Kamaal Williams has almost single handedly made jazz cool again. The exceptional keys player first did so as part of the now sadly disbanded Yussef Kamaal. Their debut album Black Focus was widely heralded as a modern great, and will soon be followed up by The Return, which finds Williams link with bassist Pete Martin, drummer MckNasty and sound engineer Richard Samuels. It is said to be a natural successor that deals in the sounds of the London streets as well as plenty of visionary jazz. Williams himself also makes soul infused broken beats and house as Henry Wu on labels like MCDE and Eglo and plays mesmeric live shows, so is one of the most vital characters in the modern music landscape.

Before he plays for us a Lente Kabinet he has served up a special one hour mix that offers up plenty of his inspirations and influences. From high speed jazz funk to languid, worldly jazz via transcendental guitars and summery soul, it bares all the beautiful hallmarks of Williams’s own music and makes perfect sense in warm weather.

Stanislav Tolkachev has been turning out experimental techno for more than a decade but might never have been as prolific as he is now. Hot on the heels of an EP on Raw Waxes that brimmed with dark IDM invention, this month sees him serve up his fourth full length, It Will Be Too Late Then. It finds the Ukrainian serving up controlled machine made chaos, cavernous grooves and his trademark arpeggios across nine forward thinking tracks.

All this and more is showcased on his podcast for us. Tolkachev’s compulsive rhythms are the foundation for what is an end of days soundtrack that takes you from the heat of a percussive battle to a charred and desolate landscape. It’s cinematic music rich in texture, blistering drums and sharp melodies that is beautiful in its brutality.

Paramida is a breath of fresh air on the Berlin scene. Her sound and style goes against the dark, mono-chromatic, machine made music of most of the city and instead heads in a more colourful and Balearic direction. She pushes a bright and emotional sound, and runs the Love on the Rocks label with a similar aim. She calls herself ‘Berlin’s most hated’ but surely isn’t, instead she’s picking up ever more fans because of her “discofied tropical leanings” and passion for unusual house music.

And you can expect plenty of that in her podcast. It soundtracks a slow awakening with retro synths drawing you into, and jumbled grooves ranging from dreamy to sunset in style. The overall vibe is one a late eighties house party in Ibiza with plenty of curveballs and moments of subtle euphoria all included. It’s refreshing alternative to the Berlin sound the world knows and loves, and is a timely and welcome edition to our own series.

Since the end of Sandwell District, Silent Servant has continued to be an influential presence in the techno world. The American’s Jealous God label defies convention and expectation with each release and his own avant guard productions remain utterly unique. Each one speaks to his roots—Sonic Youth, My Bloody Valentine, The Cure—by fusing post punk and industrial with techno in chilling ways. His conceptual and sincere aesthetic carries over into his live sets, but also his DJ mixes.

This latest one is special indeed: it is a mix of influences, in chronological order and “with only a few hiccups in dates” from 1972 to 2000 and all recorded on vinyl in one take. The resulting hour takes in plenty of those goth and alternative rock sounds, new wave, noise and experimental touchstones he grew up on in Los Angeles, but also seamlessly connects them to the techno that later influenced him so the likes of Kraftwerk, Neon, The Final Cut, Toddy Terry and Jeff Mills all make the cut. From stark and jerky rhythms early on to supple, strobe lit grooves in the second half, this is a personal mix that really tells the story of Silent Servant’s musical evolution.

SØS Gunver Ryberg makes big, powerful music. Hailing from Denmark the former stunt woman turned BAFTA nominated producer and composer lays down driving rhythms and textures for exhiliarating live shows at Berghain, Atonal, and on Boiler Room, or labels like Contort. Often stitching in field recordings to add texture and timbre to her work it adds up to a brilliantly dark and insular experience somewhere between noise and techno.

Says the woman herself of her podcast for us, “this is a mix between unreleased tracks, jams and some already released tunes. All music is by SØS Gunver Ryberg except the remix for Else Marie Pade.” The resulting 45 minutes start off as an all out assault: a flurry of synths and frazzled lines, overdriven drums and apocalyptic overtones. But the heaviness subsides and the energy dissipates into muggy and dystopian ambient. Drums do then return and bring with them a real eeriness that makes this an utterly compelling session.

One of many debuts at Dekmantel Festival later in the year will come from Detroit in Effect aka D.I.E, the now solo project of Tameko J. Williams, also known as DJ Maaco. The Motor City artist has roots that run deep into techno and electro and have helped make him one of Detroit’s most under the radar but influential acts. Records like ‘RU Married’ are classic to this day, while other releases on M.A.P. Records helped established D.I.E’s sound as the artists themselves tended to stay out of the spotlight.

But this mix will surely put Williams very much back in the headlines: it’s an hour of pure techno and electro heat from the heart of the 313 area code. Quick, slick mixes keep things moving at a real pace as slippery drums and squelchy bass race out of the speakers. Touching on everything from classic Drexciya to timeless vocal cuts, deeper grooves to all out physical assaults, it’s as much a mixing masterclass as it is a real history lesson.

Mafalda has quietly become a truly influential part of the London music scene. Born in Portugal but based in the English capital since 2014, she moved there after a powerful club experience involving Sadar Bahar and has since gone on to create many of her own. Not only does she play at Europe’s most cultured clubs and festivals, but she also co-runs the peerless reissue label Melodies International with Floating Points, DJ Love On The Run and Elliot Bernard, is resident at the much loved You’re A Melody night and worked at Cosmos Records. A serious digger and eye opening selector, she plays moving music with a positive message.

In just over an hour here, Mafalda pours out her heart through a series of moving jazz tracks that are imbued with various elements of soul and Afroism. Sweeping vocal tracks range from raw and funk fuelled to blue eyed and sombre. As well as showcasing her ability to dig out high quality music that will have ID requests immediately flooding in, this perfectly sequenced mix is also the sort to get the right club in raptures despite the decidedly non-dance floor nature of the selections. As a DJ, curator and digger, then, Mafalda is one of the best out there right now.

The Maghreban is the most recent alias of an artist who has projects dating as far back as 1995. They deal in everything from drum & bass to jazz, hip hop to techno, and this most recent moniker doesn’t find the producer narrowing down his scope in any way. Proof comes with his debut album 01DEAS on R&S next month. It is a wildly diverse record that takes in 13 different genres studies from afro rock to freak house, jazz beats to dub rollers. Each one is perfectly produced and sounds utterly authentic.

It should be no surprise, then, that the hour selection he has put together for us is just as wilfully schizophrenic. It’s a masterful mega mix of sounds and scenes and styles that really shouldn’t go together, but they do. Curious synth jams segue into serene electro, swinging dub house brushes up with horror soundtracks and high summer afro grooves dance next to cosmic disco in effortlessly coherent ways from start to finish.

Hot on the heels of his latest EP on Ninja Tune comes a new podcast from Nathan Fake. An outsider artist since day one, Fake uses cheap and easy-to-acquire technology to make his always idiosyncratic sounds. They have always been leftfield and thoughtful dreamscapes that fuse techno, experimental and ambient together, but have recently tended towards a darker, more intense place.

That is played out across the 65 minute selection he has put together for us here. It features unreleased music from Fake and friends, as well as tracks from Karen Gwyer, long time Border Community label mate James Holden, plus Peverelist, Autechre and more. After a synth heavy and beatless start, lo-fi and fuzzy styles of electro, acid and techno all add up to the sort of primal yet intriguing trip you would expect from such a revered underground figure.

Twin Peaks is an improvised partnership made up of DJ Yazi from avant guard hip hop collective Black Smoker Records, and Future Terror resident Haruka. Both hail from Japan and their collaboration first started with a back to back DJ set. It soon—necessarily—evolved into a larger set up consisting of four decks and two mixers that allows the pair to fully realise their vision, which is to serve up a scintillating and diverse mix of sounds and scenes in seamless ways. Hardware is also occasionally added into the mix, but whatever tools they use, the results are always adventurous and expressive.

This two hour session is a perfect example of the sort of magic that happens when this pair come together. Opening with otherworldly ambient bliss, psychedelia takes over before soot black broken beats begin to make a more physical impact. Things get ever-weirder from there, whether that’s with passages of spooky dub or paranoid techno. Throughout the session, though, you feel wholly consumed by, and lost in, a convincing parallel world that is as cinematic as it is cerebral.