Ruby AT Ruby AT may be a new name, but ‘Flowers’ arrives with the confidence and polish of an artist who already fully understands the emotional power of liquid drum and bass. Built around skippy rolling breaks, warm melodic layers and irresistibly catchy keyboard hooks, the track leans fully into the soulful and uplifting side of the genre. From the opening moments, ‘Flowers’ radiates positivity, combining fast-moving rhythmic energy with a melodic warmth that feels tailor-made for summer listening. What makes the release particularly effective is how effortless it sounds. Beneath the track’s bright and joyful atmosphere sits a surprisingly detailed arrangement filled with subtle melodic interplay and carefully layered progression. The production never feels overcrowded though, allowing the emotional immediacy of the track to remain front and centre throughout. A soft wordless vocal drifts through the mix without overpowering the instrumental, adding texture and movement while reinforcing the track’s light and airy atmosphere. Everything flows naturally together, creating the kind of release that feels instantly familiar while still carrying enough detail to reward repeat listens. The result is a vibrant and deeply feel-good release that perfectly balances dancefloor movement with emotional uplift. Bright, melodic and impossible not to move to, ‘Flowers’ feels like the kind of liquid drum and bass track built to soundtrack long summer evenings and late-night drives alike. Ruby AT https://open.spotify.com/artist/5AMdcOPmsgGme85vnOvfdq

High Value Soul High Value Soul returns with ‘Today is a Good Day’, an uplifting and emotionally driven release centred around positivity, self-growth and inner alignment. Built on warm melodic textures, atmospheric production and calming rhythmic movement, the track creates a reflective but energising listening experience designed to lift mood and mindset simultaneously. Rather than relying on dramatic peaks or heavy dancefloor intensity, the production focuses on emotional warmth, gentle momentum and a clear sense of optimism throughout. The release draws heavily from themes surrounding confidence, healing, gratitude and feminine energy, all of which continue shaping the wider identity behind the High Value Soul project. Vocals and melodic layers work together to create a soothing atmosphere while still maintaining enough rhythmic movement to feel motivating and forward-facing. That balance between calmness and empowerment gives ‘Today is a Good Day’ much of its identity. The track feels intentionally designed as both an emotional reset and a reminder to remain connected to a more grounded and positive mindset. Behind the project is a broader artistic vision focused on combining soulful electronic music with spirituality, elegance and personal growth. High Value Soul consistently approaches music less as escapism and more as a tool for emotional connection and self-reflection. With ‘Today is a Good Day’, that philosophy comes through clearly. Warm, reflective and emotionally uplifting, the release delivers a gentle but confident reminder to slow down, reconnect and move forward with intention. High Value Soul https://open.spotify.com/artist/3NbRrSFx5xGB4wS24RHVhB

Beranger Brazilian selector, producer and label manager Beranger has built his place in electronic music through a balance of instinct, community and versatility. Whether moving through house, minimal, breaks and acid in his DJ sets, overseeing multiple labels behind the scenes, or shaping records through a groove-led approach, his work sits within a wider ecosystem that extends far beyond simply playing clubs. His recent remix work has underlined that range too, including a rework of Rodrigo Ferrari featuring house icon Robert Owens on ‘Me Gusta’. Taking on a voice with such a strong legacy brought a very particular challenge. “When Rodrigo first shared the track with me, I immediately knew it was something special,” Beranger says. “Especially because of Robert Owens’ vocals, which are truly iconic in house music.” Rather than overbuilding around the vocal, he chose to strip things back. “My focus was to respect the essence and emotion of his voice without overcomplicating the arrangement. I explored a few directions at first but realised they weren’t translating what I wanted artistically, so I started again from scratch.” The answer came through simplicity. “That’s when everything began flowing naturally. I found a direction that felt true to my identity, a more minimal approach with strong influences from 90s house that allowed the vocal to really breathe.” Elsewhere, his remix for Ocsav on Banana Gold Records took a very different route. While ‘Me Gusta’ involved rebuilding the framework almost entirely, this process felt more like expanding what already existed. “With ‘Tipsy Kings’, I kept a stronger connection to the original,” he explains. “I preserved that hypnotic late-night vibe while bringing my own touch through a more minimal approach and added tension for the dancefloor.” That ability to move across styles has become one of Beranger’s defining characteristics. His sets comfortably drift between house, jazzy textures, minimal, breaks, electro and acid without losing focus. For him, coherence comes down to identity rather than genre. “I think the key is having a very clear sonic identity,” he says. “Even when I move through different genres, there’s always a common thread in terms of groove, texture and feeling.” Preparation matters, but instinct matters more. “I build a musical narrative before a set, but nothing is fixed. A big part of it is reading the dancefloor in the moment. It’s really about balancing preparation and intuition.” That instinct has been shaped heavily by the underground scenes of Rio de Janeiro and São Paulo. While early experiences began at raves and psytrance parties, one club completely changed his direction. “Everything changed the first time I went to Fosfobox in Copacabana,” he says. “I instantly felt like that was where I belonged.” From there, the scene became something much deeper than nightlife. “The clubbing scene played a huge role in shaping who I am, both as an artist and as a person.” Some of the moments that followed became milestones in his journey. His first set at Fosfobox still stands out as a turning point. “I was invited by Deperon to play the warm-up for D-Nox & Beckers. It was a very special experience that opened doors for me.” Another came through bringing his own Miniclub concept to D-EDGE Rio alongside Prunk. “It was very emotional because I got to share that moment with an artist I truly admire.” Playing D-EDGE São Paulo carried a different kind of significance. “It was a club I had always dreamed of playing.” Those experiences also shaped how he sees the difference between residencies and individual bookings. “A residency gives you the chance to build something over time,” he says. “You understand the dancefloor and build trust with people.” That relationship creates more room for experimentation. “With one-off bookings, you often need to make an immediate impact. With a residency you have more freedom to evolve and shape a consistent journey.” Away from the booth, Beranger's days now stretch across an extensive network of label and development work. Alongside his own Me Gusta Records and Miniclub Label, he works across projects including Banana Gold, Jackies Music, Heattraxx, Cocada Music and several others. That wider role has shifted how he sees his future within electronic music. “I feel very connected to the development side of things,” he says. “Helping labels grow, supporting artists and contributing to the scene in a more structural way.” For Beranger, the future seems less about narrowing his focus and more about widening the impact. “Finding that balance between the creative and industry side is something that motivates me,” he says. “That’s something I want to keep evolving.” Beranger https://soundcloud.com/beranger_musik https://www.facebook.com/beranger.musik https://www.instagram.com/berangermusik

Bruno Roth Bruno Roth is building something that stretches beyond simply releasing records. Since launching Cas Gayatí, the Ibiza-based artist and producer has gradually shaped the imprint into something more personal, rooted in the people, stories and cultural identity of the island itself. The label returns this May with its fifth release, the ‘Al Padre’ EP, a project created alongside Iranian-German pianist and producer Rosbeh and featuring lyrics written by Bruno’s father, José Ramón Torres Baeza. Across three tracks, the release explores family, memory and connection through warm textures, Balearic influences and fluid rhythmic movement. But speaking with Bruno quickly reveals that Cas Gayatí has become about much more than music. “There’s a very simple approach behind it,” he explains. “Be nice and kind to everyone.” He pauses before expanding further. “Here in Ibiza, we’re very used to people pretending to be nice or smiling first and then stabbing you in the back. Everybody is trying to make it and the least protected are often the Ibizans themselves because we have the least amount of money and face huge competition every summer.” Rather than becoming another platform built around networking or exclusivity, he wants Cas Gayatí to become a genuine space for local artists and creative voices. “My cultural space is about pushing people from the island through every release,” he says. “But based on talent and what they actually represent within Ibiza.” There is a quiet frustration underneath some of his reflections on the island's current landscape. Bruno feels the local scene can sometimes prioritise familiarity over discovery. “Here they don’t push talent,” he says. “They push their friends.” For him, the answer feels straightforward. “Our message is clear. The more people supporting and understanding what we do, the more power we have together. It’s time for good music to shine again in Ibiza somehow.” That connection to heritage naturally feeds into his own work too, though not in ways that feel overly nostalgic or tied to recreating the past. His family history forms part of that story. His grandfather's legacy and his father's connection to Ibiza nightlife meant music always existed around him, but he consciously chose to understand the industry differently. “I wanted to learn the technical side first and then become a DJ,” he says. “I wanted to understand every part of the industry so I could become something necessary rather than optional.” That wider understanding has shaped how he approaches sound itself. Across Cas Gayatí releases there is a noticeable freedom between genres and moods, something Bruno sees as essential rather than stylistic. “For me it’s everything,” he says. “I could never stick to one genre.” He laughs before becoming more direct. “It makes no sense to me to be a one-style DJ or artist. It closes your perspective and limits creativity.” That desire to avoid repetition also extends into the production process itself. “People need to stop using the same sample libraries as everybody else,” he says. “We need to create new genres again and that only happens through experimenting and sampling unexpected things.” Community remains a recurring theme throughout everything he talks about. Whether discussing family influences or studio collaborations, there is a sense that music only becomes meaningful when shared with others. “Having people in the studio, no matter how skilled they are, is really about community,” he says. “It makes you feel like something is still alive.” He believes different generations bring equally valuable perspectives into the creative process. “Older generations feel music differently because they grew up surrounded by live music all the time. They can immediately tell when something feels too robotic.” Younger artists bring something else. “They bring different structures and different ideas. It keeps things moving.” That sense of atmosphere also runs through his productions. On the ‘Al Padre’ EP, field recordings and lived experiences become part of the music itself, but for Bruno the process always comes back to storytelling. “For me, it’s really special when a record makes you want to be where it was created,” he says. “When I hear music I love, I always think about how amazing it would have been to be in that room and feel what those people were feeling.” Ultimately, Cas Gayatí feels like a project with much bigger ambitions than simply building a catalogue. Bruno already has a long-term vision in mind. “I want to create something like Ninja Tune or !K7 from Ibiza,” he says. “Something where people can say, ‘This is Ibizan music. These are artists from the island.’” Because for him, preserving culture on the island goes beyond economics or tourism. “Music is the only real way we can protect ourselves culturally,” he says. “Financially we could never compete with outside investment around us.” “And Ibiza has produced so many amazing artists. I want people to talk about that.” Cas Gayatí https://casgayatirecords.bandcamp.com/

Julian Glas At just 21 years old, Julian Glas already sounds like an artist with a clear sense of direction. The Alkmaar producer and DJ may have only seriously fallen into house music a few years ago, but his rise since then has been quick. From his debut at Club Panama through to signing his first EP with Whoyostro and receiving support from names including Marco Carola, Syreeta and Seb Zito, things are steadily moving in the right direction. For the latest edition of Undrtone x Jake Tomas & Paul HG + Friends Presents, Julian delivers a mix that reflects exactly where he sits musically right now. Warm grooves, garage influences, deep house textures and soulful energy all run through the set, mirroring the sound he has been steadily shaping in the studio. His route into dance music itself feels surprisingly recent. While many artists talk about growing up surrounded by electronic music, Julian’s relationship with house started through experiences on dancefloors rather than years spent digging through records. “I first really got into house music through some of the first events I attended, such as Elrow and Overdose by Menesix,” he explains. “I noticed that I was especially drawn to the rolling drums, although at that time I did not yet know which subgenre I was listening to. Later, when I discovered garage, everything started to make more sense.” That discovery quickly developed into something deeper. Alongside garage, artists and labels like PIV and Prunk began opening doors into a wider world of house music. “I really liked the sound of PIV Records and Prunk, and that is when I truly fell in love with house music.” That warmth still sits at the centre of how Julian approaches his own records now. While his influences touch on garage, deep house and classic underground sounds, he says those ideas tend to emerge naturally rather than through a deliberate process. “When I make music, I notice that I do not want it to sound too dark,” he says. “I really like energetic and soulful records where you can feel the warmth.” That same feeling runs throughout his guest mix too. There is a looseness and musicality to it that avoids feeling overly calculated, leaning instead into groove and atmosphere. A lot of that can be traced back to producers who helped shape his own understanding of house music. Names like Jeremy Sylvester and Scott Diaz continue to influence the way he hears rhythm and movement. “With artists like Scott Diaz and Jeremy Sylvester, you can really hear those 90s garage drums, which are a big source of inspiration for me,” he says. “What I also like about Scott Diaz is the way he can move between raw underground records and warmer, more soulful tracks.” For Julian, authenticity in house music is not about recreating the past. It is about carrying elements forward and making them feel relevant. “For me, it is mainly about combining the old with the new,” he explains. “Artists like RUZE are a good example of what that can sound like today. Warm, soulful and groove-driven, but still fresh and modern.” Despite still being early in his journey, important moments have already arrived. His Club Panama debut in 2023 remains one of them, although perhaps not for the reasons people might expect. “What I remember most is that I honestly did not really know what I was doing yet,” he laughs. “I was mainly just having fun, and that is something I want to keep doing throughout the rest of my DJ career.” Signing his first Whoyostro EP also gave him an early sense that things were moving beyond simply making tracks in his room. “Signing my first EP felt like a small piece of recognition,” he says. “It showed me that I was not the only one who believed my music sounded good.” Support from established artists has followed too, but one moment in particular stayed with him. “Syreeta was very enthusiastic about the demos I sent her quite early on,” he says. “Receiving personal emails back from her meant a lot to me.” Looking ahead, his next release ‘Dam Funkin’’ feels like a marker for where things are moving next. “With ‘Dam Funkin’’, I wanted to present the next stage of my sound,” he says. “The warmth of the track, combined with garage drums and soulful vocals, really shows the direction I want to move in.” And while things are building quickly, the goals themselves remain refreshingly grounded. “In two years, I hope to have organised my own event or festival, produced and released several more tracks, and hopefully released music on a strong label such as Arqive.” For now though, this guest mix offers a strong snapshot of an artist still at the beginning of that journey, already finding his own space somewhere between garage swing, soulful house and modern underground energy. Julian Glas https://www.instagram.com/julianglasdj https://open.spotify.com/artist/0ABv2KfHfSw57fPOv6GIuS https://soundcloud.com/user-192880730

OLING OLING has steadily emerged as one of Scandinavia’s most compelling names within melodic house and techno, building a sound shaped by rhythm, atmosphere and emotion. His latest release, ‘Get On The Floor’, arriving via Sasha’s Last Night On Earth, continues that progression through two intimate club records designed for late-night spaces and deeper moments on the dancefloor. Built during the darker months of the Swedish winter, the EP carries a sense of warmth and movement beneath its stripped-back aesthetic. There’s a strong focus on tension and release throughout, balancing intricate rhythmic structures with melodic detail in a way that feels understated but effective. To mark the release, OLING shares ten tracks that continue to influence his productions, his DJ sets and the wider musical ideas behind his work. Scuba - Hardbody [Hotflush Recordings] This is one of those tracks that’s almost impossible not to love. It’s built on timeless, evergreen sounds with a subtle retro touch, and the beautiful vocal just sets the tone and instantly makes me happy. Whenever I play this one out, people start smiling the moment the lead melody kicks in. It feels incredibly fresh, and honestly, I think it always will. José González - Crosses (Jori Hulkkonnen Remix) [Imperial Recordings] Jori’s remix of Crosses was introduced to me a few months ago, even though it originally came out back in 2003. It instantly became my go-to closing track. I’m a huge fan of the drums and the overall harmonies throughout the record. What a tune! André Sobota - Voyager [Pryda Friends] Unfortunately, it’s no longer available on Spotify or Apple Music. But honestly, this track alone is worth getting YouTube Premium for, haha. That rising build throughout the record gives me goosebumps every single time. I’m addicted to emotional harmonies and music that really makes you feel something, and this track hits the spot perfectly. Jeremy Olander - Passagen [Last Night On Earth] I dug through the LNOE catalogue after they picked up my EP ‘Get On The Floor’ and came across this one by my studio buddy Olander. It’s just a pure club record, the kind of track I absolutely love playing in my sets. OLING, Viggo Dyst - My Friends [Anjunadeep] One of my most recent releases that I’m really proud of. I love how the raw, industrial drums meet the glossy, soft chords. That contrast is what makes it work for me. Vanessa Amara - Don’t Let This Feeling [Push Isolation] Don’t Let This Feeling has a really cool production. I’m a big fan of what they did with the different vocal layers on this one, very inspiring to listen to if you’re a producer. Indie tracks like this are usually what I listen to on my way to and from my studio in Stockholm. Ricardo Villalobos - Easy Lee (Random Factor Remix) [20/20 Vision Recordings] This is a personal favourite of mine to listen to when I’m on the move. Whether I’m on vacation, on tour, or just on a train, Easy Lee always fits. Daphni - Carry On [Jiaolong] This one is just 10/10. I don’t need to add anything to it. Just listen and thank me later. DimitrEscu - Sitting In The Sun (Walking In The Rain) [DimitrEscu] This one is for all the UK people out there. I had to close my set at Joshua Brooks in Manchester with this a few weeks ago and it just felt right. It’s such an uplifting track. The kind that just makes you want to dance. And honestly, that’s what house music is all about. Meera - No Space [Crib Records] I’ve been loving ‘No Space’ since the first time I heard it. It ticks all the boxes, and it’s definitely a track I can keep on repeat every now and then without getting tired of it. Across these selections there’s a clear connection between groove and emotion. The tracks rarely chase instant impact or oversized moments. Instead, they build slowly, pull you deeper and create space for atmosphere to do the heavy lifting. You can hear that same mindset throughout ‘Get On The Floor’. It feels less interested in forcing attention and more interested in creating a feeling that stays with you long after the record ends. OLING Instagram - Soundcloud - Spotify Last Night On Earth Instagram - Soundcloud - Website

KC Lights KC Lights has always understood how to make dance records feel big without losing control of the details. Across releases on labels including Toolroom, Defected and Skint, the Scottish producer has built a catalogue that balances festival-scale energy with melodic precision, earning support from names like Diplo, Dom Dolla, Calvin Harris and Swedish House Mafia along the way. Now returning to Toolroom with ‘Danca’, he leans further into that instinct. The new single pushes towards a darker, more driving space, blending breakbeat pressure, Latin vocals and heavyweight low-end with the polished production style that has become synonymous with his name. Built with peak-time intent but still grounded in groove and restraint, the record captures a producer who sounds increasingly confident in exactly what he wants his music to do. That balance between impact and simplicity sits at the centre of how KC Lights approaches production today. While ‘Danca’ feels expansive and high-energy, he explains that the key was actually knowing when not to add more. “Always easier said than done,” he says. “For me, it’s always a case of making sure not to overcomplicate the production. It can be very easy to keep adding new and exciting elements to try and bring more energy, but really the key is to keep things simple and make sure each part has its own space to shine out.” The initial idea behind the track came from wanting something built specifically for those bigger club moments while still carrying a slightly deeper edge than some of his previous material. “I wanted to write a big club record that brought a slightly darker side to my sets but still had that big peak-time energy,” he explains. Interestingly, the track came together unusually quickly. Rather than endlessly refining the demo, KC Lights made a conscious decision to preserve the original momentum that sparked the idea in the first place. “Amazingly, ‘Danca’ did come together really quickly and I think that contributes to the flow between the different sections of the track,” he says. “I deliberately didn’t want to spend too much time messing with the demo and potentially take away from the energy of the track. I had a good idea in the studio and ran with it.” That instinctive approach says a lot about where he currently sits creatively. While many producers can fall into the trap of over-editing or chasing technical perfection, KC Lights increasingly values feeling over flawless engineering. “I’d rather a record sounded a little raw but had a real buzz to it than an idea that sounded perfectly produced but lacked any soul,” he says. That philosophy also feeds into why his records tend to work equally well across clubs, festivals and more casual listening environments. Rather than targeting one setting from the outset, he focuses first on the emotional core of the idea before shaping it into something versatile. “Most of my records are born from just experimenting in the studio and letting whatever ideas are in my head flow out naturally,” he explains. “Then, when an initial idea is formed, it’s a case of finding out how I can work that into a track that might sound great in a number of different settings, whether it’s a big festival stage, a small club or even out of a phone speaker. It has to work everywhere.” That flexibility has allowed him to move comfortably between labels and scenes without ever sounding disconnected from his own identity. Whether releasing through Toolroom, Defected or Skint, the thread running through his music remains recognisable. “With ‘Danca’ I immediately knew Toolroom was the place,” he says. “But I always focus on the music first and then consider where I think would be a good home for it. It’s always an organic process.” Despite the scale of support his records now receive, he’s careful not to let outside validation dictate the direction of his music. While tracks like ‘SOL’ picked up backing from some of the biggest names in electronic music, he tries to avoid writing with specific DJs or trends in mind. “It’s always amazing to get that kind of support from the biggest names in the game,” he says. “Definitely a confidence boost. But I’ve never found it productive in the studio to try and follow the same path as another record or think about who I want to like a track before I’ve even written it.” Instead, he points back towards his upbringing and musical background as the strongest influence on how he approaches dance music today. “Without a doubt,” he says when asked about Scotland’s influence on his sound. “I’ve always been a fan of trying to harness the influence of my background and let that shape how I move forward, rather than trying to force a direction creatively.” Looking ahead, KC Lights sounds energised by where his creativity currently sits. Rather than slowing down, he admits he’s sitting on more music than ever before, with a growing collection of demos already waiting in the wings. “I’ve been more productive than I ever have been in the studio,” he says. “There is going to be a lot more music coming out and I can’t wait for everyone to hear it all.” KC Lights https://instagram.com/kclightsmusic https://facebook.com/kclightsmusic https://open.spotify.com/artist/0bUZrFj7rstq07E4iAJHgZ https://soundcloud.com/kc-lights

sillygirlcarmen With the release of the ‘EASE’ EP, Detroit artist, DJ and vocalist sillygirlcarmen reaches an important milestone. Not just because it marks the first vinyl release on her Sun & Sound Detroit imprint, but because it captures the wider philosophy driving both the label and her own artistic direction right now. Built around contributions from Glenn Underground, Coflo, Jon Dixon and Kevin Reynolds alongside her own collaboration with Coflo, the project feels less like a standard VA and more like a carefully assembled dialogue between generations, cities and different strands of house music culture. Deep house, jazz, soul and Detroit futurism all intersect naturally across the record, but nothing feels forced or overly conceptual. The warmth comes first. “That’s exactly why this was the right project for the moment,” she explains. “It felt effortless, warm and fresh all at once. Calling on these artists created a really beautiful representation of house music’s historical soul and craftsmanship while still feeling future facing.” For sillygirlcarmen, framing the release as a “vinyl conversation” between Detroit and Chicago was deeply personal. Her own sound has always existed somewhere between those two cities and their respective musical identities. “My taste really sits right in the middle of those influences,” she says. “Some people look at Detroit and Chicago’s electronic music histories as a debate, but I see them more as a storyline of inspiration and reflection between each other.” That sense of lineage runs throughout the project. The artists featured on ‘EASE’ span different generations, styles and perspectives, but the curation feels remarkably cohesive. Part of that comes from the close creative relationship she shares with her father, Todd Johnson, the long-standing Detroit promoter and Charivari co-founder. “Working closely with my dad naturally brings together old school and new school energy,” she explains. “That joining of generations happens very naturally when we curate for the label because so many of those friendships already existed.” At the same time, she is careful not to treat heritage as something static or untouchable. “We always keep a pulse on what feels fresh while still honouring the foundational tastemakers,” she says. That balance becomes especially clear on ‘Never Forget (That Feelin’)’, her collaboration with East Bay producer Coflo. The track sits at the emotional centre of the EP, blending skipping house rhythms with deeply reflective songwriting and soulful vocal delivery. “It’s a really heartfelt record,” she says. “The emotional softness resonated instantly between us. The lyrics reflect heartbreak, processing, yearning and memory.” Across both her music and the wider Sun & Sound platform, there is a noticeable refusal to lean too heavily into darkness or exclusivity, something she feels is often overemphasised within electronic music culture. “I observe a lot of grit and edge that people try to cultivate in electronic music,” she says. “But my perspective leans much more towards colour, vibrancy and playfulness. Sun & Sound is an extension of that energy.” That optimism sits at the core of the label’s identity. Visually and sonically, everything feels intentionally bright, expressive and community driven without losing credibility or depth. Away from the label itself, sillygirlcarmen continues balancing multiple creative roles simultaneously. DJing still sits at the centre of her day-to-day artistic life, but her relationship with vocals and songwriting remains equally important. “DJing feels most natural most often, but vocals come second,” she explains. “Sometimes that changes with the seasons though. Sometimes all my energy goes into singing and writing. Other times I’m completely focused on DJing.” What matters most to her is the ability to use both disciplines as emotional outlets and forms of connection. “I really love finding the sweet spot where I can use both mediums together to connect with people,” she says. Growing up within Detroit’s musical ecosystem clearly shaped that instinctive understanding of dance music culture from an early age. The city’s history still hangs heavily over her work, but more importantly, so does its mentality. “Detroit gave me such a rich foundation for my music palate,” she says. “But beyond that, the energy of the city really instilled hustle and drive in me.” That awareness of contributing to a larger cultural lineage brings responsibility too. “Having the opportunity to add to the culture and history of Detroit DJs makes me want to innovate, work hard and win,” she says. Those influences reveal themselves differently depending on the environment she’s performing in. While she’s appeared at major events including Movement Festival, she speaks just as passionately about smaller, more intimate spaces. “No setting leaves me uninspired,” she says. “But intimate clubs definitely bring out a more explorative side of me musically. We might go much deeper into the sound there.” Festival settings, naturally, demand something different. “At festivals I’ll lean more towards higher energy and performance,” she explains. Interestingly, despite her technical abilities, sillygirlcarmen places very little importance on overt showmanship behind the decks. Feeling remains the priority above everything else. “I think people critique this topic too much,” she says. “The feeling has to be the foundation. Everything else develops over time.” For her, passion and curiosity matter far more than perfection or technical flexing. “If your love for it is real, your effort eventually leads you towards becoming a great DJ,” she says. “You just have to stay curious and stay in love with the process.” Looking ahead, both sillygirlcarmen and Sun & Sound Detroit feel like projects entering an important new phase. More collaborations, live performance experiments and deeper exploration of vinyl culture are already underway, while the label itself continues expanding its ambitions beyond releases alone. “As sillygirlcarmen, I’m focused on growing my catalogue, exploring vinyl more deeply and developing live performance sets,” she says. “And Sun & Sound is definitely gearing up for more releases and more event curation.” If ‘EASE’ proves anything, it’s that the project already feels bigger than just a label. It’s becoming its own creative ecosystem, rooted in Detroit history while deliberately pushing towards something more colourful, collaborative and emotionally open. sillygirlcarmen Website / IG / Bandcamp / Sun & Sound

Brighton Music Conference has completed its 2026 line-up with the addition of ORBITAL, joining an already extensive programme of artists, industry professionals and electronic music figures across four days in Brighton. Taking place from 20th to 23rd May, the event once again returns to venues across the seafront, combining artist talks, workshops, networking sessions and industry-focused discussions across four dedicated theatres. BMC26 professional pass are on sale now for £175 + b/f via www.brightonmusicconference.co.uk/buy-tickets. ORBITAL’s appearance arrives as part of the DJ and producer programme. Phil Hartnoll will take part in a keynote interview alongside sessions featuring names including Dave Seaman and Greg Wilson, with the wider programme covering artist development, A&R, radio, songwriting camps and independent career building. The scale of the programme continues to expand. More than 240 speakers and artists are now confirmed, including Alan Fitzpatrick, Anja Schneider, Arielle Free, Denis Sulta and Kenny Dope amongst many others. Beyond artist-focused sessions, BMC continues its broader emphasis on wellbeing and sustainability within electronic music culture. The wellbeing programme returns with discussions centred around burnout, neurodiversity, sobriety, parenting and mental health, alongside yoga and soundbath sessions hosted throughout the conference. The workshop theatre also expands for 2026. In collaboration with pointblank music school, sessions will cover social media, DJ techniques, immersive audio, production workflows and emerging technologies, with contributors including Beardyman, Huxley, Saytek and Technics. Meanwhile, the industry programme, hosted alongside Skiddle, focuses on publishing, contracts, sync, AI, ticketing and rights management, bringing together professionals from labels, agencies, broadcasters and live events. Networking remains a central part of the conference. A series of mixers, afterparties and breakfast sessions will run across Brighton venues including The Tempest, Lazy Finn and Volks, creating opportunities for artists, managers, promoters and industry professionals to connect throughout the week. With ORBITAL now confirmed to complete the programme, Brighton Music Conference 2026 looks set to deliver one of its most expansive editions to date, reinforcing its position as one of the UK’s key events for electronic music culture and industry discussion. Brighton Music Conference https://www.facebook.com/BrightonMusicConference https://www.instagram.com/brightonmusicconference https://www.brightonmusicconference.co.uk/

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.” DEVSTAR https://www.instagram.com/devstar_dj https://open.spotify.com/artist/5v4NOhUz74HKm8K3aphrtX https://soundcloud.com/devstardj

DJ Slugo Few artists are as deeply tied to the identity of a city as DJ Slugo is to Chicago. Long before Ghetto House travelled globally and influenced everything from juke to footwork, Thomas Kendricks was shaping the sound directly from the South Side, building tracks out of drum machines, neighbourhood energy and lived experience rather than industry trends. Now, with ‘Ghetto House Music Vol. 3’ landing via Lady Tazz’s Mind Medizin imprint, Slugo reconnects with the raw, stripped-back energy that made his name in the first place. The EP doesn’t attempt to modernise the sound for wider acceptance. Instead, it leans fully into the grit, swing and physicality that defined Chicago dance music at its roots. For Slugo, that connection to place remains central to everything he does. “Chicago is windy, gritty and beautiful all at the same time,” he says. “Growing up in this city is what shaped my sound.” Unlike many dance music origin stories, his didn’t begin inside iconic clubs. It started much closer to home. “It wasn’t actually a club,” he explains. “It was apartments in the buildings I lived in where we threw parties, and the parties at the Boys and Girls Clubs.” Those early spaces shaped the way he heard rhythm long before the music had a formal name attached to it. “My neighbourhood changed the way I hear music,” he says plainly. “Not the clubs.” That perspective still runs through his productions decades later. Across ‘Ghetto House Music Vol. 3’, the focus stays firmly on movement and groove rather than polish. Tracks like ‘Throw That (Slug Dub)’ and ‘TazzMania’ feel deliberately immediate, driven by analogue drum programming, vocal loops and loose, live-feeling sequencing that prioritises energy over perfection. That rawness reflects the environments where the music originally thrived. “The tough areas, the struggle, that shapes my sound directly and indirectly,” Slugo says. When asked what part of local culture feeds most into his work, he answers instantly: “The Robert Taylor Homes.” That history matters. Ghetto House was never designed for mainstream validation. It came from community spaces, basement parties, battle culture and neighbourhood movement. Slugo’s catalogue helped define that identity through the 1990s alongside Dance Mania and the wider South Side scene, eventually influencing entire generations of producers worldwide. Even now, Chicago itself still sits at the centre of his thinking. Ask which part of the city captures its real energy and he doesn’t hesitate. “The low end, South Side Chicago. If you know, you know.” There’s also frustration with how outsiders often reduce the city to one narrative. “People think Chicago is only a violent city,” he says. “That’s so far from the truth.” Instead, he points towards the overlooked details that shaped both the culture and the music. “The old parties and picnics from back in the day,” he says. Those gatherings carried the same energy that eventually fed directly into Ghetto House itself, loose, communal and built around rhythm. Outside the studio, Slugo keeps things simple. When he needs to reset, he heads downstairs. “I go to my basement and meditate for like an hour,” he says. “Or I get on the treadmill for 30 minutes.” Music still remains part of the process even there. “I’ll go to my home studio, put headphones on and listen to different genres.” That openness to influence continues to keep his perspective fresh, even while staying rooted in the sound he helped create. He’s also paying close attention to a younger generation of Chicago artists carrying the energy forward. “Jae Ivlie, Lana Je’ and Keisha Kash,” he says. “These three female artists are changing the Ghetto House sound.” That evolution feels important to him. Not because the genre needs reinvention, but because it needs people continuing to push its spirit forward without losing its identity. The city itself still feeds that inspiration daily. Smaller spaces like Smoke & Mirrors stand out not for image or hype, but for fundamentals. “I love the sound system there,” he says. In typical Slugo fashion, that’s enough explanation on its own. Food matters too. Chicago’s culture lives as much through restaurants and neighbourhood spots as it does through clubs. Hibachi Grill remains one of his regular places. “Super chill vibe,” he says. “And I’m addicted to the noodles there.” Even his answer to what a perfect night looks like avoids excess or glamour. “Getting home safely and being able to see my grandsons the next day.” That grounding feels important when looking at Slugo’s wider legacy. Despite decades in dance music and global recognition, there’s still a directness to how he talks about the culture and his place within it. No mythology, no nostalgia for nostalgia’s sake, just honesty about where the music came from and why it still matters. If Chicago had a soundtrack at 3am, his choice says plenty about the emotional DNA underneath the harder edges of his sound. “Papa Was a Rolling Stone,” he says. Soul, repetition, groove and storytelling all sitting beneath the surface. And if someone lands in Chicago with no plan? Forget the tourist checklist. “Go to as many food spots as possible,” he says. “Chicago has the best food in the world. TRUST ME!!!!” That same confidence runs through ‘Ghetto House Music Vol. 3’. The EP doesn’t chase trends or soften its edges. It simply reconnects with the rhythm, attitude and movement that made Ghetto House resonate in the first place, proving that even decades later, Slugo still understands exactly what makes the sound hit. DJ Slugo https://www.instagram.com/djslugomusic https://open.spotify.com/artist/1cdLR0Fz14MLkWY78hNTYT https://soundcloud.com/djslugomusic

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. Evan Michael https://www.instagram.com/evvnmichael/ https://open.spotify.com/artist/0wIFDSKA8OHGWbToUfVuDg https://soundcloud.com/evvnmichael