Mees Mattern Amsterdam producer Mees Mattern continues his exploration of stripped-back club music with ‘Moving In Mono’, a groove-focused production that brings together the rhythmic foundations of old-school house and UK garage. Built around a philosophy of simplicity and dancefloor functionality, the track reflects an artist increasingly recognised for allowing the essential elements of his productions to do the work. Mattern’s approach centres on removing unnecessary layers rather than continually introducing new ones. That philosophy carries through his DJ sets and studio output, where carefully considered rhythms and an emphasis on groove take precedence over elaborate arrangements or dramatic breakdowns. ‘Moving In Mono’ draws on the relationship between traditional house music and UK garage, two styles connected by their emphasis on swing, rhythmic movement and the interaction between percussion and bass. Its stripped-back direction places the focus on those fundamentals, favouring a more direct approach to club music over the increasingly maximalist production techniques found elsewhere in electronic music. The track also reflects Mattern’s experience within Amsterdam’s underground scene. Having performed at venues including Thuishaven and Shelter, the producer has developed an understanding of dancefloors where sustained rhythmic momentum can prove more effective than conventional peaks and drops. That perspective informs his wider musical identity, which remains rooted in functional, understated club sounds. Beyond his own productions, Mattern is one of four figures behind Naked Records, an imprint dedicated to raw electronic music and groove-led experimentation. The label’s commitment to unfiltered energy and minimal arrangements closely mirrors his individual approach, providing a natural platform for music that values rhythmic character over unnecessary embellishment. Originally introduced as the lead track from a forthcoming release, ‘Moving In Mono’ offers an indication of the direction Mattern is pursuing. Its combination of old-school house influences and UK garage sensibilities places it within a broader movement towards stripped-back, rhythmically engaging club music. Rather than attempting to reinvent either genre, Mattern focuses on the qualities that have kept them relevant across generations of dancefloors. ‘Moving In Mono’ presents a clear statement of that philosophy, demonstrating how simplicity, rhythmic precision and a well-developed sense of groove can remain central to effective electronic music. Mees Mattern https://open.spotify.com/artist/4M6aQJZhB8YZWX4tB5XiV0

Ste Roberts For Ste Roberts, the most interesting moment in the studio is often the one he never planned. A machine behaves unexpectedly, a sound takes an unfamiliar turn, and a track begins to move somewhere beyond its original idea. After more than two decades in the UK underground, that willingness to follow the unexpected remains at the heart of his music. His debut EP for Cyphon Recordings is a four-track expression of that approach. Moving through mutant house, electro, techno and more reflective electronic territory, it brings together weighty club rhythms, unstable textures and melodies that emerge from the machinery rather than sitting neatly on top of it. “I actually don’t,” he says when asked how much he knows about a track’s destination before starting. “I will normally start by just playing around on one of the machines in my studio, and then everything just evolves from there.” Once a track finds its direction, even that is subject to change. Roberts has little interest in forcing an idea towards a predetermined genre, preferring to let the equipment and the moment dictate what happens next. The EP’s opening track, ‘There’s a Schizophrenic In Our Park’, began somewhere far removed from the studio. During a train journey, a man sat beside Roberts and began sharing his life story, including his experience of homelessness and living in Alexandra Palace park. The encounter stayed with him and eventually became the starting point for the record. “The track turned into fun, I was playing around with vocoders, and had my 101 rippling,” Roberts recalls. Its warped voices and psychedelic details might sound unconventional, but he found his answer to whether it belonged on a dancefloor by playing it out. “The track felt strong and whenever I would play it had a solid reaction so I guys this gave me the faith that it would work on the dance floor.” He adds, with a smile: “Safe to say I play stranger tracks than this that work on the dance floor :)” ‘Queen Bee (Live Version)’ offers a different kind of transformation. Originally produced years ago, the track marked a turning point in Roberts’ development. When he began assembling his live show, he knew it had to be included, but the original drums no longer felt right. “For the live show I created new drums and it was a full rebirth of the track for me, so as a first, and one off we have a reborn version of one of my tracks.” Elsewhere, ‘Ey Aye’ explores stripped-back machine rhythms, while closer ‘Lemon Top’ moves towards the deeper, more emotive side of electro and techno. Although the latter recalls the atmosphere of early IDM, Roberts does not frame it as an exercise in nostalgia. “I love electro and the deeper side of techno, and especially deep and meaningful. I don’t seem to produce enough of it, but when I do it’s always a special time for me in the studio.” His fascination with machines runs through all four tracks. Rather than treating imperfections as problems to correct, he sees them as opportunities to discover sounds that a more controlled process might never produce. “I am a happy accident man! I love just working sounds on machines, hitting record and then pushing them around a bit. This is how a lot of my more obscure sounds are produced.” That instinct has developed across a career that began in Leeds, where Tribe Records played a formative role. Roberts went on to become part of the early Hypercolour and Glass Table story, hold a decade-long residency on Rinse FM and release across a wide range of underground labels. Yet he identifies a much more recent development as the moment his musical direction came into sharper focus. “Leeds and Tribe records was a real shaping point for me. That really has the longest lasting effect on me,” he explains. “I would say since launching my Private Parts imprint in 2022, and almost doing things my way, this has been the most effective point of my musical journey. I feel I properly got started at this point.” Private Parts gives him a platform for artists whose music he believes in, alongside his own productions and occasional reissues. With its eleventh release approaching, he remains confident in the catalogue he has built. STEDIT serves a different purpose, providing a white-label outlet for his edits. Running those imprints is an extension of the independence that has guided his career. Roberts has moved between styles without allowing one sound, label or prevailing trend to define what he makes. “I guess I’ve always stuck to my guns. I make music I want to make, and I buy and play music for the same reason.” It is a straightforward philosophy, but one that helps explain why his catalogue remains difficult to pin down. The Cyphon EP is not an attempt to reconcile house, techno and electro into a single identifiable formula. It is the result of following each idea wherever it leads. And despite the years he has spent surrounded by hardware, the machines have not stopped catching him off guard. “I’m always surprising myself in the studio… I have to thank the machines. There will be plenty more madness coming via me so stick around for the ride.” Ste Roberts https://www.instagram.com/ste___roberts https://open.spotify.com/artist/2lzGgHs3FqBsUGSH3XDvaI https://soundcloud.com/ste_roberts

Kurtz Italian DJ and producer Kurtz has returned to Déepalma Records with ‘Negativity / Plenty’, a two-track release exploring different sides of his Balearic-influenced organic house sound. Released on 18 September, the EP marks his latest appearance on the label following ‘Stars At Night’, which featured exclusively on ‘Déepalma Ibiza 2022’, and his ‘Last Sunset EP’ on Déepalma Soul in 2024. ‘Negativity’ takes the deeper route, pairing a driving house groove with an expressive vocal, arpeggiated synths and delicate piano touches. Its combination of rhythmic momentum and atmospheric detail gives the track a late-night character without losing the Mediterranean warmth associated with Kurtz’s productions. ‘Plenty’ moves towards a more relaxed setting. A rolling bassline, melodic vocals and an easy-going rhythm bring the EP into sun-soaked territory, with a groove suited to open-air terraces and the slower hours of a beach-club session. Together, the tracks show how Kurtz approaches two contrasting moods within a consistent musical framework. Where ‘Negativity’ draws its energy from hypnotic movement and deeper textures, ‘Plenty’ leans into melody and an unhurried sense of release.

See How UK electronic producer See How has released his debut album, ‘Amusing Ourselves To Death’, bringing a year-long series of singles together into a nine-track record about distraction, anxiety and the struggle to remain present. Moving between UK garage, house and experimental electronics, the album favours gradually shifting loops and atmosphere over immediate hooks. Its central concern is the way constant stimulation can pull attention away from the issues that matter, from climate anxiety to the belief systems people construct to make sense of an increasingly overwhelming world. ‘422ppm’, featuring spoken word from UK climate activist Chantelle Lunt, brings that concern into sharp focus. Elsewhere, ‘Kick It’ offers a warmer, more euphoric counterpoint, while ‘My Religion’, ‘Lovely Thing’ and ‘Do This Right’ approach the record’s underlying tension from different directions. The brief ‘Interlude’ interrupts the album’s momentum before ‘Right Here In This Moment’ and closing track ‘Screens’ return to its central question of how to stay present amid digital overload. “I wanted the album to feel like it was made by someone still figuring it out, not someone with the answers. Every track is trying to interrupt the loop for a second. That's the whole idea behind the title.” Released following a self-run campaign that attracted support from Undrtone, Acid Stag, Mystic Sons and other independent music publications, ‘Amusing Ourselves To Death’ gives See How’s individual singles a wider context. Rather than offering a solution to the problems it explores, the album asks listeners to recognise the distractions shaping their everyday lives. See How https://seehow.link/instagram https://seehow.link/spotify https://seehow.link/applemusic https://seehow.link/bandcamp https://seehow.link/soundcloud

Ali James and Sara Landry Sara Landry has joined forces with Ali James for ‘Energy’, the fifth single from her forthcoming sophomore album ‘Divine Intervention’, arriving on 16th October via her HEKATE imprint. Released on 18th September, the collaboration captures the uncompromising intensity that has become central to Landry’s hard dance sound. Driven by relentless percussion and high-speed rhythms, ‘Energy’ was designed to deliver maximum impact without relying on an extended build-up. The track has already been tested in front of audiences, with Landry and James playing it together during her ETERNALISM shows in Australia last December. “Energy came from a really raw place. I wanted something for the album that would hit hard no matter where you hear it,” Landry explains. “I knew Ali would be the perfect collab on this. I remember when we played this out together in December last year at my ETERNALISM shows in Australia, the crowd just exploded. This one’s just pure energy.” The single arrives during a busy year for Landry, whose 2026 appearances have included an Ultra Music Festival Miami debut, a HEKATE stage takeover and a headline back-to-back performance with Amelie Lens. She also returned to Coachella for a Quasar stage takeover with BLOOD OATH. With further headline appearances and another back-to-back with Lens at Magazine London on her schedule, Landry is building towards the release of ‘Divine Intervention’, her second full-length album. ‘Energy’ is out now via HEKATE, with ‘Divine Intervention’ following on 16th October 2026. Sara Landry https://www.instagram.com/saralandrydj https://open.spotify.com/artist/7eILArMiTFTQf8SEh5fFHK https://soundcloud.com/sara-landry-dj Ali James https://www.instagram.com/itsalijames https://open.spotify.com/artist/7dNoRVDPUpw2TTM1pQVGyE https://soundcloud.com/alijamesmusic

Lea Lisa For Lea Lisa, house music has always meant more than the records themselves. It is a culture built through shared experiences, personal histories and the freedom to find connection on a dancefloor. More than three decades after she began collecting and playing music, those values remain central to everything she does, from her productions and DJ sets to her Bliss party series. Her latest compilation, 'Many Shades Of House Vol. 2', brings that philosophy into focus. Featuring eight selections from artists including Ian Pooley, Cab Drivers, Château Flight and Leonel Castillo, the record moves between uplifting grooves and deeper, more introspective territory. It also continues a conversation started by the first volume, connecting different generations of house music without treating its history as something fixed in the past. “I’d say it was important to create a bridge between the past and the present. I also find today’s scene really interesting. Roots matter, of course, but it’s just as important to stay connected to what’s happening now.” That relationship between memory and discovery runs throughout the selection. Each record carries its own associations, drawn from years of digging and nights behind the decks. Cab Drivers’ ‘Backside 50’, in particular, takes her back to a memorable experience at Berlin’s Heideglühen. “‘Cab Drivers’ still captivates me just as much as ever — I find it incredibly subtle. Sometimes I pair it with an a cappella, which gives it a completely different dimension. What I love about this track is its texture, but also the way it can really move a crowd when it’s played at the right moment. It reminds me of a very special night in Heidegluhen…” For a selector whose journey began in the mid-90s, the question of what makes a record endure is inseparable from the intention behind it. Production styles change, and certain sounds inevitably become associated with particular periods, but emotional resonance can outlast both. “But in most cases, what makes a record truly special is the artist’s vision and the intention behind it. If, years later, it still manages to make us feel something, then I think the artist has succeeded.” That thinking also explains the compilation’s breadth. Lea Lisa has never viewed house as a single sound or mood, and she is particularly conscious of the cultural history behind its musical diversity. “House music has been evolving for more than three decades, and from the beginning it has carried a spirit of rebellion, alternative thinking, depth and struggle. It grew out of communities that brought together people from the margins and gave them a space to express themselves freely.” “House can be joyful, raw, introspective, political, sensual or deeply emotional — and that range is what makes it so powerful.” Preserving that range has become increasingly complicated as electronic music has expanded. Although digital platforms have made more records accessible than ever, Lea Lisa believes the sheer volume of music has changed the work involved in finding something meaningful. “I have to say that we probably spend more time digging now, simply because there is so much music out there, and unfortunately, not all of it is of the highest quality.” Her concerns extend beyond record discovery. As DJ careers become increasingly intertwined with social media, Lea Lisa remains resistant to the idea that visibility should determine an artist’s value. “It’s a matter of choice. I know what my priorities are, and I’m fully aware that the world has changed, but I’m not prepared to do anything and everything just to make a name for myself.” “My work, my commitment to this culture, the projects I build and the gigs I play, that’s what matters to me. It’s also worth remembering that a career isn’t built on an Instagram profile.” Those priorities are reflected in Bliss, her carefully curated party series. Creating a space where people connect with the music requires more than booking artists or assembling a strong line-up. It depends on developing trust with an audience over time. “I think the hardest bit is building an audience that understands your world; you can’t control every aspect, who’ll join the club and so on, but over the years, you find your audience and build a solid foundation for putting on great nights.” The same understanding informs her approach behind the decks. Whether playing Bassiani, Heideglühen, Lux Frágil or DC10, she sees adapting to a room as part of a DJ’s responsibility, not a reason to abandon personal taste. “A DJ’s job is to adapt, whilst still playing the records they love. Even when you’re deeply underground, you always find a way…” After more than 30 years immersed in the culture, Lea Lisa is less concerned with establishing a legacy than with continuing to uphold the principles that drew her towards house music in the first place. Her advice to younger artists is to recognise the commitment the profession demands and to have something meaningful to communicate. “I have no ambition to leave anything behind, but rather to continue to uphold the reasons why I found myself drawn to this culture and its values, which continue to nourish me spiritually to this day. If my work is understood, then that will be part of my reward.” Many Shades Of House Vol. 2 is an expression of that commitment: eight records carrying different histories, moods and musical ideas, brought together by a selector who still believes the most important part of house music is what happens when people share it. Lea Lisa https://www.instagram.com/lealisamusic https://open.spotify.com/artist/78gVciBWIXvyH9bS1Suf4T https://soundcloud.com/lea-lisa

Sophie Lloyd Sophie Lloyd has been given free rein over the London Records archive for ‘London Revisited’, a four-track EP that brings lesser-known catalogue cuts into a contemporary house setting. Rather than building the project around the label’s biggest hits, the long-standing Glitterbox resident has selected music by East 17, Carmel, Maria Rowe and Carlton, taking a different approach to each original. East 17’s ‘It’s Alright’ receives a gospel-house treatment, with Sarah Ikumu re-singing its familiar vocal after Lloyd secured approval for the new direction. Carmel’s ‘More! More! More!’ took two versions to reach its final form, a jacking house edit built around a looped vocal. Maria Rowe’s ‘Sexual’ was already a personal favourite of Lloyd’s through Graeme Park’s 1995 remix, while Carlton’s ‘Do You Dream’ called for a lighter touch. Lloyd retained much of the original drum material, adding a 909 bassline and Triton string pads rather than rebuilding the track from scratch. “It was literally a DREAM project working with a label as iconic as London Records and being given the privilege to access their enormous back catalogue,” Lloyd says. For London Records, the EP is an opportunity to draw attention to corners of its history that sit outside the pop and dance releases for which it is widely known. “Rather than choosing some of the more ‘obvious’ tracks from the catalogue, Sophie has chosen some real gems from artists that didn’t get as much of the spotlight as they deserved,” explains the label’s Nick Fagg. ‘London Revisited’ treats the archive as material for new dancefloor interpretations while keeping the original artists and recordings at the centre of the project.

There is a pleasing looseness to the house music Lex (Athens) makes. His latest EP for Delusions Of Grandeur draws on familiar Chicago rhythms, but its personality comes from what happens around them: live percussion, wandering keys, spoken-word vocals and musicians given room to play. ‘Lab ’94 (Dub Vocal Mix)’ sets the tone. Named after a small stage at Athens’ Alsos Club in the 1990s, it pairs a stripped-back house groove with Boot Slap’s laid-back Hip House delivery. The rhythm section does relatively little on paper, but that restraint gives the vocal its character and allows the track’s sun-warmed atmosphere to develop naturally. ‘Friday To Monday’ draws on Lex and Boot Slap’s early-2000s experiences in Berlin. Its uncomplicated drums and bassline leave space for live percussion and loose keyboard solos, capturing the spirit of a club session that has long since stopped paying attention to the clock. The B-side opens with ‘Lab ’94 (Full Organ Mix)’, which removes Boot Slap’s vocal and changes the emphasis entirely. The B3 organ takes centre stage, bringing jazz and gospel influences into the same rolling groove. It is a worthwhile alternate version rather than a functional instrumental, revealing how much of the original’s appeal sits in its musical arrangement. DJ Rocca joins Lex for closer ‘Back To Mad (Cosmic Version)’, taking the EP into Italo-influenced territory. Improvised lead synths and brass stabs introduce a more eccentric character, while crunchy drum machine rhythms and a pulsing bassline keep the track connected to the dancefloor. The EP’s strength lies in how comfortably those different influences coexist. Chicago house provides the framework, but the Mediterranean warmth, jazz phrasing and cosmic electronics prevent the record from feeling like an exercise in nostalgia. Lex understands that a groove does not need constant intervention to remain interesting. Across these four cuts, the most rewarding moments come when the arrangement leaves enough space for the musicianship to do the work. Lex (Athens) https://www.instagram.com/lex_athens https://open.spotify.com/artist/07xgHn84Dp2AVF5tEsmGOh https://soundcloud.com/lex-athens

Love to be... Yorkshire’s legendary house music brand, Love to be… will embark on a major UK tour in partnership with Academy Music Group (AMG), arriving at O2 Academy Leeds on Sunday 27th December. Marking its biggest ever club show in Leeds to date, Love to be brings its three-decade legacy, a heavy-hitting lineup featuring Dennis Ferrer, Danny Howard, Yousef, Trimtone and more, and its signature house music energy on its biggest ever UK venue tour. Tickets are now on sale via Skiddle. Co-founded in 1994 by Tony Walker at Sheffield’s renowned Music Factory, Love to be… has spent over 30 years shaping UK club culture. From Frankie Knuckles, Masters At Work and Basement Jaxx, to Claptone, Sam Divine and Sonny Fodera, the brand has consistently united house music royalty with rising artists performing alongside the biggest names in global dance music. Its worldwide community has been built through events spanning New York, Ibiza and Sydney, a syndicated radio show, record label and its flagship festival in Harrogate. Today with Tony Walker and Director Marc Dennis at the helm, Love to be… stands for heritage and innovation, bridging generations on the dancefloor with the same passion that fuelled the early years. O2 Academy Leeds is one of eight Academy venues where Love to be brings a carefully curated lineup of international headliners, contemporary UK faves and crucial local talent. Headlining in Leeds over the festive period is New York house heavyweight Dennis Ferrer, whose catalogue includes enduring records such as ‘Hey Hey’ and ‘Son Of Raw’, alongside a career that has established him as one of house music’s most respected producers and selectors. Joining him is BBC Radio 1’s Danny Howard, a longstanding champion of UK house and club music whose career has taken him from winning Radio 1’s Superstar DJ competition to becoming one of the station’s leading dance music voices. Circus founder Yousef also steps up, bringing more than two decades of experience behind the decks and a career that has taken him across some of the world’s most respected clubs and festivals. Trimtone are also lined up, better known as Love to be’s driving force Marc Dennis and Tony Walker, who have been shaping the sound of house music for over three decades. Completing the bill are Love to be regulars Aimee and Sinclair, rounding out a six-strong lineup for Love to be’s festive Leeds date. With a history of unforgettable events and an unwavering commitment to house culture, Love to be is thrilled to arrive in Leeds on its nationwide tour as it continues to celebrate three decades of dance with its sights firmly set on the future. Love to be… Web – Instagram – TikTok – Facebook

HG, Micah Baxter UK producers HG and Micah Baxter have joined forces for the first time on ‘Pound 4 Pound’, released through Lost Culture Records on 18th September. The stripped back house cut centres on a rolling bassline, tight percussion and a recurring vocal hook. Its lean arrangement builds tension around the low end, connecting Baxter’s minimal and deep tech influences with HG’s contemporary take on classic house. ‘Pound 4 Pound’ has already received support from Marco Carola, SOSA, Joseph Capriati, Paco Osuna, Solardo, Lee Foss, TeeDee and Ale De Tuglie. Peterborough producer Micah Baxter arrives with previous releases on Nervous Records, Repopulate Mars, Short Circuit, Criterio, Dosmundo and Deeperfect. He also runs Gritty Records, an imprint focused on the deeper and more groove driven side of house music. Baxter has also joined Lee Foss and Chicago house pioneer Marshall Jefferson for a forthcoming revisit of Jefferson’s ‘Move Your Body’, marking the record’s 40th anniversary. At 19, Manchester producer HG is building momentum through releases on Dionysus, Blanc and Gritty. His music has been played at Amnesia Ibiza and Shelter Amsterdam, with support coming from East End Dubs, Max Dean, Luuk van Dijk, ALISHA and Sidney Charles. ‘Pound 4 Pound’ is available now through Spotify, Beatport and other platforms. HG Instagram - Spotify - SoundCloud Micah Baxter Instagram - Spotify - SoundCloud Lost Culture Records Instagram - SoundCloud

Zuzu Silk, Selena Faider And Bali Zuzu Silk, Selena Faider and Bali have joined forces on ‘Slow Down’, a new single released through Aluna’s Noir Fever imprint. Built around a warm bassline and restrained, techy house groove, the collaboration pairs Zuzu’s silky vocals with a familiar emotional dilemma: knowing a romance is moving too quickly but struggling to resist its momentum. The result brings a pop sensibility to the dancefloor without losing the track’s club foundations. “It’s so easy to get caught up in a high-speed romance, even when the signs are telling you to slow down, even when you know you could crash,” Zuzu explains. “Working with Bali and their sound has been therapeutic and allowed me to put my whole heart into this record. Just when I thought it couldn’t get any better, Selena put her spin on it and made it soar.” The release marks another step in Zuzu’s relationship with Noir Fever. After emerging from the label’s first writing camp and collaborating with AQUTIE on ‘Big Bag Bounce’, she became the first artist signed to its publishing arm, entering a period of mentorship and creative development with Aluna. For Noir Fever, the partnership reflects a wider commitment to giving Black artists in electronic music access to collaborators, resources and long-term career support. Selena Faider brings a growing international profile to the record, following her collaboration with Todd Terry on ‘Underground World’ and appearances at Glastonbury and ADE. California duo Bali complete the lineup, contributing the warm, groove-led production that underpins Zuzu’s vocal. Zuzu Silk Instagram | TikTok | Spotify | SoundCloud | Apple Music Selena Faider Instagram | Spotify | SoundCloud Noir Fever Website | Instagram

Claptone, MIRAMAR And Kurtis Wells Claptone has joined forces with MIRAMAR and Kurtis Wells on ‘Beautiful Times’, a feel-good house single that arrives through Los Angeles-based label Funkshway as the summer season draws to a close. Warm piano stabs, disco influences and a funky bassline give the track its upbeat character, while rolling breakdowns create space for Wells’ vocal. Moving between understated spoken-word passages and an uplifting, soulful chorus, the Trinidad and Tobago-born, Berlin-based singer brings an emotional dimension to the production’s dancefloor focus. The collaboration has already been a fixture in Claptone’s summer sets, including his weekly Masquerade residency at Chinois Ibiza. Its blend of classic house warmth and contemporary production gives the record a nostalgic quality without leaning entirely on the past. Wells brings a background spanning electronic music, alternative pop, R&B and Caribbean influences. His recent collaborations include ANOTR’s ‘24 (Turn It Up)’ and ‘Simple Rules’, alongside ‘Lovers On The Dancefloor’ with BLOND. MIRAMAR complete the lineup with a disco-house sound shaped by California’s coastal culture. Their appearances have taken them from Splash House and Outside Lands to Burning Man and F1 Las Vegas. For Claptone, ‘Beautiful Times’ follows another busy summer behind the decks, with his Masquerade events continuing to provide a home for the melodic, groove-led house sound that runs through the new single.