Francis Latreille, known in the scene as Priori, has long maintained a simmering orbit that steers trends and shapes Montréal’s after-hours culture. Drawn to the appeal of hazy ambient dub and the so‑called naff sounds, Latreille and Adam Feingold (Ex-Terrestrial) were among the early voices pushing Purelink and Cousin. Remember the days when trance seemed to stage a return? Maara-Louisa Dunbar (Maara) emerged as a major catalyst in that moment. Fascinated by dream-pop figures like james K and Car Culture, each of them worked out of Jump Source’s studio, which is run by Latreille and his partner, with house veteran Patrick Holland (formerly Project Pablo) in the mix.
Jump Source’s forthcoming long-player, Fold, reboots the naff milieu and nudges it toward a full boil. Not long after the record’s reveal, Kynant dropped one of Priori’s strongest EPs in recent memory, simply titled 9. Fold also came with a Brooklyn-based DJ residency at Public Records, placing Jump Source in a summer orbit that would swing from Berghain to RALLY to MUTEK. “This is basically all we do. We have hobbies, kind of,” Holland jokes; it’s not entirely clear where pickleball would fit into their schedule.
Gear talk often comes across as a messy topic in interviews, yet it sits at the heart of Jump Source’s workflow: they treat instrument manufacturers as collaborators in artistry. Jump Source started as a string of EPs, experiments in selecting tools like the Sequential Prophet and the Fender Shields Blender. The project’s name nods to the Moog Source. “Whenever a sound grabbed us, we’d think, how can we slip it into a track?” recalls Holland. “The album marks the moment when we said, ‘Okay, let’s stack everything and see what happens.’” With Latreille constantly on the road, Holland did much of the tinkering solo. The result embraces a direct, tactile energy that nods to the raw strength of King Tubby.
Cross-pollination shapes Jump Source. “Musical styles and scenes feel more integrated here in French Canada,” Latreille notes. “Things aren’t as neatly segmented. People in bands go to raves, and people who rave go to shows or join bands.” Fold brings together a wide-ranging roster of collaborators. Jessica Pratt’s bassist Nico Leibman (aka Harmony Index) appears on the reggae-infused “A Dull Knife.” Abstract rapper billy woods contributes bleary verse to “Empty Bars.” POiSON GiRL FRiEND, a Japanese downtempo sage, graces “Close.” “Shattered”—the kind of track that could anchor a festival—soars courtesy of a hushed hook by Helena Deland. It’s a hint of the kind of characters who pop up around Mile End’s Bar Datcha, and it invites curiosity about who might appear next.
PEAK TIME
10
a.sl – “trip tech”
Berlin’s Kontext label stands as a benchmark in the German capital’s scene, hosting names like PLO Man, DJ Trystero, Ulla, and more, while traveling a similar sonic arc. On curated tenderness, Anton Soltan (a.sl) dissects propulsion with a clinical lens. “trip tech” unfolds as an uneven roller, bursting with cymbal surges—nostalgic, yet pristine.
9
Reptant – “Future Proof”
Melbourne’s Lou Karsh (Reptant) leans into a harsh, forward-looking futurism. His Amsterdam-based Kalahari Oyster Cult release Ballet Robotique registers as a brisk, movement-oriented gesture. “Future Proof” runs on gritty squelches and sharp clicks, a track that is both cheekily cheesy and fiendishly energetic.
8
Freda – “Patioz” (Feat. Ben Fester)
Moonshoe, steered by Jackson Fester (Cousin), serves as a hub for mellow Australian sounds. Freda’s debut album, Weltsinn, probes the jazziest edges of electronic music, oscillating from plaintive wisps to cybernetic crescendos. The closing track “Patioz” feels utopian and foggy, and featuring Ben Fester underscores that warmth exists within the Moonshoe family.
7
Will Hofbauer – “M3 7LW”
Born in Australia and now based in London, Will Hofbauer blends haze with whimsy. As the head of The Third Place, his idiosyncratic approach fits surprisingly well on Rhythm Section, a label known for accessible tools. The shimmering melodies offset garage grit on “M3 7LW,” and Hofbauer’s knack for twists feels more measured than wacky here.
6
Sam Goku – “Warm Soils”
As Sam Goku, Robin Wang crafts delicate, forest-like soundscapes. The German-Chinese producer’s Dekmantel EP Bliss Drift is tailored for blooming sonic spaces. On “Warm Soils,” vocal cuts hop across lilypads set to a dembow beat. Having become a rising staple at Panorama Bar, Wang’s music evokes a quiet, moving world.
5
Dust-e-1 – “The Lights”
Montréal-born, Montréal-based Alex Sheaf—also known as Dust-e-1—has long explored proggy timbres and languid breaks, both solo and with Priori in ANF. Reemerging as Dust-e-1 with the Return 2 Dust EP on DustWORLD, “The Lights” sharpens holographic chord stabs and a lilting groove, merging clarity with a hint of bite.
4
K Wata – “Go”
Kenzo Perron, known as K Wata, has surged since the start of the decade, aided by a feature on Yaeji’s With A Hammer. His Give U Space—SLiNK’s first full-length release under Perron, on Matthew Kent’s Short Span—emerged after a breakthrough Sustain-Release slot, where Perron found focused momentum. “Go” sits as a textured, coarse piece that erupts in echoing swells—sleek, yet quietly menacing.
3
Olof Dreijer – “Rosa Rugosa”
As one half of The Knife, Dreijer—born in Sweden and now based in Barcelona—helped fuse synthesis with indie rock. His debut solo album, Loud Boom, marks a deliberate pause and a spree of neon-soaked 12-inches, blending kuduro, gqom, and batida with bright modular textures. “Rosa Rugosa” is built on a pounding low end and a wiry, springy lead—energized and floral.
2
Octo Octa – “Keep Pressing On”
Maya Bouldry-Morrison (Octo Octa) guides dancers forward with support from fellow T4T LUV NRG co-founder and partner Eris Drew. Sigils For Survival was shaped with hardware that barely keeps time with a metronome. “Keep Pressing On” delivers roiling drums and chant-like lines, with vinyl spins weaving through. Born from the euphoria of Octo Octa’s tenth anniversary of coming out as transgender, Sigils For Survival feels like a communal rite.
1
The Field – “In Our Dreams”
Subtly, Sweden’s Axel Willner revives The Field after an eight-year pause. Following a remarkable streak with Cologne minimalists Kompakt, Now You Exist lands on Stockholm’s Studio Barnhus. These five pieces maintain a steady, hopeful gait, with the opener “In My Dreams” signaling a more languid pace even as Willner’s earlier work carried urgent loops.
