Modat DJ, producer and Johnny Johnny Records boss Modat has never been particularly interested in overthinking the process. His approach is rooted in making music for clubs, following ideas wherever they lead and keeping enough personality in the finished product to make each track stand apart. That philosophy runs through ‘Dashin’, his debut EP for Radio Slave’s REK’D. Across four tracks, Modat moves between dubbed-out house, acid licks, wonky low-end, stripped-back grooves and modular experimentation, while traces of the sound he previously explored as Nico Mendez unexpectedly find their way back into the picture. His Hot Picks tell a similarly wide-ranging story. Starting with deep house discoveries and raw ’90s rave energy before moving into minimal grooves, eccentric electronics and contemporary favourites, these ten records reveal plenty about the sounds that continue to shape Modat behind the decks and in the studio. Channel X & Meggy – Monday “This was one of the first proper deep house records I remember coming across. My friend Jane Jaya played it at her night Depth Charge and my ears pricked up instantly. The quirky percussion, Meggy's vocal and probably one of the thickest basslines I'd ever heard – it's just such a fucking cool groover of a record. I still play it out every chance I get, which probably says enough.” Barbara Tucker – Stay Together (Ravin' Mix) “I first heard this years ago on the E.S.P. for Superior Raving compilation and it's stuck with me. It's got that effortless groove that only an elite few records seem to possess, paired with this cool, squelchy saw bass that just rolls underneath everything. The way it builds and gradually unfolds into this kind of organised chaos gives you that proper old-school warehouse rave energy. I love it. a superb classic from Strictly Rhythm.” Pizzaman – Trippin' On Sunshine (Impulsion Big Pizza II Mix) “This one just packs so much raw energy. It's unapologetic, unfiltered club music with no fucking about, it just gets on with the job. There's something about records from this era where the rough edges are part of what makes them hit so hard, and this is a perfect example. Pure rave fuel.” B-Code – Feel Good (Hard Club Mix) “Keeping with the raw theme, this just captures the '90s to a T for me. It's one of those records that makes the hairs on the back of my neck stand up. A proper tin pan stomper with all the roughness, energy and character you want from a true OG club record. Nothing overly polished, nothing trying too hard, just fucking class.” Frankie Goes To Hollywood – Relax (New York Mix) “Bit of a curveball compared to the selections so far, but I mean, what can you say about this record? It's timeless and an absolute belter of a set finisher. I remember closing a night at Flat 01 in Glasgow with it and even the bar staff ended up on top of the bar swinging their shirts above their heads. Pure hands in the air stuff.” Mathew Jonson – Return Of The Zombie Bikers (DJ T. Edit) “Moving into stuff that's a bit closer to what I'm playing currently, this probably comes from that part of my taste that was shaped by Erol Alkan, The Bloody Beetroots and that whole world. It's fucking HUGE. When that bassline melody kicks in during the break... sheeeesh. I love how simple the record actually is considering how much power it has. I played it recently at La Cheetah and it absolutely wrecked the joint.” John Tejada & Justin Maxwell – The Name Rolls In “This one's got so much quirk to it, and it reminds me of some of my earlier stuff where just having fun with sound was the point. I think that mad mouth-vocal sound comes from Delay Lama, this ridiculous free singing monk plugin. It's a really fun record and you can almost hear John and Justin having a laugh while making it. Sometimes that's all you need.” Iz & Diz – Mouth (Brad Peep's Remix For Friends) “This one taps into the more minimal side of my taste. It reminds me of a lot of the older stuff I explored through artists like Monkey Safari, Andhim, Stimming and Super Flu – that way of using these melancholic little stabs to pull a surprising amount of emotion out of something that's still fundamentally a club record. It's a really clever tune with loads of space and personality, then later this ridiculously groovy little solo creeps in and takes it somewhere else entirely. Proper smart record.” Horror Inc. – The Vanishing “Another proper minimal groover, this time from the obviously renowned Perlon and their seemingly endless catalogue of ridiculously good music. The use of those choir vocals against this really thin, almost ghostly drone is so clever. It somehow feels effortless and absolutely jam-packed at the same time, if that makes any sense.” Burial & Four Tet – Moth “Had to finish with this one. Moth is one of those records that everyone should come across if you are in the game. That looping melody just keeps pulling you back in while all these loose, imperfect little bits of percussion move around it. It's melancholic, warm and euphoric all at the same time, almost like the feeling of remembering a really good night rather than actually being there. Burial & Four Tet are a perfect pairin. Just two incredibly distinct identities meeting in the middle. Just a beautiful fucking record. This is the kind of record that gives me imposter syndrome. If I could produce shit like this, I would.” From Barbara Tucker and Pizzaman’s raw ’90s energy to the eccentric minimalism of John Tejada, Horror Inc. and the unmistakable atmosphere of Burial and Four Tet, Modat’s selections share the same disregard for unnecessary polish that runs through his own productions. Groove, character and ideas come first. It makes ‘Dashin’ feel less like a deliberate exercise in referencing the past and more like the natural result of everything that has found its way into his record bag along the way. Modat Instagram - Soundcloud - Facebook - Spotify REK’D Instagram - Soundcloud - Beatport Explore more Hot Picks: Hot Picks archive · Influences · All features

RAW78 Leipzig has quietly become one of Germany’s most intriguing creative cities. Less crowded than Berlin but equally shaped by art, music and independent culture, the Saxon capital has developed a reputation for open-minded communities and a strong underground identity. It is the city RAW78 calls home, and the environment that continues to shape his approach to electronic music. The timing feels right. RAW78 recently joined forces with vocalist Samara on ‘Lost In Motion’, released via Vibe Chemistry’s Make Your Era imprint. The track blends high-energy drum and bass with emotional clarity, pairing rolling percussion and wide bass pressure with a vocal that anchors the record’s scale. Designed for large systems yet equally effective in club settings, the release marks a clear step forward in RAW78’s production journey. To understand where that sound comes from, it helps to start with the place itself. “I am from Leipzig, the biggest city in Saxony. It is often called ‘Klein-Paris’, which means ‘little-Paris’, and is compared to Berlin as being kind of the same city but less crowded. I feel like the people here are the most open-minded in comparison to other cities in the state. Also, we have always had a huge art scene, and many creative people come to live here. That is what makes the city special to me.” Like many producers rooted in club culture, RAW78’s musical instincts were shaped inside local venues rather than studios. One club in particular changed how he heard dance music. “I found a love for House music because of a club called ‘Westhafen’. They have different floors, with 2 of them being outside. The ground is made of sand, so it feels like a beach when you're there in the summer.” Beyond the larger spaces, Leipzig’s smaller rooms often carry just as much influence. One venue continues to stand out for its atmosphere and energy. “There’s a club called ‘Absturz’. I am playing there quite often, and it’s always a crazy energy, despite the room only fitting like 150 people. It always feels like you're in a living room or like a cosy bar, and then you have heavy electronic music blasting, which gives it a very unique experience in my opinion.” Absturz, Leipzig Outside the clubs, the city offers a different rhythm during the day. Creativity, like nightlife, often grows in the spaces between. “When I want to reset from the ‘normal’ life, I am in the studio and just work on music. But sometimes you also need a break from being creative. At these times I love being on the Karl-Liebknecht-Street in the South of Leipzig.” That same street also happens to host his regular food stop. “Ramen 1974 on the just-mentioned Karl-Liebknecht-Street is my go-to food spot in the city. Just order the Tonkotsu Ramen, and you're happy. It's made like a Japanese alley with shops on the sides and the tables in between.” Ramen 1974, Leipzig Leipzig’s cultural personality is not tied to a single district, but two neighbourhoods capture its creative energy particularly well. “This will offend a lot of people here, no matter what I say, but for me, it's either Connewitz (South) or Plagwitz (West). Both have that unique and creative flair I was talking about in my other answers.” That sense of creative openness feeds directly into the city’s electronic scene and the mindset of artists building music within it. “I don't know if it's just me, but you can just feel the creativity people have in this city. I think that might be the thing that inspires me the most.” Despite the city’s evolution, Leipzig still faces misconceptions from outsiders unfamiliar with its culture. “I think because we're in the East of Germany, people often think that the city isn't modern and that we are still stuck in the DDR.” Within the local scene, one collective has recently been pushing things forward. “The FMG Crew from the west of Leipzig is definitely one to watch. They have been really setting a new standard for events in the region, in my opinion. They are also the only crew here that is trying to expand outside of Germany. They're actually hosting their first international event in the UK this month.” When the city moves into its late hours, RAW78’s personal soundtrack reflects the darker, more atmospheric side of electronic music. “For me, it would be a track by Tom Finster, probably either ‘The Hole’ or his latest tune ‘Lies over Lies’. I just love his sound design and the feeling his productions give me, I think it fits perfectly for these long nights.” Eventually, every night finds its own ending. “Probably at a foodspot that is still open or at a ‘Späti’, which is a shop that is open way longer than usual supermarkets but sells the same things.” And for visitors arriving with only a short window to experience the city, RAW78 keeps the advice simple. “For me, that might be: Cornern (meeting friends on street corners and basically being on the street rather than going to a bar), Sternburger Beer (our local beer) and Flunky Ball (a game with two teams where you throw a ball and drink beer really fast).” For RAW78, Leipzig is not just a backdrop. It is a city that quietly fuels creativity, community and club culture in equal measure. With ‘Lost In Motion’ now out via Make Your Era, that environment continues to echo through the sound of an artist growing within one of Germany’s most vibrant underground scenes. RAW78 Instagram - Spotify - Soundcloud Make Your Era Beatport – Instagram – TikTok Explore more On Scene: On Scene archive · All features

Fabio Ferro Fabio Ferro has spent years moving between house and techno, building a career that has taken him from long-running residencies to clubs across London, Ibiza and beyond. Along the way, his productions have landed on labels including Kaluki Musik and Snatch! Records, while support has come from the likes of Marco Carola, Nicole Moudaber and Richie Hawtin. Now, the Italian producer is opening a new chapter with Route51, his own label created to give him greater freedom over the music he releases. The imprint launches with the ‘Yo Creo’ EP, pairing the stripped-back Latin heat of its title track with the tougher, swaggering energy of ‘Rollin’’. For his Hot Picks, Fabio selects ten records currently doing damage in his sets, from rolling tech house and minimal grooves to tougher techno and a touch of classic vocal house. Javi Galan & Manuel Torcello – Wanna Like That [Mindshake Records] “A high energy Tech House driver loaded with infectious grooves and Mindshake’s signature peak time punch.” CASSIMM – Hear Me Out [Toolroom] “CASSIMM delivers a masterclass in House music grit, combining driven basslines with an undeniable main stage swagger.” Vidaloca – Ahora Si! [LTF Records] “Unapologetically Latin infused Tech House that brings vibrant rhythm and non stop movement straight to the floor.” La Madone – Hit’ Em With This [Mindshake Records] “Raw, punchy, and relentless. La Madone drops a heavy hitting weapon crafted specifically for late night club madness.” Taranco, ANTO ZAGU – Feel The Laugh [Under No Illusion] “A hypnotic Tech House gem built around a catchy hook and a deep, rolling low end that grips you from the start.” Wheats – G.T.N [BOX RED] “Crisp, forward thinking Minimal/Tech House featuring Wheats’ unmistakable signature percussion and tight arrangements.” Paul Ritch – Wall To Wall [Cocoon Recordings] “A masterful piece of Techno precision, driving tension and wall to wall energy with timeless Cocoon pedigree.” DAPHNI – Waiting So Long [Jiaolong] “DAPHNI delivers a wonderfully textured groove that effortlessly bridges the gap between House and organic warmth.” Da Mob, Jocelyn Brown – It’s All Good (Full Intention Remix) [Subliminal] “A timeless classic reworked by Full Intention, delivering pure vocal House nostalgia and undeniable dancefloor euphoria.” Robbie Rivera feat. Elizabeth Gandolfo – My Body Moves (Soul Speech Remix) [Snatch! Records] “Soul Speech transforms the original into a deep, seductive roller packed with infectious vocals and a lethal bassline.” Across the ten selections, Fabio Ferro’s current sound comes through clearly: groove first, plenty of low-end pressure and just enough variation to move between rolling house, tougher techno and more nostalgic vocal moments. It mirrors the approach behind ‘Yo Creo’ and ‘Rollin’’, where stripped-back drums, bold basslines and immediate dancefloor impact sit at the centre. Fabio Ferro Instagram - SoundCloud - Beatport Explore more Hot Picks: Hot Picks archive · Influences · All features

Balanka Brazilian producer Balanka continues his rise with his debut on Jamie Jones' Hot Creations, arriving with the two-track EP 'F To This Beat'. Built around rolling grooves, analogue textures and club-ready energy, the release marks another milestone for a producer who has steadily gained support from the likes of Marco Carola and Michael Bibi while building an impressive catalogue across some of house music's most respected labels. To celebrate the release, Balanka shares ten records that have helped shape his journey as both a producer and DJ. "This selection of tracks reflects so much of what shaped me as a producer. Some of them take me back to unforgettable moments on dancefloors, in clubs and at festivals, while others became part of deeply personal moments that I shared only with myself. Somehow, every one of these records left a mark on me and connected with something deeper inside." Lee Foss, Detlef & Anabel Englund – Thunder And Lightning "The energy of this track made me realise that groove and depth can coexist. The vocal and melodic elements have always been a huge source of inspiration for me." Ramin Rezaie – Silky "This track has such a hypnotic, deep energy. I love how syncopated the bassline is, and it never loses its magic no matter how many times I hear it." PAX & Gorgon City – Alive "This one reminds me of a moment when the scene felt like it was entering a new chapter. The deep sound design from PAX and Gorgon City always takes me back to my first years on the dancefloor." Olene Kadar feat. D-Low – Little Miss Dynamite "Bringing in a true classic, 'Little Miss Dynamite' is one of the tracks that shaped my production style the most. The seductive bassline and vocal capture everything I love about old-school, club-focused house music." Ben Sterling – Apathetic Behaviour "This track gave me production ideas that I still use today, from the 808 drums to the way the arrangement keeps the dancefloor moving. And on top of that, it's still a secret weapon." Gorgon City feat. Katy Menditta – Imagination "Gorgon City have been one of my biggest inspirations since the beginning. This classic showed me that it's possible to bring real emotion into groove-driven house music without losing the energy." Ben Sterling feat. Caitlyn Scarlett – Don't Truss "I'm always drawn to tracks with a psychedelic, deep atmosphere and an underground house aesthetic, and this one from Ben is the perfect example." Proudly People – Bring Back "Proudly People were a huge inspiration when I first started producing. To me, they're masters of groove. They taught me how to make music that's deeply danceable, and out of all their tracks, this has always been my favourite." Joe Vanditti & Mene – Antava "Mene and Joe Vanditti taught me a lot about building authentic grooves, and 'Antava' is probably the best example of that. The way the vocal locks into the beat is just perfect." Paul C – Diamond Dogs "'Diamond Dogs' is one of my all-time favourite tracks to play. It's completely timeless, and every time I drop it the dancefloor reacts in the best way. It's a true secret weapon." Balanka's selections perfectly reflect the groove-first philosophy behind 'F To This Beat'. Blending timeless house classics with modern underground weapons, each record has played a role in shaping the Brazilian's production style, where hypnotic rhythms, infectious basslines and subtle emotion combine to create records designed for the dancefloor. Balanka Instagram / Soundcloud / Spotify Hot Creations Instagram / Facebook / Soundcloud Explore more Hot Picks: Hot Picks archive · Influences · All features

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 Explore more Hot Picks: Hot Picks archive · Influences · All features

AndThen UK producer AndThen returns to Junior Jack’s Adesso Music with ‘Getting Down’, a disco-infused, funk-fuelled house cut primed for the height of summer. Fresh from ‘Head On’, his recent collaboration with Huxley, AndThen switches focus towards bright synths, lush strings and funkier grooves while retaining the driving percussion, commanding vocals and impactful drops at the heart of his productions. It adds another release to a catalogue spanning Nervous, Circus Recordings and Flashmob, alongside support from Jamie Jones, Paco Osuna and BLOND. For his Hot Picks, AndThen digs deeper than what is simply working in his sets right now. His ten selections trace his journey through UK club culture, from formative nights in Cardiff and the records that dominated the 2000s to the artists and sounds that pulled him back towards music and eventually shaped his own productions. “These ten records take me right back through everything that got me into this. Some of them are tied to specific nights and rooms, others are just tracks I’ve never stopped needing to hear. Put together, they’re pretty much the blueprint for what I do now.” A’Studio, Polina – SOS (Skylark Remix – Nic Fanciulli Extended Edit) “I loved Skylark and all of Nic Fanciulli’s early productions under that alias. He used to play for Cool House in Cardiff, where a lot of us who lived there at the time cut our teeth on the dancefloor and playing back rooms for them. This remix takes me right back to that scene.” Phil Kieran – Vitalian House “I ran a night with mates in the 2000s called Superchunk, and Phil played our very first one and a few after that. This is an amazing record, and it got absolutely rinsed at nights like Bugged Out at Cream around that time.” Sable Sheep – Upon Burning Skies “I’d taken some time away from music for a couple of years, and when I came back Moon Harbour and that German sound, Nick Curly and that whole world, was really starting to get bigger. The drums and the groove on this track are what pulled me back in.” Cajmere – The Percolator “Need I say more?” Danny Tenaglia – Elements “I’ve seen Danny play a few times, and it’s an experience in itself. This track sums up that sound from back then, and I always build a drum element into my own tracks now. With that Latin influence being big again, it really suits my sound.” Rafa Barrios – Conga “A more modern one, but I love all of Rafa’s tracks and this one sums them all up for me. His music has influenced me hugely.” Miane – Nanai “If you heard my early stuff, you’d hear Miane’s influence everywhere. This EP is a big part of that.” Andrea Oliva – Rainers “This track is banging. The drums on it are something else, and honestly everything Andrea Oliva makes is gold.” AndThen – Changes [Circus Recordings] “I’m blowing my own smoke a bit here, but I heard this again the other day and it reminded me why I do what I do. Always thanks to Yousef for supporting my early days.” X-Press 2 – Smoke Machine “Back to finish on a classic. This one reminds me of those early clubbing days that influenced me so much.” Taken together, AndThen’s selections map out the sounds and experiences behind his own approach to house music. From Cardiff club nights and formative UK dancefloor memories to rolling German grooves, Latin percussion and contemporary tech house, each has left its mark. On ‘Getting Down’, those influences meet a brighter disco and funk streak as AndThen opens another chapter on Adesso Music. AndThen Instagram - Soundcloud - Facebook - Spotify Explore more Hot Picks: Hot Picks archive · Influences · All features

Doc Martin & Homero Espinosa California house mainstays Homero Espinosa and Doc Martin reunite on ‘West Coast Transmissions’, a two track EP landing on Radio Slave’s REK’D that draws directly from the sound and spirit of West Coast house. Longtime collaborators with more than three decades of experience apiece, the pair looked back to the mid 90s parties and records that shaped them, keeping the studio process raw with hardware including the Juno 106 and Roland MC 505. The result comes through on ‘Warm Feelings’ and ‘Call On Me’, two deep, hypnotic cuts built around swung drums, bubbling synths, vocal loops and late night grooves. For his Hot Picks, Homero digs into the records behind that sound. From Bay Area classics and defining West Coast labels to personal collaborators and productions of his own, these ten selections map out the musical lineage behind ‘West Coast Transmissions’. “Putting together this list wasn't easy because there are so many records that have shaped my journey as a DJ and producer over the last 15 years. These 10 tracks, though, had a huge impact on my musical style and the sound Doc Martin and I tapped into for our new release, ‘West Coast Transmissions’ on REK'D. Working with Doc is always a blast. We just gel in the studio. There's never any forcing ideas or overthinking. We pull inspiration from the music we grew up on, bounce ideas back and forth, and the tracks seem to write themselves. That's exactly what happened with ‘West Coast Transmissions’. It's our love letter to the classic West Coast house sound that inspired us both. Here are 10 records that helped shape my ears, my production style, and ultimately this release.” Chris Lum – Get Connected [Moulton Music] “Originally released on Night Shift Records, the legendary Oakland label run by Tony Hewitt, ‘Get Connected’ became a massive underground anthem. Chris Lum captured the essence of the Bay Area sound with this timeless classic, and it still feels just as fresh today.” DJ Garth & E.T.I. – Twenty Minutes Of Disco Glory [Greyhound] “One of the defining records of the West Coast house movement in the mid '90s. I was still a baby raver when this came out, but this record helped shape the dancer, DJ, and eventually the producer I would become.” Dano & Tony – The Crawl [Red Melon Records] “A Red Melon Records classic. Deep, driving, hypnotic, and undeniably funky. This record perfectly captures the West Coast deep house sound that people around the world fell in love with.” Natural Rhythm – Fundamental (2000 Original Remaster) “Originally released on the San Diego label Seasons, this is peak West Coast deep house in my book. It never left my record bag, which is exactly why I wanted to license it for a Moulton Music reissue with a fresh set of remixes.” Phil Weeks – Back For More [Detour] “I met Phil in the early 2000s when he first started working with Hector Moralez as Fries & Bridges. What blew me away was how naturally he captured that funky West Coast vibe, despite being from Paris. His music had a huge influence on my own production style, and he's remained one of my favorite DJs, producers, and people.” Sublevel – Just Us (Blackdoktor Voice Mix) “I still remember working at Primal Records in Berkeley when this one landed. Lillia's vocals floating over that deep, driving groove created pure dance floor magic. It's one of those records that never fails. Drop it anywhere and it just works.” Johnny Fiasco – Subculture [Doubledown Recordings] “Doubledown consistently released some of the best house music of the era, blending Chicago roots with a West Coast feel. Johnny Fiasco has always been one of my favorite producers, and ‘Subculture’ captures everything I love about his sound.” David Harness & Charles Spencer – Taboo Jazz [Loveslap] “This record arrived right as I was transitioning from warehouse raves into clubs, and it completely opened my ears to the city's soulful house sound. Years later, I ended up moving into Charles Spencer's old room at Moulton Studios and working closely with David on Moulton Music. Funny how things come full circle.” Mark Farina & Homero Espinosa – Work.Groove [Moulton Music] “This was the first track Mark and I produced together. Long before that, he'd been licensing my music for his compilations, which is how our friendship started. Working with Mark is effortless, just like working with Doc. We speak the same musical language, and the ideas naturally flow. Ten years later, we're finishing our first full-length album together, coming in 2027 on Moulton Music and OM Records.” Allen Craig – Legbleep “Allen Craig is the reason I started producing music. He's one of the most talented producers, musicians, and DJs I've ever known, yet somehow still doesn't get the recognition he deserves. His catalog is incredible from top to bottom. ‘Legbleep’ is a track we signed to Moulton Music, and for me it perfectly sums up everything that makes Allen's sound so special.” Across these ten records, Homero Espinosa traces a history that runs through Oakland, San Francisco and San Diego, connecting the labels, producers, parties and personal relationships that helped define his approach to house music. That lineage sits at the heart of ‘West Coast Transmissions’, as he and Doc Martin channel decades of shared experience into two raw, groove driven cuts built firmly in the tradition of West Coast house. Homero Espinosa Instagram - Soundcloud - Facebook - Website REK’D Instagram - Soundcloud - Beatport Explore more Hot Picks: Hot Picks archive · Influences · All features

Ben Diggins Rotterdam announces itself differently from the rest of the Netherlands. Where Amsterdam leans into canals and history, Rotterdam feels sharper, more forward-looking. Steel bridges cut across the river, modern towers dominate the skyline and neighbourhoods pulse with international energy. The city rebuilt itself after the Second World War and that sense of reinvention still defines its personality today. For DJ and producer Ben Diggins, Rotterdam has always been more than a backdrop. It is the place where friendships formed, musical instincts developed and the foundations of his sound quietly took shape. “The city I call home is called Rotterdam. Even though I grew up in a village next to it (Berkel en Rodenrijs), it is the place where I spent most of my days. To me, it means community, friends, home, and fun memories. I remember going here for the first time as a kid and always being amazed by its pretty skyline. The one city in the Netherlands with a great skyline. I just have loads of nice memories here growing up and can’t wait to make more.” That relationship with the city sits in the background of Diggins’ latest release, the ‘Going South’ EP on Haven Trax, which blends deep house groove with jazz influences and melodic warmth. Following a breakout year that included releases on Michel de Hey’s Future Feel and Infinite Pleasure alongside regular appearances at Thuishaven, the four-track EP shows a producer finding confidence in both musicality and dancefloor rhythm. But the story begins long before the studio. Toffler, Rotterdam For many DJs, there is one night that changes everything. For Diggins, that moment arrived inside one of Rotterdam’s most distinctive club spaces. “That has to be Toffler. I had my first experience with house music there together with someone that now become one of my closest friends. I remember going down the stairs at this venue and walking into the tunnel, completely filled with people, lights, and music. It was a magical night in which I truly experienced the magic of house music and connecting with others at parties.” While clubs like Toffler introduced him to the energy of the dancefloor, Rotterdam’s grassroots events helped shape the community around it. “At The River is a party that people should know about. It is a party organized by some friends of mine, I have also helped with a few editions, but it’s just a party that really focuses on showcasing how good local talent can be. It is also the party that holds a memory dear to me: the first B2B set with my best friend and DJ LIMA, it was our best B2B together as we prepared for nice chill vibes and had to play a peak time party. We quickly adapted and followed our intuition and had a legendary set together.” Outside the booth, the rhythm of the city shifts. Rotterdam’s pace encourages moments of reset between late nights and studio sessions. “I personally go to the gym or into the forest, Bergse Bos, which is close to Rotterdam. I like to do sports or be active in nature. I can just go there, listen to some music, and zoom out for a bit. I really like that and feel that it is necessary to do once in a while, since life is already so busy.” Back in the city centre, food plays its role in the routine. “A restaurant in Rotterdam I go to often is Tai Wu. People who know me know that I am a sucker for Asian food, and this Chinese restaurant just hits the spot for me. They have amazing Peking duck, great dim sum, and the restaurant is always packed with Chinese people. That is usually a good sign for a Chinese restaurant.” Tai Wu, Rotterdam Rotterdam itself resists easy definition. It is a city shaped less by one neighbourhood and more by diversity. “That’s the thing about Rotterdam. It is very diverse. If you ask me, there isn’t really a neighborhood really capturing the essence of the city. I personally like the center the most. It is vibrant, has all the nice restaurants and concert halls and a lot of nice activities all around.” That international character feeds directly into the music being made there. “I think for me it would be the international environment here. I have been growing up with all sorts of different music, and I think my love for Latin and world music wouldn’t have been possible if Rotterdam didn’t have a conservatory for Latin music at which my mom taught.” For outsiders, Rotterdam is sometimes misunderstood. “They think it lost its culture, since it was bombed during World War 2. They think it lacks history because of it. I personally think that the rebuilding of the city also shaped the mentality of the city. People enjoy life, and they work hard. They are real and genuine, and I like that.” Within the local electronic community, one collective continues to push the scene forward. “A local crew from Rotterdam that you should take a look at is Repress. It is a crew from Rotterdam with some great friends of mine. I played for them quite a bit and also organized some parties with them. They have a great sound and really good DJs who really know how to set a vibe at a party. I always enjoy being with them.” By the early hours, the city carries a different atmosphere entirely. “3 AM Rotterdam is exciting, but also busy. Lots of cars are going around, but also a lot of energy is around. I think I would choose DJ Dakar – It’s Going Down.” Eventually, the perfect night ends the same way many nights across the Netherlands do. “There is something that everyone in the Netherlands knows, and that is called ‘Kapsalon’. A great night out ends with a Kapsalon. It is a dish with French fries at the bottom, doner kebab on top, and to finish it off, melted cheese. Beautiful, if you ask me.” For visitors arriving with only a day to explore, Diggins keeps things simple. “If someone were to land tomorrow with 24 hours with no plan, they should go to the center and walk around to see the Markthal, Witte de With, and the Kubus houses. They are all next to each other. A nice view of the city with some food, some drinks, some bars, and some weird architecture, very nice!” With ‘Going South’ now out on Haven Trax, Ben Diggins continues to translate Rotterdam’s international character and club culture into a sound where deep house groove meets jazz influence and emotional depth. Ben Diggins Instagram / Soundcloud / Facebook Haven Trax Instagram / Website / Facebook Explore more On Scene: On Scene archive · All features

Cortese Manchester has always moved to its own rhythm. It’s a city where legacy and momentum sit side by side, where scenes evolve quickly but never feel disconnected from what came before. For Cortese, that balance is part of what keeps everything sharp. The city isn’t static. It keeps shifting, and so do the people creating within it. “We are currently in Manchester,” they say. “Manchester’s all about the music, and it always has been. Everything here constantly feels fresh and exciting because of the rapidly-increasing size of the city, but there’s a lot of great history too.” That duality runs through everything, from the architecture to the club culture, and it feeds directly into how they think about their own sound. Their rise over the past few years has placed them firmly within the melodic house conversation, with releases on Last Night On Earth and their own Plaza Recordings pushing a sound that sits somewhere between breaks, house and garage. Their latest collaboration with Sasha, ‘U Disappear’, captures that balance clearly. It feels expansive and emotive, but still grounded in groove, a track that works just as well in open-air settings as it does deep into a club set. Buy/Stream it here: orcd.co/lnoe193s. That sense of range mirrors the city around them. Ask which space has shaped them most, and the answer isn’t a mainstream institution. It’s something more instinctive. “The White Hotel is still the best club in the city,” they say. “There’s something ethereal about their bookings… no matter who’s on the lineup, the music is always excellent week in, week out.” It’s not about names. It’s about trust. “Sometimes the best nights are the ones where we don’t know anyone on the lineup… these nights are more likely to show us something new and exciting.” That openness to discovery feels central to how they operate. Manchester offers options across every corner of electronic music, and that diversity creates space to experiment. There is no pressure to sit in one lane when the wider ecosystem is constantly shifting around you. That extends beyond the bigger rooms. Some of the most important moments happen in smaller, more local spaces, where community sits at the centre. “At SK1 Records in Stockport… there's a small community of amazing DJs and producers,” they explain. “They are always putting on day parties… at other bars in Stockport and Manchester like BRUK and Eastern Bloc.” These are the spaces where ideas circulate more freely, where the connection between artist and crowd feels direct. SK1 Records, Stockport Away from the city centre, the pace changes. Resetting doesn’t mean stepping away from creativity; it means finding a different kind of movement. “We are both into hiking, which works well with the Peak District on our doorstep,” they say. “There’s always another hill to climb or forest to explore.” That shift in environment matters. It creates distance from the noise without disconnecting from the process entirely. Even the everyday routines carry that same curiosity. Cycling to new places, training for long-distance runs, moving through different parts of the city and beyond. It all feeds back into how they experience sound. There is a constant sense of motion, even outside the studio. Back in Manchester, that movement is visible in how certain areas are evolving. “The market underbanks in Stockport have some serious momentum at the moment,” they say. Investment, new venues, a growing food and bar scene, it’s all part of a wider shift that is happening slightly under the radar. It’s not the obvious version of Manchester people expect, but it reflects where parts of the culture are heading. The White Hotel, Salford That idea of perception versus reality comes up again when they talk about what people get wrong. “They think that Manchester is stuck in the 90’s.” It’s a familiar narrative, one that overlooks how much the city has changed while still holding onto its identity. The past is present, but it doesn’t define the future. That future is being shaped by a wide range of creatives, not just within music. “Having so many creative people in one place… is what keeps us inspired,” they say. Street art, fashion, and architecture all contribute to the atmosphere. Manchester’s visual identity, from its Victorian structures to its modern skyline, leaves an impression that goes beyond sound. When it comes to who is pushing things forward right now, their focus stays close to that idea of originality. “BOP’s label Microfunk is consistently showcasing some of the most unique music we’ve ever heard,” they say. It’s not about scale. It’s about intent and consistency, qualities that mirror their own approach. That same mindset comes through when imagining the city at its most distilled. “Bryn: Lone – Pulsar. James: Sasha – Xpander.” Two tracks that capture different sides of the same energy. One more introspective, the other expansive, both rooted in a sense of space and progression. And when the night eventually winds down, the ending is as unpretentious as the beginning. “Bryn: Oxford Road McDonald’s. James: The Sedge Lynn.” No grand finale, just familiar places that close the loop on everything that came before. For anyone arriving without a plan, the advice is simple. “Look inside John Rylands Library… finish with a couple of pints at Peveril of the Peak.” It’s not about chasing a checklist. It’s about moving through the city and letting it reveal itself gradually. That approach feels aligned with everything Cortese are building. A sound that doesn’t force direction. A process shaped by environment, movement and instinct. And a city that continues to evolve alongside them, without ever losing what made it matter in the first place. Cortese https://www.instagram.com/cortescomusic https://open.spotify.com/artist/60Fn82pTq3Z4vyJPgBjH77 https://soundcloud.com/cortescomusic Explore more On Scene: On Scene archive · All features

Ethan Walsh Ethan Walsh’s rise over the past year has been rapid. The UK DJ and producer broke through with ‘Look Good’, which has amassed more than nine million streams and picked up a remix from Franky Rizardo, while support from Max Dean, Interplanetary Criminal, Obskur and L.P. Rhythm has helped carry his sound from social platforms onto increasingly bigger dancefloors. That momentum continues with ‘Loving You’, his debut on Creamfields Recordings. Zipping synths, an uplifting vocal and commanding low-end bring together two sides of Walsh’s developing sound, balancing darker, resonant basslines with the melodic hooks that have become increasingly prominent across his productions. For his Hot Picks, Ethan looks back across a whirlwind year through ten tracks connected to memorable sets, changing tastes and his own releases along the way. From the darker club records that have dominated his listening to melodic closing moments and productions of his own, the selection offers a snapshot of where his sound sits today. Josh Baker – Bass Up To The Top “This track represents the summer of 2025 for me, just before I started releasing music under my name, Ethan Walsh. There was something about the dark, groovy bassline that really resonated with me and, looking back, it played a big part in helping me find the sound I wanted to sit within. It had that perfect balance of groove and darkness without losing the energy that makes a track work on a dancefloor. Those elements are still a big part of my production style today.” Gigsta – Try Change Me “By October, I was becoming more drawn towards a darker and more raw sound, and ‘Try Change Me’ was a big part of that. The track gave me a lot of ideas and inspiration when I was working on my own productions. I loved how stripped-back and direct it felt, while still having plenty of character. It was another track that helped me understand the kind of bass-driven sound I wanted to develop.” Cam Stockman – Fascination “In November 2025, I went to the Warehouse Project for Nexup, and this track really stood out to me when Obskur played it. At the time, it was still unreleased, which made hearing it in that environment even more memorable. ‘Fascination’ sits firmly within that darker sound that I was becoming obsessed with at the time. The synth work and catchy melody really caught my attention, and it showed me how you could combine a darker, heavier foundation with melodic elements that stick with you.” Ethan Walsh – Look Good “This one is obviously a little different. ‘Look Good’ was my first release under the name Ethan Walsh, and it will forever have some of the best memories attached to it. I owe a lot to this track. It was the release that really kick-started my career and gave me the confidence to continue pushing the sound I had been developing. The darker, resonant bass that features throughout the track can be traced back to the kind of music I was listening to earlier in the year, including ‘Bass Up To The Top’ and ‘Try Change Me’. More than anything, though, this track marked the beginning of what has become a pretty crazy journey.” Harry Romero – Don’t You Want Some More “I closed my first-ever DJ set with this tune, so it’s always going to have a special place in my collection. The huge builds into each drop create such a crazy level of energy, while the infectious vocal makes the track instantly memorable. There’s something about a record that can completely change the atmosphere of a room, and this was one of those tracks for me. Closing my first set with it felt like the perfect way to finish what was a pretty surreal experience.” TeeDee – I Been Goin' Crazy “This track was one of the highlights of my New Year’s Eve set in 2025. The crowd absolutely loved it, and it was one of those moments where you know you’ve picked the right track at exactly the right time. I also think it’s a great representation of the modern tech house sound that has been blowing up across TikTok and social media. It’s energetic, instantly recognisable and built around the kind of hook that gets stuck in your head after one listen. Most importantly, though, it worked on the dancefloor - and that’s what matters.” Ethan Walsh – Too In Love With You “My second release under the Ethan Walsh name, ‘Too In Love With You’ continued a lot of the ideas I introduced with ‘Look Good’, but pushed things in a slightly more melodic direction. The track still has that deep, resonant bass that has become a core part of my sound, but this time I paired it with an undeniably catchy vocal sample and a more melodic approach. It’s been amazing to see this one perform both on the dancefloor and across streaming platforms. For me, it showed that I could keep the darker, bass-heavy elements that define my sound while still creating something that connects with a wider audience.” Lovebirds – Want You In My Soul “June 2026 was a pretty special month for me. I played my longest set to date, warming up for Cloonee at The Cause in London for three hours during peak summer, with Canary Wharf providing the backdrop. I closed the set with ‘Want You In My Soul’ by Lovebirds, and it was one of those moments that felt slightly surreal. After three hours behind the decks, the more melodic and chilled-out feel of the track was the perfect way to bring things to a close. It was a completely different energy to some of the darker, heavier records earlier in this list, but it showed another side of what I love about electronic music.” Idemi – Reflections “The final track of that set was ‘Reflections’ by Idemi. Playing this alongside ‘Want You In My Soul’ created the perfect ending to what was an incredible evening. Both tracks have that more melodic and chilled quality that made sense after three hours of playing, but there was still enough atmosphere to make the ending feel special. Looking out across London, with Canary Wharf behind the venue, and closing the longest set I had ever played was a moment I definitely won’t forget.” Ethan Walsh – Loving You “My latest release, ‘Loving You’, brings the journey up to today. Once again, I’ve stuck with the core elements that have gradually become synonymous with my sound: a catchy, melodic vocal sitting over a dark, gritty and resonant bassline. It feels like a natural progression from ‘Look Good’ and ‘Too In Love With You’, while still pushing things forward. What’s probably the most exciting thing for me is that, despite everything that has happened over the last year, I’m still just as excited to produce new music and play records to dancefloors as I was when this whole journey started. Looking back at these 10 tracks, you can almost hear the evolution of my sound — from the records that first inspired me, through my first releases, to the moments I’ve experienced behind the decks.” Taken together, Ethan Walsh’s selections capture a year spent rapidly developing both in the studio and behind the decks. Dark, resonant basslines remain a constant, but increasingly sit alongside bigger melodies, memorable vocals and moments of restraint. ‘Loving You’ brings those threads together, offering the latest snapshot of a sound that continues to evolve as his profile grows. Ethan Walsh Instagram / SoundCloud / Spotify Creamfields Recordings Instagram / Facebook Explore more Hot Picks: Hot Picks archive · Influences · All features

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 Explore more Hot Picks: Hot Picks archive · Influences · All features

RILEY Liverpool doesn’t present itself quietly. It moves with identity. History sits alongside something more immediate, shaped by people, spaces and a sense of collective energy that runs through everything. For RILEY, that’s the foundation. Not just where he’s from, but what continues to shape how he hears and makes music. “The city I’m from and still live in is Liverpool… although it’s not huge in size, it’s rich in culture, history, and identity,” he says. What stands out isn’t scale. It’s connection. “The first word that comes to mind is community… it feels like the city is behind you, supporting you to go and do your thing.” That sense of backing isn’t abstract. It shows up in how artists develop, how nights are built, and how the scene sustains itself. Liverpool doesn’t separate people from culture. It pulls them into it. That connection became tangible inside the kind of spaces that defined his early experiences. Places that didn’t just host music, but reshaped how it felt. “The place that comes to mind first is Bramley-Moore Dock,” he explains, referencing the now-closed warehouse that once held some of the city’s biggest moments. “A huge warehouse on the waterfront… hearing artists like Carl Cox, Jamie Jones, Joseph Capriati, Marco Carola and The Martinez Brothers had a huge influence on me.” Bramley-Moore Dock is now home to Everton's new 52,000-cap Hill Dickinson Stadium | Image credit: Dave Wood It wasn’t just the names. It was the scale. The physicality of sound in a space built for impact. “Standing in that warehouse… it shaped the artist I later aspired to become,” he says. “My favourite type of venue… a big empty warehouse with a big system.” That imprint stays. You hear it in how he approaches groove and pressure today. Music designed to move through space, not just sit in it. But Liverpool’s strength doesn’t sit only in large-scale moments. It’s equally defined by smaller rooms that hold their own weight. “A great intimate venue in the city is 24 Kitchen Street,” he says. “It has this raw, stripped-back energy that makes it feel special.” What matters here is consistency. “It’s always stayed true to itself… an intimate space for the people.” That kind of venue does more than host nights. It builds culture. It gives emerging artists a place to test ideas, and it keeps the scene grounded. “They’ve also consistently supported local talent and promoters… it’s a place that genuinely helps the culture grow from the ground up.” That balance between scale and intimacy runs through the city itself. You feel it most clearly in areas where creativity concentrates. The Baltic Triangle, Liverpool | Image credit: Kate Swerdlow Photography “The Baltic Triangle… is packed with creatives and has a real pulse to it,” he says. Having lived and worked there, it’s not just a location, it’s part of his development. “There’s a special buzz… with its mix of music venues, bars and creative workspaces.” It’s the kind of environment that pushes ideas forward without forcing them. Artists working across disciplines, influencing each other indirectly. That cross-pollination feeds back into the music. At the same time, his reference points stretch beyond the city. The wider UK scene still sits at the core of how he thinks about sound. “When I was growing up, UK house and deep house culture was thriving… between 2010 and 2016 the deep house sound was shaped by the clubs, particularly in London.” Those years left a lasting imprint. “That feeling of walking into fabric on a cold October night… you can feel it in these records.” That connection explains the duality in ‘Falling Deep’. One version rooted in current underground pressure, the other reaching back into a slower, more melodic era. Both anchored in the same instinct. Groove first, always. Even away from clubs, the process stays consistent. Reset doesn’t mean leaving music behind entirely. “When I need to reset… I’m usually just on the couch with my feet up,” he says. “That downtime is important… it lets me recharge before going back into the studio with fresh energy.” It’s less about switching off completely, more about creating space for ideas to return naturally. Outside the studio, Liverpool’s everyday spots carry the same sense of familiarity and connection. A Tavola, Liverpool | Image credit: A Tavola “My number one spot is ‘A Tavola’,” he says, describing the Italian restaurant that’s become part of his routine. “They genuinely treat me like family… it has that real Italian, family-run atmosphere.” It’s less about the food, more about what the place represents. Consistency, trust, somewhere that feels settled. That same grounded feeling carries into how he views the city from the outside. There’s a gap between perception and reality. “A lot of people… assume it’s just another city,” he says. “Anyone who’s actually visited usually understands straight away what makes it unique.” The difference sits in the details. The way people interact. The way nights feel. The way the culture holds itself together. That local perspective also shapes what he’s paying attention to right now. Not just externally, but within his own circle. “A new project… Quantum Fever,” he says, referencing the electronic band he’s building with close collaborators. “A hybrid of sexy funk and electronic house.” It points to the next step. Not just refining a solo identity, but expanding into something more collaborative. If you zoom out, Liverpool at 3am isn’t defined by one place. It’s defined by shared memory. “The first track that comes to mind… Bigger Than Prince (Hot Since 82 Remix),” he says, referencing a record that has cut through countless nights in the city. “Played everywhere, every weekend… hearing Yousef play this out in the warehouse.” That’s how scenes embed themselves. Through repetition, through association, through moments that repeat until they become part of the city’s identity. And when the night winds down, it doesn’t end with spectacle. “A couple pints in a late pub,” he says. Simple, familiar, unchanged. The same approach applies if you arrive fresh with no plan. “Head down to the waterfront… then let the city unfold from there.” That’s the key. Liverpool isn’t something you tick off. It’s something you move through. The music, the spaces, the people all feed into the same current. For RILEY, that current runs through everything he does. RILEY Instagram – Spotify – SoundCloud Explore more On Scene: On Scene archive · All features