Bristol bass specialist Hodge joins forces with Tokyo-via-Tsujido rapper Nakamura Minami with an addictive EP on Japanese label TREKKIE TRAX. It’s a dazzling link-up which marries the agile, bilingual blow of Nakamura Minami (who’s previously shown her ability to elevate UK club sounds via collabs with Roska and Itoa) with Hodge’s flickering synths and propulsive, breaks-powered beat.

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The title-track of BFTT’s latest EP on YCO transforms a Prefab Sprout track into a serotonin-soaked house heater. It’s fitting for festivals and park hangouts alike, evoking feelings of both a fist-pumping crowd, with playful sample chops and the forward momentum of its beat, and the carefree bliss of a teenaged summer’s evening via wistful synth notes.

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Van Boom is gearing up to release an “eviscerating” new EP, which this early taste attests to. Made in collaboration with Safety Trance and Evita Manji, it emerges from an opening of crackling fuzz to surge upon a pulse of powerful drums, fraught synths and haunting, warped vocals.

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Tinashe is back with another certified bop. “Yeah, it's time for summer,” she recently said in an interview with Paper, and this first taste of her new album hits the seasonal spot. It’s a sultry anthem on which her suggestive, velvety vocals ride a low-key beat that draws the sexiness out of deep, leisurely bass.

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Demonstrating exactly what has positioned him as a maestro of the airwaves, Kasra V is marking 10 years on NTS with a 10-track compilation featuring music from some of the artists he has platformed across the last decade: Sepehr, Angel D’lite, Fantastic man, Alex Kassian and many more. While there’s still a few weeks to go until we get to sample the full record, first single ‘Mariekas’ - from Marie Malarie and the V-Sion label head himself - has got us itching with anticipation. Bubbling synths, skittering cowbells and shuffling hats meld and break away above a splintered-yet-velvety vocal sample. By pairing Kasra V’s knack for shuffling breaks that feel simultaneously retro and new-age, and Malarie’s penchant for hypnotic house samples and decadent percussion, ‘Mariekas’ manages to be as energetic as it is mesmerising.

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It’s undeniable that the first single from Charli XCX’s upcoming album ‘Brat’ pulls inspiration from the early 2010s; see that hair-raising, Bodyrox-esque bassline and Charli’s chaotic-yet-commanding vocals. It makes sense then for ‘Von dutch’ to be reimagined as a monstrous dubstep wobbler, and who better to do so than Skream & Benga — who together strip all semblance of sugary pop from XCX’s original, ploughing through a nostalgic array of dense kicks, keening basslines and the kind of world-ending drops that would have both FWD regulars and Ultra festivalgoers clawing at the walls. A masterclass in transforming naughty into n0rty.

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Punchy, full throttle dance music remains undefeated — that is if the shuffling kicks and trickling percussion of eoin dj’s ‘2 Girls 1 Brain’ remix is anything to go by. Taken from “steamy house connoisseur” 131bpm’s ‘Another World’ remix pack, Eoin’s reimagining retains all of the original track’s heat — using some well-timed basslines and sped-up drums to transform ‘2 Girls 1 Brain’ from a sweaty dancefloor banger to an all-out gun finger extravaganza.

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Nas and DJ Premier have officially run it back! Chopped vocal samples, record scratches, and a minimal back beat earmark this one as textbook DJ Premier, in a full circle moment for the NYC hip hop genius. One could be forgiven for mistaking this as straight off ‘Illmatic’, but no, this is fresh East Coast hip hop heat, sounding lively as ever in 2024.

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Known for his captivating and jumpy flows, Reek0 has injected freshness into house and garage over the last couple of years, re-imagining the connection between the MC and the DJ with a synergy reminiscent of 2000s house raves. This single is no different, with effortless wordplay riding over a stripped back ’90s style house beat courtesy of newcomer MaxRP … one for the skankers!

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Masters at Work live up to their name and add to their extensive catalogue, with jolting house heater ‘Let Me Know’. Driven by a punchy bass loop as well as MAW’s signature collection of splayed snares and percussion alongside a Moodymann vocal, it’s a production bound to have you dancing for its full seven-and-half-minutes. With the full complement of synths and string layers crafting gradual ebbs and flows into the track’s energy, this is one for the full-body all-night dancers … not a gun finger in sight.

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MCR-T has unleashed a beast. His husky voice spills controversial music industry opinions as a direct ‘fuck you’ to promoters. Lines like “I’ve been taking too much shit and now it’s clear I can see” morph his negative experiences working as an artist in the industry into his very own ‘Seshdawg anthem’. And just so that listeners can really catch these industry digs, after each line we hear an echoing whisper, just so there’s no mistaking these words. Despite not being as in-your-face as much of his other work, the beat is just as addictive. The donk pounds its way into the room bouncing from wall to wall, forcing you to dance to its unforgiving rhythm.

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Two years was worth the wait. Caribou has returned with a killer cut that has already been on heavy rotation across clubs just weeks since its official release. Compared to his other work under the same alias, ‘Honey’ smashes the mould as he delivers a corker of a track with thick wobbles and an enormous drop. The angelic vocal of “You’ll always be my honey” doesn’t prepare you for the bassline that the track dramatically falls into. It’s an out-of-the-blue wild card that is a must-listen. More of this please Dan!

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Overmono have become an artist you can wholeheartedly trust to deliver when new music drops, even when it’s remixing a classic. Taking on the challenge to level up what is already a unanimously known riff and turn it into something new can be risky, but they deliver, keeping the main points of that iconic melody and Skinner’s vocals while adding their own choppy breakbeat and a glaring bass note flair. Anyone who’s seen them in the past couple of years will already know how much this one goes off in the dance. Its official release is a welcome dose of old and recent nostalgia all at once.

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Following a joint admiration for each other’s productions, Giulia Tess and Lawrence Hart link up for the first time on ‘Trust’ - a full-momentum club cut chopping up speedy breaks with pitched-up vocals. “This new collab seemed inevitable,” Lawrence Hart said. “Our instant synergy in the studio meant ‘Trust’ was completed in one day”.

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Multi-instrumentalist Jasper Tygner is back in the studio working on his next record, set to mark his debut on Ninja Tune’s Technicolour imprint. His first offering from the new EP, ‘Before Me’, gives another glimpse into the glittering world of the UK artist’s productions, a synth-led journey through euphoric breaks and velvety vocals. “‘Before Me’ was one of those tracks that came together super quickly after I found the Ouri vocal,” he said on the track. “It was a really instinctive experience, I knew exactly where I wanted to take it”.

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Moody club riddims and quality UK funky are the specialist callings on Funky Adjacent’s latest compilation record, put together by label boss and producer Calm Stiege. His closing track on the record, ‘Back’, brings the album to a fierce close with twitchy drums, a low-frequency bassline, and a hypnotic, trance-inducing vocal sample.

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