Nijmegen supernova Timothy Allen stirs up a sensation with the action-packed ‘Feelings’, a chunky tech-house rumbler crossing the lines of bass, acid and trance – in other words, the sort of funky, big room energy that has sat right with Tiesto, David Guetta and millions of streamers. Air raid sirens, hip-hop samples, vocal emotion, deep and roaming breakdowns…Allen, like an intrepid explorer performing riskily rewarding jumps from scene to scene, fizzes them all up into an arena-sized fireball. High drama, high noon house in high definition.
Here comes Andrew Mathers to huff and puff and blow the house down. Mather’s maths is to add rolling, tribal beats to a ragga vocal that’ll stick in your head until you’re driven round the bend, and come up with a no nonsense soundsystem seesaw getting from A to B by diving straight into the masses and coming up with the mother of all sweats. Full of Mather’s signature stabs and rhythmical remedies, ‘The Big Bad Bass’ is a monster-sized party from which there is no escape.
Apollo – god of music and dance, sun and light. Kay Wilder isn’t far behind with his latest High Contrast howitzer showing similarly divine tendencies. The Amsterdam maverick starts with fast and furious beats, develops Hail Mary chords, installs a sombre piano realisation that takes the track from 60-0…and this is all before the main event. Reawakening as a sonic solar flare, Wilder powers up with a zig-zag, asteroid-dodging, synth superman of a groove turning trance heads upside down. ‘Apollo’ rushes from speakers and sucks you into a storyline of epic proportions.
“Inspired by happy summer vibes, I wanted to write a pop-influenced love song and turn it into Hardstyle. I’ve been working on this song for a full year and decided to add enough dancefloor elements to make it feel like a real Thyron track – with a soft touch!”