AFROJACK GRAMMY-winning producer and global dance music heavyweight AFROJACK has made his debut on Loco Dice’s Desolat with new single ‘Monopoly Man’. Released on 14th August, the track continues the Dutch producer’s recent exploration of deeper, more club-focused territory, connecting one of electronic music’s biggest crossover artists with an imprint firmly rooted in the underground. At the centre of ‘Monopoly Man’ is AFROJACK’s instantly recognisable synth lead, a sound that has become closely associated with his productions throughout his career. Here, however, it is placed within a stripped-back framework of rolling bass, crisp percussion and driving drums. The result showcases a different side of AFROJACK without abandoning the production characteristics that made his music recognisable in the first place. Rather than leaning towards the large-scale EDM sound associated with much of his catalogue, ‘Monopoly Man’ prioritises groove and club functionality, with an arrangement suited to late-night dancefloors as much as festival stages. The release adds another chapter to an evolving period for AFROJACK, who has increasingly explored underground electronic sounds alongside the mainstage productions that have defined much of his international career. His arrival on Desolat also marks a notable meeting between two distinct areas of dance music. Founded by Loco Dice, the label has spent almost two decades establishing itself through groove-heavy house and techno, making AFROJACK’s first appearance on the imprint an intriguing addition to its catalogue. With ‘Monopoly Man’, AFROJACK continues to broaden the scope of his output while bringing his unmistakable production identity into a deeper club setting. AFROJACK Instagram / SoundCloud / Spotify / Website Desolat Instagram / SoundCloud

Skoden Skoden has spent more than a decade building his place within the UK techno scene, but his latest chapter feels less like another step forward and more like a reset. The Birmingham based DJ and producer returns to HEKATE this August with Rave System, a three track EP that deliberately moves away from the increasingly fast and intense direction hard techno has taken in recent years. The energy is still there, but the focus has shifted towards groove, tension, space and movement. For Skoden, that change came from a point where making music had simply stopped being enjoyable. “Last year, I hit a point where I just wasn’t enjoying making music anymore,” he says. “Everything was getting faster and harder, and it felt like the scene had become a competition to see who could make the most intense track.” Rather than forcing himself through it, he stepped away for a few months and stopped worrying about releases altogether. That break proved crucial. “I went back to making whatever felt fun,” he explains. “For the first time in a while, I was creating music because I genuinely enjoyed it, not because I felt like I had to keep up with a trend.” Slowing the tempo changed everything. Suddenly there was more room to work with rhythm, atmosphere and progression rather than relying purely on speed for impact. “It gave the tracks more space to breathe and let me focus on groove, tension and atmosphere. Rave System feels like the most honest representation of where I am as an artist today.” That evolution also made HEKATE feel like the natural home for the project. Skoden’s relationship with Sara Landry’s imprint stretches back several years, with the label backing him before many others had taken notice. “HEKATE has always felt like home to me,” he says. “Sara took a chance on me back in 2023 and signed my first bigger EP at a time when I wasn’t playing many shows or releasing on well known labels.” Since then, both his sound and the label have evolved. “It still has the energy people know me for, but it’s less about making the hardest track in the room and more about creating something people can really move to.” That emphasis on authenticity runs deeper than production choices. Before music became his full time career, Skoden spent five years serving in the British Army, including a tour of Afghanistan. The experience shaped both his outlook on life and the discipline he still brings into music today. “It taught me organisation, resilience and that life is too short not to take risks or pursue what you’re genuinely passionate about.” His path into DJing developed directly from that period. While he was deployed, his girlfriend Danielle bought a pair of decks and taught herself to DJ. When he returned, the pair travelled to Ibiza and became immersed in electronic music together. “From that moment we spent countless hours practising and supporting each other,” he recalls. “That’s when I realised I didn’t want to spend my entire career in the Army. Music was what I genuinely wanted to do.” He eventually moved into civilian recruitment while spending several years learning production, building his profile and performing wherever possible before finally leaving his day job. Music has also remained an important emotional outlet throughout those changes. “Even though it’s my career now, music is still my escape,” he says. “Sometimes I’ll spend a whole day in the studio making music that no one else will ever hear, and honestly, those are often my favourite sessions.” Turning that escape into a profession has inevitably brought pressure, especially around releases and social media. “I got into this because I love making music and DJing, not because I wanted to become an influencer,” he says. “These days, though, being an artist means you have to do both.” Rather than forcing constant content, Skoden has started sharing more of the person behind the project. “I don’t want people to only know Skoden the DJ. I want them to know Ryan as well.” That might mean fitness, everyday life or moments away from music, but the goal remains the same: if he shares something, it needs to feel genuine rather than manufactured. His wider outlook on the scene is similarly personal. Two of the most important figures in his career have been Sara Landry and Rebekah, both of whom supported his music during important early stages. “Rebekah was the first DJ to play one of my tracks during a livestream in COVID, and the first person I heard playing my music live at Warehouse Project,” he says. “Sara signed one of my first big releases. They’ve both had a massive impact on my career.” Their influence has also reinforced his belief that electronic music still has work to do around representation. “I’d love to see a scene where everyone is judged by the quality of their music, nothing else. The more different voices and ideas we have, the better the scene becomes for everyone.” Although Birmingham remains home, he is surprisingly clear that the city did not directly dictate his sound. By the time he began going out, drum & bass, bassline and tech house were more dominant locally, meaning his techno education came largely through travelling, online discovery and events elsewhere. “I just wish I’d been around for the Godskitchen days,” he laughs. “From everything I’ve heard, they were pretty special.” That willingness to follow his own path is now shaping everything that comes after Rave System. Skoden sees this slower, groove led direction continuing for the foreseeable future, but he has no interest in trapping himself inside another fixed formula. “I think the best artists keep evolving,” he says. “As long as any changes happen naturally and not because I’m chasing trends, I’ll always follow what feels right creatively.” That also means releasing less music. “The last few years were all about building momentum and releasing as much as I could. Now I’d rather take my time and only put out music that I’m really proud of.” For Skoden, success increasingly means creating records that last beyond their release campaign and become attached to real memories for the people hearing them. Rave System marks the beginning of that shift, not by making everything bigger or harder, but by stripping away the pressure and returning to the reason he started producing in the first place. Skoden https://www.instagram.com/skoden.dj https://open.spotify.com/artist/2RiC3YaPSftsTmnZdDCtE0 https://soundcloud.com/skodendj

KNWLSY And Brunette Rising UK producer KNWLSY has teamed up with London singer-songwriter Brunette for 'Like That', a sun-soaked new house single released on 7th August via So, Let's Talk. Blending Balearic house, tech house and French house influences, 'Like That' pairs bright chord progressions and a buoyant groove with Brunette's soulful vocal melodies. The result lands firmly in summer territory, balancing feel-good energy with enough drive to translate directly onto the dancefloor. The collaboration arrives as KNWLSY continues to build momentum within the UK electronic music scene. His high-energy DJ sets have already taken him to venues including Ministry of Sound, XOYO, Eden Ibiza and Amsterdam's Faralda Crane during ADE, while his recorded output has begun making an impact of its own. KNWLSY's debut single reached the Top 5 of the Music Week Club Chart, with subsequent releases breaking into Beatport's Top 100 and securing Track of the Week recognition from BBC Radio 1Xtra. For Brunette, meanwhile, 'Like That' represents her official debut single as an artist. The London-based singer-songwriter steps into the spotlight following writing sessions with names including Da Beatfreakz, Guy Chambers and Zyra, introducing her own sound through a vocal performance designed around the track's warm house foundations. The release also adds another name to the growing catalogue of UK label So, Let's Talk, which has previously released music from artists including Robbie Rivera, David Zowie, Leftwing : Kody, John Gibbons, Tep No and CeCe Peniston. With its combination of breezy melodies, soulful vocals and dancefloor-focused production, 'Like That' sees KNWLSY and Brunette deliver a late-summer house cut built for both daytime sessions and club floors. KNWLSY https://www.instagram.com/knwlsy_ Brunette https://www.instagram.com/brunettemusicuk

TESTBED A new and improved TESTBED will relaunch this September, at the dynamic intersection of electronic music, live culture and community. The landmark Leeds venue will reopen its doors to showcase permanent structural improvements and major upgrades across sound (a custom L-Acoustics L2 system), lighting (a fully integrated Chauvet lighting system), and overall customer experience. With a capacity of 2,500, the countdown has begun as TESTBED prepares to relaunch at the forefront of Leeds’ vibrant creative culture. TESTBED’s founders Laura Wellington and James Abbott-Donnelly remain front and centre, now with the backing to realise their original cultural vision for the venue; an accessible platform where Leeds-based ideas, talent and organisations can grow, collaborate and reach bigger audiences. AMAAD – the promoters behind Junction 2 Festival, LWE events, and Ironworks – has partnered with TESTBED, providing significant investment, expertise, and firm plans to bring world-class talent to the city, as the new and improved venue joins influential multi-purpose venues Quarters in Brighton and The Prospect Building in Bristol, as part of the AMAAD venue portfolio. With the venue expanding from 10,000 sq ft to 23,000 sq ft, the upgrades will deliver a positive evolution of the TESTBED experience. Entering through the new lobby, guests can enjoy a brand-new 5,000 sq ft mezzanine level with customisable seating and view the huge dancefloor space from a brand-new balcony. The new upstairs bar will continue TESTBED’s commitment to support local brands and suppliers. Downstairs, the custom-built stage allows for a 360-degree crowd and unrivalled atmosphere around the DJ booth when in club mode. A Room 2 is also underway for a 2027 reveal, creating a multi-purpose space and chill-out area. TESTBED is ready to push immersive culture in Leeds to the next level, providing a platform for clubbing, live music, theatre, community projects, and more. It will be the only venue in the city with a customised L-Acoustics L2 system. This higher-spec design is usually found at larger venues and festivals, and guarantees exceptional sound quality with full-venue coverage, while the cardioid array configuration directs sound into the venue, reducing transmission towards neighbours. The newly designed lighting includes multiple moving lights and strobes, together with a large LED ceiling installation and bespoke under-balcony display of LED strips and curves, complemented by a high-res 8m x 4m LED video wall. Guests will also keep cool thanks to significant upgrades to ventilation and air circulation, with powerful high-capacity fans creating a fresher, more comfortable environment throughout. Perhaps less glamorous, but no less important, the portaloos are gone, replaced by four brand new toilet blocks that double capacity - all custom designed with unique flair while focusing on safety, comfort and hygiene. AMAAD has always focused on long-term partnerships with local businesses, creative collectives, independent promoters, and charities at its venues, and has created youth apprenticeship schemes and cultural spaces to connect. The TESTBED founders share these values and will continue to implement their long-term vision for TESTBED, ensuring authenticity and deeper connections to the people and culture of Leeds. TESTBED will also continue to provide a home for community radio station, alto radio, which broadcasts from its base inside the venue. Since opening in 2021, TESTBED has carved out a reputation as a unique, forward-thinking, multi-purpose space. AMAAD brings a proven track record and booking expertise - music fans should expect high-quality, credible artist bookings that respect the venue's heritage and Leeds' rich history of electronic music culture. With a fully standing 1500-capacity for live music, AMAAD will also expand its existing partnership with renowned live music programmer Ghostwriter - which has worked with national and local promoters to deliver the likes of Little Simz, Yungblud, and Geese to The Prospect Building, and Everything Everything, The Sherlocks, and The Callous Daoboys to Quarters - to include TESTBED. The venue will create a vital next-step venue where emerging and established artists can grow into larger audiences, while giving national and international touring acts another reason to include Leeds on their schedules. Full lineups and opening details will be announced soon. TESTBED reopens its doors in September to reveal the next stage in its evolution. TESTBED Instagram - Website

Faster Horses has joined forces with Scottish duo Vivace for ‘There’s Nothing Else’, marking both artists’ debut on Berlin collective Live From Earth. Out now, the collaboration brings together two rising UK acts whose sounds move freely between trance, techno, garage and hard dance. The result is a euphoric, atmospheric club track that balances emotional depth with driving late night energy. ‘There’s Nothing Else’ unfolds around rolling sub bass and intricate percussion, with shimmering melodic textures and expansive pads creating space throughout the arrangement. Tonal percussion adds movement as the track shifts between dreamy passages and more forceful rhythmic sections, maintaining its hypnotic momentum throughout. The collaboration arrives as Faster Horses continues to establish himself as one of the UK underground’s most distinctive emerging producers. Based in Manchester and originally from Liverpool, his fusion of ethereal techno, trance and psychedelic influences has taken him to clubs including FOLD, RSO, Radion and Den Anden Side, alongside releases through Space Trax and Euromantic. Aberdeen duo Vivace are building momentum of their own. Their combination of hard house, trance and garage has earned support from Mixmag and Rinse FM while helping position the pair among a new wave of Scottish artists exploring the faster and more melodic edges of contemporary club music. Their arrival on Live From Earth provides another natural home for that approach. The Berlin collective has become closely associated with electronic music that crosses traditional genre boundaries, making ‘There’s Nothing Else’ a fitting first release on the label for both acts. Dreamlike melodies, rolling low end and high energy rhythms combine on ‘There’s Nothing Else’ to deliver a collaboration built around the shared territory between Faster Horses and Vivace. Live From Earth https://www.instagram.com/live_from_earth https://www.tiktok.com/@live_from_earth https://soundcloud.com/livefromearth https://www.beatport.com/label/live-from-earth/75100

WVLK WVLK is carving out his own space within melodic Drum & Bass, combining rolling rhythms and detailed sound design with the kind of songwriting that puts emotion firmly at the centre. His latest single ‘Do You Hear Me’, landing on Vibe Chemistry’s Make Your Era, pushes that approach further. Sweeping melodic arrangements, liquid Drum & Bass foundations and a striking female vocal unfold across a track built to work as effectively through headphones as it does on a festival system. That balance between emotion and electronic production runs throughout WVLK’s Hot Picks. From his own ‘Oxygen’ to melodic Drum & Bass, electronic pop and more introspective productions, he shares five records that reflect the musical ideas currently inspiring his work. WVLK – Oxygen [Black Hole Recordings] “Oxygen is a really personal record for me because it represents a side of my sound I've been trying to develop for a long time. I wanted to write something that felt emotional without losing its energy, where the melody carried just as much weight as the drop. Releasing it through Black Hole Recordings was a huge milestone and gave me the confidence to keep trusting my instincts rather than chasing trends. Even now, I still enjoy listening back to it because it reminds me of where I was creatively at that moment. Every track teaches you something, and Oxygen taught me that the songs people connect with the most are usually the ones where you're the most honest.” Arcando – Wide Awake (feat. Sam Harper) [Monstercat] “Wide Awake was one of those tracks that grabbed me on the first listen. I'm a sucker for melodic drum & bass, and this one just gets the balance right. Sam Harper's vocal feels really genuine, and the production never tries to overshadow it; it builds naturally and lets the emotion do the work. That's something I really appreciate as a producer. You don't always need the biggest or most complicated drop to make an impact. Sometimes it's the feeling a track leaves you with that matters most. I've gone back to this record so many times because it reminds me that great dance music can hit just as hard emotionally as it does on a sound system.” NOTD & Corbyn Besson – Panic [Universal Music] “Panic is one of those songs that feels effortless every time I come back to it. I've always liked music that sits somewhere between emotional and uplifting, and this track does that really well. Corbyn Besson's vocals feel honest, and NOTD keep the production clean without taking away from the emotion. There isn't anything overcomplicated about it, but every element feels like it's exactly where it should be. I think that's what makes it so replayable. As someone who spends a lot of time making melodic electronic music, I really appreciate records that don't try to do too much. They just focus on creating a feeling, and Panic is a great example of how powerful that can be.” Oskar Med K – I Think I'm Addicted “I Think I'm Addicted is one of those tracks that caught me completely off guard. It has this really clean, emotional sound that feels effortless from start to finish. The melodies are memorable without being overcomplicated, and the vocals give the whole track a genuine, almost vulnerable feeling. I always appreciate music that doesn't try to be the loudest thing in the room but still leaves a lasting impression. That's something I think about a lot in my own productions as well—creating moments that people connect with rather than just chasing impact. This is the kind of record I can throw on during a late-night drive or while working in the studio, and it never gets old. Every listen reminds me that sometimes the simplest ideas end up being the most powerful.” Said The Sky, ILLENIUM & Chelsea Cutler – Walk Me Home “I've always been drawn to music that doesn't rush to make its point, and Signs (Revision) is a perfect example. It builds its emotion so naturally that you almost don't notice how invested you've become until the track opens up. Two Lanes have a way of making electronic music feel incredibly human, and NOHR's vocal adds another layer of honesty to it. Nothing feels overproduced or forced—every sound has a purpose. I come back to this track whenever I want to reset or find inspiration because it reminds me that sometimes the smallest details have the biggest impact. As a producer, that's something I try to carry into my own music: letting the emotion lead and trusting that simplicity can be just as powerful as complexity.” Across WVLK’s selections, the common thread is clear. Melody and emotion come first, while production exists to strengthen the feeling rather than compete with it. It’s an approach that feeds directly into ‘Do You Hear Me’, where liquid Drum & Bass energy, cinematic scale and songwriting combine as WVLK continues to establish his identity within the wider bass music landscape. WVLK Instagram - Spotify - SoundCloud Make Your Era Beatport - Instagram - TikTok

Alden Song Alden Song’s relationship with house music began long before he stepped behind a set of decks. Raised in New York City by a DJ father and singer mother, he grew up surrounded by the records, venues and personalities that shaped the city’s club culture. His father served as general manager of Cielo, the much loved Manhattan venue that became an important home for underground electronic music. That proximity gave Song an early understanding of house music as both a sound and a community. “My father was a DJ and my mom was a singer. Both of them were very involved in the New York City club scene, my father being the GM of Cielo. When I was young, I was always surrounded by music and house music culture so, I naturally gravitated towards it.” More than a decade later, those New York foundations remain central to his identity. His productions and DJ sets connect samples carrying the character of ’90s house with the tighter drums and driving low end of contemporary house and tech house. That meeting point sits at the centre of his Undrscovered mix. Across 14 tracks, Song brings together records from Local Dub, George Smeddles, Us Two, Luke Alessi, RUZE and The Trip, alongside two unreleased productions from his own catalogue. “I wanted to showcase what I would be playing for one of my own sets. Oftentimes when you DJ, a part of you wants to please the crowd to make them dance. This mix is a collection of records that I would like to hear on the dance floor.” The mix opens with Local Dub’s ‘Push Ya Back’ before Max Chapman’s ‘Twenty Ten’ and ‘Kente Flow’ from Marco Lys, Supernova and House Of Molly establish its rolling house direction. From there, Song moves through stripped back percussion, vocal fragments and elastic basslines without allowing the pace to drift. His two unreleased IDs provide the clearest indication of where his production sound is heading. Both have become regular fixtures in his live sets, sitting naturally among records chosen for their direct dancefloor impact. “I love making music strictly for the dance floor. I ask myself the question, "what would I want to hear when I'm dancing?” and that's the vibe I go off of.” That instinct also informs the way Song searches for music. Rather than limiting himself to charts or prominent releases, he traces connections between artists, collaborators and remixers until he finds records that feel less familiar. “Going down the rabbit hole to find records that nobody has or tracks that speak to me is the best part.” A recent move from New York to Los Angeles has brought another shift in perspective. Song has become a resident for underground after hours collective Utopia LA, placing him inside a different club community while expanding his reach across the East and West Coasts. His recent schedule has included an appearance at EDC 2026, adding to earlier performances at Cielo, Space Ibiza New York and Marquee New York. Time spent attending festivals and playing underground showcases in Los Angeles has also helped him refine the sound he wants to pursue. “I recently moved to LA, and my experience here has developed me in such new ways. I feel like I’m really coming into myself and discovering my sound.” Song has also taken another step forward with a new EP on Material Series. More independent and label releases are planned, with the two unreleased tracks inside this mix offering an early preview of what will follow. Breaking through an increasingly crowded field remains difficult, but Song believes his performances continue to create his strongest opportunities. “All of my biggest opportunities have come from people hearing me play and I think that’s my greatest strength.” His Undrscovered mix makes that strength easy to understand. Rooted in New York house culture, sharpened through his experiences in Los Angeles and built entirely with the dancefloor in mind, it captures an artist finding his place through the music he genuinely wants to play. Alden Song https://www.instagram.com/dj_alden https://open.spotify.com/artist/2iSDVdymYs9SYIKZPGelNC https://soundcloud.com/user-77867187

The Liquid Dude For The Liquid Dude, electronic music has never been about staying within the boundaries of a single genre. Across decades of musical exploration, his sound has moved between electro, acid, house, breaks, machine funk and beyond, always retaining a playful and unpredictable character. That approach sits at the heart of ‘Artificial Ignorance’, his latest six-track EP on his own Liquid Freaks imprint. Following his debut album in 2025, the new release brings old-school funk aesthetics into conversation with futuristic electronic experimentation, moving through analogue textures, elastic basslines, machine rhythms, ambient passages and disco-infused moments. For this edition of Influences, The Liquid Dude digs into five formative records that demonstrate how experimentation, personality and groove have shaped his musical outlook. Bernard Fevre – Dali (1981) “I discovered Bernard Fevre through my obsession with electronic music that existed before genres had names. What I love about this record is that it doesn't feel like it belongs to a specific era. It feels like someone imagining the future with the technology they had at the time. The atmosphere is everything. The synthesisers are not just instruments, they create a world. I always come back to records like this when I need inspiration because they remind me that electronic music is not only about rhythm, it's about creating a feeling and transporting people somewhere else.” Chaz Jankel – 3,000,000 Synths (1981) “This record showed me that electronic music could have humour and personality. A lot of people think about synthesisers as something cold or mechanical, but Chaz Jankel made machines feel funky and alive. I love the balance between the groove of a live band and the possibilities of electronic production. It has this strange energy where everything sounds playful but incredibly precise at the same time. That idea of making machines dance is something that has always stayed with me.” Telex – Moskow Diskow (1979) “Telex were completely different from everyone else. They took disco, electronic music and humour and created something that felt almost like a joke from the future. What inspires me is their attitude. They weren't trying to sound serious or follow a formula. They created their own universe. The robotic vocals, minimal groove and strange melodies show that electronic music can be experimental while still making people move.” Steve Monite – Things Fall Apart (1984) “I found this record while digging deeper into the relationship between funk and electronic music. What immediately caught me was the bassline, it has this incredible physical energy. For me, this track represents the moment where human groove and machines started becoming one. It also reminds me that some of the most futuristic electronic music was coming from places outside the usual history we hear about. Nigeria had its own electronic revolution.” Loose Joints – Is It All Over My Face (1980) “This record represents the freedom of the dancefloor. It doesn't feel polished or designed to be perfect, it feels alive. Arthur Russell understood something very important: sometimes the imperfections are what make a record special. The groove feels organic, unpredictable and emotional. This is the spirit I love in club music, when a track creates a moment that exists only in that exact place and time.” Looking back at these records, the connection between them is not really a genre. It's a feeling. They all come from moments when artists were experimenting, breaking rules and using technology in unexpected ways. Whether it's funk, disco, electronic music or club culture, the thing that inspires me is always the same: records that feel like they have their own personality. Music that sounds like it could only have been made by that person, at that exact moment. The Liquid Dude Instagram - Soundcloud - Spotify Liquid Freaks Instagram - Website - Soundcloud

AVG Italian-born, London-based DJ and producer AVG continues his rise with ‘It’s Time’, a sun-soaked new single landing on Fiona Kraft’s Non Merci Music on 7th August. Having already released across labels including Defected, Connected, Nervous Records and Pete Tong’s Places & Spaces, AVG has developed a sound that moves freely between afro, deep and melodic house. His latest offering brings those influences together through lush strings, world-inspired percussion, soaring vocals, brass and a weighty house groove built for summer dancefloors. To mark the release, AVG steps into Hot Picks with ten tracks currently finding their way into his sets, moving from hypnotic house and acid to minimal grooves, modern reworks and closing-time favourites. Todd Terje – Ragysh [Olsen Records] “This never gets old. The hypnotic synth bass groove and the chord progression are simply epic.” JUNO (DE) & Samm – Muralli [Magnifik Music] “I heard this as the opening track of Vanco’s set in Italy, and it immediately changed the mood of the night. That bassline is everything.” Emanuel Satie – A Love Fantasy [Crosstown Rebels] “Emanuel Satie’s music has the power to take you back to the ’90s while keeping you firmly in the present. To me, it’s the natural evolution of the house music I grew up with.” Luch – Somebody’s Watching Me [UMG Recordings, Inc.] “He nailed it. Some people might recognise the synth sample from an old library called Kabana. Respect!” Spencer Brown – Windows 95 On Acid [mau5trap] “Not many acid tracks can deliver this kind of energy. Wow!” Matthias Tanzmann & Black Circle – Masina [Moon Harbour] “This track makes you move before you even realise it.” AG Swifty & Brad Brunner – Lay Back [Take Notes] “Perfect afterparty vibes. Catchy vocals over stripped-back, minimal grooves.” Syntheticsax, Disla & Danis – Man With The Red Face (Nico De Andrea Extended Remix) [Go Deeva Records] “When I first discovered dance music, Laurent Garnier’s original was just coming out. I was around 15 years old. Nico De Andrea did an amazing job with this remake. Absolutely an anthem.” Trance Wax – Rhythm Of The Night [Armada Music] “Lately, this has been my closing track. Trance Wax is a genius.” Jackie (IT) – Sexy M.F. (Extended Mix) [Maccabi House] “I love playing disco and indie dance. It’s groovy, it’s sexy, and it always works.” From the timeless synth work of Todd Terje to stripped-back afterparty grooves and the euphoric energy of Trance Wax, AVG’s selections reflect the breadth of influences running through his sets. With ‘It’s Time’, that open-minded approach continues as he brings melody, percussion and feel-good house energy together for his debut on Non Merci Music. AVG Instagram - SoundCloud - Spotify Non Merci Music Instagram - Website - SoundCloud

Resco New York DJ and producer Resco (US) continues his rise through the house ranks with ‘Dat Funk’, a collaborative three-track EP landing on Ilario Alicante’s Sound D’Elite. Following his Beatport-charting breakthrough ‘Crazy’ in 2024, Resco has picked up support from Jamie Jones, Joseph Capriati, Ilario Alicante, Franky Rizardo and Cloonee. His latest release builds on that momentum alongside three rising names from across the international house scene, linking with UK talent Chris Brooks, Miami-based Max Vitelli and Egypt’s M.O.E. Across ‘Dat Funk’, ‘Get Back’ and ‘Dirty Checks’, rolling low-end, organic percussion, vocal hooks and tightly wound grooves take centre stage. To mark the release, Resco steps into Hot Picks with ten tracks currently doing damage in his sets, moving through funk-fuelled house, rolling percussion and stripped-back club grooves. CASSIMM – That Funky Sound [Deeperfect] “The name says it all! CASSIMM tracks are always fire, but man, does this vocal hit differently. Top-tier track in my books.” Altier – What How [Magnetic People] “This track radiates good energy. The groove makes you wanna start moving, and that diva vocal sounds immaculate. One of my favourites lately.” Angel Heredia – Bailadores [La Pera] “This one has been a consistent track in my sets. The groove is irresistible, and when paired with that massive diva vocal, it always gets a great reaction.” wAFF – Fruit Bandage [NATURE] “Another absolute roller that I love to play. All the elements play off each other so nicely, and the groove is constantly evolving. What more can you ask for? I love this one!” Dem Boyz – Para Los Latinos [NoZzo Music] “You can never go wrong with NoZzo tracks, especially when Dem Boyz are in the mix. They put out some insane grooves, and this one is definitely a favourite of mine.” Firza – Fever [Sound D’Elite] “‘Fever’ brings so much energy to my sets and never fails to get the crowd moving. I really appreciate how all the musical elements work together in this one.” Jeff Sorkowitz – Move Shake [IN / ROTATION] “This track has been one of my favourite tracks released this summer. The acid, the dark vocals, toss in that insane low end, and it’s absolute class.” Supernova – La Nuit [LTF Records] “Supernova are definitely one of my favourite artists, and their tracks always hit so nice. I always love a good LTF track, and this one is definitely up there. Love the groove on it.” Chinonegro & Andre Butano – Chardonnay [8Bit] “‘Chardonnay’ features some of the sickest chords I’ve ever heard. Things are constantly evolving, and I can listen to this groove forever. Top tune!” Simon Kidzoo & Mellizos – Jammin [Factory 93 Records] “The beat kicks, and I start rockin’... literally. How can you listen to this and not want to immediately start grooving? Such a great track.” Resco’s selections capture the groove-first approach at the heart of ‘Dat Funk’, moving between rolling house, funk-driven rhythms, acid touches and the kind of vocal-led club records built to create an immediate reaction. With his Sound D’Elite debut adding another milestone to a fast-growing catalogue, the New Yorker continues to establish a clear identity built firmly around the dancefloor. Resco (US) Instagram / SoundCloud / Spotify Sound D’Elite Instagram / SoundCloud

STO STO continues his monthly release project with ‘Vibin’ In August’, a deep and driving house cut premiering exclusively on Undrtone. Following the acid laced pressure of ‘Vibin’ In July’, the French producer shifts direction once again, moving into the deeper spaces between minimal and underground house. Lush pads stretch across the arrangement while rolling grooves and finely layered percussion keep the track moving with purpose. Rather than relying on a dominant lead or oversized breakdown, ‘Vibin’ In August’ finds its character through movement. Rhythmic details arrive, recede and return throughout, building an evolving groove that rewards close listening while remaining firmly focused on the dancefloor. The result feels controlled but never static, with each layer adding depth without crowding the mix. That restraint makes the track particularly suited to longer blends and late night sets. Its warm atmosphere creates space, while the low end and persistent rhythmic drive give DJs a solid foundation to work with. It is another example of STO understanding how to create momentum without forcing the record towards an obvious peak. The monthly series has already taken in French touch, disco, acid and raw analogue house influences. August adds a deeper and more minimal chapter, continuing the project’s central idea of exploring house music through a new lens each month without losing its groove first identity. ‘Vibin’ In August’ is another underground gem from STO and a natural continuation of one of his most consistent projects to date. STO https://www.facebook.com/STO.dj https://www.instagram.com/sto_dj https://open.spotify.com/artist/4BIwrHBpAWdIjPXLK1M7gq https://soundcloud.com/stodj https://stodjmusic.bandcamp.com

Nicole Moudaber, Danny Avila Nicole Moudaber has teamed up with Danny Avila for the release of 'Welcome 2 Miami', a high-impact club record arriving on 31st July via her MoodCollective imprint. Built for peak-time dancefloors and inspired by the energy of Miami's legendary nightlife, the collaboration brings together two artists from different corners of electronic music who share a passion for driving, festival-ready techno. The project began as a solo production from Avila before catching Moudaber's attention. Planning to sign the record to MoodCollective, she decided to take the collaboration a step further by replacing the original AI-generated vocal with her own performance. Speaking about the decision, Moudaber said: "I loved the record instantly, but I wasn't interested in using AI vocals. I said to Danny, 'F**k AI - I'll do them myself.'" Her spoken vocal transforms the record into something far more personal, adding another dimension to Avila's hard-hitting production while reinforcing the hands-on creative approach that has defined her career. For Avila, the release represents a particularly meaningful collaboration. "For me, this collab is extra special because Nicole has been one of my favourite DJs and tastemakers ever since I started DJing over 15 years ago. Getting the chance to create a record together that was inspired by a night at Space Miami feels like a full-circle moment!" he explained. Since launching MoodCollective in 2025, Moudaber has used the label to champion forward-thinking electronic music while continuing to expand her own artistic output. Meanwhile, Avila has continued his evolution from EDM prodigy into one of the most exciting names in modern techno, with recent years seeing him embrace a heavier, club-focused sound. Blending Avila's relentless production with one of the rare occasions Moudaber has stepped behind the microphone herself, 'Welcome 2 Miami' arrives as one of the summer's most anticipated techno collaborations and another significant release for MoodCollective. Danny Avila Instagram - Soundcloud - Spotify Nicole Moudaber Instagram - Soundcloud - Facebook - Spotify InTheMood Instagram - Soundcloud - Facebook