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DJ

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"Mama's talk" by YESSIR

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BEST ELECTRONIC The Best Electronic Music on Bandcamp, February 2026 By Joe Muggs · March 04, 2026
Patterns of difference and similarity criss-cross in striking and illuminating ways this month. There are two batches of Scottish breakbeat/rave-derived music that are like night and day in their approach and sound, and two batches of bohemian party electro from U.S. cities that likewise suggest very different kinds of reception. Barcelona gives us the glossiest, highest tech, most globally ambitious experimental pop-but also intimate improvisations that feel constructed from felt and wood and string. There are contrasting types of ultra-minimalism, too, and even two very different takes on good old-fashioned, very queer house music. Each alone is wonderful, but put them next to each other and whole new understandings emerge. As ever, you can hit play at the top of the page and let them roll through. Go, go, go!

The rise of Austrian-in-Barcelona Zora Jones has been impressive to see and absolutely deserved, and this five-tracker shows precisely why. Where deconstructed club and hyperpop can sometimes feel arch and willfully awkward, all of these tracks retain their intellect and subversion but also have an amazing musical cohesiveness and emotional impact. The way the gigantic grime squarewave bass plays off the nimble pop hooks of "Diorpaint" in particular brings back memories of what a breath of fresh air SOPHIE was back in the day. Every other track completely respects the vernacular forms they tap into, and provoke surges of strange emotion while still feeling very out-there, very alien, and very Futurist indeed.

A shining lesson in "committing to the bit," here. Every possible dark dungeon techno cliché is present, from the hilariously stern album and track names, to the fuzzy monochrome artwork, to the fact Belgian producer Killian Vaissade is a resident in Berlin's 45-year-old raving mecca Tresor, to the terse, bleak poetry in the sleeve notes: "I am a dish for your ashes/ I am a fist for your vanished air." You know what you're getting, right? Doof, doof, crackle, whirr, toxic digital mist; tense Vangelis-style strings hovering through the air-and with that, job done. What's really impressive, though, is how much variety Vaissade gets out of this-and what a complex and fascinating set of moods can be constructed from that black and grey palette.

This is also fun. The whimsy of the titles-"Tiny Dancy," "Bikini Bottom Club," "Party @ The Boathouse"-on this Philly producer's debut album set the mood perfectly. "Rubber Bass" even more so: It gets exactly to the funky physicality of these mainly high-energy electro tunes (with a scattering of balmy electronic deep house). There's enough experimental glitchiness here to keep things interesting, but never to the point that it clouds the fact that this is for the party, above all else. And for a really good party at that! It seems GorpoPap suffered a house fire recently and lost a lot of her belongings, so do pay handsomely for this one!

Fun of a very, very different sort here-and again, the titles let you know what's coming. "IRON VEINS," "SERPENT CHAMBER," "SCYTHE"-yep, Scottish producer KAVARI is going hard here, with rave, jungle, and electro beats crushed and distorted almost beyond recognition, and bass that somehow feels oppressively loud even on tiny speakers. And yet, and yet...this isn't that far from the GorpoPap tracks. It's still, without question, for the party. It might be a party with scarier-looking people and more dangerously disorienting strobe lights, but it'll still be a hell of a party nonetheless.

London-based producer Dario Picchi calls his approach "radical minimalism for soundsystems," and this album definitely is that. Everything here is about using the full-frequency, room-occupying, moving sculptural possibilities of hefty soundsystems to bring full attention to each carefully placed element, and to the spaces between those elements. The foundation here is mainly the zapping, domineering kick drums of grime; there's careful pacing and micro detail derived from techno and more academic music, too. But even when this gets very abstract, there's a real sense of hyper-presence to it all, and its geometries are fascinating to be around.

Steve Horne from England's West Country is one of the great unsung heroes of the Warp/ Rephlex-adjacent '90s electronica explosion. And, impressively, there is no sign of jadedness to his productions, which have been extremely copious in the past decade. As usual, this album is heavily rooted in Detroit techno at the moment it merged into rave and comedown music in the mid-'90s-and as usual, it's densely packed with detail, with modulations and melodies dancing and squirming around each other. But there's a ton of innovation within each new track as well as the curveballs, like the trippy as hell "Presbyopic Dub" and ultra-minimal voice-and-finger-clicks workout "Takedown." It just underlines how much personality there is here.

This debut release from the Bent Hedonism crew comes blasting out of Manchester's queer clubbing scene bearing a loud-and-proud message that big, bashy, slap-you-round-the-face house music is not only as much of a staple of dance culture as it ever was, but that it still has space for innovation and expression. All four tracks here really know their history; you'll hear tons of Chicago; a hefty bit of the NYC of Danny Tenaglia and Junior Vasquez; chunks of Basement Jaxx at their carnivalesque best; and lashings of rave and acid. But every aspect is put together with a sense of urgency in the moment, full of flourishes to sustain interest but always about the eternal groove above all else.

Yes, more party electro-this time from Seattle, sounding extremely live and extremely like it's made from taped-together hardware, and designed for the kind of party where the patterns in the carpets start coming to life and crawling up the legs of the dancers. Some of this is Neanderthal in its chugging simplicity ("In the Noise of its Gestation") or it's just blurts of elemental noise ("A Guitar Made of Code"). But that just serves to highlight how finessed the beats and the on-the-fly echoes and tracers that spiral off from them are.

Slowing familiar things down has the power to make you perceive them differently. It opens up spaces, shows you extra detail, questions your own brain and body clock. That's broadly what Brussels producer Carageenan is about here: The template here takes the simplest, rawest house music-the kind you might hear from Kyle Hall or Hieroglyphic Being-and drags it apart until you feel like you're dancing in syrup. Sometimes the effect is compellingly horrific-which Carageenan then amps up by bringing in more noise and discord. But sometimes it's hilarious, dream-like, dissociative, or just plain groovy.

Hearing house music people from Chicago talking about house music is house music. That's the understanding that drives these tracks from Michal Serr, taking snippets from a motivational, meditational interview with Honey Dijon and letting the rhythm of her voice lead a lyrical two-part house jam. Unpredictable darting melodies and dashes of arpeggio ornament the sense of an idea unfolding, while the dub makes predictably great use of snipping up the phrases "Build it," "Work," and "Do the work," to create jacking exhortations.

Another Scot making high-velocity breaks-and-bass music, yet Proc Fiskal could hardly be further from KAVARI's raging distortion. The Edinburgh producer has always worked from the palette of grime, applying immense finesse and intricacy derived from jungle/drum & bass without seeming to gentrify any of the sources-and has long taken in elements of folk, too. Here, all of that emphasizes the lilting and lyrical more than ever, and the effect is often startlingly beautiful-true to the decades and centuries of tradition behind all of its source material, and even making pastoral melodies feel entirely natural with the city-block bass and lo-res video game tones.

More from Barcelona, this time from multi-instrumentalists Edi Pou and Sara Fontan. This mini-album is expressly about reclaiming intimacy in both creation and performance as an act of resistance against the vast, homogenizing forces of capitalism-and hell, it really works. Gentle explorations of melody on interwoven real and synthetic instruments, drumming that hints at a hyper-mobile Stereolab, dubwise effects: All of it makes you feel like each song is a little room that you can inhabit and explore. Which is not to say there isn't intensity or drama-often these tracks take very unexpected twists-nor that it's escapism. It stimulates the mind all the while, even as it delightfully welcomes you in.

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The Best Electronic Music on Bandcamp, February 2026

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Our guide to the month's crucial electronic music.

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CUSTOMER SERVICE, RJ, COMMERECIALS

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FASHON TV CINEMA DANCEFLOORS

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DJing, production, DIGGING

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COMMERCIAL SOUND PRODUCTIONS

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LO LAZIPOR - Music production, video editing and concept

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LEFT FIELD, AMBIENT, ELECTRONIC REALNESS

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Listen to NOT A WORD - SOUNDS FROM THE DEEP, a playlist curated by YESSIR on desktop and mobile.

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Michal Serr | YESSIR on Instagram: "F**k off 🦞🦞🦞 
I did it again!
Cancer free."

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531 likes, 157 comments - michserr on January 28, 2025: "F**k off 🦞🦞🦞 
I did it again!
Cancer free.". 

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Michal Serr | YESSIR on Instagram: "Why nam Why not. 
No ?. 
Thank you @whynambeach artist program for having me. 
Life time of memories.

In the bg youll can hera a part of my upcoming musical project YESSIR ."

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141 likes, 9 comments - michserr on November 12, 2025: "Why nam Why not. 
No ?. 
Thank you @whynambeach artist program for having me. 
Life time of memories.

In the bg youll can hera a part of my upcoming musical project YESSIR .". 

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View this post on Instagram