Parallel Voices’ Cloudy / On My Own is a compact release, but it says a lot about where he is trying to take things next. Out September 18, 2026 via Pumproom Records, PR022 brings the Indian electronic artist into the Bengaluru label’s catalog with a release that splits his sound between high-energy progressive house and a more emotional breakbeat cut.

That split is the main reason the release works. “Cloudy” is built as the more direct progressive house record, the one aimed at bigger rooms, late-set pressure, and that immediate USB-stick test every DJ knows. “On My Own” moves with a more reflective emotional pull, leaning into breakbeat rhythm and melody in a way that shows Parallel Voices is not trying to live inside one version of melodic club music.

Pumproom Records frames this as Parallel Voices’ debut on the label, and it feels like an easy fit.

So Snag it On Beatport Here

“Cloudy” Is the Straight-to-USB Moment

“Cloudy” is the more obvious weapon here. The track sits in that progressive house space where energy and emotion need to move together, and the point is not to overfill the record. It needs drive, a clear melodic center, enough tension to keep the lift moving, and a low-end shape that gives DJs confidence when they bring it into a set.

Parallel Voices has already built a name in that exact space.

His music has picked up support from Lane 8, Eelke Kleijn, Hernan Cattaneo, Above & Beyond, James Grant, Jody Wisternoff, and Paul Thomas, which gives a pretty clear read on where his productions sit. The music is polished enough for melodic-house playlists, but it also has the club-facing quality needed for longer progressive sets.

That Hernan Cattaneo support is worth noting because this kind of music lives or dies in the details: how patiently the track builds, how the groove holds, how the melody enters, and whether the arrangement gives DJs enough room to work. I wrote about that process-driven side of progressive music in my piece on Hernan Cattaneo and Mercurio, and “Cloudy” sits near that same value system. It is about control, patience, and emotional pressure without losing the floor.

“On My Own” Shows the More Emotional Side

“On My Own” adds more dimension to the release.

Where “Cloudy” is the progressive house driver, “On My Own” leans into a more emotional breakbeat feel, showing the side of Parallel Voices that has helped him connect with melodic electronic audiences beyond straight four-on-the-floor records.

Breakbeat can do something different in this setting. It can keep the emotional tone open while still carrying motion, and it gives the producer a little more rhythmic space to let the melody breathe. For listeners who know Parallel Voices through Anjunadeep-adjacent spaces, that makes sense. His sound already has a balance of polish, atmosphere, and melodic weight, and “On My Own” gives that side more room.

For readers who want a cleaner breakdown of the rhythmic form itself, my article on what breakbeats are gets into the basics. In this context, the important part is emotional function, and that range is important for Parallel Voices right now. The press framing is clear: he is not trying to be treated as a passing name. He is aiming for the long run. A release like this helps because it not only shows he can make the bigger progressive cut. It also shows he can pull the energy inward without losing identity.

Cloudy / On My Own Is Out Now

Parallel Voices’ Cloudy / On My Own is out now via Pumproom Records.

The release includes “Cloudy,” “Cloudy (Extended Mix),” and “On My Own,” with catalog number PR022 and UPC 853567749918. “Cloudy” supplies the high-energy progressive house pressure, while “On My Own” gives the EP its more emotional breakbeat counterpoint.

It is a focused release from an artist already carrying a serious melodic and progressive resume. For Pumproom Records, it is a smart debut signing. For Parallel Voices, it is another step toward proving that his sound can work in the booth, on streaming platforms, and inside the longer arc of a career still clearly scaling.

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