€7.99

Throwing Molotovs EP sees That Dubplate Kid and Kali Mist link up for a relentless four track Drum & Bass assault built for high energy dancefloors and late night sets. Blending the raw production power of That Dubplate Kid with Kali Mists commanding MC presence, the EP delivers a gritty, groove driven collection of jump up inspired rollers packed with attitude, weight and undeniable movement.

Across the EP, punchy low end pressure, sharp drum programming and aggressive basslines collide with fierce vocal delivery and razor edged energy. Each track hits with purpose, balancing explosive impact with infectious groove to create a set of tracks designed to ignite the crowd and push the dancefloor into overdrive.

Unapologetically bold and built for maximum impact, Throwing Molotovs EP captures the rebellious spirit of underground Drum & Bass loud, raw and impossible to ignore.

Funky Resistance delivers a punchy, tongue in cheek electro house weapon with Flex Culture, a bass driven track built around a catchy groove, bold synth energy and an unmistakable sense of attitude.

Blending electro house power with bass house swagger, the production hits hard with sharp drops, driving rhythms and a hook that sticks instantly, topped off with classic a Funky Resistance section towards the end where the funk and energy factor is turned up to the max.

Take Me Higher + I'm Underground work as a two-track release with a shared identity: both are trance-rooted, vocal-led, and driven more by atmosphere, progression, and depth than by explosive drop mechanics.

The vocal presence is central to the package. It adds emotional pull and identity, while the instrumental framing keeps both tracks rooted in club functionality rather than drifting into pop-leaning dance territory. There is a subtle darker edge in the arrangement style, which helps the release sit comfortably inside deeper trance and progressive environments.

Rather than relying on pure uplift, these records create momentum through mood, groove, and melodic progression. That makes them especially useful for DJs who want emotional depth and late-night tension without sacrificing accessibility.

Can't Stop Us is designed to work on first impact.

The vocal gives the record its emotional anchor, but the real pull comes from the hook structure. The lead synth chorus has an addictive call-and-reply feel that makes the drops land harder because the listener is already being drawn into the phrase before impact.

The percussion and kick style push the record toward festival trance rather than softer vocal dance, while the bigger synth scale gives it mainstage weight. That combination makes the track effective for both listener-facing platforms and DJ sets that need a strong vocal record without sacrificing energy.

This is a record built for movement, recognition, and replay value. It is catchy enough for broad listener appeal but structured tightly enough to work as a DJ-facing weapon in peak-time sections.

Afraid To Feel is built to hit both sides of the market: the emotional uplift trance audience and the high-energy rave crowd.

The vocal gives the release its emotional identity, adding atmosphere and memorability, while the bass synths and driving rhythm push it firmly into peak-time territory. There is a slight mainstage edge in the scale of the synth work, but the core identity remains trance-led with crossover rave appeal.

The arrangement is DJ-friendly and versatile. The Extended Mix gives selectors room to blend and build tension, the Radio Mix provides a more direct commercial cut, and the Instrumental version opens the track up for DJs who want the energy without vocal overlap.

This is a record designed to create lift, movement, and recognition — euphoric enough for trance sets, energetic enough for rave crossover moments, and catchy enough to hold attention outside of specialist scenes.

Spectacle is a pure instrumental uplifting trance record, built around driving energy, melodic progression, and big-room scale drops. It avoids vocal reliance and instead focuses on synth identity, arrangement and energy flow.

Spectacle is driven by melodic intensity and rhythmic momentum.

The track builds through structured progression, layering arps, synth leads and energy-focused transitions to create a continuous upward drive.

Lerry Mueller presents No Need To Rush, a polished progressive house release built around a vibrant groove, strong arrangement and flowing energy. Warm melodic elements and crisp production create a clean, uplifting sound that moves effortlessly from start to finish.

Featuring a compelling vocal performance, the release includes both the full Original Mix and a streamlined Vocal Edit, giving DJs flexible options for the dancefloor. No Need To Rush highlights Lerry Mueller's refined progressive style, blending melody, groove and modern club energy.

My World, My Happiness

This track unfolds through evolving melodic layers and atmospheric pads, gradually building emotional intensity through carefully structured progression.

The arrangement avoids aggressive peak-time drops, instead focusing on hypnotic rhythmic movement and uplifting melodic phrasing that encourages reflective listening.

Far From The Tree

Far From The Tree continues the emotive journey with deeper melodic textures and progressive flow.

The track builds patiently, allowing the melodic theme to develop naturally while subtle rhythmic elements keep the groove moving forward.

Together the tracks form a cohesive emotional listening experience that sits comfortably within the melodic trance and progressive trance space.

Get Up, Get Down is a frantic, high‑energy hard dance weapon designed for peak‑time club and festival environments.

Driving percussion and aggressive kick energy establish the track’s hard dance backbone, while the offbeat bass synth and industrial sound design lean strongly into hard techno territory.

The result is a relentless hybrid record that maintains dancefloor bounce while delivering the darker textures associated with modern techno.

At 157 BPM the track sits perfectly in the fast‑rising tempo range currently dominating the harder side of underground dance music.

Kiss Me opens with a minimal but aggressive groove structure, locking into a punchy low-end foundation early. The production is tight and deliberate — nothing excessive, nothing over-decorated.

The electro bass movement carries the track’s identity, while techno-style drum programming keeps the rhythm hypnotic and driving. Industrial textures and subtle percussive layers create tension without overcrowding the mix.