Beranger Brazilian selector, producer and label manager Beranger has built his place in electronic music through a balance of instinct, community and versatility. Whether moving through house, minimal, breaks and acid in his DJ sets, overseeing multiple labels behind the scenes, or shaping records through a groove-led approach, his work sits within a wider ecosystem that extends far beyond simply playing clubs. His recent remix work has underlined that range too, including a rework of Rodrigo Ferrari featuring house icon Robert Owens on ‘Me Gusta’. Taking on a voice with such a strong legacy brought a very particular challenge. “When Rodrigo first shared the track with me, I immediately knew it was something special,” Beranger says. “Especially because of Robert Owens’ vocals, which are truly iconic in house music.” Rather than overbuilding around the vocal, he chose to strip things back. “My focus was to respect the essence and emotion of his voice without overcomplicating the arrangement. I explored a few directions at first but realised they weren’t translating what I wanted artistically, so I started again from scratch.” The answer came through simplicity. “That’s when everything began flowing naturally. I found a direction that felt true to my identity, a more minimal approach with strong influences from 90s house that allowed the vocal to really breathe.” Elsewhere, his remix for Ocsav on Banana Gold Records took a very different route. While ‘Me Gusta’ involved rebuilding the framework almost entirely, this process felt more like expanding what already existed. “With ‘Tipsy Kings’, I kept a stronger connection to the original,” he explains. “I preserved that hypnotic late-night vibe while bringing my own touch through a more minimal approach and added tension for the dancefloor.” That ability to move across styles has become one of Beranger’s defining characteristics. His sets comfortably drift between house, jazzy textures, minimal, breaks, electro and acid without losing focus. For him, coherence comes down to identity rather than genre. “I think the key is having a very clear sonic identity,” he says. “Even when I move through different genres, there’s always a common thread in terms of groove, texture and feeling.” Preparation matters, but instinct matters more. “I build a musical narrative before a set, but nothing is fixed. A big part of it is reading the dancefloor in the moment. It’s really about balancing preparation and intuition.” That instinct has been shaped heavily by the underground scenes of Rio de Janeiro and São Paulo. While early experiences began at raves and psytrance parties, one club completely changed his direction. “Everything changed the first time I went to Fosfobox in Copacabana,” he says. “I instantly felt like that was where I belonged.” From there, the scene became something much deeper than nightlife. “The clubbing scene played a huge role in shaping who I am, both as an artist and as a person.” Some of the moments that followed became milestones in his journey. His first set at Fosfobox still stands out as a turning point. “I was invited by Deperon to play the warm-up for D-Nox & Beckers. It was a very special experience that opened doors for me.” Another came through bringing his own Miniclub concept to D-EDGE Rio alongside Prunk. “It was very emotional because I got to share that moment with an artist I truly admire.” Playing D-EDGE São Paulo carried a different kind of significance. “It was a club I had always dreamed of playing.” Those experiences also shaped how he sees the difference between residencies and individual bookings. “A residency gives you the chance to build something over time,” he says. “You understand the dancefloor and build trust with people.” That relationship creates more room for experimentation. “With one-off bookings, you often need to make an immediate impact. With a residency you have more freedom to evolve and shape a consistent journey.” Away from the booth, Beranger's days now stretch across an extensive network of label and development work. Alongside his own Me Gusta Records and Miniclub Label, he works across projects including Banana Gold, Jackies Music, Heattraxx, Cocada Music and several others. That wider role has shifted how he sees his future within electronic music. “I feel very connected to the development side of things,” he says. “Helping labels grow, supporting artists and contributing to the scene in a more structural way.” For Beranger, the future seems less about narrowing his focus and more about widening the impact. “Finding that balance between the creative and industry side is something that motivates me,” he says. “That’s something I want to keep evolving.” Beranger https://soundcloud.com/beranger_musik https://www.facebook.com/beranger.musik https://www.instagram.com/berangermusik

Bruno Roth Bruno Roth is building something that stretches beyond simply releasing records. Since launching Cas Gayatí, the Ibiza-based artist and producer has gradually shaped the imprint into something more personal, rooted in the people, stories and cultural identity of the island itself. The label returns this May with its fifth release, the ‘Al Padre’ EP, a project created alongside Iranian-German pianist and producer Rosbeh and featuring lyrics written by Bruno’s father, José Ramón Torres Baeza. Across three tracks, the release explores family, memory and connection through warm textures, Balearic influences and fluid rhythmic movement. But speaking with Bruno quickly reveals that Cas Gayatí has become about much more than music. “There’s a very simple approach behind it,” he explains. “Be nice and kind to everyone.” He pauses before expanding further. “Here in Ibiza, we’re very used to people pretending to be nice or smiling first and then stabbing you in the back. Everybody is trying to make it and the least protected are often the Ibizans themselves because we have the least amount of money and face huge competition every summer.” Rather than becoming another platform built around networking or exclusivity, he wants Cas Gayatí to become a genuine space for local artists and creative voices. “My cultural space is about pushing people from the island through every release,” he says. “But based on talent and what they actually represent within Ibiza.” There is a quiet frustration underneath some of his reflections on the island's current landscape. Bruno feels the local scene can sometimes prioritise familiarity over discovery. “Here they don’t push talent,” he says. “They push their friends.” For him, the answer feels straightforward. “Our message is clear. The more people supporting and understanding what we do, the more power we have together. It’s time for good music to shine again in Ibiza somehow.” That connection to heritage naturally feeds into his own work too, though not in ways that feel overly nostalgic or tied to recreating the past. His family history forms part of that story. His grandfather's legacy and his father's connection to Ibiza nightlife meant music always existed around him, but he consciously chose to understand the industry differently. “I wanted to learn the technical side first and then become a DJ,” he says. “I wanted to understand every part of the industry so I could become something necessary rather than optional.” That wider understanding has shaped how he approaches sound itself. Across Cas Gayatí releases there is a noticeable freedom between genres and moods, something Bruno sees as essential rather than stylistic. “For me it’s everything,” he says. “I could never stick to one genre.” He laughs before becoming more direct. “It makes no sense to me to be a one-style DJ or artist. It closes your perspective and limits creativity.” That desire to avoid repetition also extends into the production process itself. “People need to stop using the same sample libraries as everybody else,” he says. “We need to create new genres again and that only happens through experimenting and sampling unexpected things.” Community remains a recurring theme throughout everything he talks about. Whether discussing family influences or studio collaborations, there is a sense that music only becomes meaningful when shared with others. “Having people in the studio, no matter how skilled they are, is really about community,” he says. “It makes you feel like something is still alive.” He believes different generations bring equally valuable perspectives into the creative process. “Older generations feel music differently because they grew up surrounded by live music all the time. They can immediately tell when something feels too robotic.” Younger artists bring something else. “They bring different structures and different ideas. It keeps things moving.” That sense of atmosphere also runs through his productions. On the ‘Al Padre’ EP, field recordings and lived experiences become part of the music itself, but for Bruno the process always comes back to storytelling. “For me, it’s really special when a record makes you want to be where it was created,” he says. “When I hear music I love, I always think about how amazing it would have been to be in that room and feel what those people were feeling.” Ultimately, Cas Gayatí feels like a project with much bigger ambitions than simply building a catalogue. Bruno already has a long-term vision in mind. “I want to create something like Ninja Tune or !K7 from Ibiza,” he says. “Something where people can say, ‘This is Ibizan music. These are artists from the island.’” Because for him, preserving culture on the island goes beyond economics or tourism. “Music is the only real way we can protect ourselves culturally,” he says. “Financially we could never compete with outside investment around us.” “And Ibiza has produced so many amazing artists. I want people to talk about that.” Cas Gayatí https://casgayatirecords.bandcamp.com/

Julian Glas At just 21 years old, Julian Glas already sounds like an artist with a clear sense of direction. The Alkmaar producer and DJ may have only seriously fallen into house music a few years ago, but his rise since then has been quick. From his debut at Club Panama through to signing his first EP with Whoyostro and receiving support from names including Marco Carola, Syreeta and Seb Zito, things are steadily moving in the right direction. For the latest edition of Undrtone x Jake Tomas & Paul HG + Friends Presents, Julian delivers a mix that reflects exactly where he sits musically right now. Warm grooves, garage influences, deep house textures and soulful energy all run through the set, mirroring the sound he has been steadily shaping in the studio. His route into dance music itself feels surprisingly recent. While many artists talk about growing up surrounded by electronic music, Julian’s relationship with house started through experiences on dancefloors rather than years spent digging through records. “I first really got into house music through some of the first events I attended, such as Elrow and Overdose by Menesix,” he explains. “I noticed that I was especially drawn to the rolling drums, although at that time I did not yet know which subgenre I was listening to. Later, when I discovered garage, everything started to make more sense.” That discovery quickly developed into something deeper. Alongside garage, artists and labels like PIV and Prunk began opening doors into a wider world of house music. “I really liked the sound of PIV Records and Prunk, and that is when I truly fell in love with house music.” That warmth still sits at the centre of how Julian approaches his own records now. While his influences touch on garage, deep house and classic underground sounds, he says those ideas tend to emerge naturally rather than through a deliberate process. “When I make music, I notice that I do not want it to sound too dark,” he says. “I really like energetic and soulful records where you can feel the warmth.” That same feeling runs throughout his guest mix too. There is a looseness and musicality to it that avoids feeling overly calculated, leaning instead into groove and atmosphere. A lot of that can be traced back to producers who helped shape his own understanding of house music. Names like Jeremy Sylvester and Scott Diaz continue to influence the way he hears rhythm and movement. “With artists like Scott Diaz and Jeremy Sylvester, you can really hear those 90s garage drums, which are a big source of inspiration for me,” he says. “What I also like about Scott Diaz is the way he can move between raw underground records and warmer, more soulful tracks.” For Julian, authenticity in house music is not about recreating the past. It is about carrying elements forward and making them feel relevant. “For me, it is mainly about combining the old with the new,” he explains. “Artists like RUZE are a good example of what that can sound like today. Warm, soulful and groove-driven, but still fresh and modern.” Despite still being early in his journey, important moments have already arrived. His Club Panama debut in 2023 remains one of them, although perhaps not for the reasons people might expect. “What I remember most is that I honestly did not really know what I was doing yet,” he laughs. “I was mainly just having fun, and that is something I want to keep doing throughout the rest of my DJ career.” Signing his first Whoyostro EP also gave him an early sense that things were moving beyond simply making tracks in his room. “Signing my first EP felt like a small piece of recognition,” he says. “It showed me that I was not the only one who believed my music sounded good.” Support from established artists has followed too, but one moment in particular stayed with him. “Syreeta was very enthusiastic about the demos I sent her quite early on,” he says. “Receiving personal emails back from her meant a lot to me.” Looking ahead, his next release ‘Dam Funkin’’ feels like a marker for where things are moving next. “With ‘Dam Funkin’’, I wanted to present the next stage of my sound,” he says. “The warmth of the track, combined with garage drums and soulful vocals, really shows the direction I want to move in.” And while things are building quickly, the goals themselves remain refreshingly grounded. “In two years, I hope to have organised my own event or festival, produced and released several more tracks, and hopefully released music on a strong label such as Arqive.” For now though, this guest mix offers a strong snapshot of an artist still at the beginning of that journey, already finding his own space somewhere between garage swing, soulful house and modern underground energy. Julian Glas https://www.instagram.com/julianglasdj https://open.spotify.com/artist/0ABv2KfHfSw57fPOv6GIuS https://soundcloud.com/user-192880730

KC Lights KC Lights has always understood how to make dance records feel big without losing control of the details. Across releases on labels including Toolroom, Defected and Skint, the Scottish producer has built a catalogue that balances festival-scale energy with melodic precision, earning support from names like Diplo, Dom Dolla, Calvin Harris and Swedish House Mafia along the way. Now returning to Toolroom with ‘Danca’, he leans further into that instinct. The new single pushes towards a darker, more driving space, blending breakbeat pressure, Latin vocals and heavyweight low-end with the polished production style that has become synonymous with his name. Built with peak-time intent but still grounded in groove and restraint, the record captures a producer who sounds increasingly confident in exactly what he wants his music to do. That balance between impact and simplicity sits at the centre of how KC Lights approaches production today. While ‘Danca’ feels expansive and high-energy, he explains that the key was actually knowing when not to add more. “Always easier said than done,” he says. “For me, it’s always a case of making sure not to overcomplicate the production. It can be very easy to keep adding new and exciting elements to try and bring more energy, but really the key is to keep things simple and make sure each part has its own space to shine out.” The initial idea behind the track came from wanting something built specifically for those bigger club moments while still carrying a slightly deeper edge than some of his previous material. “I wanted to write a big club record that brought a slightly darker side to my sets but still had that big peak-time energy,” he explains. Interestingly, the track came together unusually quickly. Rather than endlessly refining the demo, KC Lights made a conscious decision to preserve the original momentum that sparked the idea in the first place. “Amazingly, ‘Danca’ did come together really quickly and I think that contributes to the flow between the different sections of the track,” he says. “I deliberately didn’t want to spend too much time messing with the demo and potentially take away from the energy of the track. I had a good idea in the studio and ran with it.” That instinctive approach says a lot about where he currently sits creatively. While many producers can fall into the trap of over-editing or chasing technical perfection, KC Lights increasingly values feeling over flawless engineering. “I’d rather a record sounded a little raw but had a real buzz to it than an idea that sounded perfectly produced but lacked any soul,” he says. That philosophy also feeds into why his records tend to work equally well across clubs, festivals and more casual listening environments. Rather than targeting one setting from the outset, he focuses first on the emotional core of the idea before shaping it into something versatile. “Most of my records are born from just experimenting in the studio and letting whatever ideas are in my head flow out naturally,” he explains. “Then, when an initial idea is formed, it’s a case of finding out how I can work that into a track that might sound great in a number of different settings, whether it’s a big festival stage, a small club or even out of a phone speaker. It has to work everywhere.” That flexibility has allowed him to move comfortably between labels and scenes without ever sounding disconnected from his own identity. Whether releasing through Toolroom, Defected or Skint, the thread running through his music remains recognisable. “With ‘Danca’ I immediately knew Toolroom was the place,” he says. “But I always focus on the music first and then consider where I think would be a good home for it. It’s always an organic process.” Despite the scale of support his records now receive, he’s careful not to let outside validation dictate the direction of his music. While tracks like ‘SOL’ picked up backing from some of the biggest names in electronic music, he tries to avoid writing with specific DJs or trends in mind. “It’s always amazing to get that kind of support from the biggest names in the game,” he says. “Definitely a confidence boost. But I’ve never found it productive in the studio to try and follow the same path as another record or think about who I want to like a track before I’ve even written it.” Instead, he points back towards his upbringing and musical background as the strongest influence on how he approaches dance music today. “Without a doubt,” he says when asked about Scotland’s influence on his sound. “I’ve always been a fan of trying to harness the influence of my background and let that shape how I move forward, rather than trying to force a direction creatively.” Looking ahead, KC Lights sounds energised by where his creativity currently sits. Rather than slowing down, he admits he’s sitting on more music than ever before, with a growing collection of demos already waiting in the wings. “I’ve been more productive than I ever have been in the studio,” he says. “There is going to be a lot more music coming out and I can’t wait for everyone to hear it all.” KC Lights https://instagram.com/kclightsmusic https://facebook.com/kclightsmusic https://open.spotify.com/artist/0bUZrFj7rstq07E4iAJHgZ https://soundcloud.com/kc-lights

sillygirlcarmen With the release of the ‘EASE’ EP, Detroit artist, DJ and vocalist sillygirlcarmen reaches an important milestone. Not just because it marks the first vinyl release on her Sun & Sound Detroit imprint, but because it captures the wider philosophy driving both the label and her own artistic direction right now. Built around contributions from Glenn Underground, Coflo, Jon Dixon and Kevin Reynolds alongside her own collaboration with Coflo, the project feels less like a standard VA and more like a carefully assembled dialogue between generations, cities and different strands of house music culture. Deep house, jazz, soul and Detroit futurism all intersect naturally across the record, but nothing feels forced or overly conceptual. The warmth comes first. “That’s exactly why this was the right project for the moment,” she explains. “It felt effortless, warm and fresh all at once. Calling on these artists created a really beautiful representation of house music’s historical soul and craftsmanship while still feeling future facing.” For sillygirlcarmen, framing the release as a “vinyl conversation” between Detroit and Chicago was deeply personal. Her own sound has always existed somewhere between those two cities and their respective musical identities. “My taste really sits right in the middle of those influences,” she says. “Some people look at Detroit and Chicago’s electronic music histories as a debate, but I see them more as a storyline of inspiration and reflection between each other.” That sense of lineage runs throughout the project. The artists featured on ‘EASE’ span different generations, styles and perspectives, but the curation feels remarkably cohesive. Part of that comes from the close creative relationship she shares with her father, Todd Johnson, the long-standing Detroit promoter and Charivari co-founder. “Working closely with my dad naturally brings together old school and new school energy,” she explains. “That joining of generations happens very naturally when we curate for the label because so many of those friendships already existed.” At the same time, she is careful not to treat heritage as something static or untouchable. “We always keep a pulse on what feels fresh while still honouring the foundational tastemakers,” she says. That balance becomes especially clear on ‘Never Forget (That Feelin’)’, her collaboration with East Bay producer Coflo. The track sits at the emotional centre of the EP, blending skipping house rhythms with deeply reflective songwriting and soulful vocal delivery. “It’s a really heartfelt record,” she says. “The emotional softness resonated instantly between us. The lyrics reflect heartbreak, processing, yearning and memory.” Across both her music and the wider Sun & Sound platform, there is a noticeable refusal to lean too heavily into darkness or exclusivity, something she feels is often overemphasised within electronic music culture. “I observe a lot of grit and edge that people try to cultivate in electronic music,” she says. “But my perspective leans much more towards colour, vibrancy and playfulness. Sun & Sound is an extension of that energy.” That optimism sits at the core of the label’s identity. Visually and sonically, everything feels intentionally bright, expressive and community driven without losing credibility or depth. Away from the label itself, sillygirlcarmen continues balancing multiple creative roles simultaneously. DJing still sits at the centre of her day-to-day artistic life, but her relationship with vocals and songwriting remains equally important. “DJing feels most natural most often, but vocals come second,” she explains. “Sometimes that changes with the seasons though. Sometimes all my energy goes into singing and writing. Other times I’m completely focused on DJing.” What matters most to her is the ability to use both disciplines as emotional outlets and forms of connection. “I really love finding the sweet spot where I can use both mediums together to connect with people,” she says. Growing up within Detroit’s musical ecosystem clearly shaped that instinctive understanding of dance music culture from an early age. The city’s history still hangs heavily over her work, but more importantly, so does its mentality. “Detroit gave me such a rich foundation for my music palate,” she says. “But beyond that, the energy of the city really instilled hustle and drive in me.” That awareness of contributing to a larger cultural lineage brings responsibility too. “Having the opportunity to add to the culture and history of Detroit DJs makes me want to innovate, work hard and win,” she says. Those influences reveal themselves differently depending on the environment she’s performing in. While she’s appeared at major events including Movement Festival, she speaks just as passionately about smaller, more intimate spaces. “No setting leaves me uninspired,” she says. “But intimate clubs definitely bring out a more explorative side of me musically. We might go much deeper into the sound there.” Festival settings, naturally, demand something different. “At festivals I’ll lean more towards higher energy and performance,” she explains. Interestingly, despite her technical abilities, sillygirlcarmen places very little importance on overt showmanship behind the decks. Feeling remains the priority above everything else. “I think people critique this topic too much,” she says. “The feeling has to be the foundation. Everything else develops over time.” For her, passion and curiosity matter far more than perfection or technical flexing. “If your love for it is real, your effort eventually leads you towards becoming a great DJ,” she says. “You just have to stay curious and stay in love with the process.” Looking ahead, both sillygirlcarmen and Sun & Sound Detroit feel like projects entering an important new phase. More collaborations, live performance experiments and deeper exploration of vinyl culture are already underway, while the label itself continues expanding its ambitions beyond releases alone. “As sillygirlcarmen, I’m focused on growing my catalogue, exploring vinyl more deeply and developing live performance sets,” she says. “And Sun & Sound is definitely gearing up for more releases and more event curation.” If ‘EASE’ proves anything, it’s that the project already feels bigger than just a label. It’s becoming its own creative ecosystem, rooted in Detroit history while deliberately pushing towards something more colourful, collaborative and emotionally open. sillygirlcarmen Website / IG / Bandcamp / Sun & Sound

Brighton Music Conference has completed its 2026 line-up with the addition of ORBITAL, joining an already extensive programme of artists, industry professionals and electronic music figures across four days in Brighton. Taking place from 20th to 23rd May, the event once again returns to venues across the seafront, combining artist talks, workshops, networking sessions and industry-focused discussions across four dedicated theatres. BMC26 professional pass are on sale now for £175 + b/f via www.brightonmusicconference.co.uk/buy-tickets. ORBITAL’s appearance arrives as part of the DJ and producer programme. Phil Hartnoll will take part in a keynote interview alongside sessions featuring names including Dave Seaman and Greg Wilson, with the wider programme covering artist development, A&R, radio, songwriting camps and independent career building. The scale of the programme continues to expand. More than 240 speakers and artists are now confirmed, including Alan Fitzpatrick, Anja Schneider, Arielle Free, Denis Sulta and Kenny Dope amongst many others. Beyond artist-focused sessions, BMC continues its broader emphasis on wellbeing and sustainability within electronic music culture. The wellbeing programme returns with discussions centred around burnout, neurodiversity, sobriety, parenting and mental health, alongside yoga and soundbath sessions hosted throughout the conference. The workshop theatre also expands for 2026. In collaboration with pointblank music school, sessions will cover social media, DJ techniques, immersive audio, production workflows and emerging technologies, with contributors including Beardyman, Huxley, Saytek and Technics. Meanwhile, the industry programme, hosted alongside Skiddle, focuses on publishing, contracts, sync, AI, ticketing and rights management, bringing together professionals from labels, agencies, broadcasters and live events. Networking remains a central part of the conference. A series of mixers, afterparties and breakfast sessions will run across Brighton venues including The Tempest, Lazy Finn and Volks, creating opportunities for artists, managers, promoters and industry professionals to connect throughout the week. With ORBITAL now confirmed to complete the programme, Brighton Music Conference 2026 looks set to deliver one of its most expansive editions to date, reinforcing its position as one of the UK’s key events for electronic music culture and industry discussion. Brighton Music Conference https://www.facebook.com/BrightonMusicConference https://www.instagram.com/brightonmusicconference https://www.brightonmusicconference.co.uk/

909 RIOT and Carl Shorts have teamed up for the first time on Mad WOW E.P., a two-track release on Resilient Recordings. The project brings together the two artists on a hard techno statement that leans into pressure, movement, and a stripped-back sense of impact. Built for full-volume playback, the release is positioned as a direct, peak-time offering from the label. Sonically, the record moves between the title track’s relentless drive and the darker, more corrosive pulse of “Suit Yourself.” Marching percussion, unpredictable grooves, and flashes of acid color the arrangement, while the overall feel stays dark, fast, heavy, and percussive. It is the kind of material that keeps the floor locked in without overcomplicating the formula, leaving room for a focused audio embed here. The pairing marks the first collaboration between Carl Shorts and 909 RIOT. Both artists are presented here through a shared love of old-school hard techno attitudes, with the release text pointing to groove, acid, and unflinching momentum rather than polished excess. That approach gives Mad WOW E.P. a clear identity: lean, rugged, and aimed squarely at underground dancefloors. Mad WOW E.P. is available via Beatport, and listeners can hear a premiere of the release through SoundCloud. For those looking to dig into the record, the preview and purchase options offer a straightforward route into the full two-track package: https://www.beatport.com/release/mad-wow/6841676 Artist Social Links: https://www.instagram.com/909_riot/ https://www.instagram.com/carlshortsofficial/ https://www.facebook.com/909RIOT https://www.facebook.com/carlshortsofficial https://soundcloud.com/carlshortsofficial https://soundcloud.com/909riot Label Social Links: https://www.instagram.com/resilientrecordings/ https://www.facebook.com/resilientrecordingsoffical

DELON’s TRACES lands on Way Of House on 13 May 2026, arriving as a full-length release that keeps its club intent close to the surface. Framed as an LP rather than a set of loose edits, the project places DELON in a focused deep house setting with enough depth and motion to hold attention from start to finish. Sonically, TRACES works through pressure, texture and restraint. The record leans on a deep house backbone, but it also pulls in darker, groove-led energy, hypnotic movement and light afro touches that keep the rhythm section supple. Its mood sits somewhere between warm-up control and late-night momentum, with clean production, purposeful low-end and percussion that rolls naturally rather than forcing impact. It feels built for selectors who want depth over obvious peaks. While DELON is presented here through the lens of this release, the album itself suggests a producer comfortable shaping a full-length club statement. The emphasis is on balance: intimate but widescreen, serious but not sterile, and strong enough to work both on headphones and in a room. That combination makes TRACES an easy fit for DJs working the space between deep house and indie dance. For listeners and selectors drawn to restrained, percussion-led club music, TRACES is well worth checking out on Way Of House. Listen or buy via Beatport: https://www.beatport.com/label/way-of-house/37165 FOLLOW: https://www.instagram.com/delon.ofc/ https://www.delon.pro https://soundcloud.com/greg-delon https://www.youtube.com/@delon-music https://www.beatport.com/fr/artist/delon/35863 https://www.tiktok.com/@gregdelon

Following the brilliant releases of ‘Loving is Living’ and ‘Higher Place’ from Yousef's recent number one album ‘I Operate in Purple’, he reunites with Brighton vocal trio Kuuda for their third collaborative song, ‘Love and Hope’. The track presents a deeply melodic and gently melancholic narrative, tracing the emotional landscape of heartbreak while holding on to the sustaining force of belief. Kuuda's expressive vocals sit at the centre, carried by Yousef's unmistakable production craftsmanship. While it nods to classic sounds, the production remains fully contemporary, shaped by Yousef's modern and forward looking approach. The release also includes an excellent remix from Greece’s Tech House maestro Red Weeller, who brings his precise and infectious rhythmic style, lifting the energy into late night territory. With more than thirty years dedicated to global electronic music, Yousef is regarded as one of the most skilled and respected UK DJs. As a producer, he has now completed his fifth artist album, the accomplished ‘I Operate in Purple’. His catalogue spans many of the world’s most influential labels, including Crosstown Rebels, Desolat, Cocoon, Moon Harbour, Knee Deep in Sound, Defected, Hard Times, Renaissance and his own long standing Circus Recordings. Circus has released music from major dance figures such as Carl Cox, Kerri Chandler, Green Velvet and Jamie Jones, while consistently supporting new talent. Released in 2025, ‘I Operate in Purple’ is Yousef's most vibrant work to date, featuring collaborators including Baby Girl, Kuuda, Bodacious Thang, Alexx and Yasmin. Brighton collective Kuuda, formed by Charlie, Maeve and Ollie, are a versatile producer and songwriter and vocal trio whose sound ranges from Progressive and Afro to Jackin House and emotive Breakbeat. Their collaborations with Yousef, Franky Wah, Hot Since 82, KeeQ, Artche, Sam Divine and James Organ have established them as one of the most exciting rising acts in the UK. Their single with Hot Since 82, ‘ALIVE’, received BBC Radio 1 support from Pete Tong and Danny Howard. Download it here: https://circus.ampsuite.com/releases/links?id=594

Andy Ash arrives on Departure Lounge Records with When The Sunlight Comes, a new single/EP campaign from the label run by Brandon Pinel. The release brings together a tightly built set of house cuts that lean into melody, groove and a warm, late-summer feel, with the Bandcamp release serving as the public sales option for listeners who want to dig in further. The title track sets the tone with soft-focus motifs, bright electronics and bubbly acid lines wrapping around a wide-eyed house groove. Elsewhere, “Sunrise Acid” brings a more yearning edge, while Flabaire’s remix stretches that mood into dreamy, acid-flecked electro territory. “Deep Edge” shifts into a Hammond-laced, mid-tempo shuffle, and “3 Feet East” pushes hardest into peak-time energy. It’s the kind of material that balances movement and reflection without losing its club weight. Andy Ash’s release fits neatly within Departure Lounge’s broader approach, as Brandon Pinel has increasingly used the label to showcase like-minded producers alongside his own Ode to 97 output. Here, Ash’s writing is described through its balance of soft-focus melody and functional dancefloor pressure, with the record drawing on deep, warm, introspective and nostalgic moods. That combination gives the project a clear identity: expressive enough for headphone listening, but still built for systems and floors. For listeners wanting to explore the music, the release is available via Bandcamp, and the premiere links below offer a closer listen to select cuts from the campaign. Those previews capture the record’s range well, from the richer low-end pulse of “Deep Edge” to the more airy and acid-touched side of “Sunrise Acid” and its remix treatment. Buy / Listen https://odeto97.bandcamp.com/album/when-the-sunlight-comes Follow Andy Ash: https://www.instagram.com/andy_ash/ Flabaire: https://www.instagram.com/flabaire/ Departure Lounge Records: https://www.instagram.com/departureloungerecords/

SEAMUS ‘Redeem’ doesn’t feel like a typical drum and bass record. It doesn’t rush to prove itself, and it doesn’t rely on impact alone to carry it. Instead, it unfolds with intention, balancing emotional songwriting with club functionality in a way that feels considered rather than calculated. For SEAMUS, that balance wasn’t the starting point, it was something that came later. “In the moment we were really focused on using the song to paint a picture of what we were all feeling emotionally on the day,” he explains. “Once the song had a strong feeling, that’s when we focused a lot of time into how the track hits the dancefloor.” That order matters. Feeling first, function second. It’s a simple approach, but one that shapes the entire record. The environment it came from played a huge role in that process. Written during a songwriting camp hosted by SEAMUS in Orkney, the track carries a sense of space that feels tied directly to its surroundings. “I’ve spent a long time studying how the moment we sit in influences how we write songs,” he says. “Hosting camps in my home, Orkney, is an honour because it lets me showcase it to the world in a unique way and songwriters can come here to relax and do what they do best, write songs.” That sense of ease feeds into the music. Nothing feels forced. Nothing feels overworked. It’s a reflection of a process built around trust, something that becomes especially clear when working with HALLI. “We’ve been working together for over three years now, so we really know each other’s process,” he says. “We have a strong trust in each other’s ability when it comes to writing, producing and singing.” That familiarity allows the vocal to sit exactly where it needs to, present, clear and central without ever feeling crowded. Interestingly, the restraint that defines the track wasn’t something they actively chased. “I don’t think that was something that was on our minds,” he admits. “It sounds like it’s something that naturally woven into the song.” That natural quality is what gives ‘Redeem’ its identity. It doesn’t try to do too much. It simply does what it needs to do, and does it well. Coming from outside the drum and bass space, SEAMUS brings a different set of instincts into the genre. Those influences show up most clearly in how the vocal is treated. “I don’t get the chance to make a lot of DnB, so I think my influences show through the vocal production the most,” he says. “I make a lot of RnB records with artists that like having the vocals as the core of their music.” That crossover approach gives the track its accessibility without diluting its depth. The collaboration itself reflects that same sense of balance. With three artists from different backgrounds, the potential for things to become overcrowded is always there, but the opposite happens. “It’s important to lay a foundation at the start of a session where everyone knows they are all equal parts of the process,” he explains. “By having that, we all play our part in the song.” It’s less about dividing roles and more about creating a shared understanding of what the track needs. That perspective has been shaped by experience across different scenes and cultures. From Panama to South Korea, SEAMUS has spent time understanding how music connects in different environments, and that’s left a mark on how he works. “When you work with vastly different people in vastly different cultures you definitely pick up unique practices and nuanced sounds,” he says. “For example, I commonly use west coast or G-funk drums and elements in most of my productions because that’s what I was making and testing on South Korean crowds.” It’s a reminder that influence doesn’t always come from genre, it often comes from experience. At its core, though, his sound remains consistent. “Tight hard hitting drums, melodic airy vocals, smooth and catchy synth melodies,” is how he describes it. It’s a simple breakdown, but one that captures the essence of what ‘Redeem’ delivers. Releasing through Make Your Era adds another layer to that moment. The label has built a reputation for supporting artists at key stages in their development, and for SEAMUS, that support matters. “I’m really grateful to the team for believing in us and the track,” he says. “It’s exciting to release the song with that seal of approval.” It’s not just about the platform, it’s about alignment. The songwriting camp itself has become a defining part of that process. Not just as a setting, but as a philosophy. “The camps have taught me that the less pressure you put on yourself when creating, the better,” he says. “It’s so easy to get caught up in who’s in the room with you and how good the song should perform when it’s done.” Letting go of that pressure opens things up, allowing ideas to develop naturally rather than being forced into place. That mindset feeds directly into how ‘Redeem’ balances its more commercial structure with its roots in drum and bass. “With experience, I’ve learned what I like and how to showcase what my collaborators like with that,” he explains. “Everyone on this song is from a different country with different musical tastes and influences, and how that’s blended together speaks more about how comfortable we are with each other as creatives.” The structure becomes a tool rather than a limitation. Looking ahead, that openness to collaboration feels like the next step. “I’m really focusing on trying to capture my collaborators’ influences and sound when I’m producing with them,” he says. “I’m also keen to do a bit more DnB as it’s not really something I’ve touched before producing ‘Redeem’.” It’s less about locking into a direction and more about continuing to explore. And that’s exactly what ‘Redeem’ represents. Not a fixed point, but a moment of alignment. Different backgrounds, different influences, all meeting in the middle to create something that feels both personal and widely accessible. A track built on feeling first, and everything else following naturally behind. SEAMUS Instagram – Spotify - SoundCloud Make Your Era Beatport – Instagram – TikTok

Exile Exile has never struggled with complexity. Years in the studio, across different aliases and roles, have built a reputation around precision, detail and control. But ‘Wishing & Waiting’, his latest collaboration with Lupole and Harry Shotta on Make Your Era, leans in a different direction. It’s more open, more melodic, and more focused on feeling than force. A track that prioritises songwriting as much as sound design, and in doing so, reveals a shift in mindset that’s been building quietly over time. “It felt like a song early on,” he explains. “When we put the chords in, the vocal idea started forming. It made more sense to build around that vibe rather than force a big heavy drop.” That decision shapes everything that follows. Instead of building towards impact in the traditional drum and bass sense, the track moves with a different kind of intent, allowing melody, space and narrative to lead. That instinct doesn’t come out of nowhere. There’s a clear thread back to the early 2000s, a period that continues to inform how Exile hears music. “That era’s always been a foundation for me,” he says. “The chords, space, and vocal placement all come from that influence.” It’s not about recreating nostalgia, but about understanding what made those records connect in the first place and translating that into a modern context. That balance between technical ability and emotional clarity is where Exile’s experience comes into play. It would be easy for a producer with his background to overwork a track like this, but ‘Wishing & Waiting’ does the opposite. It breathes. It leaves room. And that’s entirely deliberate. “It’s about restraint,” he says. “The technical side supports the idea, it shouldn’t take over it. If it feels right, I leave it.” The collaboration itself came together in a similarly natural way. “I sent Elro a bassline and drums to start, then we built it out together,” he says. “He’s quick and musical with ideas, I focus more on detail and structure. It balanced well.” That contrast between instinct and refinement gives the track its shape, allowing it to develop without losing focus. Bringing Harry Shotta into the mix was never really a question. “I’d just done a set with him and knew straight away,” Exile explains. “His tone cuts through and carries something more musical like this.” The vocal doesn’t shift the direction of the track, but it sharpens its purpose. It turns a strong instrumental into something more defined, more human. “It didn’t change direction, but it gave the track real identity and purpose.” That identity is what allows the record to move between spaces so easily. It works on radio, in clubs, and across festival systems without feeling like it’s trying to be all three at once. “Not forced, but definitely in mind,” he says. “I like music that works in multiple places. This one landed there naturally.” It’s less about targeting audiences and more about trusting that the right balance will carry through. In a landscape where much of drum and bass has leaned into stripped-back, high-impact frameworks, ‘Wishing & Waiting’ stands apart by doing something slightly different. Not louder, not heavier, but more open. “There’s a lot of stripped-back DnB around, so I wanted this to feel more open and emotional,” he says. “Space makes things hit differently. It also gives more for the vocalist to work with.” It’s a subtle shift, but one that changes how the track is experienced. That idea of doing less has become central to how Exile approaches music now. After years of exploring different styles and techniques, the challenge has changed. “I’ve produced most styles, but stripping back is the real challenge,” he says. “Now it’s about doing less, better.” It’s a mindset that values intention over complexity, and one that comes through clearly in this release. Being part of the Make Your Era network has also played a role in shaping moments like this. “Massive,” he says when asked about its impact. “Being around the right people naturally leads to these collaborations.” It’s not just about opportunity, but about alignment, finding artists who approach music in a similar way and letting that guide the process. Within his wider catalogue, ‘Wishing & Waiting’ sits slightly to one side. “It’s one of the more musical tracks in my catalogue,” he admits. “There are still elements of my sound in there, especially in the bassline.” It feels like a natural extension rather than a departure, a different angle on the same foundation. And maybe that’s the real takeaway. Not a reinvention, but a refinement. A producer known for detail stepping back just enough to let the music speak more clearly. No unnecessary layers, no forced moments. Just groove, melody and space, working together in a way that feels effortless, even when you know it isn’t. Exile Instagram – Spotify – SoundCloud Make Your Era Beatport – Instagram – TikTok