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Viresha Found Rhythm in Transcendence with Her Organic Tech House Debut, Flow of Life

Viresha

Hit play and permit the augmentations of transcendent spirituality to slam and spiral through your speakers as the synthesis of organic house and techno in Viresha’s debut, Flow of Life awakens the senses. Like a tribal calling to the dancefloor, the instrumental radio edit of Flow of Life delivers exactly what it says on the tin—encapsulating what it means to be human in the tension and catharsis of the progressions, which seamlessly shift as a tribute to the trials we face and the sanctuaries we can lead ourselves to if we ebb to the flow of life.

Viresha—the moniker chosen by Swedish producer, DJ, and breast cancer survivor Anna—channelled her invincible strength into every beat of her self-written and self-produced debut. Drawing from years behind the decks and deep immersion in vinyl and radio culture, she’s carved out a sound steeped in tribal, Latino, afro, melodic tech, and downtempo roots. Her style doesn’t borrow; it builds. There’s structure in the sonic chaos, purpose in the propulsion, and emotion that doesn’t just flirt with the surface but cuts clean through it.

From her past to her pulse-raising future—including her forthcoming attendance at Tomorrowland Academy—Viresha is proof that it’s never too late to create something worth dancing to—debuts rarely come as strong as this fierce rhythmic reckoning.

Flow of Life is now available to stream on all major platforms via this link.

Review by Amelia Vandergast.

Whit2Boi’s Progressive House KPop Earworm, ‘Set the Vive’, Pulses Through the Cracks of Reality

Whit2Boi

Whit2Boi threw out the rulebook to make room for an innovative recalibration of electronic music with his KPop-laced house anthem Set the Vive, featuring the exhilarating vocal presence of Estelle. While Western EDM producers cling to worn-out formulas, Whit2Boi architects an entirely different experience—one that abstracts your senses from material reality and relocates you into the textural transcendence of his sound.

Set the Vive is a slamming EDM house release that hypersonically injects euphoria into every drop. The builds, however, are where Whit2Boi’s signature hits hardest. Meditative textures ripple through the structure with spiritual and naturalistic ambience, dialling back the intensity just long enough to let the anticipation simmer into something more divine than mechanical.

Where other artists are happy to build club tracks for disposable escapism, Set the Vive constructs a world beyond imagination and delivers you straight into it. This isn’t an anthem for losing yourself on the dancefloor. It’s full-body escapism from an artist who understands how to make the synthetic feel sentient.

Discover Whit2Boi on SoundCloud. 

Review by Amelia Vandergast

TIGXA & VICA Unleash a Bass-Heavy Blitzkrieg with ‘Loco Motion #V01’

The stormer of an anthemic electro beat anthem, Loco Motion #V01’, born through the collaboration between TIGXA and VICA, allows two sonic worlds to collide with a force that would make Chase & Status stutter in inadequacy in their studio.

With beats strong enough to summon a dub demon and vocals carrying a cheeky infectious energy, the relentless earworm could make even the most reserved shed their inhibitions on the dancefloor. This is more than a collaboration—it’s a statement that these two are storming to the front of the drum and bass scene, smashing the monocultural mould in the process.

VICA channels sharp instincts and an ear for rhythm into every beat, bringing a presence as sharp as the production. With a Caribbean-rooted style that shifts as effortlessly as their movements, there’s a knowing precision behind every delivery. Paired with TIGXA—the evolving sonic universe of Ben Caesar, where every drop expands a multi-genre narrative—this track lands with undeniable weight, making it clear that their creative force isn’t slowing down any time soon.

From the moment the bass drops, there’s no escaping the gravitational pull of this track. The pulsating percussion, jagged synths, and commanding vocal presence turn it into an electrified adrenaline shot straight to the veins of the underground scene. The dancefloor won’t be the same once this one hits.

‘Loco Motion #V01’ is available now on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

L33A.P Drops a Sugar-Rush of Club Nostalgia with D10R2004

L33A.P knows exactly how to tap into nostalgia without letting it weigh down the present. D10R2004 is a shot of Y2K club euphoria, drenched in bouncy house beats, 80s synth stabs, and 8-bit melodies that feel like a lost ringtone from a Motorola Razr in the best possible way. It’s twee, it’s polyphonic, and it’s a feel-good anthem that refuses to apologise for revelling in the hyper-feminine aesthetics that pop culture loves to dismiss.

The London-based, NY-born producer, DJ, and multi-instrumentalist wears her influences on her sleeve, fusing the pulse of UK dance music with the playfulness of early 00s Eurodance. The autotuned vocals glide through the mix with an artful duress, bending and warping like an overworked CD skipping in a neon-lit club basement. There’s no self-conscious posturing here—just an artist celebrating what she loves with unapologetic confidence.

That refusal to conform isn’t limited to D10R2004. L33A.P has been busy remixing Everything is Romantic by Charli XCX with jungle-fuelled chaos and putting her own stamp on the Twin Peaks theme with a pumpin’ organ house spin. She isn’t chasing trends; she’s building soundscapes where retro-futurism collides with personal expression, and D10R2004 is the perfect entry point. It’s music for the dancefloor, the dressing room, the night bus home—wherever you need a dose of unfiltered fun.

Stream D10R2004 on SoundCloud now.

Review by Amelia Vandergast

Obsidian Cane & Gizella Turn Sonic Synthetics into a Soulful Inferno of Avant-Garde Transcendence in ‘Never Change’

Drum & Bass rarely carries this much ethereal weight, but Obsidian Cane and Gizella aren’t in the business of serving up the expected. Their latest single, Never Change, released on Reset Records UK, finds the perfect median between visceral energy and spectral serenity, where the frantic percussion doesn’t just drive the track—it elevates the transcendental vocal harmonies into another stratosphere.

With a three-octave range that has been flexed across genres from UK Garage to Dubstep, Gizella pours a lifetime of versatility into this track, mirroring the sonic unpredictability of Obsidian Cane’s production. As harp-esque motifs shimmer through the mix, the composition pivots between the frenetic and the meditative, creating a push-pull dynamic that never loses momentum. The pairing may seem unlikely on paper—Gizella’s vocals carry the grace of classical technique with a touch of Bjork, while Obsidian Cane’s foundations lie in electronic intensity—but together, they craft a sound that is electrifyingly human.

Their creative chemistry is no fluke. After years of producing music for major labels and television, Obsidian Cane was ready to walk away from the industry, only to be drawn back in by the digital age’s independent revolution. A chance connection led him to Gizella, who unknowingly auditioned while cycling through London, singing as she rode. That serendipitous meeting now fuels a collaboration that doesn’t adhere to trend cycles or genre limitations. Never Change is proof that electronic music doesn’t have to be detached—it can pulse with soul, speak to the subconscious, and command movement all at once.

The Club and Radio mixes of Never Change are out now on all major streaming platforms, including Spotify. Find other ways to listen and connect with Obsidian Cane via this link.

Review by Amelia Vandergast

A Liminal Light: Laurent Iacomucci’s Entrancing EDM score, ‘Monsters’, Defies the Darkness

Laurent Iacomucci

From the first tentatively diaphanous chords in Laurent Iacomucci’s entrancing EDM score, Monsters, you’re submerged into reflective submission. When the ethereal vocals enter and bleed even more emotion into the evocatively structured arrangement, your soul would have to be defunct not to feel the weight of the release, which lightens with the first iridescent build in the EDM pop production.

By choosing nuance over extremes, Laurent Iacomucci visualises the concept that we’re all trailed by shadows which haunt us, but what truly matters is whether we accept them and confront them instead of living a life of introspective persecution.

As the first single from the Luxembourg-based artist and producer’s debut LP, Chasing Monsters, ‘Monsters’ sets the tone for a collection of tracks that explores the universality of the struggles we face, the shadows we chase, and the hope that keeps us moving forward.

The emotional potency in ‘Monsters’ resonates through the subtle ebb and flow of the melodic transitions, making it impossible to ignore the confessional quality that underpins each verse and build.

Monsters will be available to stream on all major platforms from January 31st. Find your preferred way to listen via this link.

Follow Laurent Iacomucci on Instagram to stay up to date with all their latest releases.

Review by Amelia Vandergast

Dizzy Panda blasted into space with their bass house hit, Astronaut ft Major Orbit

In an industry-quaking collaboration, Dizzy Panda teamed up with Major Orbit to drop an interstellar track that allows the bass to hit hard enough to knock the bass house scene off its axis. The juggernautical dub-heavy drops match the intensity of the ensnaring vocals as they run through reprises until the track reaches a frenetically broadsiding middle eight that allows chaos to reign.

The beauty in Astronaut lies within how Dizzy Panda use their grit and high-octane ferocity with their devil-may-care charisma, giving the track a tongue-in-cheek feel which is matched by the official music video that proves there are few better purveyors of vibe-driven, bass-drenched euphoria.

Dizzy Panda, an unsigned DJ and producer duo from Haarlem, The Netherlands, refuse to stick to one genre by synthesising Old-School House, Tech House, Techno, and Bass House influences. Like all pandas, they have a dark side too. Astronaut, their first single from the new album, dives back onto the dancefloor with an interstellar groove that was, by their own admission, a surprise discovery while they were working on something else. Bassheads will naturally treat this track as a product of divine intervention.

The official music video for Astronaut will premiere on January 31st; catch it on YouTube.

Review by Amelia Vandergast

Saxboi Slick on Collaborating with ANNIKS and Redefining EDM with Live Sax

Saxboi Slick, a trailblazer in blending live saxophone with electronic music, recently sat down with A&R Factory to discuss his groundbreaking collaboration with ANNIKS on Take Me (The Russmerican Mix). The track masterfully combines Progressive House, Deep House, and Tech House elements with the unmistakable warmth of Saxboi’s live instrumentation. In this interview, he sheds light on the creative synergy between himself and ANNIKS, the challenges of balancing live and digital sounds, and how his personal experiences have shaped his artistry. From faith and resilience to his aspirations for sync licensing and live performances, Saxboi Slick’s insights offer a glimpse into a musician committed to pushing creative boundaries while staying true to his purpose.

Welcome to A&R Factory, Saxboi Slick! We’re thrilled to speak with you about your collaboration with ANNIKS on Take Me (The Russmerican Mix) and your inspiring musical story.  Take Me (The Russmerican Mix) seamlessly fuses Progressive House, Deep House, and Tech House with your soulful saxophone licks. How did you and ANNIKS approach creating such a genre-defying sound?

“I started following ANNIKS about a year ago because I was amazed to see a female DJ making waves in the EDM genre—it’s inspiring! Her music choices are powerful, and her vibes really resonated with me. As I got to know her artistry, I discovered she wasn’t just a DJ but also a talented producer.

I had been trying to create EDM tracks that I could record my saxophone over for years without success—it just isn’t my speciality. When I heard ANNIKS’ original music on Spotify, I felt like I’d found exactly the kind of sound I wanted to integrate with my saxophone. Even though I knew reaching out was a long shot, given her large fan base, I decided to try anyway. To my surprise, she was open to the collaboration.

The track, ‘Take Me’, was one she created and asked me to add saxophone to. As I listened, I began to hear melodies and harmonies in my head that could complement her work. I approached her harmonic moments with my own melodies, aiming to enhance her track without overpowering it—and I think it worked beautifully.”

ANNIKS’ viral TikTok influence and your live performance artistry bring unique strengths to this collaboration. How did you balance these elements to craft a track that feels both modern and organic?

“When I listened to the original song, my goal was to complement what ANNIKS had created, not overshadow it. I focused on critical parts of the track and either harmonized with those key moments or left them untouched. The idea was to share the space naturally and let the saxophone enhance the music without forcing it. Her track is already stunning, and I wanted to add value without taking anything away.”

Your saxophone adds an undeniable warmth to this electronic track. How do you approach integrating live instrumentation into electronic music, and what challenges did you face during the recording process?

“Integrating live saxophone into electronic music is all about understanding the mood, tempo, and key of the track and finding ways to complement it. The biggest challenge was mixing the saxophone with a fully digital track. Analog sounds like mine can clash with digital audio, so the breakthrough came when I embraced the analog feel and treated the saxophone like a digital instrument in the mix. I used a parametric EQ to boost the mids and highs while keeping some warmth in the low end.”

You’ve faced significant challenges in your life, from homelessness to bullying. How have those experiences shaped your music and the way you connect with your audience?

“My journey taught me that perseverance and faith can overcome even the toughest challenges. I  try to convey this in my music: don’t give up on who you are or what you’re meant to be. It’s not easy—many people abandon their dreams to fit into what society expects. Being homeless and facing bullying showed me that I could survive and still pursue my passions. These experiences fuel my drive and remind me to hold onto my faith in myself and in God.”

Faith and purpose are central to your story. How have these values influenced your artistic vision and your mission to uplift underserved communities?

“When I lost everything, all I had left was faith. That’s where my journey truly started. Even when my faith in God was diminishing, it wasn’t gone, and in those moments, I found restoration—not just in my faith in God, but also in myself. Everything I’ve accomplished today is rooted in that faith, and it’s something I hope to share through my music and actions.”

Fans of Bakermat, CamelPhat, and Nora En Pure will likely connect with this track. How do you see your music standing alongside these artists, and what do you bring to the electronic music landscape that’s uniquely yours?

“I’m honored to even be mentioned alongside those names, but the credit really belongs to ANNIKS for creating this track. I feel blessed to have contributed my saxophone to it. What I hope I bring is a unique fusion of live saxophone and electronic music that adds something fresh and soulful to the scene.”

The track is gaining momentum with playlist curators. What are your thoughts on the role of playlists in promoting your music, and how do you hope to expand your reach further?

“Playlist curators are invaluable. They know their audience and what resonates with them. If a curator thinks my track fits their playlist, it’s because they believe their listeners will enjoy it. That kind of exposure helps both the artist and the curator, and I hope to continue expanding my reach through more placements like this.”

You’ve mentioned the versatility of Take Me (The Russmerican Mix), working in both intimate and high-energy settings. How do you craft music that appeals to such a wide spectrum of listeners?

“As a saxophonist, people often expect me to stick to jazz, blues, or smooth R&B. While I respect those genres and cater to them when needed, I don’t want to be confined to a single style. I aim to branch out and explore other genres, creating music that connects with a broader audience without losing my individuality.”

What can you tell us about your plans for future collaborations, live performances, and potential sync licensing opportunities?

“I’m excited to welcome future collaborations with ANNIKS, SunGrass Records, and anyone who wants me to bring saxophone into their music. My ultimate goal is to be a full-time musician—to perform, entertain, and make a living from my saxophone. Sync licensing opportunities would be amazing because they allow music to reach entirely new audiences. I love what I do now, but my dream is to let my saxophone be my career.”

Make sure to visit Saxboi Slick’s website for the latest updates—the site will be kept up to date with all his developments, from new music to performances!

 

Interview by Amelia Vandergast

Bitvert reigns supreme in the pantheon of IDM with ‘Neverzone’

Enter the ‘Neverzone’ with Bitvert’s experimental dark techno single, which thrums with the pulse of trip-hop, bass-heavy beats and the scintillating aura of mechanised darkwave industrial.

Visceral enough to take your rhythmic pulses to another dimension, the instrumental score demands surrender to its intensity as the brainchild and producer behind Bitvert ensures there is enough control to the chaos that you’re not completely overwhelmed by the magnitude of the deep bass progressions. Instead, you fade into the monochromatic depiction of a sonic dystopia, where autonomy gives way to automation, losing yourself within the layers of the forebodingly electrifying single.

The kinetically chill-inducing reverberations within Neverzone are yet another attestation to Bitvert’s disparately magnetising command as a producer and a live artist. His ability to sink Avant Garde elements into commercial potential-swathed electronica scores is second to none, allowing the London-based luminary to reign supreme in the pantheon of IDM.

Neverzone will hit the airwaves on January 27th via We Are Not Content. Stream the single on SoundCloud.

Review by Amelia Vandergast

Preaching to the Converted: Nicco Lupen’s ‘Sunday at Church’ Reimagines Worship on the Dancefloor

Nicco Lupen’s latest single, ‘Sunday at Church’, doesn’t just bring beats to the congregation—it delivers the gospel of tech house with an intricately cultivated sense of purpose.

Hailing from Italy and now based in Prague, Lupen has carved his reputation on grooved-out rhythms, deep basslines, and euphoric melodies, earning recognition on platforms such as Spotify, SoundCloud, and Beatport. But with this release, he transcends the archetypes of house music by imbuing his production with a soul-affirming euphoria that hits deeper than the average dancefloor anthem.

By swathing his pulsating rhythms in sermonic samples, Lupen invites listeners to experience the transcendence of music as energy. It’s a far cry from the hand claps and foot stomps referenced in the samples, which bring the rhythm to church, but the mix is sanctifying sonic scripture all the same. Lupen wrote a New Testament by blurring the lines between sacred spaces and late-night clubs. The vocal outpours contextualise the track beyond its beats, urging reflections on how rhythm and ritual connect people across all walks of life.

The call to communion challenges the predictable structures of tech house and carves a cerebral edge into its hypnotic progressions. Nicco Lupen’s ability to bridge soulful introspection with dancefloor ecstasy solidifies his position as a standout in the electronic scene.

Sunday at Church is now available to stream on all major platforms via this link.

Review by Amelia Vandergast