Recording of Phase Fatale's live set at Dekmantel Festival 2018.

Phase Fatale: "Hot on the heels of my first proper Ostgut Ton EP, this live performance took place during a heatwave night where it was even sweatier inside the metal silo of UFO II. We needed ice buckets with fans to keep the gear cool enough on slabs of concrete. But it all went off without a hitch and was a proper purging for me always to perform live.“

@omolokoo is part of the new wave of artists who are leading the Brazilian scene from the front. His colourful 101Ø party in Belo Horizonte is one the most exciting in the country thanks to its exchange of artists both nationally and internationally. Having lived all over Brazil, his own music is infused with all the various niche scenes and sounds you would hear if you travelled the country, from disco to world music, techno to broken beat. His reputation has seen him booked at landmarks like Panorama Bar as well as our own festival in Amsterdam, and now he joins our podcast ranks with a mix that represents his open-hearted, free flowing style perfectly.

It is a selection that perfectly captures an outdoor, sun kissed summer vibe from the off. The funky drum patterns, the tropical r&b, the Latin hip hop all ooze warmth and soul and make for an instant party. As the long legged drums get more upright and tempos increase, the grooves remain steamy and humid and do an expert job of transporting to a different climate entirely. This is exactly the sort of timeless mix you will come back to for years to come.

300 up! And who better to help us mark this milestone than @parrishsmith, a core member of the Dekmantel family for a number of years. Not only a much loved regular at our festivals, he is also at home on Dekmantel UFO when not releasing on L.I.E.S.. Smith's famously full-throttle body music has a distinctive analogue edge whether raw and industrial, or acid laced and raved up. Does that make him Holland's most punk DJ? Quite possibly, because his ability to bring sonic terror to any dance floor is second to none, no matter what tools he uses.

This week, he brings his bristling and unrelenting energy to your home stereo, headphones or car with all the disregard for genre you would expect. Across 90 punishing minutes there are distorted techno drums and caustic synths, brightly lit strobes and death metal vocals that will scare you to your core. Managing to keep a lid on such a high octane and confrontational mix of darkened sounds is a skill in itself, and one that Parrish Smith has long since mastered. This one, then, is not for the faint of heart.

Bristol raised, London based Otik (@otikmusic) turned a lot of heads right from the off, and by now he has fully established himself as one of bass and techno's most interesting artists. His always original sounds on the likes of Keysound, Dext Recordings and Midland's Intergraded come with big kicks and curious leads that make for compelling listening. They always manage to be both physical yet emotive thanks to the ambiance around the inventive drum programming.

He manages to carry over that sense of the unknown yet the accessible into his always infectious DJ mixes. This week's podcast is a case in point: it's a meticulous piece of DJ craftsmanship that splices jungle, booming bass and skeletal UK techno together into a dark soundtrack that flails away wildly one minute then drills down to a hypnotic groove before cutting loose once more. Off-setting the dark with the light and the intense with the atmospheric in this way is a rare skill, but one that Otik has got down to a tee.

China's 33EMYBW (@wushanmin) is part of a wave of producers around the world who are bringing a wealth of new ideas and plenty of fresh energy to the club music realm. She releases what she calls "limb dance" on Shanghai label SVBKVLT and is inspired by "insects, spiders, crustaceans and other exoskeletal creatures", which she tries to translate into music that gives the perception that you are surrounded by tiny dancing creatures. She has been busy recently, too, with a new composition called 'Intermission' coming out on the forthcoming Unsound Festival album, as well as a new track coming out in December on the second 'Cache' compilation on SVBKVLT.

For this week's podcast, 33EMYBW serves us up a live recording, made exclusively from her own music and mostly unreleased, with plenty of demos, new ideas and improvised sections included along the way. It is a fine snapshot of where she is at right now - which seems to be somewhere in an extra-terrestrial realm inhabited by impish spirits and alien lifeforms. Her synth lines ping pong about the mix with a mind of their own, her samples are mangled and distorted and her drum patterns wilfully off grid. It's a trippy world of sound that still manages to explore plenty of emotional nuances despite the otherworldly vibe and pure physicality of it all.

Retired rapper, outdoor garms connoisseur, king of the blend, genre bender extraordinaire... there is no one quite like @teki-latex. The Frenchman has a rare but healthy insouciance when it comes to rules and conventions of the dance floor, so isn't afraid to drop hip hop in a techno club, or weave a forgotten pop vocal into a contemporary club banger. He gets away with it because his hyperactive mind is matched by his hyperactive skills and the results are never less than brilliantly WTF?!

Because a Teki Latex DJ sets has you riding by the seat of your pants, they can feel improvised and off the cuff, but in fact they are often meticulously planned. That is surely the case with this week's podcast, which is 75 spell binding minutes of musical ping-pong. It jumps around with the energy of a thousand frogs from UK funky to blistering techno, old school jungle to original 2-step via divisive summer smash 'WAP' and plenty of who knows what else. One thing's for sure, it will make you smile as much as it makes you dance.

Saharan artist @azu-tiwaline is inspired by the desire to explore her origins in the Tunisian desert. She did this to magnificent effect on Draw Me A Silence, a debut album released earlier in 2020 that unified traditional Amazigh music with contemporary dub cultures and hypnotic techno sounds. Defined by an ever-present polyrhythmic chiaroscuro - the contrast between light and dark - it's a mysterious album that gets you in a trance and encourages inward reflection.

The same sense of intoxicating repetition and minimalism runs through this week's podcast. It is an often multi layered listen that has stringy, drawn out rhythms. What sounds like ancient ethic percussion and instrumentation mingles loosely with moody synth drones. Naturalistic field recordings - water, birds, vocal chants - enrich the mix next to trippy studio effects and make for something utterly beguiling. Somehow old yet new, surreal but earthy, these disparate worlds rarely collide in such harmonious ways.

@carrotgreen is very much a product of his Brazilian homeland. He makes and plays music that can place you deep into a freaky and humid jungle techno party, or transport you to a chilled out beach comedown. He played a masterful set of mellowness for us at our Sao Paulo festival way back in 2017 and by then he had already released a range of organic, deep and Latin flavoured house EPs. His latest release came in July on DJ Ground's Japanese Chill Mountain label and featured a pair of "murky late-night slow dub affairs," that get right under your skin.

As this week's podcast proves, Carrot Green can pack all of those sounds and more into a one hour mix that will leave you breathless. It starts out with intoxicating and worldly ambient sounds but soon gets stuck into exotic house then slick and slamming techno. After working you into a frenzy with tight mixing and superb selections, he pulls back to mystic ancient dub sounds that leave you perfectly enchanted.

Italian-Dutch composer Aimée Portioli (@grandriver) is part of a new breed of artist who is meticulous in the way she sculpts and designs her sounds. Along with the likes of Donato Dozzy and Neel - who run the Spazio Disponibile label she debuted on in 2017, and returned to in 2018 with first album Pineapple - she imbues her deep rhythms with ambient beauty, classical minimalism and a real sense of symphony. She is a poly-instrumentalist who mixes tradition and formality with contemporary experimentalism, and also runs her own label One Instrument, releases on Ghostly and Longform Editions, and is an occasional A/V performer who is at home at the world's most avant garde clubs and festivals.

This week, Grand River takes us on an ambient journey as meandering and meditative as her alias suggests. It's a study in absorbing sparsity, where beautiful drones are layered up next to rippling chords. Found sounds drift in and out of ear shot and delicate keys turn into vast walls of ominous sound. The whole mix is like a melting glacier, in constant but subtle motion that leaves you in an utterly different place from where you started.

One of @jossymitsu's skills is her versatility. She was born and raised in Birmingham before moving to London, so has been exposed to, and immersed in, a wide array of scenes. From jungle to 2step, techno to house, rave to leftfield, she has knowledge of it all and never fails to throw it down in electrifying style. Her Rinse FM radio show has proved that over the last few years, and earlier this year the 6 Figure Gang associate made her production debut on Astral Black's Frass FM compilation with the brilliantly bumping 'Whirl.'

That track's cavernous bass and sparse late night atmosphere also characterises this week's mix. It's a selection filled with broken beats and metallic hits that lurch through desolate landscapes. As much as she can nail an absorbing atmosphere, Mitsu also knows just how to raise the levels by banging through flailing jungle, wild rave and blistering techno. But whether the hits are crisp and the kicks taught, swampy synths and low end wobble blast from the speakers or dark and dirty breaks bust out of the mix, this is pure body music that cannot fail to ignite your dancing spirit.