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

MOMODA
https://www.instagram.com/momodamusic/

GET PHYSICAL
https://www.instagram.com/getphysicalmusic/

STREAM/BUY: MOMODA – GIVE ME TIME HERE

Berlin’s Get Physical Music welcomes Momoda for his debut on the label with Give Me Time, a soulful and melodic house release that showcases his ability to blend classic emotion with contemporary production finesse.

The EP features two versions of the title track, both driven by hypnotic rhythms, bright synth chords, and a warm, expressive female vocal that slowly surfaces throughout the track. Its long, atmospheric breakdown highlights the interplay between vocal and synths before surging back into a powerful dancefloor moment.

Born in Nigeria and now based in Barcelona, Momoda has been shaping his sound since 2012, blending house, afro, and techno. An early pioneer of Nigeria’s electronic scene, he now plays a key role in Barcelona’s club landscape, connecting cultures with every set.

With Give Me Time, Momoda channels the timeless spirit of soulful house through a modern melodic lens, signalling an exciting new chapter with Get Physical and a release poised to resonate with dancefloors worldwide.

Following her explosive debut album IBZALIEN on Get Physical, Ibiza-based Greta Levska has called upon UK House Producer Huxley to remix one of the album’s most seductive cuts, Cash Lab, featuring The Pressure.

The result is a deep and driving house remix, full of hypnotic charm and groove-heavy allure. No wonder DJ Mag have just declared that “2025 is Greta Levska’s year”.

Originally one of the standout moments on IBZALIEN, a record that has already positioned Greta Levska as one of electronic music’s most exciting new voices, Cash Lab oozes attitude and underground appeal. Huxley reshapes it with a classic house sensibility, leaning into looped synth motifs, hypnotic chords, and a stripped-back groove that gives the whispered vocal delivery space to shine. The track builds with slow-burning energy, pulling listeners deeper with every bar.

Already championed by Solomun, Gorgon City, and Maceo Plex, Greta Levska has quickly become a key figure in Ibiza’s club scene, with IBZALIEN showcasing her sharp, future-facing sound. From Amnesia to Brunch Electronik, her sets are known for their raw energy and bold character.

Huxley, a seasoned producer with releases on Hypercolour, Aus Music, and 20:20 Vision, brings his deep understanding of the dancefloor to this remix—stripping it back, locking into a groove, and letting it roll.

Huxley says: “When Greta reached out to me to remix Cash Lab, I was instantly in as soon as I heard it. Her original worked the super cool vocals into a killer cut already, but I could feel that I wanted to put my own take on, and this is what came out. I’m very happy with it!”

Buy / Stream Greta Levska Cash Lab (Huxley Remix) at getphysicalmusic.lnk.to/GPM866

Ibiza-based Producer & DJ Greta Levska has released her impressive debut album, IBZALIEN, out now on Get Physical.

IBZALIEN describes Greta Levska perfectly. Originally from Lithuania but making Ibiza her home, its thriving music scene was always going to draw an artist of her talent to the White Island. And the island has embraced her. Every set she plays in Ibiza, or at the most discerning venues in Europe and beyond, cause heads to turn and jaws to drop.

IBZALIEN is an incredible feat for a debut album, taking the best sounds from history of electronic music, deconstructing it, and making it into something even more wonderful. This is why Greta Levska is the most talked about new artist on the scene. People have great expectations. When you play this album, you will tell that those expectations aren’t just realised, they’ve been smashed.

It’s rare that every track on an album press release gets a decent mention, but literally every one of the ten tracks on IBZALIEN’ is utter gold.

Buy and Stream Greta Levska – IBZALIEN at getphysicalmusic.lnk.to/GPMLP321

Trutopia team up with Greta Levska on Lights Off: the dreamily atmospheric, acid-inflected broken-beat cut Lights Off.

Trutopia are one of London and Ibiza’s most exciting duos. The brothers deliver a fiery mix of classic, deep, electro house that has been championed by Pete Tong, Jaguar & more on BBC Radio 1, while tastemaker publication Mixmag are huge fans, saying: “it’s inevitable that they are destined for big things”.

After releases on labels including Strictly Rhythm, Nervous Records, Stress Records and millions of streams, the duo have amassed an army of passionate fans; including the likes of Gorgon City, for whom they opened for at Printworks this year. Back with renewed energy and a refined sound for 2022, their next release lands on the mighty Get Physical, a collaboration with Lithuanian-born, London-raised Ibiza resident Greta Levska.

Greta Levska has a richly multicultural background that feeds into the music she makes and plays. She is someone who quickly rose up through the ranks on the White Isle this summer with energetic sets that cross a wide house and tech spectrum. Inspired by the likes of DMX Krew, Bugz In The Attic and Peggy Gou, Greta will follow up this first outing on Get Physical with more new music in 2023.

Lights Off is an intense broken-beat, acid-inflected techno cut with future-retro synths lashing about the mix over punchy drums. An echoing vocal swirls around the mix to bring the soul and after the atmospheric breakdown acid flashes up the ante and takes things to the next level.

We met with Cook Strummer to discuss his upcoming ‘Berlin Gets Physical’ release on the long-standing Get Physical label, delving into his musical journey and early influences.

Welcome to Music is 4 Lovers. Can you tell us whereabouts in the world you are right now and how you’re doing?

Thanks for having me! I’m currently in Berlin. I’ve been touring over the summer, and it feels so good to be back after the pandemic. 

What’s the mood like where you’re living with everything going on over the last couple of years?

The mood is optimal. The projects I’ve been working on for the last three to four years are finally being released. I couldn’t wait any longer. The previous two years have been formative for my music career and allowed me to enhance my production skills and shape my productions. 

I’m intrigued about your artist name. Where did this come from? 

I have a few stories about my artist name; I’m not sure which one is real anymore! I chose Cook Strummer at first because I thought it sounded nice. The meaning came after I had to explain to people because my name on the first lineups was “Cock Stroker” or “Coke Struggle”. I like to cook in my free time and feel many similarities between music production and cooking. ‘Cook’ also refers to Captain James Cook, as I felt like a music explorer when I moved to Berlin ten years ago. “Strummer” refers to my main instrument, the guitar. But it also refers to Joe Strummer from “The Clash”.

What were your earliest clubbing experiences that influenced you the most?

I started clubbing in Belgium at a very young age (around fourteen years old). At first, it was drum n bass parties, then techno. But what influenced me first was earlier than that. When I was ten years old, my uncle (a DJ back then) gave me a tape from ‘I Love Techno 1997’, featuring Jeff Mills, Daft Punk, Dave Clarke, Robert Miles… I remember thinking, “What is this crazy music?”. 

When I got older, even if Rock music was my music of choice, I kept on partying (and organising parties in Brussels, with crews like Play Label and Indie Club, in clubs like “The Wood”). It was only later, ten years ago, when I moved to Berlin, that I dived deeper into serious electronic music production. I used to party at Bar 25, then Kater Holzig / Katerblau, Sisyphos, Berghain. These clubs had a significant influence on my journey for sure.

Your latest release on Get Physical Music, titled Berlin Gets Physical brings together a plethora of talent. What was your inspiration for this release (beyond the obvious connection of Berlin!), and what were some of the challenges? 

The inspiration was simply the friends I have met over the years, sharing stages, partying and producing music with them. I’m very thankful that Get Physical allowed me to curate this compilation. It took three years to put together. The main challenges were keeping in touch with the artists, ensuring everything was on track, finding the right songs and tracklist, etc. I also want to mention that we teamed up with Mazel Galerie, who sponsored the vinyl production. One of their artists, Brusk, painted the cover. The gallery produced its limited edition version that will only be sold on their end. Get Physical has another version that will be distributed on all the platforms with a  cover adapted by Mirjam Schmid. Daniel Jaeger has handled the analogue mastering at his brand-new studio. All in all, I am very proud of the result.

We’re big fans of the cosmic, dark disco sounds, of which this release has plenty. Have you always been a devotee of this sound, and where did your love for it begin?

I’m a big fan too! My love for ‘dark disco’ began in my teenage years, with post-punk first, and bands like Joy Division, Cocteau Twins or Bauhaus. Then, in the 2000s, I listened to LCD Soundsystem, Vitalic, Simian Mobile Disco, Justice, Digitalism and Boys Noize. Those years marked the advent of what we now call ‘Indie Dance’. A mixture of electro, pop, indie rock, dark disco and other genres.

I was even part of the first and only Indie party at “The Wood” (Brussels) in the early 2010s, called ‘Indie Club’, where I was DJing this type of music. I’ve always tried mixing my rock background with electronic music, which seems to work now.

When did you first start producing, and what are your go-to pieces of equipment? 

When I was ten, I asked my parents to get a Roland Groovebox for my birthday, but my dad told me I could choose my own musical instrument if I kept learning piano until my twelfth birthday. I received a Roland EG-101 “Groove Keyboard” with a small sampler, and it all started from there. 

When I turned fourteen,  I got familiar with DAWs. Fruity Loops at first, then GarageBand. But it was more for experimenting, as I was still going to studios to record my band EPs. When I moved to Berlin in 2012 I started with Ableton and learned the basics of sound engineering and proper music production. 

Over the years, my setup reduced drastically, from tons of analogue gear, to a Microkorg, Moog Sub Phatty, Nord Drum 2 with pads, my guitars, a Rode NT2-A microphone, and the rest is digital – mainly Native Instruments products, and the Komplete Kontrol S49 midi keyboard. Nowadays, I share a studio and work with Daniel Jaeger who handles mixing and analogue mastering. But I mainly produce at home.

What’s your creative process like when in the studio?

I need to be triggered by something. It can be a good gig I’ve played or attended the night before, a mood or a sunny day. Usually, I start with the kick; then I jam on the keys until I find something appealing. I’m a big fan of ‘happy accidents’, when I play something that wasn’t supposed to be there. 

Where can our readers expect to see you off the back of this release?

We have a few showcases planned to promote the “Berlin Gets Physical” compilation release, including the 15 artists who participated. These will be in Paris at Fluctuart in collaboration with Mazel Galerie (one of their artists, Brusk, painted the VA’s cover), in Berlin at Kater Blau (end of September), in Turkey at Dream of Utopia (19-24 October), and a couple of other showcases to be confirmed (in London and Barcelona).

Cook Strummer ‘Berlin Gets Physical’ is out on 23rd September 2022

PRE ORDER HERE

Follow Cook Strummer on 

Soundcloud | Instagram | Bandcamp 

The piled sonorities that alternate since Organic House, Indie, Pop, Trip Hop ‘till Deep House creates the artistic persona of YOLA, a young brazilian producer that lets go of molds to synthesize – in the melodies – the sensibility, finesse and liberty that constitutes the singularity of his songs.

In his most recent launch through the German Kindish (sub-label of Get Physical), he bet on an audiovisual draft of “Uh, I Know”. Seeking to communicate the feelings of when he concluded the production, the artist delivers a video clip that follows very well the proposed musical concepts’ standart. 

MI4L: Hi YOLA! Tell us where you are now and what you were doing until you answered this interview?

YOLA: Hi guys! Thanks for the invitation… I was on the balcony having carrot soup, today here in São Paulo it suddenly got cold!

MI4L: What message do you seek to bring to the world through this music project? After all, it carries a very peculiar sound identity…

YOLA: Hmm, hard to get back in a single message… I think if people who hear my music feel good, forget about their problems and feel happiness, hope, freedom and good energy, I would be very happy! Music has the power to be timeless, to bring back memories of the past and project the future. I think that would be the main message: make people enjoy life while enjoying the music.

MI4L: Your sensitivity and depth are very present aspects of your work. How are your references formed and how do you nurture your creative process?

YOLA: I think references and creative processes are intertwined and are the result of a life story dedicated to music. Since I was very young I have been present in this universe, my two grandparents played the guitar, so I must have inherited this love through blood.

My creative process doesn’t have a lot of rules, I’m very much about going without feeling at the moment, it’s something very natural and spontaneous, I don’t get stuck with rules of where to go with a song, I sit in the studio and let whatever happens.

MI4L: “Uh, I know” is a track that clearly draws from a variety of reference sources. Tells a little about the creation and the feeling of completion of it.

YOLA: I was watching some videos I made in the studio while producing this song. I think I finished it in June 2020. I recorded a lot of guitars, edited a lot of vocals, the harmony brings this more chill air, but the broken beats bring a groove on top of this more contemplative harmony…again, not everything is 100% planned, it’s basically me in the studio trying to get what I feel out and what I imagine sounding inside my head.

These days I will share some stuff on my instagram showing some videos I made during production. I remember when I finished this song I turned the monitors up a lot and cried alone in the room. Until today it was the song that I identified with the most.

MI4L: You recorded at ARCA, a place in São Paulo that mixes art, creativity and technology. How was the motivation for the video given and how was the development of the overall composition of the video?

YOLA: As soon as I finished the song I wanted that whoever listening to it could also have a visual experience and the video was perfect for that. I wrote the script and the whole idea for the video. I met Sthéphanie Mascara (who is the main artist of the video) through Instagram, I sent her a message and she loved the song and soon agreed to do it. Eduardo Auricchio, who is one of my first friends in life directed, operated the camera and edited the clip, without him I would never have done all of this. There were 9 people involved, all essential for the video clip to happen!

The clip takes place in an idea of ​​dream / reality – and a connection between these two worlds: how much we take from life to dream and how much we bring from dream to life.

We recorded in 3 locations and one of them was ARCA, it’s amazing there…Being able to film there was a unique experience that I’ll keep forever, it was only possible because of Mário Sérgio, who is one of the partners at M-S and ARCA, without him could never have gotten in there!

We filmed the video clip in 2 days, Saturday and Sunday. We edited it and communicated a post color treatment with Vinicius Cassiano in another 5 days. Everything was very fast but it all worked out.

MI4L: Was it an upcoming adventure or can we wait for future audiovisual projects?

YOLA: Absolutely! I have an EP ready, maybe we will record another

Follow YOLA on Instagram

Rico Puestel grew up playing piano, drums and guitar which kickstarted his career as a DJ and at the age of 13 had his first gig. To this day, he has over 40 releases with heavyweight labels such as Get Physical, Cocoon Records, Dirty Bird’s sub label Mothership with recognition from Adam Beyer and Richie Hawtin. 

‘OBI THINE XI’ titles his new album and is characterised by the two terms SPACE & TIME, which is represented by balanced dualism and Puestels contrasting musical psyche. The ethos of these split terms is defined by the idea of a wondrous holistic place which explores perception of the present. The two layers of this fantastic record combine a variety of musical concepts to create a new definition of techno. Included in the TIME side  there is a mini album exclusive to the 12″ that pays tribute to vinyl with four tracks at the end of each side, adding a new perspective on the album’s main theme

Rico Puestel ‘Obi Thine Xi (LP)’ is out on Exhibition on

24th September 2021.

---

Follow Rico Puestel on:

Soundcloud | Instagram | Facebook | Twitter 

A rising name within South Africa’s house scene, Cape Town producer and live act Deep Aztec looks to become an exciting artist to keep an eye on throughout 2021.

With releases to date via Nervous, Get Physical, Watergate and more, the emerging multi-instrumentalist originally found house music as a child through his love of Jazz, and it’s clear to those elements and inspiration fusing in perfect harmony throughout his new single ‘Work Hard, REST’ – a funk-driven, soulful jam which also marks the launch of his new label, MFENGU Records.

“At times we all get caught up with work/chasing dreams and forget to breathe. Work Hard, REST is a message we all need to hear. Rest is very important for ones sanity.”

Deep Aztec

The resonant and vibrant single also teases the first look into his forthcoming debut album scheduled for release on the label later this year, with further details on the project to follow soon.

Deep Aztec ‘Work Hard, REST’ is out now via MFENGU Records – buy the single here.

Follow Deep Aztec on:
Facebook | Twitter | Instagram | Soundcloud