Kool FM, the most influential pirate radio station in the evolution of jungle and drum & bass, is the latest seminal name to be invited to host and curate a four-week residency at XOYO London, joining an illustrious list of past residents that includes DJ Randall, Andy C, Interplanetary Criminal, Break, Mike Skinner, Aliz Perez, Goldie, and more. Drawing on 32 years at the forefront of the scene, the four Fridays throughout January 2024 (5th, 12th, 19th, 26th) see original Kool FM founder Eastman Sound, joined by an unmissable lineup of DJ and MC talent from across the decades, including Bryan Gee, DJ Brockie, Harriet Jaxxon, Voltage, Rage, Bladerunner, Congo Natty, Oko, Serum, Uncle Dugs, IC3, Goddard, James Hiraeth, Serum and many more. Kool FM Tickets and further info are available at: https://www.xoyo.co.uk/clubnights. Recently becoming part of the highly respected Rinse FM family, Kool FM began to broadcast from the rooftops of Hackney 32 years ago, bringing the latest hardcore sounds to a rapt and immediate audience. As jungle began to emerge as a new sound Kool FM was central to its proliferation, going on to heavily influence new generations of artists, rappers and MCs. This coveted XOYO London residency is a chance to showcase many artists who broadcast on Kool FM and to celebrate Kool FM’s unique heritage and undeniable contribution to jungle and drum & bass culture. "I’m looking forward to this one - Kool FM will take over XOYO in January and I’ll be playing Reggae Dancehall, Roots, and Culture every week. I’ll be playing different styles of Reggae each time to keep it moving, playing tunes where you can recognise a vocal sample, drum beat, or bass line which laid the foundation of the Jungle and Drum & Bass we now know today. It will be good to see all the Kool Family there - past, present & future. Thank you, One Love ❤️" - Eastman Sound. Each date on the residency sees a host of big and up-and-coming names take control of the dancefloor in the XOYO main room, while room 2 sees the Kool Originals - Eastman Sound, Ash, SL, DJ Kane, Jamie G, Devious D, Pressure X, Flirt, and Younghead - lining up to show the quality tune selection that originally put Kool FM at the cutting edge of a burgeoning new scene. XOYO continues its drive to embrace all corners of London’s club culture, to deliver a safe, inclusive and authentic dancefloor experience, and to celebrate an underground community united by music. XOYO https://www.facebook.com/xoyolondon https://twitter.com/XOYO_London https://www.instagram.com/xoyoldn https://www.xoyo.co.uk Kool FM https://rinse.fm/channels/kool/ https://www.instagram.com/koolfmofficial/ https://soundcloud.com/kool-852284542

BBE, the independent record label and East London record store, has launched a petition seeking support ahead of a review of its premises licence. The business operates a record shop and event space at Arch 376 in London Fields, where it has been based since 2016. According to the venue, complaints about noise have increased following residential development nearby. BBE says it has worked with Hackney Council on measures including noise limiters and acoustic curtains, but concerns raised by some neighbouring residents have continued. The review raises a familiar question for London’s music community: how can long-established cultural spaces coexist with new residential development? Independent venues often operate on tight margins, and restrictions on events can affect financial viability. BBE’s history stretches back to 1996, when it began as a club night before developing into a respected outlet for soul, hip-hop, funk, disco and jazz. Its physical space provides more than retail, supporting record discovery and cultural exchange. The petition calls for BBE to retain its existing licence arrangements. The review process is ongoing, and the outcome should not be presumed. Supporters can find further information through BBE’s official channels. Source and further information

Nooriyah has announced a one-night headline show at O2 Academy Brixton on Saturday 10th April 2027, marking an important step in the DJ and curator’s expanding live career. The London performance will feature a purpose-built production and a selection of special guests. Known for championing sounds and communities across South West Asia and North Africa, Nooriyah has built a distinctive presence through her Middle Of Nowhere platform. Her sets connect musical histories and contemporary club energy, while creating space for artists and audiences often underrepresented in mainstream electronic music programming. The Brixton date follows appearances at major international events including Coachella, Glastonbury and Lowlands. Moving into a venue of this scale as a headline DJ is a significant development, particularly for an artist whose work places cultural exchange and community at the centre of the experience. According to the venue announcement, the show is designed as a celebration of global dance music, with a carefully curated guest line-up. Names have not yet been announced, leaving the full musical direction of the evening open for now. O2 Academy Brixton has hosted generations of influential live performers, but large-scale DJ-led headline events remain comparatively unusual there. Nooriyah’s booking demonstrates the growing appetite for ambitious productions that move beyond familiar genre boundaries. Doors are scheduled for 7pm, with an 11pm curfew. O2 Priority tickets go on sale on 26th October, followed by other presales on 27th October and general sale on Wednesday 28th October at 10am. More information

A useful press kit lets an editor hear the record, understand the story and find an image they can publish. It should answer the basic questions without a second email or a request for access. For electronic music, the difficult part is often deciding what deserves attention. A folder full of biographies and artwork does not explain why this release fits a particular publication. Put the musical idea and the practical information together. The First Page: Make The Release Clear Start with the artist name, release title, label, release date and a working contact address. Add the format, such as a single, EP or album, and the tracklist. For a collaboration, make it clear which artists appear on which tracks. Follow that with two or three sentences about the music. Describe something a listener can identify: the drum programming, a vocal performance, a change in sound or the circumstances behind a recording. Claims about an artist changing the scene need evidence. A specific musical detail is usually more useful. Give Editors A Working Listening Route Put a private stream near the top of the page. Test it in a browser where you are signed out, then test it on a phone. Check that the correct tracks play and that the link will remain available throughout the campaign. Label versions clearly. An original mix, radio edit, instrumental and remix should not appear as four indistinguishable audio files. Include downloadable audio where you have permission to share it, especially when approaching DJs or radio producers. Keep the streaming route available for editors who only need to listen. Supply Images With Usable Credits Include release artwork and a small selection of approved artist photographs as separate files. Offer an image that works horizontally as well as a portrait option. A photograph pasted into a document makes it harder to reuse and may lose quality. Put the photographer’s credit beside the filename and state whether the supplied images are cleared for editorial use. Identify the people in group photographs. If a publication needs a different crop, give them a contact rather than leaving them to guess what is allowed. Keep The Biography Relevant Provide a short biography that explains who the artist is and where this release sits in their work. Include a longer version only when it adds useful background. Distinguish the artist’s own statement from a quote supplied for publication. For a new label relationship, explain how it happened. For a change in direction, identify what changed in the music. Previous support can help with context, but keep it attributable. A DJ downloading a promo and playing it in a recorded set are different things. State Dates, Embargoes And Exclusivity Separate the release date from any proposed announcement or premiere date. If material is under embargo, state the date, time and time zone clearly. Ask whether the recipient can agree to that timing before treating it as accepted. A premiere offer should name the track and format being offered. Check the artist’s, label’s and distributor’s plans before promising exclusivity. Record what has been agreed, with whom and for which date. Do not offer the same exclusive to another outlet while an agreement is in place. A Folder Editors Can Navigate Start Here: release summary, tracklist, dates, contact and listening link. Audio: clearly labelled versions, with private streaming access and authorised downloads. Artwork: the approved cover image and any relevant alternative formats. Press Photos: approved images, filenames, captions and photographer credits. Biography And Quotes: a short biography, optional longer background and attributed statements. Links: the artist and label websites, relevant profiles and public release page when available. Use filenames that identify the artist and release. Replace outdated files rather than leaving several documents called final in the same folder. Keep the main link stable if possible, so a pitch sent last week still opens the correct materials today. A Short Pitch You Can Adapt Subject: [Artist] announces [release title] on [label], out [date] Hi [name], I thought this could suit your [specific section or recent coverage]. [Artist] releases [title] through [label] on [date], with [one concrete detail about the music or story]. You can listen here: [private listening link]. The press kit includes the release information, approved photos and image credits: [press kit link]. Would this be useful for [one relevant coverage format]? Thanks, [name and contact details] Check It Before You Send It Can someone outside your team open the listening link and assets? Do the dates match across the pitch, release information and artwork? Are the audio versions and track titles correct? Can an editor identify the image credit without asking? Does the pitch explain why this release fits that publication? Have you named one relevant request rather than offering every possible format? Keep a record of pitches and agreed coverage. When an article appears, save its direct URL and the publication date. If you maintain an artist press page, link to the original piece so readers can find the full feature. A social screenshot is useful for sharing, but it does not replace the source. For the wider campaign timeline, use our guide to promoting electronic music releases. If you are promoting a club night instead, start with our electronic music event promotion guide.

Evan Michael For Evan Michael, the relationship between club culture and production has never been separate. Long before ‘Time Is Now’ arrived on Epicure Records, he had already spent years inside New York nightlife, not just behind the decks, but helping shape the spaces themselves. That dual perspective runs through the EP in subtle ways. The tracks feel informed by the dancefloor, but also by the wider mechanics of a night out, the pacing, the tension, the emotional shifts that happen between peak moments. “I’ve always been a DJ and producer while simultaneously working as a promoter,” he explains. “So it wasn’t a sudden transition. But for years, I wanted to spend more time fully immersed in my own creativity and working in the studio.” That shift gradually became more serious over the last few years. Time spent around clubs, DJs and independent venues sharpened his understanding of what actually works when a room locks into a groove. But returning to releasing music brought a different kind of connection to the scene. “As a promoter, your focus is on making sure the room feels alive,” he says. “What’s exciting about putting out records again is seeing how other DJs embrace the tracks. Sending promos out and getting instant feedback is incredibly rewarding.” That renewed focus sits at the centre of ‘Time Is Now’, both as a title and as a wider statement of intent. “It’s a reflection of this stage in my career,” he says. “I’ve spent the last couple of years honing my craft, learning constantly and dedicating more energy to the studio. It feels like the perfect moment to really push myself creatively.” The EP carries that sense of momentum throughout. There’s a strong late-night pull running across the record, shaped by years spent absorbing New York club culture from every angle. “Watching some of my favourite artists build tension in a room definitely left an impression on me,” he explains. “When I’m in the studio, I focus heavily on impactful rhythms and how playable the tracks are.” That dancefloor-first mentality keeps the release cohesive even as it moves between different moods and textures. Some moments lean deeper and melodic, others drift towards breaks, funk or more driving territory, but the underlying approach remains consistent. “I usually start with drums and percussion,” he says. “The rhythm dictates where the track goes. Even when exploring different directions, the groove anchors everything.” There’s also a clear emotional thread running through the EP, one that balances euphoria with introspection rather than choosing one over the other. That tension feels especially important to Evan’s sound right now. “I want tracks to feel nostalgic and melancholic while still functioning properly on a dancefloor,” he says. “That contrast has always interested me.” Recent releases on labels like Street Tracks, Sprechen and Secret Fusion helped reinforce that identity. Beyond simply putting music out, those experiences gave him insight into how different labels frame and position records. “Watching how different A&Rs approach packaging the music has been really informative,” he says. “It helped me better understand my own artistic identity and what I actually want my sound to represent.” That process continued through his relationship with Epicure Records and label head Prinze. From the beginning, both sides were aligned on the direction of the project. “Once he heard the demos, we were immediately on the same page about the late-night energy we wanted to capture,” Evan says. “He gives artists space to fully run with their ideas while still offering feedback that genuinely helps shape the project.” The remix package became a major part of expanding that vision further. Seoul’s Shubostar, London’s Vanity Project and Nantes-based Gisèle Kérozen each push the material into different territory without losing the original atmosphere. For Evan, that international exchange feels central to modern dance music culture. “Dance music has always been a worldwide language,” he says. “Seeing different producers reinterpret the tracks is incredibly inspiring. Everyone approaches groove differently depending on where they come from and the scenes they’re connected to.” Shubostar’s involvement felt particularly organic. “She’d already been supporting and playing my music,” he explains. “I’ve been a fan of her sound for a while, so having her involved felt like a natural fit.” That openness to collaboration reflects the wider way Evan sees club culture itself. Even with years of experience in New York nightlife behind him, he still approaches the scene as something collective rather than individual. “When you’re promoting and working with independent spaces, you aren’t just thinking about music from the booth,” he says. “You’re thinking about how the crowd moves, how the room fills, how the energy evolves over the course of an entire night. That changes how you produce.” It’s why playability remains such a priority in his work. Even the more introspective moments on ‘Time Is Now’ still feel functional, designed with movement and pacing in mind rather than drifting into abstraction. Looking ahead, Evan sees the EP as both a continuation and a reset point. “It reflects the deep house and techno roots I’ve always had,” he says, “but working with new labels and new remixers has also opened up fresh directions creatively.” That duality makes sense across the record itself. ‘Time Is Now’ feels grounded in experience, but never static. It carries the instincts of someone who has spent years studying dancefloors from every angle, while still sounding hungry to push further forward. Listen to Evan Michael’s Scene Selectors mix to hear how those ideas carry through into his DJ selections. Evan Michael https://www.instagram.com/evvnmichael/ https://open.spotify.com/artist/0wIFDSKA8OHGWbToUfVuDg https://soundcloud.com/evvnmichael

Evan Michael We’re welcoming Evan Michael to the latest edition of our Scene Selectors series following the release of his ‘Time Is Now’ EP on Epicure Records. The New York-based DJ, producer and promoter has spent years immersed in underground nightlife from multiple angles, something that comes through naturally both in his productions and in the way he builds a set. That late-night understanding sits at the centre of this mix. Across the session, Evan moves fluidly through deep house, electro-leaning grooves, hypnotic tech house and darker melodic textures, keeping the energy controlled while constantly shifting the mood underneath. The pacing feels deliberate throughout, reflecting the same tension-and-release approach that shaped ‘Time Is Now’. His own productions sit comfortably within the wider selection. Tracks like ‘Precious Punch’, ‘On The Planet’ and the Shubostar remix of ‘Time Is Now’ slot naturally alongside cuts from artists including D’Julz, Falcon Black Ops, Zoo Brazil and Ben Hauke, reinforcing the deeper, groove-led identity that continues to define his sound. That cohesion is what stands out most. Even as the mix moves between different rhythmic directions and textures, everything feels connected through atmosphere, movement and careful control of momentum. It also reflects the wider themes explored in our recent interview with Evan. Speaking to us about New York nightlife, dancefloor psychology and the relationship between promoting and producing, he explained how years spent inside independent club culture shaped his approach to rhythm, pacing and emotional tension within records. You can hear that perspective clearly here. The mix never rushes towards obvious peak moments. Instead, it builds gradually through groove and subtle shifts in energy, creating the feeling of a proper late-night journey rather than a collection of standalone tracks. For the latest Scene Selectors edition, Evan Michael delivers a thoughtful and deeply playable mix that captures exactly where his sound sits right now, rooted in club functionality, but equally focused on mood, atmosphere and emotional movement. Read our interview with Evan Michael for more on the New York club culture and production decisions behind ‘Time Is Now’. Evan Michael https://www.instagram.com/evvnmichael/ https://open.spotify.com/artist/0wIFDSKA8OHGWbToUfVuDg https://soundcloud.com/evvnmichael

We have a special treat for techno enthusiasts as we sit down with Stoked, the lynchpin of India’s burgeoning techno movement. Fuelled by an unbridled passion for his art, Stoked has been instrumental in developing the scene in his home country and pioneering the unique "Asian techno sound." As the mastermind behind BITONAL, one of India's most respected touring agencies and promoters, Stoked has played a crucial role in bringing international talent such as Pan-Pot, GHEIST, Will Clarke, Teenage Mutants, Balthazar, and Jackrock to Indian shores. His latest work, ‘SIRENS,’ seamlessly blurs the lines between driving and progressive techno, creating a captivating hybrid melody. With a tightly woven bassline and mystifying energy, the track features beguiling vocals from Chitralekha Sen, adding a layer of deity-like beauty. Stoked’s latest EP also includes the track ‘909,’ where he infuses a more Western, Detroit-like vocal sample. Subtly crafted beats with just enough bass, drum, and ethereal sound design make this track a favourite across the techno spectrum. The vocal sample lurks beneath the track’s core, sporadically asserting itself amidst chiming synths and blunt basslines. Check out our interview with Stoked and listen to his exclusive UNDRCTRL mix below: Can you tell us a little about your experience with music? Where are you from / how did you get into music? I'm originally from Goa, India, a country known for its vibrant and diverse musical culture. Growing up here deeply influenced my journey. My love for music started early on, with genres like Disco and House. Over time, I found myself drawn to the energy and innovation of electronic music, especially techno. I began producing music by experimenting with Fruity Loops, just like many of us do. My DJing career took off at local clubs and events, and in 2005, I got my first big break as the head resident DJ at Elysium in Pune. You run BITONAL which is one of the fastest growing agencies in India. Has this been a hard journey to start the agency and what are you goals for it for the future? Running BITONAL, has indeed been quite a journey. Starting the agency came with its challenges, but the passion for music and determination to succeed kept me going. Looking ahead, our goal is to continue expanding and pushing the boundaries of the electronic music scene in India. We want to create more immersive and innovative experiences, support emerging artists, and establish BITONAL as a leading name in the global electronic music community. How do you feel running the agency has been pivotal / important to you developing your career as a DJ? Running BITONAL has been incredibly important for my career as a DJ. It has allowed me to network with global artists and agencies, paving the way for meaningful relationships and collaborations. This exposure has not only broadened my musical horizons but also provided invaluable opportunities to learn and grow within the industry. Being at the forefront of BITONAL has given me a unique perspective and edge, fuelling my creativity and helping me evolve as an artist How is your sound evolving? What artists and genres do you enjoy mixing right now? My sound is constantly evolving, especially as I blend Indian influences with techno. This fusion creates a unique vibe that reflects my roots while pushing the boundaries of my productions. Right now, I'm really into mixing peak time and raw, hypnotic techno. I enjoy creating a set that flows, keeping the energy high and the crowd engaged. When playing in India, I like to strike a balance between melodic and peak time techno, offering something that sits well with the local audience while still preserving the STOKED sound. Artists I'm currently inspired by include Pan-Pot, Teenage Mutants, Hi-Lo, Eli Brown, Balthazar & Jackrock, Rafael Cerato & Tigerblind mainly as their styles align well with the sound I'm developing. The scene in India has been growing for years, what are some of the must-see venues in the country for artists and fans? India's electronic music scene has indeed been burgeoning, offering a range of venues that cater to both artists and fans. My top 5 venues across the country include: 1. Sunburn Union – Bengaluru 2. SOHO – Delhi 3. Prism – Hyderabad 4. Raeeth – Goa 5. Echo – Goa Your release ‘SIRENS’ is your first on the agencies label, can you talk us through this release and story behind the vocalist on the title track? Absolutely, 'SIRENS' is a special release for me as it marks my debut on BITONAL Records. The track is a fusion of peak time techno with haunting Indian vocals by Chitralekha Sen. The idea behind blending these elements was to create a unique experience that pays homage to my Indian roots while maintaining the high-energy, driving nature of peak time techno. I’m really excited to share this release with everyone and to continue exploring this fusion of sounds in future projects. What advice can you give others who are trying to break out of their local, and into the more international music scene? Breaking into the international music scene can be challenging but here are some tips that might help: 1. Quality Over Quantity 2. Networking 3. Online Presence 4. Collaborations 5. Promotion 6. Be Persistent 7. Stay True to Yourself You’ll be heading to Germany and the UK this summer, which is the first time you have played in Europe. Can you tell us some of the shows you have booked, and what you are looking forward to the most? I played in Europe for the first time in 2018 at Steve Mulder's Orange Recording & Faroukh’sMinitech ADE Showcases. Fast forward to 2024, and I'm headlining Stage 2 at Sea You Festival alongside Pan-Pot, Lily Palmer, and Adam Beyer. Additionally, I've been booked to perform at Rave the Planet (formerly Love Parade) for Berlin's OSTFUNK ✕ GOANAUTIKA brand. Furthermore, I'll be playing at the renowned KIT-KAT Berlin for Symbiotikka & Silodom in Saarbruken. Stoked https://www.instagram.com/stokedofficial https://open.spotify.com/artist/3p7fzDBhVlfoYrpM2p5n0T https://soundcloud.com/stokedofficial For more from Stoked, listen to our premiere of ‘Java Rain’ by Balthazar, JackRock and Stoked on Terminal M.

Launched towards the end of 2022, SPIL RECORDS and its founder Jack Swift set about to make waves by launching a new project into the mix, with support from the off from likes of Enzo Siragusa, Chris Stussy, Rossko and more. Promising a healthy dose of high-quality cuts with influences from house and garage mirroring his early years listening to London’s pirate radio stations, the launch EP from Swift showcased what to expect with a powerful selection of slick productions, with remixes from garage icon Jeremy Sylvester and Inermu head James Dexter. Returning to deliver the first material of 2023 on the imprint, the label boss steps up again with two fresh cuts across his ‘Terminal’ EP - with remixes provided by Make You Move Records co-founder Devstar and Council Work Records head Tom Frankel. Opening with authority, the driving ‘Terminal’ is a dynamic lead cut with skippy percussion, warped vocals and rich stabs, providing a low-end heavy anthem packed full of garage cues and nuances, while second original ‘Highrise’ is a sun-soaked and shimmering production guided by snaking grooves, hazy melodies and soulful samples. Turning in the first remix, Devstar’s ‘Feel The Vibe’ take on ‘Highrise’ brings a bumping bassline and vibrant organ stabs to proceedings, while Tom Frankel journeys towards darker, murky territories in his typically rugged interpretation to close the show.
 Jack Swift ‘Terminal’ EP is available now via SPIL RECORDS; you can buy your copy HERE. Jack Swift Instagram - Facebook - Soundcloud Devstar Instagram - Facebook - Soundcloud Tom Frankel Instagram - Facebook - Soundcloud Spil Records Instagram - Facebook - Soundcloud To hear the records behind that house and garage approach, explore Devstar’s Influences feature.

Wandour’s new EP, ‘Iridescent Serenade,’ is a luminous slice of deep house that feels tailor-made for sun-drenched open airs. Across six tracks, Wandour leans into crisp grooves, rich melodies, and a chilled, euphoric energy that never tries too hard to impress - it just hits. The opener ‘Serenade’ sets the tone with deep, driving bass and emotive piano stabs that feel like golden hour captured in sound. It’s punchy without being heavy and full of euphoric nuances that give it that perfect festival warm-up slot feeling - the kind of track that catches your ear from across the field. ‘Higher’ builds on the mood but with a vocal twist. The topline floats lightly above vivid keys and a slick guitar-led bassline, giving it a slightly funkier, more laid-back vibe. It’s a track that breathes. Summery, refreshing, and effortlessly light - perfect for beach parties or rooftop sets. ‘Shine’ brings even more melody, layering catchy vocal phrases over a bouncing deep house foundation. The production is bright, saturated, and packed with atmospheric charm. It walks the line between chill and energised well - the kind of tune that works just as well mid-set as it does with headphones on during a solo walk. ‘Iridescent’ breaks the mould slightly, pushing into more experimental territory. It’s a peak-time number with a bit of bite - gritty low-end textures and dreamy synth work blend into a quirky, genre-blurring ride. Think electro-meets-deep house with a slightly warped festival edge. You can picture this one dropping just as the sun dips below the horizon. ‘Glow’ brings the temperature back down but keeps the energy flowing. Another standout vocal topline sits over punchy, groove-heavy percussion and sparkling guitar licks. There’s a live feel to this one - not in a raw way, but in how tactile the instrumentation feels. It’s intimate, warm, and quietly confident. ‘Away’ closes the EP with another experimental flourish - retro-leaning synths and a strong female vocal lead the charge on this one. There’s a nostalgic feel throughout - nods to early 2000s house and electro, all wrapped up in modern production. It’s playful but still rooted in dancefloor intent. Its consistent atmosphere holds ‘Iridescent Serenade’ together - light, emotive, and easy on the ears, but never dull. Wandour’s choices are deliberate and subtle. There’s no showboating here, just clean, thoughtful deep house with flashes of experimentation that keep things interesting. This isn’t an EP that screams for attention but earns it in the best way - through clarity, vibe, and warmth. Whether spinning it poolside or catching it on a festival system, ‘Iridescent Serenade’ delivers precisely what the name promises: shine, colour, and a smooth emotional undercurrent. Wandour https://www.instagram.com/lets.wandour https://open.spotify.com/artist/3Ak1a7Dr0OryHJZbiFbnFr https://soundcloud.com/wandour https://www.youtube.com/@Wandour Read our interview with Wandour about ‘Echoterrium’ for a closer look at the field recordings, cassette experiments and memories behind his later album.

DEVSTAR Fresh from delivering a standout guest mix for Undrtone x Jake Tomas & Paul HG + Friends Presents, London’s DEVSTAR feels like an artist reconnecting fully with the foundations that shaped him in the first place. That mix, packed with raw house grooves, dubby garage pressure and deeper club cuts from names like Jerzzey Boy, Unity Vibe, Raw Concept and Armando alongside multiple DEVSTAR originals, captured exactly where his head is at right now: rooted in classic dance music language but constantly searching for fresh movement within it. For DEVSTAR, evolution has never meant abandoning where he came from. Across the last decade, his sound has moved through bass-heavy club music, house, garage and deeper underground territory, but the thread connecting it all has remained surprisingly consistent: rhythm, swing and an instinctive relationship with the dancefloor. That relationship began long before the recent wave of vinyl digging and Slapfunk-inspired grooves now feeding into his productions. Back in the mid-2010s, the Juxx parties became an important early chapter, not just creatively, but professionally too. “It’s mad those parties were about 10 years ago now,” he says. “We started them because London’s oversaturated, everyone’s a DJ. Me, Jack Swift and DJ Listener wanted to become opportunity providers rather than opportunity grabbers.” What started as a way of building credibility quickly became something more formative. The nights brought them into direct contact with artists they genuinely admired, while also giving DEVSTAR his first real understanding of how the wider industry operated behind the scenes. “It gave me a proper grounding in how things work,” he explains. “Working with agents, venues and promoters gave me a solid foundation early on.” Musically, those nights refused to sit inside one narrow lane. Artists like New York Transit Authority, Klose One and Paleman brought raw bass pressure, while other bookings leaned further into house and garage through names like Dale Howard, Martin Ikin, Matt Jam Lamont and Gerd. Looking back now, that openness feels important in understanding where DEVSTAR’s sound sits today. “To be honest, I still like making lots of different types of music within the house and garage world,” he says. “I never want to make the same track twice.” That said, his recent obsession with Slapfunk parties and Amsterdam’s underground scene has clearly sharpened his current direction. ADE and venues like Shelter left a particular mark. “There’s a real underground connection there,” he says. “Artists like Brawther and Tristan Da Cunha from Dungeon Meat are hugely inspiring to me. What they play feels so raw.” Still, no matter how far the sound evolves, he always finds himself circling back to the same source material. “‘90s house and garage is what I always come back to,” he says. “That’s my foundation.” Interestingly, DEVSTAR experienced much of that era retrospectively rather than firsthand. “I wasn’t even old enough to properly experience a lot of it in clubs,” he explains. “But it’s still the period that influences me most heavily.” That fascination with older records has only deepened through his return to vinyl and turntables. While he first experimented with belt-drive decks as a teenager, his early professional years became heavily tied to digital DJing, technical workflows and the functionality that came with CDJs and modern setups. “I kind of left vinyl behind by accident,” he admits. “But with the resurgence of vinyl, and loads of labels I love putting music out exclusively on wax, I realised I was missing out.” Buying a turntable again changed the way he interacted with music almost immediately. Digging through older house and garage records, many never released digitally, opened up an entirely new level of discovery. “I’ve got loads of YouTube playlists full of old tracks from the ‘90s,” he says. “Now I’m actually going into record shops and buying them properly.” That process sits all over his recent Undrtone guest mix too. Rather than chasing obvious current club trends, the selection leans heavily into groove, feel and long-term influence, blending soulful dubs, tougher garage rollers and stripped-back house cuts with the kind of patience and pacing that only really comes from years spent studying records deeply. More importantly, it reignited his excitement around sharing music itself. “People genuinely love discovering records,” he says. “Some of my favourite accounts online are the ones constantly showing rare classics or hidden gems. I love hearing someone bought a record because they saw me post about it.” That renewed connection to crate digging also feeds directly into his productions. Labels like Strictly Rhythm, Nice N Ripe and Nervous remain constant reference points, not just sonically, but philosophically too. “It amazes me how much incredible music people made without the tools we have now,” he says. “People were creating amazing compositions without even properly knowing how to play keys, just experimenting by ear.” That looseness appeals to him far more than heavily polished modern production. “I don’t really like overly clean tracks,” he says. “I prefer things raw and organic.” It’s a mindset that’s followed him across releases for labels like Nervous, Toolroom and Moxy Muzik. Even when the tracks move between different shades of house and garage, he’s been reassured to hear there’s still a recognisable thread tying them together. “I had a mixing session recently and they pointed out that, even though my tracks vary quite a lot stylistically, there’s still a distinct identity running through them,” he says. “Apparently you can tell they’re mine, even when they sound different.” That identity extends into his DJing too. When discussing his sets, the focus shifts away from perfection or crowd calculation and back towards instinct. “I genuinely get lost in the music when I play,” he says. “If I’m not having a good time, why should anyone else?” The technical side still matters deeply to him, though. Layering acapellas, unexpected blends and creative transitions remain a huge part of his approach. “I think a bit of that artistry has been lost recently,” he says. “I love keeping people on their toes.” Outside music, life looks very different to the relentless pace of his twenties. DEVSTAR still works outside the industry, now balancing that alongside family life and dedicated studio time. Fridays are reserved entirely for music, while a few weeks at the end of each year become pure creative reset. “I absolutely love being a Daddy,” he says. “Things change. You just have to find what works for your life.” That honesty around balance feels important to him, especially in a culture that often pushes the idea that total immersion is the only path to legitimacy. “I think more people should talk about balancing music with non-music careers,” he says. “Having both gives me freedom. I only release music I genuinely love.” That freedom also shapes how he approaches creativity itself. Trends hold very little interest. “It’s all about how I feel on the day,” he says. “I collect ideas constantly, but when I sit down, I just see what comes naturally.” Looking ahead, that instinctive approach is continuing to fuel a strong run of new material. A forthcoming two-track EP rooted in ‘90s-inspired deep house and garage is on the horizon, alongside a growing pile of finished music waiting for the right moment. “It’s shaping up to be a really strong year,” he says. “There’s something coming very soon on a very cool label.” Explore Devstar’s Influences selection for the UK garage and house records that continue to inform his productions. DEVSTAR https://www.instagram.com/devstar_dj https://open.spotify.com/artist/5v4NOhUz74HKm8K3aphrtX https://soundcloud.com/devstardj

Wandour A train journey can sometimes take you somewhere far beyond its destination. For Indonesian electronic producer Wandour, returning to a mountain town he had visited as a child unexpectedly unlocked fragments of a memory he believed had disappeared entirely. His parents remembered the original holiday, but he had no recollection of it, and the photographs had long since been lost. Years later, retracing the journey as an adult brought something back. “The train and the surrounding area had changed dramatically, but something about the sounds and smells felt familiar. Fragments of that first trip came back to me.” The experience became a defining inspiration for Echoterrium, his forthcoming album on Resilen Records, released on 28th October. Across ten tracks, Wandour explores the relationship between sound, memory and place, drawing on cassette loops, field recordings, analogue processing and electronic instrumentation to recreate the strange sensation of remembering something almost forgotten. The album’s title describes an imagined aquarium of echoes, where memories exist like submerged waveforms until something in the outside world disturbs them. “It made me wonder how many memories are still there, just waiting for the right thing to reach them.” For Wandour, those triggers might be rainfall, a passing train, radio interference or the sound of the ocean. The important thing is not necessarily the sound itself, but everything it brings back. “You remember the place, the people who were with you and how it felt to be there.” Rather than constructing a collection of literal musical postcards, he wanted Echoterrium to become a space where listeners could rediscover their own experiences. “I wanted the music to offer a key that might bring one of their own seemingly forgotten moments back to the surface.” That philosophy begins long before he enters the studio. A self-described wanderer, Wandour travels with a vintage field recorder and camera, documenting environments that leave an impression on him. Yet his process is more deliberate than simply collecting every interesting sound he encounters. He prefers to spend time observing a place, often scouting it with his camera before returning with recording equipment. The separation is partly practical, given the weight of carrying both, but it also allows him to develop a relationship with an environment before deciding what deserves to be preserved. “Sometimes a rhythm or texture catches my attention. Other times, a sound brings up a feeling I want to explore.” Those recordings can then take very different roles within a composition. Some remain recognisable, providing a tangible connection to the outside world. Others are transformed until their origins become difficult to identify. On ‘Farewell Frequency’, for example, Wandour layered a recorded ship’s horn over the central synthesiser riff, allowing its distant, weighty character to influence the melody without necessarily revealing the original source. “I like moving between those approaches, letting some sounds reveal where they came from and allowing others to become something less familiar.” The transformation often involves equipment that many contemporary producers might consider unnecessarily unpredictable. Old tape decks, cassette loops and weathered recording hardware play a central role throughout Echoterrium. Pitch fluctuations, distortion and hiss are retained not as decorative nostalgia, but because they can fundamentally alter the direction of a composition. “Sometimes an imperfection becomes the starting point for a track.” Wandour describes the process as an exchange between his intentions and the behaviour of the equipment. He chooses a cassette, sets the recording levels and listens to what comes back, accepting that the results will not always be entirely controllable. “Those happy accidents excite me because they are not things I would necessarily think to create on purpose.” This commitment to physical recording is also a deliberate statement about authorship. “I also want to be clear that Echoterrium is 100% human-made, with no AI-generated components.” For Wandour, the distinction is not simply technological. The performances, environmental recordings and unpredictable behaviour of analogue hardware are inseparable from the emotional character of the finished music. That philosophy extends to the album’s orchestral elements. ‘Forest Spirits’ combines breakbeats and deep bass with a full string ensemble, drawing on the atmosphere of vast landscapes encountered during his travels. Rather than pursuing the immaculate precision of a sample library, Wandour wanted the subtle inconsistencies that emerge when musicians perform together. “One bow digs in a little harder, a note arrives slightly early, or several players shape the same phrase in slightly different ways.” Recording the ensemble through inexpensive vintage cassette equipment added grain and softened the sound, helping the strings settle naturally alongside the field recordings and electronics. “I wanted to keep the unpredictable parts of a real performance, especially the moments I would never have thought to program.” Elsewhere, the ocean becomes a recurring source of inspiration. Having grown up around the sea, Wandour associates it with a wide range of emotions. ‘Seaside Moments’ reflects quieter memories of family life, particularly experiences that were never photographed because everyone was too occupied enjoying them. He imagines watching someone close to him playing in the sand and waves as daylight gradually fades. ‘Sunshine Waves’, meanwhile, captures something more immediate: swimming, riding waves and feeling the warmth of the sun. “If ‘Seaside Moments’ looks back from a little distance, ‘Sunshine Waves’ tries to stay inside the moment while it is happening.” These contrasts help give Echoterrium its emotional range. While certain tracks draw on specific personal experiences, Wandour avoids defining their meaning too rigidly. ‘Farewell Frequency’ began with the feeling of departure at a port, while ‘Nocturnal Wind’ emerged from the experience of wandering alone at night. Yet neither requires the listener to imagine those exact circumstances. “A melody can suggest sadness, anticipation or relief without deciding which one a person has to hear.” That openness is central to the album’s construction. Environmental recordings establish a physical setting, while the instrumental arrangements leave enough room for individual interpretation. Travelling with a recorder has also changed Wandour’s relationship with the world itself. He has become increasingly attentive to the subtle differences between environments, from the changing acoustics of a railway station to the distinctive sound of rain falling in different climates. “A soft drizzle in Scotland has a very different presence from a heavy tropical downpour in Bali.” Recording these details is not simply about documenting where he has travelled. Listening closely allows him to experience those places more fully, while preserving sensations that photographs alone might not recover. The album’s final moments bring those ideas together. ‘Midnight Flame’ and ‘Static Connection’ close Echoterrium with a gradual movement towards acceptance and stillness. The former explores the possibility of confronting difficult memories without necessarily resolving them completely, while the latter drifts into late-night jazz instrumentation and radio static. Wandour imagines its final atmosphere as the space between wakefulness and sleep, where distant signals emerge and disappear as the outside world grows quieter. “I wanted the album to end without a final answer, but with the feeling that something has settled and the last echo can carry you into a good night’s dream.” Perhaps that is the most fitting conclusion to a record concerned with experiences that cannot be completely recovered or preserved. Echoterrium does not attempt to reconstruct the past with perfect accuracy. Instead, it embraces the gaps, distortions and unexpected associations that make remembering such a deeply personal experience. Sometimes all it takes is the sound of a train. Wandour’s ‘Echoterrium’ is released on 28th October 2026 via Resilen Records, available digitally, on vinyl and cassette. For an earlier chapter in his sound, read our review of Wandour’s ‘Iridescent Serenade’ EP. Wandour https://www.instagram.com/lets.wandour https://open.spotify.com/artist/3Ak1a7Dr0OryHJZbiFbnFr https://soundcloud.com/wandour

Diverse Swiss electronic music producer Diverse brings his latest project to a close with ‘falling next to you’ featuring Cinet, the final track on his five-track ‘Resurgence’ EP, arriving on 23rd October through Vibe Chemistry’s Make Your Era imprint. Ahead of the full release, Undrtone presents an exclusive premiere of the collaboration. ‘Resurgence’ represents a further step in Diverse’s development as a producer, bringing together his classical musical background and an evolving approach to contemporary bass music. Across the project, he explores the relationship between intricate sound design, high-energy Drum & Bass, emotive composition and UK garage influences. The closing collaboration with Cinet forms part of that wider musical exploration, following ‘tear everything down’, ‘above the ashes (fly)’, the title track and the UK garage-influenced ‘I just need u’. Together, the five productions reflect an artist increasingly comfortable moving between different styles while retaining a consistent emphasis on melody and musical arrangement. Classically trained before establishing himself within electronic music, Diverse approaches production with an understanding of harmony and composition that informs his work across Drum & Bass, Dubstep and more melodic electronic territory. Rather than treating those influences as separate creative directions, ‘Resurgence’ brings them together within a single release. Since emerging in 2022, the Swiss producer has released music through Red Ocean, Seikatsu Records, Gem Released and Future Bass Records, accumulating more than 150,000 streams across platforms. His progression into live DJ performance in 2024 has further strengthened the connection between his studio productions and contemporary club culture. The EP also marks another addition to Make Your Era’s growing catalogue. Founded by Drum & Bass producer Vibe Chemistry, the UK imprint has established itself as a platform for developing artists exploring the wider spectrum of bass-driven electronic music. With ‘falling next to you’, Diverse concludes a release shaped by contrasting musical influences and a shared commitment to emotional expression, detailed production and contemporary bass sounds. Diverse’s ‘Resurgence’ EP is released on Friday 23rd October via Make Your Era. Diverse Instagram – Spotify – SoundCloud Make Your Era Beatport - Instagram - TikTok