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

TEO For TEO, intensity and emotion are two sides of the same coin. On ‘Lost Control’, the Mexico-born, Miami-raised producer brings those contrasting instincts together in a drum & bass track designed to deliver both physical impact and a moment of vulnerability. Built around the heavier end of bass music, ‘Lost Control’ places aggressive sound design and hard-hitting drops at the forefront. The production leans into the forceful, high-energy character of contemporary drum & bass, prioritising impact and momentum over subtlety. Yet the track’s defining idea lies in its contrast. A brief melodic passage interrupts the intensity, introducing an emotional dimension before the arrangement returns to its more aggressive foundations. Rather than abandoning the track’s energy, the softer moment is intended to give the surrounding drops greater impact. That balance reflects TEO’s wider approach to music. Having recently rekindled his passion for production, he describes his creative identity as divided between two impulses: making music powerful enough to push someone towards a personal best in the gym, and creating something introspective enough to soundtrack a difficult evening alone. It is an interesting creative tension, particularly within a style where technical aggression can sometimes overshadow musical expression. ‘Lost Control’ attempts to bring those qualities into the same space, using melody as a counterweight to its heavier bass elements rather than treating the two as competing ideas. TEO’s background, from his Mexican roots and Miami upbringing to his experience in the military, adds another dimension to an emerging artistic identity built around opposing forces. With ‘Lost Control’, he sets out a clear direction: uncompromising bass music that leaves room for emotional expression. Its central concept is straightforward, but the contrast between relentless energy and fleeting vulnerability gives the production a more personal foundation than a conventional drop-driven club track. TEO https://instagram.com/mateo_rohlfs https://open.spotify.com/artist/7BtZH2rXnszJA8LpLeJ7O9

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

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

Jenny Harrison Manchester DJ and producer Jenny Harrison is celebrating 25 years behind the decks with the release of 'Going Crazy', a new vocal house single arriving via Muscle Funk. Landing as a Beatport exclusive on 31st July, before its full release on 14th August, the record marks another milestone in Harrison's long-standing career while showcasing the energetic, dancefloor-focused sound that has defined her sets for more than two decades. Built around commanding spoken-word vocals from a female preacher, 'Going Crazy' pairs a driving bass groove with uplifting synth melodies to deliver a peak-time house record aimed squarely at summer club floors. Designed with DJs in mind, the production balances infectious rhythm with vocal hooks that give the track immediate impact. Joining the package is a remix from New York house veteran Lenny Fontana, who returns to Muscle Funk with a colourful reinterpretation. His version introduces bright piano riffs, disco-inspired strings and vibraphone flourishes, transforming the original into a soulful, uplifting club workout while preserving its vocal-led energy. Speaking about the release, Harrison said: "Dance music has been a huge part of my life for many years. This release reflects my passion for the scene and the energy I experience behind the decks." Since launching her career in 2000, Harrison has become one of the UK's most respected female house DJs, holding residencies with Miss Moneypenny's, Venus, 2Risque and Sankeys, while performing internationally at iconic venues including Space Ibiza, Amnesia, DC10, El Divino and Zouk Singapore. Alongside her club career, she also hosted Friday Night Dance on Manchester's Key 103, helping introduce dance music to a wider regional audience. Following appearances at the sold-out Mambo Festival earlier this year, 'Going Crazy' arrives as another confident step forward, celebrating both Harrison's remarkable career and her continued passion for delivering uplifting house music built for the dancefloor.

Ellen Trenn | Image Credit: Pauline Ruther Ellen Trenn has never been interested in making hard music for the sake of impact alone. Emerging from Berlin’s underground, the DJ, producer and live creative has built her identity around the space where intensity, emotion and unpredictability meet, moving fluidly between techno, rap, breakbeats and more reflective passages without allowing genre labels to dictate the direction. That approach sits at the heart of ‘Unleashed’, her contribution to EXHALE VA008. Arriving alongside music from artists including VE/RA, Alex Farell, Ctrl, BRÅWN, Blondex, Portex and Khira Li, the track marks a significant moment for Trenn, whose relationship with Amelie Lens’ label stretches back long before she began releasing music through it. For Trenn, the title reflects a wider process of learning to trust herself. “‘Unleashed’ is about reclaiming your own energy and fully embracing it,” she explains. “So many of us spend a lot of time trying to fit into expectations, overthinking every decision or making ourselves smaller.” The track captures the point where that restraint begins to fall away. Rather than treating fear, doubt or internal pressure as something to ignore, she wanted to transform those feelings into movement. “At some point, I realised the most powerful moments happen when you stop asking for permission and fully trust your own instincts,” she says. “It’s about letting go of fear, self-doubt and the need to control everything.” That sense of release runs through the production. ‘Unleashed’ is direct and built for physical impact, but its harder elements are never separated from the emotions beneath them. “I’ve never been interested in making hard music just because it’s hard,” Trenn says. “For me, intensity only becomes meaningful when there’s emotion behind it.” Living with ADHD has played an important role in understanding that balance. Music has become a way for her to process a mind that naturally experiences the world with heightened intensity, turning something that can feel overwhelming into a source of creative power. “Producing has become a way of understanding and channelling that intensity instead of fighting it,” she explains. “‘Unleashed’ is powerful and driving, but underneath there’s vulnerability. I want people to leave the dancefloor feeling empowered rather than overwhelmed.” That refusal to choose between strength and sensitivity also makes the track difficult to place within one fixed category. EXHALE VA008 moves across techno, psytrance, acid, rave and industrial energy, but Trenn sees her contribution less as a genre exercise than a continuous physical journey. “My music often borrows elements from different worlds, but what connects everything is movement,” she says. “I wanted this track to feel like constant momentum, as if it’s pulling you deeper and encouraging you to completely let go.” Its release through EXHALE carries particular weight. Trenn has created visual content for the label since 2019, giving her an unusual perspective on its growth, community and artistic direction before becoming part of its musical roster herself. “EXHALE has been part of my journey long before I released music on the label,” she says. “Amelie has always been a huge inspiration to me and shaped my relationship with electronic music and my own sound.” Becoming an EXHALE resident and now contributing original music feels less like an outside opportunity and more like the natural development of a long-standing relationship. “It’s not just another release for me,” she adds. “It feels like coming full circle.” That same openness defines Trenn’s DJ sets. Rather than organising music through genre folders alone, she responds to shifts in pressure, atmosphere and the needs of the room. “Sometimes people need pressure, sometimes space, sometimes surprise,” she explains. “Playing with expectations and then breaking them is one of my favourite parts of DJing.” Image Credit: Pauline Ruther For Trenn, storytelling provides a stronger foundation than stylistic consistency. A techno record can sit beside a rap influence or broken rhythm as long as the transition serves the emotional direction of the set. “If every transition serves the journey, people will follow you, no matter what genre you’re playing.” That freedom has not always made her path easier. The electronic music industry often rewards artists whose identities can be reduced to a simple description, something Trenn openly admits she has struggled with. “The industry prefers artists who are easy to label because they’re easier to market,” she says. “But I’m currently building my own category, and that’s giving me more freedom than ever.” Predictability has never felt like a worthwhile trade-off. “Curiosity and playfulness are such a big part of who I am that limiting myself musically would feel dishonest. I’d rather keep evolving and surprise people.” Berlin has given her the environment to develop that philosophy. Its dancefloors taught her that energy does not need to be forced constantly and that holding something back can create a stronger sense of connection. “Berlin taught me that dancefloors don’t need constant stimulation,” she says. “Instead of chasing peak moments every few minutes, I learned how powerful patience can be.” Her residencies with EXHALE and Mahagoni Festival have allowed that understanding to deepen over time. Unlike one-off appearances, they offer space to experiment without feeling the need to establish her entire identity in a single set. “Residencies give you room to evolve instead of constantly having to introduce yourself,” Trenn explains. “That trust allows you to experiment and take risks because people support your journey instead of judging one performance.” Beyond music, she remains committed to equality and representation through Femme Frequency. While line-ups have become more diverse in some areas, she believes the industry risks assuming the work has already been completed. “The conversation slowed down too early,” she says. “Real change happens when access becomes more equal at every level, from bookings and labels to agencies and the people making decisions behind the scenes.” That belief in community also shapes how she imagines the future. With further releases, European shows and her work across filmmaking and visual art continuing to develop, Trenn is less interested in constructing a marketable character than building something sustainable. “I want to grow with my career and allow myself to evolve,” she says. “I want my work to stand for change, connection and empowerment.” ‘Unleashed’ captures that vision at a defining point. It is a track built for high-impact rooms, but its real power comes from the decision to stop suppressing the contradictions that make Ellen Trenn’s work distinctive. As her relationship with EXHALE enters this next phase, she is not narrowing her identity for clarity. She is making more space for every part of it to move. Ellen Trenn https://www.instagram.com/ellentrenn https://open.spotify.com/artist/3LYa2Z5CxlmOISeBwshfgW https://soundcloud.com/ellentrenn

AnD AnD has never followed the traditional path to success. Long before social media metrics and viral moments became part of electronic music, the Greek born artist built his career through persistence, experimentation and a complete dedication to the craft. From early influences in Greece to finding his home in Manchester, his journey has taken him through every stage of electronic music's evolution. Vinyl culture, digital releases, streaming and the current algorithm driven landscape have all shaped the industry around him, but AnD's approach has remained consistent: make music that feels honest. Now entering what he describes as a creative rebirth, with new material arriving through his AnD Records and AnD HARD imprints alongside a fully hardware driven live show, the focus is once again on pushing himself creatively rather than looking outward. "I've never built my career around what was popular. I built it around what felt honest," explains AnD. "Every record I've released has been made because I believed in it, not because I thought it would fit the moment." That mindset has carried him through nearly three decades in electronic music. While trends have shifted and scenes have changed, AnD believes passion remains the one constant. "Music has cost me relationships, sleep, comfort and certainty, but it's also given me a life I could never have imagined. I always say I'm married to music because that's exactly how it feels. Trends disappear, algorithms change, but passion doesn't." That same philosophy has shaped his current chapter. Rather than trying to reinvent himself for a changing scene, AnD describes his recent evolution as a return to his core identity. "The rebirth happened when I stopped looking sideways and started looking inward again," he says. "After so many years you realise your greatest strength is simply being yourself." Years spent working across different areas of sound, from club music to film and television scoring, have all contributed to this version of AnD. Those experiences have expanded his approach to production, bringing more emotion, storytelling and contrast into his techno. "Film scoring taught me that silence can be just as powerful as sound, and that tension is often more important than volume," he explains. "Even my hardest tracks are built like stories, with movement, emotion and contrast. I want people to feel something as well as dance." That wider perspective comes from a lifetime of varied musical influences. Before electronic music became his focus, AnD was surrounded by everything from his father's pirate radio broadcasts to classical instruments, rock and experimental sounds. "My father introduced me to music before I could even understand what it was. I still remember running around clubs as a little kid while he DJed," he says. "Later Sepultura showed me raw power and intensity, while Muslimgauze completely changed the way I thought about electronic music. He taught me that music can have philosophy, identity and purpose." That search for individuality remains central to his work today, both as an artist and through his labels. Running AnD Records, AnD HARD and Groove Generator has given him a closer view of the wider scene and what separates memorable artists from the rest. "I always look for personality first," he says. "Technical perfection is easier to achieve than ever before, but genuine individuality is much rarer." For AnD, originality comes from developing your own language rather than replicating what is already successful. "I don't want to hear someone's version of what's already successful. I want to hear something that could only have been made by that person." After more than twenty years living in Manchester, the city remains an important part of his creative identity. Arriving with little more than a suitcase and an idea, he found a place that matched his own values. "I arrived with one suitcase and one backpack, chasing an idea more than a plan," he recalls. "The city has an honesty that I connect with. People respect hard work here." That same authenticity carries into his live performances. Moving away from traditional DJ setups, AnD's hardware driven shows embrace unpredictability, allowing every performance to develop differently in the moment. "Hardware forces you to live in the moment because everything is improvised on the spot," he explains. "Every decision matters because it's happening in real time. There are risks, imperfections and moments of magic that simply can't be programmed." Looking ahead, AnD remains driven by the same curiosity that started his journey. Despite everything he has achieved, the desire to keep learning and evolving is still what pushes him forward. "I still believe the best track I've ever made is waiting to be written," he says. "If people remember me as someone who stayed authentic, never chased trends and never stopped learning, then I'll be happy." As AnD continues into this next chapter, his story is a reminder that lasting careers in electronic music are built through patience, identity and a commitment to the craft. The landscape will continue to change, but his approach remains the same: create honestly, keep evolving and never lose sight of why the music started in the first place. AnD https://www.instagram.com/and_techno https://open.spotify.com/artist/2QFYNMeBzrLvlTB8HDr01C https://soundcloud.com/AnDmusik

Sean McCabe Good Vibrations Music reaches a major milestone in 2026 as Sean McCabe marks ten years of the Bristol-based label with 'Decade One', a carefully curated retrospective spanning some of its most important releases. Available as a limited-edition double vinyl package and an extended digital compilation, the collection brings together music from Sean McCabe, Frankie Feliciano, Lem Springsteen, Mr. V, Kaidi Tatham and more. It also captures the broad musical identity that has shaped Good Vibrations since its launch in 2016, moving naturally between soulful house, broken beat, boogie, deep grooves and Afro-influenced sounds without ever feeling tied to one fixed direction. For McCabe, however, the label’s greatest achievement is not necessarily its biggest record or most high-profile collaboration. Looking back over the past decade, he points instead to a deeply personal project released in 2022. “There have been some top remixers and artists on the label over the years, but the highlight for me is the Harold Matthews Jr album project ‘Peripheral Vision’ from 2022. It’s quite sentimental to me as it involved friends who have been part of my musical journey since I started producing in 2003.” The album brought together Harold Matthews Jr, DJ Fill, Black Sonix and Matthews’ son Syl Messi, giving the project a sense of closeness that extended beyond the music itself. “It had that family feeling about it. Sadly, Harold passed away in 2025, but I’m so pleased we were able to put this project together and share his work with the world before he left us.” That emotional connection runs through Good Vibrations Music’s catalogue, which has often grown through friendships, collaborations and shared creative interests rather than conventional A&R strategy. Decade One offers an opportunity to revisit that history while also giving several digital-only favourites their first physical release. “The initial focus for the compilation was the vinyl double pack. In the early years of the label, it was mainly digital releases, so I treated this as an opportunity to press up some popular tracks from over the years that never made it to vinyl.” The extended digital edition allows McCabe to show more of the catalogue’s range, but several tracks were immediate choices for the vinyl package. “Absolutely, Frankie Feliciano’s remix of ‘I Know Someone’ is among one of my favourite tracks on the label. The original release was the first release on the label, which would have been nice to also include, but Frankie turned that song into something extra special to me.” Kaidi Tatham’s version of “Pause” and earlier singles including “Grow” were also essential selections, reflecting both McCabe’s personal favourites and the wider story of the label. Those contributors have helped shape how Good Vibrations is perceived, though McCabe explains that its identity has never been created by simply targeting particular names or reputations. “The identity of the label is really something I have in mind when approaching artists and remixers. It’s more about who feels right for the music itself at the time.” The results nevertheless reveal the standard and musical character he has consistently aimed to uphold. “They’re all people I’ve looked up to and respected for their musical talents for many years, so I felt honoured that they were happy to work on something.” That open approach also explains why Good Vibrations has remained difficult to pigeonhole. Its releases can move between house, jazz, soul, disco, boogie, broken beat and African influences, mirroring McCabe’s own work as both a producer and DJ. “It’s not really something I felt like I had to resist, as it comes naturally to me to keep things varied. Before starting the label, I always produced slightly different things, mainly because I get bored of doing the same thing.” That variety is not a deliberate attempt to appear eclectic. It is simply the continuation of how he has always listened to, played and made music. “It also reflects my DJ’ing style, which moves around different genres within the realm of soul/jazz influenced dance music. I think it helps the label to remain interesting and as a result attracts an open-minded audience.” Good Vibrations began as a series of Bristol events before becoming a label in 2016, initially offering McCabe an outlet for his own productions. Over time, that purpose gradually widened. “The label started as an outlet for my own creative freedom, and over the years it’s grown into other artist’s visions driving some of its direction.” Rather than actively searching for releases, McCabe says projects often emerge organically through the artists and musicians already around him. “I don’t really see myself as someone who actively signs songs, but often projects come together organically through friends I’m working with at the time, where I can help make the artist’s vision a reality.” Running an independent label has changed considerably during that period. Streaming has helped Good Vibrations reach new listeners, though it has also contributed to declining sales. McCabe still sees Traxsource as central to the label’s DJ audience, while Bandcamp has become increasingly important for connecting directly with collectors and listeners. “I think it bridges the gap between both music collectors and DJ’s who want to buy the music of their favourite artists and labels. It also widens the creative scope of what we can release, so it’s not only music targeted to DJs.” That renewed interest in physical formats made the vinyl edition of Decade One especially meaningful. “There have been certain tracks from the catalogue that I wanted to exist in the real world in some way, for historical archive purposes, and it also introduces our music to a new audience.” Despite the retrospective nature of the compilation, its title suggests that Good Vibrations is far from finished. McCabe remains reluctant to impose a rigid long-term plan on a label that has always developed instinctively. “The focus has always been on the music at each moment, while learning, collaborating and growing through it, and helping other artists to realise their own visions.” The next chapter is already beginning to take shape, with several new collaborations underway, including a version of Kem’s “Heaven” featuring Colonel Red and produced alongside Groove Assassin. “I’m really not sure what the next 10 years holds, but there are plenty of collaborations in the making at the moment.” After a decade defined by creative freedom, close relationships and an unwavering commitment to soulful music, uncertainty feels less like a lack of direction and more like the reason Good Vibrations continues to evolve. Grab your copy of 'Decade One' here. Sean McCabe https://www.instagram.com/seanmccabemusic https://open.spotify.com/artist/1hN0HcEUYVNBsMV3aRevIN https://soundcloud.com/seanmccabe Good Vibrations Music https://www.facebook.com/good.vibrations.9210 https://soundcloud.com/goodvibrationsbristol https://goodvibrationsmusic.bandcamp.com https://goodvibrationsmusic.co.uk

Balaphonic Danny Ward continues to evolve his Balaphonic project with a new six-track release on NuNorthern Soul, building on the musical foundations laid by the acclaimed Resolution Revolutions album. Rooted in live instrumentation and global influences, the latest collection sees Ward once again blur the lines between Afro-Cuban rhythms, Brazilian jazz, Balearic grooves, dub and deep house. Across six carefully crafted compositions, collaboration remains central, bringing together a diverse cast of musicians while maintaining the organic, percussion-led sound that has become synonymous with Balaphonic. Opening track 'Dew Drops', created alongside composer and arranger Robin Dewhurst, introduces the release with uplifting samba rhythms, layered Latin percussion, balafon melodies and warm piano arrangements. From there, Ward revisits his 2005 composition 'Switch', inviting legendary Brazilian jazz vocalist Flora Purim and her daughter Diana Moreira Booker to reinterpret the piece as a flowing, 7/4 tribute to Brazil's rich musical heritage. Elsewhere, 'Balaventurers' pairs Ward with long-time collaborator Joe Botham, better known as Baleardelica, whose flamenco-inspired guitar work adds another dimension to the release's colourful palette. 'Life of Strings', featuring Amsterdam violinist and composer Katya Gabeli, introduces sweeping string arrangements over Ward's intricate percussion before 'Boxfresh' leans into Afro-Cuban rhythms and hypnotic grooves. The release closes with 'Home', a reflective finale built around drifting piano, understated harmonies and a sense of quiet resolution that provides a fitting conclusion to the journey. With its emphasis on musicianship, collaboration and organic groove, the new Balaphonic release further reinforces Danny Ward's reputation for crafting music that sits comfortably between the dancefloor and deep listening, while continuing NuNorthern Soul's tradition of championing richly textured, genre-defying records. Pre-order your copy here. Balaphonic https://www.facebook.com/balaphonic https://www.instagram.com/balaphonic open.spotify.com/artist/0V7ZsYNU8c2BqFlufRIOkK

Pukka Up Pukka Up presents ECLIPSE: The Day the Sun Sets Twice on Wednesday 12th August 2026, taking 200 guests out across Ibiza’s western waters to witness the island’s first total solar eclipse since 1905. Departing San Antonio at 6pm and heading towards Es Vedrà, the three-hour voyage will combine uninterrupted Mediterranean views with DJs, music, and the truly awe-inspiring experience of a total eclipse. Tickets are priced at €65 per person and are available here www.pukkaup.com. At 8.33 pm, with the sun sitting just three degrees above the western horizon, the moon’s orbit will slowly take it across the same path, until the sun is completely covered, placing Ibiza into darkness for around one minute. Those watching will witness the spectacular diamond ring effect as the first chink of daylight returns, before both celestial bodies pass each other and the sun continues towards another unrivalled Ibiza sunset. For the first time in 121 years, this will be ‘the day the sun sets twice’ in Ibiza. The eclipse will last for nearly one and a quarter hours, but the totality - when the sun is completely covered - will only last for one minute and five seconds. During totality, the music will stop, and guests can experience the wonder of this once-in-a-lifetime celestial spectacle. As the moon passes, the music returns, and the celebration of this moment resumes with a party that will remain in the memory of the ECLIPSE guests forever. The voyage takes inspiration from an earlier spirit of Ibiza, when travellers came to the island in search of freedom, always open to music and dancing, yet drawn by a spiritual connection to the island. ECLIPSE carries that feeling into the present through a collective journey across the Balearic Sea, soundtracked by a carefully selected line-up of quality DJs. No one does boat parties like Pukka Up, and while the eclipse remains the central focus, the atmosphere is guaranteed to be euphoric and full of positivity. The ECLIPSE boat will take guests away from the island’s crowded coastline, out to the open sea to experience Ibiza from a different perspective and celebrate a moment that will not return to the island within our lifetime. With capacity strictly limited to 200 people, ECLIPSE offers an unmissable opportunity. One boat, one date, and one minute Ibiza will never forget. Pukka Up Instagram - TikTok - Facebook

Yazan Sarayrah For many artists, heritage becomes something to reference. For Yazan Sarayrah, it forms the foundation of everything he creates. The Jordanian producer, composer and live performer has spent years developing a musical language that places Arabic maqam, Bedouin traditions and Nabatean poetry at the centre of contemporary electronic music. Rather than borrowing from those influences as stylistic flourishes, his new album, IRTH-TRONIC, treats them as the core building blocks of its compositions, creating a body of work that feels both deeply rooted and unmistakably forward-looking. That connection stretches back long before electronic music entered his life. "Many memories come to mind, but the ones I remember most are our family gatherings," he recalls. "My older brother would pick up his Oud and start singing, and everyone would immediately join in. Then my other brother would bring the Tabla, and before long the whole family would be singing Khaleeji and traditional Bedouin songs together." Those moments became his earliest musical education, alongside memories of his late father writing Nabatean poetry and his grandmother quietly chanting Hjeni while carrying out everyday tasks. "I was always curious about music," he says. "I'd sneak into my brothers' room to play their instruments whenever they weren't around." Despite that upbringing, electronic music wasn't an obvious destination. Coming from a background of live bands and traditional instrumentation, it initially felt disconnected from the world he knew. "That changed when I started going to raves," he explains. "That's when I really felt the energy, the sound design and how the groove pulled everyone together. Around that time, a friend introduced me to Boards of Canada, and that completely changed my perspective. I realised electronic music could go so much deeper than just the dancefloor." Rather than leaving his musical roots behind, that discovery encouraged him to bring both worlds together. "Electronic music is so different from our traditional Bedouin music, and that distance is what made me see it as an opportunity to bring them together." That philosophy became the driving force behind IRTH-TRONIC. The album explores identity, belonging and cultural memory while challenging the way the region is often represented through Western perspectives. "The last few years really opened my eyes," he says. "I started to see how certain stereotypes shape the way this region is perceived. Our culture, our poetry and our music are so deep, full of ancient wisdom and real richness that everyone could benefit from experiencing." He is careful not to romanticise those traditions, acknowledging that every culture evolves and carries its own complexities. Instead, IRTH-TRONIC represents an attempt to contribute to that evolution rather than preserve heritage as something frozen in time. "It became a statement. This is who we are, and this is what we stand for. It's my humble attempt at giving our land a voice in the field that I know best, music." The album also reflects a personal homecoming. After years spent travelling and exploring different musical directions, Sarayrah found himself returning to the landscapes and traditions that first shaped him. "This wasn't really a search for identity," he explains. "It was more like, after years of travelling and exploring different sounds, IRTH-TRONIC became the moment where I came home." That journey extends into the album's musical language. By building compositions around Arabic maqam rather than simply adding traditional melodies to Western structures, Sarayrah unlocks an entirely different melodic vocabulary. "What I appreciate about Arabic maqamat is that they give more melodic possibilities," he says. "Having more notes within the octave creates much wider phrasing possibilities. A small detail can completely change the feeling a melody delivers." Integrating those systems into modern production wasn't always straightforward. Most software isn't designed for microtonal harmony, forcing him to develop his own workflow. "At the beginning, I had to rely almost entirely on my ears," he explains. "Later I started creating custom tuning files for instruments like Diva and Serum so I could work more naturally." His analogue instruments required similar adaptations. "With my guitar I use quarter-tone bends, and with my analogue synths I use pitch bends to reach those microtones." Landscape plays an equally important role throughout IRTH-TRONIC. Rather than simply inspiring the artwork or concept, Jordan's geography directly influences the way the music moves. "The environment has a huge impact on what people perceive as musical," he says. "The sounds that surround us become part of the way we express ourselves." He points to the contrast between northern Jordan's greener landscapes, where wind instruments dominate traditional music, and the southern desert, where the Rababa reflects a harsher, more open sonic character. "The vastness of the desert also changes your perception of time," he explains. "Rhythm isn't always about fixed points. It's about movement, space and the pace of the performer." Those ideas emerge throughout the album in unconventional time signatures, open arrangements and expansive atmospheres that mirror the physical landscapes which inspired them. Sarayrah is equally conscious of avoiding the exoticisation that often surrounds artists working with regional traditions. Authenticity, he says, comes through constant dialogue with the people who have preserved those art forms for generations. "I was always checking with my brother and my mum to make sure I stayed true to the meaning and delivery," he says. "Even if you grow up within that culture, you have to keep verifying with the people who know the tradition best." That philosophy extends naturally into his live performances, where voice, guitar, analogue synthesis and real-time improvisation transform IRTH-TRONIC into something that evolves from one performance to the next. "The live show is where IRTH-TRONIC comes to life," he says. "I know the direction of the journey, but I allow the details, transitions and emotions to change depending on the space and the moment." Ultimately, Sarayrah hopes the project encourages a new generation of Arab electronic artists to see heritage as something that continues to grow rather than something confined to history. "I believe heritage is alive," he says. "Traditions need to grow so they stay relevant. I hope this album reminds people to look inward and value what we already have, because there's so much beauty in our shared heritage." As IRTH-TRONIC demonstrates, electronic music doesn't need to borrow identity from elsewhere. Sometimes the most progressive ideas come from rediscovering the stories, sounds and traditions that have been there all along. Yazan Sarayrah https://www.instagram.com/yazan.sarayrah https://open.spotify.com/artist/3hnWpiOnZfHrY7uq2zNReK https://soundcloud.com/slaytsyazan

Sam Divine Longstanding house music brand, Love to be... returns to Liverpool on Friday 24th October for a huge day-into-night takeover at Liverpool Arts Club. Over two rooms, the event brings together Defected favourite Sam Divine headlining the Theatre alongside Trimtone, Liverpool’s own Dom Townsend and more. While heading up the Loft in the 360-DJ booth is the red-hot, in-demand DJ-producer, Beave, Cash Only and even more quality talent. This is the only Liverpool date of 2026 from one of the UK’s most enduring club brands. Earlybird tickets are now on sale from £19 plus fees from Skiddle. Following the brand’s last Liverpool showcase at Camp & Furnace during its 30 Years Of House celebrations in 2024, Love to be… heads back to the city with a lineup that reflects both its heritage and continued connection to the modern house landscape. While summer isn’t over yet, it’s never too early to start planning a big autumn blow-out. Leading the bill in the Theatre is Defected Records mainstay, Sam Divine. As one of the most recognisable names in global house music, Sam has built an unwavering following, appearing at major events EXIT Festival, Tomorrowland and Ushuaïa Ibiza, featuring on the front cover of DJ Mag and winning Best House DJ at the Ibiza DJ Awards. Joining her and representing the foundations of Love to be is Trimtone, aka Love to be co-founder Tony Walker and Director Marc Dennis. As the driving force behind Love to be’s international success, record label and global syndicated radio show reaching seven million people each week, their influence on UK house culture continues to span more than three decades. Completing the Theatre lineup are Liverpool’s very own Dom Townsend who has been seen tearing it up in Ibiza this summer with appearances at Club Chinos and Hï Ibiza; and one of the city’s standout rising selectors, Jade Edwards, having already appeared at major UK festivals including Baltic Weekender and Creamfields. Taking over the Loft at Arts Club is one of the hottest producers around right now, Beave. His tracks are being dropped all over dancefloors this summer by heavyweights Rossi, Luke Dean, Josh Baker and Chris Stussy. The guy is blowing up big time! He’s joined by the international electronic artist Cash Only, who’ll bring house music with high-octane attitude and zero compromise, along with a wealth of rising talent in Maddison Reid, Keexx and Nick Bourne. Set inside the intimate surroundings of Liverpool Arts Club, the event promises a full-scale club experience with powerful sound, immersive production and the unmistakable atmosphere that has defined Love to be for more than 30 years. Since launching in Sheffield’s legendary Music Factory in 1994, Love to be has welcomed the biggest names in dance music history, including Frankie Knuckles, Masters At Work, Roger Sanchez, David Morales, Armand Van Helden and Basement Jaxx. Now merging that same legendary talent with modern contemporaries like Sonny Fodera, Adelphi Music Factory, Claptone and Paul Woolford, Love to be... bridges generations on the dancefloor while staying rooted in the music and culture that built its legacy. Whether a long-time Love to be house head or joining the party for the first time, clubbers get ready for a night packed with energy in the heart of Liverpool this October. Love to be… Web – Instagram – TikTok – Facebook