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LSB returns for his third album ‘The Middle’ on his own imprint, Footnotes. Stripped back in terms of sound and containing no collaborations – it’s a very personal LP from the Footnotes founder. While it’s sharply focussed under one theme, when you start to unpack being in ‘the middle’, it’s layer upon layer of emotion, life experience, and coincidence. The album keeps it tight at nine tracks, with the beautifully rolling title track ‘The Middle’ right where it belongs.

With a rich history of collaboration between the two artists, Addison Groove and Sam Binga have joined forces once again to put together a debut collaborative album that fuses a flurry of club sounds including chicago house, detroit techno, electro and juke – inspired by the Midwest, whilst hitting the faster 140 to 150 bpm mark. This being their first release together since the ‘BS3’ EP in 2013, this project has caught the attention of a wide range of artists on the electronic circuit.

The one thing I cannot do without, cannot LIVE without, is my Wurlitzer EP200 electric piano. I bought this for £120 in 1996 in West Kensington shortly after we started Hospital Records. I jokingly called the early D&B that I was making back then Loungecore. But it wasn’t a joke, it actually was loungecore. And the Wurly fit right in. When I play it, I am suddenly Karen Carpenter in 1966, or Supertramp in 1974.

From the humble beginnings of making music on a PS2 to scoring bangers for massive multiplatform titles like Rocket League, Rameses B (Rameses Kevin Booth) has been shaping the liquid and bass landscape thanks to his sonic prowess for well over two decades. With no fewer than 200 releases across benchmark labels like Monstercat and Liquicity, his music has carved out lasting memories for multiple generations of listeners. Yet the evolution of his craft has never stalled.

“In order for the light to shine so brightly, the darkness must be present.”, Francis Bacon once said. I bet he would love the new Keeno double album LIGHT / DARK then! Four years into running his own independent label following a decade-long residency at Hospital Records, Bristolian maestro William “Keeno” Keen presents us with not just one, but two statements of intent.

Five years. Somehow that’s both no time at all and absolutely ages in drum & bass. Long enough to survive a global pandemic, thirty-odd releases, six compilations and countless late nights in the studio.

Synoxis has been building her D&B career for a while now, but it feels like it’s finally all coming together. Her entrance into the scene was a happy accident, going to Liquicity thinking it was going to be a rave about stars. “The logo looks like a planet, so I was intrigued. A rave about planets? I have to go,” she explains.

To preserve your memories for the future a lot of you would probably reach for the camera or perhaps a pen and some paper, but Bristol-born and nowadays New Zealand based Aidan “Aydn” Bennett had a better idea: He wrote an album! A couple years after being nudged into music production by way of an endlessly supportive, artwork-curating dad, Aidan grew weary of the genres tried so far, before swiftly stumbling into a speedrun towards liquid drum & bass notoriety.

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Six years after his first album The Drift on Peer Pressure Records, Javano is back with Juncture. This time around, he’s been experimenting with different genres. Don’t expect to hear a complete drum & bass album, because on Juncture you can hear anything ranging from techno to house and, okay, still a little bit of D&B. This album is a capsule of moments Javano has experienced over the years, now he’s glueing them all together into one glorious scrapbook of an album.