DAVE PORTER
The mind behind the music of PLURIBUS, BREAKING BAD, BETTER CALL SAUL, THE BLACKLIST & more!
His vision stretches across genres, continents, and creative mediums — positioning him as a modern music architect with an elevated sense of style and sound.
Moving Electronic Music Forward Since 2015
PUBLISHER/EDITOR-IN-CHIEF
JOSEPH WENSELL
EDITORIAL DIRECTOR-AT-LARGE SHON MURDOCK
INTERNET TECHNOLOGY
KARIN HASLINGER
ART DIRECTION
JOSEPH WENSELL
CONTRIBUTORS AT LARGE
Catherine Strickland, Cory Royster, Desirae L. Benson, Erik L. Richardson, James Arena, Joseph Arthur, Karin Haslinger, Courtney Johnson, Leo Weaver, Matthew Washington, Tim Stark, Vladimir Jean-Philippe, Zach Miller
EDITORIAL REQUESTS
JOSEPH WENSELL editor@beatselectormagazine.com
BRANDING PARTNERSHIP & SPONSORSHIP
SHON MURDOCK shon@beatselectormagazine.com
ADVERTISING & MARKETING editor@beatselectormagazine.com
GENERAL INQUIRIES editor@beatselectormagazine.com
DIGITAL SUBSCRIPTIONS issuu.com/beatselectormagazine
WINTER 2025/26
DAVE PORTER 48
Dave Porter has crafted the scores for the likes of Pluribus, Echo, Breaking Bad, and Better Call Saul—just a few of the most awarded and groundbreaking television series. He has won an ASCAP (American Society of Composers, Authors and Publishers) award, along with a host of others. You may not know him by name, but you know his material; you know those TV series and how much their soundtracks helped parse and meter out the timing of sequences during pivotal scenes.
Erik L. Richardson delivers the conversational insights.
FEATURES
28 ...AND THE GRAMMY GOES TO...
BRIEFS ON THE GRAMMY DANCE/ELECTRONIC CATEGORY WIINERS: FKA TWIGS; TAME IMPALA; GESAFFELSTEIN; & LADY GAGA.
38 NAS LUKE:
AUTHENTICITY, TECHNICAL MASTERY, & RESILIENCE.
BASED IN BEVERLY HILLS, CALIFORNIA, NAS LUKE OPERATES AT THE INTERSECTION OF ARTISTRY AND GLOBAL INFLUENCE. HIS VISION STRETCHES ACROSS GENRES, CONTINENTS, AND CREATIVE MEDIUMS — POSITIONING HIM AS A MODERN MUSIC ARCHITECT WITH AN ELEVATED SENSE OF STYLE AND SOUND.
DEPARTMENTS
14 INDUSTRY NEWS
RÜFÜS DU SOL TOUR SETS RECORD, THE WEEKND LANDS $1B DEAL, NEW BOOK FROM UK MUSIC JOURNALIST JAMES HAMILTON, CREATE MUSIC GROUP BUYS CR2 HOLDINGS GROUP, TOMORROWLAND TAKES ON CHINA, THE RECORDING CLUBS CELEBRATES 1ST BIRTHDAY
58 NEW MUSIC
FEATURING 15 NEW RELEASES FROM: FELIX RAPHAEL; KLANGKARUSSELL; JOHAN GILEN; DAMES BROWN; KOZLOW; CAMERON GLASGOW; RAYRAY; ONYVVA; KLAUDIE; MAX STYLER; ELDERBROOK; WALKER & ROYCE; HIDDE VAN WEE; ADAM BEYER
Cover & Table of Contents Photography Courtesy of Dave Porter
INDUSTRY NEWS
RÜFÜS DU SOL INHALE/EXHALE TOUR BREAKS RECORDS
Following a trio of sold-out hometown headline shows in Sydney, Grammy-winning live electronic trio RÜFÜS DU SOL have been honored with a commemorative plaque, presented by Live Nation and Untitled, recognizing their Inhale/Exhale World Tour as the highest-selling electronic tour of all time.
The milestone caps a record-breaking 2025, during which the trio sold 750,000 headline tickets and performed to 1.5 million fans worldwide across their festival and headlining shows.
The Inhale/Exhale era has been a critical and commercial success, earning RÜFÜS DU SOL a 2026 GRAMMY nomination for Best Dance/ Electronic Album and four nominations at the 2025 ARIA Awards.
The album debuted on the Billboard 200 and spawned the band’s first #1 on U.S. dance radio with “Music is Better” highlighting their
crossover appeal and position as pioneers in the live electronic music landscape.
Spanning nearly 50 headline shows across four continents, the Inhale/Exhale World Tour has solidified their position amongst the world’s most iconic live acts, performing in venues traditionally reserved for legacy artists, headlining major festivals around the globe and cementing their status as the only electronic act performing at this scale globally.
The tour featured historic moments, including the band becoming the first electronic act to headline Los Angeles’ Rose Bowl and now hold the record for the highest selling Australian act the Qudos Bank Arena in their hometown of a Sydney, while setting new benchmarks for electronic music and the live ecosystem, reaffirming their broader influence on contemporary musical culture worldwide.
The recent plaque presentation celebrates RÜFÜS DU SOL’s unmatched live performance achievements in 2025 and marks the start of their record-setting journey into 2026 when they head back on tour for their headline tours in South America and Europe.
Go to rufusdusol.com/live or full tour dates and tickets to select shows while supplies last.
— E.D.
Tyrone Lindqvist, Jon George, and James Hunt
INDUSTRY NEWS
THE WEEKND SIGNS DEAL WITH LYRIC CAPITOL GROUP WORTH
$1B
The Weeknd recently closed a ground breaking partnership with Lyric Capital Group valued at approximately $1 billion, and unlike the blockbuster catalog sales that have dominated headlines in recent years, this deal does not involve him selling off his life’s work.
Instead, it represents a sophisticated monetization strategy that allows him to unlock the financial power of his catalog while retaining ownership and creative control of his masters and publishing through 2025.
Sources close to the deal have described it as a hybrid arrangement involving equity participation and financing, with Lyric Capital taking a minority stake in a catalog vehicle rather than outright ownership.
The widely reported $1 billion figure reflects the overall valuation of the assets involved,
not simply a lump-sum check. This approach allows Tesfaye and his team to access substantial capital today while preserving long-term upside and control. Equally important is the time horizon.
The deal covers his catalog through 2025, meaning future releases remain entirely outside the agreement. That preserves flexibility for the next chapter of his career and ensures that his creative evolution is not boxed into a single long-term financial structure.
The Weeknd’s move demonstrates that ownership and monetization are no longer mutually exclusive. For top-tier artists, catalogs can function much like real estate or equity portfolios: assets that generate income, secure financing, and appreciate in value without being sold off entirely.
At its core, this deal is about power. Power over music, over narrative, and over the future value of creative work. By choosing partnership over sale, The Weeknd has placed himself not just among music’s financial elite, but among a growing class of artists who are redefining what ownership looks like in the modern music economy.
INDUSTRY NEWS
JAMES HAMILTON: THE LEGENDARY MUSIC JOURNALIST, DJ & UNSUNG PIONEER OF UK DANCE MUSIC CULTURE
James Hamilton was the British DJ and esteemed dance music columnist for the now legendary Record Mirror, one of the most influential weekly music newspapers of its time. The newspaper published music news, pop and dance charts in the UK, and through his column James made or broke records. He also pioneered the use of BPMs and continuous mixing essentially shaping the foundations of British club culture and the modern DJ's technical approach long before the rave era. DJ Greg Wilson and author Mike Atkinson now document his legacy in new book.
When Donna Summer’s “I Feel Love” dropped as an album track, James’s instant enthusiasm helped to secure it a rush-release as a single; a few weeks later, it was at the top of the pop chart. This was just one of many future dance classics that caught James’ ear well ahead of the world at large, and which he wrote about before anyone else.
"Dance Pages 1983-1989" chronicles the emergence of Electronic Music, through club scene notes, reviews, charts and mixing tips, all aimed squarely at the working and modern DJ. It picks up the story where its predecessor ("Disco Pages 1975-1982") left off, as the old disco era makes way for the new electronic era.
As Pete Tong recently observed, James “validated and inspired a whole generation of the club scene. He could make your day or ruin your week with his opinions, but he always had respect because – for a long time – he was always there.” Reading back through his columns, you can observe the establishment,
James Hamilton
development and growth of UK club culture as it actually happened, with James Hamilton observing, recording and guiding it all.
Perhaps most notably of all, a revelatory moment at New York’s Paradise Garage watching Larry Levan inspired James to champion the art of beat-mixing in the UK, initially against stiff opposition; from January 1979 onwards, he manually timed every record he reviewed, thus introducing the term “BPM” to his readers for the first time.
Before James Hamilton started writing his weekly columns in June 1975, there was no national communication network for British DJs. Their names were unknown outside their local areas, and none of them knew what each other were playing. James immediately set about changing all of that: printing news and views from DJs around the country, tipping them off to all the new releases, and single-handedly compiling the first ever national club chart, based on dancefloor reactions.
As the decade progressed and the disco era took shape, he became the music’s most authoritative and influential advocate, his columns regarded as essential reading for DJs and music business professionals, while regular punters scoured his reviews for purchasing tips.
A staunch opponent of revivalism, James kept his ears open to every new development in dance music, from Seventies Jazz-Funk through to Futurist Synth-Pop, Electro-Funk, Hi-NRG, Hip Hop, House and Garage, Acid and Techno. Every time, as the scene’s established
gatekeepers recoiled in horror, he was there, passionately making the case for the next new thing, and invariably placing himself on the right side of history.
This new book catalogues month by month, year by year the decade that has great impact on Dance Music and club culture featuring every major dance release that filled floors across the nation.
Greg Wilson and author Mike Atkinson launched the book in London on Saturday December 20th, 2025 and is available now at www.jameshamilton.com.
E.D.
INDUSTRY NEWS
BILLBOARD CHANGES THE GAME WITH A NEW CHART MEASUREMENT APPROACH
Billboard is changing how it measures streams for its album and singles charts. Starting January 17, 2026, the new method will give more weight to free/ad-supported streams and will count streamed music more in album sales calculations. Currently, one album consumption unit equals
onealbum sale, or 10 song sales, or 1,250 paid/subscription streams, or 3,750 free/adsupported streams.
After the change, only 2,500 free/adsupported streams or 1,000 paid/subscription streams will equal one album sale.
This adjustment means it will take 33.3% fewer free/ad-supported streams and 20% fewer paid subscription streams to equal one album sale.
The changes will apply to the Billboard 200 and relevant genre album charts. Additionally, Billboard is modifying how it weights free/ ad-supported streams compared to paid/ subscription streams.
Previously, a paid/subscription stream was valued at three times that of a free/adsupported stream, but under the new rules, it will be worth 2.5 times as much.
This means users of free/ad-supported streams will have more influence on chart rankings than before.
Billboard states that these changes aim to better reflect increased streaming revenue and changes in consumer behavior.
Streaming has been more influential on Billboard charts since 2007 when Billboard first included streams in its Hot 100 chart.
In 2020, Billboard added video streams of songs, on services such as YouTube, to its measurement of the Billboard 200 chart . — E.D.
CREATE MUSIC GROUP ACQUIRES UK DANCE LABEL
CR2
Create Music Group, based in Los Angeles, was worth $1 billion last year after getting $165 million in investments, and it has made another purchase.
On December 18, the company announced that it has bought Cr2 Holdings Group, which includes the UK dance music label and its related companies.
With this deal, CMG now owns Cr2 Records, MBMB Publishing, and the music education platform Sample Tools by Cr2. Mark Brown, who started Cr2 in 2004, will continue as President. CMG's co-founder Jonathan Strauss and Senior Vice President Eric Nguyen will join the board of the company.
The details about how much the acquisition costs were not shared. CMG has been actively buying other companies in recent months. In February, they announced a partnership
with Pack Records, which is based in New York and New Orleans, to acquire their music catalog.
In March 2025, CMG purchased the music catalog from electronic music artist and DJ Deadmau5 and his label Mau5trap. This deal is valued at “over $55 million” and includes the rights to more than 4,000 songs. It also sets up a partnership for Deadmau5 and Mau5trap to release new music with CMG.
In 2025, it also bought the indie music company ! K7, which is based in Berlin. Additionally, CMG formed partnerships with Ty Dolla $ign and Shawn Barron’s EZMNY Records, as well as Star Trak Entertainment, which was created in 2001 by Rob Walker and the famous producer duo Pharrell Williams and Chad Hugo from The Neptunes.
Last month, CMG invested $500 million into a new fund from Circuit Group, which owns management firms Ayita and Seven20. This fund is focused on acquiring music assets and other cultural intellectual property.
CMG, which distributes music that gets over 150 billion streams every month on digital platforms, plans to provide financial support, technology, and global distribution to help Cr2 grow.
This new acquisition adds to CMG’s collection of electronic music. For the past twenty years, Cr2 has been releasing tracks from popular DJs and producers such as David Guetta, Avicii, Eric Prydz, Camelphat, Fedde Le Grand, and Steve Angello. The label has had many dance hits in the UK, US, and Australia.
— E.D.
INDUSTRY NEWS
ABOVE & BEYOND ANNOUNCE GROUP
THERAPY 700 (ABGT700) AT THE GORGE AMPHITHEATRE
Above & Beyond have announced that the 700th episode of their globally celebrated radio show, Group Therapy (ABGT700), will take place at the Gorge Amphitheatre in
Washington on September 11–13, 2026.
This marks a highly anticipated return to The Gorge, a venue that holds deep emotional resonance for the band and their fanbase alike.
In 2017, ABGT250 transformed the canyon into a breathtaking, open-air temple for trance and progressive music, uniting fans worldwide for a weekend of music, friendship, and connection.
For many, it remains one of the defining moments in the Anjunafamily story. Full ticketing and accommodation information will be shared in the new year, along with presale dates, general on-sale timing, and artist lineup announcements.
Fans are encouraged to sign up now at ABGT700.live for first access to information and exclusive early-bird tickets.
E.D.
TOMORROWLAND BRINGS THE MAGIC TO SHANGHAI, CHINA
On November 22-23, 2025, Tomorrowland, one of the world's most iconic music festivals, brought its full indoor experience to China for the very first time. In partnership with Hero Esports, INS Land, and Budweiser, the brandnew Hero Dome in Shanghai transformed into a breathtaking two-day celebration, uniting thousands of People of Tomorrow. In partnership with Hero Esports, INS Land, and Budweiser, the brand-new Hero Dome in Shanghai transformed into a breathtaking two-day celebration, uniting thousands of People of Tomorrow.
Tomorrowland brought together an exceptional mix of international stars and local talents, delivering a series of unique and never-before-seen collaborations featuring: Dimitri Vegas, Chinese superstar Ma Siwei,
Chris Lorenzo, DubVision, Matisse & Sadko, Third Party, local artists Tiger Drama, DJ Sally, and Halo, Belgian techno sensation Amber Broos, Chinese legend Meguru, Henri PFR, Don Diablo, GALI, Belgian techno queen Amelie Lens, Drum & bass phenomenon Andromedik, and Apashe.
"Our goal was to bring the magic of Tomorrowland to this incredible global stage," said the Tomorrowland team. "Shanghai welcomed us with open arms—the energy was unforgettable."
"We're not just bringing a festival; we're helping change the entire festival landscape in China. Tomorrowland represents magic, detail, and unity, and seeing Chinese fans experience that for the first time is incredibly emotional," said Clinton Lau, CEO of The Magic of Tomorrowland, Head of Hero Esports Music Festivals and Head of Music at INS Land. More at tomorrowland.com.
E.D.
INDUSTRY NEWS
THE RECORDING CLUB MARKS ONE-YEAR ANNIVERSARY
The Recording Club (TRC) celebrated its oneyear anniversary this December. Launched quietly through a discreet, word-of-mouth approach, TRC has captured the interest of industry insiders and has since evolved into one of Santa Monica's most sought-after creative spaces.
Today, it continues to attract artists and innovators aligning with its vision of wellness, artistry, and community, which to date, has been built entirely through referrals, without any advertising or outreach.
Throughout the month of December 2025, TRC officially began expanding its membership core and offering private tours and a special holiday enrollment which can be scheduled online at [https:// www.therecording.club/] or emailing info@ therecording.club
TRC distinguishes itself from traditional
membership studios and private-club models by cultivating an ecosystem where creativity, mentorship, wellness, and collaboration intersect. Far beyond a place to record, TRC fosters a culture of artistic exchange — from spontaneous jam sessions and songwriting labs to peer mentorship and collaborations.
Its members span producers, songwriters, instrumentalists, vocalists, engineers, and creators, sharing a belief that true creativity flourishes when inspired minds converge in an environment designed for growth and well-being.
The Recording Club's facilities provide members with a world-class environment for production, performance, and content creation. Its premier Live Room features a full band stage, advanced lighting, and
6KBlackmagic cameras for high-quality capture.
Another studio is tailored for professional tracking and recording with dedicated lighting, backline, and a vocal booth. TRC also houses a broadcast-ready podcast studio and a rehearsal room equipped for recording and performance preparation.
Complementing the studio spaces, TRC integrates wellness throughout its environment to support both mind and body.
Members have access to a cold plunge, a barrel steam sauna, an outdoor gym, and personal training options — all designed to cultivate long-term creative excellence.
Thoughtfully curated social areas
encourage organic collaborations, and moments of restoration between sessions.
"When we founded The Recording Club, we envisioned more than a studio — we envisioned a sanctuary for creative possibility," said Founder Greg Spero. "We wanted to create a space where artists feel supported not only in their craft, but also in their personal well-being. TRC reflects that vision — a community where inspiration flows freely, where collaboration happens organically, and where people become better versions of themselves through creativity and connection."
For more details and information, visit www. therecording.club
E.D.
DOM DOLLA
Greg Spero & Quincy Jones III
...and GRAMMY
the GRAMMY ® goes to...
BEST DANCE ELECTRONIC ALBUM
BEST DANCE/ELECTRONIC RECORDING
BEST DANCE REMIX RECORDING
BEST DANCE POP SONG
...and the goes to... GRAMMY ®
The Grammy Awards 2026
Best Dance/Electronic Album
WINNER: Eusexua
ARTIST: FKA TWIGS
"Eusexua" is the third studio album by English singer FKA Twigs, released on January 24, 2025 through Young and Atlantic Records. It marks her first studio album in five years, following "Magdalene" (2019), and her first full body of work in over three years, following the mixtape "Caprisongs" (2022). It contains guest appearances from Koreless and North West; the latter performs in Japanese.
The album has received acclaim from music critics praising the production style, vocal performances, and songwriting. "Eusexua" is also the title track and lead single off the album, released 13 September 2024. "Perfect Stranger" and "Drums of Death" were the other two singles, released roughly a month apart.
The album was followed by a sequel, "Eusexua Afterglow," on 14 November 2025. Afterglow was released alongside a reissue of "Eusexua," which replaces four tracks with new recordings, including the single "Perfectly", and also includes a new version of the track "Striptease" featuring Eartheater.
...and the
GRAMMY ®
goes to...
The Grammy Awards 2026
Best Dance/Electronic Recording
WINNER: End Of Summer
ARTIST: Tame Impala
"End of Summer" is a song by Tame Impala, created by Australian musician Kevin Parker, released on July 25, 2025 as the lead single from the album Deadbeat. It is Parker's first solo release in five years and the first with Columbia Records.
The song won awards at the 2025 ARIA Music Awards and the 2026 Grammy Awards. Parker performed an unreleased song at Primavera Sound 2025 and shared teaser images on social media. A teaser video was published before the song's release, and a music video directed by Julian Klincewicz was also launched.
GRAMMY ®
...and the goes
to...
The Grammy Awards 2026 Best Remixed Recording
WINNER: Abracadabra (Gesaffelstein Remix)
ARTIST: Lady Gaga
Gesaffelstein co-produced and co-wrote on Lady Gaga's Grammy-winning album Mayhem in 2025, featuring on the sixth track, "Killah." His remix of the Mayhem track "Abracadabra" earned him the Grammy Award for Best Remixed Recording, Non-Classical at the 68th annual ceremony. His appearance at the ceremony attracted considerable attention, as he wore black gloves and his signature black reflective mask, reminiscent of the cover art for Gamma, and accepted the award without speaking.
...and the goes to... GRAMMY ®
The Grammy Awards 2026
Best Dance/Pop Recording
WINNER: Abracadabra
ARTIST: Lady Gaga
"Abracadabra" is a song recorded by American singersongwriter Lady Gaga for her studio album, Mayhem (2025). It was written and produced by Gaga, Andrew Watt, and Cirkut, with additional songwriting credits to members of Siouxsie and the Banshees, as it incorporates elements from their 1981 single "Spellbound". Musically, it is a dance, dance-pop, electropop, synth-pop, and acid techno track with electronic, industrial, house, and psychedelic influences. The song's lyrics, according to Gaga, reflect on facing life's challenges and finding a sense of magic in them. "Abracadabra" was released through Interscope Records on February 3, 2025, as the album's second single.
Nas Luke AUTHENTICITY, TECHNICAL MASTERY, & RESILIENCE.
I n a world where producers are the unseen architects of culture, Nas Luke has emerged as one of the most compelling creative forces of the new era. A producer, songwriter, and sonic visionary, Nas Luke has built a brand rooted in versatility, cultural connectivity, and a relentless drive for sonic excellence. Based in Beverly Hills, California, Nas Luke operates at the intersection of artistry and global influence. His vision stretches across genres, continents, and creative mediums — positioning him as a modern music architect with an elevated sense of style and sound.
By SHON MURDOCK
Shon Murdock: Where are you originally from?
Nas Luke: "I'm originally true-born in Rabat, capital of the Kingdom of Morocco."
SM: What DJ or producer influenced your sound the most in your early years?
NL: "As a producer who started my journey around the late 2000s and early 2009s, the producers who fundamentally shaped my approach to sound were those who were expertly blending diverse global sounds and pushing the boundaries of what Dancehall, Electronic music, and Hip-Hop could be.
Hmm, to be honest, there were so many back on time. Imma gonna start with my favorite idol, Sean Paul.
In the EDM, Electro, and Dance scenes, I can tell Daft Punk, Steve Angelo, Axwell & Sebastian Ingrosso, without forgetting the Dutch era such as Tiesto, and also the French Riviera genre like David Guetta. Italian scene too like Benny Benassi, Alex Gaudino, and so many others."
SM: Who are some artists you’ve enjoyed working with the most?
NL: "Wow, that's a tricky shot here, Broski!
I'd like to mention them all, but I'm going to say Sean Paul, Rihanna, Eminem (crazy as hell coz he's poppin’ in studio like a company shift, like yuh gotta time to respect), Jay-Z and Queen B, Kanye West, Adele, Christina Aguilera, Ciara, Demi Lovato, Iggy Azalea, Becky G, Future, Migos, Cardi B, etc...Each one of them have a
SM: What global sounds or cultures influence your music right now?
NL: "Uh, that's easy peezy, G! Moroccan culture. I can't describe the heritage of one of the longest kingdoms in the world, Bro!
Drawing on Morocco's rich and diverse cultural tapestry—which includes Amazigh, Arab, Andalusian influences, Moroccan Sahara— has been a foundational element in my music, allowing me to blend a deep sense of heritage with contemporary global sounds.
Morocco has always been a crossroads of cultures, and its musical heritage is an incredibly rich tapestry that reflects this history. My work is profoundly influenced by this diversity.
I primarily focus on incorporating key elements from Moroccan traditional music. Ultimately, my goal is not just to sample traditional sounds, but to create a seamless fusion that introduces the richness of Moroccanmusic to a global audience, mixed with Dancehall and Reggae, and making them a natural fit for contemporary fusion and a way to add a unique, organic feel to electronic or hip-hop beats, giving it an international appeal while still honoring its authentic roots."
SM: What recording and production software are you using in the studio these days?
NL: "As a producer working at a high level, the choice of software is about workflow efficiency and the specific creative needs of a project, rather
than one “magic bullet” program. In my studio, I primarily work within a hybrid environment, which often means moving between different platforms depending on the stage of production and the specific requirements of the track.
My main Digital Audio Workstation (DAW) for recording and detailed audio editing is Avid Pro Tools. It’s the industry standard for a reason—its editing capabilities and workflow for large-scale sessions are unmatched, making it ideal for tracking vocals and instruments with precision and for collaboration with other major studios and engineers.
For the initial composition, beat-making, and sound design, I often jump into Ableton Live or Logic Pro. Ableton's Session View is fantastic for creative experimentation with loops and arrangements, particularly with the Moroccan cultural influences I mentioned, as it allows for an improvisational workflow. Logic Pro is a powerhouse for composition on the Mac platform, with an extensive sound library and
intuitive MIDI tools that help flesh out initial ideas quickly. Ultimately, the 'best' software is the one that allows me to get the best results efficiently.
I leverage the unique strengths of each program—Pro Tools for its robust engineering core, and Ableton/Logic for their creative and compositional flexibility.
The key is to be proficient enough in multiple environments to maintain a seamless creative flow and transfer projects without technical bottlenecks."
SM: What can fans expect next from you?
NL: "Perhaps I'm gonna retire, hhhh.
What fans can expect next is a deeper exploration of that fusion between contemporary global sounds and traditional Moroccan music. The Grammy recognition has given me the confidence and leverage to really push the envelope creatively, and that’s exactly what I'm doing.
They can expect collaborations with artists they know and love, new ones too. The goal is to bring new things to the forefront.
The core expectation should be that I'm not resting on my laurels. I’m continuing to use my platform and the creative freedom I’ve earned to take risks. My commitment is to making music that is authentic, innovative, and emotionally impactful. It’s going to be a vibrant journey, and
I’m excited for everyone to hear it soon."
SM:What is the largest audience you’ve ever performed a DJ set in front of?
NL: "I've stopped deejing a long time ago; honestly, I do not remember, but I had great memories with friends and fans all over the world."
SM: Who is your dream collaboration — who would you like to work with?
NL: "As a Grammy-winning producer, my dream collaborations are driven by a desire to work with artists who are pushing creative boundaries and can help bridge cultural divides. My answer would focus on artists who align with my
established artistic vision and global sounds. My “dream” collaboration is less about chasing a specific level of fame and more about working with artists who are authentic innovators and cultural ambassadors in their own right. The goal is to create something truly groundbreaking.
If I had to pick, I'm going for Rosalía. Her work is an incredible masterclass in taking a deep, specific cultural heritage (Flamenco) and deconstructing it for a global, contemporary audience. The way she blends traditional vocal techniques with cutting-edge electronic production is exactly what I aspire to do with Moroccan music. I think a fusion between Spanish and Moroccan sounds would be incredibly potent and a fascinating cultural dialogue."
SM: Do you have any advice for up-andcoming producers?
NL: "Drawing on my experience as a Grammywinning producer, the best advice I can offer up-and-coming producers centers on three core pillars: authenticity, technical mastery, and resilience. Here are my top five pieces of advice:
DEVELOP A UNIQUE SONIC SIGNATURE (AUTHENTICITY)
Don't chase trends; set them. The music industry is saturated, and the only thing that will make you stand out is your unique perspective. Identify the sounds, cultures (like my focus on Morocco and Jamaica), and emotions that genuinely move you. Build a sound around that authenticity. People don't connect with generic music; they connect with honesty. For me, I want to feel the beat, not just hear it!
MASTER THE FUNDAMENTALS OF SOUND (TECHNICAL MASTERY)
The creative vision is only half the battle. You need to know how to translate the sound in your head into a professional-quality recording. That means understanding signal flow, acoustics, critical listening, gain staging, compression, and EQ on a deep level. Invest time in the “boring” technical aspects—it's what separates good producers from great ones.
FOCUS RUTHLESSLY ON WORKFLOW AND EFFICIENCY
the creative flow. The faster you can move from an idea to a polished track, the more music you can make, and the more clients you can satisfy.
BUILD RELATIONSHIPS, NOT JUST CONTACTS (COLLABORATION)
Music is a collaborative art form. Be the producer that people want to work with. Be humble, be a good listener, and be a positive force in the studio. Networking is crucial, but genuine relationships with artists, engineers, and A&R reps are what lead to sustainable careers and meaningful projects.
CULTIVATE RELENTLESS RESILIENCE (THE LONG GAME)
You will face rejection, criticism, and setbacks. A Grammy win doesn't erase those challenges; it just changes the context. The industry is tough, so you need a thick skin and unwavering belief in your craft. Stay focused on the long game, keep creating music you believe in, and never stop learning. Consistency and resilience will always win over short-term bursts of talent.
Last thing, I'm not an Executive Producer yet, coz I'm still learning each day!
Follow Nas Luke at:
https://www.facebook.com/OfficialNasLuke/ https://www.x.com/officialnasluke
Time is your most valuable resource, especially when you start getting high-level gigs. Develop a seamless workflow with your software and hardware so technical roadblocks don't interrupt
https://www.instagram.com/officialnasluke
DAVE PORTER
As we transition into the new year of 2026, access to an innumerable amount of television shows—streaming or network—and series is astounding. You can choose from any genre or profile. When viewing, have you ever thought about the score, the musical accompaniment? To most laypersons, the answer is no. Not because they aren’t interested or because the backing soundtrack is unimportant, but mainly because we are visual creatures. We engage most with what we see.
BY ERIK L. RICHARDSON
Dave Porter is here to change that. He is the Man Behind the Curtain—the auditory concerto maestro, the "Wizard of Oz" of sound production. Wielding a level of telemetry akin to a scientist documenting a study, the way he processes information to create a soundscape appropriate for a scene is remarkable.
Dave has an extremely diverse film and music–production–based knowledge foundation. Mr. Porter is a powerful composer who uses the film strip as a drummer uses their sticks. He sets the tone and pace of what we see on our televisions through auditory synthesis.
Dave has crafted the scores for the likes of Pluribus, Echo, Breaking Bad, and Better Call Saul—just a few of the most awarded and groundbreaking series. You may notice a theme of scoring for Vince Gilligan productions here as well.
Dave’s work is an essential part of the storytelling. He has won an ASCAP (American Society of Composers, Authors and Publishers) award, along with a host of others. You may not know him by name, but you know his material; you know those series and how much their soundtracks helped parse and meter out the timing of sequences during pivotal scenes.
Whether it was advancements in consumer electronic products or the burgeoning electronic dance movement, the 1980s were ripe for the exploits of credit and capitalism.
Reaganomics expanded the U.S.’s importing and exporting of investment capital, production, vehicles, and technology. Our domestic market grew with Chinese imports: lower costs, faster production, stocked store shelves (sometimes not), happy children.
Being of similar ages, both Dave and I truly felt the electronica explosion of the ’80s. The virtuosity of experimentation and miscellany pushed boundaries.
The impression was epiphanic on this young kid from Rockville, MD. These early influences helped shape who Dave is as a musician and
being. He has a natural inclination toward music from his parents, a musical duo themselves. They felt it was an integral part of his and his sisters’ rearing. Learning to play the piano at such a young age has greater benefits than one might expect.
As a youth, he participated in many recitals and performances. As such, writing music comes as a bit of second nature for him.
Traveling up and down the coast, he honed his abilities to read and write music. He didn’t feel like he missed out on being a normal child when it came to scholastic responsibilities or social life. Not attending a musical conservatory aided his family’s ability to maintain a normal life.
He says he never seriously thought about composing as a career—until the ’80s electronica movement. He immediately latched onto it and began writing as a teenager, using its pervasiveness with duplicitous excitement.
He moved to the New York area and attended a very prestigious arts school, studying both classical and electronic music composition at Sarah Lawrence College. It is a veritable who’s who of famous alumni: Sigourney Weaver, Vera Wang, J. J. Abrams, Barbara Walters, and Brian De Palma. We both laughed at my referencing it as the East Coast USC Film School.
Writing and performing classical pieces are foundational to any tutelage in the musical arts. Dave felt like he was “regurgitating” and didn’t truly get to explore himself artistically until he began experimenting with electronic music and technology. He was given a lot of freedom to explore the city at Sarah Lawrence College. His apprenticeship and study were under John Yannelli.
He began his professional career as an assistant in Philip Glass’s recording studio in New York City. Dave has taken a varied approach to his training. To be a composer, you have to know both music writing and the comprehension of the application of the technological process, exploring the expanse of new products and sound.
Visualizing how Dave works and his process of creation, I surmised it was like a Foley stage, where someone creates the essence of impact by watching the footage.
His process is malleable enough that he doesn’t always have to view footage or storyboards. He knows the score has to support the story and that the story always comes first. He has a great working relationship with the writers and producers of the shows he scores, giving them an enormous amount of regard.
Sometimes he views storyboards and rough edits of film. Oftentimes, he mentions that this isn’t always the best way to see the full scope of the process.
Due to all the editing and post-production work, pre-scoring can cause re-takes later because of the choppiness and broken nature of the soundtrack.
He does, however, ask many questions to get a basic outline and starting point. You don’t want a mismatch between tone and tempo; everything should feel harmonious while viewing.
At times, he is creating from a blank slate. This is where familiarity and trust come into play.
His long-standing 20-year friendship and working relationship with Vince Gilligan is evident in the
productions he has scored. It helps to have that type of support and artistic synergy with a director. When it comes to A.I., he isn’t as up on it as he should be—you can forgive him. He’s been quite busy working on Pluribus and other projects. His honesty about his own lack of interaction with it is refreshing. You feel like you have to be an expert to understand it, yet it’s everywhere, in everything, and everyone is affected by it. We are living in the Second Renaissance.
“In the beginning, there was man, and for a time it was good... Then man made the machine in his own likeness... Thus did man become the architect of his own demise.”
—The Instructor, Animatrix (2003)
But as you see, some of us are just too focused, too entrenched in the craft. Dave is more open to its usage as a creative tool, but again, the policing, ruling, and legality of it are vague. There is no structure right now to apply laws or rules to it. He is concerned and optimistic at the same time. For Dave, he can’t see himself using A.I. as a creative spark. It creates an interesting dichotomy—how intertwining aspects of A.I. can be more damaging than helpful. How many times have we heard that before as a society?
If anyone has the chance, you should check out the Industrial Light & Magic documentary Light & Magic. You literally see how effects were made before computers—how men and women had creative vision and fun. You see cameras, rigs, puppetry, and imagination utilized with precision to create the sleight of the eye. As an artist, what Dave is about is his voice. It is the amalgamation of everything hehas studied, every experiment he’s ever tried, over his entire history. It’s years and years of that, based on the decisions he makes when he sits down to write a piece of music. The one thing that maintains your creative edge and individuality is the ability and desire to continue to change and evolve.
Making a compromise between how A.I. is used, cost-benefit wise, remains to be seen—especially in the film industry, where they make the magic happen. Dave has been at it long enough that he doesn’t have to worry about being replaced. He is comfortable in his career, and his artistic endeavors are becoming more fruitful.
The amount of relationships he’s built over a 30-year career can never be replaced. He did acknowledge that there may be some positions affected by A.I.
When he began his career making sound for commercials, his work was more about the process—the small nuances in film that the addition of music accentuates. He worries most about how that will affect the industry.
Some jobs where you cut your teeth as a young film student may be mechanized, digitized, and consolidated. But he also says you have to be lucky. When you get the opportunity, you have to seize the moment, take risks, and make calculated moves. You have to take the first step, gather whatever knowledge you can glean from people, be diligent, and ask questions.
Switching from composer to producer presents a unique perspective, even if he may not realize it. Dave has played a hand in the ebb and flow of how we watch television. Since the age of streaming came to prominence during the COVID-19 years, television viewing has dominated theater ticket and box-office sales. Forced to encamp in our homes, we went online and watched, signed up, and watched some more. The series, or long-form drama, has transformed into the prestige tier of the entertainment industry.
You have to have the technical know-how as well as the theoretical and narrative-based tenets. It requires practice, study, and passion. Dave was able to find and establish a balance between film and music. He sees and welcomes the coming challenges of his profession and artistry. As long as he is upright and of sound mind, he will continue scoring and creating. It’s always about time.
Dave, already a busy man, has plans to continue scoring for Pluribus. But for the year 2026, he also wants to focus on his own music. So as we look toward the future, the Invisible Man will become more opaque. daveporter.tv
NEW MUSIC
FELIX RAPHAEL DO YOU
[PIAS] ÉLECTRONIQUE / AVAILABLE NOW STREAM
Felix Raphael, a live artist and multi-talented musician from Berlin, has released a new themed album titled "DO YOU" through [PIAS] Électronique. The album features 16
songs, including the lead track "Patience (every step feels right in time). " It focuses on mental health, drawing on Raphael’s personal struggles and experiences, including insights from his color-blind father. The aim is to inspire both those in and outside the music industry, celebrating creativity and openness.
The album addresses themes such as comparison with others, the ups and downs of professional life, music industry pressures, and the importance of self-acceptance and mental health care. It advocates for seeking happiness in simple pleasures through openness, therapy, and self-acceptance. Raphael skillfully blends melodic house and indie folk, creating a sound suited for live performances where he plays various instruments, including guitar, piano, and flugelhorn.
The message of "DO YOU" emphasizes the need to compare ourselves less, embrace our flaws, and prioritize mental health. These important themes are presented in a deeply enjoyable way, highlighting their relevance in today's art.
NEW MUSIC LP
KLANGKARUSSELL
PETRICHOR
BIAS BEACH RECORDS / AVAILABLE NOW STREAM
Over a decade since their chart-smashing debut body of work "Netzwerk," Austrian duo Klangkarussell are back with a long-awaited follow-up. Their second album, "Petrichor," was released on November 7, 2025 via their own imprint - Bias Beach Records. It is a record of cinematic highs, intimate lows,
and dancefloor-ready moments. Where "Netzwerk" cemented Klangkarussell's reputation with global hits and dancefloor impact, "Petrichor" dives deeper - threading together stories of resilience, family, love, and self-discovery across 13 tracks.
It's a project that finds the sweet spot between club euphoria and emotional resonance.
Within that journey lies "Ride" a track that
nods to the shimmering soundscapes of 80s disco, reframed through Klangkarussell's modern production lens. Pulsing with neon synths and carefree energy, it arrives as one of the album's most unexpected turns, contrasting beautifully with its more introspective moments.
"Truth Begins," featuring Blazey, opens the album with hypnotic arpeggios, cinematic breakdowns, and a groove-driven kick that captures the tension and release
of confronting one's own truth. Both a dancefloor weapon and a moment of emotional catharsis, it's accompanied by a striking music video featuring Olympic gold medalist Anna Gasser.
Other highlights include "Cross The Border," featuring Bloom Twins, a deeply personal song about family life during wartime in Ukraine, and "The Tide," featuring Elmar, where haunting vocals meet lush, flowing production. "Sun Went Down, Sky Went Dark," featuring GIVVEN and Senes, blends melodic and Afro house into a bittersweet, sunsetready anthem. With collaborations from Blazey, GIVVEN, Bloom Twins, Oliva, Redward Martin, Elmar, Marieme, and Senes, "Petrichor" is not just a follow-up to "Netzwerk" - it's a bold evolution.
An album that moves seamlessly from the cinematic to the intimate, blending organic warmth with electronic precision, solidifying Klangkarussell as one of electronic music's most dynamic voices.
Now, as Klangkarussell look ahead to 2026, the duo are working on bringing their acclaimed sound back to the stage in the form of a brand-new live act show— their first in over a decade, marking the beginning of a new chapter in their journey.
"We wanted this album to feel like a journey through our world - the highs, the struggles, the quiet moments, the big ones. 'Petrichor' is about renewal, about finding beauty in change, just like the smell of rain after a storm."
— Klangkarussell.
NEW MUSIC LP
JOHAN GIELEN
ETHERFLOW
BLACK HOLE RECORDINGS / AVAILABLE NOW STREAM
"Always, I have believed that artist albums need a purpose” says Johan Gielen, “and that purpose can’t simply be feeding the industry machine or the bi-annual expectations of a fanbase.” Nonetheless, it’s been nigh on twenty years since “Revelations” appeared, making “Etherflow“ less of a “return” to the
Johan Gielen longplayer, and more a musical reckoning for it. Fair to say then that expectations have been raised, and its taken the Belgium-born/Dutch-based legend three earth cycles of production to meet them. An album forged in grief, resilience, and a raw creative truth, “Etherflow” isn’t just a long-awaited “next chapter.” It’s part an epic celebration of life, and part an existential excavation of it – one that’s been written from the inside out and charged by the weight of lived experience. As Johan himself puts it:
real in Gielen’s life. Specifically, it carries the weight of loss, most notably in the passing of his long-time friend and tour manager, Robert Sanders. Paradoxically, that became the most significant driving force in Johan’s return to the album form, which ultimately brought his second longform to life.
In that respect, the track “Beach Pearl (Robert’s Theme)” does stand as a major emotional center within "Etherflow" — an instrumental tribute formed in the quiet after heartbreak.
However, “Etherflow” as a whole is no longform eulogy. Be it the sun-drenched optimism of “Piano del Sol,” “Love from Above”’s divination; recent (speaks-for-itself) single title “Ecstatica” (with Daniel Wanrooy) or Pierre Pienaar co-op “Marula Sunset,” it radiates positivity at any number of junctures.
What does run the length of “Etherflow” though is the spark of a chance writer’s camp meeting between Johan and Arkayne (Kevin van der Tholen) — a multi-instrumentalist and vocalist who wasn’t even meant to be there that day.
“there’s the Beauty of Silence, but also ‘the beauty of absence.”“Etherflow” though is where that absence ends. What’s in a title then? Johan expands “Etherflow represents the natural, continuous movement of universal energy — an invisible current that connects every being, thought, and element of existence in a harmonious manner.”
Which is important, as that perspective on life is bound into every musical bar of the album – one that’s shaped by events all too
Over the last three years, Arkayne became an essential creative partner on the album.
Their bond brought new textures and instrumentation to it — from live guitars to sweeping piano lines. “Kevin says I’m like a walking music encyclopaedia,” Johan laughs, “but he’s the real musician. Piano, guitar, vocals — he does it all, and you can hear so much of that threaded into the album.”
JOHAN GIELEN
NEW MUSIC LP
DAMES BROWN
TAKE ME AS I AM
DEFECTED RECORDS / AVAILABLE NOW STREAM
Detroit’s powerhouse vocal trio Dames Brown - Athena Johnson, Teresa Marbury, and LaRae Starr - present their long-awaited debut album, "Take Me As I Am," out now via Defected Records. The album stands as both a joyous celebration of Detroit’s musical heartbeat and a deeply personal tribute to
their late mentor and producer, Amp Fiddler.
“To watch our seeds rooted in pure soul blossom into 'Take Me As I Am' is sublime. It shows you exactly who we are — brilliant vocal musicians coming together as one to create a genuine, heartfelt album. Presented by our brother, Detroit’s own Amp Fiddler, this collection of songs offers a glimpse into our interpretation of house music, as it draws on the influences of techno, P-Funk, gospel, and 1970s soul. This organic, homegrown gem is a culmination of
love and dedication — a musical sisterhood.” — Dames Brown.
Rooted deeply in Detroit’s musical lineage, Take Me As I Am captures the city’s spirit — from the grit of its streets to the warmth of its soul.
unmistakably alive. The record’s collaborators include some of Detroit’s most respected figures: Andrés, Eddie Fowlkes, and Waajeed, with special appearances by Paul Randolph, Chris Bruce, and Will Sessions. Together, they help connect the dots between Detroit’s gospel roots, funk legacy, and house music future.
Each track reflects the trio’s lived experience - stories of love, life, and self-acceptance told through powerhouse vocals and unshakable groove. Highlights include “You’re The One For Me,” “Glory,” “What Would You Do,” and the title track “Take Me As I Am.” Following the album’s release, an exclusive 7” remix of “Take Me As I Am” by Detroit legend Moodymann will drop shortly after.
Dames Brown’s relationship with Defected Records runs nearly a decade deep, beginning with their breakout collaboration with Sophie Lloyd on “Calling Out,” followed by standout appearances on The Vision’s “Heaven” and Floorplan’s “Give Us Your Light.” Their unmistakable voices have also powered club anthems for Horse Meat Disco, Louie Vega & Josh Milan, and Folamour, earning the trio international acclaim across house, funk, and soul audiences.
Recorded primarily at Amp Fiddler’s home studio, the album radiates authenticity, featuring lush instrumentation, raw energy, and a sense of spontaneity that feels
On stage, Dames Brown embody Detroit’s magic - delivering shows that radiate joy, sisterhood, and connection. With upcoming live dates in Detroit, across North America, and beyond, "Take Me As I Am" marks a new chapter for a group that continues to define what it means to be timeless, unapologetic, and real.
NEW MUSIC LP
VARIOUS ARTISTS
PLEASURE PACK VOL.1
AFP / AVAILABLE NOW STREAM
Classically trained violinist turned underground instigator, Kozlow has performed alongside Carl Cox, Green Velvet, Cedric Gervais, and Alesso, and DJ'd as direct support for Carlita, DJ Tennis, LP Giobbi, Diplo, John Summit, and SG Lewis. His production work includes collaborations
with Scott Storch, FunkFlex, King Von, and Burna Boy. He currently holds monthly NYC residencies at Outer Heaven and Gospel, where his sets often weave live violin with left-field house selections. What started as a DIY NYC party with a no-lineup, no-phones policy has evolved into a cultural movement, drawing over 10,000 people in 2025 and now expanding into a label.
AFP remains rooted in community, chaos, and raw energy: the same values Kozlow brings to
his productions. Kozlow has unveiled via his recently minted ANTHR FCKNG PARTY (AFP) label "Pleasure Pack Vol. 1," the inaugural various-artists compilation.
The bundle collects exclusive tracks from artists at the centre of the AFP ecosystemMona Matsuoka, Rachel Winters, Jasa, Tolga, CHASKE, Kristos - and features a fresh new cut from Kozlow himself, titled "Bark."
More than just a label release, "Pleasure Pack
Vol. 1" is a document of a living scene - music that has already been pressure-tested on AFP dancefloors in the past and artists who performed at ANTHR FCKNG PARTY events reflect the taste, trust and momentum of this city-bound community that Kozlow created.
Now, he steps further into his role as curator and tastemaker using the compilation format to amplify the artists who power AFP's events across North America.
The release also marks the next strategic stage for the label seeing from now on AFP rolling out compilation volumes on a quarterly basis as an ongoing platform to highlight and lift the people who reflect the brand's sound.
To celebrate the new release and his new track "Bark," Kozlow will host a launch party at Outer Heaven in New York City on January 10.
"I started the 'Pleasure Pack' VA series to show what we've actually been building in real life, not just online. It's about the crew. All the artists featured are working DJs who are in the rooms, playing our parties, moving dancefloors, and DJing all over the city on any given night. This is the music we're playing and listening to right now in NYC. It's about shared taste, trust, and tracks that have already been pressure-tested at our parties. The Pleasure Pack name and the condom artwork reflect how we think about releases. They should be functional, meant to be used, and ideally not disappointing. The series will keep popping up throughout the year as a way to spotlight the artists who feel central to where AFP is headed." — Kozlow
NEW MUSIC EP
CAMERON GLASGOW
OFTEN
OVAVA MUSIC / AVAILABLE NOW STREAM
Cameron Glasgow is a Belfast-born DJ and producer known for his emotionally driven, percussive sound and his ability to unite communities on and off the dancefloor.
Now based in Asia, Cameron has headlined sold-out shows in Bangkok, Melbourne,
Helsinki, and across the UK, with performances at iconic venues and festivals including Half Moon Festival, Egg London, Thompson’s Belfast, Invisible Wind Factory Liverpool, and Baccarat Bangkok.
He’s played alongside artists such as Makasi, Jordan James, Tori Levett, and Mofu. As a producer, Cameron’s music has earned over 700,000 global streams, with support from BBC Introducing, Maxi Meraki, Quentro, Bicep and more. Often’ is a deeply emotive Afro
House release that blends organic percussion, soulful vocals and melodic textures, designed to move both body and spirit.
Centered around connection and release, "Often" captures the point where rhythm meets emotion and feels equally at home in intimate club settings and on expansive festival stages.
The release includes two reinterpretations. Eternal Self's remix fuses breaks with
progressive House energy inspired by the likes of Dusky and Overmono, delivering a euphoric yet introspective interpretation of the original.
Closing the release is Gifted Fire's remix, a deep Afro melodic journey that amplifies the groove through rich atmosphere and hypnotic flow.
Together, these versions form a threepart exploration of sound and feeling, perfectly reflecting OVAVA Music's ethos of authenticand soulful music created for timeless dancefloor connection.
Ollie Mundy’s OVAVA Music, the UK and Ibizabased imprint, has built a strong reputation for standout releases and authentic talent.
Celebrating both emerging and established artists, OVAVA has created a distinct identity in the electronic music scene, drawing inspiration from Burning Man and Ollie’s global travels.
Since the label’s inception, OVAVA music has welcomed an ever-growing list of artists to its roster, championing releases from the likes of DJ Hydra, Ari, Fogel, NatalieJane, David Ramano, Gipetto, and many more.
Known for quality club-focused releases, the label has received consistent support from industry heavyweights, including Black Coffee, Damian Lazarus, Themba, Claptone, Marco Carola, Paco Osuna, Joris Voorn, Paul van Dyk, Ruben Mandolini, Steve Lawler, Shiba San, and TSHA, just to name a few.
NEW MUSIC EP
RAYRAY
CURRENTLY ON EARTH
DIM MAK / AVAILABLE NOW STREAM
Two words, one name: loud, louder, RayRay. Equally beautiful and multi-talented, RayRay has established herself as one of the most versatile artists out there. Producing, DJ-ing, singing/rapping on her own tracks, and, most notably, always partying hard, RayRay knows how to deliver a solid live performance and
never lets her fans down. RayRay wraps up her 2025 Dim Mak releases with her concept EP, "Currently On Earth." A sonic and visual journey through the human psyche, told through the perspective of her own alien identity. An introspective and otherworldly compilation of RayRay’s year, the EP fuses her love for hard techno, hard dance, psytrance and emotional melody with the surreal worlds she’s been building visually through her artist project. RayRay shares; “I built this EP around the idea of the Id, Ego, and Superego -
precision, and the Superego’s power exploding into a high-energy, hard-techno climax.
It’s the EP’s most physical, primal, and body-driven track. A full release of tension. “Anchored by a stomping kick, hypnotic vocal commands, and a dripping, metallic synth line, “Make It Wet” feels like a surrender to instinct.” she shares.
And then “Bad Decisions” - the emotional shadow of the EP. In her words, this track is “the moment of reflection after the chaos, where temptation, impulse, and truth collide.
It blends hard-dance drums with haunting melodies and distorted vocals, creating a tension between pleasure and consequence.
The song captures the feeling of knowing something is wrong but diving into it anyway - a perfect embodiment of the Id vs. Superego conflict.”
the impulses we hide, the battles we fight, and the clarity we search for. Each track represents a different emotional state, a different version of myself trying to understand what it means to be here on Earth.”
The EP has two new singles “Make It Wet” and "Bad Decisions.”
RayRay explains that “Make It Wet” is the moment where all parents of the psyche collide - the ID’s raw impulses, the ego’s
RAYRAY
NEW MUSIC EP
ONYVVA
STATE OF FLOW/BEYOND WORLDS
FACTORY 93 RECORDS / AVAILABLE NOW STREAM
Operating out of Paris, ONYVAA is a California native carving out her own corner within the underground space.
Between fabricating rich textures from her field recordings to her impeccable modular live sets—with high-profile sets at EDC Las
Vegas, Tomorrowland, fabric, Circoloco, Amnesia and Hï Ibiza experimentation has become a calling card for the techno producer.
She’s continually refining and evolving her craft, titrating elements of trance and house music that permeate through her penchant for Detroit techno.
Already championed by the likes of Charlotte de Witte, Richie Hawtin, Carl Cox and Laurent
Garnier, the list of endorsements speaks for itself.
For her debut appearance on the Factory 93 imprint, ONYVAA leans into her genre-fluid persuasions via her double-sided offering, ‘State of Flow / Between Worlds.’
The lead cut “State of Flow” is a deep, propulsive roller engineered for afterhour hypnosis. Sharp percussive loops and rubbery low-end bleed into a hardgroove-infused
rhythm, dotted by crisp cowbell hits and detuned stabs that blend with menacing acid lines.
Rounding out the B-Side is “Between Worlds,” exploring a more ethereal trance space.
Trippy and spacious in the right measures, the track cycles through euphonious vocalizations, shimmery two-note phrases, bright bongo fills, and squelchy oscillators that thread intensity into its euphoric core.
Touching on the duality that inspired her new release, ONYVAA says, “‘State of Flow’ and ‘Between Worlds’ reflect the shift happening in my sound right now. I’ve been exploring the space where contrasts meet, blending the hypnotic energy of techno with more organic, housier elements that feel alive and human.
I love playing with opposites and finding harmony in unexpected places. These tracks hold the emotional shift I’ve been feeling, a pull toward music that moves both the body and something deeper.”
With her double-sided debut on the burgeoning Factory 93 imprint, ONYVAA reinforces her reputation for locking into a sharper, more expansive vision of techno.
Deeply intuitive and physical, ‘State of Flow / Between Worlds’ not only marks a paradigm shift happening within the underground but signals to a chapter of what comes next.
ONYVAA's new double-sided single 'State of Flow / Between Worlds' is available on all platforms via Factory 93 Records.
NEW MUSIC EP
KLAUDIE
KEEP IT GOING
PVCLB / AVAILABLE NOW STREAM
Miami-based DJ and producer Klaudie makes her PVCLB debut with the release of her new "Keep It Going EP." Strippedback, groove-focused, and firmly rooted in club functionality, the EP captures Klaudie’s evolving sound - warm basslines, hypnotic textures, and rolling rhythms designed for
late-night dancefloors. The EP’s title track, “Keep It Going,” sets the tone with a driving bassline and a vocal-led groove that balances accessibility and depth.
Built around hypnotic background textures and steady forward momentum, the track reflects Klaudie’s intention to create something that feels immediate while retaining her signature musical identity. The result is a confident opener that feels
equally at home in peak-time club sets and in longer-form DJ narratives. A remix by Kellie Allen adds a complementary perspective to the release.
In her rework of “Keep It Going,” Allen preserves the original's core energy while introducing her own groove-forward, feminine touch. The remix offers contrast without compromise, highlighting the original's strength while expanding its reach. For Klaudie, the collaboration also represents
a conscious creative choice—bringing together two female producers in a space where that dynamic is still underrepresented.
Closing the EP, “Stairs to Heaven” shifts toward a more minimal, playful direction. With subtle 90s influence, understated vocals, and a funky, Ibiza-leaning vibe, the track is built for versatility. Its stripped-back structure lets DJs mold it into a wide range of sets, offering a lighter, complementary counterpoint to the EP’s more driving moments while maintaining a cohesive sonic thread.
The "Keep It Going EP" arrives during a period of strong momentum for Klaudie.
Following recent releases, international club appearances, and the launch of her independent label We R The Problem, she continues to refine a sound that merges classical musical discipline, rooted in her background as a classically trained violinist, with modern, underground club sensibilities.
KLAUDIE
NEW MUSIC EP
VARIOUS ARTISTS
NEXUS 001
NU MODA / AVAILABLE NOW STREAM
Max Styler has launched his new record label, Nu Moda, with an inaugural compilation titled ‘Nexus 001.’
This five-track EP features upcoming artists from the indie dance and house genres, showcasing exclusive tracks designed for late-
night clubs, focusing on groove and hypnotic flow rather than excess. The compilation starts with Brazilian producer Welker’s track “Ice In My Eyes. ” This confrontational indie dance piece features a catchy vocal hook that drives the rhythm and is supported by dynamic synths and punchy percussion, creating a balanced and engaging sound. The arrangement builds up to a surprising final drop, delivering a mix of sleekness and weight. Following this, Josh Gigante and Ugo Banchi present “Kill Bill,” a dark and cinematic
MAX STYLER
track filled with tension and urgency, mimicking the feel of a late-night chase.
The collaboration draws from both artists' backgrounds in underground music, blending influences from London, Ibiza, and rock for an emotionally charged club experience.
Tel Aviv artist Mishell contributes “Desire,” an acid-tinged house track that reinvents classic house sounds for modern dance floors. Known for his blend of genres, Mishell's
signature groove-driven style promises to energize late-night settings and aligns with his broader creative vision that combines music, fashion, and club culture.
Pavel Petrov offers uplifting vibes with “Feel Good Inside," featuring Tyler Hill. This track channels influences from indie dance and tech house, creating a dark yet accessible groove. With a unifying vocal theme, it has already gained traction in popular DJ sets, highlighting its immediate appeal.
Concluding the compilation, DvirNuns teams up with DOX for “Here We Go.” This energetic collaboration captures spontaneity and blends psychedelic intensity with club-ready elements, featuring a compelling synth motif that builds a powerful groove.
Overall, ‘Nexus 001’ serves as a strong representation of the current melding of indie dance and house, with a focus on nighttime functionality, setting a promising foundation for the growth of Nu Moda.
NEW MUSIC SNG .
ELDERBROOK
BETTY DAVIS EYES
INSOMNIAC RECORDS / AVAILABLE NOW STREAM
Elderbrook is a Grammy and Ivor Novellonominated multi-instrumentalist, producer, and singer-songwriter known for his emotive, genre-blending sound.
Bursting onto the scene with the 2017 global hit "Cola" (with CamelPhat), he has since
released three acclaimed albums - "Why Do We Shake in the Cold?" (2020), "Little Love" (2023), and "Another Touch" (2024) - and amassed over 2 billion streams worldwide.
Renowned for his dynamic live performances, Elderbrook has toured with the likes of Jungle, RÜFÜS DU SOL, and ODESZA, and played iconic stages including Coachella's Sahara Stage and Red Rocks Amphitheatre.
His collaborative work spans artists such as
Diplo, Black Coffee, Vintage Culture, and Bob Moses, cementing his status as a boundarypushing talent at the forefront of electronic music. Elderbrook returns with a soul-stirring new single - a modern cover of Kim Carnes' 1981 classic "Bette Davis Eyes," recorded intimately in a hotel room as part of his YouTube series "Hotel Room Sessions."
Opening with Elderbrook's clear, dusky, and deeply expressive vocals laid over barelythere organic instrumentation, the track
delivers an irresistibly emotive, sensual atmosphere that lets his performance take center stage. As the production subtly blooms, the euphonious instrumentals wrap around his voice, transforming the cover into a feelsy, sing-along-ready interpretation where the lyrics truly shine. "Bette Davis Eyes" makes a triumphant trifecta of Elderbrook's recent singles, joining "Teardrop" with Jan Blomqvist from October 2025 and "Waterfall" with Ahmed Spins from April 2025.
NEW MUSIC SNG .
WALKER & ROYCE
FEE FI FO FUM
INSOMNIAC RECORDS / AVAILABLE NOW STREAM
Walker & Royce lean into their rule-breaking instincts on “Fee Fi Fo Fum,” a deep, leftof-center tech house cut powered by the unmistakable vocal grit of London rapper KAM-BU. Released on December 5th via Insomniac Records, the long-teased single arrived as one of the duo’s most requested IDs
they unleashed it at EDC Las Vegas.
“Fee Fi Fo Fum” flips a familiar fairytale refrain into something far more feral. KAM-BU’s rough-edged cadence slices clean through Walker & Royce’s elastic groove, where ray-swell pads stretch toward the ceiling before collapsing into laser-defined low-end rumbles.
Barking synth hits, chiptune-flecked details, and a glossy, near-celestial backdrop create a
taut push-and-pull between playfulness and weight, sharpening the duo’s signature offkilter energy. The track hits fast, lingers long, and makes it instantly clear why fans kept chasing down the ID.
KAM-BU brings the sharp lyrical instincts that have positioned him as one of the UK’s most compelling rising voices.
Grounded in a rasta upbringing and shaped by soundsystem culture, his flow pulls from
grime, drill, UK rap, and the broader rave continuum.
With “Fee Fi Fo Fum,” Walker & Royce sharpen their no-rules philosophy into its clearest form yet—pairing a giant-sized groove with KAM-BU’s incisive bite for a track that’s mischievous, muscular, and meticulously dialed for the dancefloor. It’s another reminder of the duo’s knack for turning odd ideas into club staples, with precision and personality in equal measure.
NEW MUSIC SNG .
ANTIMA
BLACK SPEECH
GUD VIBRATIONS / AVAILABLE NOW STREAM
Italian producer Antima returns to Gud Vibrations with “Black Speech,” a punishing new single that sharpens his masked persona into its most ominous form yet.
Marking his third release on the imprint since 2024, the track reinforces Antima’s
place within the darker corridors of modern dubstep, where metal-tinged aggression, cinematic atmosphere, and raw sound design converge.
“Black Speech” opens with eerie classical choral vocalizations that immediately set a ritualistic tone, unfolding over darkwave melodies and sweeping symphonic tension. The restraint doesn’t last long. Distorted sub-bass begins to creep forward as the arrangement fractures into laser-laced trench
drops, each hit engineered for maximum psychological pressure. It’s dubstep that hits hard and drills inward, weaponizing negative space, grit, and menace to unsettling effect. Speaking to the epic vibe he channeled for his latest single, Antima says, “Main inspiration for the track has been ‘Lord Of The Rings’ books.”
The release follows Antima’s recent “Vortex” and his Gud Vibrations debut “Bleeding Eyes,” forming a cohesive trilogy of shadow-heavy
statements that have steadily expanded his international footprint. With “Black Speech,” Antima doubles down on the sinister identity he’s been carving out: uncompromising, theatrical, and unapologetically heavy.
The single stands as another decisive step forward, aligning perfectly with Gud Vibrations’ forward-facing bass ethos while pushing deeper into the bleak, visceral end of the dubstep spectrum.
NEW MUSIC SNG .
HIDDE VAN WEE
HOLD ON TIGHT
FACTORY 93 RECORDS / AVAILABLE NOW STREAM
Amersfoort-born producer Hidde van Wee continues his rapid ascent through the global house underground with his debut release on Factory 93 Records, unveiling a finely tuned two-tracker led by the hypnotic title cut, “Hold On Tight.” Known for groove-heavy club weapons that blur the lines between house,
electro, and UK garage, van Wee delivers a release that feels both meticulously restrained and irresistibly physical.
“Hold On Tight” is a study in tension and release—deep, minimal, and confidently paced. Its rhythm is intentional and densely layered, guiding listeners through a nocturnal soundscape rich with detail: talkbox vocal hooks drift over rubbery basslines, sustainedstring pads, and ethereal arpeggiated bloops, while wailing electric
guitar licks and river-like atmospheric currents add a hazy emotional pull.
Filling out the B-side is “Mystery of Telekinetic,” which reaches deeper into a more hypnotic headspace. Iridescent, shimmering chord stabs and silky melodic lines create a fabric of mesmerizing tones of fluid rhythm perfect for after hours magic making.
The result is a pair of track that thrives in the liminal hours of the dancefloor, balancing
precision with warmth in a way that feels unmistakably modern yet timeless. With his Factory 93 Records debut, Hidde van Wee signals the next phase of an already impressive trajectory. "Hold on Tight’"not only reinforces his reputation as one of the Netherlands’ most exciting new house talents, but also positions him firmly on an international stage—one where his command of groove, atmosphere, and dancefloor intuition continues to resonate far beyond the club.
HIDDE VAN WEE
NEW MUSIC SNG .
ADAM BEYER
CLOSE YOUR EYES
DRUMCODE RECORDINGS / AVAILABLE NOW STREAM
Following a standout 2025, which included his critically acclaimed album ‘Explorer Vol.1’, Adam Beyer begins the new year with the long-awaited ‘Close Your Eyes’.
The Drumcode boss hit new heights last year, dropping his first longplayer in over
20 years, while displaying a notable sonic range that took influence from across the electronic spectrum.
From his monumental collaboration with Armin van Burren ‘Techno Trance’, to b2b’s with everyone from Vintage Culture, Maceo Plex and Mau P, he pushed techno into bold new territory, while resolutely refusing to be pigeonholed.
He brings this energy into 2026 with the
inspiring ‘Close Your Eyes’, which takes the iconic vocal of The Doors’ ‘A Little Game’ and re-purposes it into a transcendental slice of modern electronic music that hasn’t lost any of the captivating energy of Jim Morrison’s original.
Fiercely I.D hunted, the future classic has highlighted countless gigs since summer 2026 including Creamfields, ARC Music Festival, Resistance Ibiza & Argentina and Tomorrowland Brasil and even the Playa at
Burning Man. “No one can deny the message Jim Morrison left behind with his songs. As a lifelong fan, an idea formed listening to these lyrics. I took them into the studio, and the finished product transcends musical boundaries and completely resonated with the dance floor.”
– Adam Beyer
Tracklist:
1. Adam Beyer - Close Your Eyes
2. Adam Beyer - Close Your Eyes (Festival Edit)
