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Do you like discooo ! Lexy teams up with Czech/Australian Team Shades Of Gray (BEEF Records, OM Records, Boxer) for a real house Moenster EP.

Brand new in those deeper days, 'DUB 2 DUST RECORDS' is going to start their vinyl-label, releasing electronic dance music with a special
focus on the various colours of deep Dub-Techno and "Dub" inspired Tech-House.

As artists and remixers Marko Fürstenberg, Gabriel Le Mar, Frank Leicher, Quantec, Luke Hess and youANDme will light a match this year for 'DUB 2 DUST' reflecting their passion and respect for the needs of a Dub head on the floor.

The dub-feeling is clearly the inspiration behind the general flavor of the DUB2DUST-Sound and will demonstrate innovative efforts to offer interesting hybrids of techno/house music. 'DUB 2 DUST RECORDS' is operated from Gabriel Le Mar & Carsten Schorr, and already based in Frankfurt am Main, Germany.

Your dancing shoes aren´t smoking enough yet! Well then you can
now apply some extra yards with the Traumtanzen Bonus Miles
Edition to get rewarded by Raumakustik and einsauszwei (Ellie The Cat
/ Thirty5 Records). These two guys gained big attention in the past
weeks with their great & deep free downloadable edits of some
famous pop songs. And now they had their hands on Traumtanzen.
Second Bonus is a deep & melancholic piano track called "Kathleen".
Deine Tanzschuhe rauchen noch nicht genug! Dann bewirb Dich jetzt
für ein paar extra Kilometer mit der Traumtanzen Bonus Miles Edition
und du wirst von Raumakustik und einsauszwei (Ellie The Cat / Thirty5
Records) belohnt. Die zwei Jungs haben mit ihren freien Downloads
von fantastischen deepen Edits bekannter Popsongs für einiges
positives Aufsehen gesorgt und sich nun kurzerhand mal an
Traumtanzen vergriffen. Die zweite Belohnung heisst "Kathleen" - ein
sehr melancholischer Pianotrack.

After more or less owning 2011 with a surprise album, a collaboration with urban crooner Colonel Abrams, an ahead-of-the-game reissue of Marc Kinchen and the all-conquering "Here's Your Trance Now Dance", FXHE don Omar S kicks off a new year with Wayne County Hills Cops Pt 2 (where, we ask, was Part 1?), a hook-up with the mysterious OB IGNITT. The eponymous A-Side is characterised by the kind of glistening synths last seen on "Here's Your Trance...", with a rugged analogue bass line giving the track with the requisite bump. A tired cliche it may be, but this could easily soundtrack an 80s cop movie: clearly Omar has this in mind given the 12"'s title and the fact the record's centre label features a doctored image of Eddie Murphy from Beverly Hills Cop! On the flip, Omar S provides his own remix, drowning the synths in dubby textures and showering them with shuffling hats for a more heads-down take. Another killer 12" - business as usual at FXHE, then.

Raumakustik should be a notion - at the latest after their successful
single "Glaub Mir Doch" this year. The duo from Dresden, Germany
was always on the go in 2011 with several releases and remixes for
Labels like Deich Records, Klang Gymnastik or Keimzelle. And right
before 2012 they strike back with "Traumtanzen". This is pure
dancefloor pleasure and already approved within the last months. To
complete the label debut of Grain Audio Mister Marcapasos (Toka
Beatz, Housesession, Dusted Decks) delivers a real house remix to get
you back to the good old days.

Noir Music comes up again with a deep & funky piece from Kolombo (Azuli, Kittball, BluFin, SK Supreme) combined with a hot remix pack by Daniel Bortz (Suol, Be Chosen, Souvenir Music),
Downtown Party Network ( Eskimo, Loud East, Bear Funk) and Fusty Delights (Different, Wall Of Sound). Soulful Deep House Music as its best.

After several releases on labels like Bar25, Microtonal, Dantze and Etui Records End Of Tape finally hit the box with their Tape Jam EP.

These guys don´t talk with each other, they just do music and that´s the best. The result of this gone wrong musician friendship (but tight producer team at the same time) you can celebrate with this EP.

This is no snow from yesterday, it´s the musical climatic change of tomorrow - without any opportunity. Played & supported by Paco Osuna, Anderson Noise, Lexy, Electric Rescue, Beatamines, Gabriel Ananda, Piemont, Carlo Lio, Markus Kavka and many more.

April 1, 1996, saw Tina Turner release her ninth studio album, Wildest Dreams. It peaked at #26 in the Billboard R&B Chart, #4 in the UK Album Chart, and secured numerous Top 5 placements across European charts, earning double platinum status in the UK and Europe. The album featured the hit song "Goldeneye", the James Bond theme tune which saw the franchise relaunch with Pierce Brosnan in the starring role, the song was penned by U2’s Bono and The Edge. Five further singles were also released, including collabs with Sting and Barry White.

The set will be rounded out with Live In Amsterdam / Wildest Dreams Tour, originally released on Eagle Rock DVD, with newly remastered audio and on Blu-ray for the first time, and with a new booklet featuring new liner notes by UK music writer and former Record Collector editor, Jason Draper.

The 2LP 140g vinyl will feature the remastered album, now spread across two vinyl for superior sound.

The Bobby Hamilton Quintet Unlimited's Dream Queen has been captivating jazz collectors ever since it was first released in 1972. Its meditations on spiritual jazz are profound as they are moving with the deft touch of band-leader Bobby Hamilton on keyboards weaving his way through subtle textures of sound. The backing band is an equally formidable force with each adding to the melting pot as it builds into a frenzy on third track "In the Mouth of the Beast".

Rave At Your Fictional Borders is not beyond borders. The band simply denies any notion thereof. Driven by a sense of community, it defines human existence as one bio-organism with planet Earth. Now comprising members Dave De Rose, Marius Mathiszik, and Salim Akki, this incarnation of Rave At Your Fictional Borders first released the 'Entanglement' and 'Utopia' tracks in March 2025. Analogue Nomadism is the project's first album release. Recorded in Morocco and then co-produced and mixed by Dan Nicholls, it is an album of dizzying, trance-inducing scope. Rave music stripped of all external signifiers. Repetition, noise, krautrock, avant-garde sensibilities. This is a search for a groove that both connects and interlocks. The soul of improvisation and exploration runs through all seven pieces on Analogue Nomadism. Genres are referenced and transcended. The open-ended is perpetually embraced.

It is neither night nor day, but there is a half-light all the time. What used to be disconcerting is now not alien anymore. The sky boasts a faint light. Certain shapes are laid out, but get changed through communal ritual. Analogue Nomadism is the music of a feeling of community. It builds and breaks down. It is accepting of the psychedelic standards of the groove. Transportative and vertiginous. Endless.

Fifteen years after their first album "Time for a Change", and drawing on the experience of two others ("Elephanz" 2017, and "Rien de personnel" 2023), ELEPHANZ now returns with a fourth album that carries the scent of first loves, the kind you sing from the heart with your hands gripping a guitar.

"Love. Hurt. Repeat." tells, across ten songs, the story of a return to oneself, like coming home after years spent roaming the world, only to realize that everything you needed to understand yourself was already there at the starting line.

To help you understand what this new album makes me feel, I'd like to tell you about my first meeting with Jon and Max in 2009, when I became the band's bassist. Sixteen years ago, I discovered these two young men and set off in their family Kangoo van on my very first tour.

Through our early rehearsals around the piano of their childhood, I discovered their love for pop music in all its breadth, always in search of harmonies and melodies that touch the heart in the simplest way and gently ease your sorrows along the way. With them, I learned to appreciate the mainstream hits I had previously dismissed on principle, and I discovered the demanding art of melody as I listened to them sing about love and friendship through unforgettable catchphrases.

Listening today to some of the songs from their new album, I think back to those two young men with a big-city rock look, shut away in the living room of their family home, talking only about leaving that dull countryside behind to live the big life in the capital (Streets of Rage). What I once took for a kind of revenge against the hostile environment of their adolescence was in fact an almost vital need to find their place among others, to feel understood in order to feel at ease in their own skin.

Today, I find them again with the same guitar and the same inexpensive Juno as back then, but with the confidence shaped by years of concerts, writing, studio encounters, and all kinds of experimentation. The music of this fourth album has never been so close to that of their earliest days, but their voices have been set free. They no longer sing about who they dreamed of becoming, but about who they have always been, their most distant concerns, sometimes even their darkest ones, yet always in search of the light.

It is as if ELEPHANZ had to travel all the way around the world to come face to face with themselves again. There is no longer any shame in being who you are, and it is even the best way to understand yourself, to exist and to heal. To heal from grief and heartbreak, to understand the child you once were and the one who carried them (Mother), to forgive yourself and finally learn to love yourself.

That is what makes this record as sensitive as it is powerful and strikingly truthful. It was written and recorded like a cry, live, in just a few weeks, using the instruments of their beginnings: sharp bass and drums, powerful guitars, and synthesizers that are at times soaring, at times carriers of liberating melodies. The art of ballads remains, as does that of universal pop songs.

There is a beautiful urgency here, the urgency of finding oneself again in order to understand oneself through both pain and beauty, and "Love. Hurt. Repeat." is its most perfect expression.

As one of the foundational artists of Flipsight, it is only fitting that ColorJaxx gives the first major 2 x 12" gatefold statement on the label. The debut album 'In Between' of the Belgian producer gives a full overview of his trademark deep grooves with a re-invention of his club sound.

The first record is your invitation to the beach. The A-side kicks off with the ambient "Playamer", setting a scene of salt air and warm breeze. The shoreline waves combine with an electric piano groove to "Out The Door". This is where a slick trumpet gets the parole and cuts through the atmosphere, signalling to the dancefloor. "Never Enough" serves as a spiritual successor of his first EP on the label "Tales of never": shimmering guitar samples, a warm, everlasting groove, and that unmistakable "ColorJaxx" swing that we fell in love with initially.

The B-side is where Jordy catches the first hints of Spring with "Just Around" by blending uplifting trumpets and sax melodies with a fresh forward-moving baseline. "Higher" elevates the mood further with smooth rhodes keys and a jazzy piano lead. As the evening chill sets in, the first disc concludes with the literal end of the day: "The Beach Is Closed".

Time to grab the second wax out of your gatefold: leave the sand behind for the strobe light as this is where the maestro gets in club mode. "Back Then" serves as the bridge into "Discotheques," a heavy-hitting wink to the old-school Belgian club scene that shaped the underground of the early 2000's. This vibe created "Moving On," a sophisticated French-like house tune with Chris Farmer where the vocalist enters into a constant conversation with rhythmic elements, creating a versatile track that fits in any part of a DJ set.

The finale is reserved for heavy hitters: "This This" and "Disco Trouble" are pure, pumpy club rollers. Peak-time bangers designed for maximum impact, before the album dissolves into the hazy, cinematic outro of "Blurred Lines."

A personal record for Mike shaped by memory, places, and renewal. Walking the streets of his birthplace, St. Louis, Zito reconnects with the sounds, stories, and hard lessons that forged his signature blend of soul-driven blues and fearless storytelling. Thirteen years after Gone to Texas, this album feels like a defining moment, marking a new chapter for Mike, his family, and a life reclaimed in the city that started it all. The songs paint vivid snapshots of city life and personal reckoning, from late- night regret and self-awareness to raw portraits of neighbourhood survival and street-level truth. Tracks like "Downtown at Midnight" and "Grand Avenue" capture the grit, temptation, and consequences of the past with unflinching honesty, grounding the album in lived experience and emotional weight . Zito's writing is direct and cinematic, pairing tough reflection with compassion and hard-earned wisdom.

At its heart, Outside Or The Eastside is a celebration of second chances, an album dedicated to better days, family, friendship, love, and joy found in everyday moments. Life's unpredictable paths open doors you never expect, and for Mike Zito, this record embraces that truth with warmth, humour, and swagger. It's a record about choosing connection over chaos and moving forward with gratitude, purpose, and the volume turned up

Cathartic avant-rock, literate DIY folk & experimental composition exploring displacement, love, climate change, belonging & the places we call home - RIYL Jim O’Rourke, Richard Youngs, This Heat, Richard Dawson, Flying Nun. ‘Real Home’ is the new album by the Manchester-born, London-based artist Kiran Leonard. His sixth album proper (not including innumerable tour-only CD-Rs and short-run cassettes), since his precocious debut in 2013, ‘Real Home’ finds Leonard invigorated by inspiration and experience, making passionate, literate, and mercurial music that explores displacement, love, memory, climate change, connections to home and more. Encompassing songs recorded after moving to South London, ‘Real Home’ reflects on ideas of belonging and domesticity through folkloric, stream-of-consciousness songwriting. Across nine tracks, Leonard traces lived impressions of the household and the city, expressing sentiments of dislocation, alienation and stasis, but contentment too. Infusing the avant-rock effervescence, terraced dynamics and visionary lyricism of his music with what he defines as a greater sense of openness, Leonard is as versatile, fervent and imaginative as ever on ‘Real Home’, yet his music is somehow more intimate, affecting, and acutely expressive. Shaped by dual considerations of simplicity and formalism, ‘Real Home’ is by turns beautiful, allusive, and ruminative, an album on which Leonard considers what his songs have resembled in the past and what they mean now. In recent years, Leonard has crafted eloquent chamber music inspired by the likes of James Joyce and Clarice Lispector (‘Derevaun Seraun’), responded to contemporary politics and communication breakdown in the digital age (‘Western Culture’), and compiled solo works and ensemble recordings for a longform ode to Jonas Mekas and to one of Leonard’s enduring themes; home (‘Trespass On Foot’). On ‘Real Home’, Leonard reiterates this abiding thematic focus yet ascends to new, different heights, in music of cathartic delicacy and dissonance where all the myriad dimensions of his work to date seem to crystallize. There are sinuous songs about struggle and defying the pace of city life through drift and diversion (‘Pass Between Houses’), stirring songs of intense feeling and crescendo, described as a form of speculative detective fiction (‘Theatre for Change’). There are touching solo piano ballads (the title track), symbolic contentions with carbon capture and climate change (‘Utopia of Bog’), modes of experimental minimalism (‘Void Attentive’), and other profuse feats of compositional range, embroidered with wild tendrils of narrative and lyrical depth. A record to pore over, and get lost in. Exemplifying the vast aesthetic scope of Leonard’s music, lead single ‘My Love, Let’s Take The Stage Tonight’ is inspired by country lodestar Hank Williams, Russian poetry and a late period love poem by William Carlos Williams. Yet for Leonard, the song signals a sense of accessible materiality, and is the product of a more linear approach to writing songs: “My imitation of the great Hank Williams, in spirit if not in substance…This is one of the best efforts on Real Home at a song-as-object. Looking at it now I realise I was trying to write a song that made itself known as a song to the listener, and I wonder whether that’s crucial if you want a song to transcend its context. And that this is either accomplished through a total openness – by being inviting, by laying the tricks of the song out plain to see, as Williams and his many ghostwriters did so well – or by adopting a knowing aloofness, positioning oneself against the listener but letting it be known that that’s what it’s doing. In this song I try both, but mostly the former: as in, I wanted to write a song where every line follows on from the next.” Imbuing the endlessly elaborate and inventive qualities of his music with a newfound streak of candid, clear-cut melodicism, Leonard has reached a special place in his artistry, on a record that feels familial, and expresses closeness. Assembled with affiliates including Lauren Auder, Otto Willberg, Jasper Llewellyn (caroline), Tom Hardwick-Allan (Shovel Dance Collective), Magda McLean (caroline, The Umlauts), Alex Mckenzie (caroline, Shovel Dance Collective), Isabelle Thorn (Dear Laika) & more, the recording process had a significant influence on the subject matter of ‘Real Home’, in sessions defined by close-knit camaraderie and artistic eccentricity: “The theme of the home obviously recurs throughout the record; the album was mostly recorded in domestic spaces with friends, and the name of the album is Real Home. I like the qualifier ‘real’, like you’re getting past the cloak of the word and towards the thing-itself…also nearly all the percussion in this record was recorded on items from my dad’s shed (jam jars, sandpaper, blocks of wood, etc). Real home record!” ‘Real Home’, like anything by Kiran Leonard, is a record of dazzling multiplicity. Yet it’s a companionable prospect with a central premise; a collection of songs where listeners old and new can find a home. An album led by a scene; of Leonard standing at the threshold, ready to welcome you inside. “Exceptional songs that linger” - The Guardian // “An autodidact of amazing talent & energy” – Pitchfork // “A ridiculous amount of talent…confrontational, celebratory, provocative or perverse – he manages all of these emotions & more” - The Quietus /

- 2026 repress -

SHDW & Obscure Shape launch new label Mutual Rytm with powerful eight-track V/A "Federation Of Rytm I", featuring VIL & Cravo, Lars Huismann, Grindvik and more.

Favourites for many within today's modern techno landscape, Stuttgart-based pairing Marco Blasi and Luigi Urban, aka SHDW & Obscure Shape, continue to grow their profile and position as artists leading the current new wave of techno. Having launched their first label From Another Mind in 2014, releasing material from themselves alongside remixes from the likes of Rodhad, James Ruskin and Dax J, early December welcomes the arrival of a new project and a second imprint to the fold, Mutual Rytm.

Showcasing a new dimension of techno and electronic music, celebrating originality and innovation by combining timeless cuts from the past with cutting edge sounds of the present and the future, the label will serve as a breeding ground for new artists alongside established talent and legends from the scene. Opening the imprint in style, the label bosses head up the first-ever release and the first V/A "Federation Of Rytm I" as they welcome a selection of new and established talent.

"Since the beginning of the global pandemic, we have been diving deep into the roots of our music and working on the aesthetics of our sound. That's when we realized that now is the right time to start a new project which differs from FAM, in both musical and artistic direction. The project will showcase a new dimension that aims to channel the authentic perspectives of both established and up-and-coming talents. With our new label, we want to give all artists the opportunity of musical freedom and expression of their versatility as producers. It is an honour to accompany the young artists on their careers, to see them grow and to help them in their development as musicians." - SHDW & Obscure Shape

The duos rolling opener "Conquest Of Paradise" quickly sets the tone and builds to reveal a classy and slick offering, combining rich stabs with tough drums and sharp hats, while Invexis keeps the tempo high as he weaves escalating synths and pacy kicks across "Elektronenwind". VIL & Cravo combine on the jacking and lively "Apolonia Loop", as eerie synths work amongst warped vocals across a tweaked out peak-time effort, before Alarico keeps the energy levels up throughout the relentless funk of "I'm Into You".

The second half of the package sees Lars Huismann enter the fray with the no-nonsense, snaking grooves of "Hyper Dub", with Nicolas Vogler's "Sauva Bite" fusing hypnotic tones with straight regimented claps for an intense yet playful ride through sounds and sonics. "Your Dry Lips" switches up the aesthetic as Grindvik journeys down a wormhole of metallic percussion and warping low-ends, before closing the show with authority via Stigmata's grinding and menacing offering "Gestas".

Mildred have announced their debut album Fenceline (out 24 April via Memorials of Distinction / Dog Day Records), they have also shared the Nick Roberts directed video for lead single ‘Fish Sticks’. Speaking of ‘Fish Sticks’ and the album, Mildred say: “Fish Sticks is a song of scenes from two worlds. Conversations with your boss. Acute workplace mediocrity. Riding home and eating fish sticks with your friends. For UK audiences, a fish stick is a fish finger, ideally Alaskan-caught cod. The song comes packaged in Fenceline, an album about conversations with old friends, little cousins, ceaseless piles of dust in your crumbling duplex, loves and theologians and their books. Fencelines mark two places but belong to neither. Neither nor, either or.”
Ahead of Fenceline, at the end of last year Mildred released their debut twin EPs mild and red, an insatiable collection of songs birthed before Mildred even knew they were a band. Arriving purposefully on the scene in that gentle, approachable Mildred way, the EPs picked up support from The Guardian, The Line of Best Fit, Uncut (‘We’re New Here’), The New Cue, Clash, DIY and more. Mildred is a band from Oakland, CA of four equal parts. They don’t have a lead singer, no one person writes the songs. The songs that make up Fenceline come together as a group with their genesis sprouting from any one of their members - Henry Easton Koehler (vocals, guitar), Jack Schrott (vocals, guitar), Matt Palmquist (vocals, bass, woodwinds) or Will Fortna (drums, production) - each time.

The songs are often wrestled from the lead writer by the other three, a lyric might have been mumbled absentmindedly for a few days before one of the other three grabs at it. Summed up neatly by Clash “imagine if Pavement went Americana and you’d be close”, Mildred make music that is pure and poetic, gently addictive and never overwrought. The lyrics for their songs are written largely alone and often draw from their own individual lives and experiences but there’s a shared something there. “It makes sense when common threads emerge” they say, “because we do things together a lot as friends: cook, laze about on a weekend, listen to an album, go walkabout, read, go see movies etc.
Strikingly literal or intriguingly oblique, Mildred have a remarkable way with lyrics that lodge themselves in your head softly but with such determination that they begin to feel like shimmering memories from your own life. Fenceline is a collection of songs that you want to hold close and delve into, and yet play to everyone you know.

"Music, like love, surprises you, makes your heart race, gives you new eyes with which to look at yourself in the mirror..." (Gigi Masin)
With an exclusive presentation by GIGI MASIN, UP TO 23 release their second album, now with an expanded three-member lineup following the permanent addition of ENRICO CONIGLIO over the founder members MARCO BUFFETTI and FRANCESCO FINCATO. The album draws inspiration from the 1980s, evoking atmospheres reminiscent of sci-fi soundtracks. Partly romantic, partly doom ambient, the work unfolds as a requiem for our planet. Liquid and enveloping atmospheres drift between melodic ambient territories — explored through processed guitars and synthesizers — and soberly electronic paths traveled to the rhythm of sequencer-driven patterns and programmed structures.
Dramatic and evocative moments emerge throughout this succession of varied yet perfectly integrated and fluid soundscapes, where sounds and progressions combine with ever-shifting solutions, following a descriptive thread that remains consistent as it continuously unravels through encompassing and emotionally engaging textures. AN APPLE A DAY YOU DIE ANYWAY is the perfect soundtrack to these dark times that UP TO 23 want to color in order to continue to hope, to live without having to survive.

Goosey makes his Crosstown Rebels debut with ‘Wrapped Up In Your Love’, featuring remixes from Daniel Steinberg. Out on 10th April 2026, the Barcelona-based artist lands on Damian Lazarus’ imprint for the first time with a vocal-driven house cut backed by two reworks from Berlin mainstay Steinberg.

A vocal-led slice of modern house lands on Crosstown Rebels as UK DJ/producer Goosey makes his label debut with ‘Wrapped Up In Your Love’ on 10th April, a record that channels a classic touch through a contemporary lens. Built around slick drums, warm basslines, and an unmistakably uplifting vocal hook, the track leans into the nature of the dancefloor while keeping its groove firmly locked from start to finish.

The original mix leads the release with bright, feel-good energy, while the ‘Club Dub’ strips things back to the track’s rhythmic core, letting the drums, bass, and melodic touches breathe deeper into the groove. Berlin house mainstay and Arms & Legs co-owner Daniel Steinberg then steps in on remix duties, delivering two reinterpretations. His main remix sharpens the original’s hook with skippy percussion and rich M1 organ stabs, while his ‘6AM’ remix stretches the elements into deeper territory built for after-hours dancefloors.

With Texas- sized defiance and drive, he's spent four decades flying the flag for his own brand of honky-tonk, outlaw country, western swing, and rockabilly. That signature sound has a name -- "Ameripolitan" -- and its originator is Watson himself: a singer, songwriter, guitarist, producer, actor, cultural architect, and rulebreaking traditionalist for the modern world, championing the traditions that fly in the face of the homogenous mainstream. With Unwanted, he fires another doublebarreled shotgun blast of country twang and honky- tonk bang fueled by the heartaches, hard- won lessons, and high- speed thrills of a life largely logged on the road. Singing with a booming voice that could cut through the chaos of a packed dancehall, Watson runs the show like a roots-rock ringleader. He salutes his vices on the galloping "Willie Waylon and Whiskey," reflects upon a lifetime of loss with the gorgeous ballad "If You Really Loved Me (Outlive Me)," and gets wistfully contemplative on "Life is Like a Song." Entirely written and produced by Watson, Unwanted is the sound of an Ameripolitan diehard with plenty of life left in the tank, speeding toward a horizon of his own making.

In the late 70s/early 80s, songwriter Wim van der Stelt composed an instrumental track that he later recorded during leftover studio time after a long recording session as a studio musician.

A special and strange piece of music that is difficult to name precisely in terms of style. You could think of it as a piece of soundtrack or library music, but it's not quite that either. It's just a beautifully written tune that hooks you as a listener. The melody sticks with – and grows on – you. He eventually sold the song for a flat fee and lost track of what had happened with it. In 1982 it was released as a 7” single on the Dutch record label "Friends Records".

For the A-side, the instrumental version was supplemented with English/French vocals and this version was entitled ‘Qui, Mon Amour’. Van der Stelt knew nothing about it until recently, and he has no idea who the singer is, who produced the vocal version or why the name Anoux was used. His original first recorded instrumental ended up on the B-side of this single and was titled 'The Unknown Song'. After the record was released, it failed to chart and was quickly forgotten. Until now! Regrooved is re-releasing the 7” with the original instrumental version as the a-side and the vocal on the back. Hopefully this great song with its melancholy melody now reaches the audience it deserves.
(The original release is credited under the name of the composer, his then-wife, B. Onderstal - for love reasons.)