Having captured the imaginations of the experimental rap and electronic world with their debut album ‘The Vanity Project’ last year, it would be an understatement to say that as the latest full-length record from the Manchester-based MC and producer had a tough act to follow. Though of course, on first listen to ‘Not A Dream But A Controlled Explosion’ it’s evident that Iceboy Violet has grown and honed in their skills to a degree in the last year that can take most artists a decade. Combining their typically rough-edged drill-adjacent vocals with their own deep, percussive production into a fully-realised vision; inspired by the role of desire, societal constructs and perception itself, it dances between erie and effervescent. A record that is simultaneously fulfilling, but also leaves you searching and combing its elements for more.

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There is something somewhat unruly about an electronic artist who made their name on the dancefloor, to then move outside its borders and then come back again. Nathan Micay’s journey has clearly informed his latest record on LuckyMe, providing a more leftfield, referential lens with which to view dance music. This is heard in the cinematic synths that dance above the percussive rhythm of ‘If Wishes Were Fishes We’d All Cast Nets’, or low-tempo, grinding pound of the kick drum that melts into soft keys on ‘Hexagon of Death’. Though, perhaps even more excitingly, it’s clear Micay hasn’t forgotten how to get us all moving during his various exploits — the rowdy hip hop-esque samples, scattered bass and catchy vocals on ‘It’s Recess Everywhere’ prove that.

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There’s always three things we’ve come to expect from a Barker record by now: masterful technique, an insightful approach to experimentation - and for those two elements, to somehow, combine to create something that is incredible to listen to. For his first EP since 2020’s ‘BARKER002’, the Ostgut Ton alum puts a focus on the bass drum, tearing down its traditional role and pushing the boundaries of its utilisation. To do so, he has created a varied four-tracker, that ranges from the deep, heady waves of ‘Golden Hammer’ to the rough-and-ready compression of ‘Birmingham Screwdriver’. A particular highlight is ‘Wick and Wax’, working the low-end bass to dreamily drift below a delicate cacophony of soft synths in a track that is dripping with optimism.

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The Pariah remix that closes the EP out had caught our attention with regular airings on Rinse FM by the likes of Ben UFO, Kassian and Jurango through summer, hitting with screwface bass throbs and urgent synth sirens. We were a few days late to the full release dropping in the final throes of July, but very grateful not to miss it altogether. Teqmun’s five original productions on the EP take a more intricate and at times enchanting approach. A molecular biologist by day, he explores themes of the natural world through bewitching melodies, pensive pads, emotionally resonants vocals and unpredictable percussion patterns that take on a life of their own. If music could live and breathe, it might sound like this.

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Girls to the front! Two of the North American underground’s brightest talents pair up on this absolutely gorgeous eight-track collaborative project. Powered by breakbeats, they’re often submerged below hazy textures and beguiling vocals, making for a captivating listen that hits emotional pressure points. Standout cut ‘Thinking About U’ is a sublime piece of music, deploying plenty of reverb and serene vocals, with a tinge of muddy bass for good measure.

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Landing on TraTraTrax this month with their first full-length project on the label, BADSISTA readies up three new cuts influenced by the sound of Brazil. Clutching on the tethers of baile funk with a regular 4x4 twist, this trilogy of club tracks get special rework treatment from Batu and DJ Marfox who each spin BADSISTA’s new releases into their own style, Batu’s taking a typically UK techno edge.

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Describing her next record as “umami for the ears”, singer and producer Miso Extra heads onto Transgressive with a 13-minute mini-album, ‘MSG’. Comprising just five tracks that sift through off-kilter pop and skewed hip hop with influence from J Dilla and MF DOOM, ‘MSG’ is a cocktail of genres and sounds that shouldn’t really make sense on paper, but sound right placed together across five unusual tracks.

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House aficionado Anish Kumar puts together his first mixtape - a 10-track project made up mostly of old samples running with the theme of nostalgia. Armed with the hefty job of clearing those samples, this mixtape is the culmination of years working toward his signature sound, and features the brand new disco-flecked focus track, ‘Little Miss Dynamite’, currently making its way around TikTok and beyond.

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New York City collective Surf Gang teams up with the captivating John Glacier for an experimental project, where Glacier’s usual lyrical introspectivity mesh with dynamic, yet laidback, production for the underground artist’s first extended release since her applauded debut album ‘SHILOH: Lost For Words’. Aside from inspiring buzz from their packed out innovative, rented-school-bus performances, it’s no surprise Surf Gang has been able to accumulate a cult-like following in their home city. With ‘JGSG’, the collective encapsulates elements of soft trancey techno-pop, synth-led ethereal ambience and lo-fi trap compositions to support Glacier’s thoughtful poetry, for a short but incredibly sweet 13 minute compilation.

Producer Ben Hixton plunges neo soul talent Liv.e’s sensual vocals and ethereal production further into the realm of electronica with his remixing of her second album. He approaches her heartfelt lyrics with a new lens, using percussion and Chicago house drum patterns to reshape tracks like ‘Our Father’, altering Liv.e’s vocals and adding addictive, groove inspiring bass to ‘A Slumber Party?’, and throwing ‘Heart Break Escape’ into a trance-tunnel with his creative, skillful production.

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Cypress Hill founder and the producer behind House of Pain’s seminal ‘90s hit ‘Jump Around’, Ice Cube’s ‘Check Yo Self’ and an impressive array of credits for artists such as MF DOOM - DJ Muggs’ new album features an eclectic collection of talent like CeeLo Green, Freddie Gibbs, Westside Gunn and Method Man to spit melodic raps over his masterful, sample-ridden acid jazz production, filled with bird tweets, chimes and beautifully melodic chords.

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OSSX cement their place as party anthem professionals with their latest batch of edits. The headline act is ‘DARE’, an East Coast club flip of the Gorillaz track of the same name, which set Dekmantel alight during Anz & Special Request’s two-hour rinse out. ‘SYSTEM LOVE’ mashes up the instrumental from Kerri Chandler’s hit ‘You’re In My System’ with the acapella from Mary J. Blige’s ‘Real Love’ to devastating effect. Finally, there are both club and jungle versions of title track ‘MAKE NICE’, with the 160 BPM effort particularly enticing.

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Julio Bashmore & T.Williams return to Local Action with a tasty two-tracker that brings together elements of French house and UK funky in their traditional, minimal style. ‘ZP Dub’ is a zippy number, live mixed over almost six minutes with impressive synth work throughout. Alongside it, ‘Porta Time’, a re-release from the pair’s vinyl only Conch imprint, is a stripped-back funky track that brings the most out of each element.

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Tammo Hesselink returns to Nous’klaer Audio for his second project of 2023. ‘Beam’ is a delicious double pack consisting of eight twisting techno efforts. The opener, ‘Function As Foils’, is a lovely dub techno track embellished with echoed out stabs and rimshots which, like the rest of the project, reflects a producer who is a master in managing space. ‘Eraser’ is another highlight that perfectly balances hard-hitting percussion and powerful subs with soothing pads, evoking the sound of Skee Mask.

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A hefty debut EP jam-packed with bangers, BAMBII is truly one to watch. The Toronto-based artist has left us breathless with a junglist, bouncy and fast-paced release. Kicking things off with ‘One Touch’, this track has the bassline of a liquid d’n’b track, the breakbeat of some hardcore techno and the foghorn sound fx you hear in dancehall classics. It’s like the best parts of genres crushed together to make something groundbreaking - and this is just the first track! From there we move into a deeper and darker space as tracks such as ‘Slip Slide’ feature Ragz Originale and Lamsi tend to fall towards an industrial sense of dancehall and techno combined. We end on a high with the album’s title-track echoing BAMBII’s incredible producing talent.

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This footwork wizz is back with a cutesy house and techno album that isn’t afraid to explore a range of tempos. Jumping from the melodic and dreamy sound of ‘Mewsic’ she later hops into the violently glitchy ‘Band Man’ as this EP showcases a range of her work. The star of the album is ‘Bedroom DJ’. With Brooklyn rapper Petty Getty, Tomu plays with a fuzzy melody and pondering bassline as Getty raps: “I’m the real-life bedroom DJ”.

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Hyperpop meets techno is this new release that will make you shout “Yeehaw”. Cowgirl Clue is the experimental whirlwind that has hit us like a ton of bricks with her latest album. ‘Rodeo Star’ could be a complete DJ set as this speedy release is exciting and dancefloor-driven. This synth-pop masterpiece bears explosive tracks from ‘Running With A Flashlight’ that switches between a stomping banger to the country-influenced track ‘Trailblaze’. It’s one chaotic album but also one you must listen to.

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