ØTTA ØTTA has released her debut album ‘PELE DE MAR’ through HOTTIES, bringing together the musical influences and personal connections that have shaped her across 12 years as an artist. Created entirely in Rio de Janeiro, the eight-track LP draws on the Portugal-born producer’s experiences in Lisbon, London and South America. Techno, UK garage, Brazilian funk and Latin rhythms meet across a record that moves beyond the harder rave sound for which she has become known. Its title loosely evokes the skin or surface of the sea. For ØTTA, the image of oceans becoming her skin represents the connection between the countries and cultures that have formed her identity. That idea runs through the tracklist. Opener ‘RIO’ pays tribute to the city where the album was made, featuring Brazilian vocalist Clara Ribeiro reinterpreting a verse associated with Elza Soares. Argentine artist Fiah Miau joins ‘GATA FINA’, while Lua de Santana brings Portuguese vocals and Brazilian funk influences to ‘REBOLA DE SALTO’. ‘4X4’ pairs ØTTA’s rave production with Bibi Babydoll’s phonk-influenced style. Elsewhere, ‘FRIO’ draws on the UK garage of ØTTA’s London years, while closing track ‘SAUDADE’ combines propulsive rhythms with guitar melodies for a more reflective finish. The album also marks a milestone for HOTTIES, the label and event series ØTTA established to support creativity within her community. It follows a career that has taken her from orchestral performance and studies in art and architecture to a breakout Boiler Room set in Manchester and international club appearances. ØTTA will take the project on tour this autumn, with dates including Colour Factory in London on 21st November. ØTTA Instagram | TikTok | Facebook | Spotify | Apple Music | YouTube

KLOUD KLOUD has made his debut on Teletech with ‘NO MERCY’, a hard techno single released on 18th September that puts the producer’s stripped-back, high-impact approach firmly in the foreground. Built around pumping drums and industrial percussion, the track gradually introduces gritty melodic layers and a sharply defined vocal hook. Brief, breakbeat-led atmospheric passages interrupt its four-to-the-floor momentum before the heavier sections return, keeping the arrangement in near-constant motion. The release brings KLOUD’s distinctive project to a label closely associated with the harder end of contemporary club music. While his identity and speaking voice remain out of the public eye, his stark visual aesthetic and recurring red square have become recognisable elements of an artist who prefers to keep attention on the music. That approach extends to his DJ sets, which consist exclusively of his own productions rather than mashups or tracks by other artists. Drawing on more than two decades of experience across electronic genres, KLOUD brings influences from late ’90s grunge, 2000s trance and electronica into his current techno output. Recent appearances have included HÖR Berlin and Teletech in Vancouver, alongside dates across North America and performances at UNREAL’s Summer Weekender and Terminal V Croatia. With ‘NO MERCY’, KLOUD adds another peak-time production to his catalogue, combining industrial weight with the tightly controlled arrangements that underpin his sound. KLOUD https://www.instagram.com/wearekloud https://open.spotify.com/artist/24Hb4GKFYquK73R8mTyInu https://soundcloud.com/wearekloud

Cera Khin Cera Khin has released ‘I Don’t Care’, her second single for Insomniac’s MUTATE Records and the latest preview of her forthcoming EP. Following August’s ‘I Don’t Date Humans’, the Tunisian-born, Berlin-based producer moves further into psychedelic territory, bringing hard techno intensity together with psy basslines, glitching textures and driving percussion. ‘I Don’t Care’ opens with confrontational spoken-word vocals before escalating into shouted phrases and increasingly frenetic rhythms. Morphing LFOs, sinister pads and trippy synth riffs build around its relentless low end, reflecting Khin’s refusal to confine her productions to one particular corner of hard dance. Despite its title, the track carries a personal message about boundaries and knowing when to stop giving energy to things that no longer deserve it. “‘I Don’t Care’ is a scream. A purge. A fuck-it moment,” Khin explains. “It’s about boundaries. About understanding that no means no. About protecting your peace, reclaiming your energy, and choosing yourself without apology.” The release continues Khin’s relationship with MUTATE Records, Insomniac’s recently launched platform for harder, faster and more experimental electronic music. Her previous single received radio support from Lilly Palmer, Tiësto and Bassjackers. Khin’s 2026 schedule also includes appearances at Escape Psycho Circus, fabric London, Fabrik Madrid and Unreal Germany in Cologne, alongside further international dates. ‘I Don’t Care’ is out now via MUTATE Records, with details of her forthcoming EP still to be announced. Cera Khin Instagram - Spotify - Soundcloud Mutate Records Instagram - TikTok

FJAAK FJAAK have returned to their own imprint with ‘FJAAK 015’, a four-track EP that moves between stripped-back warehouse techno, hypnotic repetition and industrial weight. Released on 17th September, the project follows lead single ‘Serotonin’, which arrived earlier in the month. Across the record, Berlin duo Felix Wagner and Aaron Röbig draw on the analogue production techniques and hardware-led approach that have defined their work together. ‘Serotonin’ opens the EP with punchy drums, crisp hi-hats and a roaring low end. Its arrangement relies on subtle rhythmic changes rather than dramatic breakdowns, keeping the groove under sustained pressure. ‘Threshold’ takes a more hypnotic direction, introducing skipping rhythms, filtered synth stabs and reverberant spaces. On the B-side, ‘Bio Data’ pairs coarse industrial textures with an expansive atmospheric passage, creating a moment of release before returning to its heavier rhythmic foundations. Closing track ‘Wax Pack’ strips things back again, using sequenced analogue movement and rolling percussion to sustain an extended dancefloor groove. The release reflects the breadth of FJAAK’s musical background. Having made music together since childhood, Wagner and Röbig have developed a sound that draws from techno, breakbeat, dub and house while retaining the physical character of their hardware-driven productions. ‘FJAAK 015’ also continues the duo’s commitment to releasing music through their own platform, connecting Berlin’s warehouse traditions with their evolving approach to contemporary club production. FJAAK https://www.instagram.com/fjaak https://open.spotify.com/artist/4qG1qjeHfkASTdyRGbLWbV https://soundcloud.com/fjaak

Myselor After revealing his latest project piece by piece across four samplers, Myselor is preparing to complete the picture with the full release of ‘Cosmic Expression’. Ahead of its arrival, Undrtone premieres one of its previously unheard tracks, ‘Tekmor’. Landing via Evolution Chamber on 18th September, ‘Cosmic Expression’ brings together 20 tracks spanning neurofunk, Drum & Bass, dubstep, breakbeats, experimental electronics and ambient sound. Rather than treating those stylistic shifts as separate excursions, Myselor has constructed the album as one continuous narrative exploring transformation, identity, perception and the search for meaning. ‘Tekmor’ is one of nine tracks being revealed for the first time with the complete album, alongside ‘Roots’, ‘Transition’, ‘Thoughts’, ‘Cosmic Expression (Prelude)’, ‘Cosmic Expression’, ‘Flux’, ‘Bewölkt’ and ‘Trust The Unknown’. Their arrival is significant to how Myselor intends the project to be heard. The previously released ‘Breaking Chains’, ‘Waves Of Change’, ‘Visionary Flashes’ and ‘Break / Urban Pulse’ samplers introduced individual stages of its story, but the unreleased material provides the connections between them. For Myselor, aka Greek-born, Basel-based producer Dimitrios Chasouras, that wider structure also provides room to move beyond a single electronic framework. Heavier neurofunk and Drum & Bass passages sit against more restrained experimental and ambient moments, with each production serving the album’s broader narrative rather than being forced towards a particular genre. Myselor Instagram - SoundCloud Evolution Chamber Instagram - Spotify - SoundCloud - YouTube

A remix album can easily become a collection of unrelated club versions, particularly when the original record has as much personality as Kraak & Smaak’s ‘Velvet Seas’. Here, the Dutch trio have assembled producers who understand the record’s foundations in funk, soul and analogue warmth, even when their interpretations take it somewhere entirely different. The result is a companion piece that gives the album’s songs new dancefloor lives without reducing them to interchangeable DJ tools. Yuksek sets the tone with a bright, tropical reworking of Kosta G’s contribution, replacing the original’s hazy West Coast ease with springy bass and percussion informed by French touch and Italo disco. Diogo Strausz follows a similarly expansive instinct, drawing on Brazilian disco-funk traditions with congas and circling synths that amplify the source material’s orchestral character. Anoraak takes a more measured approach. His treatment of Butter Bath’s vocal preserves its understated appeal while stretching the surrounding groove into a darker, more spacious disco arrangement. The collection’s emotional centre belongs to Ray Mang’s extended version of ‘Velvet Seas’. Izo FitzRoy’s gospel-rooted vocal remains the focal point, but the additional percussion and dubby disco movement give it a different sense of scale. Rather than simply making the original longer, the arrangement creates more room for its emotional peaks to land. Harvey Sutherland’s ‘Real Love’ heads in the opposite direction, stripping away much of the cosmic soul atmosphere to concentrate on repeating bass, tight loops and a circling synth line. It is one of the clearest examples of how a remix can change a track’s purpose without losing its identity. Stirmouth brings ‘Heat’ into a dustier, swung groove, while Sound Support close with a punchier take on ‘Travel Light’, bringing analogue brightness and early-house energy to its orchestral foundations. What holds ‘Velvet Seas Remixed’ together is the care taken with the original material. These producers are not competing to make the biggest track. They are finding different possibilities within songs that already had something worth preserving. For Kraak & Smaak, it is a reminder that a strong album can support several musical lives. ‘Velvet Seas’ was already a meeting point between Californian warmth, European disco and electronic soul. Its remixes make those connections more explicit, and give DJs considerably more room to explore them. Kraak & Smaak https://www.instagram.com/kraakandsmaak https://open.spotify.com/artist/7c5qu1gNlg8jWDzzmlp89O https://soundcloud.com/kraaksmaak

Berko Fields Berko Fields, Hertfordshire's most exciting new festival, has wrapped up its debut edition at Berkhamsted Cricket Club after a weekend that left thousands of festival-goers with great memories and a big smile on their face. Over three days, from Friday 11th to Sunday 13th September, Berko Fields created a wonderful, inclusive and friendly atmosphere as people came together to dance and enjoy sets from some top-tier artists. The weather was perfect as Friday's House Takeover got underway. DJ SKT warmed up a crowd already fully in the mood, building the energy before Fish56Octagon took to the Berko Fields decks. What followed was two hours of house music at its finest — classics, exclusive edits and cutting-edge new music, hands in the air from start to finish. Then, towards the end of his set, the sky above Berkhamsted lit up as 400 drones rose behind the main stage in a twelve-minute aerial display, creating a spectacular audio-visual experience spanning 160 metres above the field and choreographed to the music. Fish56Octagon had previously made a tongue-in-cheek claim that he and Berko Fields would be creating a record for “most drones in the sky, making a DJ logo, during a performance… in Hertfordshire!” If that can be a record, he definitely made it, as his giant logo lit up the night sky. The drones formed an acid smiley face, a peace sign, and many more incredible formations, much to the crowd’s delight. Saturday brought BBC Radio 1's Danny Howard to the stage for a set that raised the temperature and set the tone as crowds of festival-goers were drawn to the outdoor dancefloor. As night fell, Symphonica Orchestra's Ibiza Classics performance was spectacular - every classic tune reinterpreted and performed to perfection by this hugely talented ensemble. The crowd reaction was ecstatic, but it went up another notch as the drones lit up the sky again, this time forming a giant conductor, arms raised, leading the orchestra from above. It was undeniable: Berko Fields had created a talking point no other festival has delivered. Sunday was the biggest day of the weekend by numbers, as thousands of mums, dads and kids pulled on their raving boots for Raver Tots. So Solid Crew and Artful Dodger headlined a day that put UK garage classics front and centre — alongside a fairground, a full programme of children's entertainment, and the particular joy of watching parents dance with their young kids as they relived their clubbing years. Everyone went home happy. Across all three days, a carefully curated selection of local food and drink traders kept festival-goers fuelled — a reminder that Berko Fields' attention to detail extended well beyond the stage. From first-timers who'd taken a chance on a new name to seasoned festival regulars who'd arrived with expectations already high, the response was the same: Berko Fields is something special. It arrived, it delivered, and it has set a new benchmark for what a regional festival can be. Berko Fields Web – Facebook – Instagram

There is a particular kind of dance music that works just as well in the afternoon sunshine as it does at two in the morning. Flamingo Pier have spent the best part of a decade exploring that space, and ‘Woven Together’ finds the New Zealand trio bringing their different musical instincts into a more complete album statement. Luke Walker, Dom Jones and Brad Craig have never been easily confined to one corner of the dancefloor. Their music carries the rhythmic curiosity of disco, the weight of electronic production and the looseness of a live band. On their second album, those qualities are joined by a stronger sense of place, drawing on their New Zealand roots and the London club culture that helped shape them. The four advance singles suggest a record interested in contrast rather than maintaining one energy level throughout. ‘Cool Nights’ introduces an Italo-influenced, late-night shimmer, while ‘No Excuses’ takes a more direct route through driving piano and an insistence on living in the present. ‘Glowdown’ slows the pulse, allowing its golden-hour atmosphere room to develop. ‘Be The Same’ adds another dimension, drawing on the rhythmic influence of Outkast and Timbaland. It is a useful reminder that Flamingo Pier’s musical reference points have always extended beyond house and disco. That breadth is central to the appeal of ‘Woven Together’. The trio’s background in live performance gives their electronic music a different perspective: grooves need space to breathe, melodies need somewhere to go, and not every moment has to compete for the biggest reaction in the room. Written, produced and released independently, the album also represents a change in how Flamingo Pier operate. After releases on Soundway and Razor-N-Tape, they have taken ownership of the entire project, giving themselves room to bring their influences together without forcing them into a narrower club format. The title feels particularly apt. ‘Woven Together’ is less about reinventing Flamingo Pier than bringing the different strands of their identity into focus: New Zealand warmth, London club instincts, global rhythms and the musical interplay that has always distinguished their work. Flamingo Pier https://www.instagram.com/flamingopier https://open.spotify.com/artist/0gWNgpI1v73a7BEbi39wt8 https://soundcloud.com/flamingopier

Anniversary compilations can easily become exercises in nostalgia. ‘ROOT DOWN 30’ avoids that trap because Root Down itself was never particularly interested in looking backwards. Pre-order it here. Since Rainer Trüby launched the Freiburg party in 1996, its identity has been built around connections rather than genres. Jazz, Brazilian music, broken beat, soulful house and Afro-Latin rhythms could all occupy the same dancefloor. Thirty years later that approach feels familiar, but this 10-track collection is a reminder of how naturally Root Down was joining those dots decades ago. Flashbaxx’s ‘Brooklyn Love Boat’ provides one entry point before The Soul Session’s ‘Horse With No Name’ receives a Marlow & Trüby refix, immediately establishing the compilation’s willingness to move between live musicality and club-focused reconstruction. HITTO’s ‘All About It’ follows in reworked form before one of the collection’s most recognisable combinations arrives as Crackazat remixes Jazzanova and Clara Hill’s ‘No Use’. From there the geographical and rhythmic boundaries loosen further. The Afro Love Project’s ‘One Love’ leads into the Yoruba Soul Mix of Rawb Boss’ ‘Coafeella’, while Jimpster reshapes Baianasystem, Antonio Carlos and Jocafi’s ‘A Fúgua’ with the kind of deep, measured groove that fits Root Down perfectly. Da Lata’s ‘Jungle Kitten’ keeps the Brazilian connection running before Trüby himself joins Corrado Bucci as TRUCCY for ‘Kenyatta’, given a suitably expansive Afro Balearic treatment by Laroye. Felipe Gordon’s ‘Lets Get, Get Together’ closes proceedings, bringing the collection back towards the meeting point between jazz and house. More important than any individual highlight is how little friction exists between those shifts. ‘ROOT DOWN 30’ never sounds like somebody attempting to demonstrate eclectic taste. It simply moves as Root Down always has. Three decades later, that open-mindedness remains its greatest strength. DAYBREAKERS https://www.instagram.com/daybreakers_house https://daybreakershouse.bandcamp.com

There is no shortage of dance music sold on the promise of sunshine, but Dennis Liber’s ‘Astro Danza’ has a more convincing claim than most. Written across several years and shaped by four spent living in the Caribbean, his first solo EP for Razor-N-Tape feels less like an imagined escape and more like a document of somewhere he actually inhabited. Pre-order your copy here. The title track makes that distinction immediately. Latin percussion and Spanish vocals circle around cosmic synths and a loose, funky groove, creating something distinctly nocturnal. It is Balearic in spirit without reaching for the usual signifiers, carrying enough psychedelic detail to suggest the night is only getting stranger. ‘Être Heureux’ switches the atmosphere completely. Zouk and disco provide the foundations for the EP’s brightest moment, with an easy rhythmic swing that captures the communal spirit behind the project without labouring the point. French producer Anoraak’s accompanying remix offers another perspective, polishing its tropical looseness into something more streamlined while retaining the original’s warmth. ‘Femme Papillon’ drifts furthest from conventional club functionality. Dreamier and more spacious, it lets jazz, funk and cosmic influences mingle without any one of them taking control. The result feels appropriately weightless. What ties ‘Astro Danza’ together is Liber’s refusal to make its influences sound like a checklist. Musicians and friends from France, Argentina, Greece, Serbia and Switzerland contributed across sessions in three countries, and that collaborative history is audible in how naturally the record moves between styles. There is disco here, certainly, but reducing it to tropical disco undersells what Liber has made. ‘Astro Danza’ is warmer, stranger and more personal than that description suggests, capturing a particular period of his life without turning paradise into a cliché. Dennis Liber https://www.instagram.com/dennis.liber.official https://open.spotify.com/artist/7f8mAurEed53Mry9cDqFd2 https://soundcloud.com/dennisliber Razor-N-Tape https://www.instagram.com/razorntape https://soundcloud.com/razor-n-tape

Trying to pin Red Axes to one corner of electronic music has always been fairly pointless. On ‘Red Box’, their first release for 20/20 Vision and the opening chapter of a planned three-EP series, Niv Arzi and Dori Sadovnik give us four more reasons not to bother. Pre-order it here. The title track immediately feels like Red Axes operating with the barriers removed. ‘Red Box’ pulls from the skeletal electronics of bleep and bass, but its hard snares, twitching hi-hats and tape-treated details prevent it becoming an exercise in revivalism. There is something deliberately unruly about it, with sounds appearing to bounce around the arrangement rather than settle neatly into place. ‘Eko’ heads somewhere deeper. Its early Warp influence is more apparent, but an insistent ‘fear to change’ vocal gives the track a strangely human centre. Against the colder electronics surrounding it, that repeated message becomes increasingly hypnotic. 20/20 Vision co-founder Random Factor takes the title track apart for his remix rather than simply adding weight to it. More space appears between the original elements, allowing melancholic synth lines to drift through a considerably more restrained version. It is recognisably ‘Red Box’, but viewed from an entirely different angle. Then comes ‘FTS’, arguably the EP’s biggest curveball. Granulated vocals collide with chopped breaks and an unexpectedly catchy electro-pop motif, bringing some immediacy to a record otherwise comfortable operating in stranger territory. What makes ‘Red Box’ interesting is that none of these references feel particularly reverential. Bleep, early Warp electronics, electro, breaks and pop are treated as raw materials rather than destinations. As the opening instalment of three Red Axes records for 20/20 Vision, that makes for a promising starting point. If this is the duo establishing the parameters of the series, they have deliberately left themselves plenty of room to get weirder. Red Axes https://www.instagram.com/redaxesofficial https://open.spotify.com/artist/5Owm9QgL9BSCRQKTX6T08G https://soundcloud.com/redaxes

Thirty years of Freerange is a difficult history to reduce to a handful of tracks, but the fourth volume of its anniversary series succeeds by not trying too hard to do so. Instead, six artists and collaborations approach the label’s house foundations from distinctly different angles. Pre-order it here. Dam Swindle provide an ideal opening with ‘I Met Her Last Summer’. Warm chords and a loose disco pulse give it an immediate familiarity, but there is enough restraint in the arrangement to stop the nostalgia becoming the point. It feels effortless, which is usually where the duo are at their best. Rocco Rodamaal and Oliver Night push further towards soulful territory on ‘Body & Soul’. Night’s vocal gives the track its centre of gravity, sitting naturally against Rodamaal’s polished deep house production without tipping into excess. Andy Ash’s ‘Bailey’ is subtler. A filtered vocal circles above crunchy drums and rising synths, creating a rolling groove that feels built for the middle of a long set rather than an obvious peak. Black Loops follows by stripping things back further on ‘Body Frequencies’, where swing, low-end pressure and cleverly worked samples turn relatively few ingredients into one of the EP’s most functional club tracks. The most absorbing moment arrives with L.D.F. and Trinidadian Deep’s ‘African Dream’. Percussion leads the way, but its patient development and rich synth work give the track a genuinely immersive quality. Nothing feels hurried. Then Greg Paulus and Krol effectively tear up the template. ‘Waitin’’ combines raw house drums, piano, Paulus’ vocals and live trumpet into something stranger and less easily classified. It could have been an awkward closing detour. Instead, its looseness makes perfect sense after five increasingly deep explorations of the label’s musical DNA. That ultimately makes Volume 4 work as more than anniversary material. It acknowledges the warmth, soul and musicianship synonymous with Freerange without treating its past as something that needs preserving behind glass. Freerange Records https://www.facebook.com/FreerangeRecords https://www.instagram.com/freerangerecords https://soundcloud.com/freerangerecords https://www.freerangerecords.co.uk