AME, Love Is The Dance
Frank Wiedemann and Kristian Beyer, collectively known as AME, return to Innervisions with 'Love Is The Dance', a five-track EP released on March 13, 2026. While the title track serves as the compromise, the closer 'Asa' is the one that actually does something. It's sparser, more open, and carries a little vocal chop that shows up in 'Love Is The Dance' too, same texture, pitched differently. This is Innervisions, so it means something even if he doesn't need the reach. A genuine legacy act judged on its own merits, kept tight rather than padded. On 'Pha Na Pha', the second track, one of the stronger cuts on the release, not the weak link this time.
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14 quiet days
Glenn Morrison, Prango / Over My Head
Glenn Morrison, Prango
Glenn Morrison drops a rare double-sided single, ‘Prango / Over My Head’, released February 27th on Fall From Grace Records.
It’s a two tracker, no remixes, two actual original songs, that’s rare enough these days that I almost want to cover it for that alone. But I’ll take ‘Prango’, I like where it sits, kind of a comedown-adjacent thing, patient without being boring.
It rolls out slowly, a soft pulse underneath, then a synth line that feels like it’s been waiting all night to speak. Morrison doesn’t rush it. The kick stays warm, the hats are tucked in, and the melody does the talking. By the time the breakdown opens up, you’re already in it, swaying, eyes half closed, that moment where the room feels like a slow exhale.
Glenn Morrison has been doing this for a long time, and it shows. He knows how to make a track that breathes. It feels like a good way to end the season, one from each of us, like the Jeremy Olander thing.
Glenn Morrison, Over My Head
apologies if this one reads a little scattered, i'm writing it from an apartment that is currently ninety percent cardboard box, movers came through this weekend and i have not fully located my brain yet.
over my head is a track that doesn't ask for permission to float. it opens on a cool, patient pulse, the kind of loop that feels like standing at the edge of a very calm sea. the chord work hangs in the air like humidity, and morrison lets each element breathe with a restraint that borders on hypnotic. a stately vocal, distant and processed, repeats the title phrase as if it's the last thing you'll remember before the club closes. the drums arrive soft, cushioned, almost apologetic, but they hold the whole structure together with quiet authority.
this isn't a peak time stomper. it's the record that clears the room of chatter, the one that pulls the crowd closer to the booth, the one that makes people close their eyes. the arrangement is sparse to the point of vulnerability, a few keys, a low sub, that voice, and space. so much space. it's a masterclass in negative space, a reminder that techno can be just as powerful in its silences as in its drops. if you're looking for a weapon, this isn't it.
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Rasmus Faber, Too Little, Too Late EP
Another week, another test of the theory that artist-led labels are the new A&R. This time it’s Rasmus Faber’s Farplane Records dropping the ‘Too Little, Too Late EP’ on February 20th, and the title track does something specific with its vocal edit, the phrase actually gets cut off mid-word on purpose, and it feels deliberate, not sloppy. It’s a real EP with two distinct songs, not two versions of the same one, so it counts as a fair test this time, unlike the Andy Duguid thing last week.
‘Too Little, Too Late’ works because that vocal edit is the hook, it forces you to lean in, to catch the phrase as it snaps. The production around it’s clean, melodic house with a bit of warmth, but that little structural choice is what makes it stick. ‘My Body’ is the weaker of the two, competent, gets the job done, but it doesn’t have that same ear-catching moment. It’s fine, it’s just not the one you’ll remember. Still, as a test of whether an artist’s own label can carry weight in a crowded release week, this one passes.
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2026-02-21 22:57
Silver Panda returns to Panda Lab Records with 'Feel It Now'
It’s the second Panda Lab release: Silver Panda’s ‘Feel It Now’. The art style feels immediately familiar, the same visual hand that shaped the label’s December offering, and the track itself carries a similar sonic signature, particularly that low, chanted undercurrent that drove the earlier release.
The piece moves with a steady pulse and an almost hypnotic restraint. There’s no dramatic build, no obvious drop, just a patient, rolling groove that lets the vocal fragment sit deep in the mix. It feels less like a peak-time weapon and more like a tool for those locked-in moments when the floor’s already moving.
As with the December release, there’s no Beatport genre tag or BPM data attached to this one. The label continues to present the music on its own terms, letting the sound speak without unnecessary metadata. It’s a quiet but deliberate approach that fits the stripped-back nature of the track itself.
Silver Panda remains a steady presence, and ‘Feel It Now’ is another confident step for both the artist and the label’s growing catalogue.
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2026-02-15 00:22
Andy Duguid - Rescue Me
Andy Duguid returns to Magik Muzik with his latest single, 'Rescue Me'. The track is built on a driving bassline that holds the tonal center from the first bar to the last, with every element seeming to lock into that same pocket. I've been wrong about that read before, so take it as a hunch, not a fact, but this one I'm fairly confident on. The melody unfolds gradually, layering in pads and plucks without ever losing that foundational grip.
It's the kind of release that reminds you why the label has kept its reputation for so long. The extended mix stretches the arrangement out just enough to let the breakdown breathe, but the core momentum never really drops. The radio edit's just honest about what it is.
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15 quiet days
X-Press 2 returns with new EP 'Metrowave' on Skint Records
Alright, let’s talk about the latest from X-Press 2. The legends are back with the ‘Metrowave EP’ on Skint Records, and, it’s a trip. It’s four tracks of pure, unfiltered club music that feels like a warm hug from a speaker stack.
Let’s get the elephant out of the room. Skint Records. Yeah, that Skint. The label used to be a whole scene, big beat, the Chemical Brothers adjacent stuff, all of that. Now it’s just a name on a folder, and weird to see the name still cranking out melodic house tagged things in 2026. But you know what? The original ‘Metrowave’ track itself is actually really good. It’s got this rolling low end that just keeps building without ever feeling like it’s stalling. It’s a proper piece of work.
The EP is rounded out by a Matt Karmil Remix that takes things into a lighter, more airy space, and a Dub version that strips it back to the bare bones for the heads. Then there’s ‘Um Bah Be’ on the closer, a longer, more drawn-out cut that’s perfect for when you want the night to never end.
It’s a solid return from X-Press 2, no doubt. The boys still know how to craft a groove that’s both timeless and fresh. Whether you’re a long-time fan or new to the party, this EP deserves a spin. Crank it up.
Deezer
2026-01-25 23:03Jimi Jules, Baby Run
Since September, this is the fourth CircoLoco Records release to cross my desk. I admit: I didn’t fully digest the previous three, but with 'Baby Run' I actually sat down and listened to the entire thing before deciding to write about it. And you know what? It’s good. Not 'brand-defining' good, just good. That's a perfectly acceptable outcome for a label whose output has been hit-or-miss lately.
What works: it doesn't sound like the last three CircoLoco things I’ve heard. There's a sense of musicality here that feels less like a DJ tool and more like a song cycle. Jimi Jules is clearly leaning into his songwriting side, which is a welcome change of pace.
The title track 'Baby Run' opens with a hazy, vocal-led groove that feels both intimate and danceable. 'Dreamin'' closes the EP with a similar mood, ethereal, a little melancholic, but with enough of a pulse to keep the floor moving.
The weak point is 'Turbo Rosso', not because the label's tiredness finally caught up with it (it hasn't, really), but simply because it's the same idea as the title track without a new hook. It's a filler track in an otherwise solid package.
That's the whole point of keeping the tally clean. The label being tired doesn't mean every release off it's tired.
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2026-01-23 22:26
Dosem releases 'Momental' on Houstrike
Dosem returns with his new project, ‘Momental,’ a four-track journey that lands on his Houstrike imprint on January 22, 2026. The release sees the artist working through familiar progressive territory, but with a sharper, more confident focus. It’s an EP that moves as one continuous thought, built for the moments just before a club night hits its stride.
The title track ‘Momental’ anchors the release with steady, rolling momentum. It’s classic Dosem, driving, hypnotic, and built to lock a room into a single groove. ‘Queryer’ opens the EP with a tighter, more tense energy, all clipped textures and forward motion, while ‘Realspace’ closes things out with a deeper, more patient feel, spacious and weighty in equal measure.
The true standout, however, is ‘Citywild’. It starts as a proper build track, layering tension with a familiar, patient hand. Then, two-thirds in, it does something unexpected: it strips away half the elements and lets the bassline carry the whole weight of the record on its own. It’s a bold structural choice, and it works. The track feels less like a formula and more like a thought that changes its mind mid-sentence, landing somewhere far more interesting.
‘Momental’ finds Dosem in a sweet spot, not pushing for peak-time bombast, but crafting the kind of records that shine in that patient, building hour where the night’s starting to breathe. It’s a release that rewards attention, and one that’ll likely find its way into sets that know exactly when to hold back and when to push.
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36 days, the correction, the holidays and a five-day disappearance all in one stretch
Massano makes his Diynamic debut with 'Cash Is King EP'
It’s been a while since a label ID got this exciting. Today, the whisper in the chat is that Massano has landed on Diynamic Music for the very first time, and the result is the three-track ‘Cash Is King EP’.
Massano, a name that’s been carving its own lane across the darker fringes of melodic house and techno, isn’t here to make background music. His productions are built with intent, combining weighty percussion, dystopian synth lines, and a narrative tension that pulls you in from the first kick.
Diynamic, of course, is a label with a vast catalogue that ranges from the intimate and dreamy to the peak-time and cavernous. This EP slots into a specific corner of that house: the harder one.
The title track ‘Cash Is King’ leads the charge. It’s direct, no-nonsense techno energy under the Diynamic banner, driven by a relentless groove and a brooding atmosphere that feels made for a dark room at 3am. It’s not a departure from the label’s DNA; it’s a different room in the same house, moodier and more aggressive.
‘Invasion 2055’ takes a turn into dystopian sci-fi territory, layering metallic stabs and robotic vocal cuts over a punishing kick pattern. The widescreen synth in the back half does more than either of the other two tracks. Then there’s ‘Funk’, which adds a rubbery, jacking bassline to the mix, offering a slightly more playful counterweight while keeping the overall mood strictly industrial. All three tracks share a raw, unpolished edge that makes them immediate tools for the floor.
Massano has been a key figure in the post-COVID renaissance of harder, more hypnotic techno, and this release on a label as storied as Diynamic feels like a significant moment. It’s out December 19th, 2025. Get familiar.
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2025-12-11 22:15Matthias Meyer's 'Bits The Dust' for Strangely Enough
Matthias Meyer is back, delivering ‘Bits The Dust’ on Strangely Enough. The release drops December 12, 2025, and comes with a remix from Fell Reis.
The original is a masterclass in subtle tension. Meyer builds the track around a bassline that’s clearly written for the key of the record, it moves with the chord changes rather than just sitting there, which gives the whole groove a sense of narrative. The percussive elements feel organic, almost hand-played, and the melodies drift in and out of the mix with a kind of weightless grace. There’s a warmth here that feels distinctly Meyer, a patience in the arrangement that rewards close listening.
On the remix, Fell Reis pushes the low end louder, stripping back some of the harmonic content to focus on the floor-filling core. I've made this exact mistake myself, so I notice it immediately when someone else does it. While this approach occasionally sacrifices a bit of the original’s harmonic richness, it’s a functional tool for late-night DJ sets where the bass is king.
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2025-12-04 23:52
KOZAK SIROMAHA, Gulialy (Who Else & DROHP Remix)
Panda Lab Records is a genuinely unhinged label name for whatever this is about to be. KOZAK SIROMAHA’s ‘Gulialy’ gets the Who Else & DROHP treatment, and the result’s a straight-up, no-frills club tool built around a chanted vocal that sits right in the front of the mix.
The track isn’t trying to do too much. There’s no elaborate narrative, no cinematic breakdown, just a heavy low end and that vocal doing most of the heavy lifting. It’s the kind of record that feels immediate, like it comes from a specific place rather than a generic studio session. The chant gives it a character that cuts through, something that feels less like a production trick and more like a genuine piece of source material dropped into a warehouse setting.
Who Else & DROHP keep the arrangement tight and functional. The drums push forward, the bass stays weighty, and the vocal’s allowed to breathe without getting buried. It’s a focused remix that knows exactly what it is: a functional, memorable weapon for the floor. If you’ve been digging for something with a bit of character that still works when the room’s packed, this is one to grab.
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2025-11-27 21:37
Rachel K Collier - Passion Plays (Linnwood Remix)
Rachel K Collier is an artist who knows her way around a groove. The producer and performer has spent years carving out her own lane, blending live vocal loops, hardware, and serious dancefloor nous into a sound that’s unmistakably hers. She’s also a proper gearhead and an educator, which means she understands exactly what makes a track tick. So when she hands her own material to another producer for a remix, you know it’s in safe hands. Enter Linnwood, who has taken ‘Passion Plays’ and reworked it into a hypnotic, late-night journey that’s all about patience and texture. It moves with a steady, pulsing rhythm, letting the original’s vocal breathe while building a deep, immersive soundscape around it. The remix keeps the essence of the original intact, but it’s been stretched out into something that feels made for the after-hours.
It’s out now, November 28th, 2025, on Head Bitch Music. That label name? Yeah, it’s a statement of intent. But the real statement is in the music. This one’s a slow burner that rewards repeat listens.
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