BEST ELECTRONIC The Best Electronic Music on Bandcamp, September 2025 By Joe Muggs · October 09, 2025
Seems like it’s another month for hefty militant bangers, folks. From distorted sweaty techno to pristine psychedelic trance, from the very foundations of dubstep to brand new twists on jungle and drum & bass, and from heads-down Australian garage to skyward bound Canadian electronica, it’s non-stop sensory stimulation for every imaginable taste. But it’s very definitely all built to make you move—so shake your limbs loose and plug in.
Beepuate
[Shapeshifter EP, Part 1](https://uglyfunk.bandcamp.com/album/shapeshifter-ep-part-i-ugly-funk-01…
BEST ELECTRONIC The Best Electronic Music on Bandcamp, September 2025 By Joe Muggs · October 09, 2025
Seems like it’s another month for hefty militant bangers, folks. From distorted sweaty techno to pristine psychedelic trance, from the very foundations of dubstep to brand new twists on jungle and drum & bass, and from heads-down Australian garage to skyward bound Canadian electronica, it’s non-stop sensory stimulation for every imaginable taste. But it’s very definitely all built to make you move—so shake your limbs loose and plug in.
Beepuate
London, UK
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London, UK
Ugly Funk—both the parties and the label—represent truly underground techno rave, the kind that simply cannot be co-opted into mainstream, phone-screen-friendly spectacle. It’s entirely about people sweating in a strobe-lit room together. So it’s good to have them back after a five-year break. These four tracks are the essence of what Ugly Funk is all about: Pummeling and pounding, distorted and crazed, but always with that clattering sense of funk and the huge sub-bass tones that make you feel like you’re inside the heat of the party. This is the good stuff!
Coki
London, UK
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London, UK
For OG dubstep lovers, this selection is as if every Christmas has come at once. Crystal Lake consists of six ‘00s tunes by the Croydon maestro (and half of Digital Mystikz) which were previously only ever heard when they were played on the radio or from dubplates at raves. For those used to modern dubstep—and even Coki’s later productions—these tracks might sound puzzlingly primitive at first. But get them at the right volume on the big speakers, and suddenly the reason people have such a passion for them becomes apparent. Unhinged surreal architecture surrounds you, completely unique harmonies unfold, and the deep links to Jamaican dancehall and ‘90s UK bleep ’n’ bass all make complete sense. A vital historical document—but also super powerful in the here and now.
Sheba Q
London, UK
London, UK
Londoner Sheba Q is clearly an artist to keep and eye on. She’s a devastating DJ who crosses genres, effortlessly while always staying rooted in UK bass history—a rabble-rousing MC and a neo-soul-adjacent vocalist of real character. She’s right at home with the cream of current drum & bass talent on the ever-reliable Over/Shadow label, her crooning vocal sitting perfectly in the middle of beats by Nectax and Outrage, and an even heavier cascade of breaks in Dub One’s remix of “Asterix.” It perfectly captures those moments when you can feel meditative and let your thoughts run freely, even as a rave is exploding with energy around you.
Blue & Red
Bristol, UK
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Bristol, UK
Yet another outpouring from the cornucopia of low-end goodness from the studio of Rob Smith (of Smith & Mighty, More Rockers, RSD, etc). Blue & Red is Smith’s guise when he’s cleaving closest to straightforward steppers’ dub and digital dancehall, but the tracks have all the modernist crispness he’s learned across decades of making street soul, breakbeat, jungle, dubstep, and more. All of these 13 tracks are a balm for the soul in their own right, but they’re also crying out to be slipped into house, techno, Balearic, dubstep and other DJ sets.
David Harrow
Exeter, UK
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Exeter, UK
David Harrow has range. If you’ve seen the Brit-in-L.A. mentioned on this page before, it will have been for one of his richly-layered modular synth techno outings, his heavy dub excursions, or maybe his jazzy drum & bass asJames Hardway. But he also has rich form in straight-to-the-point dancefloor grooves, from his early ‘80s productions for Anne Clark, through co-writing ‘90s smash “Your Loving Arms” with Billie Ray Martin, to these lovely, small-hours house groovers. Lead track “Catch Me,” with melancholic vocal refrains from Sandy Mill, is the obvious attraction; but the three instrumentals all beautifully catch a very British, bittersweet, cusp-of-the-’90s sunrise mood, too.
Dan English
UK
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UK
The music of Manchester-based Dan English is great at capturing those dancefloor moments when your initial “WTF is that?” reaction is quickly superseded by, “It doesn’t matter—it’s great!” Functional in all the best ways, channeling some of the most basic house energy of supposedly lo-fi but actually highly advanced producers likeJamal Moss and Steven Julien, the tracks here chug and churn along, big distorted snares bursting and dissipating around you, deeply weird spoken word vocals oozing into your ears, everything feeling like senses are cross-wiring in the moment.
Crystal Sting
Toronto, Ontario
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Toronto, Ontario
There’s a lesson here about what real musical understanding can do. Toronto’s Kurtis Perrie and Bjorn Kriel don’t hide their influences—and indeed some of them are among the most-copied acts around: earlyFour Tet, Burial, Aphex Twin at his most melodic, and PC Music to name just a few. But such is Perrie and Kriel’s compositional skill and confidence in building dramatic structures, kick-ass melodies and unexpected textural juxtapositions, that the seven tracks over 24 minutes here consistently exude originality. There is a lot going on here, from ultrapop to globally-inspired exotica to avant-garde post-classical weirdness. But somehow they condense it down to a wild and fun—but coherent!—ride.
Sherelle
“XTC Killa” b/w “Kibo’s Bleep Test”
London, UK
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London, UK
Sherelle’s album With a Vengeance is a glorious listen in its own right, but in keeping with its nature as soundsystem music, every track is also made to be chopped up, blended, and versioned. So it’s natural (and wonderful!) to hear two prime tracks from it with new vocals. The juke-rave of “XTC” becomes “XTC Killa,” with Brixton veteran Killa P (best known from The Bug’s “Skeng”) elegantly oscillating in cadence between fast-chat dancehall, grime, and old-school rave MCing. The hyperspeed acid techno of “Bleep Test” is completely flipped by Kibo’s punky, tongue-twisting mischief, and his “none-more-English” personal vernacular helps lock it into a very particular sort of rave spirit.
T.NO
Amsterdam, Netherlands
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Amsterdam, Netherlands
The enduring popularity of the funk carioca sound (often called “baile funk” outside Brazil) is extremely heartening—though the periodic waves of Euro/U.S. producers doing cheap bites of its signifiers is less so. Amsterdam’s T.NO is a noble exception: On these two tracks and in very different ways he gets to the heart of Brazilian beat programming, finding highest common factors to link it into grime and techno. “Bender” is gleaming and gliding, “Yards” rough and rolling, but both get right into your hip joints.
pdqb
Sermons of the Electrofying Messiah
Berlin, Germany
Berlin, Germany
Who is pdqb? We don’t know but given the jokey titles and the collabs with extremely impressive names—DMX Krew, Roman Flügel, and now Dopplerfeffekt on the remix—we’ll put money on it being someone who’s already of note using a pseudonym to cut loose and have some fun. Previous releases have been fairly heavy on the ‘80s kitsch, sometimes bordering on vaporwave, but this one strips it all back. There’s still some TV theme whimsy to the synths, but there’s a lot of funky starkness over the four original tracks here that resembles… well… Dopplereffekt. The two Dopplereffekt remixes sound… even more Dopplereffekt-y. It’s all very rum, but masquerade mystery aside, this is almost certainly the best laser-zapping, virtual-world-electro you’ll hear this month.
LEVOS
London, UK
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London, UK
Hefty two-step UK garage is everywhere now, especially thanks to Sammy Virji successfully taking it to big crowds in the States. But it’s been etched into the fabric of the underground forever, as this young Sydney producer demonstrates. There are modernist elements here—notably the Afrobeats vocal of the title track, and some of the builds and drops, which are definitely “2020s” in their dynamics. But the fundamentals of rhythm and bass were set in motion by the likes of El-B 20+ years ago. So it makes absolutely sense this is coming out on Well Street Records out of South London, where this stuff has always just flowed in the water supply.
Archypness / Altjira
Delft, Netherlands
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Delft, Netherlands
The intersection where the sound design and funkiness of black-clad Berlin-style techno leak into the most radically minimal of psy-trance continues to be a deeply fertile place. On two tracks each from Archypness and Altjira on the Dutch label Mirror Zone, the high tempo and overtly trippy subliminal sounds zipping around give an injection of energy to otherwise incredibly subtle tracks, and the dubwise space in which they exist holds you floating outside the normal rules of time and gravity. That Altjira’s kickdrums frequently escape the four-to-the-floor pattern adds extra interest; their “Aligate” in particular is a masterpiece of untold tiny elements working together to make something greater than the sum of its parts.