London-based Producer & DJ N1NJA (Mobilee, Tales of Twilight…) continues her impressive rise with ‘Umusa’ with South African vocalist Nana Atta, released on Get Physical.

N1NJA & Nana Atta performed Umusa together on Constitution Hill in Johannesburg – the historic site where Nelson Mandela and Mahatma Gandhi were once imprisoned. Two women, performing a song about resilience and transformation, at a place forever marked by struggle and liberation.

Umusa, meaning grace, is the product of a rare moment of universal symbiosis. N1NJA had long admired Nana Atta’s voice, and when Grammy-winning artist Zakes Bantwini introduced them, the chemistry was immediate. They began collaborating remotely, but their bond deepened months later when they finally met in South Africa through N1NJA’s work with IMS and Beatport.

“The moment Nana walked in, there was an instant sense of sisterhood”, N1NJA recalls. “She had just returned from a spiritual mission in her local village, and she radiated a very peaceful yet deeply protective energy.” During that visit, Nana Atta gravitated towards one particular sketch on N1NJA’s laptop, an untitled piece that would later become Umusa.

Press play and the track opens with emotionally charged synth lines, carrying a sense of urgency yet filled with hope. Delicate, shimmering snares dance over the bassline, grounding the emotion as Nana Atta’s unmistakable voice soars in equal parts lament, passion and power.

Exactly one year after the stars first aligned, Umusa arrives as more than a release – it is a message and a testament to resilience, resistance and renewal, landing fresh in the wake of both artists stepping into a new chapter with the launch of their own labels.

Buy & Stream Umusa at getphysicalmusic.lnk.to/GPM901

Featuring evocative Hindi vocals by Eeshita Rathore, Migrant’s final release of the year is an organic, emotionally grounded house cut rooted in love, preservation and a sense of place.

Renowned Indian DJ and electronic music producer Migrant closes out 2025 with “Tarase”, his final single of the year and a deeply personal statement that reflects a more intentional and focused evolution of his sound. Stripped back yet emotionally rich, the track leans into organic groove, subtle propulsion and spacious production, allowing feeling, texture and intention to lead.

Built on warm basslines, ethereal atmospheres and hypnotic rhythmic flow, “Tarase” unfolds patiently. At its core is a captivating vocal performance from acclaimed Indian vocalist Eeshita Rathore, whose Hindi phrases add intimacy and emotional weight. Intermittent male vocal textures from Migrant himself appear throughout the arrangement, enhancing its human quality without overpowering the groove. The track breathes through expansive moments of space before returning to its pulse, mirroring the natural ebb and flow that defines the release.

The title “Tarase” draws meaning from multiple linguistic and cultural interpretations. In Hindi, Taras evokes compassion, longing and emotional sensitivity; elsewhere, the word carries associations with character and spirit depending on context. Rather than a singular definition, “Tarase” represents feeling; something instinctive, unforced and deeply human.

That emotion is also closely tied to a place. “Tarase” comes from Migrant’s love for the Aravalli mountain range in north-western India; its fragile ecology, its people, its art and its centuries-old forts and palaces. To mark the release, Migrant and Eeshita performed the track within the Aravallis, allowing the landscape that inspired the music to become part of its expression. The project reflects a quiet call for preservation – of landscapes, of culture and of shared creative ecosystems.

Speaking about the single, Migrant commented:

“Tarase comes from love. Love for the Aravallis – especially now, when their state is so fragile. Love for its landscape of immense beauty – one we risk harming if we’re not mindful. Love for its art, its people and its heritage. Love for the forts, palaces and the stories they carry. At its core, this project is about preservation – of places, of culture, of each other.”

Throughout 2025, Migrant has explored a wide range of tempos, sounds and emotional palettes; from introspective and meditative to bass-heavy, breaks-driven experimentation. “Tarase” brings those explorations to a close with clarity and intention, marking the beginning of a more defined Migrant identity, where beats, bass and rhythm serve something deeper than the dancefloor alone.

 “Tarase” is available on all major streaming platforms from December 26.

Illyus Barrientos alongside fresh talent Aden Rémei, kick start the year with a certified club weapon.

‘Deep Down’ is a first-class production, guaranteed to set dancefloors a blaze with its raw undiluted energy. Known for his consistency in producing stand out House, hosting Toolroom Radio, and supplying Toolroom with genuine moments like ‘So Serious’, ‘D.A.N.C.E.’, ‘Shout’, and ‘Promise’, Illyus Barrientos return to form with ‘Deep Down’ combining authentic House vocals with trademark hypnotic and infectious grooves.

Music is 4 Lovers releases catchy single from Los Angeles artist, SAAND, featuring three blazing remixes from Luca Saporito of Audiofly, Pezzner & Jon Lee out of Seattle, and NYC-based artist, Saqib.

SAAND – Take Me to the Disco will be released exclusively on Beatport on Friday, December 19, 2025, and then on all remaining platforms on Friday, January 2, 2026.

Tracklisting:
01) SAAND – Take Me to the Disco (Original Mix)
02) SAAND – Take Me to the Disco (Luca Saporito Remix)
03) SAAND – Take Me to the Disco (Pezzner & Jon Lee Remix)
04) SAAND – Take Me to the Disco (Saqib Remix)

Artists: SAAND, Luca Saporito, Pezzner & Jon Lee, Saqib
Title: Take Me to the Disco
Label: Music is 4 Lovers
Catalogue: MI4L120
Release Date: 2026-01-02

– jams
Jimbo James
Editor-in-Chief
jams@musicis4lovers.com

Mad Motel is the brainchild of Derek Kamm, aka Kidislive, an American producer raised on Long Island who has been DJing and producing for almost 20 years. He has previously worked with Wareika and Henrik Schwarz on Visionquest and ran his own Local Raider Records, but now branches out with a new project which will combine music and visuals in the world of micro house, minimal techno, and experimental electronica. We sat down with Kidislive to discuss the release of his new EP, Mad Motel, and his experiences as a DJ.

1. Hi Derek, thanks for sitting down with us today. How are you doing?
Doing great, grateful for the endorsement, and have been busy working on my vinyl project coming out this year

2. Break You Heart is your first release on your new label, Mad Motel. Can you tell us about these tracks?
Of course… Beak Your Heart is the type of track that scores your life story nicely. I think most people can relate to the words. Either being the one who broke someone’s heart or had their heart broken, the track came along nicely during production, and all the sounds just fit well with one another. Monsters R Us is more of something I would want to hear in an afters environment on big powerful old dusty speakers where I can enjoy that hypnotic groove it creates, Ussy Bop I actually made fairly quickly in the sudio, there is not a lot elements to the song but it just grooves very well, an ideal ibiza brunch track with party people taking in the vibes.

3. You’ve previously worked with Wareika and Henrik Schwarz on the Visionquest label and run your own, Local Raider Records. How did that inspire you to start Mad Motel? 
Well, as far as working with Wareika and Henrik Schwarz, at that time, many years ago, that was the biggest deal for me EVER. I was living in Berlin, and 2011 was just a magical time there. I had made friends with all the right people there, especially the crew at Renate. Local Raider Records was started, but lacked a clear vision at the time for me, it was a fuzzy time period as I was juggling a lot of different businesses, and the math wasn’t making sense. Now with Mad Motel, I have a very clear vision as far as what I want to create, and I feel my voice as an artist is more defined, and I plan on using my new imprint as a launch vehicle for my own personal work, plus different edits of my work. Possibly release solo artist releases down the road, let’s see.

4. You’ve been DJing and producing for over 20 years. How has the music landscape changed over the years, and how has this impacted you as an artist?
When I was living in Brazil in 2010, there was this mystique of international DJs playing local parties. I feel that has left now that the world is more interconnected on social media. The whole cell phone record revolution has its pros and cons, as there are certain epic moments in the history of our scene that can’t be relived without seeing it; however, there is still this amazing vibe of no-cell phone parties like Berghain that keep alive the old aesthetic of the original ravers.

5. You grew up in Long Island, a place that’s been home to many successful artists. What was the music community like growing up in there? How did it influence your work?

The Long Island scene, to me, since day 1 has always missed the boat, not including the Hamptons or Montauk, which is a different scene all together. From my earliest memories of partying, you had to travel to NYC in the 90s to experience the sound and energy at places like Sound Factory, Tunnel, Twilo, and Limelight to really convert. Then, eventually, those clubs changed, and so did city politics. That’s when you had the birth of NYC warehouse parties in Brooklyn with the Blackmarket Membership crew. This was a special run during the 2000s. Blackmarket was bringing in all the upcoming talent from overseas and showcasing their sets in illegal warehouse parties; it was magical. Now you have a bunch of splinter cell parties doing the same, which is good for the industry.

6. You’ve played all across the globe. Where is your favourite place to play? How do you prepare for your shows?
Brazil, for me, is always magical. The people are wired and programmed to party hard and party long; it’s in their DNA, and it’s in mine as well, as I am half Brazilian. Preparing for shows is different now then back in the day, where back in the day most of my sets were vinyl. So, really spending time with my records and knowing how they all mesh with one another would allow me to experiment with new combos in a live scenario. Now most of my sets are with CDJs and it just makes things so much more faster and easier to experiment more, as I can see BPM and wave size of the audio, also being able to loop on the spot with tracks that are sub 5 mins, there is just so much more you can do on the fly these days with less tedious preparation and more on the spot improvisation, which is fun.

7. What are some of your favourite releases from this year?
Damiano von Erckert has been on fire for me lately and seems to be dialed in on every track, along with Jimi Jules, he’s a phenom in my opinion. Lastly, Gerry Read is an enigma to me, so talented, and a dear friend of mine.

8. What artists can we expect to hear on Mad Motel in 2026?
In talks now for some edits with Gerry Read, Dave DK, and Paula Tape. But primarily, most of my own work, as I have a lot to release this year coming up, some of my best work.

9. It’s been great to chat with you today. Do you have any plans for the rest of the year?
Just spending time in the studio relentlessly finding the next groove, and time with my two little beautiful sons and wife.

All Day I Dream is closing out the year with Glade, a wondrous three-track EP from Argentinian producer Ramiro Drisdale, out now.

Glade brings Ramiro’s atmospheric touch into sharper focus, presenting a fluid collection built around momentum and understated detail. Across the three tracks, he shapes a patient narrative that rises gradually, guided by crisp percussion and warm tonal shifts that open each track into expansive, late night territory. The result is a cohesive journey that reflects his instinct for movement, letting the melodies and rhythms unfold naturally.

“This EP is made up of three tracks, all designed to resonate on the dancefloor. ‘Glade’, ‘Jebel’, and ‘Norte’ each contain organic nuances, but together with their synthesizers they achieve a main-set feel that works very well at key moments in a set. The drums and percussion play a major role in making this happen, as they ensure the groove never fades or if it does, that its drop is striking.” – Ramiro Drisdale

Born in Buenos Aires, Ramiro Drisdale has been releasing music since 2019, building a catalog of uplifting tracks on labels including All Day I Dream, Anjunadeep, Sudbeat, and The Soundgarden. His work has received support from Lee Burridge, John Digweed, Hernán Cattaneo, Nick Warren, Tony McGuinness, Jimi Jules, and others. Glade marks his first full EP on All Day I Dream, following three consecutive appearances on the label’s Winter Sampler compilations.

Ramiro Drisdale’s new EP caps off a year filled with imaginative releases from Lee Burridge, Lost Desert, DIM KELLY, Tim Green, Double Touch, Amand & Capoon, and Khen. All Day I Dream will return in 2026 with their first-ever event in Cape Town on February 6.

Stream Ramiro Drisdale’s new Glade EP out now on all platforms.

Pretty Pink kicks off 2025 with another thunderbolt moment in her career: Spotify has named her collaborative single with Einmusik, ‘Midnight’, as the Number 1 track in this year’s Electronic Rising Picks – a spotlight reserved for artists set to shape the global electronic landscape.

For an artist whose journey has been defined by a relentless creative pulse, global touring, and a polished signature sound blending Melodic House and Deep House sensibilities, this recognition feels like both a culmination and a launchpad. Pretty Pink has spent the last years carving out a space uniquely her own, fueled by her athletic discipline, love for endurance sports, and a deep connection to storytelling through music. Her productions radiate emotional clarity, driving momentum, and a refined melodic language that continues to resonate on dancefloors worldwide.

‘Midnight’ captures exactly that energy. Co-crafted with Berlin icon Einmusik, the track drifts between luminous synth work, nocturnal tension, and a surging groove built for peak-time sets. It’s a cut that feels intimate and expansive at once – a sonic snapshot of Pretty Pink’s evolving artistic compass.

Speaking on the honor, Pretty Pink tells:

This recognition means so much to me. ‘Midnight’ reflects a chapter full of inspiration, movement, and change. Working with Einmusik brought a special energy into the studio and I’m grateful that listeners around the world feel that connection too.

With a massive year ahead – including her continued push on the international touring circuit, fresh studio material in the pipeline, and growing momentum around her artistic vision – Pretty Pink’s ascent looks far from slowing down. If Electronic Rising is meant to forecast the next wave of leaders in dance music, her place at the top feels nothing short of prophetic.

Marking his return after a year, and delivering his most personal work to date

Bailey Ibbs Socials
https://www.instagram.com/bailey_ibbs
https://soundcloud.com/bailey-ibbs

Night Service Socials
 https://soundcloud.com/night-service
https://www.instagram.com/nightservicerec/

London-based producer Bailey Ibbs returns after a year with announcing ‘Notice The Silence’, his fourth EP on his own imprint Night Service, out Friday 19th December. Marking a clear evolution in sound and intention, the release sees Bailey step away from the purely club-driven intensity he’s become known for, instead embracing a more introspective, emotion-led approach built on tension and sincere self-expression.

Long regarded as a key figure in the new wave of contemporary techno, Bailey Ibbs has spent recent years shaping a distinct sonic identity that seamlessly blends techno, breaks and rave-rooted energy. Since emerging in 2022 with his Volta EP, which drew early support from DVS1, Ben Klock and Marrøn, he has gone on to release on influential platforms including KiNK, Token, HATE and SLAM, while continuing to develop Night Service as both a label and curatorial platform.

With Notice The Silence, however, Bailey deliberately turns inward. The EP captures moments of stillness and reflection, channelled through a more spacious, emotive framework that prioritises feeling over function. Rather than chasing peak-time immediacy, the project invites listeners into a slower, more contemplative space; one that embraces fragility, clarity and the weight of quiet moments.

“It’s me exploring new spaces I hadn’t given myself permission to explore before,” Ibbs explains. “Letting the tension breathe, letting the emotion lead. It feels like the most genuine representation of where I’m at creatively.”

The release arrives during a pivotal moment for the London-based artist. In 2024, Bailey was announced as a resident at Berlin’s iconic Tresor, further cementing his position within the global techno landscape. Alongside this, he continues to expand his reach beyond the club through his Rinse FM residency, where longer-form, narrative-led sets allow for deeper musical exploration, and through performances at forward-thinking spaces such as SECTION HQ.

With Night Service continuing to evolve as a platform for boundary-pushing club music, Notice The Silence stands as Bailey Ibbs’ most sincere statement yet: a release defined not by volume, but by intention.

Tracklist:
1) Notice The Silence
2) Message For Creatives
3) Flow State
4) Absolved Of Sin
5) Pulse Of Life

Out now via Embassy One, the Belgian producer delivers an emotive, club-driven reinterpretation of one of the defining tracks from Monolink’s latest album, “The Beauty Of It All”.

Following the critically acclaimed release of Monolink’s third studio album The Beauty Of It All back in September, Embassy One now unveils the latest chapter in the album’s evolution with MAXI MERAKI’s remix of “In My Place”. Putting his own inimitable spin on one of the tracks that helped define the album’s emotional tone and artistic direction, the Belgian producer’s interpretation of “In My Place” builds on the raw, spontaneous spirit of the original while guiding it into deeper, more club-ready territory.

The original track – rooted in an impromptu synth jam between Monolink and producer Toby Siebert – was largely captured in a one-take performance, radiating the unfiltered energy and analog warmth that have become signatures of Monolink’s artistry. Its pulsing rhythms, subdued vocals and warped central riff made it both a listener favourite and a defining moment in the unveiling of The Beauty Of It All.

In his remix, MAXI MERAKI channels that raw essence into a refined, atmospheric journey. With meticulous attention to groove and space, he deepens the track’s emotional pull while expanding its dancefloor potential. Rolling percussion, dynamic bass textures and powerful synths provide a new sense of lift and motion, allowing Monolink’s vocals to breathe within a wider sonic horizon. The result is a remix that feels both intimate and cinematic; faithful to the soul of the original while unmistakably stamped with MERAKI’s signature emotional resonance.

Driven by a desire to connect deeply through sound, MAXI MERAKI has firmly established himself as one of electronic music’s rising forces. His releases on labels including Abracadabra, Monaberry, Get Physical, Ultra Records, Artbat’s Upperground, Rose Avenue, Astralwerks, Radiate and Siamese have earned him chart success and widespread recognition. Supported by industry icons such as Jamie Jones, Keinemusik, Rüfüs Du Sol, Adriatique, Black Coffee, Solomun, &ME and Pete Tong on BBC Radio 1, he continues to shape a global presence through his unique blend of melodic nuance and dancefloor energy.

MERAKI’s remix adds a compelling new dimension to The Beauty Of It All, an album praised for its introspective storytelling, sonic warmth and focus on emotional clarity. By reinterpreting “In My Place,” he extends the album’s world, inviting listeners deeper into its atmosphere while offering a fresh, contemporary angle on one of its most impactful songs.

Monolink – In My Place (MAXI MERAKI Remix) is out now via Embassy One: https://monolink.lnk.to/InMyPlace_MAXIMERAKIRemix

Berlin-based techno duo Pan-Pot close out 2025 with their newest single ‘Phantaxxxy’, released on 18th December via their own imprint HUMAN.

‘Phantaxxxy’ is more than a track – it’s a full-body experience. A study in forbidden stimulation, the record unfolds like an interstellar customs seizure: leather-bound, USB-encoded, and reportedly banned on three moons for being “too suggestive for zero gravity.” Extracted from a bass-driven artificial intelligence that allegedly achieved sentience mid-breakdown in a velvet-draped server room, the track pulses with teasing tension. Slithering synths, hypnotic grooves, and a drop that practically demands a safe word place ‘Phantaxxxy’ somewhere between cosmic kink and dancefloor hypnosis.

Composed of Tassilo Ippenberger and Thomas Benedix, Pan-Pot have spent 2025 expanding their creative universe through HUMAN, a platform that exists as both label and event series. Over the past year, HUMAN has hosted events across the Netherlands, Berlin, New York, Los Angeles, and Chicago, alongside the official Street Parade afterparty in Zurich, which drew over 1.3 million attendees. The release follows a run of standout singles including ‘KALSTROM’, ‘OPERA (Street Parade Anthem)’, ‘Nightcode’, and ‘TDD’.

Launched as a new chapter in Pan-Pot’s evolution, HUMAN bridges raw techno energy with something deeper – emotional, warm, and unapologetically human. The ethos is rooted in connection, pushing past fleeting trends to place feeling back at the center of the dancefloor.

Looking ahead, the duo have announced a special all-night-long ‘Back to the Warehouse’ event on 21st February, echoing the early rave spirit of the 90s with a pounding soundsystem and a full lineup to be revealed (see ticket info here).

Set for release on 18th December ‘Phantaxxxy’ stands as one of the final statements of 2025 on HUMAN – bold, provocative, and unmistakably Pan-Pot.

Follow Pan-Pot:
Instagram | Spotify | SoundCloud