Wippenberg Wippenberg continues his return to electronic music with the release of ‘Oi!’, a new hard dance single via Teletech, available to buy/stream now. The German producer first emerged in the mid-1990s, earning widespread recognition with ‘Neurodancer’, an acid trance anthem that became one of the defining rave records of its era. His productions and remixes went on to shape the sound of the late '90s and early 2000s, with work for artists including Van Dahl, ATB, Fragma, Tiësto and Blank & Jones, while tracks from his catalogue continue to receive support from contemporary DJs such as Ki/Ki, Marlon Hoffstadt, Pegassi and Benwal. After stepping away from music production and social media for almost a decade, Wippenberg returned in 2025 and has since embarked on a steady run of releases spanning multiple corners of the harder dance spectrum. Recent outings on Hannah Laing's DOOF Records, alongside collaborations with Mika Heggemann and support from artists including Azyr and DJ Hyperdrive, have reinforced his growing momentum. His latest release marks his debut on Teletech, one of the most recognisable brands in today's hard dance scene. Built around pounding percussion, rave-driven energy and an instantly memorable ska and punk-inspired vocal hook, ‘Oi!’ embraces the high-intensity sound currently dominating festival stages and warehouse events across Europe. The release also highlights Wippenberg's ability to bridge generations of electronic music, drawing on decades of experience while aligning with the faster, harder direction that has fuelled the genre's recent resurgence. ‘Oi!’ is available via Teletech now, adding another chapter to Wippenberg's comeback and introducing his sound to a new wave of hard dance audiences. Wippenberg https://www.instagram.com/wippenberg https://open.spotify.com/artist/0Orz1QOZQrwampy0S742oK

Amix Amix delivers a bright and uncomplicated tech house record on ‘Sunny Day In Bulgaria’, combining rolling percussion, groovy low-end and warm synth melodies with an easy-going sense of movement. Released through Kidron, the track is shaped for practical use in a DJ set while maintaining enough melodic character to remain engaging beyond the dancefloor. The production establishes its direction quickly. Crisp tech house drums provide a steady rhythmic framework, while the bassline adds bounce and weight without overpowering the arrangement. It is a groove designed to keep bodies moving rather than demand attention through oversized drops, giving the track a natural place within warm-up selections, daytime sessions and transitional moments in longer sets. Synth work brings much of the record’s personality. Created as part of Amix’s hardware-led process using analogue synthesisers and drum machines, the melodic elements carry a warmth that complements the cleaner rhythmic foundation. The combination gives ‘Sunny Day In Bulgaria’ a cheerful atmosphere without pushing it towards novelty or becoming overly sentimental. Its structure remains deliberately functional. Energy rises through gradual layering, rhythmic adjustments and subtle changes in texture rather than dramatic breakdowns. This measured progression makes the track easy to blend, allowing DJs to introduce or exit it without disrupting the wider flow of a set. There is little here designed to reinvent tech house, but that is not the record’s intention. Its appeal lies in its balance of groove, melody and usability. The arrangement stays focused, the production feels uncluttered and its upbeat mood remains consistent from beginning to end. ‘Sunny Day In Bulgaria’ is an enjoyable and versatile club cut from Amix. Driven by lively percussion, a buoyant bassline and warm analogue colour, it offers the kind of dependable dancefloor energy that can slot naturally into a set while still carrying a clear identity of its own. Amix https://www.instagram.com/ezramusic111 https://open.spotify.com/artist/42vQ2rsOqjkBD4FYWV0Xiw

PROSIX PROSIX leans into groove over gimmicks on ‘All Ready’, delivering a rolling tech house record built for extended blends and sustained dancefloor momentum. Focused on rhythm, movement and clean production, the track favours subtle evolution over attention-grabbing moments, resulting in a club tool that understands exactly where its strengths lie. From the outset, an infectious percussion groove takes control. Tight drum programming, crisp hats and layered rhythmic details lock together around a weighty, undulating bassline that provides constant forward drive. Rather than chasing dramatic breakdowns, the arrangement maintains its momentum through carefully judged additions and small variations, keeping dancers engaged without disrupting the flow. The production remains disciplined throughout. Every element has a clear purpose within the mix, allowing the low-end to breathe while the percussion carries the track's energy. Small vocal chops and transitional effects are introduced sparingly, adding texture without distracting from the groove-first philosophy that defines the record. It's an approach that feels particularly well suited to terrace sessions, daytime festivals and longer house sets where consistency is often more valuable than spectacle. There is a clear understanding of pacing behind the arrangement. PROSIX allows the groove to develop naturally, introducing subtle shifts in dynamics that reward DJs looking for records capable of sitting comfortably within extended mixes. While the track doesn't attempt to reinvent the genre, it demonstrates how effective straightforward, well-executed tech house can be when the fundamentals are given room to shine. Having spent more than two decades immersed in house music, PROSIX's experience is evident in the confidence of the production. The record feels comfortable in its identity, prioritising rhythm, balance and dancefloor functionality over fleeting trends or unnecessary complexity. ‘All Ready’ is a polished and dependable tech house release that delivers exactly what it promises. Built around rolling percussion, driving low-end and infectious groove, it offers the kind of understated club weapon that earns its place through repeat plays rather than headline moments. PROSIX https://instagram.com/djprosix https://open.spotify.com/artist/5mItyg99C5iBIiD3tqKBUT

Neviks Launching a new label with your own music inevitably sets the tone for everything that follows, and Neviks makes a confident statement with ‘Believe’, the first release on KDNC. Rooted in classic house sensibilities while carrying a polished contemporary finish, the track delivers an infectious blend of uplifting vocals, rolling grooves and understated dancefloor energy. The production is built around a warm, driving rhythm that immediately establishes its club credentials. Crisp percussion and a rounded bassline lock together effortlessly, while subtle shuffling drums inject movement without overcomplicating the arrangement. The groove remains the record's strongest asset, creating a hypnotic flow that feels equally suited to intimate club spaces and larger dancefloors. The vocal provides the emotional centrepiece, introducing a positive message that complements the production without becoming overly sentimental. Rather than dominating the track, it sits naturally within the groove, adding warmth and memorability while allowing the instrumental to retain its momentum. This balance between musicality and accessibility gives ‘Believe’ a broad appeal without sacrificing its underground identity. Production throughout is clean and purposeful. The arrangement develops through carefully judged additions and small variations, resisting the temptation to rely on oversized drops or unnecessary theatrics. Instead, Neviks focuses on delivering a timeless house record built on groove, dynamics and subtle progression. While the formula remains familiar, the confident execution keeps the track engaging from beginning to end. As the opening statement for KDNC, ‘Believe’ succeeds in establishing a clear musical direction. Its blend of Chicago-inspired grooves, soulful house influences and modern production creates a strong foundation for the label, while demonstrating Neviks' understanding of what makes a club record endure beyond a single season. ‘Believe’ is a polished and assured debut that prioritises feel over spectacle, introducing KDNC with a release that feels authentic, dancefloor-ready and built with longevity in mind. Neviks https://instagram.com/neviks_music https://open.spotify.com/artist/2vsVyqFdok9wvt0J31PrIB

openmode As the closing chapter of all day, ‘How Do I Stop’ feels less like a standalone single and more like the point where everything finally settles. Rather than chasing an emphatic finale, openmode choose introspection over impact, delivering a slow-burning electronic piece that rewards patience through evolving textures, understated emotion and meticulous production. Built around a repeating synth motif that gradually transforms throughout its runtime, the track establishes an atmosphere of quiet uncertainty from the outset. Chords slowly expand and contract around the central melody, while restrained breakbeat rhythms provide movement without disrupting the contemplative mood. The balance between ambient electronica, IDM and broken-beat influences never feels forced, instead unfolding naturally as each element is introduced with purpose. The duo's collaborative process is particularly evident here. Vocals are treated less as conventional lead performances and more as another instrument within the arrangement, woven into the production through subtle processing and careful placement. Fragments drift in and out of focus, adding emotional weight without becoming overly explicit, leaving space for listeners to project their own interpretations onto the music. What stands out most is the confidence shown in the pacing. Rather than relying on dramatic structural changes, openmode allow the composition to evolve through texture, dynamics and small harmonic shifts. Each new layer feels earned, creating a sense of progression that remains engaging despite the deliberately restrained tempo. The result is a track that invites repeated listening, revealing fresh details as its intricate production begins to unfold. There are echoes of artists operating within the more atmospheric corners of UK electronic music, but ‘How Do I Stop’ never feels derivative. Instead, openmode have developed a sound that comfortably balances melody, experimentation and accessibility, drawing from ambient, breakbeat and downtempo influences while maintaining a clear identity of their own. The production feels organic despite its electronic foundations, carrying a warmth that prevents the more introspective themes from becoming overly bleak. As the conclusion to all day, the track succeeds because it provides resolution without easy answers. Its themes of uncertainty, mental overload and navigating an increasingly complex world remain present throughout, but they are communicated through atmosphere rather than heavy-handed lyricism. The music leaves room for ambiguity, allowing the emotional impact to emerge gradually instead of insisting upon it. ‘How Do I Stop’ is a thoughtful and beautifully measured piece of electronic music. Through patient songwriting, immersive sound design and understated emotional depth, openmode deliver a finale that lingers long after the final note, bringing all day to a quietly compelling close. openmode https://open.spotify.com/artist/3q9EqNMYEcJsRvGsijLwCa

There is a particular atmosphere that arrives as daylight begins to fade, when the energy of the day gives way to something quieter and more reflective. Philadelphia producer DJ Cards explores that transition on ‘Blue Hour’, an atmospheric electronic track that places emotion and melodic progression ahead of conventional dancefloor impact. Built around warm synthesizers, evolving melodies and understated vocal textures, the production draws on the immersive qualities of melodic house and progressive trance. Rather than relying on a dominant vocal hook or an explosive drop, ‘Blue Hour’ develops gradually, allowing its layered instrumentation and shifting melodic elements to establish a cinematic sense of movement. The approach marks an interesting expression of DJ Cards’ musical identity. Known as ‘The Lawyer Who Drops Beats’, the producer typically works within a more energetic electronic framework, combining melodic builds and uplifting arrangements with the scale and momentum associated with festival-oriented EDM. On ‘Blue Hour’, those melodic instincts take precedence over outright intensity. The track’s focus on atmosphere and emotional development gives the composition a more contemplative character, with subtle vocal textures supporting the instrumentation rather than competing for attention. Its appeal lies in that sense of restraint. By allowing the arrangement to unfold organically, DJ Cards explores how relatively understated musical elements can create an immersive listening experience without the need for an obvious pop structure. The result sits between the emotional immediacy of melodic house and the expansive qualities of progressive electronic music. That balance also reflects the producer’s broader interest in combining cinematic atmosphere with accessible dance music. While his catalogue draws heavily on club-focused energy and uplifting electronic arrangements, ‘Blue Hour’ highlights the more reflective possibilities within that sound. For listeners drawn to melodic electronic music that prioritises atmosphere as much as rhythm, ‘Blue Hour’ offers a considered exploration of the space between daylight and darkness. It is a track built around gradual progression, emotional texture and the ability of melody to communicate without relying on words. DJ Cards https://open.spotify.com/artist/16aeRAusk1RDcU2K6W3geH

ONFAYA German duo ONFAYA have unveiled their new imprint, TUTTO PASSA, with the release of its debut single, ‘Oye Así’, a collaboration with Arema Arega that introduces both the label's musical identity and its wider creative vision. Pre-order it here: https://linktr.ee/onfayarelease. Landing on 17th July, ‘Oye Así’ marks the first release on TUTTO PASSA, a new imprint distributed and serviced by Déepalma Records. More than a traditional record label, the project has been conceived as a lifestyle platform spanning music, events and fashion, reflecting ONFAYA's ambition to build a creative community centred around connection through electronic music. The debut release captures the duo's signature blend of Afro house, melodic textures and Latin-inspired rhythms. Driven by infectious percussion, uplifting melodies and rolling grooves, ‘Oye Así’ delivers a vibrant, dancefloor-focused production that sets the tone for the imprint's future direction. Inspired by the idea that shared moments on the dancefloor can unite people across cultures, TUTTO PASSA extends beyond recorded music, aiming to create experiences that combine sound, style and community under one creative identity. The launch arrives during a period of rapid growth for ONFAYA. The duo have amassed more than 200 million Instagram Reel views, built a social audience approaching half a million followers and performed at venues and events including Cova Santa Ibiza, KOKO London, Dubai, Phuket and Mumbai, steadily establishing themselves as one of the emerging names within the global Afro house scene. With ‘Oye Así’, ONFAYA deliver a confident first statement for their new imprint, laying the foundations for a project that looks set to evolve far beyond the dancefloor while remaining firmly rooted in groove, rhythm and musical connection. ONFAYA https://www.instagram.com/onfayaofficial https://open.spotify.com/artist/0sasUEK0m04YuL52Vo63XJ https://soundcloud.com/onfayaofficial

DJ Spen DJ Spen is set to release his new album ‘The Praise Party’, a deeply personal gospel house project that celebrates hope, community and the enduring power of music. Arriving via Quantize Recordings, the 15-track collection traces its roots back to the pandemic, when Spen's wife, Kelly, encouraged him to begin hosting weekly livestreams to lift people's spirits during a difficult period. What started as a simple Sunday gathering quickly grew into a worldwide community, with thousands tuning in each week to share in music, positivity and gospel house. Six years later, that same spirit forms the foundation of ‘The Praise Party’, transforming the energy of those livestreams into a full-length studio album filled with uplifting vocals, soulful house grooves and messages of faith and encouragement. "‘The Praise Party’ is a work of my heart unlike anything I've ever done," says DJ Spen. "I hope it inspires and encourages all who listen." The album brings together an impressive cast of gospel and soulful vocalists, including Barbara Tucker, Dawn Tallman, Inaya Day, Angelica de No, Richard Burton, Tasha LaRae, Robin S and Cleveland P. Jones. Behind the scenes, Spen also collaborates with an accomplished team of producers and songwriters including Kelly Spencer, Eric Roberson, David Harness, Thommy Davis and Richard Smallwood. The release marks another significant chapter in a career spanning more than 40 years. From his early work with The Numarx and Basement Boys through to Jasper Street Company, The MuthaFunkaz and Quantize Recordings, DJ Spen has remained one of the defining figures in soulful house music. His extensive catalogue includes more than 700 releases alongside production and remix work for artists including Diana Ross, Michael Jackson, Toni Braxton and Ann Nesby. ‘The Praise Party’ will be released exclusively on Traxsource on 17th July before receiving a full digital and vinyl release on 31st July. To celebrate the launch, DJ Spen will also host a special album event at London's BBE Store on 2nd August, bringing the community that inspired the record together once again.

JOHANNSON Swiss DJ and producer JOHANNSON has returned with ‘The Tribe’, contributing a vibrant new production to eViVE Records' latest various artists compilation, ‘Textures Of Sound Vol 5’. Blending Afro and Latin house influences with refined club production, the track continues JOHANNSON's steady artistic evolution while highlighting the rhythmic approach that has become central to his sound. Built around rolling percussion and hypnotic grooves, ‘The Tribe’ delivers a dancefloor-focused journey rich in atmosphere and movement. Layered drum patterns form the backbone of the production, locking together with a warm bassline to create constant forward momentum. Vocal chants flow naturally through the arrangement, while melodic synth lines, atmospheric pads and evolving chord progressions gradually expand the soundscape, adding both emotional depth and dynamic energy. Rather than relying on oversized drops, JOHANNSON allows the groove to develop organically. Subtle production details and carefully controlled progression keep the track engaging throughout, creating a release that feels equally suited to extended DJ sets and immersive personal listening. With more than 25 years of experience behind the decks and in the studio, JOHANNSON continues refining a sound shaped by global musical influences and contemporary house music. His productions consistently balance musicality with dancefloor functionality, drawing inspiration from diverse cultures while maintaining a clear underground identity. Appearing alongside a selection of internationally influenced house music on ‘Textures Of Sound Vol 5’, ‘The Tribe’ reinforces JOHANNSON's commitment to groove-led electronic music built around rhythm, atmosphere and carefully crafted production. As his catalogue continues to grow, the release offers another confident statement from an artist whose passion for musical exploration remains at the heart of everything he creates. JOHANNSON Spotify | Instagram | Beatport eViVE Records Beatport

Aurory Italian producer and DJ Aurory has returned with ‘Yeah Oh’, a new melodic house and techno release that continues to shape the evolving sound of one of the genre's emerging talents. Built around rolling rhythms, emotive melodies and expansive atmospheres, the track highlights Aurory's growing focus on immersive electronic music, combining dancefloor momentum with rich musical detail and cinematic progression. Opening with a driving kick and pulsating bassline, ‘Yeah Oh’ gradually unfolds through evolving synth work, expressive vocal layers and hypnotic arpeggiators. Rather than rushing towards a peak, the arrangement develops patiently, introducing darker textures before dropping into an atmospheric breakdown that provides space for the melodic elements to fully breathe. As the tension rebuilds, expansive pads and fluid lead lines guide the track back towards its rhythmic core, balancing emotional depth with club-focused energy. The result is a production that feels equally suited to late-night dancefloors and more introspective listening sessions. Aurory continues to draw inspiration from a broad musical palette, subtly weaving Middle Eastern influences into his melodic approach while maintaining a contemporary electronic sound rooted in melodic house and techno. That willingness to explore beyond conventional genre boundaries has become an increasingly recognisable part of his artistic identity. With each new release, the Italian producer continues refining a sound centred on atmosphere, movement and emotional connection rather than formulaic club structures. ‘Yeah Oh’ further reinforces that direction, offering another glimpse into the creative world Aurory continues to build through his productions. As his catalogue steadily grows, ‘Yeah Oh’ stands as another confident step forward, showcasing a producer committed to developing a distinctive voice within the modern melodic electronic music landscape. Aurory Instagram | Spotify | Beatport

Arky Waters For Arky Waters, debut album Holdin' On isn't simply a collection of tracks. It's a snapshot of a particular moment in his life, documenting both his own artistic evolution and the community that helped shape it. Released via Mammal Sounds Records, the album marks a significant turning point for the Australian producer. While earlier releases often emerged from solitary studio sessions, Holdin' On reflects the influence of Sydney's club culture, collaboration and the freedom that comes from letting go of creative expectations. Looking back now, Arky can hear that transformation unfolding across the record itself. "When I listen back to the album I can literally hear the moments where I'm starting to let myself feel free in the way I'm producing," he explains. "Ableton is almost becoming like an instrument that I'm finally getting used to." Although Holdin' On represents his first full venture into bass music, the genre has quietly shaped his musical journey from the very beginning. "Bass music was what got me into electronic music in the first place," he says. "It honestly just took this long to become technically good enough to produce it. To me, it's definitely the hardest genre to make." That technical challenge has fundamentally changed how he approaches the studio. Rather than building songs around existing sounds, Arky increasingly prefers creating everything himself from the ground up, paying as much attention to frequencies and physical impact as melody. "There's definitely a lot less tinkering involved now," he says. "A lot of the time, if I want a sound, I'll try to make it from scratch. There's much more consideration for how the music will sound on a big system." The shift hasn't only been technical. Surrounding himself with Sydney's underground community has transformed both his confidence and the way he views creativity. "Honestly, it's just made the whole process so much more fun," he says. "You naturally pick things up from other producers. Sharing resources and techniques makes the whole scene better." That sense of community runs throughout Holdin' On, with the city itself becoming almost another contributor to the project. Sydney's relative isolation has created an underground scene that absorbs influences from every corner of electronic music rather than following a single dominant sound. "There's so much variety here," Arky explains. "I think it comes from the fact we're so isolated. The Sydney sound pulls from all over the world. We get to pick and choose what we like, and it creates something really unique." While listeners outside Australia may not immediately recognise those influences, Arky believes there are still subtle clues hidden throughout the album. "Maybe the voices in the interlude are a giveaway," he laughs. For all its club-focused energy, Holdin' On never loses sight of emotional storytelling. Growing up in bands before moving into electronic music left Arky searching for ways to preserve that same emotional honesty within dance music. "I grew up writing really personal songs," he says. "When I started making electronic music, it felt really void of life in comparison." Closing that gap has become one of his biggest creative motivations. "I'm constantly trying to squeeze that same feeling out of electronic music." That balance between technical precision and emotional expression extends to the album's collaborations, particularly Take a Trip alongside LX. The track emerged during a relaxed studio session with no real expectations, yet still benefited from the pressure of a limited booking window. "It was a weird combination of both," Arky explains. "We only had the studio booked for two hours, so there was definitely that feeling of wanting to get something done quickly. I think the best ideas need a little bit of pressure." Elsewhere on the album, experimentation became just as important as efficiency. Tracks such as OMG demanded countless hours refining bass design, despite their relatively minimal arrangements. "The basses almost needed to have a conversation with each other," he says. "That took a really long time, but it was worth it." That willingness to experiment feels increasingly important within today's rapidly changing electronic landscape, where trends can appear and disappear almost overnight. Rather than worrying about what might perform best, Arky has consciously chosen to trust his instincts. "It's really crazy," he says. "I've been making music for so long now that I'm over doing anything for external validation." Having a supportive community has helped reinforce that mindset. "I'm lucky to have great people around me who support what I do, so it never feels like a lonely pursuit making music that isn't necessarily the most popular sound." With Holdin' On now out in the world, Arky already sees it less as a destination than the beginning of another creative chapter. More than anything, the album reinforced the value of stepping beyond familiar territory. "It was really healthy for me creatively to push my boundaries instead of sticking to what I already knew," he says. That philosophy is unlikely to disappear anytime soon. "Moving forward, experimentation is definitely going to take the front seat," he says. "I want to see what I can get away with." If Holdin' On captures the first clear snapshot of Arky Waters' artistic identity, it also points towards a future built on curiosity rather than certainty. As his confidence continues to grow, so too does his willingness to push further beyond the boundaries of his own sound. Arky Waters https://www.instagram.com/arkywaters https://open.spotify.com/artist/1cxe1pFJnavjEUC9hRKZli https://soundcloud.com/arky-waters

emesh | Credit: Antonio Muñoz producer emesh has unveiled his latest release, ‘Kairós’, continuing a musical journey that has seen him blur the boundaries between deep techno, immersive electronica and meditative sound design for more than two decades. Built around hypnotic grooves and evolving textures, ‘Kairós’ is less concerned with immediate dancefloor impact than with creating a sustained sense of movement and emotional immersion. The track unfolds patiently through subtle modulation, layered melodies and restrained harmonic development, allowing its atmosphere to gradually take shape rather than rushing towards obvious climaxes. At the heart of the release is the idea of transition. Inspired by the ancient Greek concept of kairos – the defining moment when action becomes inevitable – the production explores the space between anticipation and release, using repetition and gradual evolution to draw listeners deeper into its rhythmic framework. That philosophy reflects emesh's wider artistic identity. Alongside his work as an electronic music producer, Antonio has spent years exploring sound healing practices, incorporating Tibetan singing bowls, shamanic drums and therapeutic instruments into his broader creative process. While ‘Kairós’ remains firmly rooted in deep techno, those influences subtly inform the track's emphasis on presence, space and mindful listening. Over the past 20 years, emesh has developed a catalogue spanning labels including Initiate Rec., Piranha Siberia Dub, Blue Lotus and Velvet Dub Collective, while also performing alongside artists such as James Holden and presenting dedicated sound healing concerts. With ‘Kairós’, he brings those parallel worlds closer together than ever before. The result is a deeply atmospheric techno production that balances dancefloor functionality with introspection, demonstrating how electronic music can be both physically engaging and emotionally absorbing. Rather than chasing intensity through sheer force, ‘Kairós’ builds its impact through patience, offering a hypnotic listening experience that rewards complete immersion. emesh https://www.instagram.com/armoniadelsonido https://open.spotify.com/artist/6FOX0GGKVXBVzT5YbJ6gxb NAIAD. Records https://www.instagram.com/naiadrecs.official https://soundcloud.com/naiadrecsofficial https://naiadrecs.bandcamp.com