Waxman Magnetic Magazine Recordings celebrates its 60th release with the return of Canadian producer Waxman, who delivers a fresh interpretation of Olendo's 'Folklore'. Already recognised as one of the label's standout recent releases, the remix offers a new perspective while preserving the emotional character that defined the original, continuing Waxman's growing relationship with the imprint. Built around progressive house foundations, 'Folklore (Waxman Remix)' leans into patient arrangements, flowing grooves and subtle melodic development. Retaining the original's vocal centrepiece and carefully selected instrumental elements, Waxman reshapes the track into a deeper, late night offering designed for extended club sets while maintaining its introspective atmosphere. The release continues Magnetic Magazine Recordings' commitment to evolving its catalogue through carefully chosen reinterpretations that allow artists to place their own stamp on existing material without losing sight of what made the source record resonate in the first place. Rather than opting for a complete reinvention, Waxman's remix expands on the original's strongest moments with measured pacing, detailed production and a refined sense of movement. Marking an important milestone for the label, 'Folklore (Waxman Remix)' highlights both Waxman's melodic production style and Magnetic Magazine Recordings' ongoing focus on thoughtful, artist driven releases. Magnetic Magazine Recordings Instagram – SoundCloud

MXGN More producers than ever are pulling back the curtain on how they make music, but few have embraced it quite like MXGN. Alongside a growing catalogue of releases on labels including Filth on Acid, Teletech, No Mercy and NineTimesNine, the Liverpool artist has built an audience by breaking down production techniques, experimenting with hardware and documenting a creative process that rarely follows convention. That openness reflects a wider philosophy running through the entire project. Rather than encouraging producers to follow established formulas, MXGN wants people to challenge them. "I am starting to see a drop in diversity in the scene," he explains. "People are posting a lot of the same content and sharing the same methods over and over." After years spent experimenting in the studio, he has developed his own workflow and now sees value in showing others there is no single route towards making electronic music. "There is no right or wrong way of producing music. The best way is to try things no one else does. That's how you build your own sound." That mindset also explains why the MXGN project has gradually expanded beyond conventional DJ sets. While many artists move into live performance later in their careers, the transition felt surprisingly natural because his productions were already being created that way. "I have always produced music in a live setting," he says. "Assigning sounds to buttons and faders so I can jam everything in real time before arranging the track later." That approach eventually raised a simple question. "What if I could bring that same freedom into my performances?" Months of experimentation followed, eventually resulting in a hybrid setup that now sits at the centre of his live shows. Built around Ableton, the current rig combines a Xone:96 mixer with a Roland TB-03, Moog Subsequent 37, TR-8S drum machine and additional controllers that allow him to manipulate almost every element of the performance on the fly. "The opportunities are endless compared to a normal DJ set," he says. "It really interested me to get creative with it." Despite the growing technical complexity, MXGN insists the setup wasn't designed on paper before gradually coming together. Instead, it evolved organically over several years through constant experimentation. "My first bit of kit was a Trigger Finger," he recalls. "I'd spend hours jamming away, creating build-ups, drops and breakdowns while controlling every sound." As new equipment gradually entered the studio, every purchase was chosen because it served a specific purpose rather than simply adding more technology. "I would say it all came together through experimenting with different things and finding out what works for me." That same balance between preparation and spontaneity now defines every live performance. Although the foundations take months to build, no two shows unfold exactly the same way. "My main live set has been built over the last eight months," he explains. "Every performance is unique and thought of on the spot. It's very risky compared to a DJ set, but it's definitely worth it." Perhaps the clearest example of that philosophy arrives with his recent livestream inside a Liverpool church. Rather than choosing another warehouse or industrial setting often associated with harder techno, MXGN deliberately searched for somewhere that would feel unexpected. "I wanted to choose a unique space that I hadn't seen before," he says. "I scouted a few different locations, but this one grabbed my attention the most." Despite the surroundings, however, the performance itself will remain entirely instinctive. "My plan is to set up my equipment and just jam. No structure or planning. Just pure in-the-moment decisions. Exactly like I do in my own studio." That willingness to embrace uncertainty extends beyond the music itself. MXGN's videos have attracted millions of views by placing performances in unusual locations while combining educational content with live demonstrations. Rather than relying on polished studio clips, he prefers creating something that immediately sparks curiosity. "I think the videos grab people's attention because of how unusual they are," he says. "It creates a sense of mystery." "I like to push the boundaries as much as I can to create content that's not only engaging but also obscure." The locations themselves become part of the storytelling, complementing the energy and atmosphere of the music while avoiding repetition. At the same time, he is keen to remind people that social media rarely captures the preparation behind every performance. "There is a huge amount of work that goes into a live set," he explains. "Building all the individual sounds from scratch and making sure they all flow together." That attention to detail reflects the same philosophy running throughout his productions. Known for high-energy, acid-driven techno, MXGN sees performing and producing as two separate disciplines, even if they constantly inform one another. "I don't just make music to be played on the dancefloor," he says. "I also make music for general listening, whether that's in the car or the gym." Live performances, meanwhile, demand something entirely different. "When I do a DJ or live set, I want to give the best possible performance for that exact setting. Sometimes harder, sometimes softer, but always high energy and acid driven." Looking ahead, the live side of MXGN is only becoming more ambitious. Future plans include synchronising hardware with lighting and visuals to create increasingly immersive performances while continuing to expand the setup itself as new creative possibilities emerge. "I want to bring the live sets to life even more," he says. "Syncing buttons with lights and visuals to create a more immersive experience." For an artist whose entire project has been built around experimentation, that feels like the next logical step. Rather than chasing trends or repeating established formulas, MXGN continues to treat every production, performance and piece of content as another opportunity to discover something unexpected. And if that encourages the next generation of producers to break a few rules of their own, all the better. MXGN https://www.instagram.com/mxgnmusic https://www.tiktok.com/@mxgntechno https://open.spotify.com/artist/6Fc5E4Mkx9qxuiVhUA8WEg https://soundcloud.com/mxgn

John Summit, Pete Tong, Franky Rizardo One of electronic music's most unexpected public disputes has escalated after John Summit accused Pete Tong of mishandling a remix of Everything But The Girl's classic ‘Missing’, prompting Franky Rizardo to withdraw his own version of the track from release. The controversy began when Summit publicly claimed that Tong had promised to release a collaborative version of his remix before later moving forward with a separate release credited to Pete Tong and Franky Rizardo. Summit shared screenshots of private conversations that appeared to show discussions about developing the track together, including references to orchestral arrangements, vocal recordings and production sessions. Summit also stressed that his frustration was directed solely at Tong, saying he did not believe Rizardo was aware of the full background surrounding the project. He later revealed he had completed his own orchestral version independently and intends to premiere it during upcoming performances. The story took another dramatic turn just hours later when Franky Rizardo announced he was withdrawing his remix from release altogether. In a statement shared on social media, the Dutch producer said that after learning more about the circumstances behind the project, continuing with the release "no longer feels right." He added that the decision was not about assigning blame or taking sides, but about remaining true to his personal values. The remix will now remain exclusive to his DJ sets for the foreseeable future. Pete Tong has not publicly responded to Summit's allegations at the time of writing, leaving several key questions unanswered about how the project evolved and why the planned release changed course. What began as a disagreement over a single remix has quickly grown into a wider conversation about collaboration, trust and creative ownership within electronic music. With one artist publicly sharing private messages, another voluntarily pulling his own release and one of dance music's most influential figures yet to comment, the dispute has become one of the scene's biggest talking points. Whether Tong chooses to address the allegations publicly remains to be seen, but for now the planned release of ‘Missing’ has been halted, leaving fans waiting to see how one of the year's most surprising industry controversies unfolds.

Profetik Profetik has expanded the vision of his Seraph Records imprint with the release of ‘Surrender’, a new collaboration featuring vocalist Diana Inez and the label's first vocal-led single. Marking another milestone in the producer's evolving catalogue, ‘Surrender’ blends melodic techno and house influences with cinematic songwriting, pairing driving club energy with a strong emotional narrative. The track explores themes of resilience, vulnerability and personal transformation, using Diana Inez's vocal performance as the emotional centrepiece of the production. Built around rolling percussion, a powerful bassline and sweeping chord progressions, the arrangement steadily develops through layered synth work, evolving melodies and atmospheric textures. Rather than relying solely on peak-time intensity, Profetik balances tension with moments of openness, allowing the vocal to remain central throughout the journey. As the track progresses, dark synth swells, rhythmic motifs and expansive melodic leads gradually build towards a euphoric climax, creating a production equally suited to large festival stages and immersive late-night club sets. The release reflects Profetik's continued focus on melodic electronic music that combines emotional storytelling with dancefloor functionality. Having increasingly established his identity within the melodic techno and house landscape, the producer continues to refine a sound centred on cinematic arrangements, dynamic production and memorable melodic hooks. For Diana Inez, the collaboration adds another expressive dimension to the record, delivering a vocal performance that complements the track's themes of letting go and embracing uncertainty without overpowering the production itself. As the first vocal release on Seraph Records, ‘Surrender’ represents an important step for both the label and its founder, signalling a broader creative direction while reinforcing Profetik's commitment to emotionally driven electronic music that resonates both inside and beyond the club. Profetik Website | Instagram | Spotify  Diana Inez Instagram | Spotify  Seraph Records Website | Instagram

Marco Weber Swiss producer Marco Weber has unveiled his latest single, ‘Lola’, appearing as part of Sublease Music's new four-track various artists compilation, ‘Fragments 02’. The release continues Weber's steady rise within the underground house scene, further refining a production style built around groove, rhythm and understated melodic detail. While his catalogue continues to grow through original productions and remixes, ‘Lola’ feels like another confident step towards establishing a distinctive musical identity. Driven by a bouncy bassline and crisp, rolling percussion, the track quickly settles into a hypnotic groove before introducing chopped vocal phrases, warm synth textures and evolving melodic elements. Rather than relying on dramatic breakdowns, Weber allows the arrangement to develop organically, maintaining momentum through subtle progression and carefully layered production. That groove-first philosophy has become central to the producer's output. Drawing influence from house music alongside elements of jazz and funk, Weber focuses on records designed to keep dancefloors moving while retaining a musicality that extends beyond straightforward club functionality. Released through Sublease Music, ‘Lola’ sits comfortably within the wider ‘Fragments 02’ compilation, contributing another energetic and rhythm-led production to the label's latest collection of underground electronic music. As Marco Weber continues to refine his sound, ‘Lola’ highlights both his technical confidence and his growing understanding of dancefloor dynamics. It is another polished addition to his expanding discography and reinforces his reputation as a producer with a clear artistic direction rooted in groove, movement and contemporary house music. Marco Weber Website | Instagram | Spotify Sublease Beatport | Instagram

Oscar Rosmano More than 25 years into his journey through electronic music, Oscar Rosmano has experienced the industry from almost every possible angle. The Portuguese-Mexican artist has built a career as a DJ, producer, promoter and venue owner, sharing line-ups with artists including Hernan Cattaneo, Guy J, Dave Seaman and Danny Howells while continuing to release on labels such as Manual Music and Polyptych. Away from the studio, he also oversees Temple Club, one of Lisbon's most important homes for underground electronic music. That combination gives him a perspective few artists possess, balancing creativity with the realities of keeping independent nightlife alive. Looking back across two decades, the biggest shift he sees isn't musical. "The biggest change has definitely been the speed at which everything happens," he explains. "When I started, discovering music was part of the journey. You had to search for records, wait for imports, buy vinyl or CDs and really invest time into building your sound. Today everything is immediate." Technology has opened doors for a new generation of artists, but Rosmano believes something valuable has been lost alongside that convenience. "I think what today's generation often takes for granted is access. Access to music, technology, audiences and opportunities. The tools are there for everyone now, which is amazing, but sometimes people forget the value of time, experience and building something slowly." He believes the same can be said for nightlife itself. Clubs once sat at the centre of electronic music culture, surrounded by a sense of mystery that has gradually been diluted by the rise of festivals and changing nightlife habits. Those experiences became the foundation for Temple Club, the venue he now calls home. "My vision with Temple Club was always to recreate what made me fall in love with nightlife in the first place," he says. "The magic, the unpredictability, the feeling that anything could happen during a night out." Rather than creating another polished venue filled with expensive production, Rosmano wanted to build somewhere with character. Somewhere people would return to because of the atmosphere rather than simply the line-up. "I wanted to build a place people genuinely wanted to go to, not only because of who was playing, but because the venue itself had an identity and a feeling of its own." Maintaining that identity, however, has become increasingly difficult. Running an independent club in 2026 means balancing artistic ambition against rising artist fees, increasing operational costs and changing audience behaviour. While Temple remains rooted in progressive house, house and techno, Rosmano admits flexibility has become essential for survival. "DJs are more expensive, people consume less at the bar and nightlife economics have changed a lot," he says. "The challenge is doing that without losing quality or identity." Those pressures extend far beyond Temple's walls. Rosmano believes independent venues across Europe are fighting an increasingly difficult battle against bureaucracy, redevelopment and short-term urban planning. Lisbon, he argues, has become a clear example of that shift, with neighbourhoods transformed by tourism and overseas investment. He points to the closure of legendary venue Kremilin as a reminder of how fragile club culture has become. "Clubs are not just businesses," he says. "They are cultural spaces, creative incubators and part of a city's identity. Once these spaces disappear, they rarely come back." For Rosmano, protecting nightlife should sit alongside protecting a city's cultural heritage. Without venues willing to support underground music, future generations of artists lose somewhere to develop both creatively and professionally. Owning Temple has also changed the way he thinks about music itself. Watching dancefloors week after week has given him a different understanding of what makes records connect. Rather than analysing productions from behind a laptop, he studies how crowds react throughout an entire evening, observing when people engage, when energy shifts and when moments become memorable. "When I'm in the studio, certain sounds, grooves or atmospheres immediately transport me back to the Temple dancefloor," he says. "I start imagining how people would respond." That direct relationship between club and studio continues to shape his productions, while reinforcing the idea that there is always something new to learn from every DJ who steps into the booth. Throughout his career, Rosmano has shared stages with some of progressive house's defining names, but says the biggest lessons rarely came from technical ability alone. He first met Hernan Cattaneo more than two decades ago and Guy J around fifteen years ago, before either reached their current stature. More recently, Temple has welcomed Quivver, Anthony Pappa, Dave Seaman and Danny Howells, artists whose careers have spanned more than three decades. "What impressed me most wasn't only the music," he says. "It was how humble, attentive and respectful they all remained." That humility stands in stark contrast to parts of today's industry, where rapid success through social media can sometimes create unrealistic expectations. "This industry changes very fast," he says. "That's why I believe it's important to stay humble, keep learning and keep your feet firmly on the ground." One experience, in particular, continues to stay with him. Following a difficult night at Temple, where several major Lisbon events competed for audiences, Danny Howells noticed attendance was lower than expected and asked whether Rosmano needed him to return part of his fee. "For me, that said everything," Rosmano recalls. "After thirty years at the top, he still understood the reality of the promoter's side." Alongside Temple, Rosmano continues developing as a producer, although he openly admits he still considers DJing his strongest discipline. "Production is a newer chapter for me and I'm still learning every day," he says. "But maybe that's exactly what keeps me hungry." Running both sides of the industry has also reinforced his belief that artists benefit enormously from understanding what happens behind the scenes. Promoting events, managing venues and taking financial risks all create a broader perspective that extends far beyond performing for an hour or two behind the decks. Those experiences, he believes, ultimately produce better artists because they create greater empathy for everyone involved in making a night happen. Looking ahead, Rosmano's ambitions remain remarkably straightforward. He wants to secure Temple's long-term future, continue improving as a producer and spend more time travelling as a DJ once again. "For me, the next chapter is about balance," he says. "Protecting Temple, growing as an artist and reconnecting with that freedom of simply being a DJ again." In an industry increasingly driven by algorithms, visibility and constant acceleration, Rosmano's philosophy feels refreshingly uncomplicated. "Music first." Oscar Rosmano https://www.instagram.com/rosmano.dj https://open.spotify.com/artist/303PBwuPH0My1nNlL9cDIZ https://soundcloud.com/rosmano

Kristian Heikkila & CDTRAX Kristian Heikkila and CDTRAX have joined forces for new collaborative EP ‘Between Parallels’, delivering four tracks of hypnotic, groove-driven techno through Konstruktion. The release marks another chapter in the pair's creative partnership, following previous collaborations on SWAY and Counter Pulse. While each track explores a different corner of contemporary techno, the EP is tied together by its emphasis on driving percussion, evolving synth work and carefully constructed tension. Opening track ‘Detox’ immediately establishes the record's energetic identity, pairing rolling percussion with restless low-end movement before introducing atmospheric layers that steadily build throughout the arrangement. ‘Vibe Injector’ follows with a more stripped-back approach, leaning into darker textures and hypnotic repetition while maintaining the EP's relentless forward momentum. The third cut, ‘Toxic’, shifts the focus towards weightier basslines and manipulated vocal elements, creating one of the release's most immersive moments. Closing track ‘Sphere’ rounds off the collection with booming percussion, rapid-fire hi-hats and dramatic vocal flourishes that leave a lasting impression. Swedish producer Kristian Heikkila has become a familiar name within the international techno scene through releases on labels including Second State and Naked Lunch, earning recognition for productions that balance precision with dancefloor impact. Alongside him, UK artist CDTRAX continues to develop his own distinctive sound through respected imprints such as Kneaded Pains, bringing a similarly groove-led approach to the collaboration. Together, the pair deliver an EP that prioritises atmosphere as much as power. Rather than relying on oversized breakdowns or obvious hooks, ‘Between Parallels’ builds its impact through subtle evolution, layered rhythms and hypnotic arrangements designed for extended club sets. Released via Konstruktion, ‘Between Parallels’ reinforces both artists' reputation for producing refined underground techno that remains as functional on the dancefloor as it is rewarding on repeated listens. Kristian Heikkila https://www.instagram.com/realkristianheikkila https://open.spotify.com/artist/2SfoHHbFQfUI4wX6AGZaCQ https://soundcloud.com/kristianheikkila CDTRAX https://www.instagram.com/cdtrax https://open.spotify.com/artist/24M0bse4E0BFeofjsq3G9h https://soundcloud.com/cd7r4x

Boom Merchant Irish producer Boom Merchant has returned with his latest techno release, ‘Vandalist’, delivering a three-track package that pairs his uncompromising original production with a remix from Moog Conspiracy and an exclusive alternate rework. Released via Boom Merchant's own Tribal Pulse imprint, the EP continues the producer's commitment to powerful, no-frills techno designed firmly for peak-time dancefloors. Now based in Mexico, the Irish artist has built a reputation for combining hard-hitting grooves with memorable hooks, earning previous releases on labels including Kuukou and Autektone Dark. The title track sets the tone with relentless percussion, commanding low-end pressure and an abrasive vocal sample that reinforces its confrontational identity. While much of the record thrives on its raw energy, a melodic breakdown introduces atmospheric pads before the drums return with renewed intensity, creating a dynamic contrast within the arrangement. German producer Moog Conspiracy offers a fresh interpretation of the original, shifting the focus towards emotion without losing the hypnotic drive. His remix expands on the melodic elements introduced in the breakdown, weaving rich pads through the groove to create a deeper, more expansive take on the source material. Completing the package is Boom Merchant's own ‘BM's Dark Drums’ version, a stripped-back rework that pushes the percussion further to the forefront. By reducing the melodic elements and increasing the rhythmic intensity, it delivers the most direct and uncompromising cut of the three. Together, the release showcases multiple sides of Boom Merchant's production style while reinforcing Tribal Pulse's growing catalogue of club-focused techno. Whether through the original's raw aggression, Moog Conspiracy's atmospheric reinterpretation or the driving energy of the Dark Drums version, ‘Vandalist’ arrives as another strong addition to the underground techno landscape. Boom Merchant https://www.instagram.com/boom_merchant https://open.spotify.com/artist/6Uily7xJN4PCKj4yuPTnCR https://soundcloud.com/boom-merchant

Jen Cardini Electronic music pioneer Jen Cardini has unveiled ‘Tokyo Waves’, a new summer music programme taking over Paris' Palais de Tokyo with five afternoons of DJ sets and live performances running alongside the venue's ‘Normes Corps’ exhibition season. Designed to connect contemporary electronic music with visual art, the series transforms the museum into a meeting point for club culture, experimentation and community. Every ticket also includes access to the exhibitions, encouraging visitors to experience both the performances and the wider artistic programme in a single visit. Cardini, one of the most respected figures in European electronic music, has curated a lineup that reflects the breadth of today's underground scene, combining established names with emerging artists spanning techno, bass, experimental club music and global electronic sounds. The programme opens on 12th July with performances from Ehua and Flore alongside DJ sets from GLITTER55, ZAATAR and sensit1ve. On 18th July, Cardini joins Munich-born selector BASHKKA for a special double bill, before TTristana headlines the following week with additional guests still to be announced. The series resumes in August with Erna and VANILLE appearing back-to-back on 22nd August before concluding on 29th August with Beatrice M, Amsterdam experimental artist Upsammy and New York electronic music icon Kim Ann Foxman. For more than three decades, Cardini has remained one of electronic music's defining curatorial voices, performing at venues including Berghain, Bassiani and Basement while also bringing club culture into institutions such as MoMA PS1, Centre Pompidou and Guggenheim Bilbao. Through projects including Correspondant and Nightclubbing, they have consistently championed emerging artists and queer voices within electronic music. ‘Tokyo Waves’ continues that vision, positioning Palais de Tokyo as a space where contemporary art and underground electronic music meet through carefully curated programming that celebrates diversity, experimentation and creative exchange throughout the summer. OPENING HOURS Palais de Tokyo is open every day, except on Tuesdays From 12pm noon to 10pm Late opening on Thursdays until midnight DIRECTIONS Metro : Line 9, Iéna and Alma Marceau stations Bus : Lines 32, 42, 63, 72, 80, 82, 92 RER : Line C, Pont de l’Alma station Vélib’ Vélib’ stations near Palais de Tokyo: n° 16007: 4, rue de Longchamp n° 8046: 2, rue Marceau n° 7023: Quai Branly

Chico Rose (NL) Dutch producer Chico Rose (NL) has built a reputation around one simple principle: groove comes first. Whether releasing on MOXY MUZIK, Hottrax, Nervous Records or Deeperfect, where his breakout hit 'Pom' stormed the Beatport charts, his productions consistently balance rolling percussion, infectious rhythm and irresistible dancefloor energy. Now making his debut on Ilario Alicante's Sound D'Elite with the two-track release 'Take Our Time' and 'Back It Up', Chico continues that approach with another pair of classy, percussion-led house cuts designed for long summer nights and packed dancefloors. Ahead of the release, we asked him to share ten records that continue to inspire his DJ sets. From timeless house classics to modern club weapons, every selection reflects the groove-driven philosophy behind his own productions. Space Jams – Together Again (TMB Edit) "One of my favourite tracks. Really gives you the sexy groove a party needs every now and then." FLETCH – Finally "A free edit by FLETCH. Really like to start my sets with this one." Butch – No Worries (Toman Remix) "Really the drums for me. Great energy to drop mid set." East End Dubs – Sing "A great mix with groove and sampling. I enjoy playing this live but it also gives me a lot of inspiration with production." Moderat – Bad Kingdom (DJ Koze Remix) "Not really a sound that describes my own style, but for me this is one of the best-produced tracks ever." Cuartero – Mama "A track by Cuartero. Old one but it's timeless in my opinion. Play this banger after 5am and you'll see what happens with the crowd." Fish Go Deep & Tracey K – The Cure & The Cause (Dennis Ferrer Remix) "All-time favourite. Can't say much about this one, just listen and enjoy." Pirupa – Party Non Stop "This track by Pirupa keeps the party going." Louie Vega & The Martinez Brothers feat. Marc E. Bassy – Let It Go (TMBLV Extended Dub) "Louie Vega with The Martinez Brothers is my favourite combination. This track gives you groove and sexy in one." Late Replies & Jah Cure – Longing For (2021 Remix) "Summer vibes with Late Replies. Always happy when I hear this one." Whether it's deep after-hours rollers, timeless house classics or modern groove-led records, every selection reflects the qualities Chico Rose continues to chase in both his DJ sets and productions. That same focus on rhythm, movement and understated energy runs throughout 'Take Our Time', making his debut on Sound D'Elite another natural step in the evolution of one of the Netherlands' most exciting house talents. Chico Rose (NL) Instagram / Soundcloud / Facebook / Spotify Sound D’Elite Instagram / Soundcloud

ODF Few young producers are navigating UK club music quite as fluidly as ODF. Sitting somewhere between house, UK garage, bass music and jungle influences, the London-based artist has steadily built a catalogue that reflects the dancefloors he's immersed himself in rather than any single scene. His debut EP on Enzo Siragusa's LOCUS, Hear Dis, feels like the clearest expression of that approach so far. Following releases on Time Is Now, Hardline Sounds and Method 808, plus collaborations alongside Tim Reaper and Special Request, the four-track project finds ODF bringing together the different strands that have shaped his sound over recent years. For him, joining LOCUS felt like a natural next step. "I've looked up to Enzo as an inspiration for where I want to be in the future," he says. "I'd been sending him music for a long time, so when he came back and asked me to release on the label, I couldn't say no." Beyond the opportunity itself, the label's musical identity also aligned with his own evolving direction. "The sound they've curated is very reminiscent of where I'm getting to and where I want to be." That evolution has been deliberate. While earlier productions leaned more heavily into one corner of club music, ODF consciously decided to widen his palette around 18 months ago. "I found myself being pigeonholed into one very niche genre," he explains. "As my tastes changed through university and different club cultures around the country, I realised there was so much more I wanted to explore." Those experiences now sit at the heart of his productions, allowing house, garage, bass and jungle influences to exist comfortably within the same body of work. Interestingly, the EP's title track almost never existed. 'Hear Dis' was actually the final piece completed after the rest of the record was already finished. "We all felt the EP needed one final heavy-hitting, peak-time track," he says. "A lot of the inspiration came from productions Enzo had already been supporting, particularly my jungle-influenced edits." That connection to jungle reflects ODF's own beginnings behind the decks. "I originally started DJing jungle," he says. "I wanted to represent the kind of music that originally started the conversation with LOCUS." Elsewhere on the EP, 'To The UK' feels like a love letter to British club culture, although its inspiration came less from individual records than from shared experiences. He points to nights at Wire in Leeds, Fabric in London and Manchester's Warehouse Project as defining moments. "It wasn't anything specific that I heard," he says. "It was about encapsulating that euphoric feeling of going clubbing with all your mates." Those experiences also reinforced how important atmosphere and flow have become to his own productions. Reflecting on collaborations with artists including Tim Reaper and Special Request, ODF says the biggest lesson wasn't technical at all. "Complex isn't always the way to go," he explains. "Keeping things simple and having strong foundations is the most important thing." That philosophy extends beyond production into his wider career. Last year saw the launch of his own imprint, On Da Floor, giving him complete creative control while offering a platform to build a stronger community around his music. "I wanted to have somewhere that felt more personal," he says. "The freedom you get from having complete creative control is second to none." Running a label has also brought valuable perspective. "It really put into perspective how difficult it is. Patience is a huge game changer. If you spend too much time thinking about things that should have already happened, you stop putting energy into making them happen." When it comes to writing club music, however, his process remains refreshingly straightforward. "If I'm not dancing around my bedroom while making it, then it's not ready," he laughs. "If I can't enjoy it on my own, why would it work on a dancefloor?" That instinct has been sharpened through years spent not only DJing but simply standing in front of sound systems around the UK. "When I'm on the dancefloor, I'm constantly picking up on things that work and translating them into my own productions," he says. "Whether it's little percussion details or knowing exactly when to break things down and bring them back." Looking ahead, ODF believes UK club music is entering one of its healthiest periods in years. The continued crossover between garage, bass, breaks and house is opening new opportunities for both artists and audiences alike. "It feels like the light at the end of the tunnel," he says. "The further these sounds continue to fuse together, the more opportunities there are for everyone to showcase their own unique sound." With Hear Dis, ODF delivers exactly that, an EP shaped not by genre boundaries, but by years of dancefloor experiences, musical curiosity and an artist increasingly comfortable following his own instincts. ODF Instagram / Soundcloud / Spotify LOCUS Instagram / Soundcloud / Facebook

Amsterdam Dance Event has unveiled the first artist announcement for its landmark 30th anniversary edition, confirming more than 250 acts for this year's festival and conference, which returns to the Dutch capital from 21st to 25th October. Get your tickets here. The initial lineup reflects the breadth of today's electronic music landscape, spanning house, techno, drum & bass, UK garage, hard dance and live electronic performance. Among the first wave of artists are Amelie Lens, Skepta, Prospa, Sammy Virji, DJ Nobu, Avalon Emerson, Folamour, Josh Baker, KI/KI, Skin On Skin, Scooter, Mochakk, Eris Drew, Octo Octa, Benwal, Pegassi, Paige Tomlinson and The Martinez Brothers. This year's edition also marks a significant milestone for ADE itself. Celebrating three decades since its launch in 1996, the festival will once again transform Amsterdam into the global meeting point for electronic music, with organisers expecting more than 3,000 artists to perform across 200 venues throughout the city. Several major venue programmes have already been confirmed. Warehouse Elementenstraat will host Skepta's expanded Más Tiempo showcase, while David Guetta brings his Monolith production to AMF. Gashouder also returns to the ADE programme ahead of its official reopening, hosting events from artists including Armin van Buuren, Benwal, I Hate Models, Nico Moreno, Job Jobse, Mochakk, Franky Rizardo, Sammy Virji and Josh Baker. Elsewhere, promoters have begun unveiling their own ADE schedules. DGTL, Intercell and Into the Woods have each announced extensive programmes featuring dozens of artists across multiple events, while venues including Melkweg, Paradiso, Ziggo Dome and AFAS Live will once again host some of the week's biggest showcases. The lineup announcement follows the recent expansion of ADE Pro, which has already confirmed Jean-Michel Jarre as this year's Guest of Honour alongside an extensive programme exploring artist independence, technology and the future of electronic music. With only the first wave of artists now revealed, organisers have confirmed that hundreds more names will be announced in the coming months as Amsterdam prepares to celebrate the biggest edition of ADE since the festival began 30 years ago.