative again.” Danny's musical identity, meanwhile, remains closely connected to Dublin's increasingly influential electronic music community. “Obskur and Kettama have shown me love with my productions and it’s something a young me would have never thought of happening their massive inspirations for me, house music over here is massive and definitely needs more light on the talent over this side.” That sense of community has accompanied a particularly productive year for the pair. Alongside their ABODE release, their work has included ‘Best Be Believing’ with AlunaGeorge and a remix of Nick Curly's ‘Underground’ for Defected Records. Reinterpreting such an established track brought its own creative pressures. “Both records have had such a big break before our remixes that we didn’t want to ruin the originals. But ‘Underground’ felt more challenging to me as we didn’t take as much from the original & the Dennis Ferrer remix. So the pressure felt stronger when showing it to the world.” Caleb explains. Danny felt that responsibility particularly strongly because of his personal connection to the original. “I personally think ‘Underground’ was a intimidating one as we both grew up with the record we wanted to do the right job on it and keep its same quality and energy on the dance floor.” Their expanding touring schedules have provided another source of creative inspiration, exposing them to the different demands of clubs and audiences. For Caleb, performing at Joshua Brooks and Chinois Ibiza highlighted how dramatically the character of a venue can influence the music he wants to make. “Playing in Joshua Brooks shows the gritty and UK side of house music and inspires you in a completely different way than Chinois in Ibiza does.” Danny also points to the importance of understanding the crowd rather than relying entirely on production technique. “It all comes down to reading the crowd knowing your next track and not spinning anything and everything.” Despite the growing attention surrounding their releases, both producers remain focused on maintaining the creative instincts that brought them together. “I think it’s all about staying true to yourself, making music that you want the world to hear, and not getting caught in a box because you feel the pressure too much.” says Caleb. Looking towards 2027, their ambitions are closely connected to preserving what makes the collaboration distinctive. “I think we want to definitely keep the Caleb Laurenson & Danny P sound going in 2027, but keeping it more exclusive. It’s very special how much love and support we get when we collaborate, so we want to keep it special.” Danny, meanwhile, is already looking forward to a busy year of new music and performances, having recently experienced the satisfaction of headlining a sold-out show at Dublin's Block, a venue he previously attended as a raver. “For myself it would have to be headlining block in my hometown selling out a venue so near and dear to my heart that I have been attending as a raver and now seeing people jumping, dancing arm in arm with their friends to your productions you made in your bedroom is a feeling I still can’t describe.” With further collaborations and shows already planned, both artists appear determined to build on their momentum without losing the musical chemistry that made their partnership work. “2027 is already locked and loaded with plenty of shows and newly finished collaborations that people are going to love we know it, we’re definitely going full throttle next year!” Danny concludes. Caleb Laurenson and Danny P's ‘Telling Me’ EP, featuring ‘Kick That Bass’, is released through ABODE Records. Caleb Laurenson https://www.instagram.com/caleblaurenson https://open.spotify.com/artist/1KBwb4QGzLkhNtLjIkNRDR https://soundcloud.com/caleblaurenson Danny P https://www.instagram.com/dannyp_dj https://open.spotify.com/artist/6RImhfdBSbW7mioCBKmQOd https://soundcloud.com/dannyp_dj ABODE Records https://www.instagram.com/aboderecords https://soundcloud.com/aboderecords

Amsterdam Dance Event (ADE) and Insomniac are joining forces for Map Point Summit, a new three-day gathering for the electronic music industry in Las Vegas next May. Taking place between the two weekends of EDC Las Vegas, scheduled for 14th to 16th and 21st to 23rd May 2027, the summit will bring artists, independent promoters, entrepreneurs and industry professionals together for talks, workshops and networking. The announcement came during ADE's 30th edition in Amsterdam, where Insomniac founder and CEO Pasquale Rotella discussed the importance of supporting independent promoters and protecting the community that helped build rave culture. The name comes from the map points once used in underground US rave culture. Partygoers would meet at a designated location before receiving directions to the event. The organisers want to bring that same sense of connection to the industry, helping emerging talent find people, knowledge and opportunities. The planned programme will cover industry discussions, educational sessions and creative workshops, with a focus on building a more sustainable future for independent dance music events. Speakers, ticketing and the full schedule have yet to be announced. Map Point Summit forms part of Insomniac's wider 12 Days of EDC programme. Further details are available through the official announcement below. Map Point Summit Insomniac - EDC Las Vegas

Native Instruments has launched Massive XL, a new generation of its flagship wavetable synthesiser, with tools designed to make sound creation faster without sacrificing the depth producers expect from Massive. The original Massive arrived in 2006 and became a familiar part of dubstep, electro and bass music production. Massive X followed in 2019 with a more flexible engine. Massive XL builds on that foundation, while tackling some of the workflow frustrations that came with its predecessor. One of the biggest additions is Generate, which turns an audio reference into an editable synth patch. Producers can import up to four seconds of audio, isolate a stem if needed and audition four variations before shaping the result further. Mutator and Randomizer open up other routes into sound design. Mutator draws on modules from existing presets to create new combinations, while Randomizer offers quick variations. Morpher and Animator remain part of the instrument, with improved visual feedback making it easier to follow what's happening as sounds evolve. The update also brings new wavetables, custom wavetable creation, polyphonic aftertouch and three built-in effects: Raum, Replika Shimmer and Tape Wobble. Massive X presets and Expansions remain compatible, so existing users can bring their sound libraries across. Massive XL is available now for Mac and Windows as a plug-in. Native Instruments has published a full breakdown of its features, including Generate, the updated modulation workflow and system requirements, on its official website. Native Instruments Website - Massive XL

Charlotte de Witte has announced ‘Azadi’, a three-track EP made with NAVA, an AI-generated Persian vocalist created by British-Iranian artist Farbod Mehr. It lands on 5th November through her KNTXT label, with proceeds going to women's rights organisation FEMENA. The EP features ‘Azadi’, ‘Omid’ and ‘Tales Of The Desert’. De Witte has already shared a preview of the latter on Instagram, accompanied by AI-generated visuals featuring both artists. NAVA was created to represent Iranian women who are prevented from singing publicly. Drawing on Iranian art and musical traditions, the virtual performer has developed an audience of her own since launching in 2025. ‘Azadi’ translates to ‘freedom’ in Persian, while ‘Omid’ means ‘hope’. The message behind those titles is central to the collaboration. All proceeds from the release will support FEMENA, which works with women human rights defenders and feminist movements across Southwest Asia, North Africa and Asia. The project has also prompted discussion about the role of AI-generated voices in music. Some listeners have questioned the decision to use a synthetic vocalist, while others have welcomed the intention behind NAVA and the support for Iranian women's rights. ‘Azadi’ arrives on 5th November via KNTXT. You can watch the official ‘Tales Of The Desert’ preview and find the release through the links below. Charlotte de Witte Website - Instagram - KNTXT Releases

Woody Cook Woody Cook’s approach to DJing has always been difficult to pin to a single genre. From UK garage and dub to Latin rhythms and drum and bass, his sets draw on an eclectic musical upbringing and a fascination with the way different sounds can connect with a crowd. That openness has carried him from festival appearances at Glastonbury and Snowbombing to sets at Hï Ibiza and Ministry of Sound. It also sits at the heart of ‘Afters’, his latest collaboration with UK garage pioneer Zed Bias, released through Cook’s Truth Tribe label. Born from their back-to-back performances at Glastonbury and the roving Lab 54 whilst in Brighton, the track brings together skippy two-step rhythms, weighty sub-bass and reggae influences, with contributions from Jonny Dutch and Bristol-based vocalist Aloka. Cook’s relationship with Zed Bias stretches back several years, with the producer becoming both a mentor and a creative collaborator. Their new single builds on that connection, bringing Cook’s broad musical tastes together with the unmistakable garage foundations that have defined Bias’s career. For this edition of Influences, Woody looks back at five records that have shaped his musical outlook. From the dub experiments that pushed him towards production to the festival records he grew up hearing in his father Fatboy Slim’s sets, his choices reveal the experiences behind his approach to making and playing music. Gorillaz & Space Monkeyz – Bañana Baby “Banana Baby is a pretty unknown song from the Gorillaz. A dubplate of ‘Tomorrow Comes Today’, this track shaped the mind of my 18-year-old self. The sub-bass and melodica spoke to me, drawing me through the haze into a land of dub. This track fired me up inside. I needed to know how on earth I could make music that made people feel the way I was feeling. So I started producing again, determined to spread this sound!” Bellini – Samba De Janeiro “Growing up, my dad was a small-town local DJ from Brighton (known as Fatboy Slim). I have seen hundreds of his sets, and throughout, my favourite song was always ‘Samba De Janeiro’. I would request him to play it every set. His version has two fake-out drops before the final drop. I asked him why the fake-out drops, and he replied, ‘DJing is like sex, if you tease them first, you leave them begging for it!’ The bongos and festival attitude have seeped into much of the music I’ve made and my love for Latin and sambass.” The Doors – The End “Jim Morrison is a crazed beatnik shaman who takes his audience on an epic vision quest. I’ve always wanted to tell stories and take people places. Growing up studying film and writing songs, storytelling is always essential to everything I’ve ever done. First hearing the track in Apocalypse Now, I have always been transfixed by its cryptic nature and its lack of care for BPM and the length of the track. Live versions would sometimes last 25 minutes! As a DJ, you tell this story. A great DJ could coax you into listening to hours of the same track.” Badger & Vengaboys – We Like To Party! (The Badger Bus) “I met Badger when I was around 22. He was relatively unknown, and I watched this song start as a bootleg, gain traction across the country, even seeing it live at Glastonbury to THOUSANDS OF PEOPLE. Watching my friend use his formula, strategy and banging beats to catapult his way onto the global stage and 240 million streams was mind-blowing. I often use his tracks as pacing guides when producing. How fast should the drop come in? Where should the breakdown fall? Badger wrote an undeniable handbook in how to find your sound and ride it to the stars.” Calibre & High Contrast – Mr Majestic “I went to Hospitality in the Sun (Tisno, Croatia) in 2019. I loved drum and bass at the time and was so excited to go. I remember, six days in, one song stood out to me... ‘Mr Majestic’. How on earth was this song released in 2004? This song predicted where DnB would go years later! The feeling you get when listening to it reminded me of some great war that never happened, nostalgia for some mysterious time that never existed. The production is so clean and yet has so much analogue warmth. I want my music to sound like this.” Woody Cook’s selections reveal how much of his musical identity has developed through experiences outside the studio. From discovering the emotional weight of dub as a teenager to watching his father control festival crowds, each record has contributed something different to his understanding of music. There are lessons in storytelling, arrangement and production throughout, but also a recurring interest in records that create a lasting emotional response. That combination of musical curiosity and dancefloor instinct comes through in ‘Afters’, where Cook and Zed Bias bring their respective influences together without losing the character of either artist. Woody Cook https://www.instagram.com/woody_cook https://open.spotify.com/artist/30LrvATq52axT8PxcsO89J https://soundcloud.com/user-67350370

Jordan Peak In an era when dance music increasingly competes for attention through dramatic builds, oversized drops and instantly recognisable moments, Jordan Peak remains fascinated by something considerably more understated: the power of a great groove. The British house producer has spent years refining a sound built around rhythmic precision, hypnotic basslines and memorable hooks. With releases on Defected, Edible, Saved and Dansu Discs, alongside support from artists including Pete Tong, Chris Stussy, Patrick Topping, Peggy Gou and TSHA, his productions have found their way onto dancefloors around the world. His latest single, ‘Be With Me’, released on 9th October through Prunk's PIV Records, captures that philosophy particularly well. Built around heavy drums, a deep bassline and a persistent vocal hook, the track became one of Peak's most talked-about unreleased productions throughout the summer. For an artist who makes music prolifically, identifying which records will connect isn't always straightforward. This time, however, the response was immediate. “I make so much music it’s often difficult to tell which are the tracks that are going to resonate the most. I knew this was one that was going to connect straight away though. There’s something so hooky about it and from the first time I played it out I knew I had something special on my hands.” Part of that appeal lies in the track's restraint. Rather than filling every available space, Peak allows a handful of carefully chosen elements to carry the arrangement, introducing subtle changes that keep the groove moving. It's an approach his manager recently identified as one of his defining strengths. “My manager said to the me the other day that one of my strengths is saying more with less in my music and that that’s a difficult skill to master. I’d never really thought about it like that but I guess there’s something in that.” “Often the tracks that cut through are the ones that have few elements that I vary throughout the track and that’s what I think I’ve achieved with Be With Me.” That understanding of musical economy extends beyond house music. Peak regularly studies other genres to understand how composers establish tension, maintain interest and develop ideas without relying on dramatic changes. Classical music, somewhat unexpectedly, has provided a useful reference point. “For instance I realised that in some classical music very often a simple element is focussed on throughout a composition and then subtlety changes or is added to throughout. It’s something I like to do in my grooves and especially in my hooks.” His appreciation for a memorable hook also explains one of his most enduring influences. “This is going to sound like an obvious answer but Armand Van Helden has always a huge influence on me, especially his early work. He’s a master of hooks and grooves - my favourite things.” That connection to classic American house runs throughout Peak's productions, although his approach has never been about recreating a particular era. Instead, he draws on the fundamental qualities that make records effective, combining those influences with an understanding of contemporary dancefloors. The slightly deeper character of ‘Be With Me’ made PIV Records a natural destination. “PIV is a special label and their output is incredibly consistent and always of very high quality. Be With Me is a little deeper in it’s nature than some of my recent releases and I knew straight away that PIV was the label I wanted this to be on.” The release also features a remix from Kellie Allen, who brings a brighter, more euphoric character to the original while retaining its rhythmic foundations. Having previously shared the decks with Allen, Peak was already familiar with her approach. “I’ve played B2B with Kellie and I love what she does both as a DJ and as a producer. She’s also part of the PIV family so it was an obvious choice to get her on board for a remix. She’s smashed it, as I knew she would.” Despite his extensive label catalogue, Peak rarely enters the studio with a particular release destination in mind. His process remains instinctive, allowing ideas to develop before considering where they might belong. “I just switch on the studio and then see where a session goes - it’s the best way to be creative I find.” Testing unreleased productions with DJs is an important part of that process, helping him understand which tracks are connecting before deciding how to release them. His own Peak Trax imprint offers an additional level of freedom. “It’s very freeing having my own label as it means I don’t have to think about where I want a record to sit necessarily as I’m making it - I know that I have an outlet to get the record out no matter how it turns out. If I believe in it then I can release it.” Although the label has been dormant during a period away from releasing music through the imprint, Peak hints that an announcement is on the horizon. His relationship with the dancefloor has also evolved as club culture has changed. Where extended grooves and gradual development have traditionally been central to underground house, Peak has noticed a growing emphasis on more immediate moments of impact. “At the moment I find that dance floors are more build and drop focussed - it’s the social media generation.” He doesn't necessarily produce with social media in mind, but acknowledges that understanding the wider cultural mood is part of making music that works in clubs. “I don’t necessarily write music for how they resonate on socials but I do have in my mind what works on the floor as a result of current cultural mood.” That balance between personal instinct and audience response continues to shape his productions. It also leaves room for new influences, with Peak currently exploring a rawer, more electro-influenced direction. “I’m really into a more electro edged sound at the moment which you can probably hear with some of my unsigned and unreleased stuff that’s getting played out at the moment. I love the raw energy of that.” Still, he remains reluctant to confine himself to any particular corner of house music. “But to be honest I love the whole spectrum of house music and I’ll always continue with make just whatever I feel on any given day in the studio.” For Jordan Peak, ‘Be With Me’ demonstrates that a track doesn't need endless layers or elaborate arrangements to leave a lasting impression. Sometimes the most effective records are those that recognise exactly what makes a groove work, and have the confidence to leave everything else out. Jordan Peak's ‘Be With Me’, featuring a remix from Kellie Allen, is out now on PIV Records. Jordan Peak Instagram / SoundCloud / Spotify PIV Instagram / SoundCloud / Website

My Secret Playground For Florian Herzberg, the Berlin-based Austrian producer behind My Secret Playground, music has always been a means of expression. Yet somewhere along the way, his relationship with creativity became entangled with addiction, leaving him questioning whether he could make music without the substances he had come to associate with the process. His new four-track EP, End Of Noise, emerges from a period of profound personal change. Drawing together melancholic synthesisers, indie dance, 80s electronics and the rock and metal influences that shaped his earliest musical experiences, the record is as much about confronting the past as it is about discovering what comes next. “I struggle with addiction, and in January 2025, I went through a detox process. For a while, I genuinely believed that I could only create music while under the influence of drugs. That was a major mistake. It has been a long journey toward happiness and back to a state of creativity, free from any constraints. I wanted to capture this in an EP.” Rather than approaching the release as four independent club tracks, Herzberg conceived it as a collection of interconnected experiences. Each composition explores a different part of his recent life, with the music moving between vulnerability, nostalgia and moments of greater intensity. “Since I stopped drinking, deep emotions have become very present once again. Among other things, I keep a dream journal and perceive my surroundings with great intensity. The four songs tell four stories from the last two years: shyness, the urge to use, a love for my musical roots, and the death of my father.” That emotional openness gives End Of Noise its underlying purpose. It also explains why the record resists being confined to a single genre. Herzberg's musical foundations lie in rock, and his productions have long incorporated elements of metal alongside the synthesiser-led sounds of electronic music. For him, combining these influences is not an exercise in stylistic experimentation for its own sake, but an expression of the freedom he has worked to reclaim. “My roots lie in rock music. To this day, I find myself torn between genres. Making only dance music would quickly become boring for me. Since I’m no longer under any pressure regarding the type of music I create, it felt natural to incorporate all of my influences into my productions.” His creative identity has also been shaped by the contrasting environments of Vienna and Berlin. Originally from the Austrian capital, Herzberg has spent more than a decade in Berlin, finding inspiration in both cities' complicated relationship with art, culture and nightlife. “I have a kind of love-hate relationship with both cities. Each has given me a great deal, but has also taken a great deal away. Both are characterised by a certain melancholy and harshness.” Berlin, however, offered something particularly important: an environment where artistic expression could flourish outside mainstream expectations. “In Berlin, contemporary art is highly valued, even well beyond the mainstream. This allowed me to truly flourish. Without Berlin, I wouldn’t be where I am today as a musician.” The city's nightlife has historically played a role in his musical journey, but his relationship with that world has changed considerably. Following his decision to pursue sobriety, Herzberg has deliberately stepped away from club culture, choosing instead to concentrate on making music and reconnecting with the reasons he began creating in the first place. “The decision changed everything, myself included. For now, I’m steering clear of nightlife and spending most of my time in the studio. Perhaps that will change eventually. I enjoy giving free rein to my creativity, and I often find myself reflecting on why I started making music in the first place. My primary motivation is to express myself, free from any commercial constraints!” That renewed focus has coincided with the opening of Studio 154, his own Berlin studio and rehearsal space. For Herzberg, the significance of having a dedicated creative home is deeply personal. “My childhood dream has come true. When I sit behind my drum kit, I can look out at the TV tower. What more could you want from life?” His commitment to live music extends well beyond his own productions. Since launching My Secret Session in 2014, Herzberg has worked with more than 130 musicians, developing a collaborative approach that continues to influence how he constructs electronic music. Those experiences have taught him that successful collaboration requires more than musical ability. “I’ve had the privilege of meeting incredibly talented musicians, which has enabled me to develop my own live performance concept. I’ve also learned that talent isn’t everything; punctuality and reliability are at least as important.” That background helps explain his increasingly outspoken attitude towards conventional dance music production. While he remains interested in making records that connect with people on a dancefloor, Herzberg has little patience for arrangements that prioritise familiarity over artistic expression. “I am often bored by the rigid structures in dance music: intro, drop, outro…” “There is little that is surprising, and hardly anyone takes any risks. It’s easier to just follow a template. And always the same kick drum. That is cowardly and does not align with my vision of art.” His position is unequivocal. “And yes, dance music can, and must, be art.” It is a philosophy that increasingly informs both his creative decisions and his relationship with the wider industry. Having previously pursued label opportunities, Herzberg has reached a point where securing releases on established imprints is no longer central to his sense of artistic achievement. His catalogue includes music on Melopee, Jeahmon!, Sincopat and Ton Liebt Klang, but he now places greater value on making work that reflects his own instincts. “I used to chase after labels until, eventually, it worked out. Nowadays, I don’t worry at all about whether or not my songs will appeal to a label.” “I am free, and I intend to stay that way :)” That independence is perhaps the most important thread running through End Of Noise. The EP's title suggests an ending, but its deeper significance lies in the possibilities that emerge when old habits, expectations and dependencies no longer dictate the creative process. For Herzberg, there is no elaborate strategy for what comes next. After years of navigating personal and professional expectations, the freedom to create without a predetermined destination has become its own reward. “I am leaving my old self behind, and the drugs along with it. I’m making music now with a clear head, and it’s truly ‘me.’ That is priceless!” And when asked what the future might hold, his response is refreshingly simple. “I don’t know what the future holds. For the first time in my life, I don’t have a plan :)” My Secret Playground’s four-track EP ‘End Of Noise’ marks a deeply personal new chapter for Florian Herzberg, bringing together his musical influences and a renewed commitment to creative freedom. My Secret Playground https://www.instagram.com/mysecretplayground https://open.spotify.com/artist/5Qnv3g0NGR3DHbTvU3s4Qo https://soundcloud.com/mysecretplayground

Chasing Kurt Some musical projects come to an end. Others simply need the right people to bring them back to life. For Chasing Kurt, the Frankfurt-born house project whose early releases helped establish a distinctive meeting point between soulful songwriting and underground electronic music, the return wasn't planned as a grand comeback. It began with an unexpected encounter. “I never really felt that Chasing Kurt was finished. Somehow, I always believed that one day I'd meet someone with whom I could continue the project. I just didn't know when that would happen.” That person was Vince Master, who joined founding member Wojtek Kutschke in 2025. The pair discovered an immediate connection, finding common ground in their musical instincts, sense of humour and approach to collaboration. “There wasn't a particular moment when we decided it was time for a big comeback. We were simply enjoying making music together, and bringing Chasing Kurt back became the natural next step.” Their latest single, ‘Maybe’, offers an inviting introduction to this renewed partnership. Warm basslines, melodic house grooves and disco influences reveal a project embracing the dancefloor with fresh enthusiasm. The track also illustrates the duo's willingness to experiment. After developing its groove and recording their own vocal melody, they explored an AI interpretation before bringing in a returning session singer to restore the human character they felt was missing. “Eventually, we layered her vocals with the AI version, and that combination gave the track its distinctive sound.” For Kutschke, that willingness to explore unexpected possibilities has always been part of Chasing Kurt's appeal. The project's origins stretch back to 2009, when Frankfurt's electronic music culture was thriving around institutions including Cocoon, Robert Johnson and Tanzhaus West. Yet Chasing Kurt's beginnings were considerably more personal. While living in Giessen and working in a record shop, Kutschke began producing with Pascal Vert. Their search for a vocalist introduced Lukas Poloczek, completing the original formation. “Looking back, the project was shaped less by a particular club or musical trend and more by those personal encounters. Three people came together with different musical ideas and discovered that they could create something special together.” That chemistry soon attracted international attention. ‘Money’ appeared on Maya Jane Coles' DJ-Kicks compilation in 2012, followed by the debut album From The Inside on Suol in 2013. Defected subsequently licensed its title track, introducing Chasing Kurt to an even wider audience. Remixes from Henrik Schwarz, Lovebirds and others demonstrated how widely their music could be interpreted. “It's fascinating to hear how someone can take your original song and turn it into something you would never have imagined yourself.” One collaboration remains particularly memorable. “It was wonderful to see how much time and care such an outstanding producer put into our music simply because he genuinely loved the original song.” Kutschke is referring to Lovebirds' Sebastian, who contacted him personally and shared several versions as his remix developed. It remains a reminder that the most rewarding collaborations are often rooted in genuine musical appreciation. Yet the project's original identity was also inseparable from Poloczek's contribution, something Kutschke is particularly keen to acknowledge. “Lukas wasn't just a singer who happened to be part of the project. His voice and songwriting were a huge part of its identity.” Rather than attempting to replace that chemistry, Kutschke has embraced the opportunity to explore a different musical direction with Master. “For me, the creative distance made it easier to accept that Chasing Kurt could have a new beginning rather than trying to continue exactly where we left off.” The distinction is significant. Where earlier productions often revolved around Poloczek's vocals, the current partnership places greater emphasis on rhythmic energy, groove and the possibilities of the club. “Music evolves, people change, and there's no reason to keep following the same formula just because it worked in the past.” Master's musical background has brought fresh harmonic possibilities to the studio, while Kutschke contributes decades of experience as a DJ and electronic producer. Neither operates within a fixed role. Instead, ideas develop through shared experimentation, with both producers building on one another's instincts. “But quite often, there's also that moment when we both look at each other and immediately know, 'Yes, that's it!' Those moments are probably the best part of making music together.” The freedom extends to how their music reaches listeners. Establishing Miami Vince Records allowed the pair to release independently, although Kutschke readily acknowledges the practical demands of operating a label. “We've also learned that starting a label is much easier than running one successfully. It takes time, money and a strong network to promote music properly and reach the right audience.” Their subsequent relationship with independent outlets including Stained Records reflects a more flexible understanding of creative control. “For us, independence isn't necessarily about doing everything ourselves. It's about keeping control over our music while having the flexibility to work with people who believe in what we're doing.” Looking ahead, Kutschke remains enthusiastic but realistic. Beyond music, he works full-time as a teacher and has family responsibilities, while Master runs his own agency. Returning to regular international touring would require circumstances that made music financially sustainable. Still, after more than three decades behind the decks, the prospect clearly excites him. “Whether that will happen, I honestly don't know. But I haven't stopped dreaming about it either.” Then comes a reminder of the personality that has helped make this new partnership feel so natural. “And who knows? Maybe the world deserves to hear me behind the decks again! After more than 30 years of DJing, I've learned that experience is worth its weight in gold, especially when it comes to reading a dancefloor.” For now, Chasing Kurt are content to follow the music rather than impose expectations on it. Their renewed partnership isn't an attempt to recover a particular moment in house music history, but an opportunity to create something meaningful in the present. “For now, we're simply enjoying making music together, and I'm curious to see where this new chapter takes us.” ‘Maybe’ marks the latest chapter for Chasing Kurt, led by Wojtek Kutschke and Vince Master. Chasing Kurt https://www.instagram.com/chasing_kurt https://open.spotify.com/artist/33LGsIXhR30imYNpjs2wRV https://soundcloud.com/chasingkurt

Tommy Maze Tommy Maze is enjoying a standout year, bringing his distinctive blend of house, funk, soul and underground club energy to an increasingly international audience. With support from Jamie Jones, Skream and Matroda, and his productions finding their way into sets at Tomorrowland, Ushuaïa and EDC, the Italian producer is steadily making his mark on the scene. His latest release sees him debut on TSHA’s Jackfruit imprint with ‘The Night Is Yours / Feeling Alive’, a two-track EP that celebrates house music in its rawest, most physical form. ‘The Night Is Yours’ leads with chunky drums, charged synths and an imposing bassline, while ‘Feeling Alive’ pushes further into late-night territory with gritty pads, driving percussion and a vocal that nods to house music’s formative years. For his Hot Picks, Tommy selects ten records that capture the sounds currently exciting him, from funk-heavy grooves and soulful samples to tougher, peak-time productions. Featuring music from Butch, Joseph Capriati, Tiger Stripes, Jewel Kid and Inner City, the selection reflects his appreciation for house music’s roots alongside its contemporary dancefloor evolution. Zsak – I Like Deep “The perfect energy I like when I start my sets. I also love the funky vibes and the vocals on this one by Zsak.” Nico Leon – Dance Right Now “In line with the Alleanza label style. Cool vocals, good energy and housey stabs. Love it.” Butch, Santos – Come Get Up “One of my favourites at the moment. This is so fresh. The ‘Come Get Up’ vocals on loop create a kind of trip. Great energy for a great song. Hits hard at 3am in a club.” Joseph Capriati & GENNARO – Control “Two legends from my country making this really good collab. That sax in the second drop is so good to hear. Jazz and soul vibes, I’m in love with this one.” Kyle Walker – The Montana Girl “Great version of the hit by Jackson Sisters, ‘I Believe In Miracles’. I’ve been listening to this one on repeat lately.” Tiger Stripes – Twelve “What a tune. The more you listen to it, the better it gets. Soul vibes on this one too. The perfect song to play at 11:55pm.” Malcom Zeller – High Roller “Big energy, big bass. I love to play this one. It’s a dancefloor breaker.” Jewel Kid – In The Dance “One of my favourite producers at the moment, releasing on one of my favourite labels. It’s a fresh one.” Wh0 – Burning Deep “He’s only releasing masterpieces lately. His signature bass is addictive and really funky. Awesome vocals too. Great song!” Inner City feat. Steffanie Christi’an – Turn Me On (Detroit Dub) “Inner City need no introduction. Just iconic. The original they made with Steffanie is great, but this ‘Detroit Dub’ is my favourite. What a vibe.” Tommy Maze’s selections highlight the balance at the heart of his sound. Funky basslines, soulful vocals and classic house references sit alongside heavier, more contemporary productions, with each record chosen for the energy it brings to a room. From early-set grooves to those moments when a club is at full capacity, his picks reveal a producer who values musical character just as much as dancefloor impact. That same approach runs through ‘The Night Is Yours / Feeling Alive’, where Tommy draws on the spirit of classic house while delivering the punch and immediacy of a modern club record. Listen to ‘The Night Is Yours / Feeling Alive’ on Jackfruit: https://ffm.to/jf009 Tommy Maze Instagram - Soundcloud - Facebook - Spotify Jackfruit Instagram - Bandcamp

Cioz For Cioz, electronic music has always been about more than what happens inside the studio. From experimenting with synthesisers to discovering the creative freedom of Berlin, the Italian producer’s journey has been shaped by curiosity, collaboration and a willingness to follow ideas wherever they lead. That philosophy sits at the heart of Raamo, the new label he has launched alongside fellow Italian Berliner Corpino. The pair first connected more than a decade ago through Knobs Bergamo, a project dedicated to bringing electronic music and live performance together. Now, after years spent developing their individual sounds, they are returning to that collaborative spirit with an imprint built around the human side of music-making. Cioz inaugurates the label with ‘Amazed’, a three-track EP featuring two originals and a remix from Enamour. The title track combines ricocheting textures, warm bass and rising pads, while ‘Raamata’ explores deeper, more physical territory through swirling synths and Afro-house-infused percussion. Enamour rounds things off with a progressive-leaning reinterpretation of ‘Amazed’. For this edition of Influences, Cioz shares five records that have left a lasting impression on him, from Daft Punk’s unmistakable synthesisers and Super Flu’s playful creativity to the soundtrack of his first experiences in Berlin. Daft Punk – Da Funk “The synth sound, iconic. I spent years trying to replicate that bite. There were no online tutorials back then. So this track made me imagine, inspired me to design my own sounds. Trial and error, trial and error... I learned so many ways to make bass sounds, but I still haven’t figured out how to make that one. Hehe! Thanks Daft Punk! Big inspiration!!” HVOB – Always Like This (andhim Remix) “I discovered SVT through this song. The sound design was insanely good. Andhim, from another planet. And it was 2013! Organic sounds, immersive... The music video: so cool. The vocal from HVOB was so memorable. It was a vibe. The delay sounds massage your brain. Super inspiration <3” Super Flu – Oktavlachs “This video (and, to be honest, all the early Super Flu videos) gave me lots of hope. I loved the DIY feeling and the genius behind it. They made me realise it’s not about the big budget, but about the main idea and the fun of doing it! Working with them was a milestone and a dream. I learned so much from them, and they helped me take the first steps in the underground music world. Forever thankful <3” Paul Kalkbrenner – Azure “Well. This song and the Berlin Calling movie made me want to move to Berlin so badly. I remember the first time I visited Berlin, Bebetta invited me to make music together. I remember riding the train to Berlin city centre, listening to this song and dreaming. A feeling of hunger, a feeling of ‘I’m in a movie right now’. Berlin has always been a dream, and it was becoming reality. Coming from a small city like Bergamo to a big one like Berlin felt like a big leap.” Lynyrd Skynyrd – Free Bird “9 minutes of song. It teaches you that you can do whatever you want with music: start slow, speed up, change key, tell a story... and what a song! It gave me so much energy during my adolescence. Transformative energy. This song could turn a bad day into a good one, blues into positive energy. This is what I wanted to do with music as well: telling a story that transforms you.” Cioz’s selections reveal an approach to music shaped as much by experiences and creative philosophy as by particular sounds. Daft Punk sparked his curiosity for synthesis, HVOB and andhim opened up new possibilities in sound design, and Super Flu demonstrated the value of imagination over production budgets. Meanwhile, Paul Kalkbrenner became part of his personal connection with Berlin, and Lynyrd Skynyrd showed him how music could tell a story and transform a listener’s mood. Those ideas find a natural home in Raamo, where collaboration, experimentation and genuine human connection are central to the label’s identity. With ‘Amazed’ marking its first release, Cioz is bringing that philosophy into a new chapter of his career. Cioz Instagram - SoundCloud - Spotify Raamo Instagram - SoundCloud

Mika Olson Mika Olson returns to Déepalma Records with ‘I House U’, a dark, groove-driven house cut built around rolling basslines, shadowy synths and a commanding vocal. The track wastes little time establishing its direction. A thick, driving bassline anchors the production, while tightly arranged percussion and brooding synth textures create a sense of tension. Cutting through the instrumental is a raw, attitude-heavy vocal that adds character without distracting from the rhythm. Rather than relying on dramatic breakdowns or elaborate melodic passages, ‘I House U’ keeps its focus firmly on the dancefloor. The interplay between bass, percussion and vocal gives the track a relentless forward momentum, balancing darker sonic elements with the rhythmic energy of contemporary house music. Based in Spain, Olson has established an ongoing relationship with Déepalma Records, an imprint recognised for its contributions to house and deeper electronic sounds. His latest release continues that association, drawing on the producer’s understanding of groove-led club music. With its stripped-back arrangement, muscular low end and uncompromising vocal presence, ‘I House U’ offers a direct and purposeful addition to Olson’s catalogue, designed for late-night dancefloors where rhythm takes priority.

Two Another After a decade of releases, hundreds of millions of streams and a global audience, Two Another are entering a period of creative reinvention. For Angus and Eliot, whose distinctive combination of alternative R&B, soul and electronic music has earned them more than a million monthly Spotify listeners, the next chapter is less about abandoning what made them successful and more about rediscovering something they set aside along the way. “I think we’re very much in our club phase at the moment. We’ve always loved making dance music, but we kind of parked those aspirations early on when we saw the other side of what we do starting to gain some traction. It just felt like the right time to come back to it.” Their latest single, ‘Elation’, captures that shift. Built around a sampled guitar groove, live bass, horns and Eliot’s vocals, the track translates the rush of falling in love into something equally suited to personal listening and a crowded dancefloor. Its accompanying remix, released on 23rd October through Another Label, finds Copenhagen producer Nandu taking the original into deeper, more rhythmically adventurous territory. For Two Another, the move towards club music has introduced new possibilities without requiring them to discard their established creative process. “We don’t think the two are mutually exclusive. I can definitely appreciate that people don’t necessarily want too much lyrical depth in their dance music, but we think there’s room for both.” ‘Elation’ began with Angus sending Eliot an instrumental built around a guitar sample. Vocals followed, before the duo refined the arrangement and brought in musicians to replay parts, including bass and horns. It is a familiar method for two artists who have spent years moving between live instrumentation and electronic production. The challenge has been learning when to resist their songwriting instincts. “One thing we’ve been learning with this newer house stuff is just letting parts breathe a little more. Sometimes we still have our pop songwriting hats on and feel like there needs to be a second verse or a pre-chorus, or that the dynamics of a track need to be driven by melody.” In house music, they have found, rhythm and production can carry an emotional journey without following conventional song structures. That understanding also shaped their choice of remixer. Introduced to Nandu through their management, the duo were attracted to his willingness to approach familiar material from an unexpected perspective. “You don’t necessarily want someone who’s just going to give you a stock standard club version of the original. You want someone who’s going to approach it from a different angle, take a few risks and hopefully surprise you a little.” Nandu delivered precisely that, retaining the emotional connection of the original while introducing broken rhythms, expressive synthesiser work and a distinctly late-night atmosphere. “He really thought outside the box with how he used the stems and managed to put his own signature sound on the track while still making it feel very much connected to our world.” That balance between experimentation and recognisable identity has become increasingly important to Two Another. Although their releases have reached an enormous audience, the pair have been making music together for 15 years, developing a creative relationship built around complementary strengths. Angus concentrates on production and arrangement, while Eliot brings a stronger focus on vocals, melody and lyrics. “Being in a band is ultimately about compromise, and in our case, I think that compromise is actually what makes the music better.” Their commitment to live instrumentation remains another defining characteristic. Long before the duo had an established catalogue, they were recording musicians improvising over demos, building an archive of performances that could later be chopped, sampled and transformed into new material. That approach continues to offer something they believe is increasingly valuable in electronic music. “Sometimes a musician will bring a little bit of flair or an unexpected idea to a track that you wouldn’t have come up with yourself, and that’s often where some of the most interesting stuff happens.” The importance of human expression extends beyond the instruments themselves. Asked how they distinguish genuine emotional connection from technical accomplishment, the duo point towards authenticity, particularly as artificial intelligence becomes more prominent across streaming platforms. “People are pretty good at recognising when something feels genuine, and I think they have a good ear for things that feel organic versus things that sound overly processed or digital.” Their belief in music’s emotional power has also been reinforced by audiences in ways they could never have anticipated. At their first show back at London’s Heaven in 2022, Two Another performed ‘Coming Alive’, a track they had regarded as relatively understated. The response surprised them. “Anyway, we started playing it and could immediately see people’s eyes light up, couples kissing, people singing along. We literally turned to each other after the show and said, okay, that needs to be our closer.” The song subsequently became their biggest release, illustrating how listeners can discover a significance in music that its creators might initially overlook. “Clearly the audience had figured something out about that song before we had.” For an act with such an established audience, however, creative change inevitably carries an element of uncertainty. Moving further into dance music means challenging familiar structures and expectations, including their own assumptions about what a Two Another record should sound like. “You start knowing what a Two Another song should sound like before you’ve even made it, which isn’t necessarily a good thing.” Rather than attempting to recreate earlier successes, they are embracing that uncertainty. “I think trying to recreate the same music over and over again can be just as alienating to an audience as experimenting with something new. Eventually it gets boring, and you’re almost competing with yourself, which doesn’t seem particularly interesting to us.” Their independence has made that evolution easier. Having remained largely self-directed throughout their releasing career, the duo now operate through Another Label, giving them greater freedom over both their music and its presentation. The next major step is a new hybrid live show, with Angus DJing alongside live vocals, synthesisers and samplers. It is a format designed to bring their songwriting history into closer contact with club culture. “So for the next year or eighteen months, the goal is to make music that feeds into that show and hopefully build a bit of a community around it.” The ambition is not to choose between emotional songwriting and dancefloor functionality, but to find a space where both can coexist. “We want to make records that are really fun on the dancefloor, but that people still want to listen to in the car or at home. We’re definitely not abandoning the songwriting side of things; it’s more about figuring out how to bring that into this new world we’re exploring.” For Two Another, ‘Elation’ is more than another single. It offers an early glimpse of a new creative direction, one that draws on everything they have learned together while leaving room for the unexpected. Two Another Instagram - Soundcloud - Spotify