Long Island Sound For Long Island Sound, place and process are tightly linked. ‘Ivory’, their latest release on Signs Of Space, lands as both a closing statement and a continuation, pulling together a run of singles into something more complete. It’s direct where it needs to be, but still carries the introspective edge that’s become a defining part of their sound. That balance traces back to where they’re from. “We are Dublin boys, through and through,” they say. “It’s one of the few cities where you have the sea within a 30-minute drive in one direction, and the mountains 30 minutes the other way.” That contrast matters. The pace of the city, the access to space, and the proximity to nature all feed into how they think about music. “Dublin moves at a slower, more relaxed pace than some other capital cities,” they explain, “which probably feeds into the more introspective and ethereal side of our sound.” Their relationship with the city’s club culture runs just as deep. Long before they were playing sets of their own, they were finding ways onto the dancefloor. “Before we were 18, we used to sneak in the emergency exit of The Pod and hide in the toilets until enough people arrived that we wouldn’t stick out,” they recall. It’s the kind of experience that sticks. Not just for the story, but for what it represents, that early obsession with being inside the music at all costs. As things opened up, so did their reference points. The Twisted Pepper became a weekly fixture, then District 8 marked a shift. “When it opened in 2014, it felt like a real step-up for clubbing in Dublin.” More recently, Tengu has taken that role. “It’s our go-to spot now, and our favourite place to play, especially the open-to-close sets.” That long-form approach mirrors how they build tracks, letting ideas stretch out rather than forcing quick payoffs. That mindset sits right at the core of ‘Ivory’. The title track strips things back to fundamentals, focusing on groove and progression over obvious peaks. “It’s a no-frills roller,” they say. “We layered loads of SH101s on top of driving percussion, pushing and pulling to create moments of intensity and relief. No big chords, no big breaks, just floor-focused energy.” It’s a conscious move, one that leans into patience rather than immediate impact. Outside the studio, Dublin continues to shape their routine. A typical day might start with coffee at Brewlab before heading into a session, or shifting things outdoors entirely. “A cycle in Phoenix Park, a run along the Dodder, or a swim at The Forty Foot if we’re brave enough.” That mix of structure and spontaneity carries into the music, giving it a sense of movement without feeling rushed. The same applies to how they experience the city socially. There’s a clear affection for the smaller details. “We always recommend J. O’Connell’s,” they say. “It’s the perfect Irish pub, calm atmosphere, great Guinness, and barmen who will lovingly slag you.” It’s not about scale, it’s about feeling. The same thinking runs through their approach to production and performance. Food spots get the same treatment, practical, specific, and rooted in routine. Bunsen for simplicity done right. Rialto Malaysian for a proper spice bag. Takara, when you’re willing to queue. Gaillot et Gray when pizza’s the call. These aren’t throwaway mentions; they’re part of the rhythm of the city as they experience it. Zoom out slightly, and you start to see how Dublin itself has shifted. “The city has become more vibrant in recent years,” they note, pointing to pedestrianised areas like Drury Street and Capel Street. “On summer evenings, there’s a party atmosphere that’s hard to beat.” It’s a different kind of energy, one that exists outside the club but still feeds into it. Even so, there’s a sense that Dublin is often misunderstood from the outside. “People think it rains all the time,” they joke. “It only rains most of the time.” More seriously, they point out how much gets overlooked. “People think it’s just Temple Bar and pubs, but there’s so much nature within a stone’s throw.” That duality, city and escape, noise and space, sits quietly underneath their music. Community plays its part too, even if it’s not always directly musical. They point to photographer Brian Lincoln as someone capturing something real about Ireland right now. “His work shows the country honestly, with a human feel.” That kind of perspective, grounded, observational, feeds into how they see their own output. Ask them what Dublin sounds like at 3am and the answer stays local. “Shackwards by Sugaboo.” It’s a nod to the current moment, but also to the idea that scenes are always evolving from within. And when the night ends, it ends simply. “A bag of chips from a chipper and avoiding an afterparty.” No need to stretch it out. No need to force anything extra. That same restraint is what makes ‘Ivory’ land the way it does. It doesn’t try to do everything at once. It holds its focus, builds its energy gradually, and trusts that the listener will meet it there. A closing chapter for this run on Signs Of Space, but also a clear marker of where Long Island Sound sit right now, grounded in Dublin, shaped by experience, and still refining the space between introspection and the dancefloor. Long Island Sound https://www.instagram.com/longislandsound_sos https://open.spotify.com/artist/3pjD8ZnuS0MDfx5nVGDDws https://soundcloud.com/longislandsoundeire

Gabriel Evoke Gabriel Evoke’s music has always carried a sense of space. There’s a clarity to his grooves, a patience in how his tracks unfold, and a subtle connection to something beyond the club. With the release of his ‘Son Of Mali’ EP on Zero Gravity - the world’s first 100% Dolby Atmos Record label, that identity sharpens again, but to understand where it comes from, you have to look beyond the dancefloor and into the environment he’s built his life around. “I’m at my studio, in Brazil,” he says, speaking from Atibaia, the city he now calls home again after years moving between London, Sydney, Barcelona and São Paulo. The decision to return wasn’t accidental. “I now reside where I’ve lived most of my life, where I feel at home, close to my family and friends.” That sense of grounding runs through everything he does, both personally and musically. In the studio Atibaia itself plays a quiet but important role. It’s not a sprawling metropolis, but it carries its own history and identity. “It was an important centre of nightlife,” he explains, recalling the early 2000s when clubs like Baccio, Bella and Haxágono drew crowds from across the region. Those early experiences planted the seed, but the real turning point came just outside the city limits. “From 2002 onwards, I started attending various Psytrance parties outside my city,” he says. “It was around that time that I started organising my first raves in Atibaia.” That shift from participant to organiser gave him a deeper understanding of how music functions in a physical space. It wasn’t just about playing tracks; it was about shaping an experience. Still, when it came to fully understanding electronic music, São Paulo was the place that changed everything. “São Paulo was the city where I could truly experience electronic music,” he says. “The club that still gives me the best nights is D-Edge.” Alongside it, venues like Manga Rosa, Clash, Pacha and Industria helped shape his perspective, exposing him to different sounds, systems and ways of building energy across a night. Industria, 2013 That contrast between smaller city life and big city intensity continues to define his routine. Back in Atibaia, the pace shifts. “I feel privileged to live in a city surrounded by nature; it certainly brings me peace and tranquillity to my routine.” That balance between calm and intensity feeds directly into his sound. “What I bring most to my music is nature, the light atmosphere of a small town, the intimate ambience where many recognise themselves, the past meeting the present.” It’s a subtle influence, but you can hear it in the way his tracks move. They don’t rush. They evolve. They create space for the listener rather than forcing a reaction. Outside the studio, that connection to the environment continues through daily habits. “I also really enjoy sports; I go to the gym at a club near my house every day, and I also practice Jiu-Jitsu a few times a week.” It’s a routine that keeps him grounded, physically and mentally, and that discipline mirrors the precision in his productions. When it comes to social spaces, his recommendations lean towards places that prioritise atmosphere over spectacle. In São Paulo, Starlene stands out. “It’s the listening bar that I recommend most,” he says. “A really cool place, with great drinks, guest DJs, and great pizzas.” It’s the kind of venue where music is experienced rather than consumed, a detail that says a lot about his own approach. Food and environment carry the same weight. “There’s a restaurant called Jangada, near Atibaia, that I really like,” he adds. “The atmosphere is very cosy, with sofas, ambient lighting, and a very appropriate selection of electronic music. The owner is a DJ, which guarantees a perfect soundtrack.” Even here, the focus returns to sound and setting working together. Tribe, 2007 Within Atibaia itself, places like Pouso de Asa Delta capture a different kind of energy. “It’s a place where free flight athletes land with their paragliders and hang gliders,” he explains. “Atibaia is a city very focused on sports, and this is one of our most iconic landmarks.” It’s another reminder of the physicality that underpins his music, movement, flow, and the relationship between body and space. Despite its proximity to São Paulo, Atibaia is often misunderstood. “Some believe it might have few resources,” he says. “However, it’s very close to São Paulo, less than an hour’s drive away, which keeps the city highly connected to everything happening in a developed city.” That duality, being close to the centre while maintaining distance from it, mirrors the balance in his productions. Locally, the scene has shifted in recent years. “Unfortunately, Atibaia lacks electronic music hubs; the pandemic drove many promoters out of the market.” Rather than waiting for something to return, he’s built his own platform. “Today, I have my own hub, and I produce events related to my record label, Namata, and I also have a party called A Y R A.” It’s a continuation of that early instinct to create spaces rather than rely on them. D-Edge, São Paulo When asked what his city sounds like at 3am, his answer leans into nostalgia. “Safri Duo – ‘Played-A-Live (The Bongo Song)’,” he says. “It really marked my adolescence, when at 14 years old I started enjoying my first parties in Atibaia.” It’s a reminder that those early moments often leave the deepest imprint. These days, though, his nights tend to end differently. “At home, away from after parties,” he laughs. It’s a simple answer, but it reflects a broader shift, from chasing the night to shaping it on his own terms. For anyone landing in the region with no plan, the recommendation is clear. “Go to D-Edge, São Paulo.” It’s still the place where everything connects, where sound, space and energy come together in a way that continues to inspire. That same balance runs through ‘Son Of Mali’. Built on rhythmic precision, groove and atmosphere, the EP feels like a natural extension of everything Evoke describes. Rooted in environment, shaped by experience, and driven by a clear understanding of what makes people move, not just physically, but emotionally too. Gabriel Evoke Instagram - Soundcloud - Spotify Zero Gravity Instagram - Soundcloud - Website

SEAMUS ‘Redeem’ doesn’t feel like a typical drum and bass record. It doesn’t rush to prove itself, and it doesn’t rely on impact alone to carry it. Instead, it unfolds with intention, balancing emotional songwriting with club functionality in a way that feels considered rather than calculated. For SEAMUS, that balance wasn’t the starting point, it was something that came later. “In the moment we were really focused on using the song to paint a picture of what we were all feeling emotionally on the day,” he explains. “Once the song had a strong feeling, that’s when we focused a lot of time into how the track hits the dancefloor.” That order matters. Feeling first, function second. It’s a simple approach, but one that shapes the entire record. The environment it came from played a huge role in that process. Written during a songwriting camp hosted by SEAMUS in Orkney, the track carries a sense of space that feels tied directly to its surroundings. “I’ve spent a long time studying how the moment we sit in influences how we write songs,” he says. “Hosting camps in my home, Orkney, is an honour because it lets me showcase it to the world in a unique way and songwriters can come here to relax and do what they do best, write songs.” That sense of ease feeds into the music. Nothing feels forced. Nothing feels overworked. It’s a reflection of a process built around trust, something that becomes especially clear when working with HALLI. “We’ve been working together for over three years now, so we really know each other’s process,” he says. “We have a strong trust in each other’s ability when it comes to writing, producing and singing.” That familiarity allows the vocal to sit exactly where it needs to, present, clear and central without ever feeling crowded. Interestingly, the restraint that defines the track wasn’t something they actively chased. “I don’t think that was something that was on our minds,” he admits. “It sounds like it’s something that naturally woven into the song.” That natural quality is what gives ‘Redeem’ its identity. It doesn’t try to do too much. It simply does what it needs to do, and does it well. Coming from outside the drum and bass space, SEAMUS brings a different set of instincts into the genre. Those influences show up most clearly in how the vocal is treated. “I don’t get the chance to make a lot of DnB, so I think my influences show through the vocal production the most,” he says. “I make a lot of RnB records with artists that like having the vocals as the core of their music.” That crossover approach gives the track its accessibility without diluting its depth. The collaboration itself reflects that same sense of balance. With three artists from different backgrounds, the potential for things to become overcrowded is always there, but the opposite happens. “It’s important to lay a foundation at the start of a session where everyone knows they are all equal parts of the process,” he explains. “By having that, we all play our part in the song.” It’s less about dividing roles and more about creating a shared understanding of what the track needs. That perspective has been shaped by experience across different scenes and cultures. From Panama to South Korea, SEAMUS has spent time understanding how music connects in different environments, and that’s left a mark on how he works. “When you work with vastly different people in vastly different cultures you definitely pick up unique practices and nuanced sounds,” he says. “For example, I commonly use west coast or G-funk drums and elements in most of my productions because that’s what I was making and testing on South Korean crowds.” It’s a reminder that influence doesn’t always come from genre, it often comes from experience. At its core, though, his sound remains consistent. “Tight hard hitting drums, melodic airy vocals, smooth and catchy synth melodies,” is how he describes it. It’s a simple breakdown, but one that captures the essence of what ‘Redeem’ delivers. Releasing through Make Your Era adds another layer to that moment. The label has built a reputation for supporting artists at key stages in their development, and for SEAMUS, that support matters. “I’m really grateful to the team for believing in us and the track,” he says. “It’s exciting to release the song with that seal of approval.” It’s not just about the platform, it’s about alignment. The songwriting camp itself has become a defining part of that process. Not just as a setting, but as a philosophy. “The camps have taught me that the less pressure you put on yourself when creating, the better,” he says. “It’s so easy to get caught up in who’s in the room with you and how good the song should perform when it’s done.” Letting go of that pressure opens things up, allowing ideas to develop naturally rather than being forced into place. That mindset feeds directly into how ‘Redeem’ balances its more commercial structure with its roots in drum and bass. “With experience, I’ve learned what I like and how to showcase what my collaborators like with that,” he explains. “Everyone on this song is from a different country with different musical tastes and influences, and how that’s blended together speaks more about how comfortable we are with each other as creatives.” The structure becomes a tool rather than a limitation. Looking ahead, that openness to collaboration feels like the next step. “I’m really focusing on trying to capture my collaborators’ influences and sound when I’m producing with them,” he says. “I’m also keen to do a bit more DnB as it’s not really something I’ve touched before producing ‘Redeem’.” It’s less about locking into a direction and more about continuing to explore. And that’s exactly what ‘Redeem’ represents. Not a fixed point, but a moment of alignment. Different backgrounds, different influences, all meeting in the middle to create something that feels both personal and widely accessible. A track built on feeling first, and everything else following naturally behind. SEAMUS Instagram – Spotify - SoundCloud Make Your Era Beatport – Instagram – TikTok

Exile Exile has never struggled with complexity. Years in the studio, across different aliases and roles, have built a reputation around precision, detail and control. But ‘Wishing & Waiting’, his latest collaboration with Lupole and Harry Shotta on Make Your Era, leans in a different direction. It’s more open, more melodic, and more focused on feeling than force. A track that prioritises songwriting as much as sound design, and in doing so, reveals a shift in mindset that’s been building quietly over time. “It felt like a song early on,” he explains. “When we put the chords in, the vocal idea started forming. It made more sense to build around that vibe rather than force a big heavy drop.” That decision shapes everything that follows. Instead of building towards impact in the traditional drum and bass sense, the track moves with a different kind of intent, allowing melody, space and narrative to lead. That instinct doesn’t come out of nowhere. There’s a clear thread back to the early 2000s, a period that continues to inform how Exile hears music. “That era’s always been a foundation for me,” he says. “The chords, space, and vocal placement all come from that influence.” It’s not about recreating nostalgia, but about understanding what made those records connect in the first place and translating that into a modern context. That balance between technical ability and emotional clarity is where Exile’s experience comes into play. It would be easy for a producer with his background to overwork a track like this, but ‘Wishing & Waiting’ does the opposite. It breathes. It leaves room. And that’s entirely deliberate. “It’s about restraint,” he says. “The technical side supports the idea, it shouldn’t take over it. If it feels right, I leave it.” The collaboration itself came together in a similarly natural way. “I sent Elro a bassline and drums to start, then we built it out together,” he says. “He’s quick and musical with ideas, I focus more on detail and structure. It balanced well.” That contrast between instinct and refinement gives the track its shape, allowing it to develop without losing focus. Bringing Harry Shotta into the mix was never really a question. “I’d just done a set with him and knew straight away,” Exile explains. “His tone cuts through and carries something more musical like this.” The vocal doesn’t shift the direction of the track, but it sharpens its purpose. It turns a strong instrumental into something more defined, more human. “It didn’t change direction, but it gave the track real identity and purpose.” That identity is what allows the record to move between spaces so easily. It works on radio, in clubs, and across festival systems without feeling like it’s trying to be all three at once. “Not forced, but definitely in mind,” he says. “I like music that works in multiple places. This one landed there naturally.” It’s less about targeting audiences and more about trusting that the right balance will carry through. In a landscape where much of drum and bass has leaned into stripped-back, high-impact frameworks, ‘Wishing & Waiting’ stands apart by doing something slightly different. Not louder, not heavier, but more open. “There’s a lot of stripped-back DnB around, so I wanted this to feel more open and emotional,” he says. “Space makes things hit differently. It also gives more for the vocalist to work with.” It’s a subtle shift, but one that changes how the track is experienced. That idea of doing less has become central to how Exile approaches music now. After years of exploring different styles and techniques, the challenge has changed. “I’ve produced most styles, but stripping back is the real challenge,” he says. “Now it’s about doing less, better.” It’s a mindset that values intention over complexity, and one that comes through clearly in this release. Being part of the Make Your Era network has also played a role in shaping moments like this. “Massive,” he says when asked about its impact. “Being around the right people naturally leads to these collaborations.” It’s not just about opportunity, but about alignment, finding artists who approach music in a similar way and letting that guide the process. Within his wider catalogue, ‘Wishing & Waiting’ sits slightly to one side. “It’s one of the more musical tracks in my catalogue,” he admits. “There are still elements of my sound in there, especially in the bassline.” It feels like a natural extension rather than a departure, a different angle on the same foundation. And maybe that’s the real takeaway. Not a reinvention, but a refinement. A producer known for detail stepping back just enough to let the music speak more clearly. No unnecessary layers, no forced moments. Just groove, melody and space, working together in a way that feels effortless, even when you know it isn’t. Exile Instagram – Spotify – SoundCloud Make Your Era Beatport – Instagram – TikTok

Brighton Music Conference Brighton Music Conference has unveiled its second wave of names for the 2026 edition, with over 200 artists and speakers now confirmed ahead of the four-day event in May. View full programme on the BMC website: www.brightonmusicconference.co.uk. Returning to the Brighton seafront from May 20 to 23, the conference will once again take over multiple venues across the city, bringing together DJs, producers and industry professionals for a programme focused on education, networking and culture. Set against the backdrop of the beach and pier, the event continues to position itself as a key meeting point within the UK electronic music calendar. New additions include Alan Fitzpatrick, Denis Sulta, Greg Wilson and Irvine Welsh, alongside a wide range of artists and professionals spanning performance, production and the wider music business. The programme is split across four core areas. The wellbeing theatre returns with discussions around mental health, burnout and balance within the industry, alongside daily sessions such as yoga and sound baths. Elsewhere, the workshop space in partnership with pointblank Music School focuses on practical skills, covering production, DJ techniques and emerging technologies. The DJ and producer theatre centres on artist development, creative process and career progression, while the industry programme, delivered in collaboration with Skiddle, explores topics including publishing, PR, AI, contracts and rights management. Networking remains a core part of the event, with a full schedule of mixers, panels and parties across Brighton venues. With its growing lineup and expanded programme, Brighton Music Conference 2026 continues to build on its role as a space for connection, learning and development within electronic music. Earlybird tickets are on sale now for £175 + b/f via: https://www.brightonmusicconference.co.uk/buy-tickets. Brighton Music Conference https://www.facebook.com/BrightonMusicConference https://www.instagram.com/brightonmusicconference https://www.brightonmusicconference.co.uk/

Yann Pissenem Yann Pissenem, Owner, Founder and CEO of The Night League and Ushuaïa Entertainment, will receive the IMS Legends Award 2026 and take part in a headline keynote interview at IMS Ibiza 2026. The 17th edition of the summit returns to Cala Llonga from 22 to 24 April 2026, hosted at Mondrian Ibiza and Hyde Ibiza. Presented in partnership with AlphaTheta, IMS continues its focus on thought leadership across culture, education, industry and wellness within electronic music. Purchase Badges & Hotel Packages here. Pissenem stands as one of the most influential figures in global nightlife. Across more than three decades, he has reshaped Ibiza’s club landscape through landmark venues including Ushuaïa Ibiza, Hï Ibiza, [UNVRS] and the Ushuaïa Dubai Harbour Experience. Under his leadership, The Night League now welcomes over two million guests annually, setting a benchmark for scale and production within international club culture. At IMS Ibiza, Pissenem will sit down with IMS co-founder Pete Tong for a keynote conversation exploring his career, vision and the evolution of Ibiza as a global epicentre of electronic music. He will then be formally presented with the IMS Legends Award during a special dinner on Wednesday, 22 April. Reflecting on the honour, Pissenem described Ibiza as both home and inspiration, crediting the island’s spirit of creativity and freedom as central to his understanding of nightlife culture. He acknowledged the partners, artists, teams and wider industry network who have contributed to the growth of his venues, as well as the millions of guests who continue to choose their dancefloors each season. IMS organisers praised Pissenem’s transformative impact on the island, from early beach events to the launch of Ushuaïa, Hï Ibiza, and, most recently, [UNVRS]. They highlighted his continued ability to redefine expectations around scale, production and experience within club culture. The IMS Legends Award Dinner will take place on 22 April 2026 as part of the wider summit programme. A limited number of tickets will be made available, with attendees invited to register their interest in advance. IMS Ibiza 2026 runs from 22 to 24 April at Mondrian Ibiza and Hyde Ibiza in Cala Llonga, Santa Eulalia. IMS Ibiza Instagram LinkedIn Facebook

A powerful fusion of folk Punjabi soul and global club energy Indo Warehouse IG Anyasa IG || Lost Stories IG Stream Buy link Indo Warehouse proudly closes out an extraordinary year with ‘Patasa’, a landmark collaboration between two of India’s most influential electronic artists, Anyasa and Lost Stories, featuring the Punjabi folk vocals of Sarthak Kalyani. Their first-ever original collaboration, ‘Patasa’ feels unmistakably Indian yet globally club-ready. Its power lies in its restraint: signature Indo-inspired stabs and tribal percussion balanced by Sarthak Kalyani’s commanding vocal — a voice that anchors the track in soil and spirit. For Indo Warehouse, ‘Patasa’ represents a cultural milestone. Both Anyasa and Lost Stories have been at the forefront of India’s electronic movement for over a decade — shaping the sound of a generation and inspiring global audiences to look east for innovation and soul, while encouraging a wave of Indian producers and listeners to look inward for identity. Anchored by Sarthak Kalyani’s evocative Punjabi vocals, ‘Patasa’ channels festival energy while remaining true to Indo Warehouse’s signature aesthetic — deep, rhythmic, and culturally immersive. The collaboration folds regional roots, modern production, and diaspora-driven identity into a single, unified expression — a sound that resonates as strongly in Mumbai or Chandigarh as it does in Brooklyn or Ibiza. The result is a track that transcends geography and genre, inviting listeners into a shared space where movement, memory, and Indian identity collide on the dance floor. Kunal Merchant of Indo Warehouse: “Anyasa and Lost Stories have been paving the foundation for South Asian electronic music for quite some time. Bringing them together for their first original record is a huge moment for us! This record represents the roots of our movement and celebrates where it's headed next. We're really proud of this record.” ‘Patasa’ lands just ahead of Indo Warehouse’s highly anticipated India tour this December, marking their biggest homecoming to date. Tour Dates:December 13 — Delhi NCR, DOT by GNH, GurugramDecember 19 — Hyderabad, Quake ArenaDecember 20 — Mumbai, DOME, SVP StadiumDecember 28 — Goa, Echo Arena

DJ HELL – The Godfather of Electroclash Reloaded The new album NEOCLASH is a manifesto for the aesthetic relevance of electronic club music. DJ Hell shows that electroclash in 2025 can sound innovative and visionary rather than nostalgic. NEOCLASH bridges the past and present of electronic dance culture and club music. DJ Hell is more than just a musician – he is a cultural force that connects club culture with fashion and art. Since the 1980s, Hell has not only been a style-defining figure with groundbreaking influence within the electronic music scene, but has also become a key figure and icon in the field of tension between subculture, pop and high culture over the last few decades. DJ Hell represents a queer, decadent, intellectual, and avant-garde scene that consciously distances itself from the mainstream. In his work, he often deals with themes such as gender, sexuality, subculture, and provocation. Back in the 1990s, he laid the foundation for what would later become known as electroclash with his label International Deejay Gigolo Records—a hybrid of 1980s new wave, punk attitude, techno, electro, and post-ironic camp aesthetics. Hell was not only part of this movement, but also its actual conceptualizer and namesake. In this respect, his role can be compared to that of an artistic curator who brings together and transforms stylistic, visual, and ideological trends. DJ Hell is thus not only a producer, but also an artistic and aesthetic thinker whose work possesses a semiotic depth that places him in the canon of contemporary cultural production. His productions are not just tracks, but discourses in the medium of sound. DJ Hell attaches great importance to visual presentation, with artistically designed album covers and music videos. He has collaborated with renowned artists and photographers such as Wolfgang Tillmans, Ellen von Unwerth, and Tom of Finland, as well as fashion designers such as Hugo Boss, Vivienne Westwood, and Rick Owens. Hell has been involved in fashion shows, often providing the soundtracks and performing. His personal style—a mixture of dandy, punk, and futurism—has made him a style icon in the fashion world. NEOCLASH is DJ Hell's new work. The electroclash of the early 2000s is reconstructed here, its characteristic codes extracted and transformed into a modern, reflective form. NEOCLASH is a cultural experiment—music as a medium for reflection, for structuring space and time, and as a vehicle for exploring the tensions between technology, the body, and perception. The new album is a manifesto for the aesthetic relevance of electronic club music, with strong old-school references in a new understanding. DJ Hell, aka Helmut Josef Geier, presents a contemporary reinterpretation of the electroclash genre. His label, International Deejay Gigolo Records, set the pace 25 years ago – and Hell gave his name to a movement. Godfather of Electroclash reloaded. After many milestones, DJ Hell returns to his roots with NEOCLASH – and shows that Electroclash in 2025 can sound innovative and visionary rather than nostalgic. NEOCLASH is a bridge between the past and present in electronic dance culture and club music. Italo disco, new wave, indie dance, disco, pop, Chicago house, acid, Detroit techno, and avant-garde music are fused here into a new interpretation. The limited edition 2xLP comes in transparent red and crystal clear. Artist(s): DJ Hell, Donner Summer, Joyce Muniz Title: Neoclash Record Label: International Deejay Gigolo Records Release Date: 12th December 2025 (Digital Release) 16th January 2025 (Vinyl Release) Tracklist: 1) Bang The Box 2) Is There No Way Back? 3) Planet Earth 4) W.T.F. 5) Medussa feat. Donner Summer 6) This Is Important 7) Purple People 8) Why feat. Joyce Muniz 9) Outline 10) The Rain 11) Nation Of House 12) N*1 Follow: INSTAGRAM SOUNDCLOUD

Rhadoo, Petre Inspirescu and Raresh at Club Guesthouse Bucharest’s iconic Club Guesthouse celebrates 15 years with a new documentary, If These Walls Could Talk, a film that traces the venue’s evolution from a hidden house party on Traian 42 to one of Europe’s most respected hubs for deep, hypnotic and long-form electronic music. The documentary blends intimate interviews with Cap, Herodot, Edward, Priku and architect Corvin Cristian with rare archive footage capturing the club’s quiet rise. Guesthouse’s journey has been defined by subtle transformation rather than spectacle. Each relocation preserved the same core values: marathon storytelling through sound, engineering-level attention to acoustics, and a community that comes not to be seen but to disappear into the flow. The film highlights the architectural and sonic craftsmanship behind its reputation, showing how the club became a symbol of purity in the Romanian minimal and deep-tech continuum. Ultimately, If These Walls Could Talk is a meditation on time, space and collective experience. It reminds us that Guesthouse grew into an institution not through hype but through consistency, intention and the kind of deep listening that has shaped a generation of dancers and artists.

Devin Wild- Press Photo Devin Wild released his new EP "Among The Noise", released on SCANTRAXX. The EP signals a bold shift in his sound, moving from accessible melodies to a darker, more aggressive, and underground-driven style. The EP’s sound is intense and raw: the cinematic opening of "Understanding (Intro) "sets the tone, while "Chaos (Always Comes)" — featuring Nathalie Blue’s vocals — lays an emotive foundation with deep basslines, sharp kicks, and palpable energy. "Dance With Madness" and "Hit Back" push the project into industrial-techno territories, balancing tension and dynamics with precision. "Silent (Left The System)" continues the descent into cold, mechanical atmospheres, while the outro "Among The Noise (Outro)" leaves listeners in a state of suspense and anticipation. Fans familiar with Devin Wild’s melodic work may be surprised: this time, the Dutch artist opts for harsher, more conceptual expressions. The collaboration with Nathalie Blue on "Chaos (Always Comes)" is the only vocal feature, highlighting the contrast with the remaining instrumental tracks, all charged with raw and experimental energy. With "Among The Noise", Devin Wild proves once again why he remains a leading figure in the avant-garde hard dance scene: fearless, visionary, and redefining the boundaries of the genre. Devin Wild Instagram / Spotify / Soundcloud / YouTube

Ilona Maras Clif Jack's record label, MJA the Vision, welcomes the return of Ilona Maras, who delivers a three-track techno EP. Ilona Maras is fresh from her recent EP on The YellowHeads' Reload Black, adding to her impressive run of releases in 2025, which also includes other imprints such as Alan Fitzpatrick's We Are The Brave and Victor Ruiz's VOLTA. This EP is another trademark release by Ilona Maras, who blends timeless techno elements with modern sound design to create dynamic tracks that ooze dance floor appeal. Living in Switzerland, Ilona Maras is a resident DJ at the world-famous Hive Club in Zurich, but she is also a headline artist playing regular international shows. The title track, "Stop Turn" has a juddering bassline underscoring acid pulses and euphoric vocal chants, before the hypnotic vocal hook takes control. Next up, "Rovo" is an industrial track with raw percussion and a swelling bassline intertwined with buzzing synth tones and urban vocals. "Concentrate" closes the release with the ominous tones of the namesake vocal layered over gritty percussion and flickers of bass. Buy the release here.

Vicius (BR) - Press Photo Brazilian producer Vicius (BR) debuts with his first full-length album, "I Dream a Dream", a flowing collection of ambient textures, house grooves, and techno pulses. From the ethereal opening of "Intro", with light synths and airy pads, to the suspended close of "Fever Dream [Outro Version]" featuring Zanna (BR), the album moves between weightless reflection and subtle rhythmic tension. On "Memory or Dream", the collaboration with Zanna (BR), delicate memories meet a trace of unease, while "Space Dust" and "Deformation" explore strange, almost alien shapes of sound. "Neon Lights" ignites with glowing synths and house grooves that balance nostalgia and modernity, while "Emerald City" with Elisa Audi combines cinematic textures with emotional depth, evoking neon reflections and blurred recollections. A rising figure in the Brazilian electronic scene, Vicius (BR) is known for crafting music that feels alive, where every detail demands attention and rewards the listener. "I Dream a Dream" invites you to follow each note and rhythm, drifting through light and shadow, reflection and motion—a journey that lingers long after the music ends. Vicius (BR) Instagram / Spotify / Soundcloud / YouTube