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William Daniel Review: Colorize turns the page and steps into a new season with Estiva’s TCL, a track that feels less like an introduction and more like a statement of intent from one of the label’s most trusted architects of the club floor.

There is a pulse at the heart of it that never lets up. Bass surges forward with quiet authority, percussion snaps clean and exact, and the melody coils tight before blooming into something luminous and quietly affecting. It is music that understands movement, not just of bodies in a room but of feeling, of tension and release, of that fleeting moment when everything aligns under low light and heavy air.

Estiva has long had a gift for walking that fine line between precision and soul, and here it feels honed to a sharp edge. Fresh from a commanding showing at Fabric and buoyed by the steady nod of those who know this sound inside out, he leans into both sides of his craft. There is grit here, a sense of the underground pushing through, yet it never loses sight of clarity or purpose.

TCL lands with intent, built for the thick of the night when the room is locked in and time slips sideways. It sets the tone for what is to come, hinting at a body of work that will carry both weight and elegance in equal measure, the kind that lingers long after the last note fades. (W.D)

William Daniel: Trevor Reilly’s Down With The Underground first saw the light of day back in 1998 on Manifesto and quickly became a favourite among DJs of the era, with the legendary Judge Jules spinning it live on his Essential Selection mix. The violin work from Chris Stout was a bold and unexpected touch back then, giving the track a distinctive voice that still resonates today.

Now Ian Stirling has taken this classic and transformed it into a 128bpm progressive trance masterpiece, bringing over 35 years of experience behind the decks to the remix. Every iconic element from the original remains, yet it has been polished and modernised with exquisite care, ready to captivate a whole new generation of trance lovers.

In Mexico, the track reached monumental status, propelling Trevor to play in front of more than 70,000 people at the Aztec Stadium, cementing his reputation as a true international force. This remix is both classy and sublime, a fitting tribute to a Scottish legend whose music continues to inspire and move the dancefloor. A stunning release all round. (W.D)

First heard as a mystery ID in A State of Trance Rotterdam 2026, unveiled by John O’Callaghan, the track immediately stirred that rare, spine-tingling recognition among listeners: this is special. One that understands the very DNA of the genre. You can hear the echoes of 1999 woven through its core, the golden era of trance, yet it never feels like nostalgia for today's trend. Instead, it’s reverence, reimagined through a modern lens.

Released on Subculture, Fly Away surges with emotional clarity. The melodies don’t just rise, they fly. There’s a purity to the breakdown that feels almost disarming, before the track erupts into a euphoric crescendo that’s as cathartic as it is commanding. It’s the kind of production that reminds you why you fell in love with Subculture in the first place.

What makes this moment all the more compelling is where it places Joseph James in the wider picture, it feels like a turning point. Having already made waves with earlier productions on Kearnage, he’s been quietly building a steady reputation, but Fly Away is his finest piece yet. The one that says: pay attention.

If this is the level he’s operating at now, there’s a strong sense that the ceiling simply doesn’t exist. No glass barrier, no imposed limits, just open sky.

In a scene that often circles its own past, Joseph James has managed to honour it while pushing forward. Fly Away doesn’t just live up to its name, it earns it. (W.D)

William Daniel Review: There’s a certain late night electricity to ‘Hold On Me’ that feels both nostalgic and quietly devastating, the kind of track that slips under your skin before you realise it’s taken hold. Leena Punks, Reyus and Lauren L'aimant arrive with a release on Interstellar Recordings that does more than simply tick the progressive house boxes. It lingers. It aches. It remembers.

From the outset, the track leans into a shimmering synthwave glow, all neon reflections and slow burning tension. There’s a distinctly retro pulse at its core, those familiar minor chords and glassy arpeggios weaving together with a warm, rolling sub bass that feels like it’s breathing beneath the surface. It’s progressive in structure, yes, but emotionally it plays closer to something cinematic, like watching old memories flicker across a screen you cannot switch off.

L’aimant is the gravitational centre here. Her voice doesn’t just sit on top of the production, it inhabits it. There’s a silkiness to her delivery, but also a quiet desperation, as she captures that suffocating pull of love you cannot escape. The hook lands with a kind of hypnotic certainty, repeating like a thought you wish you could shake but never quite manage. It’s intimate and expansive at the same time, a rare balance.

What elevates ‘Hold On Me’ is how carefully its atmosphere is shaped. The producers resist the urge to overplay their hand. Instead, they allow space for the mood to build, for the darkness in the sound design to creep in around the edges. It gives the track a sense of timelessness, echoing the spirit of classic progressive while still feeling fresh and deliberate.

There’s also a quiet sense of evolution here for Leena Punks, whose earlier appearance on the Celestia Vol. 1 compilation hinted at potential. This feels like a step forward, more assured, more emotionally resonant, more complete.

And it all lands under the banner of Interstellar Recordings, a label that continues to prove its worth as part of the wider Insomniac family. If this is the calibre of music being sent out into the void, then the future feels wide open. Limitless, even. Like staring into a night sky that never quite ends, full of possibilities still waiting to be discovered.

‘Hold On Me’ does not shout for attention. It pulls you in slowly, wraps around you, and before long, you realise you’re not ready to let go. (W.D)

William Daniel Review: Hailing from Yoker in Glasgow, David Rust has steadily carved out a reputation as a producer who constantly reinvigorates the rave scene with a sound that shifts effortlessly across trance, hard dance, techno, psy, and all manner of gritty euphoria. Now he makes his debut on Dreamstate Records with a single that demands attention. 'Without You' is a heart-pounding hard trance cut, a masterclass in Rust’s alchemic approach to contemporary club energy. At its core lies a vocal hook brimming with vulnerability, a declaration of utter dependence on another. The line 'I can't be without you now' reverberates hypnotically over a storm of moody sub-bass oscillations, galloping psy basslines, high-pitched vox synth leads, and crisp, classic stabs that hit with a wave of nostalgia during the climactic build. David Rust is no stranger to the spotlight. He has collaborated with artists such as Uberjak'd, Jakka-B, Renegade System, and Joey Riot, and he has delivered remixes for heavyweights like Jordan Suckley, Ben Nicky, and Scot Project. With 'Without You,' he cements his status as a craftsman of emotion-fuelled dance music, creating a track that grabs you by the balls and refuses to let go. (W.D)

Vinyl Fantasy 3.0 lands on 17th October at SWG3 Warehouse, and this one hits different. It's our birthday party, and in reality it’s a full-blooded celebration of everything that made us fall in love with the culture in the first place. Raw, uncompromising, and played the way it was meant to be heard.

For the first time in Scotland, Scot Project steps up for a classics set played exclusively on vinyl. Let that sink in. Three decades of records, history etched into wax, delivered by a man who didn’t just witness the evolution of the sound, he shaped it. This is a rare chance to experience those mind-bending productions exactly as they were intended. No shortcuts, no edits, just pure energy from start to finish.

Then there’s Steven ‘Podders’ Podmore, a name that carries serious respect among vinyl purists. His sets are deeply personal, shaped by years of dedication to the craft. If you’ve caught his selections on the Thrillseekers Connected shows, you’ll know the standard. Expect hidden gems, unexpected turns, and the kind of moments you can’t script.

With William Daniel and Stewart Green completing the lineup, there’s a sense of cohesion here, a shared understanding of what Vinyl Fantasy is about and how far it can go. Every set matters, and every record has a place.

This time, it all unfolds in daylight. A deliberate shift, giving the music space to unfold beautifully, to connect with you in the way that endures long after the last track fades.

Step beyond the familiar and into something more expansive: Vinyl Fantasy 3.0 | The Third Dimension Daylight Edition. 💫

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