Flux BPM OnlineProgressive House ReviewProgressive House ReviewChristian Burns & Banaati - Embers incl. York remix On the cusp of ‘Waking Up In A Northern Town’ - Christian Burns’s follow-up to his critically-acclaimed 2021 ‘Love Songs From Suburbia’ LP - the UK-born/US-based singer-songwriter lays down its final single preface.In doing so, he’s chosen this juncture to square the focus squarely on Banaati - the most significant co-production element involved in ‘Northern Town’s development.With ‘Fall To You’, ‘I Will Follow’, ‘Strangers’ and others already entered into ‘Northern Town’s ledger, ‘Embers’ may just prove the album’s ultimate single personification.Banaati is of course Benjamin Banaati, the Swedish producer who, in a remarkably short period of time, has etched close to a dozen releases onto Monstercat’s discography. In Benjamin, Christian discovered a stylistic likemind with which to grace ‘Embers’, and then more broadly the album. Benjamin’s backing proves to be a masterclass in transcendent space, knowing as much when to elementally delay or subtract, as to add. That supplies a production that appears to wrap itself around the listener and one you’ll lean into evermore. That’s lent further weight by Christian’s lyrics, which capture a desire - and perhaps an urgent one at that, to rekindle a fading relationship before the sands run out. Striking a poignant balance between reflectional lament and unstinting hope, his words use the elemental imagery of ‘Embers’ to anchor its high emotional stakes.With Banaati’s studio handling the chilled end of the room, York’s rework traces more of a progressive-trance outline around the track. Through hi-hat ride, hunting horn drift, and the most judicious of snare drive, over 9+ minutes his ‘Embers’ slow-burn and refuse to die.'Embers’ lights the last of the singles trail to ‘Waking Up In A Northern Town’. The Original Mix is released today and is available through all good streaming and sales sites, with the York Remix debuting on June 12. The album will follow June 19. Official Video Preview
Flux BPM Online Technical Analysis
In the fast-paced digital ecosystem of modern dance music, a standalone single must do more than just dominate a sub-bass grid. It needs a distinct sonic identity, immediate cross-platform catchiness, and the structural power to thrive on both peak-time club systems and fast-moving social media algorithms. Today, we put Christian Burns & Banaati - Embers incl. York remix under the microscope to see if it delivers true artistic innovation or simply blends into the background noise.
[content title="Summary" label="Overall Score"]Christian Burns & Banaati’s “Embers,” with an exceptional York remix included, is a masterclass in melodic electronic production and emotional songwriting. From the very first listen, the track’s melodic hooks and harmonics are strikingly memorable. The interplay between Christian’s poignant vocals and Banaati’s carefully layered synths creates a harmonic bed that is both lush and immediate, drawing the listener in with its evocative tonality. The sonic engineering and production quality are second to none, with a crystalline balance that highlights every subtle detail, from the soft pads to the shimmering arpeggios. Mixdown and mastering are executed with precision, ensuring that each element occupies its own space without overcrowding the stereo field while maintaining a warm and cohesive overall sound. The use of effects and spatial design adds a cinematic dimension to the track. Reverbs are deployed to create depth without washing out the mix, and delays are timed perfectly to enhance the emotional resonance of key vocal phrases. The arrangement and build dynamics are thoughtfully crafted: Banaati’s production ebbs and flows organically, offering moments of introspection before rising into euphoric swells that sustain the listener’s engagement. Creativity and artistic identity shine through in how the track marries Christian Burns’s heartfelt storytelling with Banaati’s refined melodic sensibilities, resulting in a piece that feels both personal and universally relatable. Atmosphere and immersion are core strengths of “Embers.” The track envelops the listener in its sonic world, with subtle ambient textures and carefully sculpted transitions that feel as though they naturally evolve. The emotional resonance is undeniable; the lyrics evoke the urgency of rejuvenating a fading relationship, while the music amplifies both the vulnerability and hope in Christian’s vocal delivery. His performance is intimate yet powerful, capturing a fragile balance that gives the song its lasting impact. From a DJ and club utility perspective, the track is highly versatile. The 119 BPM original mix is perfect for melodic, beach-bar, or sunset sessions, while York’s 9-minute remix provides a seamless journey through progressive trance territory with tight kicks, rolling basslines, and intricate percussion. Both mixes exhibit excellent intro and outro mixability, with clear cue points and looping potential for creative set integration. The energy flow is deliberate, allowing DJs to control set momentum effectively. Beyond the dancefloor, “Embers” excels in terms of catchiness and replay value. Its memorable vocal lines and melodic phrasing make it highly shazamable and algorithm-friendly, giving it strong potential for streaming success and cross-platform playlist versatility. The track’s structure also lends itself well to social media edits, with moments that could easily translate into TikTok or Instagram Reels highlights. Overall, “Embers” is a rare synthesis of emotional songwriting, meticulous production, and practical functionality across both streaming and live performance contexts, making it a standout release that leaves a lasting impression. #PureGold Loveit
[/content] [item value="10"]Melodic Hooks And Harmonics[/item] [item value="10"]Sonic Engineering And Production Quality[/item] [item value="10"]Mixdown And Mastering Balance[/item] [item value="10"]Use of Effects And Spatial Design[/item] [item value="10"]Arrangement And Build Dynamics[/item] [item value="10"]Creativity And Artistic Identity[/item] [item value="10"]Atmosphere And Immersion[/item] [item value="10"]Emotional Resonance And Impact[/item] [item value="10"]Vocal Performance And Lyrics[/item] [item value="10"]Dancefloor Utility (Club/Festival)[/item] [item value="10"]Intro/Outro Mixability[/item] [item value="10"]Cue Points And Loop Potential[/item] [item value="10"]Energy Flow And Set Momentum[/item] [item value="10"]Crowd Reaction Potential[/item] [item value="10"]Catchiness And Replay Value[/item] [item value="10"]TikTok And Reels Edit Potential[/item] [item value="10"]Streaming Algorithmic Fit[/item] [item value="10"]Shazamability And Hook Recognition[/item] [item value="10"]Cross-Platform Playlist Versatility[/item] [/review]
Welcome to William Daniel Selects Vol. 3, a curated snapshot of the tracks currently shaping dancefloors and sparking conversations in the trance and progressive community. This volume captures the pulse of the scene, blending raw energy, emotional depth, and forward-thinking production across a spectrum of styles. Fresh from the recent Vinyl Fantasy event—a night drenched in nostalgia and future sounds alike, where rare pressings and exclusive IDs created an atmosphere of pure magic—these reviews reflect the records that are leaving their mark right now.
David Forbes opens the selection with “Diskotek” on WAO138?!, a relentless peak-time weapon built for main stages and cavernous arenas, a track that dominated A State of Trance Rotterdam with its precision and punch. Liam Wilson’s “Unconditionally” on Dreamstate takes an opposite route, an intimate tribute steeped in emotion, unfolding with patience before erupting into an earned, euphoric release.
From there, Estiva’s “TCL” on Colorize delivers a sleek and driving journey, balancing underground grit with melodic poise, perfect for those late-night moments when the room is locked in. Trevor Reilly’s “Down With The Underground” (Ian Stirling Remix) on Pure Trance reimagines a 1998 classic with modern polish and deep respect, bridging generations with its progressive flow.
BLR’s “Spring Drop” (DJ promo) is a bold set of remixes, transforming iconic tracks with focus and finesse, built for darker, intimate rooms. Joseph James’ “Fly Away” on Subculture soars with golden-era spirit, a spine-tingling anthem that feels like a career-defining moment. Meanwhile, Leena Punks x Reyus x Lauren L’aimant’s “Hold On Me” on Interstellar wraps emotional weight in shimmering, retro-leaning progressive textures—cinematic and addictive in equal measure.
Together, these selections echo the energy of Vinyl Fantasy, where timelessness met innovation, and the dancefloor felt suspended between memory and the new. William Daniel’s latest picks are not just tracks, but moments waiting to happen—crafted to linger long after the last beat fades.
David Forbes - Diskotek out on WAO138?!
William Daniel Review:David Forbesreturns to WAO138?! with Diskotek, a thunderous peak time weapon engineered with one goal in mind: absolute dancefloor domination. The Scottish powerhouse delivers a track that wastes no time, rolling out a relentless groove, razor sharp percussion and a colossal lead that feels tailor made for cavernous arenas and main stage festival moments. It is no surprise this one has been hammered by the scene’s heavyweights, echoing through the biggest rooms worldwide. The impact was undeniable at A State Of Trance in Rotterdam where Diskotek ripped through the speakers multiple times across the weekend. Precision built, brutally effective and impossible to ignore, this is another seismic entry in the ever formidable catalogue of David Forbes. (W.D)
Liam Wilson - Unconditionally out on Dreamstate
William Daniel Review: There is a certain kind of trance record that aims for the peak time, the hands-in-the-air moment, the communal rush. And then there are records like this, where the emotional weight lands first, long before the kick drum finds its stride. Liam Wilson’s “Unconditionally,” his debut outing on Dreamstate Records, sits firmly in the latter camp, even as it eventually surges into full-bodied, high-octane release.
Wilson has long been a quietly relentless presence in the UK underground, a Manchester craftsman with more than a decade and a half of graft behind him. You can hear that lineage here. The track does not rush itself. It breathes. It remembers. It builds with the patience of someone who understands exactly what a dancefloor can hold when you let it.
At its core, “Unconditionally” is not just another vocal trance single. It is something far more personal, almost unbearably so. Written in tribute to his late mother, with lyrics drawn from her own words, the track carries a sense of intimacy that feels rare in a genre often driven by abstraction. There is grief here, but also tenderness. Not a spectacle of loss, more a quiet conversation with it.
The opening is disarmingly gentle. Soft piano chords set the tone, reflective and slightly fragile, while the vocal drifts in with a kind of restrained elegance. It feels less like a performance and more like a confession unfolding in real time. The sentiment, rooted in a love that was never fully returned, lingers in that unresolved space. You can feel the weight of what was left unsaid.
As the arrangement slowly gathers momentum, Wilson resists the temptation to force the uplift. Instead, he allows the emotion to guide the transition. When the track finally opens up, it does so with purpose. The arpeggios rise in shimmering layers, the rhythm locks in, and suddenly the piece expands into something vast and luminous. It is not just euphoria for its own sake. It feels earned, like a release after holding your breath for far too long.
There is an almost spectral quality to the climax, as if the music itself is reaching outward, searching for connection beyond the physical space of the club. That sense of transmission, of sending something deeply personal into the void and hoping it resonates, is what gives “Unconditionally” its lasting impact.
In a scene that can sometimes prioritise immediacy over depth, Wilson delivers something that lingers. A track that understands both the power of the drop and the silence that comes before it. A piece of work that does not just move bodies, but quietly unsettles the heart. (W.D)
Estiva - TCL out on Colorize
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)
Trevor Reilly - Down With The Underground (Ian Stirling Remix) [Pure Trance]
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)
BLR - Spring Drop [Not Released/Only on DJ Promo]
William Daniel Review: There is a certain nerve to BLR’s Spring Drop, the kind that grabs you early and refuses to loosen its grip. This is not a polite collection of remixes. It is a collection of dancefloor focused weapons. BLR steps into well-worn territory and reshapes it with finesse, pulling classic cuts into a sharper, more nocturnal frame.
It also feels worth saying plainly that Leon Bolier remains one of the most talented producers of the past two decades, and a personal favourite of mine. That sense of craft and control runs right through this release.
Taking on names like Trentemøller, Push, ZHU and Dosem is no small task. These are tracks with history and with weight. Yet BLR handles them with a clear sense of direction, stripping things back where needed and pushing them forward where it counts.
“Moan” opens with a brooding patience. The bones are still there, but the mood is tightened, more insistent, and built for those darker rooms. “Universal Nation” follows with purpose, reworking this absolute classic into something that trades some of its original uplift for drive and control, without losing its identity.
“Faded” leans into atmosphere. It becomes less about its vocal hook and more about space, texture, and restraint. “Beach Kisses” does something similar with Dosem’s genius, giving it a cleaner, more hypnotic edge that feels engineered for late hours and long transitional blends.
The real curve comes with “Silksong OST Bilewater”. Drawing from Christopher Larkin and the score to Hollow Knight: Silksong, it is a more restrained piece, almost fragile in places. It does not aim for the peak time moment. Instead it endures, offering a brief, reflective pause that adds depth to the overall release.
What stands out most is the cohesion. This is not a scattergun approach to remixing. Leon knows exactly what these tracks need to sit comfortably in modern sets. The result is focused, confident, and extremely powerful. Essential (W.D)
Joseph James (IRL) - Fly Away out on Subculture
William Daniel Review: There’s a certain kind of magic that only trance can summon, something ineffable, something that lifts you clean out of yourself, and with Fly Away, Joseph James captures it in full flight.
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)
Leena Punks x Reyus x Lauren L'aimant - Hold On Me out on Interstellar
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)
David Rust - Without You out on Dreamstate
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. 💫
The successor to Christian Burns’s 2021 opus ‘Love Songs From Suburbia’ will be ‘Waking Up In A Northern Town’, and as both albums’ titles suggest, they’ll share a closely associated throughline.
Further underscoring that are the five singles already drawn from ‘Northern Town’s wider body: ‘Darker Days’, ‘I Will Follow’ and, most recently, ‘Strangers’ among them. Now, with the LP locked for a June 19 release, Christian and UV man Paul Thomas deliver it an astonishing sixth statement.
Neat shorthand for the alchemic coming-together of Paul’s progressive studio lexicon and Christian’s inimitable and instantly discernible vocals, ‘The Two Of Us’ finds them unified on one outstanding piece of music.
For his part, Paul delivers a masterclass in progressive construction and arrangement, bringing ‘The Two Of Us’ his brand of understated chemistry. He kits it out with slowly cascading synth-lines, which unfolds over its chugging rhythms, LFO undulace and hissing, pressurised FX. Its mainline drives the track on in measured fashion, allowing space and restraint to do the heavy lifting, while maximising its impact through less-is-more minimalism.
Naturally, every bit as critical to this brilliant equilibrium is Burns himself, who’s vocal haunts up an end-to-end storm on it. His tones arrive with a spectral lightness, suspended somewhere between presence and absence, almost akin to an internal monologue let slip. Each lyrical line feels inward-facing yet impressively expansive, deepening the ethereal imprint ‘The Two Of Us’ leaves behind.
With the curtain all-but ready to go up on ‘Waking Up In A Northern Town’, ‘The Two Of Us’ provides it another brilliant pre-release marker. You can find it where all good music is streamed Click here: blackhole.lnk.to/TwoofUs.
‘The Two Of Us’ by Christian Burns + Paul Thomas Tracklist:
01. ‘The Two Of Us’ (Original Mix)
02. ‘The Two Of Us’ (Extended Mix)
Dimitris Kechagias Review: [review top="1"] [item value="10"]Christian Burns & Paul Thomas - The Two of Us [/item]
[content title="Summary" label="Overall Score"]Christian Burns & Paul Thomas’s collaboration “The Two of Us” stands as a remarkable demonstration of modern progressive house production, delivering an immersive auditory experience that seamlessly combines technical precision with emotional resonance. The track’s 122 BPM foundation provides a steady, dancefloor-friendly pulse, enhanced by a tightly engineered rhythmic structure that maintains both groove and drive without ever feeling rushed. From the opening bars, the carefully crafted percussion layers and chugging basslines lock in the listener, while the slow evolution of LFO-driven synths and pressurized effects allow a hypnotic momentum to build naturally. This restraint results in a perfect balance between energy and spaciousness, making each build and drop feel earned rather than forced. Melodically, the track excels with its dreamy harmonic layers and balearic-style synth hooks, which unfold progressively to create a lush, immersive atmosphere. The production showcases an exceptional understanding of spatial design and dynamic range, utilizing subtle reverbs, stereo imaging, and airy pads to create a three-dimensional soundstage that feels simultaneously intimate and expansive. Each transition and build-up is executed with seamless precision, demonstrating high-level sound design and an intelligent arrangement that keeps the energy flow and momentum captivating from start to finish. Christian Burns’s vocal performance is the ethereal core of the piece. His voice floats with spectral lightness, blurring the line between presence and absence, creating a heavily introspective and emotional experience. The lyrical content and delivery feel like an internal monologue drifting outward, enhancing the track’s cohesion and storytelling. This emotional resonance, combined with its melodic and atmospheric qualities, gives the track a distinctive identity that is both creatively fresh and technically polished. From a broader perspective, “The Two of Us” offers notable benefits for mental health, fitness, and wellness contexts. Research in music therapy and exercise science has demonstrated that steady rhythmic structures and emotionally rich music can improve mood, reduce stress, and enhance cognitive focus during workouts or meditation sessions (Thoma et al., 2013; Karageorghis & Priest, 2012). The entrancing progression and consistent BPM make this track particularly suitable for fitness classes, yoga, and mindfulness practices, where rhythm and emotional immersion can elevate physical and mental well-being. The rich harmonic layers and uplifting yet introspective tone can trigger dopamine release and positive affect, promoting both relaxation and motivation (Salimpoor et al., 2011). “The Two of Us” not only performs flawlessly across all technical criteria—from transitions and sound design to cohesion and club readiness—but also demonstrates the profound effect that high-quality electronic music can have on human wellness. Its catchiness, replay value, and crowd impact make it a gem for DJs, while its immersive qualities position it as a valuable tool for enriching mental and emotional health. #PureGold Loveit [/content]
Thoma, M. V., Ryf, S., Mohiyeddini, C., Ehlert, U., & Nater, U. M. (2013). Emotion regulation through listening to music in everyday situations. Cognition and Emotion, 27(3), 534–543.
Karageorghis, C. I., & Priest, D. L. (2012). Music in the exercise domain: A review and synthesis (Part I). International Review of Sport and Exercise Psychology, 5(1), 44–66.
Salimpoor, V. N., Benovoy, M., Larcher, K., Dagher, A., & Zatorre, R. J. (2011). Anatomically distinct dopamine release during anticipation and experience of peak emotion to music. Nature Neuroscience, 14(2), 257–262.
British producers Jody Wisternoff and Jamie McDermott join forces on their new single 'Citadel’.
Originally debuted on Anjunadeep 16, the track quickly emerged as a fan favourite, becoming the third most-streamed release from the compilation. Blending sweeping melodic strings, groove-driven percussion, and a vocal sample, ‘Citadel’ delivers an emotive melodic record.
Wisternoff, a pivotal figure in the UK's rave scene since the early '90s, is renowned for his keen ear for talent and his role in shaping the sound of the Anjunadeep label, where he co-curates the chart-topping annual compilation series. His solo catalogue includes three studio albums on Anjunadeep, most recently ‘Welcome To My World’, which has surpassed 10 million streams and received support from BBC Radio 1 and SiriusXM Chill. Across his career, Wisternoff has amassed over 90 million streams, earning recognition from leading names such as Eelke Kleijn, John Digweed, Nora En Pure, and Chicane.
Jamie McDermott, a UK-born producer and DJ now based in Toronto, brings over two decades of experience in electronic music. Having spent years as a full-time DJ in London, his production style combines deep, melodic, and progressive house influences.
[content title="Summary" label="Overall Score"]Jody Wisternoff and Jamie McDermott’s collaborative single “Citadel” stands as a masterful example of modern progressive house production, achieving a flawless performance across every evaluative dimension. From the first beat, the track establishes a hypnotic rhythm and engaging groove that captures the listener’s attention and sustains momentum throughout. Its 124 BPM framework balances energy and flow perfectly, making it ideal for both intimate listening experiences and high-energy club or festival environments. The subtle interplay of pulsating basslines with simple, chunky kicks provides a stable foundation that drives the track forward while maintaining an inviting warmth. Harmonic layers and melodic hooks are artfully constructed, blending pianos, gentle guitars, and cinematic strings into an ethereal tapestry with organic textures. The layering demonstrates exceptional sound design and production quality, with every element occupying its sonic space through careful EQ and spatial effects. Wisternoff and McDermott deploy reverbs and delays with precision, creating a 3D auditory landscape where distorted vocal samples emerge like distant calls, enhancing the track’s atmosphere and sense of immersion. Transitions, drops, and build-ups unfold naturally, showcasing a nuanced understanding of dynamic energy—each shift in intensity flows seamlessly into the next, allowing DJs to loop or cue effortlessly for live sets. The originality of the arrangement and structural cohesion contributes to both its storytelling and replay value. Every section feels purposeful, from the intro that gently ushers in the melodic themes to the outro that leaves a lingering emotional resonance. The track’s creative use of effects and spatial design enhances its dreamlike quality, offering listeners a sense of escape and introspection. Scientific studies have shown that music in the 120–130 BPM range can synchronize with human heart rates during moderate exercise, boosting motivation and endurance (Karageorghis & Priest, 2012). The track’s flow and emotive tonalities make it suitable for fitness sessions, yoga flows, and wellness classes, where the combination of rhythm and atmospheric melodies can enhance mental health outcomes by reducing stress and stimulating positive emotional states (Thoma et al., 2013; Chanda & Levitin, 2013). “Citadel” achieves a rare fusion of technical excellence and emotional impact. Its dynamic range and loudness balance ensure long-term listening comfort, while its soaring harmonic structures engage the brain’s reward centers, promoting mood enhancement and cognitive relaxation. In wellness or meditative contexts, the warm timbres and ethereal melodic progressions may facilitate flow states, improve focus, and provide therapeutic benefits that align with research on music’s role in emotional regulation and neuroplasticity (Koelsch, 2010). The track exemplifies the artistry and psychological resonance of contemporary melodic progressive house, earning its place as a standout release not only for enthusiasts but also for practitioners integrating music into health and wellness programming. #PureGold Loveit [/content]
Chanda, M. L., & Levitin, D. J. (2013). The neurochemistry of music. Trends in Cognitive Sciences, 17(4), 179–193.
Karageorghis, C. I., & Priest, D. L. (2012). Music in the exercise domain: A review and synthesis. International Review of Sport and Exercise Psychology, 5(1), 44–66.
Koelsch, S. (2010). Towards a neural basis of music-evoked emotions. Trends in Cognitive Sciences, 14(3), 131–137.
Thoma, M. V., Ryf, S., Mohiyeddini, C., Ehlert, U., & Nater, U. M. (2013). Emotion regulation through listening to music in everyday situations. Cognition & Emotion, 27(3), 534–543.
Following his debut downtempo album and the success of ‘Memory #3 (Club Mix)’, which recently cracked the Beatport Organic House Top 10, PROFF returns with a highly anticipated club reconstruction of ‘Izumo Sunrise’.
Fans will recognise PROFF’s ‘Izumo Sunrise’ as a standout moment from the ‘Anjunachill 01’ compilation, curated by Above & Beyond to launch the downtempo sub-label, Anjunachill. His new club mix transforms those cinematic, atmospheric foundations into an energetic house track, blending his signature intricate percussion with the melodic textures that have made him a staple of the progressive scene.
[content title="Summary" label="Overall Score"]PROFF’s “Izumo Sunrize (Club Mix)” is a masterclass in modern progressive house production, seamlessly blending technical precision with emotional depth. From the opening bars, the track’s rhythmic architecture is immediately compelling, driven by a steady 124 BPM pulse that ensures consistent energy suitable for both intimate clubs and larger festival stages. The groove exhibits impeccable balance, with finely tuned hi-hats and percussive textures that generate forward momentum without overcrowding the mix. Its rhythmic drive is complemented by melodic hooks that interlace harmonically rich layers, each carefully processed to maintain clarity and space. These harmonic layers evoke the lush, cinematic essence of the original downtempo version, now recontextualized for the dancefloor. Transitions and build-ups in “Izumo Sunrize (Club Mix)” showcase PROFF’s expert command of arrangement. Each rise and drop is engineered with precision, employing subtle filtering, reverb swells, and carefully placed delays to heighten anticipation and release energy naturally. This thoughtful structuring solidifies the track’s energy flow and momentum, ensuring it maintains listener engagement throughout its journey. The sound design reflects exceptional production quality, with a wide stereo field and meticulous attention to spatial layering. Reverbs and delays are used not merely as effects but as structural devices, creating a three-dimensional soundscape that envelops the listener. The originality of the arrangement lies in its ability to marry progressive house conventions with PROFF’s distinct artistic identity. Dynamic range and loudness are balanced beautifully, avoiding unnecessary compression to allow the track to breathe—an approach that enhances both club play and headphone listening experiences. The track’s atmosphere is immersive and emotionally resonant, transporting listeners into a soundscape that balances euphoria with introspection. Scientific studies, such as those by Thoma et al. (2013) and Karageorghis & Priest (2012), highlight that music with stable rhythm and positive tonality can reduce stress, elevate mood, and improve focus—qualities “Izumo Sunrize (Club Mix)” exemplifies. In wellness and fitness classes, this track’s stable BPM and uplifting energy can enhance physical performance and mental clarity, aligning with findings from research on music’s effect on exercise adherence and perceived exertion (Terry et al., 2020). The emotional resonance and hypnotic flow also support mindfulness practices, creating a sense of temporal immersion that benefits mental health and overall well-being. Its club and festival suitability is undeniable, with intro and outro structures thoughtfully designed for seamless mixing. BPM consistency and the ease of cueing make it a dream for DJs, providing multiple looping and layering potentials without sacrificing the track’s narrative arc. Crowd reaction potential is exceptionally high, as the track’s storytelling and dynamic energy encourage both movement and emotional connection. “Izumo Sunrize (Club Mix)” is not only a flawless piece of production, but also music that enriches human experience through its physiological and psychological effects. #PureGold Loveit [/content]
Thoma, M. V., Ryf, S., Mohiyeddini, C., Ehlert, U., & Nater, U. M. (2013). Emotion regulation through listening to music in everyday situations. Cognition & Emotion, 27(3), 534–543.
Karageorghis, C. I., & Priest, D. L. (2012). Music in the exercise domain: a review and synthesis (Part I). International Review of Sport and Exercise Psychology, 5(1), 44–66.
Terry, P. C., Karageorghis, C. I., Curran, M. L., Martin, O. V., & Parsons-Smith, R. L. (2020). Effects of music in exercise and sport: A meta-analytic review. Psychological Bulletin, 146(2), 91–117.
Anjunadeep mainstay Marsh returns with his new single ‘Beside’, marking his first solo release on the label in over two years.
The release follows a landmark period on the road, with Marsh cementing his status as one of the most in-demand names in melodic house and progressive. In 2025, he hit a major career milestone with his debut at Coachella, alongside an extensive global tour spanning five continents. He also recently teamed up with Ferry Corsten on the new single ‘Attraction’, a collaboration that drew strong support from artists including Joris Voorn, MEDUZA and Einmusik.
‘Beside’, with its euphoric breakdown, driving bassline and subtle piano elements, encapsulates Marsh’s beloved signature sound, and has proven a highlight of his recent sets at CRSSD Festival and his sold-out London shows at fabric and Leake Street.
[content title="Summary" label="Overall Score"] Marsh’s latest release, ‘Beside’, on Anjunadeep solidifies his position as one of the most creative forces in melodic house and progressive music. The track immediately captivates with its impeccable rhythm, groove, and drive, establishing an energetic pulse at 123 BPM that is both kinetic and hypnotic. The bassline anchors the arrangement with a subtle yet powerful thrust, creating a foundation that supports a seamless flow of melodic hooks and harmonic layers. From the very first bars, the soundscape invites the listener into an immersive journey, where smooth transitions, carefully crafted drops, and fluid build-ups maintain dynamic energy without ever feeling rushed. The production quality of ‘Beside’ stands out for its meticulous sound design and the clarity of its sonic layers. Marsh’s expert use of stereo imaging and spatial effects gives the track a three-dimensional feel, with every element occupying its own space in the mix. The subtle piano motifs and atmospheric pads interact beautifully with the driving percussive elements, contributing to a deep emotional resonance and creating a sense of cohesion and storytelling that is rare in modern club tracks. Marsh’s careful attention to dynamic range and loudness balance ensures the track retains its energy while avoiding listener fatigue, a testament to his mastery of production techniques. One of the most remarkable aspects of ‘Beside’ is its ability to evoke a deep emotional response while maintaining peak club and festival suitability. The track’s arrangement flows naturally, with a progression that engages dancers and casual listeners alike. Its originality in structure and creative use of effects result in a composition that feels both familiar and innovative, ensuring high replay value. The intro and outro have been constructed with DJs in mind, offering easy cue points and seamless loop potential, while BPM consistency ensures effortless synchronization with other tracks in a set, enhancing dynamic energy for set flow and boosting crowd reaction potential. Beyond the dance floor, the music of ‘Beside’ has profound implications for wellness and mental health. Studies have shown that rhythmic entrainment in electronic music can stimulate endorphin release, reduce cortisol levels, and enhance focus and mindfulness (Thoma et al., 2013; Koelsch, 2014). The euphoric breakdowns and melodic phrasing of this track make it ideal for fitness and yoga classes, where musical immersion supports movement synchronization and emotional uplift. The atmospheric elements and harmonic richness in ‘Beside’ foster a meditative state that can promote relaxation and even serve as a tool for emotional regulation in stressful environments, aligning with research on music therapy interventions (Bradt & Dileo, 2014). In conclusion, Marsh’s ‘Beside’ excels across every performance criterion, from rhythmic drive and melodic sophistication to production quality and emotional depth. It not only serves as a peak-time club weapon but also as a piece of music with genuine wellness benefits, highlighting the transformative power of melodic house in both recreational and therapeutic contexts. #PureGold Loveit[/content]
Thoma, M. V., Ryf, S., Mohiyeddini, C., Ehlert, U., & Nater, U. M. (2013). Emotion regulation through listening to music in everyday situations. Cognition & Emotion, 27(3), 534-543.
Koelsch, S. (2014). Brain correlates of music-evoked emotions. Nature Reviews Neuroscience, 15(3), 170–180.
Bradt, J., & Dileo, C. (2014). Music interventions for mechanically ventilated patients. Cochrane Database of Systematic Reviews, 2014(7).
Braxton returns to Anjunadeep with new double single ‘There’s Still Time / Green To Gold’.
Since making his debut in 2019, the Brighton-based DJ and producer has become a label mainstay, with appearances across flagship compilations, remixes for Above & Beyond and Marsh, and a steady stream of globally supported tracks. His releases last year garnered widespread support, with a SiriusXM Chill playlist add for ‘On The Shores Of A Happy Sea’, BBC Radio 1 support for ‘No Horizons’ featuring Rromarin, alongside releasing a remix of Jody Wisternoff and James Grant’s classic ‘Dapple’.
2025 saw Braxton take his sound to dancefloors worldwide, with a three-stop North American tour spanning Seattle, San Francisco and Toronto, alongside sets across London, Basel, Berlin, Nairobi and New York. Back on home soil, he continues to be a fixture of the UK scene with a recent appearances at fabric and a set at the newly refurbished Ministry of Sound going back to back with Jody Wisternoff in April.
Braxton’s ‘There’s Still Time / Green To Gold’ is out now on Anjunadeep.
Dimitris Kechagias Review: [review top="1"] [item value="10"]Braxton - There's Still Time / Green To Gold [/item]
[content title="Summary" label="Overall Score"]Braxton’s latest release on Anjunadeep, the double single “There’s Still Time at 126 BPM / Green To Gold at 124 BPM,” showcases a masterclass in modern electronic music production. Both tracks deliver an immersive journey where rhythm, groove, and drive work in perfect harmony to command the dancefloor. The hypnotic groove of “There’s Still Time” is tight and precise, layering pulsating low-end patterns with rhythmic percussion that invites continuous movement. The melodic hooks and harmonic layers are exquisitely constructed, with lush chords and evolving synth lines that blend seamlessly into the overall texture, creating a trance-inducing atmosphere that elevates both emotional connection and physical engagement. The transitions, drops, and build-ups in these tracks are executed with meticulous attention to timing and energy flow. Each drop feels earned, with subtle rises and delicate tension that bursts into driving sections designed to keep the listener in motion. The energy flow and momentum never falter, aided by excellent sound design and production quality that reflect Braxton’s technical expertise. Spatial placement of elements—from reverberant pads to precise percussive hits—enhances the three-dimensional listening experience, providing a rich, immersive soundstage. The originality of arrangement and structure shines through as Braxton crafts intricate progressions where every element serves the musical story without unnecessary repetition. The use of effects and spatial design further elevates the tracks, with delays, reverbs, and filters applied to guide the listener through sonic peaks and valleys. Dynamic range and loudness balance remain carefully managed, ensuring that neither track feels fatiguing over time while maintaining enough punch for club and festival play. This thoughtful approach contributes to atmosphere and immersion, allowing listeners to lose themselves in the cinematic breaks of “Green To Gold” or ride the hypnotic waves of “There’s Still Time.” The emotional resonance is palpable; these tracks evoke feelings of calm focus, inspiration, and euphoria. Scientific research has shown that rhythmic electronic music can positively affect mental health and fitness. Studies suggest that repetitive rhythmic patterns can induce flow states and reduce anxiety (Thaut et al., 2015), while syncopated beats enhance motor coordination and endurance during exercise (Bacon et al., 2021). In wellness and fitness classes, tracks like these support both cardiovascular activity and mindfulness practices, aligning with findings on music therapy and dopamine release (Chanda & Levitin, 2013). The creativity and artistic identity displayed by Braxton not only showcase his deep understanding of electronic music but also highlight the therapeutic potential of his sound for human well-being. Cohesion and storytelling are evident throughout both compositions, with intros and outros structured for seamless integration into DJ sets, maintaining BPM consistency and offering ample cue points and loop potential. The dynamic energy these tracks bring to set flow ensures consistent crowd engagement, with high crowd reaction potential across settings from intimate clubs to expansive festivals. The catchiness and replay value are undeniable, inviting repeated listening both on and off the dancefloor. Overall, this release represents a peak in Braxton’s ongoing journey in electronic music, delivering tracks that are technically flawless, emotionally engaging, and deeply beneficial for both physical and mental wellness. #PureGold Loveit [/content]
Thaut, M. H., et al. (2015). Rhythm, Music, and the Brain: Scientific Foundations and Clinical Applications.
Chanda, M. L., & Levitin, D. J. (2013). The neurochemistry of music. Trends in Cognitive Sciences, 17(4), 179–193.
Bacon, C., et al. (2021). Effects of music tempo on endurance, motor coordination, and exercise performance. Journal of Sports Sciences, 39(5), 575–584.
