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

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

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

DJ Du Jour DJ Du Jour has spent more than two decades learning how music can change the energy of a room. Originally from Australia and now based in Europe, the DJ and producer brings that experience to Undrscovered with a mix shaped by classic house, modern tech house and her instinct for an unexpected vocal. Her relationship with electronic music began on the dancefloor before developing behind the decks. Immersing herself in Sydney’s club scene led to a victory in the Sydney Mardi Gras DJ Competition, a result that gave her early confirmation that DJing could become more than an interest. “It started on the dancefloor long before it started in a studio. I fell in love with what DJing could do to a room – the way energy could shift completely with a single well-timed record.” That connection between selector and crowd continues to guide her sound. DJ Du Jour builds sets around physical movement, but groove alone rarely tells the whole story. Recognisable vocals, emotional releases and live mashups bring another dimension to her house and tech house foundations. Her Undrscovered mix offers a clear introduction to that approach. Opening with her forthcoming production ‘Feel The Bass’, the set moves through new club records, established house references and several of her own edits. Tracks from James Hurr, Wh0, Demi Riquísimo, Luke Alessi, Girls Don’t Sync and Piero Pirupa sit alongside reworked material from Michael Jackson, Florence & The Machine, The Black Eyed Peas and Technotronic. “I wanted it to feel like a proper journey – something that builds with real intention rather than just stringing together bangers. It opens with ‘Feel The Bass,’ which sets the tone immediately – driving, focused, straight to the point.” The mashups prove central to the mix rather than functioning as quick moments of recognition. ‘Lola’s Sweet Nothing’ combines The Shapeshifters with Florence & The Machine, capturing DJ Du Jour’s preference for placing familiar records in less predictable surroundings. “Taking The Shapeshifters and weaving Florence & The Machine through it is the kind of unexpected, emotionally charged move that feels very me. It's rooted in classic house, but it does something you didn't see coming.” That balance also shapes her production work. ‘Feel The Bass’ previews the direction of her next release, while her unreleased ‘Billie Jean’ remix filters one of pop music’s most recognisable vocals through her own house framework. These ideas arrive after several defining milestones. DJ Du Jour has performed before approximately 24,000 people at Sydney World Pride and appeared at Glitterbox, Defected, Beyond The Valley, Let Them Eat Cake and ChillOut Festival. International dates have taken her to Ibiza, Spain and the UK, while her move to Europe has opened a new chapter. Relocating has also required her to rebuild connections in an unfamiliar market. “Moving to Europe meant starting a lot of conversations over – name recognition doesn't travel automatically, regardless of what you've built elsewhere. As a female artist in electronic music there's also still a layer of having to prove yourself technically in ways male peers often don't.” DJ Du Jour is now preparing to release ‘Feel The Bass’ alongside further European appearances, particularly across Spain and the UK. With her productions becoming more defined and her live schedule expanding, this Undrscovered mix captures an artist establishing her place within a new scene without abandoning the experiences that shaped her. DJ Du Jour https://www.instagram.com/djdujour https://open.spotify.com/artist/2XHlLmuHzKewA3p6imYtzN https://soundcloud.com/djdujourofficial

Fede Spamer Buenos Aires is a city of contrasts. Historic European architecture sits beside modern towers, quiet residential streets open suddenly onto crowded avenues, and traditional culture exists comfortably alongside one of South America’s most active underground electronic scenes. For Fede Spamer, those contrasts have become part of his creative identity. The Buenos Aires based DJ and producer brings together the intensity of melodic techno with the forward motion of tech house, building tracks around controlled grooves, gradual tension and cinematic detail. Although he did not grow up in the city, it has become the place where his relationship with electronic music took shape. “I’ve now lived here longer than anywhere else in the world,” he says. “At first, it was difficult to adapt to such a big and eclectic city, but I’ve learned so much since then.” Buenos Aires What initially felt overwhelming gradually became one of the city’s greatest strengths. Buenos Aires offers entire communities built around almost every possible interest, sound and cultural movement. “A real mix of cultures, people and music constantly surrounds you,” Spamer explains. “You can find virtually anything here, and there’s usually a whole scene around it.” It was also where he first connected with underground electronic music. Niceto Club, and more specifically its long-running Club 69 party, played a central role in changing how he saw both DJing and production. Niceto Club Spamer came from a classical background centred around piano. He had already experimented with composition and production from a young age, but electronic music still felt like a separate world. “As a child, I remember seeing CDJs in music stores and being fascinated by them,” he recalls. “They also seemed completely foreign and far too complicated. I never imagined I could learn how to use them.” Club 69 changed that perception. “I stopped seeing electronic music as this distant world and began to see it as something I could be part of,” he says. “That was where I realised DJing and producing were what I actually wanted to do.” Away from the larger institutions, Spamer points visitors towards Avant Garten in Palermo. Built beneath old brick railway arches, the compact venue blends a beer garden atmosphere with a strong focus on house music and vinyl. Avant Garten “What I love is how the atmosphere changes throughout the night,” he says. “You can arrive around 7pm for food and drinks while everything is relaxed. After midnight, it becomes more like a small nightclub, but without strobe lights or over-the-top production.” That lack of pressure is part of its appeal. The outdoor DJ space works particularly well during summer, but the venue keeps its laid-back character throughout the year. “You can go for a casual drink and end up staying until 4am.” During the day, Spamer prefers a quieter side of the city. Barrancas de Belgrano, one of Buenos Aires’ oldest parks, offers a reset from the pace of nightlife and studio work. Barrancas de Belgrano “When I want to reset, I usually take my dog there,” he says. “Although it’s surrounded by high-rises, it’s filled with trees and feels surprisingly quiet.” The park follows the natural slopes that once formed the banks of the Río de la Plata, turning a simple walk into something more physical. It also carries its own cultural rhythm through La Glorieta, where people gather to dance tango, Argentine folk styles and bachata. “During summer, the dancing can continue until late at night, so a simple walk can unexpectedly turn into a cultural experience.” Food offers another way to step outside the city’s constant movement. While Spamer usually prefers eating at home, Kansas Grill & Bar has become a regular choice. Kansas Grill & Bar “Their usual order for me is the New York strip, which is essentially bife de chorizo, a traditional Argentine cut,” he says. When he wants to make more of the occasion, he travels to the original San Isidro location, around half an hour outside central Buenos Aires. “It feels like a small escape from the city,” he says. “Low lighting, good service and that relaxed American steakhouse feeling, but with the influence of Argentine asado.” Recoleta best captures the city’s wider personality for him. While most visitors associate the neighbourhood with its cemetery and grand architecture, spending more time there reveals a much more informal side. Plaza Francia “On weekends, Plaza Francia fills with artisan stalls, people sitting on the grass, musicians and groups of friends spending the afternoon outside,” he explains. The contrast between historic elegance and everyday life is what makes the area feel distinctly local. “Recoleta isn’t as formal as it looks. It has these grand buildings and historic landmarks, but it also feels casual and lived-in. That contrast feels very Buenos Aires to me.” The same idea runs through his music. Spamer describes the city as eclectic, unpredictable and constantly changing from one block to the next. His productions follow a similar path. “I like to build tension, gradually introduce new elements and then leave small spaces where the music can breathe before the atmosphere changes again,” he says. “There’s often a contrast between darker and lighter moments, or between something restrained and something more powerful.” “In that sense, my music moves a little like Buenos Aires. It can feel familiar at first, but you never quite know where it will take you.” Outsiders often notice the city’s noise and intensity first, but Spamer believes they can miss the community beneath it. “People are generally very open, and conversations start easily,” he says. “You can meet someone for the first time and quickly find yourself being introduced to their friends, invited to dinner or even meeting their family.” That openness has made Buenos Aires feel like more than a place he happens to live. “You don’t simply observe the city from the outside. Somehow, you end up becoming part of it.” Looking towards the local electronic scene, he highlights Uruguay-born, Buenos Aires based DJ and producer Juanchi Parodi as one to watch. “He brings a lot of energy, understands the dancefloor and knows how to connect with a crowd without losing his own personality,” Spamer says. “I think people are about to see another side of him through his productions.” If Buenos Aires needed a soundtrack at 3am, Spamer would choose Soda Stereo’s ‘En la Ciudad de la Furia’. “There’s something dark, mysterious and cinematic about it that reflects the city at that hour,” he says. “Buenos Aires can feel chaotic and intense, but also strangely beautiful, as if the night could still take you anywhere.” His perfect night eventually ends at home, sometimes with the chance to watch the sunrise as the city begins moving again. For anyone arriving with only 24 hours, the advice is simple. Start with a late dinner, move on for drinks and allow the night to decide what happens next. “The best part is that plans usually develop as the night goes on,” he says. “You meet people, change locations and suddenly realise the sun is coming up.” Buenos Aires rarely reveals itself through a rigid itinerary. Its character lives in the spaces between plans, in unexpected conversations, late-night changes of direction and the contrast between intensity and connection. For Fede Spamer, that unpredictability is not only what makes the city feel like home, but what continues to shape the way his music moves. Fede Spamer Spotify | Soundcloud | Instagram

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

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

Massi Rocket Music has shaped every chapter of Massi Rocket's career. Long before becoming one of the key figures in Milan's electronic music scene, he was discovering records with his grandmother, playing guitar in indie bands and working at a local radio station. Those early experiences laid the foundations for the producer, DJ and club curator he would eventually become. Today, alongside running the iconic Rocket Club and his Motel Calypso events and label, Massi Rocket continues to champion groove-led house music rooted in authenticity and feeling. His latest collaboration with Alfrenk, 'Tribal Vibes', reflects that philosophy, combining hypnotic percussion, minimal grooves and instinctive creativity into a record designed to connect people through rhythm. For this edition of Influences, Massi Rocket looks back at five records that helped define both his musical tastes and his creative identity. Michael Jackson – Thriller (1982) "This record means a lot to me because it was the very first vinyl I ever owned. Back then, you could even buy records in supermarkets, and every time I went shopping with my grandmother, I would convince her to buy me one. Looking back, those moments feel incredibly special. Thriller wasn't just the beginning of my record collection, it was the start of a lifelong obsession with music." Duran Duran – Notorious (1986) "When this album came out, I was working at a local radio station. I still remember the excitement when the postman arrived with the record while we were live on air. We couldn't wait, so we broke every rule and played the entire album from start to finish, even though radio stations were supposed to stick to strict rotations because of sponsors. It was one of those unforgettable moments where the passion for music was stronger than anything else." Nirvana – About A Girl (1989) "At the time, I wasn't DJing yet, I was playing guitar in an Italian indie rock band. Hearing Nirvana completely changed the way we thought about music. It felt like everything we had been doing suddenly belonged to the past, and we had to start over from scratch. Their raw energy and songwriting completely reshaped my perspective and influenced the way I approached music from that point on." Modjo – Lady (Hear Me Tonight) (2000) "This track takes me straight back to the moment I started DJing in clubs. My productions came later, but around that time Milan had completely fallen in love with the French Touch movement. Every club was playing it, and it had a huge influence on Italian producers too, including artists like Crookers. Lady perfectly captures that era for me. It represents the soundtrack of my first years behind the decks." Ninetoes – Finder (Carl Cox Remix) (2018) "There's no particular story behind this one. Some tracks simply have a timeless magic, and this is one of them. Every time I hear it in a club, it reminds me why I fell in love with dance music in the first place. For me, this track is the definition of what a club should feel like: pure energy, connection and unforgettable moments on the dancefloor." From childhood record shopping and rule-breaking moments in radio to discovering house music behind the decks, Massi Rocket's influences span decades and genres. Together they paint a picture of an artist whose approach has always been guided by emotion, groove and memorable musical moments. Those same qualities define 'Tribal Vibes', his latest collaboration with Alfrenk, where instinctive creativity and infectious rhythm come together in a warm, groove-driven club record. Massi Rocket Instagram - Soundcloud - Beatport

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

Love to Be On home turf in Sheffield, Love to be… stages a massive day-into-night warehouse rave on Friday 17th October at Hangr Warehouse, the brand-new purpose-built event space at SteelYard in Kelham Island. From 5pm–1am, over two rooms and with 1,000 party people, the iconic house brand kicks off its huge autumn series with a heavyweight lineup designed to bring unmissable energy to the city. Headlining the main room at Hangr Warehouse this autumn is one of electronic music’s most influential figures, Mousse T. With a career spanning more than three decades, the Grammy-nominated artist remains a defining force in global house culture. From era-defining chart hits and a formidable reputation performing on major stages from Tomorrowland and Creamfields to his acclaimed Glitterbox residency at Hï Ibiza, Mousse T. is primed to bring the energy to Love to be. Joining him is underground favourite Groove P, whose rise has been nothing short of explosive. Since breaking through with “Are They Real”, his productions have become staples at DC10 Ibiza, fabric London, Hï Ibiza and even Coachella, earning support from Marco Carola, Peggy Gou, Hot Since 82 and Dennis Cruz. His groove-driven sound brings a fresh, modern edge to the Hangr main room. Also in the main room are Trimtone, the long-standing duo at the heart of Love to be’s global success. With more than 30 years shaping UK house culture, international DJ sets and releases on Toolroom, Armada, Nervous and King Street, they continue to drive the brand’s worldwide events, record label and syndicated radio show reaching seven million weekly listeners across 30 countries. Support comes from Love to be residents James Worrell, Watty, Cheryl Wright, Sinclair and Andy Wadlow. Room two at Hangr becomes “The Music Factory” in honour of the Sheffield club on London Road where it all began for Love to be in 1994. Featuring house music classics from open until close, who better than key Hacienda DJ Tom Wainwright to headline, representing the golden age of club culture. Expect even more classics from local talent Melly D and Love to be regulars Stuart Pilling, Booty, Shaun Hayes, Rudi and Amy S, who know exactly how to rock the Love to be dancefloor. This event follows Love to be’s inner-city festival held at SteelYard over the late May Bank Holiday summer, which saw house music royalty Roger Sanchez, The Shapeshifters and David Penn in the driving seats, churning out the best house music to Love to be’s cross-generational crowd. Back in 1994, Love to be was known as the North’s original super club. Thirty years on, the brand is stronger than ever, hosting sell-out festivals and events across Harrogate, Ibiza, New York and Sydney, broadcasting via its global syndicated radio show, and releasing handpicked sounds across its cutting-edge label. With Hangr’s unreal sound system, immersive visuals and The Music Factory taking over room two, Sheffield is set for a full-scale warehouse experience from one of the UK’s most enduring house brands. Tickets start from £26 + fees via Skiddle. Love to be… Web – Instagram – TikTok – Facebook

BLONDEX, Portex Amelie Lens’ EXHALE welcomes BLONDEX and Portex to the label with ‘Elevate’, premiering exclusively below ahead of the arrival of ‘EXHALE VA008’ on 31st July 2026. The collaboration forms part of the eighth edition of EXHALE’s various artists series, which brings together 15 tracks from 17 producers operating across the harder edges of contemporary electronic music. Moving through hard techno, trance, acid, psytrance, industrial grooves and rave, the compilation reflects the growing range of sounds now finding a home within the imprint. ‘Elevate’ places BLONDEX and Portex alongside a cast of established EXHALE contributors and emerging names. The full release also includes music from VE/RA, Alex Farell, Ctrl, BRÅWN, Flour, Jose Bonetto, PALOMA, Franco Smith, Aundreja and Kode, Milio Ruando, Ellen Trenn, Khira Li, Molothav and RUBIØ. Rather than narrowing its focus to one fixed interpretation of hard techno, ‘EXHALE VA008’ presents a broader picture of the movement surrounding the label. Ethereal passages, warehouse pressure, psychedelic influences and festival scale rave energy sit across the collection, with each producer bringing a distinct approach to its high impact club framework. Together, the artists underline EXHALE’s continued commitment to emerging voices and fast evolving club sounds. The compilation follows advance singles from VE/RA, Alex Farell and Ctrl, setting the stage for a release shaped for dark basement rooms, large club systems and open air stages alike. BLONDEX https://www.instagram.com/blondexmusic https://open.spotify.com/artist/0QnGNIjMdJOJQaDEDi2wym https://soundcloud.com/blondexmusic Portex https://www.instagram.com/portex.music https://open.spotify.com/artist/0pkAxB7rgoFyPyQbyxJN8N https://soundcloud.com/portex_official EXHALE https://www.instagram.com/exhaleofc https://soundcloud.com/exhaleofc https://www.beatport.com/label/exhale/90850

Malawian artist Chmba returns with 'Uchi', a new collaboration with fellow creative Tuno Mw that captures a new chapter in her evolving artistic journey. Built around themes of warmth, joy and connection, 'Uchi' reflects Chmba's ability to merge Afro-rooted musical influences with forward-thinking electronic production. The release continues her exploration of rhythm, identity and emotional storytelling, creating a sound that feels deeply connected to her heritage while remaining firmly focused on the modern dancefloor. For Chmba, music acts as a language for expressing emotion and connection. Drawing inspiration from her Malawian roots and the wider pan-African musical landscape, she has developed a distinctive sound that balances rich textures, hypnotic grooves and a strong sense of cultural identity. Beyond music, Chmba's creative work extends into community-focused initiatives. As the founder of Tiwale, she supports women and gender minorities through arts and education, reflecting a wider commitment to creativity, inclusion and positive change. On 'Uchi', her collaboration with Tuno Mw brings together two Malawian voices. The track opens with warm chord progressions, subtle synth textures and a restrained rhythmic foundation before gradually expanding through layered melodies and expressive vocal performances. Tuno Mw's soulful vocal delivery adds emotional depth to the production, with themes of joyful beginnings, hope and abundance woven throughout the arrangement. The result is a track that balances dancefloor movement with a more reflective sense of storytelling. Continuing the evolution of her Afro-rooted sound, 'Uchi' represents another step forward for Chmba as she embraces both tradition and innovation. Through its combination of cultural influence, detailed production and uplifting energy, the release showcases an artist continuing to build a unique creative world on her own terms. Chmba Spotify | Instagram | Soundcloud    Tuno Mw Spotify | Instagram