‘Red Button’ features GENESI and Djammin taking the reins on production, crafting a soundscape that combines infectious house beats with the raw intensity that Flowdan provides. His distinctive vocal delivery, characterized by a deep, resonant growl, adds a compelling layer to the track, ensuring it stands out in the crowded house music scene.

GENESI elevates his reputation in dance music to greater heights

GENESI is quickly emerging as one of the most promising talents in dance music today. His impressive ascent has seen him achieve global chart success, with tracks that have garnered support from influential figures like Pete Tong. His recent releases on notable labels, such as MADMINDS, further affirm his reputation as a vital player in the electronic music landscape.

Flowdan lends his voice to another top-class jam

Flowdan, a revered figure in the grime, drum & bass, and dubstep, earned a fantastic reputation for a powerful voice and that voice has lead to Flowdan contribute to hits like Skrillex and Fred again..’s Grammy-winning banger, ‘Rumble.’ In ‘Red Button,’ he effectively bridges the gap between grime and house, delivering a performance that is both energetic and deeply rooted in the essence of both genres.

Djammin brings out the best of his grime and house music production talents for ‘Red Button’

Djammin is also a distinguished name in the UK grime scene who is now making a prominent name for himself in house music, especially as he crafts his own innovative style by merging powerful grime beats with addictive house grooves.

Groovy basslines and outstanding vocals make ‘Red Button’ a track that represents a wonderful fusion of genres

The interplay of groovy basslines from both GENESI and Djammin works harmoniously with Flowdan’s standout vocals, leading to a rich auditory experience. ‘Red Button’ embodies a distinctive underground house sound, one that not only entices fans upon first listen but promises to keep them coming back for repeated enjoyment as they immerse themselves in its infectious energy. This track is poised to leave a lasting impression on the dance music scene, especially with diverse fusion of genres being involved in the production of this track.

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Joining forces with an elite cast of collaborators, the EP bridges contemporary tech house grooves, indie dance aesthetics, and melodic mainstage energy.

Vocal Precision Meets Dynamic Production

Spanning two high-octane tracks, the package highlights Linska’s dark, energetic production style alongside a star-studded list of features:

• ‘Move’ (feat. Benni Ola): Created alongside techno force Chris Avantgarde and multi-disciplinary artist DEPARTAMENTO, the lead single pairs driving rhythm sections with command-taking vocals from Benni Ola. Built for warehouse floors and festival systems, the track balances raw percussion with deep atmospheric tension.
• ‘Double Time’ (feat. Franksy): Partnering again with DEPARTAMENTO, Linska delivers a punchy, fast-paced club tool anchored by vocal contributions from Franksy.

Having already earned early support across peak-time sets this season, the release marks another major milestone for Linska as she builds on recent successes on labels like REALM, Insomniac, and Arcane Music.

Movement EP by Linska is out now on Diynamic across all digital streaming platforms.

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The record opens quietly, with choral harmonies setting the tone before Douglas’ voice takes over. Percussion trickles in underneath like scattered droplets, gradually locking into a crisp house g roove. From there, Lost Frequencies does what he does best — widening the melodies, pushing the rhythm forward, and letting the production bloom into something bright and sun-drenched, all while keeping Douglas’ vocal as the anchor. It’s the kind of build that works as easily on headphones as it does on a festival main stage.

“I really loved the feeling creating this track gave me from the beginning,” Lost Frequencies said of the release. “It has this warmth and soul to it, but at the same time there’s an energy that really opens up as the track progresses. Clementine’s vocal was a huge part of bringing that feeling to life, she has such an incredible voice! I wanted to keep that emotion at the centre while still making something that feels uplifting and that I can’t wait to play out live. I’m really excited for everyone to finally hear it!”

A Steady Run of Hits

‘Don’t Forget (About Me)’ lands during what’s been a strong stretch for the Belgian artist, born Felix De Laet. He remains one of the country’s most successful musical exports, having become the first Belgian artist to top the UK singles chart, earned a BRIT Award nomination, and landed in Spotify’s Billions Club for tracks surpassing a billion streams.

His recent singles ‘Sweet Disposition,’ ‘So Much Beauty (Around Us),’ and ‘Live It All’ all cracked the Top 10 and Top 20 of the Belgian charts, keeping his momentum rolling as a multi-platinum act who’s managed to keep one foot in dance music and the other in straightforward pop songwriting. ‘Don’t Forget (About Me)’ continues that pattern, built around a vocalist-driven hook but still clearly engineered for club systems and festival sets.

‘Don’t Forget (About Me)’ is out now.

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For those unfamiliar, Orem is the solo alias of Emma Foster, one half of the duo Arctic Lake. Her vocal work has shown up across the house and melodic bass spectrum for years, and here she brings a warmer, more emotive edge to EDX’s production, which leans into the breezy, melodic side of his catalog rather than straight festival-ready peak-time material.

EDX has built a career as one of the more consistent names in global house music over the past decade and a half. The Grammy-nominated producer has moved comfortably between radio-friendly remixes and deeper club tracks, with a discography that spans labels like Sirup Records, Armada, and Ultra. He’s also known for his long-running Miami Sessions compilation series, which has become something of a yearly ritual for house fans looking for a seasonal soundtrack.

‘Echoes’ continues that same throughline — polished, melodic house with just enough emotional weight to separate it from typical mainstage fare. Sirup Records, the label EDX founded, has served as home base for a good chunk of his output in recent years, giving him full control over rollout and sound direction without needing to fit into another label’s broader catalog.

The track is out everywhere this Friday, October 9, marking EDX’s latest original release of 2026 and another addition to a catalog that shows no signs of slowing down.

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‘Hunting You Down’ builds around a steady sense of movement rather than an obvious payoff. Instead of front-loading the track with its best ideas, the production holds back, layering atmosphere and rhythm in a way that keeps pulling the listener further in rather than showing its hand early.

There’s a seductive edge running through the record, with Knauss leaning on groove and texture to build something that feels mysterious but still immediately playable on a system. It’s the kind of club cut that doesn’t need a peak-time slot to land, it works just as well in a late-night set, a sunrise session, or on headphones away from the club altogether.

The track fits into a broader pattern in Knauss’s output, favoring restraint and repetition over blunt drops. It’s a style that rewards patience, letting a groove do the work rather than relying on obvious tricks to hold attention.

‘Hunting You’ arrives via HABITAT, the label known for curating tracks that sit comfortably in the more textured, groove-driven end of house and techno. The compilation drops October 8, 2026.

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‘Fall’ swaps out the usual festival bombast for something a little more vulnerable, at least on paper. The track is built around an expressive vocal topline and soaring melodies, with production that’s clearly meant to translate from headphones straight to a mainstage without losing any of its emotional weight. It builds patiently before opening into a melodic payoff — the kind of release that’s designed to land during a sunset set as easily as it does on a late-night drive.

Francis says the track came from a genuinely collaborative place in the studio. “This song was written for our significant others — about wanting to protect them from pain and loving them completely for who they are,” he shares. “It was a really beautiful session because all three of us were coming from the same place in our own relationships. It’s not often that three people experiencing the same kind of love end up in a studio together at the exact same time.“

The release lands during what’s shaping up to be one of Francis’ busier years in recent memory. He played Stagecoach, picked up the Impact Award at the 2026 EDM Awards, and recently hit Academy LA for Fuck Cancer Events’ 100th event, sharing the bill with Diplo and Pauly D, with Snooki hosting. It’s the kind of lineup that underscores how much of Francis’ career has existed outside the strict confines of dance music — he’s long been as much a personality as a producer, with stints on Funny Or Die’s “Like and Subscribe” and Viceland’s “What Would Diplo Do?” to show for it.

He’s not slowing down going into the colder months either. Francis has dates lined up in Toronto, Winnipeg, Chicago, Boise, and Los Angeles, plus a stop at Illenium’s Ember Shores festival in Cancún. That run sits alongside his ongoing Dillstradamus co-headline tour with trap act Flosstradamus, which has confirmed stops at New York’s Terminal 5, the Hollywood Palladium in LA, and San Francisco’s Bill Graham Civic Auditorium.

It’s been a steady stream of output from Francis this year beyond just touring. He’s dropped collaborative singles with Albert Hype, Marten Hørger, and iann dior, and put out a remix album of his 2014 debut Money Sucks, Friends Rule — a record that landed on Rolling Stone’s list of top electronic albums when it first came out. Over the years he’s worked with everyone from Major Lazer and Calvin Harris to T-Pain and Skrillex, building a catalog that’s never stayed in one lane for long. ‘Fall’ continues that pattern, with more new music reportedly on the way.

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Fresh off her ÎleSoniq appearance and the release of her latest single, ‘I Go’, we caught up with Yurie to discuss her musical journey, creative evolution, and the moments that continue to shape her career.

The Interview

(Please note, the bolded text represents a question, while the paragraph(s) following it represent Yurie’s answers.)

What was your relationship with music growing up, and when did you first realize that you wanted to pursue it seriously?

Music was a huge part of my life growing up. I was classically trained in piano and voice, was doing music competitions, studied music theory, and even sang in a chamber choir, so I had a pretty formal musical background from a young age. At the same time, I was starting to become obsessed with electronic music. I learned how to DJ when I was about 15, started making mixes and putting them online, and ended up getting a club residency while I was still in high school. That was probably the point where it clicked that music could become more than something I just loved doing.

It’s funny looking back because classical music and DJing seemed like completely different worlds at the time, but the ear training, theory, and vocal background have all ended up influencing how I produce music today.

How did DJing, producing, and singing come together?

DJing came first, so I think that side of me is still the most instinctive. I’ve been doing it for such a long time that reading a crowd and knowing where I want to take a set feels very natural.

Production came later because eventually I wanted to be able to make the records I was imagining in my head instead of only playing other people’s music. Vocals have almost brought things full circle because I grew up singing. For a long time that part of my musical background was separate from Yurie, and now I’m incorporating my own voice into more and more of my records. I think having all three gives me a different perspective when I’m making something. I’m thinking about the production, but I’m also thinking about how it will feel in a DJ set and whether there’s a vocal idea that can give it more personality.

How has Vancouver shaped you?

Vancouver is home. It’s where I grew up, where I learned how to DJ, and where I played so many of my first shows for years, so it will always be a huge part of who I am.

At the same time, I feel really grateful that music has given me the opportunity to play in different cities around the world. Being exposed to different crowds, scenes, and styles of music has definitely shaped me as an artist and broadened my perspective. There’s something really special about being able to travel through music and have all of those experiences, while still coming back to the place that has always felt like home.

What was the story behind ‘I Go’?

‘I Go’ really started with the kind of record I wanted to play in my own sets. I wanted it to feel percussive and be vocal-driven, with a rolling groove that could work in a club but still have a memorable hook. Everything on the record is original, and I wrote, produced and sang the vocals myself, so it feels like a really good representation of where I am as an artist right now.

I had actually been testing it in my sets for a few months before it came out, which is one of my favourite ways to finish a record. You can work on something endlessly in the studio, but playing it to a crowd tells you very quickly what is connecting. The reaction was consistently so good that I knew I wanted to get it out for summer.

What did ÎleSoniq mean to you?

Playing ÎleSoniq was definitely one of those moments where I tried to stop and actually take in what was happening. I’ve played festivals and some pretty surreal shows over the years, but getting to play the main stage at one of Canada’s biggest electronic music festivals, in Montreal, felt insanely special.

It was also so much fun getting to play B2B with Tom DŪNO. We had actually met briefly the year before in Quebec City at a show I was playing, and he was such a gem from the start. Right before our show, we synced up on what we wanted to play and the overall vibe of the set, and we were completely on the same page. Same energy, same direction. It made the whole thing feel really natural and honestly just so fun.

I think the moment that stayed with me most was looking out from the booth and realizing I was actually playing ÎleSoniq. You spend so much of your time as an artist thinking about the next track or the next opportunity that sometimes you have to remind yourself to appreciate the things that used to be goals.

What makes you feel most like yourself outside music?

I think balance is a huge part of it for me because I actually work a full-time job alongside music. My life can get pretty busy, so outside of work and music I really value the things that make me feel grounded and excited about life in general.

I love traveling, trying amazing food, being around people who are really passionate about what they’re doing. And lately I’ve been trying to say yes more and not overthink everything. I think I’ve gotten better at actually taking things in instead of always rushing toward whatever is next.

Music is still my outlet through all of that. It’s the thing I come back to where I can completely switch gears, be creative, and feel most at home. I actually think having a full life outside of music makes that relationship with it even stronger.

What has changed most, and what are you excited about next?

I think the biggest change is that I trust my instincts a lot more now. I’m less focused on what I think I should be making and more interested in making music that actually feels fun for me to play in a club.

I’m still learning constantly, and I think that’s what keeps it exciting. I want to keep developing my sound, getting clearer on what feels like Yurie, and pushing further into the house scene while still leaving room to experiment.

I’d also love to keep playing in more cities and getting in front of new crowds. Some of my favourite moments have come from playing somewhere new and feeling that connection with people through the music. I’m really excited to keep building on that and see where it takes me next.

After catching her set at ÎleSoniq, it’s easy to understand why so many people are beginning to take notice. If this year is any indication, Yurie is an artist worth keeping on your radar.

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‘Forever Within Me’ pairs L.zwo’s emotional, high-energy production style with a message centered on a world falling out of balance. Rather than leaning into despair, the track holds onto ideas of hope, responsibility, and collective action. The result lands somewhere dark and urgent, built for the club floor but carrying weight beyond it.

L.zwo has been steadily carving out a name within the new wave of trance-driven club music, a lane that’s picked up serious momentum over the past couple of years as producers blend peak-time trance melodies with harder, more club-focused rhythm sections. His tracks have already found support from DJs including Marlon Hoffstadt, Malugi, and VTSS — three names who’ve each played a role in pushing trance and hard club sounds back into rotation at festivals and underground parties alike.

This release adds another layer to TRIBE’s catalog, which has grown steadily since Funk Tribu founded the label. Beyond releases, TRIBE has built out a community through club events in cities like Bogotá, Paris, Amsterdam, and Brussels, along with screenings in Berlin — positioning itself as much around shared experience as it is around the music itself. The label’s Rituals compilation series, which launched in September with contributions from Afem Syko, HANAA, Supergloss, and Vall Du Son, underscored that same approach of curating artists with real ties to the TRIBE community rather than just stacking a tracklist.

‘Forever Within Me’ is out now on all platforms via TRIBE.

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The original ‘Wide Open’ is well known to anyone versed in techno history — Hyperactive has been a fixture of the Chicago underground since the early ’90s, counted among Daft Punk’s so-called “Teachers,” with more than 100 releases and three decades of sets at venues like Berghain, Tresor and Movement Detroit to his name. Justus keeps the stripped-back, hypnotic character of that original intact, but builds it out with added weight and a fuller low end suited to current-day main rooms.

“I’ve always loved the original ‘Wide Open’ and the other versions that has been made,” Justus said. “It’s one of those records that has such a simple but timeless energy to it, and I’d had the idea of doing something with it for a while as I wanted to make a version that I could play in my sets. So I started playing around with it and ended up taking it into a more techno house direction that fits great with what I’m playing in my sets right now.”

“I wanted to keep the character and rawness of the original while giving it my own take,” he continued. “I’ve been playing it out for a while now and the reactions have been great, so I’m really excited that it’s now coming out on MADMINDS as my first release with the label.”

The track has already picked up a fairly heavyweight list of co-signs before its official release. Adam Beyer has been dropping it in his sets, including a recent clip posted to Instagram, while label boss Layton Giordani, Nicole Moudaber, Agents of Time, Bart Skills, Armin van Buuren and Miss Monique have also been playing it out. Bart Skills’ play can be heard below.

Justus, born in Amsterdam, has spent the last several years working across both house and techno, with collaborations alongside Kaskade and Armin van Buuren, an official remix for David Guetta and Sia, and a reworking of Benny Benassi’s ‘Satisfaction’ on his resume. He’s picked up support from Diplo, Gordo, Calvin Harris, MK and Swedish House Mafia along the way, and runs his own imprint, Just Records, on the side.

‘Open Wide’ marks his first outing on MADMINDS, the label Layton Giordani has built into one of techno’s more consistent peak-time outlets in recent years.

‘Open Wide’ is out now on MADMINDS.

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‘DANGER DANGER’ brings out the spectacular musical talents of Solomun, Dom Dolla, and Skepta

‘DANGER DANGER’ showcases Skepta’s distinctive vocal style over a robust bassline and sharp rave stabs. The gritty production complements his delivery, contributing a layer of intensity that enhances the overall impact of the track. The bridge introduces unfolding arpeggios, which create a sense of space, thereby amplifying the weight of the bassline upon its re-entry in the latter half of the composition. By combining energetic rave elements with expansive melodies, ‘DANGER DANGER’ is the perfect track to engage with even the most discerning audiences on the dancefloor.

The upcoming performances in the Americas for Solomun

As mentioned prior, the release of this track marks the conclusion of Solomun’s summer engagements on “The White Isle” (a nickname that Ibiza has), while his touring plans are already taking shape. Following a brief interlude after his +1 finale at Pacha, Solomun will embark on a tour of Latin America in late October, with confirmed performances scheduled in Córdoba, Buenos Aires, Santiago de Chile, Curitiba, and São Paulo. Additionally, his itinerary includes a significant performance on Hollywood Boulevard in Los Angeles on November 27, followed by a return to Tulum on January 7, 2027. ‘DANGER DANGER’ will be available for worldwide streaming beginning October 2, further establishing its significance within the current musical landscape.

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