Built around an infectious groove, ‘Backseat Baby’ effortlessly balances classic disco influences with a driving house beat. Playful brass flourishes add a welcome retro flavour, while Uffie’s charismatic vocal performance injects the track with just the right amount of sass and tongue-in-cheek charm. Every element feels designed to keep the momentum flowing, making it impossible not to move along with its hypnotic rhythm.

Soundtracking a convertible cruising through Los Angeles as the sun disappears below the horizon, ‘Backseat Baby’ is pure summer escapism. Fun, stylish and overflowing with confidence, it’s a reminder that dance music doesn’t have to sacrifice personality in the pursuit of the perfect groove.

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The video for ‘Be Free’ – directed by Spike Silverton – is like a tongue-in-cheek episode of CBeebies, albeit one with a life-sized pint.

Marking three years of her own sobriety, Georgia says of ‘Be Free’: “At the time of writing this tune, I wanted there to be an anthem for people who went out and didn’t drink or do drugs but still could be on the same wavelength as everyone else. The bassline was very much inspired by Hudson Mohawke / Rustie-era electronic music; I grew up on those beatmakers.”

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Since emerging in 2015, Sextile have been a party-provoking force on the LA underground, capable of kicking up a riot with the raw-edged squall of a synth or the sharp-elbowed jerk of a guitar. Now they return refreshed, renewed, and ready to rage with a serotonin-boosting new album, a new group dynamic, faster BPMs, and an even wilder new direction. Recorded in Yucca Valley, PUSH bounces and bops at the fringes of hardcore dance music, with the hallmarks of drum & bass, gabber and trance illuminating the record like glowsticks at a ‘90s Fantazia rave.

They start the party with ‘New York’ and they go hard. “We’re tough out here but the love goes crazy,” singer Mel Scaduto repeats, paying homage to the warm steeliness of her birthplace. The accompanying video, directed by Jim Larson, sees them take the party to the streets during the 4th of July celebrations, bouncing around the neon-drenched backdrops of Big Apple landmarks with joyful abandon. “It was written as a dedication to my former home and birthplace” Scaduto comments. “‘Cause New Yorkers are really tough, but their love goes crazy”.

PUSH:

1. Contortion
2. No Fun
3. Crassy Mel
4. Lost Myself Again
5. Crash
6. New York
7. Basically Crazy
8. Modern Weekend
9. LA DJ
10. Plastic
11. Imposter

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Detalji is the project of Helsinki based artist Krista Myllyviita. Written during the lockdown years of 2020 and 2021, her debut album Truly is a slice of pure escapism. Drawing inspiration from the soundtracks of video games she was playing during that time (namely Crash Bandicoot, GTA Vice City and GTA3) carefully weaving a comforting world of her own, creating distinctive sounding pieces of music that are difficult to place in a certain moment in time. Picking up the guitar after years of neglect also served this purpose, surprising her longtime fans with a completely new addition to her sound.

‘Speed’, Detalji’s new single, is a self-proclaimed “crazy dance track”. “I’ve performed it live many times and it always makes people dance in a dorky way and get absolutely bananas,” says Myllyviita. “It’s one of my favourites on the album. Someone said it definitely has some ’Prodigy in it’ which is the best comment anyone can get really!”

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Of the song, Englund says: “In a cozy sky lit studio in London last August I worked in a session with one of my favorite co-writers Paul Harris and a new producer I had just met, James Hurr. They had played me a few ideas they started and one in particular really grabbed me. Within a few hours we had written and recorded ‘Need Me Right,’ which felt intentional yet effortless. I am especially happy to release it in the later part of the year because the vibe just fits. This song is special and I love the story and I can’t wait for everyone to hear it! xx”

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Her first release after signing with Helix Records, the infectious, high-energy dance jam, ‘Lovesick’ combines soaring breakdowns and a pumping bassline with Nonô’s irresistible vocals. Produced by Lewis Thompson (David Guetta, Joel Corry) and co-written with Karen Poole (Becky Hill, Kylie Minogue), ‘Lovesick’ is the latest in a long line of revered singles Nonô has released this year, following on from ‘All Day’ with Welshy, ‘Time To Groove’ with Majestic, ‘Deep’ with Example and Bou, and ‘Sky High’ with Alok.

Nonô says: “‘Lovesick’ is about heartbreak, saudade and a little bit of drama. It’s about when your heart physically hurts from being away from the ones you love. The main inspiration for this song happened when I had just moved to London from Brazil. I had been in a relationship for the previous 3 years and after a couple of months of trying to make long distance work, we broke up. Well… if there’s one thing I can do is hold a grudge, so after five years of resentment, ‘Lovesick’ was born with the help of the amazing Lewis Thompson and Karen Poole. It’s my love letter to anyone whose heart ever needed an intravenous disco ball.”

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The creative polymath launched her current Starya project last month with her debut single ‘The Garden.’ Now, she returns to Popgang Records with her sophomore single ‘Manipulator.’ The bloghouse-inspired, warehouse rave banger beckons listeners from the edge of their seats to the dancefloor, helmed by Starya’s hypnotic, commanding voice.

The track kicks off with a wave of distorted synths impacts and extra-terrestrial sound design, building slowly with soft kick drums. It then drops into its central groove, adding an assortment of percussive elements and futuristic synth melodies to aid in Starya’s repeated instruction. “Step left, step right, lean back, side to side,” she directs, anticipating a swaying audience induced by a section of high-pitched, electro-style synths blending seamlessly with deep bass tones.

“I love the idea of the audience being commanded by the artist on stage, sometimes you are being told to feel something subconsciously, sometimes it is more overt,” says Starya. “This particular song has a few very simple commands that lead to a few specific movements that potentially could result in a large-scale coordinated dance.”

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