Updated 9 October 2026 UK rave culture is the network of music, parties and communities that grew around electronic dance music. A rave describes a gathering and an approach to the dancefloor; it does not tell you exactly which genre, venue or crowd you will find. To understand the scene, follow the records and the people who play them. Acid house is an essential starting point, but a single nostalgic image of warehouses and smiley faces cannot describe every club night happening today. Where Did UK Rave Culture Come From? British acid house drew on Chicago house, developed by Black producers within the city’s Black, Latino and gay club cultures. Imported records reached British DJs and specialist shops, meeting existing traditions of Black dance music and clubbing, alongside the Balearic influence of Ibiza. From late 1987, Shoom in London and The Haçienda in Manchester became important acid house destinations. Their histories differed, and the scene spread through several cities and networks. The British Culture Archive’s Acid House collection documents those connections through photographs and recollections. The summer of 1988 became known as the Second Summer of Love. Clubs, warehouses and temporary spaces brought the music to wider audiences, while flyers, telephone lines and word of mouth helped people find parties. A small object captures that moment particularly well: London Museum’s acid house badge, bought on Portobello Road around 1988. Its smiley face connects the music to the clothing, graphics and everyday objects through which the scene became visible. Rave Is A Culture, Not A Single Sound The word can cover very different musical experiences. A house night might lean into swing, vocals and the warmth of a bassline. A techno programme might focus on repetition, pressure and long transitions. A drum and bass set asks you to listen differently again, with broken rhythms shaping its movement. Those distinctions help when choosing a party. Read the full line up, listen to recent sets and check the promoter’s previous events. A familiar venue name tells you less about the music than the artists and residents booked for that particular night. For a starting point, explore Undrtone’s House coverage, Techno coverage and Drum And Bass coverage. Releases, mixes and artist interviews offer several routes into the music before you commit to a ticket. How Rave History Meets New Communities The most useful connection between past and present is often musical rather than visual. Listen for an older rhythm, vocal or production idea being put to work in a different setting. Then ask what the artist changes and who the record speaks to now. In Undrtone’s Kirsty interview, the conversation centres on bringing old school hardcore into a new generation. It offers a specific artist perspective to sit alongside the archive photographs. For another community angle, read about Daal & Bass’s first London event, which brings South Asian rave culture into the story. These are starting points for understanding individual projects, rather than a claim that one party represents an entire city or community. Finding A Night Today Start with the organiser’s official listing. Check the date, actual venue address, age requirement, ticket conditions and entry times. If an old guide names a venue, verify that it has a current programme before planning a trip. Our London techno guide links to current venue sources and explains why older lists need care around Corsica Studios and Printworks. The same habit applies outside London: use a guide to discover names, then use the organiser to confirm the event. Plan the journey home as well as the journey there. Read the venue’s access and safer space information, agree a meeting point with friends and give yourself room to take breaks. These practical details make it easier to spend the night listening and dancing. Keep Following The Music A good next step is small and specific: hear a new record, follow a resident DJ or try a promoter whose musical choices interest you. Keep the histories in view while paying attention to the people making and sharing music now. That is how a broad interest in UK rave culture becomes a connection with an actual scene: through repeated listening, informed choices and the communities built around the dancefloor.

Tinlicker (incl. Hero Baldwin) Tinlicker’s fourth album, ‘Dreams Of The Machine’, marks a defining shift. Released via Remember The Future and [PIAS], it is the Dutch outfit’s first LP as a live NL/UK trio, with Hero Baldwin stepping fully into the frame as an official member for 2026. As the band prepare for a major UK and EU tour spanning Berlin’s Astra, London’s Exhibition, Manchester’s Albert Hall and Amsterdam’s AFAS Live, the timing feels deliberate. The scale is bigger, but the emotional core remains intact. For Hero, the move from long-term collaborator to recognised band member reflects a journey that has never been linear. From punk frontwoman in Brighton to songwriter and now a central voice within one of electronic music’s most respected live acts, she resists narrowing herself to one label. “I usually keep it quite simple. I have a whole other life outside of music, running a company in the physical arts, so people are often surprised to learn I write and perform too. If I had to explain it to someone… I think I build things. Sometimes that’s a physical space, sometimes it’s a song. At the core, I’m trying to create environments where people can feel something. Music just happens to be the most intimate of those spaces.” That instinct runs through ‘Dreams Of The Machine’, an album that questions the relationship between humanity and technology. The focus track ‘Choosing Life’ places Hero’s voice front and centre, rejecting “living in fear” against a backdrop of breakbeat percussion and low frequency tension. Her writing process begins inwards before expanding outward. “Most of my songs begin as mini essays, almost like abstract diary entries. It’s a way of metabolising what’s going on around me. I’ll start with something personal, but by the time the song is finished, it rarely belongs just to me.” Within Tinlicker’s world, that personal starting point meets production that often feels cinematic in scale. “Sometimes I’ll hear a piece of production from the guys, and it already feels like emotional weather. It’s like stepping into a storm. In those moments, I’m just giving a voice to something that already exists in the music.” Other times, the process reverses. “Other times, I’ll bring something very exposed, and Jordi and Micha build a world around it that reveals layers I hadn’t even considered. They’re brilliant at expressing the complexity inside a single emotion.” Having previously fronted bands in the traditional sense, Hero describes the trio dynamic as liberating rather than limiting. “Oh, I definitely feel free. With Tinlicker, everything is more fluid. I don’t have to perform a personality. I just have to contribute honestly. It’s incredibly liberating to create in a space where the sum of the parts makes something bigger than any one person.” View Tinlicker’s reel on Instagram. That fluidity shapes how new material emerges. “There’s usually a lot of laughter. Sometimes, frustrated silence. But when something clicks, the focus becomes very precise. We hone in on the parts we all instinctively react to.” The album’s thematic exploration of machines and emotion mirrors a deeper conversation about sincerity in an increasingly digital space. For Hero, technique will never outrank truth. “Technique matters, but truth matters more. If a line still makes you uncomfortable when you sing it, if it still takes you back to how you felt when you wrote it, that’s usually the one that counts.” Her path into electronic music was not premeditated. It evolved through collaboration, yet she sees continuity between scenes. “The punk and hardcore communities I came from aren’t that different from the dance world. Both are about gathering in a room with people who feel something intensely and holding space for that. Different tempo, same instinct.” As Tinlicker’s audience grows and the rooms expand, Hero says the core dynamic has not shifted. “The respect and working dynamic haven’t changed; that’s always been there. I’ve always felt genuinely part of that family. What’s changed is the scale. The rooms are bigger, the audience is wider, and there’s more admin. But creatively, if anything, we’ve become braver.” With ‘Dreams Of The Machine’ now out and the tour set to unfold across the UK and Europe, Hero Baldwin’s role feels fully realised rather than newly assumed. Beyond the voice that fans recognise, she hopes listeners sense intention. “Beyond the voice, I hope people understand that everything I do comes from care. There’s no cynicism in it. The music is a love letter, not just to the beautiful parts of life, but to the messy, confusing, painful ones too.” As Tinlicker step into this next chapter as a trio, that care sits at the centre of the project. Bigger stages, wider audiences, but the same commitment to building spaces where people can feel something real. Tinlicker https://www.instagram.com/tinlicker/ https://open.spotify.com/artist/5EmEZjq8eHEC6qFnT63Lza https://soundcloud.com/tinlicker

Electronic music has always thrived in the shadows, where innovation and raw creativity flourish away from mainstream commercial pressures. Over the years, the underground scene has cultivated a rich tapestry of sounds, styles, and experiences that continue to inspire and energise the global community. In this post, I will guide you through the best of underground electronic music, highlighting key events, genres, and artists that define this vibrant culture. Exploring the Pulse of Underground Music Events Underground music events are the lifeblood of the electronic scene, offering spaces where artists and fans connect intimately. These gatherings range from secret warehouse parties to curated club nights, each fostering a unique atmosphere that celebrates authenticity and experimentation. Attending these events provides more than just music; it is an immersive experience where sound, light, and community converge. For example, events like Berlin’s Berghain or London’s Fabric have become legendary for their commitment to underground ethos, showcasing cutting-edge DJs and producers who push boundaries. If you are looking to dive deeper into this world, consider these tips: Research local underground venues: Many cities have hidden gems that host regular electronic music nights. Follow event promoters and collectives on social media: They often announce secret or limited-capacity parties. Engage with online forums and communities: Platforms like Resident Advisor or specialized Facebook groups can be invaluable for discovering new events. These gatherings not only spotlight emerging talent but also preserve the spirit of underground electronic music by prioritising artistic integrity over commercial appeal. Underground club atmosphere with DJ setup The Evolution of Underground Electronic Music The roots of underground electronic music trace back to the late 1970s and early 1980s, when pioneers began experimenting with synthesizers, drum machines, and sequencers. Genres such as techno, house, and acid house emerged from cities like Detroit, Chicago, and London, each contributing distinct flavours to the scene. What sets underground electronic music apart is its resistance to mainstream trends. Instead of chasing chart success, artists focus on innovation, often releasing music on independent labels or self-publishing through digital platforms. This approach fosters a close-knit community where creativity is paramount. Some notable underground subgenres include: Techno: Characterised by repetitive beats and futuristic sounds, techno remains a cornerstone of underground culture. Deep House: Known for its smooth, soulful textures and slower tempos. Dub Techno: Combining techno rhythms with dub’s echo and reverb effects. Breakbeat and Jungle: Featuring complex drum patterns and heavy basslines. These styles continue to evolve, influenced by technological advances and cross-cultural exchanges, ensuring the underground scene remains dynamic and unpredictable. What is Deep EDM? Deep EDM, often conflated with deep house but broader in scope, represents a subgenre of electronic dance music that emphasises atmospheric soundscapes, intricate rhythms, and emotional depth. It is characterised by its immersive qualities, often blending elements of ambient, techno, and house music. Unlike more commercial EDM styles that focus on high-energy drops and catchy hooks, deep EDM invites listeners to engage with the music on a more introspective level. Producers in this space prioritise subtlety and texture, crafting tracks that unfold gradually and reward attentive listening. Key features of deep EDM include: Layered synths and pads that create a lush sonic environment. Minimalistic percussion that supports rather than dominates. Melodic motifs that evoke mood and atmosphere. Extended track lengths allowing for gradual progression. Artists such as Bonobo, Nicolas Jaar, and Four Tet have contributed significantly to this genre, blending deep EDM with other styles to create innovative soundscapes. For producers and DJs, deep EDM offers a rich palette for creative expression and a way to connect with audiences seeking more than just dancefloor anthems. DJ mixer equipment used in deep EDM performances How to Discover and Support Underground Electronic Music Discovering underground electronic music requires curiosity and a willingness to explore beyond mainstream channels. Here are practical steps to immerse yourself in this world: Subscribe to niche music blogs and channels: Many platforms specialise in premiering underground tracks and interviews. Use streaming services wisely: Create playlists based on underground labels or follow curators who focus on non-commercial electronic music. Attend local and international underground music events: Nothing compares to experiencing the music live. Purchase music directly from artists or independent labels: This supports the creators financially and encourages further innovation. Engage with online communities: Forums, Discord servers, and social media groups dedicated to underground electronic music can provide recommendations and foster connections. Supporting underground artists also means respecting their creative space. Avoid sharing unreleased tracks without permission and promote their work through legitimate channels. By doing so, you contribute to a sustainable ecosystem that values artistry over profit. The Future of Underground Electronic Music and Events As technology advances and global connectivity increases, the underground electronic music scene faces both challenges and opportunities. On one hand, digital platforms allow artists to reach wider audiences without compromising their vision. On the other, the risk of commercialisation and dilution of the underground ethos looms large. To preserve the integrity of underground electronic music, it is essential to maintain spaces—both physical and virtual—where experimentation and community thrive. This includes supporting independent venues, fostering inclusive environments, and encouraging diversity in lineups and styles. Moreover, the integration of new technologies such as virtual reality and immersive audio experiences promises to redefine how we engage with electronic music. These innovations could enhance underground music events, making them more accessible while retaining their unique character. Ultimately, the best of underground electronic music will continue to evolve through the passion and dedication of artists, promoters, and fans alike. By staying informed, open-minded, and supportive, we can ensure this vibrant culture remains a vital force in the global music landscape. For those eager to delve deeper into this realm, I recommend exploring underground electronic music hubs like Undrtone, which provide comprehensive coverage of news, premieres, and events, fostering a vibrant community around underground and club culture. This resource is invaluable for anyone looking to stay connected with the pulse of the scene. Whether you are a DJ, producer, or avid listener, embracing the best of underground electronic music offers endless inspiration and a chance to be part of a dynamic, ever-changing movement. For the history behind the dancefloor, read our UK rave culture guide. To choose a night through current venue listings, explore our London techno guide.

BBY GOOSE For BBY GOOSE, the dancefloor should be somewhere people can escape the seriousness of everyday life. The UK-based DJ and producer, whose real name is Emily, has built her musical identity around that belief, pulling together trance, hard house, techno, eurodance and pop influences into something she calls ‘hyperrave’. It is fast, euphoric and deliberately unpredictable, with catchy vocals, oversized synths and enough energy to keep a room moving long after the night should reasonably have slowed down. Now, that approach is taking her to one of her biggest bookings yet. On Friday 9th October, BBY GOOSE joins Eric Prydz, Aaron Hibell and Stuart Wilkinson at Bristol’s The Prospect Building for the opening night of PROSPECTIVE, the venue’s new electronic music series curated alongside Team Love and Undivide. The show also marks Prydz’s first Bristol appearance in a decade. For Emily, the invitation came as a complete surprise. “My manager actually messaged me completely out of the blue and said they had a potential gig lined up for me. When I found out it was Eric Prydz, I genuinely screamed out loud!” Sharing a line-up with such an established name still feels surreal, but she is equally excited about the opportunity to introduce her own musical world to a potentially unfamiliar audience. That world has become increasingly clear over the past few years, even if it refuses to sit comfortably inside one genre. “I’d describe the amalgamation of genres I play as ‘HYPERRAVE’,” she explains. The term originally appeared in a Spotify playlist she created several years ago, before she realised it captured the different strands of her sound. There is a strong pop sensibility underneath the harder electronic influences. Growing up immersed in pop music left her with an enduring love of memorable hooks and melodies, something that also carries into her productions, where she performs her own vocals. “I like my music to be euphoric, fun and not to be taken too seriously.” It is an attitude that feels particularly intentional given the wider world outside the club. “I feel like we with all the serious and scary things happening in the world, we need more fun on dancefloors right now.” That desire to create an atmosphere rather than simply participate in one stretches back to her university years. While attending and helping with rave events, Emily became increasingly aware of how rarely she saw women behind the decks. The imbalance eventually helped turn her love of electronic music into a determination to DJ herself. “A lot of the nights I went to and was involved with were run by men, and I barely ever saw DJs that were women behind the decks.” Rather than identifying one particular artist or record as the turning point, she remembers a gradual realisation. “If all these men can do it, then so can I.” That determination has since developed into a recognisable artistic identity, but the experience also informs how she views the industry today. Although she welcomes the growing appetite for experimental electronic music and artists building their own creative worlds, she remains frustrated by the persistence of male-dominated line-ups. “It’s 2026 and it’s honestly just boring. There are SO many incredibly talented artists who aren’t men, so seeing line-up after line-up that is overwhelmingly male is ridiculous and frustrating at this point.” For Emily, the responsibility for addressing that imbalance should not fall exclusively on the artists being overlooked. “I’d love to see more men questioning why there aren’t women or other underrepresented artists on the line-ups they’re part of, rather than leaving it entirely to the people being excluded to point it out.” Her own relationship with Bristol provides another important part of the story. Long before this weekend’s booking, she attended The Blast at Motion to see My Nu Leng, an experience she remembers from around 12 or 13 years ago. “I remember being completely blown away by the atmosphere and the sheer enormity of it.” The night left a lasting impression, reinforcing her desire to become part of the culture she was experiencing from the crowd. Today, she sees Bristol as a city with an unusually broad and active electronic music community, from grassroots spaces to larger warehouses. “There are so many people doing really interesting and exciting things there, and I love the fact that the city genuinely seems to care about its nightlife and the culture around it.” Returning to the city for the opening of PROSPECTIVE therefore carries a personal significance alongside the scale of the booking. The Prospect Building itself occupies a former Ministry of Defence torpedo warehouse, now transformed into a large-scale cultural venue with a custom L-Acoustics sound system and extensive audiovisual production. Its new programme brings together major international names and emerging artists across several strands of electronic music. The Prospect Building, Bristol For BBY GOOSE, the immediate challenge is translating her own identity into a closing set for an Eric Prydz audience. She acknowledges that the crowd may differ from those she typically plays to, and has considered which records will connect most effectively. However, adapting does not mean abandoning the qualities that make her sets distinctive. “I don’t want to play a set that could have been played by anyone else.” The closing slot also offers a particular kind of freedom. “I also love playing a closing set because it gives me the freedom to keep things really high-energy and fun. So I’m definitely planning to make the most of that!” Her selections are guided primarily by instinct. Euphoric melodies, huge sawtooth synths and powerful basslines are reliable ways to catch her attention, but the most important test is whether a record creates an immediate physical reaction. “If I hear a song and think that I’d love to stick my head between 2 speakers and listen to it really loudly then I know it’s a winner.” Experience has also taught her not to become overly attached to a predetermined running order. “You can prepare as much as you want, but ultimately you’re having a conversation with the crowd, and you have to listen to what they’re giving back to you.” Sometimes the most memorable moments arrive when a record receives an entirely unexpected response, forcing the DJ to reconsider what should happen next. That openness extends to her wider ambitions. Rather than measuring success solely through larger stages or high-profile bookings, Emily is currently focused on finding the audience that genuinely connects with her music. “My music is quite niche, so it feels really special when you find people who genuinely connect with it and want to be part of that world with you.” Behind the scenes, the operation remains small. She and her manager currently handle most aspects of the project themselves, and bringing an agent into the team is one of her priorities for the coming year. For now, though, the focus is firmly on Bristol. Asked what would make Friday’s show a success beyond delivering a strong performance, her answer returns to the connection that first drew her towards DJing. “Sharing music with people feels like such an intimate and beautiful thing to me.” After the solitary hours spent making records and preparing sets, watching a crowd respond in real time remains one of the most rewarding parts of the process. “Seeing people connect with it feels incredibly special and personal, so if I can look out and see people having the best time, I’ll be very happy.” For an artist whose entire musical philosophy revolves around euphoria, that feels like the most appropriate measure of success. BBY GOOSE joins Eric Prydz, Aaron Hibell and Stuart Wilkinson at The Prospect Building, Bristol, on Friday 9th October, opening the new PROSPECTIVE series. Tickets and further information are available at theprospectbuilding.com. BBY GOOSE https://www.instagram.com/_bbygoose https://open.spotify.com/artist/6ECQtn213gfr2RnbL6x7pa https://soundcloud.com/bbygoose PROSPECTIVE / THE PROSPECT BUILDING theprospectbuilding.com IG: @prospective.dancefloor IG: @theprospectbuilding facebook.com/theprospectbuilding tiktok.com/@theprospectbuilding

Gaskin is Luke Gaskin, the North East DJ and producer behind Bass Jamz. His ‘Closer’ EP appeared on Chris Stussy’s Up The Stuss label. The phrase “hotly-tipped” often gets tossed around, but for Gaskin, it’s a well-earned title. The Northeast-based DJ/producer has built a reputation across the UK’s underground house scene, and his unique sound has attracted the attention of tastemakers like Chris Stussy. Fresh off his three-track EP “Closer” on Stussy’s label Up The Stuss, Gaskin is quickly proving that he’s one to watch. Recently, we sat down with him to discuss his journey, influences, and vision for the future. Discovering House and the Drive to Create Gaskin’s journey into house music started young, thanks to a household filled with music lovers. “I was brought up around house music,” he explains. “My Mam and Dad always used to go to events and have music playing when I was a kid.” The passion grew from there, with Gaskin learning the ropes on his brother’s turntables. “When I was 16/17, I finally got my own pair of decks and started DJing at house parties.” But it was a trip to Ibiza in 2016 that cemented his love for the underground scene. “I fell in love with underground music... after my first summer and making some good connections in the scene, I knew to take my DJing to the next level I needed to start making my own music,” he adds. That realisation led him to invest in Ableton and become “massively addicted to making music.” Crafting ‘Closer’: A Dancefloor Experience Gaskin describes his latest release, Closer, as designed to “create moments on the dance floor.” He elaborates, “The track has a lot of emotion in it and was influenced by a lot of music that had already been released on Up The Stuss but with my own style to it.” The EP is a slick blend of synth-driven house with electro elements, offering listeners “heavily requested IDs” that reflect Gaskin’s knack for energising soundscapes. Gaskin: Forging a Unique Sound and Identity Finding a unique style in a crowded music scene isn’t easy, but Gaskin’s sound is already recognisable. “My sound has formed over 5+ years of hard work,” he explains. “I absolutely love the old-school 90s house, the old-school hot creations style, and the new electro-type style, which is popular at the moment. If you listen to my tracks, I would say it’s a good mix between all of them.” For other aspiring producers, his advice is straightforward but powerful: “Just work hard, really, and don’t give up. It takes years to finally start making a name for yourself... I sent Stussy over 100 tracks before he even downloaded one.” The Power of Mentorship and Memorable Moments Being invited by Chris Stussy to go b2b on his UK tour was a huge moment for Gaskin. “To get invited to play on one of your biggest inspirations’ UK tour and do a b2b closing was something I will never forget.” For Gaskin, the experience underscored the importance of mentorship, collaboration, and persistence. Looking Ahead: New Horizons and Projects For Gaskin, future goals include pushing his label Bass Jamz, which is gearing up for a Bali tour. “We have a lot of exciting releases and events coming up,” he shares. And when asked about collaborations, he’s quick to mention his dream of working with Chris Stussy and Locklead, along with vocalists, for potential album projects. Gaskin is clearly ready to take his career to new heights: “Big thanks to Stussy for all the guidance over the last few years and for letting me put my stamp on one of my favourite labels.” Gaskin’s story shows that perseverance, authenticity, and a strong support network can propel emerging talent to the forefront of the scene. With “Closer” now out, he’s inviting us all to experience his sonic journey—one dance floor moment at a time. Gaskin https://www.instagram.com/gaskin._ https://open.spotify.com/artist/17uIxPZilMlZt3g31mL4sm https://soundcloud.com/luke-gaskin-1

Alex Farell Alex Farell will release his debut album on Sara Landry’s HEKATE imprint on 30th October, following a year of major festival appearances and releases across the hard techno scene. The 19-year-old producer has built a longstanding relationship with Landry and her label, making HEKATE the home for his first full-length project. Across ten tracks, the album moves beyond a collection of peak-time club weapons, bringing cinematic atmospheres and a more expansive approach to the high-intensity sound that has established Farell’s name. With ‘Club Acid’ and ‘Rave Machine’ already circulating throughout the summer, Farell will share a third and final single, ‘Levitate’, on 25th September. The track explores the album’s more cinematic side through expansive atmospheres, soaring synths and a futuristic sense of movement. “This was the first track I made in my new studio; I think the new energy and surroundings gave me ideas to create more of a unique production,” Farell explains. “‘Levitate’ represents a sound that I have been working towards for so long.” The album announcement follows a significant run of live appearances for Farell, whose recent bookings have included Creamfields, Parklife, Blackstone Warehouse, The Warehouse Project and Terminal V Festival. Arriving shortly after Amsterdam Dance Event, the project marks a new chapter for a producer looking to develop his sound beyond individual club releases while maintaining the intensity that has become central to his work. ‘Levitate’ arrives on 25th September, with Alex Farell’s debut album following on 30th October via HEKATE. Alex Farell https://www.instagram.com/alexfarelldj https://open.spotify.com/artist/02AllsoWp6Gf9O26tNXf8I https://soundcloud.com/alexfarrelldj

Joris Voorn, Dave Clarke | Image Credits: Bastiaan Woudt Joris Voorn has revisited one of British techno’s most enduring records, delivering a new remix of Dave Clarke’s 1994 classic ‘Wisdom To The Wise’ for his Spectrum Music imprint. Originally released as part of Clarke’s influential Red Series, ‘Wisdom To The Wise’ remains a fixture in techno’s collective memory more than three decades later. Its uncompromising rhythmic approach helped establish the record as an underground favourite, making it a particularly significant piece of material for Voorn to reinterpret. Rather than attempting to overhaul the original, the Dutch producer retains its driving techno foundations while introducing the melodic detail and atmospheric depth that have become hallmarks of his productions. Heavy, rolling drums anchor the remix as metallic chords spread across the arrangement, creating a sense of scale without compromising its physical impact. Subtle glitchy percussion and evolving pads gradually increase the tension, before warmer, Detroit-influenced synths bring a more emotive dimension to the track. The result draws a clear connection between Clarke’s raw 1990s techno and Voorn’s contemporary production approach, balancing the original’s intensity with a more expansive, melodic sound. It is familiar territory for Voorn, whose two-decade career has moved between immersive techno, melodic house and ambient music. Alongside releases through his Rejected, Green and Spectrum imprints, he has developed an extensive remix catalogue spanning artists including Underworld, Röyksopp, Dua Lipa and Vintage Culture. His interpretation of ‘Wisdom To The Wise’ adds another chapter to that catalogue while introducing Clarke’s original to a new generation of dancefloors. Dave Clarke’s ‘Wisdom To The Wise’ (Joris Voorn Remix) is out digitally on 9th October via Spectrum Music, with a vinyl release following on 13th November. Joris Voorn Instagram - SoundCloud - Beatport Dave Clarke Instagram - SoundCloud - Beatport

Reagan Grey For Reagan Grey, making deep house has never meant restricting herself to a particular sound or era. The Toronto-based producer and composer draws from garage house, early Detroit techno, vocal-led dance music and darker contemporary electronics, bringing those influences together through a distinctive emphasis on melody, chords and analogue warmth. Her latest release, ‘Sidewalks’, marks a significant moment in that journey. Appearing on the fifth and final instalment of Freerange Records’ 30th anniversary series, the track places Grey alongside Jimpster, Crackazat, Last Nubian, Simbad and fellow Toronto producers Toronto Hustle & Sean Roman. For an artist who has followed Freerange since its earliest days, the invitation carries considerable meaning. “I’ve followed Freerange from the beginning and it's a milestone moment to be included in this project. It feels like an affirmation of my work and the many years I’ve devoted to learning and developing my skills.” The anniversary series brings together 30 exclusive tracks across five vinyl releases, celebrating three decades of deep, soulful and underground house. For Grey, the label’s longevity demonstrates how a recognisable musical identity can survive without becoming creatively restrictive. “Freerange has stayed relevant for 30 years. It demonstrates that deep house can be rooted in tradition and evolve at the same time.” That balance between musical heritage and contemporary expression is central to ‘Sidewalks’. Built around gritty drums, melodic keys and subtly shifting synthesiser arrangements, the track unfolds patiently, favouring immersion over dramatic peaks. Its starting point was a series of deliberately deep productions Grey had been developing, with the initial melody establishing the foundation for everything that followed. “It started with keys and locking in the main melody. Then I built it up with synths and melodic variations.” There are also less obvious references buried within the production, including sound design elements inspired by 1970s New York. The overall intention, however, was something immediately recognisable to anyone who has spent enough time on a dancefloor. “I was trying to capture the feeling of being lost in a groove at 3 a.m.” Detroit provides the strongest musical reference point. Grey has been listening closely to the city’s producers, particularly the relationship between melodic keyboard work and the distinctive rhythmic character of its house music. “Detroit house is the biggest influence here, particularly in terms of keys and drums. I’ve been listening to a lot of Detroit producers lately, and there’s a strong and distinctive sound coming out of the city.” Yet ‘Sidewalks’ is not simply an exercise in reproducing those influences. Grey’s productions have long moved between different musical territories, and she sees little value in limiting herself to one interpretation of house music. “I love so many different styles of music and would never limit my sound to one facet. I’m drawn to artists who push past boundaries and work across genres, because the results are almost always more interesting.” What connects those different approaches is her attention to musicality. “The through line in my work is an emphasis on melody and chords, keys and synths. And I’m always working towards maximum analogue feel.” That preference also connects her work to the musical traditions running through Toronto and the UK. Although based in Canada, Grey has released much of her music through British labels, finding common ground in the UK’s relationship with soul, disco and rave culture. She sees parallels between that history and the North American influences that helped shape Toronto’s underground. “Toronto has been influenced by underground music and culture out of New York and Chicago, and I think those cities run a parallel path to London.” Those connections become particularly interesting when considering the production process behind ‘Sidewalks’. Despite the finished record’s stripped-back character, Grey does not consider herself a minimalist in the studio. Quite the opposite. “I’m definitely a maximalist when it comes to production.” Once the foundations of a track are established, she builds additional melodic ideas, effects and sound design around them, creating variations that keep the arrangement moving. Only after repeated listening does the process begin to reverse. “Then I’ll listen to it many times, and anything that bothers me gets cut.” That willingness to remove material is essential to the finished result. Rather than equating restraint with a lack of ideas, Grey uses it to determine which elements deserve to remain. “I like to spend time refining a composition, and a big part of that requires listening to mixes often, over time.” The approach helps explain why ‘Sidewalks’ feels detailed without becoming overcrowded. Its movement comes from the relationship between sounds rather than constant changes in intensity, allowing the groove to develop its own momentum. Within the wider Freerange anniversary compilation, that understated quality finds an appropriate home. Grey describes hearing the complete release as particularly fulfilling, not least because of the calibre of artists involved. She also credits label founder Jimpster, Jamie Odell, for the way the six contributions have been brought together. “It’s designed as a full-play release and really reflects Jamie's skill as a curator.” That sense of continuity is important. Although Grey acknowledges the milestone represented by her Freerange debut, she does not see it as the point at which her artistic identity has suddenly become established. “I think I’ve had a distinct sound for many years now.” Instead, she is interested in continuing to expand that identity without abandoning the musical instincts that define it. New artists, unfamiliar techniques and different collaborations all offer opportunities to develop, but the intended destination remains the same. “Ultimately, I’m making music for a dancefloor, I want it to reach an audience.” Her immediate plans reflect that balance between exploration and consistency. Several vocal collaborations are currently underway, with another release scheduled for winter. Beyond those projects, Grey intends to return to the deeper, dubbier side of her sound. “I already have a few tracks written and would like to build them into an EP.” After a busy year, finding time to finish that material is a priority. For now, ‘Sidewalks’ offers a compelling introduction to Reagan Grey for listeners encountering her through Freerange. It is a record informed by decades of house music history, but equally by an artist who understands that making something feel effortless often requires considerable work behind the scenes. The result is precisely the kind of deep house that has sustained Freerange for 30 years: musical, understated and made to reveal itself gradually, preferably somewhere around three in the morning. Get your copy of '30 Years of Freerange Volume Five' here. Reagan Grey https://www.instagram.com/girlsonsynths https://open.spotify.com/artist/2XL4tKeJk7H1doVfUotnmt https://soundcloud.com/reagangrey Freerange Records https://www.facebook.com/FreerangeRecords https://www.instagram.com/freerangerecords https://soundcloud.com/freerangerecords https://www.freerangerecords.co.uk

Update, 8th October 2026 The inaugural Berko Fields weekend has now taken place. Read our Berko Fields festival recap for coverage of the three-day event at Berkhamsted Cricket Club. The original launch announcement is preserved below. Berko Fields is Hertfordshire’s newest and biggest three-day festival, taking place from Friday 11th to Sunday 13th September 2026 at Berkhamsted Cricket Club. Across three distinctly different days, the programme delivers world-class electronic music from Fish56Octagon, DJ SKT, BBC Radio 1’s Danny Howard and the Symphonica Orchestra (playing Ibiza Classics), through to a big family rave-up, courtesy of the beloved Raver Tots, featuring live performances from UKG legends including So Solid Crew, Lisa Maffia, Artful Dodger and more. Along with the best DJs from across the region, top-quality production, the tastiest street food vendors and more announcements to come (including a surprise immersive experience), Berko Fields promises an unforgettable late-summer experience of big tunes, community and culture. Tickets, including VIP packages, are now on sale at www.berkofields.co.uk. Set against the stunning views and rolling hills of the Chilterns, each day at Berko Fields is a standalone festival, with its own narrative, energy, and quality. Whether a house music devotee, a family looking for weekend adventure, or someone discovering the uplifting experience of a full orchestra playing Ibiza Classics for the first time, Berko Fields is built as a festival to enjoy, by a team that knows great music. The festival opens on Friday 11th September with 'The House Takeover', a day-into-night celebration of house music, feel-good grooves and timeless anthems. A standout lineup of local DJ talent sets the tone, before the sun sets over the Chiltern Hills and guests put hands in the air for headline sets from viral dance music superstar Fish56Octagon, and the chart-topping favourite DJ S.K.T - high-energy highlights of a special night in the fields. Saturday 12th September is where 'Local Legends Meet Global Greatness', celebrating Berkhamsted's thriving music scene before Symphonica Orchestra take to the stage for a soul-stirring live performance of the best-loved Ibiza Classics. It doesn’t end there as Berko Fields brings BBC Radio 1’s biggest DJ and Dance Party host Danny Howard to the decks for a huge headline set. Saturday will be unmissable entertainment from start to finish. Sunday 13th September is all about family fun as Raver Tots brings its much-loved festival experience to Berko Fields for ‘The Big Kids’ Festival’. Creating a fun-filled atmosphere from morning through to the afternoon with a packed programme of activities for children and grown-ups alike, this family-focused finale also features a powerhouse lineup. It’s headlined by legendary 00s garage outfit So Solid Crew (featuring Romeo, Lisa Maffia and Dan Da Man), the Platinum-selling Artful Dodger best known for their #2 hit single Re-Rewind with Craig David, plus drum & bass and jungle from pioneers and contemporaries including Nicky Blackmarket x Shabba D, Mollie Collins x Leanne Louise. Expect a day of big smiles and great memories in the perfect round-off to Berko Fields weekend. Festival-goers should come with their appetites ready as organisers have curated an incredible array of food vendors over the weekend. Look out for homemade burgers by Smiths of Bourton; wings and strips from Chicken George; Mediterranean and Middle Eastern delights at Emilios Street Food; Italian-style sourdough pizzas from Dough with the Flow, and traditional treats by Berkhamsted’s Sammys Sweets - just a sneak peek of the mouth-watering food trucks on offer. From Berkhamsted Cricket Club on Castle Hill, Berko Fields sits in a picturesque location and a perfect backdrop for this ambitious new festival. With an unwavering commitment to quality and a desire to create something genuinely special, it marks a new era for festival culture in the region. Berko Fields Web - Facebook - Instagram

Minimal house production starts with the relationship between a steady kick, a bassline and a few well-chosen percussion sounds. Timing, note length and the gaps between hits can do more for the groove than another layer of sound. Build a loop that works with only drums and bass, then add a chord, texture or effect where it earns its place. The practical example below gives you a starting point before the detailed sections on kicks, basslines, swing and sound design. A practical minimal house loop to try This is a starting exercise, not a fixed recipe for the genre. Use a one-bar, 16-step grid in 4/4 and listen to each change in the full loop. Build the pulse: place a kick on steps 1, 5, 9 and 13, a clap on 5 and 13, and a closed hat on 3, 7, 11 and 15. Start with one sample per part so you can hear their relationship clearly. Add a short bass phrase: try root notes on steps 3, 10 and 15. Change one note's length, then its position, and compare the groove before adding more notes. Shape the percussion: vary the hat velocities and try a small amount of swing on the hats. Compare the straight and swung versions while keeping the kick steady. Introduce one musical hook: try a short chord stab or a single-note motif. Give it space, then vary its envelope or filter over an eight-bar loop. Use an effect as a rhythm part: send one percussion sound or stab to a delay or reverb. Bring the return up until it contributes to the groove, then compare with the effect muted. Arrange by subtraction: duplicate the loop and remove a part in each section. If the drums and bass stop working when a texture is muted, revisit the core groove. For a playable rhythm example, try Ableton's classic house beat. Ableton Live users can adjust timing and velocity separately in the Groove Pool; the official groove guide explains how those controls work. Creating a Solid Kick Sample Selection Selecting the right kick sample is paramount for achieving a solid foundation in minimal house tracks. Producers should focus on choosing a sample that complements the overall harmonic content and frequency balance of the track [11]. It's essential to audition potential kicks within the context of the full mix, as a kick that sounds great solo might not perform well with other elements [11]. This involves adjusting the attack and release settings to ensure the kick meshes seamlessly with the bassline and other components, avoiding frequency clashes and ensuring a tight mix [11]. Processing and Layering Once the appropriate sample is chosen, the next step involves meticulous processing and layering to sculpt the perfect kick. Starting with the pitch envelope, producers can tune the kick to align with the key of the track, such as adjusting to a lower octave for a deeper sound or a higher pitch for more presence [10]. The amplitude envelope plays a crucial role in shaping the kick's character—adjusting it can make the kick sound sharper or more subdued [10]. Layering different samples can enhance the kick's texture. For instance, combining an 808 or 909 kick with samples from other drum machines like the 707 can add unique elements to the kick, such as a distinct "knock" from the 707 [14]. Additionally, incorporating a hi-hat with the kick can increase its presence in the mix, making it cut through more effectively [14]. Advanced processing techniques include using EQ to clean up unwanted frequencies and enhance desirable ones, like boosting around 84 Hz for more low-end presence while cutting muddy frequencies around 400 Hz with a dynamic EQ [10]. Compression and transient shaping are also vital, as they help tighten the kick and adjust its dynamic range for a more consistent sound [15]. Moreover, adding subtle effects like saturation or distortion can impart a lo-fi, gritty texture, enriching the kick's sonic quality [15]. For a more cohesive sound, it's beneficial to experiment with stereo imaging tools to ensure the kick sits well in the mix, providing a solid and impactful low-end foundation [15]. By meticulously selecting, processing, and layering kick samples, producers can craft a kick that not only supports the rhythmical structure of the track but also enhances its overall sonic aesthetic. Crafting Basslines Designing Bass Sounds When crafting basslines for minimal house music, the foundation often starts with a deep, sub-heavy sound, but it's crucial to incorporate some high harmonic content to ensure the bass cuts through the mix [18]. FM synthesis is a popular starting point, where manipulating simple sine waves can create rich harmonic textures. By adding oscillators and adjusting their settings, producers can introduce additional harmonics that enrich the bass sound [18]. Subtractive synthesis is another technique used to craft basslines, where producers begin with a harmonically rich waveform, like a square wave combined with a saw wave, and then sculpt the sound using a low-pass filter to subtract frequencies, achieving a deep and powerful bassline [18]. Using MIDI for Groove MIDI programming plays a critical role in defining the groove of a minimal house track. Starting with a solid kick pattern, the bassline should be designed to complement this foundation. It's often beneficial to delay the start of the bassline creation until other rhythmic elements like drums are established, providing a clearer context for the bassline to groove effectively [19]. Techniques such as octave jumps and varying note lengths can add dynamic interest and help the bassline to interact more effectively with other elements of the track [19]. Additionally, using MIDI controllers or software tools to experiment with different bass patterns in various octaves can help producers find the optimal sound that enhances the track's overall groove [19]. By focusing on both sound design and MIDI programming, producers can create basslines that not only provide a solid rhythmic foundation but also enhance the musicality and dynamic feel of their minimal house tracks. Adding Dynamic Drums Layering and Humanization When producing dynamic drums for minimal house music, one effective technique is layering and humanising the drum elements. A primary method to achieve a more organic sound is to record percussive elements yourself, utilising everyday items found at home, such as shakers or even hand claps. This approach introduces a "sloppy humanness" to the rhythm, which can be refined in post-production to align with the track's timing and feel [22]. Additionally, using your phone as a recording device can be a practical solution for capturing these sounds, especially if a professional microphone is not available [22]. Further enhancing the human feel, applying a vinyl simulation plug-in like iZotope's Vinyl can introduce subtle imperfections to the drum sounds. This tool's warp and scratch functions are particularly useful for modifying high-frequency elements such as hi-hats, adding a unique character that mimics the inconsistencies found in human-played drums [22]. Swing and Quantisation Swing and quantisation are crucial in shaping the groove of minimal house tracks. A common technique involves using swing to create a long-short pattern in the drum sequences, which helps set the mood and flow of the track [23]. Additionally, experimenting with the timing of different drum elements, such as placing snares ahead of the beat and hi-hats behind, can significantly affect the track's rhythmic dynamic. This method not only provides a solid foundation but also introduces a playful interaction among the drum elements [22]. For a more refined control over the groove, digital tools like Logic's Flex Time can be employed to extract and apply grooves from existing audio files to new elements within the track. This technique allows for subtle shifts in the timing of drum hits, creating a more cohesive and groovy feel. Moreover, the quantisation feature can be adjusted to include slight variations, further enhancing the human-like quality of the drum patterns [27]. By combining these techniques—layering, humanisation, swing, and quantisation—producers can create dynamic drums that not only anchor the rhythm of the track but also enrich its overall texture and liveliness. These elements work together to forge a drum line that feels both meticulously crafted and spontaneously energetic, ideal for the nuanced layers of minimal house music. Synths and Melodies Creating Chord Progressions In minimal house, the use of chords is not just about harmonic support but also about defining the genre's character. A common approach involves starting with a basic chord and then building a call-and-response pattern. This technique ensures that each chord not only harmonises but also converses rhythmically with the others, creating a dynamic flow within the track [28]. For instance, starting with a simple A minor chord and then layering it with variations or completely different chords within the same scale can significantly enhance the track's complexity and appeal [28]. Producers often use inversion and octave adjustments to keep the chord progressions fresh and engaging. By shifting a chord's notes up or down an octave, they introduce a new texture while maintaining harmonic consistency. This method is particularly effective in minimal house, where subtle changes can lead to a profound impact on the overall sound [28]. Sound Design Techniques Sound design in minimal house often revolves around finding the right balance between simplicity and sonic depth. Techniques such as granular synthesis are employed to create intricate backgrounds and textures that support the minimalistic nature of the genre [33]. This approach involves manipulating a sound at the micro-level, which allows producers to craft unique sonic landscapes that are both captivating and subtle. Another pivotal technique is the use of specific plugins and effects that enhance the textural qualities of the synths. For example, using a plugin like Tantra can add a layer of complexity and intrigue to the sounds. It's not just about using the presets; understanding how to manipulate the effects within the plugin can lead to innovative sound designs that resonate well within the minimal house framework [32]. Moreover, the strategic use of filters and modulation can dramatically alter the characteristics of a sound. Employing an auto filter to sculpt the sound dynamically, by automating cut-offs and resonance, can create movements that make the synths more expressive and rhythmically engaging [30]. This is complemented by techniques like pitch modulation or using effects like delay and reverb to add spatial dimensions to the synths, enriching the overall texture of the track [30]. By integrating these sound design techniques, producers can achieve a sound that is both minimal yet rich, providing a sonic experience that is uniquely tailored to the minimal house genre. Using Effects Creatively Delays and Reverbs Delays and reverbs are essential tools in minimal house production, offering a myriad of possibilities to enhance the track's atmosphere and depth. A well-placed delay can transform a simple sound into a rhythmic element, adding energy and complexity to the track. For example, automating the feedback level of a delay can create crescendos and sweeps, which are perfect for building up intensity or adding atmospheric layers to your tracks [39]. Reverbs, on the other hand, play a crucial role in creating spatial depth and a sense of environment. By carefully selecting the type of reverb and adjusting settings like pre-delay and decay, producers can place sounds within different spatial contexts, from intimate close-up sounds to vast, expansive landscapes. The choice of reverb size—small, mid-sized, or large—can significantly affect how elements sit in the mix, with smaller reverbs providing clarity and focus, while larger ones offer a sense of grandeur and space [34]. Using Modulation for Interest Modulation effects, such as chorus, flanger, and phaser, are powerful tools for adding movement and interest to minimal house tracks. These effects work by dynamically altering the sound's timbre and spatial characteristics, creating a sense of animation and liveliness. For instance, applying subtle pitch randomisation through LFO modulation can give synth riffs a more organic feel, making them resonate more naturally within the track [39]. Utilising a vocoder for modulation can also produce fascinating results. This technique involves modulating sustained instruments like synth strings with rhythmic elements such as drum loops or vocals, creating highly rhythmic, textured effects. These modulated sounds can then be looped and further processed with delays to craft intricate pad effects that enhance the track's overall texture and complexity [39]. By integrating these creative effects—delays, reverbs, and modulation—producers can significantly enrich the sonic palette of their minimal house tracks, making them more engaging and dynamic. Getting Started with Minimal House Setting Up Your Workspace When embarking on the journey of minimal house production, the initial step is to create a conducive workspace that sparks creativity and efficiency. It is crucial to have everything needed within arm's reach, which helps in maintaining a streamlined workflow [4]. Incorporating an external monitor or a second screen can significantly enhance productivity by allowing multitasking and providing ample space to manage multiple plugins and tracks simultaneously [4]. Embracing simplicity, a minimalist desk setup can significantly boost focus and productivity by reducing visual clutter [5]. It's also beneficial to integrate ergonomic furniture and accessories into your workspace. An ergonomic chair and a desk at the correct height ensure comfort during long production sessions, which is vital for your physical well-being [5]. Effective cable management and a clutter-free environment are essential, as they contribute to a clear mental space, allowing you to focus solely on your music production [5]. Essential Aids for Minimal House Production Understanding and utilizing the right tools is fundamental in minimal house production. Beginners should start with a reliable Digital Audio Workstation (DAW) such as FL Studio, GarageBand, or Logic Pro X [8]. These platforms are user-friendly and provide a solid foundation for learning the basics of music production. For sound design and beat making, it's advisable to explore VST plugins. Free VSTs like Dexed and Tyrell N6 offer a variety of sounds to enhance your tracks without the need for extensive hardware [8]. Learning to manipulate these tools effectively can elevate the quality of your music, giving you the ability to craft unique sounds and textures [8]. Moreover, basic mixing techniques such as EQ, compression, and reverb are essential skills that producers should master early on. These skills help in achieving a balanced mix where no element overshadows another, which is particularly important in minimal house music where every sound counts [8]. In conclusion, setting up a functional and comfortable workspace combined with mastering essential tools lays a strong foundation for successful minimal house production. By focusing on these areas, producers can enhance their skills and create high-quality music that resonates with listeners. Conclusion Delving into the realm of minimal house production reveals a labyrinth of techniques that empower producers to craft tracks with a distinctive allure and rhythmic sophistication. Through the exploration of solid kick foundations, dynamic basslines, intricate drums, enveloping synths, and the strategic use of effects, we've traversed a detailed roadmap to articulate the essence of minimal house. This guide serves not only as a toolkit for emerging and seasoned producers but also as a beacon for those aiming to imprint their unique auditory signatures within the electronic music spectrum. Emphasising the less-is-more ethos, the journey underscores the genre's intricate balance between minimalism and musical depth, reinforcing its standing as a dynamic field ripe for innovation. As we reflect on these insights, the significance of fusion between technology and creativity becomes unmistakably clear. The discussed techniques are not just processes but are art forms in themselves, offering a canvas for endless experimentation within the minimal house domain. They underscore the importance of a nuanced approach, where every beat, note, and effect is deliberately chosen to craft an immersive experience. It's an invitation for producers to dive deeper, pushing the boundaries of what's possible within electronic music. In the grand tapestry of sound, these minimal house production techniques are vibrant threads, weaving together to shape the future of musical storytelling. References [1] - https://www.reddit.com/r/TechnoProduction/comments/olioy8/minimal_techno_production_tutorials/ [2] - https://www.youtube.com/watch?v=afvnACHgMCM [3] - https://www.youtube.com/watch?v=N4BKwFjJlVQ [4] - https://www.youtube.com/watch?v=VdNSQVDSdgI [5] - https://medium.com/@oskar.kohler99/create-a-clean-and-productive-work-space-with-the-perfect-minimal-desk-setup-3137c3d71990 [6] - https://www.makerstations.io/kamil-minimalist-music-setup/ [7] - https://www.reddit.com/r/TechnoProduction/comments/mlheq5/minimal_equipment_for_making_some_techno_just_for/ [8] - https://www.quora.com/I-want-to-start-producing-house-music-Can-someone-give-me-a-list-of-the-equipment-I-need-Im-a-total-beginner [9] - https://www.elektronauts.com/t/minimalist-music-production-setup/179410 [10] - https://www.youtube.com/watch?v=Ien2vhZ2Vg8 [11] - https://blog.landr.com/choose-perfect-kick-sample/ [12] - https://www.reddit.com/r/edmproduction/comments/k7y8h2/is_there_a_framework_for_finding_the_right_kick/ [13] - https://www.reddit.com/r/TechnoProduction/comments/s4w9li/do_you_layer_your_kicks/ [14] - https://www.youtube.com/watch?v=29Bk55Dty00 [15] - https://www.youtube.com/watch?v=OK0ovINtgyA [16] - https://www.reddit.com/r/edmproduction/comments/mqvyfu/sound_design_for_minimal_house_basslines/ [17] - https://www.youtube.com/watch?v=5NbYUBaN4v8 [18] - https://www.youtube.com/watch?v=OD5xQeQH9Aw [19] - https://www.youtube.com/watch?v=5NbYUBaN4v8 [20] - https://samplemarket.co.uk/samples/minimal-house-grooves [21] - https://www.youtube.com/watch?v=qU4krAzie6k [22] - https://www.youtube.com/watch?v=Du3a3z1fiKE [23] - https://www.dogsonacid.com/threads/creating-minimal-house-drums.619339/ [24] - https://www.reddit.com/r/edmproduction/comments/1auiruz/is_layering_drum_samples_really_necessary_in/ [25] - https://www.reddit.com/r/edmproduction/comments/qck3i/groove_quantization_understanding_swing_and_the/ [26] - https://www.kvraudio.com/forum/viewtopic.php?t=269236 [27] - https://www.youtube.com/watch?v=vL9bTmRq1Mg [28] - https://www.youtube.com/watch?v=qU4krAzie6k [29] - https://www.youtube.com/watch?v=3dpcqH1WI6M [30] - https://adamloving.com/2022/02/16/minimal-deep-tech-chord-stabs/ [31] - https://www.reddit.com/r/edmproduction/comments/mqvyfu/sound_design_for_minimal_house_basslines/ [32] - https://www.youtube.com/watch?v=LMBPQWv9FDI [33] - https://distillednoise.com/5-videos-to-learn-sound-design-for-minimal-house/ [34] - https://www.youtube.com/watch?v=iySmkYD70X4 [35] - https://www.reddit.com/r/Beatmatch/comments/tteiu7/how_do_i_use_the_effects_sound_good_when/ [36] - https://gearspace.com/board/music-computers/1080647-what-kind-reverb-settings-house.html [37] - https://www.reddit.com/r/synthesizers/comments/1cksdmq/how_are_you_adding_automation_interest_to_your/ [38] - https://finishmoremusic.com/increasing-drive-and-energy-in-house-techno/ [39] - https://musictechstudent.co.uk/house-music/creating-a-deep-house-production/ [40] - https://www.musicradar.com/how-to/keep-it-simple-stupid-7-stripped-back-minimal-house-and-techno-production-tips [41] - https://www.reddit.com/r/edmproduction/comments/40ap3z/minimal_technohouse_production_advice/ [42] - https://www.youtube.com/watch?v=N4BKwFjJlVQ Further listening and artist perspectives Hear how minimalism fits into an artist's wider approach in RN ISMO's Undrscovered interview and mix, and explore 4000 Hz on hardware and Paris rave culture in Origins.

Ask any producer the influence behind their track and, nine times out of ten, the answer will be, ‘the dancefloor’. So, although already hell bent on signing it based on the calibre of the music alone, imagine the surprise at Renaissance HQ when Grigoré said his latest EP, Deepest Thoughts, “Is a tribute to my childhood.” “It was really important that the 4 tracks remained together,” he continues, “it’s about the moments and feelings of growing-up, deepest thoughts in the dark of freezing nights, which I now look back on with nostalgia. I can’t express how delighted I was when Renaissance said they wanted to keep them all together as an entire EP.” Off the back of his one of his latest releases, we asked Grigoré to provide a choice of his favourite records, he answered the call with an extremely impressive collection of deepened flavours: Grigoré - Deepest Thoughts As you may know, ‘Deepest Thoughts’ is the title track of my debut EP on Renaissance. This track is special for me. I love how all the elements work together: organic drums, groovy bass guitar & the main lead, which is full of crazy modulation stuff. Sasha vs Adam Parker - Highlife (Sasha Invol2ver Remix) After almost 14 years, this is still sounding fresh. Groove, overall mood and the vocals are perfect to me. My favourite night vibe here. I’d play this one forever. Marco Lys - Keep Looking Around (Joris Voorn Remix) Something from outer space... Unstoppable groove and melodic elements that will take you to another place. Rhy - Black Rain (Âme Remix) From extraordinary bass to unexpected chords, then extraordinary bass to unexpected chords accompanied by beautiful vocals by Rhy. Grigoré - Freezing I can describe ‘Freezing’ as a dancefloor track that tells its own story. It was the first track where I experimented with this kind of beat – it’s still a straight beat, but it just skips every 2nd kick. It gave me a fresh feeling in my production. SØNIN – Circles ‘Circles’ for me is about hope. The hope for a bright future. The uplifting trance chords with the breakbeat support give me so much positivity. This one is perfect to listen to in the morning, but not just then... ‘Circles’ works very very well on the dancefloor too! Stephan Bodzin & Marc Romboy - Phobos (Echonomist Remix) A big atmosphere on this one. I feel so uplifted after listening to Echonomist’s remix of ‘Phobos’. This remix gives me a lot of energy. Illusory - The Endless Fall (Sam Shure Remix) Would you like to drift through the Universe?... If so, you need to listen to this remix. Such a beautiful vibe on this one with a punchy beat & trippy synth melodies. Adriatique - Arcade Mode The main melody & bass are so groovy. I can’t sit in one place when I’m listening to ‘Arcade Mode’. Bar.ba & Odagled - Festival (Sasha Carassi Remix) I’m in love with this pumping beat and trippy chords. Sasha Carassi is a master! Grigoré's 'Deepest Thoughts' EP is out now on Renaissance Records. Explore more Hot Picks: Hot Picks archive · Influences · All features

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