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DFR is back with a rather mysterious alias first appearance. Signal Priest delivers four dance-floor workouts that intersect between techno, trance and electro with admirable sense. TIP

legwork Barcelona launches its inaugural release, thoughtfully titled in Catalan: ‘PEUS I ÀNIMA’, dedicated to the global spirit of dance music.
All 4 cuts come from a live set recorded in 2025 at a legwork party. They were then postproduced and re-jammed in 2026 to create this 12" built strictly for the floor. This creative process is intended to continue in future EPs.

Across the tracks, the signal mutates while always keeping that raw energy alive. The whole concept comes from a deeply personal mix of self-doubt, determination, friendship, and a pure passion for music and dancing.

Solid, no-nonsense material.

Mastered by Johanz Westerman
Artwork & design by PEBE Studio

Rosiers zweite LP, elle veille encore, ist eine bittersüße Ode an mütterliche Seelen - ein sanftes Gedicht, das Themen mütterlicher Natur reflektiert. Während sie Volkslieder recherchierte und sammelte, stieß Rosier auf ein Geflecht von Muttergeschichten - einige davon sind wunderbar vertraut, andere beunruhigend. Die Geschichten auf diesem Album tauchen in die vielschichtige Darstellung von Müttern ein - sowohl Mutterfiguren als auch solche, die durch Blut verbunden sind - und versuchen, die wahre Bedeutung dieser heiligen Verbindung zu ergründen. Trost, Verlassenheit, Tod, Trost, Illusion und Bestrafung ziehen sich durch diese 9-Track-Platte. Die Lieder auf elle veille encore sind tief im Folk-Bereich verwurzelt, wagen sich aber auch in die ätherischen Gefilde von Dream-Pop und Indie-Tronica. Die Platte webt eine sorgfältig zusammengestellte Klanglandschaft aus klimperndem Gitarrenspiel, schimmernden Synthesizern, dekonstruierten Beats, Vintage-DX7-Samples, Feldaufnahmen, Klavier und Schichten hauchigen Gesangs auf Französisch und Englisch. Ähnlich wie die Erzählung auf der Platte wechseln die Arrangements des Quintetts von sanften und leuchtenden Stücken zu dichten, bedrückteren musikalischen Momenten. elle veille encore wurde in den letzten zwei Jahren zusammengestellt und gilt als die bisher introspektivste und persönlichste Platte der Band.

Carlos Giffoni reconnects with Thurston Moore for two sides of loose-limbed axe noise, oscillator worship and hard-phased, Spacemen 3-style feedback.

Giffoni’s been on a roll recently. Since the No Fun founder returned to the scene with »Vain¡, a genius set of synth mutations that appeared in iDEAL back in 2018, he’s been slowly ramping up the activity, dropping the celestial »Dream Walker« on Stephen O’Malley’s Ideologic Organ in 2024 and following it with »Pendulum«, a bumper compendium of collaborations, just a few weeks back. For those who remember Giffoni’s first trip round the block, he was always able to hold his own chopping it up in person, not just by mail.

Just scrub through his early catalog and you’ll see collabs with Nels Cline and Chris Corsano, Merzbow, Jim O’Rourke and Lasse Marhaug, and of course, Thurston Moore. The two rekindle their thing on »IGUANA’« picking up where 2001’s fabled »4 Guitars Live« performance left off. Here, Giffoni straddles a tabletop synth and FX while Moore attacks his signature Jazzmaster with a drumstick and a screwdriver – vibes fully intact.

Moore is on blistering form, sounding as if he’s taken a step back to refresh his approach since the early ‘00s when he could be spotted moonlighting on any number of basement-adjacent noise sides. Sawing at his strings and turning the guitar into a shrieking resonator, he leaves only faint vapours of the classic Sonic Youth sound as opiating accents on his animalistic wails and rumbles. On the opening half, his whammy – assisted shreds are balanced out by Giffoni’s off-world whirrs and airlocked vibrations, building a dense wall of noise towards an unexpectedly elegiac conclusion. At some point, Giffoni’s rasping churr transforms into a simmering shudder and Moore’s into hymnal drones – squint a bit and you could almost call it pretty.

Of course, they ramp things up on the flip, dissolving the melancholia with smokey white noise and twangy, post-Derek Bailey chimes that Giffoni accompanies with aggy oscillations. Like every great taped noise set, the recording quality is crucial - »IGUANA« was captured from the pit by Guillermo Hernandez Avendano, the dad of Lia Miranda who provides the cover photo. It’s that kinda show.

Some years ago, Kjell Bjørgeengen and Keith Rowe attempted to convert video signals into sound by setting up Rowe’s pickups next to an old CRT monitor, turning its magnetic field into a sound generator. Rowe further developed the system with David Jones at Alfred University, slimming down the setup using a copper coil, a circuit board, a video input, and a telephone pickup. Jones named it the »Flood Coil«, and it’s that instrument you can see on the album’s front cover and that lies at the core of these recordings, made without any physical live input from the artists themselves. In essence, it’s generative music in its purest form.

Bjørgeengen’s video feed is generated by oscillators, then routed into Marhaug’s pedals and then back into the Flood Coil, so any visual shifts alter the sound, and any modification to the sound changes the video. The duo have played this setup live many times, but for this studio version they left the system to do its thing without any intervention for two minutes at a time before moving onto the next idea. They recorded hours and hours using this process and then selected 18 highlights for this album, extracting harsh noise, power electronics, lulling feedback drone, and peculiar rhythmic snippets to show the scope of their technique.

A wall of growling, hi-octane Pulse Demon-style noise opens the set, gradually exposing us to more asymmetric textures, shifting through unstable repetitions that transform Merzbow’s metal-inspired screams into »Aaltopiiri«-era rhythmic noise. It’s remarkable, actually, how much Marhaug and Bjørgeengen can squeeze from the system, chancing on shivering, lower-case chugs and pops, galloping drums, soundsystem subs, and grinding blast beats that sound like Napalm Death’s »Scum« piped through a broken amp stack. It ain’t pretty, but noise/industrial freaks will revel in the fierce delights inside.

Following his debut appearance on HABITAT in 2024 with his standout ‘My Eyes Are Failing’ remix, Echonomist returns to serve up his ‘Dominator’ EP - a five-track release that captures the Greek artist’s unmistakable tension, groove, and analogue character, paired with high-caliber remixes from Fango and Toto Chiavetta. With previous releases on Innervisions, Exit Strategy, TAU, and Kompakt, Echonomist has steadily built a reputation for fusing raw emotion with forward-leaning sound design. His prolific output and effortless ability to experiment with various styles have long made him a respected figure within the global electronic landscape. Now, with his ‘Dominator’ EP, he brings that creative force back to Mind Against’s imprint in commanding form.

Opening with the title track, ‘Dominator’ immediately sets the tone: bustling energy, driving drums, and siren-like synths cut through a deep, Detroit-leaning atmosphere. ‘Modulator’ follows with a pulsing, oscillating bassline and rattling percussive breaks that coil around warped vocals. On ‘Use Your Illusions’, the pace becomes chuggier as he combines raw industrial drums with a thudding kick, dubby chords, and fizzing synths. The package is then elevated by two heavyweight reinterpretations, with Fango’s remix of ‘Dominator’ pushing the cut into a more intense, pressure-driven space, upping the ante with amplified rhythmic density. To close, Toto Chiavetta delivers an electro-laden rework, sculpting the track into a dense, atmospheric journey that prioritizes ever-evolving groove and textural depth.

Echonomist 'Dominator’ EP drops via HABITAT on 10th April 2025.

Brighton-born, Cincinnati-based producer Marsh a.k.a Tom Marshall. ‘Lailonie’ is Marsh’s second studio album and debut Anjunadeep LP. After joining Anjunadeep back in 2018 via ‘Explorations 07’ with ‘Black Mountain’, Marsh has gone on to release a string of well received original EPs including ‘Prospect’ with label mate Nox Vahn, ‘Eu Topos’ and his latest ‘Lost In You’ as well as remixing some of the biggest artists in dance music including Above & Beyond and Armin van Buuren.

Marsh has previously released on Silk Music, where he released his debut album ‘Life On The Shore’ in 2017; and Enhanced Music’s progressive house imprint Colourize. Over the past 2 years, Marsh has become a firm Anjunadeep fan favourite all the while establishing himself as a future star of the electronic scene with a steady stream of tastemaker backing from Joris Voorn, Rufus Du Sol, Kölsch and BBC Radio 1’s Pete Tong and Phil Taggart. Recent years have seen him tour globally with Above & Beyond as well as share the bill with legends like Sasha & Digweed and Guy J.

Remixed With Love has set the benchmark for disco reworks for over a decade, with Dave Lee universally recognised as the most trusted name in the field when it comes to respectfully updating dancefloor classics from the original multi-tracks.

With original vinyl editions long deleted and constant demand from DJs and collectors, this brand-new one-off, vinyl-only release has been made possible via a fresh licensing deal with Sony Music, allowing eight of the most requested mixes from the catalogue to be pressed together for the first time.

This is not a repress; it is a bespoke, limited selection, and once the pressing has sold through, it cannot be repeated.

We’re very happy to share this one with you and humbly present our first release on Sentiment by head honcho Asphalt DJ. Four stripped-down, tension-building club tracks built to go deep and in the body. Sentiment is a label born from admiration for those who came long before us, who were driven by curiosity and experimented with early machinery. We want to create a home for music that carries that same spirit. A home founded on the bricks of house and techno and built together with artists who inspire us. Feel free to join building. Much Love

A cocktail of rebellious queer vocal fragments, deceptive percussive granules and swaying hammered vibrations, upsammy and Valentina Magaletti's first collaboration trembles with suspense. The seeds of 'Seismo' were sown following a commission from Amsterdam's Rijksmuseum to soundtrack an exhibition of work from the Museum Boijmans van Beuningen in Rotterdam and the duo didn't want to approach their collaboration flippantly. So, wandering the museum's maze of rooms, they recorded various improvised percussive sounds with their arsenal of microphones, using the space to inform various rhythms and textures that were sculpted later into electroacoustic vignettes. This was just the starting point, though; as Magaletti and upsammy began performing together, the project evolved and 'Seismo' began to take shape. The duo had struck on a salient aesthetic concept, using mostly digital and acoustic mallet instruments to blur the boundary between their roles and create friction between the synthetic and the authentic. And the finished record is a phantasmagoric push-and-pull between its various conflicting elements: harmony and dissonance, randomness and predictability, openness and constraint. 'Seismo' isn't the first time that upsammy has studied her environment in search of revelation. On her acclaimed second album, 2024's 'Germ in a Population of Buildings', the Amsterdam-based DJ, producer and multidisciplinary artist erected her complex, unorthodox rhythms and eerie melodies around a modernist frame of field recordings collected in various cityscapes, countering heavyweight basslines with subtle, microscopic sounds. London-based Italian vanguard Magaletti, meanwhile, has applied her unique logic to innumerable projects at this point, working with everyone from batida icon Nídia and hardcore-dub outfit Moin to French writer Fanny Chiarello and British bass scientist Shackleton. For years she's approached the drums with criticism, attempting to challenge any preconceptions, something that's most visible on 2020's 'A Queer Anthology of Drums'. And both artists' thoughtful perspectives are welded together seamlessly on 'Seismo', a dizzying suite of eight eccentric statements that's fragile but never insecure, gauzy but not indistinct. An unnerving sense of space characterizes 'It Comes to an End' as Magaletti's in situ improvisations herald for upsammy's microscopic glitches and chiming pitch-bent melodies. It's almost unbalancing to witness the track's impossible dimensionality, the interplay between reverberant marimba hits and bone-dry synths, or percussion that's been recorded and processed in consciously different settings. A new architecture emerges in the sound itself that the two artists scan and explore meticulously, testing its boundaries with undulating hybridized rhythms on the invigorating 'Superimposed' and offsetting the powdery drums with liquified smacks and alien voices. The duo's vibrations are knotted with piano flourishes on 'Hyperlocalize', balanced with artificial clanks and clangs that disappear into the track's sonorous atmosphere, replaced by whispers and half-hallucinated insectoid chirps. 'Seismo' is an album that feeds off the energy generated by its juxtapositions: the tension and anticipation that's melted by rapid, hyperactive movement and the finely drawn rhythms disrupted by a layer of indistinct, barely perceptible microsounds. It's a collaboration that sounds like two minds challenging each other but not wrestling, each peering from their own distinct vantage point and imagining a third landscape shaped by optimistic, queer vibrations.

Whole Cake Island: Sweets and Dangers in an Unforgiving World! As Luffy and his crew face an Emperor, Big Mom, for the first time, they must join forces to save Sanji in the extravagant kingdom of Totto Land.

Composer: Kohei Tanaka
Kohei Tanaka has been a lyricist, composer and arranger for a multitude of animated works and video games, including Sakura Wars, Assassination Classroom and the One Piece saga, since its inception.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.

The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.

Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.

The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.


‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.

To celebrate over ten years of groove and sonic elegance, Roche Musique presents its “BEST OF” compilation, available exclusively on vinyl. A handpicked selection of 20 essential tracks tracing the label’s DNA — a refined blend of modern soul, nuanced electronics, and timeless groove.



Featuring the label’s cornerstone artists — FKJ, Darius, Kartell, Zimmer, Cezaire, Crayon, Dabeull, Lossapardo — alongside acclaimed collaborators such as Reva De Vito, Darianna Everett, Ayelle, Leven Kali, Panama, Chester Watson, Sølv, and more. From “Vibin’ Out” to “Espoir”, through “Wildflowers” and “I Can’t Stop”, this compilation captures the very essence of Roche’s sound: warm, heartfelt, and endlessly groovy. A pure analog listening experience designed for true music lovers and vinyl collectors — every groove telling the story of a decade of passion and sound.

Classic album by Dinah Washington, one of America's most versatile singers of the 1950's who moved effortlessly between pop to gospel to jazz to blues. She teamed with the great Quincy Jones , For Those in Love is an essential album for any collection. Dinah Washington (1924-1963) recorded many albums for EmArcy Records and during the period 1954 to 1961 she worked with Quincy Jones, including the release presented here, For Those in Love, which was the first of their recorded collaborations. Featuring three brilliant small group sessions, taped on three consecutive days in March of 1955, the arrangements were by Jones, who also conducted the band and played a trumpet solo on 'Ask a Woman Who Knows'. The group of heavyweight players includes such stars as Clark Terry, Jimmy Cleveland, Paul Quinichette, Cecil Payne, Wynton Kelly, and Jimmy Cobb.

2026 Repress!

(Long awaited 2026 repress, Black vinyl) While the original, 2013 version of Robert and Lyric Hood's bittersweet banger had already managed to leave tear stains on dancefloors across the globe, the 2014-released “Re-Plant” of 'Never Grow Old' has undeniably lived up to its name. As likely to be rolled out by Carl Cox as Ricardo Villalobos, 'Never Grow Old''s quickening synth stabs and piercing symbols wrap tenderly around a heart-wrenching vocal to make up a track that is both poignant and euphoric. It's the ultimate crying in the club track, the cheat code to getting crowds to embrace each other, and the track you'll probably want to ring your loved ones to tell them about, all wrapped into one.

Juju Love, one of the earliest tracks created by HIA, receives it's first release on vinyl. Side A of the EP has been given over exclusively to Juju Love, cut at 45rpm for maximum bass, fidelity and dynamic range.

Unearthed for HIA's celebrated live performance at Terraforma festival in 2022, Juju Love has become a favourite with audiences around the globe at HIA's extensive live shows in recent years.

Previously only available as a live recording on a limited promo cassette tape 'HIA Live From The Back Of Beyond' (1993) and more recently on the digital only 'Preform' release on Headphone records.

Combined with Speedlearn (Frontal Lobe) and W.H.Y on Side B, these three tracks together are taken from a particular moment in HIA's timeline.

Speedlearn (Frontal Lobe) the definitive version of this track, was released on HIA's debut 'Speedlearn EP'(1993). Inspired by an episode of the surreal 1960's cult tv series The Prisoner, in which Speedlearn - a subliminal television-based education program presented as a revolutionary fast-track method of learning - turns out to be a tool for mass thought control and indoctrination.

W.H.Y appeared on Ambient Dub Volume 2 on Beyond Records (1993) and Preform.

All three tracks have been remastered & cut for vinyl by Stefan Bekte (Pole) at Scape Mastering,

12" vinyl in black disco bag, initial pressing of 300 copies.

Ashley Tindall, AKA Skeptical, returns in peak form with Blimp EP — the fourth release on his Rubi Records imprint — delivering four meticulously crafted cuts of uncompromising drum & bass.

Opening with the title track, Blimp sets the tone with a deep, steppy wobbler that nods subtly to the title track from his second Rubi Records release, Capsize EP. All the signature Skeptical hallmarks are here: hypnotic, pared-back metronomic drums and shimmy-inducing, undulating subs that demand movement. Yet this time there's a noticeable shift — warm, underlying melodic pads bring an unexpected emotional depth. It's not dreamy, but it is more introspective than we're used to, showing another layer to his sonic palette.

So Good flips the script entirely. A dark, cinematic growler, it leans into ghosted vocal fragments and a futuristic film-noir aesthetic. Tense, claustrophobic rhythms and sinister textures create an unsettling atmosphere — tailor-made for those lights-out, pressure-heavy dancefloor moments.

Third comes the undeniable monster of the EP, Technology. Trademark "stink-face" Skeppiness is in full effect from the first bar. Disjointed sci-fi stabs and eerie pads collide with clinical, almost militaristic drum programming, all anchored by a devastatingly weighty bassline. Movement isn't optional — this is pure Skeptical, uncompromising and lethal.

Closing the EP is Bad Generation, a sound system–influenced weapon that finds Skeptical operating at his dubwise best. Fusing minimal D&B with heavyweight, roots-inspired rhythms is no easy task, but here it's executed with effortless authority. It's equally suited to shelling down a rave or getting lost in a deep, eyes-closed session.

Four tracks. Four distinct moods. 100% Skeptical.
Blimp EP confirms once again that his sound continues to evolve — sharper, deeper, and more refined with every release.

Support: Ben UFO, Joy Orbison, Gilles Peterson, dBridge, Break, DLR, Doc Scott, Mefjus, Kasra, Kings of the Rollers, Alix Perez, Jubei, Dub Phizix, Flight, Tasha, Loxy, Lens.