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The track is a sparse, percussive-led thing, bright on top, and it moves, 120 BPM, F minor, and it doesn't hang around. Two minutes fifty five and it doesn't pad itself out. It does the one idea and gets out before it repeats. A Dance record on Dirty Workz, out October 8, 2026.

That's the part that got me, it reads like someone who could coast on the name and chose not to.

Braaheim delivers 'Informer' on Soave Records: percussive-led, bright, steady, at 124 BPM in G minor. There's a break in the middle where the bassline actually drops out for a second and comes back changed, not just louder, actually different. And it sits right there, loud enough to still be a record, quiet enough that you can have the conversation over it.

There's a version of this record that's all sunshine and no shadow, and that isn't the one Uoak made. 'Summer Breeze' keeps its warmth, but it's a harmonic-led record in G sharp minor, dark and sparse, and the shadow is in the harmony.

This is a three am record. Not the comedown exactly, more the part after, when the room has thinned out and the people still there are the ones who came for the music. The extended mix stretches the idea to 5:24 against the original's 3:39, and that patience is the best thing in it. Released September 25 on Sekora Chill.

There's a regular version and an extended one, and the extended is obviously the one. Three names are credited here, Patrick Topping, Rebūke and 1111, and who did what isn't mine to guess at.

The extended runs 5:19 at 128 BPM in A major, and what it does with that time is the whole thing for me. It's percussion led, bright and sparse, so nothing in it can coast. Every part has to earn its place.

The sparseness isn't laziness, it's room. I kept waiting for it to feel thin and it never did. Whatever's in there has a job.

My track two rule usually holds. I went in assuming it would hold again this time too, same as it usually does, and it didn't. 'Too High' is the title track, and it's the stronger of the two, which almost never happens. 'Aloft' opens the release, and it's fine. Pleasant. Forgettable. It's got that clean, airy Marsh signature, the kind of thing that sits comfortably in a mix but doesn't ask anything of you.

'Too High', though, does something with the low end that 'Aloft' never gets to. There's a weight to it, a push. The melody is still recognizably Marsh, but the bassline is doing the heavy lifting, and it's the kind of track that makes you want to rewind and hear exactly where that rumble sits. It's a welcome surprise from the producer who's been leaning into his softer side lately.

Does Solomun need us? He plays Destino every summer, and the honest answer is probably not. Here's 'Raider on the Storm' anyway, a single on his own Diynamic imprint.

The biggest name we've ever had cross this desk, Solomun's latest lands as a short, angled piece rather than a skip, he asked for it to be kept deliberately short. It was mixed hot, really hot, obviously built for a big room system.

Even blown out through garbage speakers, you can still hear that the low end is doing something with the chord underneath instead of just being loud for the sake of being loud. One of the open decks nights I've been doing in Bushwick lately came in handy for that test, but the takeaway is simple: this is a club tool with substance.

Nick Warren's latest is 'Fuego', on Global Underground, a single that shows his production at its most patient and sophisticated. Arriving on July 17th, 2026, this progressive house gem takes its time, building a hypnotic tension through a low end that shifts and pulses beneath a single held note for sixteen bars before finally allowing the track to breathe and resolve.

It’s that deliberate restraint that sets ‘Fuego’ apart, a slow-burning, deeply rewarding arrangement that rewards attentive listening as much as it does the dancefloor. Warren, who has long been a master of the long-form journey, uses every element with intent, from the subtle textural shifts to the eventual, satisfying payoff.

This is his second appearance in a few weeks following his ‘Wanderlust’ release in June, but ‘Fuego’ deliberately takes a different angle, showcasing a more restrained, groove-led side of his production. The result is a track that feels both timeless and forward-looking, a reminder of why Nick Warren remains one of progressive house’s most respected figures.