Micheal Ricker is a Delaware-based electronic music producer and artist best known as Bad Robot. And over the course of the past year so, the Delaware-based artist has been wildly prolific, releasing a handful of attention grabbing bangers.
Ricker’s latest single “Offline” is a straightforward, crowd-pleasing, club banger reminiscent of Tweekend-era Crystal Method anchored oscillating synths and skittering beats that reveals the JOVM mainstays unerring knack for catchy hooks and enormous drops.
Over the past couple of years, I’ve spilled quite a bit of virtual ink on The Lovelines. The duo, which is currently split between Berlin and Orlando, have been very busy during that same period steady releasing singles that have caught the attention of the blogosphere and elsewhere.
The duo’s latest single “Girl” is anchored around a woozy yet languorous production featuring a reggae-influenced groove, bursts of glistening guitar paired with Tessa D’s soulful, subtly swaggering delivery. “Girl” manages to recall some of the JOVM mainstays earliest material, the new single continues to showcase an act that writes songs with an effortless attention to craft, while being remarkably hooky.
With recorded output that includes 2018’s full-length debut, Polymood, 2019’s Sauropoda, 2020’s Noshtta EP and 2021’s Confusions, the acclaimed Swiss-based group L’Eclair, founded and led by Bulgarian-born siblings Stef and Yavov Lilov firmly established themselves as masters of mind-bending, cosmic-leaning groove.
Along with two live sessions for KEXP, which amassed over 900,000 views combined, the Swiss-based group have built up an international following, while landing on the playlists of adventurous listeners and DJs seeking deep grooves.
The acclaimed JOVM mainstays, highly-anticipated fourth album Cloud Drifter is slated for a June 20, 2025 release through Innovative Leisure. Meticulously crafted over the last four years, Cloud Drifter is a decided and radical departure from the group’s long-held instrumental approach, with teh album’s material featuring vocals from a wide and eclectic array of frequent collaborators that they’ve worked with over the past handful of years, including Pink Slifu, Girl Named GOLDEN, Gelli Haha, A Ghost Column, and more.
Having toured with The Cinematic Orchestra and W.I.T.C.H. — including writing and recording W.I.T.C.H.’s 2023 effort Zango and The Cinematic Orchestra’s forthcoming album this year, as well as production work with Varnish La Piscine and Maston, the Lilov brothers have assembled a vast network of likeminded musicians. And across the entire album, they keenly curate a cohesive vision incorporating many disparate contributions.
In the lead-up to Cloud Drifter‘s release later this month, I’ve written about two of the album’s previously released singles:
“REPLICA M001,” Cloud Drifter‘s latest single features experimental rapper Pink Slifu audaciously spitting swaggering yet breezy bars over a lush, dreamy bit of film score-meets-jazz club jazz that opens with a swelling and swooning, cinematic strings before quickly morphing into a slow-burning, late night swing that effortlessly follows the ebbs and flows of his unique cadence. While recalling Digable Planets and Ishmael Butler‘s various other projects, “REPLICA M001” reveals a supremely talented band that can seemingly play anything — and at any time.
Gan is a rising, French Mediterranean-born, New York-based electronic music producer and artist, who has received attention for bending modern beats and production informed by the New York scene with his French and Mediterranean heritage.
The rising New York-based producer’s latest single is a slick and flirty take on Jaymes Young‘s “Infinity” that turns the smash-hit into the sort of summery, house/Afrohouse take on the song that could simultaneously rock grown and sexy lounges, rooftop parties and the club.
San Diego-based electronic music producer, singer/songwriter and DJ Franhaus, who specializes in creating what he believes is a new wave of Latin music that combines lived-in, earnest lyrics written and sung in Spanish with slick, dance floor friendly melodic, deeply emotional house.
The San Diego-based artist’s latest single “No Puedo Ser” is a breezy, nostalgia-inducing tune anchored around glistening synths, tweeter and woofer rattling thump, skittering beats and bursts of squiggling guitar. The Ibiza-meets-Tame Impala-like production serves as a lush bed for Franhaus’ yearning delivery while showcasing an artist, who can craft a catchy hook.
TomEE is a mysterious, emerging artist, who over the course of handful of singles has firmly established a DIY, lo-fi bedroom pop sound and approach. Clocking in at a little under two minutes, his latest single “’bout Time” manages to recall JOVM mainstays MUNYA and Kainalu while showcasing an adept and uncanny knack for crafting an incredibly catchy hook.
Founded back in 2017, the Detroit-based punk outfit The Lowcocks have established their own sound while sharing stages with several national touring acts, including The Casualties, Total Chaos, Nekromantix, The Koffin Kats, Menstrual Tramps, GBH, The Suicide Machines and The Exploited.
Their latest single “The Forgotten” is a blistering, politically charged, mosh pit friendly ripper, anchored around scorching, power chord-driven riffage, propulsive drumming and a snarled vocal. While “The Forgotten” channels old-school hardcore punk, the song focuses on contemporary concerns with a laser-like, incisive precision: The band explains that the song is centered around immigration detention center at this country’s southern border — and the experience of children who arrive without the safety and protection of relatives.
“The next time you see a four or five year old kid, imagine them running alone, in the dark, scared – and then being put in a cage,” the band’s Annie Oakley says. “Our news cycle moves fast and it’s easy to get burned out, or feel overwhelmed by the world, but these cages are still full of people and these kids are being forgotten, which is where the name of our song came from – it’s a reminder and a promise that we won’t let them be forgotten.”
Essex, UK-based artist Nukie is an emerging artist, who is gaining momentum within East London‘s underground music scene. And within a short period of time, he has quickly established a sound that’s a bold collision of punk and British electronic subcultures, blending garage, indie rock, drum ‘n’ bass and grunge. Routinely driven by distorted guitars, punchy rhythms and gritty vocal-led hooks, the rising British artist attempts to channel the tension and urgency of his environment while channeling the disillusionment and intensity of modern life.
Operating with a DIY ethos, the rising British artist oversees every aspects of his creative output from production and recording to visual design, bringing a cohesive and authentic quality to his work.
Nukie’s latest single “Face like -_-” is a bold, swaggering anthem anchored around dusty and glitchy breakbeats, distorted and woozy guitars, enormous hooks and choruses paired with an insouciant, extremely British delivery. The result seemingly channels a synthesis of The Streets, Odelay-era Beck and garage while showcasing at an artist with an uncanny knack for catchy and rousing hooks and choruses.
The mysterious and mischievous French artist Develour emerged into the Francophone indie pop scene with the release of “La Part des Agnes,” which saw him quickly establishing a sound that he playfully dubbed “French touch disco,” a sound that draws from and features elements of chanson, soul, funk, disco and pop.
“La Part des Agnes” and the French artist’s second single “Un Matin,” which I described as a breezy and summery bop built around a swaggering and infectious 80s-inspired groove, appeared on his debut EP, 2023’s Vert Galant.
Develour’s latest single “Dealer d’Amour” is a slow-burning, Quiet Storm-meets-sophistipop-like ballad anchored around an atmospheric yet sultry groove, bursts of glistening synths reminiscent of Hall & Oates “I Can’t Go For That (No Can Do)” The song’s production and arrangement serves as a dreamy and lush bed for the mysterious French artist’s yearning, achingly plaintive cooing.
Thematically, the song questions our unhealthy relationships with dating apps, while openly discussing the wild mix of addiction, hope, disillusionment and loneliness they inspire. And yet, we keep on swiping because what else is there to do?
Montréal-based indie rock outfit Frais Dispo — Élie Raymond (guitar, vocals), Antoine Lévesque-Roy (bass), Thomas Bruneau Faubert (trombone, synths), Charles Primeau (guitar) and Antoine Gallois (drums) — is simultaneously a rebrand and a markedly radical direction for its members, who first gained attention across both Quebec and Canada as Foreign Diplomats: Frais Dispo sees the Montréal-based band adopting a much more collaborative songwriting approach than previously. Lyrics are written and sung completely in French.
2023’s Teinte, the newly rebranded band’s full-length debut and last year’s Les teints du ciel n’ont aucun sens found the Montréal-based outfit firmly establishing a markedly new sonic direction with their sound drawing much more from alt-country, folk and indie rock.
Building upon the attention that Teinte and Les tients du ciel n’int aucun sens received in the Francophone world, the Montréal-based outfit’s highly-anticipated sophomore album is slated for a 2026 release through Audiogram. Along with that announcement, the band shared their first single of 2025, “Dire je t’aime au téléphone.”
Anchored around an ethereal and gorgeous arrangement of strummed guitar, shimmering pedal steel, “Dire je t’aime au téléphone” has a dreamy, psych country-meets-Laurel Canyon-inspired vibe. Featuring a stream-of-conscious lyrical approach, the new single features motifs that are dear to the band’s Élie Raymond and frequently appear in their work: having the wind blow through your hair, April skies in Québec, the sense of time flying by before your eyes . . . And much like their previously released work, the new single is rooted in a yearning nostalgia that’s familiar and deeply bittersweet.
The song also sees the band adopting a more laid-back, spontaneous songwriting approach throughout the entire album’s creative process. The album’s tracks were recorded live to make the songs live and breathe — and to create a much more organic sound. As “Dire je t’aime au téléphone” ends, you hear a bit of murmured voices, laughter, and a brief sigh and a phone ringing, which gives the listener a sense of being in the studio with the band — and a real warm, imperfect, human element. By working this way, the band wanted to focus more on the emotions at the core of the material rather than the technique, all while capturing the buzzy euphoria of the first studio recordings.
“Dire je t’aime au téléphone,” much like most of the forthcoming sophomore album’s material can trace its origins back to lengthy jams and jam sessions, which they shortened. “We started playing, and when I felt we had something interesting, I started recording. I played the drums one-handed to start recording on my iPhone, sometimes 10 minutes after I started jamming!” The band’s Antoine Gallois, who also served as the album’s sound engineer explains.
Led by Spanish-Scottish frontperson Martina Moon, the rising Dublin-based indie outfit Martina and the Moons can trace their origins back to when Moon relocated to Dublin to study at BIMM University. During her studies, Moon met and quickly connected with her then-future bandmates, Ruby Levins (bass), Zahira Ellis (drums) and Sarah Morgan (guitar). The Dublin-based quartet quickly got out of the game, establishing a sound that blends elements of post punk, indie rock, 90s Britpop and the 60s and 70s Laurel Canyon sound paired with gorgeous melodies and a youthful aggression and angst.
Moon, who cites Paul Simon, Lady Gaga, Catatonia, Radiohead, Bruno Mars and a lengthy list of others influences, pens lyrics that touch on themes of alienation, being misunderstood, being an outsider and yearning with a deeply, lived-in earnestness.
So far, the band has played opening slots for Porridge Radio and Thumper. The quartet played Whelan’s Main Stage at Ones to Watch. And adding to a growing regional profile, they played this past year’s The Great Escape Festival, receiving mentions from BBC Introducing and praise from Golden Plec and from Hotpress, who named them one of their Hot for 25′ acts.
Building upon the growing buzz surrounding them, the members of Martina and the Moon recently signed to Dublin-based artist developmental label Rubarb Music, who released their latest single, the Ruadhrí Cushnan-produced “Baby Turtle.”
Recorded at Camden Recording Studios, “Baby Turtle” is a slow-burning, meditative tune featuring a shimmering and jangling guitar melody, a brooding bass line and dramatic, angular drum patterns serving as a lush bed for Moon’s breathtakingly gorgeous and achingly yearning vocal. Still drawing from post punk, “Baby Turtle” is anchored around a decidedly cinematic and dream pop leaning and a deep-seated yearning to be truly understood.
“‘Baby Turtle’ is a song about many things, and I have found that looking at it from different moments in my life since I wrote it has changed the way I perceive it,” Martina and the Moon’s Martina Moon explains. “It was originally meant to be just about baby turtles hatching and crawling down to the sea, Once I started researching turtles more I found that a very small percentage of the turtles who hatch make it to adulthood. They are such beautiful little creatures. I then look at it from where I am at the moment, just striving for self-fulfillment and trying to make a living far from my home and family, Maybe I am the baby turtle in the end. I made the choice of trying to pursue my music career, which was so hard to get people in my life to come to terms with. I feel like that’s an issue most people in the creative industry face at some point in their lives, especially when they don’t come from a wealthy background that allows them to fail at something without consequences. But when you love something so fiercly it lingers within your core. The narrator of the song is someone who wishes the best for that person who they love and is leaving, That person is my mum, that person is my best friend María from home, my teachers in high school or my younger self. I hope my potential isn’t wasted, but I am living my truest life.”
Born Herman Hines, DJ Hines, a.k.a. Poppastep can trace the origins of his lengthy career to his childhood: Hines grew up in an intensely musical family. His mother was a soloist and his godfather was a pianist and organist at Staten Island’s St. Phillips Baptist Church. Several other family members played the latest soul music of the Civil Rights era, which led to a young Hines getting into disco, dance music, salsoul, the Philadelphia sound and more.
Hines started off as a drummer, playing in church, alongside his mother and godmother. His first official gig was at the Capital Lounge with his mother’s best friend, Harlem-based jazz legend Irene Reid, when he was just 12. That same year, he started spending summers in Wyandanch, NY, where he hung out with DJ Pleasure, who taught him how to mix on the beat.
Those summers in Wyandanch and his eclectic music taste allowed him to stand out in a crowded field. He was the first DJ to program hip-hop on a college station, Seton Hall‘s WSOU, where he was an instrumental in introducing hip-hop to New Jersey audiences. While at WSOU, he helped break Force MDs — yes, Force MDs. If you’re an old head, you know.
As a DJ, Hines is considered a legend in Staten Island: He made a name for himself as the only local DJ to perform with Grandmaster Flash and the Funky Four Plus One at the Ritz Roller Rink. He also played with The Cold Crush Brothers at St. George Theater — and was the first Staten Island-based DJ to play Harlem World alongside DJ AJ and Jeckle and Hyde.
As the New Jersey house scene began to get attention globally, he added house music to his sets. Around this time, he began transitioning to production under the moniker Poppastep.
As Poppastep, Hines has made a name for himself in the underground for a sound that meshes elements of funk, soul and hip-hop that he has dubbed “Shaolin Hip-Hop Funk.” His Poppastep debut single “In This Together,” led to being named Artist of the Week in Belgium.
His latest single “Jumping For Joy” is a much-needed bit of ebullient, two-step-inducing, infectious joy that sees the Staten Islander crafting a slick, hook-driven production that meshes elements of classic, Larry Levan house with Soul II Soul-meets-Sounds of Blackness-like gospel. Listening to the track brought back memories of WBLS’s live broadcasts from The Shadow and other clubs across town.
Maximillian De Vos, is a Brussels-based producer and DJ, best known as DJ Piscine. He’s a founding member of the Belgian DJ collective echte ra — and is also one half of The Haze.
De Vos’ latest DJ Piscine EP, Pray, Pt. 1 is slated for a June 27, 2025 release through SWIM Records. The EP reportedly sees the Belgian producer crafting a radiant fusion of club energy and emotional depth. The EP’s first single “Born Again” is a swaggering and slickly produced banger, featuring a big, coquettish pop starlet vocal paired with glistening Euro-house synths and rousingly anthemic hooks and choruses.
Although it’s a chilly Memorial Day Weekend here in New York, “Born Again” is a summery, Ibizia-styled banger with a playfully mischievous bit of 00s nostalgia.
Karo V is a Belgian electronic music producer and DJ, who specializes in a club-ready and emotionally resonant sound, anchored by lush soundscapes, intricate melodies and driving rhythms. Her tracks have been released through a number of Belgian and international labels, which have helped lead to a growing profile in the global electronic music scene.
As a DJ, her sets see her seamlessly blending several genres and sub-genres, of electronic music into a cohesive, emotional charged and dance floor filling experience.
The Belgian producer and DJ’s latest single “Jack That Body” is a lush and hypnotic track featuring a glistening synth arpeggio-driven melody, explosive finger snaps and skittering trap-like beats. Sonically recalling Tour de France-era Kraftwerk, Between Two Selves-era Octo Octa and JOVM mainstay LutchamaK, “Jack That Body” showcases a producer that effortlessly pairs lush and soulful production with remarkably catchy hooks.
Stockholm-based instrumental soul duo Yesterday’s Princess — Fredrick Bergsten and Marcus Larsson — can trace their origins back to 2010: Bergsten and Larsson met and struck up a friendship on making music and crate digging for records to sample for hip-hop beats. Idolizing Pete Rock, J Dilla, Madlib and Da Beatminerz the pair invested in the gear their heroes used with SP1200’s and MPC’s becoming a foundation of their early creative endeavors.
As their tastes grew, the limits of sample-based music became increasingly evident, so they began incorporating organic instrumentation into their work. But they eventually ditched sampling altogether.
During the COVID-19 pandemic, the pair decided to officially collaborate together as a project, rather than just making music side-by-side, which led to the formation of Yesterday’s Princess. For the Swedish-based duo, Yesterday’s Princess is a vehicle for them to explore their desire to create an all-encompassing atmosphere, led by tone, production and well-trained ears for the perfect loop.
“Growing up as hip-hop producers and both being schooled audio engineers, we value sound almost as greatly as the music itself,” the duo explain. “Tone is very important yet often forgotten – music is what you hear and tone is a huge part of that. Chops have no value if it touches no-one, and what touches you might be the tone of the instrument, rather than the note it played.”
Although most contemporary groups in instrumental soul tend to adopt a throwback approach to the production and mixing process, Bergsten and Larsson have deliberately eschewed it; instead, they opted for a cleaner sound that takes adventure of digital production techniques. “We wanted to make the mix big and full with a modern soundscape,” the duo says.
The project’s original demos were created around drum sample packs from A.J. Hall, which were also sampled by The Alchemist, Nas and Ari Lennox. Hall was then brought in to rework the breaks into full parts. “After that we re-recorded all instruments to fit the swing of the new drums and hired a bassist to replay some of our basslines [sic],” the Stockholm-based describes their creative process.
Slated for a July 25, 2025 release through Root Records, the Swedish duo’s forthcoming, four-track, debut EP, Not Today (Maybe Tomorrow) reportedly sees the pair drawing from the groundbreaking library music style pioneered by the KPM and Music de Wolfe music libraries, as well as psychedelia, modal jazz, and Swedish folk and prog music. And because of their foundations in hip-hop, the material sees the duo crafting hooky melodies and riffs to anchor the overall spaciness of their arrangements.
The EP’s second and latest single, EP title track “Not Today (Maybe Tomorrow)” is a hooky bit of modal-tinged, neo-soul jazz, featuring twinkling Rhodes, a supple and strutting bass line and jazzy boom bap drumming. The track recalls the likes of Surprise Chef, Weather Channel-styled jazz, but with a cool, sophisticated swagger.
