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After the acclaimed Bar Mediterraneo, Massimo Di Lena and Lucio Aquilina return with People Of The Moon, expanding their sound into a space of creative freedom. The “People of the Moon” are not fictional, but a dimension within us all: a deeply personal yet universal force, an alternative mindset that emerges when freed from social constraints.



Under moonlight, the album explores anxieties and aspirations through groove and rhythm, expressed in Neapolitan, Arabic, English, Spanish, and Portuguese. It moves fluidly from Afro-Cuban influences in “Celavì” to Anatolian textures in “Ma Tu Che Bbuò”, blending highlife guitars with Nu Genea’s signature mandolins-new rhythms filtered through an Italian lens.



The first single “Sciallà” (2025) introduced this direction: dance as catharsis, not escape. The title track reflects a quiet resilience-persistent rather than triumphant. “Onenon”, featuring Tom Misch, channels Mediterranean brit-funk, while “Acelera”, with María José Llergo, evokes a flamenco-tinged pursuit of the unattainable.



“Puleza” recalls Nuova Napoli with driving energy and vintage synths, while “Shway Shway”, sung by Celinatique, captures the album’s orbital flow-measured, rich, and rhythmically complex, echoing afrobeat explorations with Tony Allen.



Melody remains central, as in “Carè”. Across ten tracks, falling, flying, and dancing merge in a suspended groove. Gabriel Prado’s “Ondas Do Mar” embodies this pull: a cyclical motion, like the tides—irresistible, transformative, and alive within us.

It's hard to explain an album when one listen is enough. All the more so with MaMaMa: there's no room to stay passive. Listening to his new album, EST, means immersing yourself in an atmosphere that's softly psychedelic, comforting and organic all at once. A dreamy, electronic pop that proves this Strasbourg-at-heart, Paris-by-adoption musician, arranger, singer, songwriter and producer never stops reinventing himself. After changing his name — formerly Petit Prince — and delivering two critically acclaimed albums ("MaMaMa-gnificent." / "Hooks you carry in your head for a long time" / "sumptuous arrangements"), Elliott Diener now offers an even more sincere record. Real songs in French, after two albums where production sometimes took up all the space: "when you make heavily produced music, once you strip away the layers of sound, there's no fruit left underneath. On EST, I don't need makeup for the songs to work," he admits.


That's what this new album is about: the song and the French language first, then the pleasure of sound. An album less concerned with talking about its own making, more inhabited, more embodied, within a contemporary folklore. With this new album, don't expect to be bored: EST is his best record yet.

No pretense


Entirely conceived in his studio in Pantin — a room of his own, at last — imagined as a space free of any daydream, open to every sonic landscape, MaMaMa offers a record that's both hazy and downy soft. Often composed very early in the morning, it has become nostalgic without being dark, melancholic without being sad, with a few lineages showing through: Flavien Berger, Moodoïd, Feu! Chatterton for the taste for words and unease, Mount Kimbie for the approach to sound and rhythm. Unsurprising, given that EST was finalized with the British duo's producer. Live, MaMaMa is preparing a show in the style of Nicolas Jaar or UTO. Hypnotic and immersive.

The most liberating thing is that EST is an album without pretense. With it, we move through perseverance (in Aussi loin qu'il tiendra debout), the small arrangements we make to avoid facing reality (Tout sauf la vérité), and the fragility of bonds we thought were solid (Si bien ensemble). We also touch on lasting conflicts with the people we love (Anywhere You Are, There You Are), misunderstanding (Elle me parle une langue), and the erosion of friendships (S'envoler). EST draws an intimate and redemptive map of human relationships, in a body of work that's both lucid and sensitive — like when he also addresses social masks such as filial love (in Beau garçon, dedicated to his son) or relationships that have become impossible.

"It's really the album that sounds most like me, in terms of sonic landscape," Elliott points out. A record that rises above the noise of an imperfect, shifting world — like us — joyful in its words, liberating in its production. A true gem.

TIM HECKER’s latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality.

Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.

While the title of the piece “Hatred of Music” might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Heckerʼs continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears.

This work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010. Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.

RECEIVED AN 8.6 BEST NEW MUSIC RATING FROM PITCHFORK.

4/5 REVIEW IN MOJO: “HEARTBEAT TONES DISSOLVE INTO BEAUTEOUS SHIMMER AND STELLAR SYNTH MEDITATIONS GIVE WAY TO CAREFULLY ORCHESTRATED ELECTRONICA.”

4/5 REVIEW IN UNCUT: “IT'S MASTERFUL, THOUGH IT WILL LEAVE YOU FEELING LIKE A SPECK OF GRAVEL IN A SELF-DESTRUCTING WORLD.”

NME - 8/10 review (w/c 14 October) "He’s mastered this stylistic skittishness and you’ll do well to find much dispute about his talent."

NARC - 5/5 review (October issue) "An immersive soundtrack to your own personal psychodrama."

WIRE - ONE PAGE REVIEW (October issue) "The sentiments it stirs to life are shadowed and ambiguous, simultaneously personal and impersonal. It is also fantastically immersive, dragging the listener into its turbulent undertows, then washing them back on dry land, intact but changed.’’

Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance.

While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally—making music that is out of time, out of tune and out of phase.

Some pieces go off the rails before forming into anything, others eschew crescendo
compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard.

It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression.

Mixed by Valgeir Sigurðsson and Tim Hecker. Additional assistance by Randall Dunn and Ben Frost. Mastered by Mandy Parnell at Black Saloon Studios in London, UK.

Mit Music From The Films Of Francis Ford Coppola erscheint eine sorgfaltig kuratierte Doppel-LP, die die unverwechselbare Klangwelt eines der einflussreichsten Regisseure des modernen Kinos wurdigt. Von Der Pate uber Apocalypse Now bis hin zu The Conversation und The Outsiders vereint diese Sammlung Musik aus Filmen, die das amerikanische Kino seit den 1970er Jahren nachhaltig gepragt haben. Die Zusammenstellung zeigt eindrucksvoll, wie entscheidend Musik fur die emotionale Wirkung von Coppolas Filmen war. Neben den Kompositionen von Carmine Coppola finden sich Aufnahmen von Kunstlern wie Buddy Holly, The Beach Boys, Elvis Presley oder Richard Wagner. Die Doppel-LP beleuchtet das Zusammenspiel von Bild und Ton und richtet sich gleichermaßen an Filmfans, Soundtrack-Sammler und Liebhaber klassischer Filmmusik.

Altsaxofonist Lou Donaldson wurde schnell zu einer festen Größe des Blue-Note-Labels, nachdem er 1952
als Sideman an der Seite von Thelonious Monk und Milt Jackson zu hören gewesen war. Noch im selben
Jahr begann er, eigene Sessions als Bandleader einzuspielen und blickte, als er 1960 ins Van Gelder Studio zurückkehrte um sein hervorragendes Album ”Sunny Side Up” aufzunehmen, bereits auf ein Dutzend
Aufnahmesessions unter eigenem Namen zurück. In vielerlei Hinsicht ist das Album ein Paradebeispiel für
den typischen Blue-Note-Hard-Bop-Sound: eine Mischung aus swingenden Standards und bluesgetränkten
Eigenkompositionen, die von einem Quintett mit viel Gefühl und Ausdruck interpretiert werden.

Great follow up of Dolly Dubs 01! Once again Staffan Lindberg is delivering. His nice & smooth 'The Orbit' is a great & optimistic club track that will have the sun shine on any floor, with the mighty Trevino remix adding a slightly rough edge to the original version. But don't let the easy-going fool you! The b-side dives in deeper territories with 'Y2K' that reminds a bit of early Kevin Saunderson works, and 'Feel like dancing', which is a proper sexy house burner for the morning hours. Wonderful & diverse release.

2026 Repress
The Teflon Dons' Rudiments EP, released in 1996 on Worldship Music and now reissued on FRL Classic edition, is one of those records that perfectly embodies the most authentic spirit of 90s underground deep house. From the very first bars, Rudiments EP stands out for its raw but deeply soulful sound, built on filtered samples, “dirty” drum machines (typically SP-1200) and an aesthetic that mixes Chicago and Detroit.

Murmuration’ is the low hum made by vast, beautifully choreographed flocks of starlings as they simultaneously flap their wings and take to the sky. Some people say that the frequency of this unique, rumbling, oscillating sound can cure diseases...

One of the most exciting live bands in the UK, British Birds combine the garage-punk energy of Billy Childish, the wry English sophistication of XTC and the witty pop inventiveness of The Lovely Eggs. Like a murmurating flock of starlings, they create a unique sound, and might even be able to cure diseases.

Based in Chorley, Lancashire, British Birds are a resolutely DIY band. Bobby records and mixes all the music; Emma creates all the artwork. Their first two albums were self-released, selling hundreds of copies at gigs and at a few chosen record stores. British Birds didn’t wait for permission to take flight. They just got on with it. Their songs are sophisticated, hard-hitting, and very skilful. It may be DIY, but it’s big and it’s ambitious.

Sessions for Marc Riley and Gideon Coe have followed, along with tours supporting The Bug Club, BC Camplight and Lovely Eggs.

‘Murmurate, Oscillate’ kicks off with Lie Down With Dogs, Stand Up With Fleas, a rousing expression of exasperation at our passivity in the face of lame authority. British Birds are acute observers of the English political scene, shrouding their observations in humour and surrealism. Polka Dot Eyes is another piece of sharp social observation: it portrays Lancashire lads – friends from school – who join the Army and return home physically and mentally damaged. The song is simultaneously disturbing, funny and catchy as hell. From the fog of disinformation and doubt that surrounds us all in 2020s Britian, British Birds embrace the darkness, but with wit and verve – no slogans, no easy answers – and with an energy that helps us escape the mundanity of a declining island. This might all sound a bit bleak, but it’s not: every single one of the songs on this album has a chorus as big as a house.

There are personal songs too: Scary Movies is a poignant description of Bobby and Emma’s grandfather, who delighted in showing them horror films when they were kids – giving them sneak previews of the darkness they’d come to embrace as adults; Just Like Them is a celebration of introversion: it might not be fun, but it’s better than being an idiot. (Paradoxically, any other introverts who hear this song will feel impelled to join in in the chorus.) Blame Game and Thunder Claps examine the darkness inherent in relationships: there is always an impending storm, if you recognise the low hum of the imminent thunder. Once again: the choruses of these songs confound the melancholy sentiment.

You’ll get the same impression if you see British Birds live: Bobby’s ferocious guitar and dark lyrics are counterpointed with Emma’s sometimes haunting, sometimes playful vocal responses and insistent rhythms. You’ll be swept away by the energy of a band who don’t know the meaning of limits. And as the songs get darker and darker the smile on your face gets wider and wider.

The core members of British Birds are siblings Bobby and Emma Townson, working from their HQ-cum-nest in Chorley. Drums are by Dominic Lawson (apart from Michael Aindley on ‘Just Like Them’). Bass is by James Robinson.

British Birds will be embarking on a headline tour of the UK in early 2027.

More than eighty years ago in southwestern Virginia, Carter and Ralph Stanley (The Stanley Brothers) - forged a sound that became a cornerstone of bluegrass and old-time music yet they remain far less known outside the genre than their influence warrants Where the Soul Never Dies sets out to change that. Producers Alison Brown and Garry West assembled an eclectic cast spanning bluegrass and Americana, pairing the genre's next generation with roots voices who grew up on these songs. Standout contributors include Billy Strings , Dolly Parton , Willie Nelson , Sierra Ferrell , Jamey Johnson, Steve Martin, and Ralph Stanley II, among others. The album arrives October 16th two days before The Stanley Brothers' induction into the Country Music Hall of Fame

After our last release with Dub Keyboarder Ao Inoue from Dry&Heavy Tokio/Japan we now are super proud to announce;
Our next Ep coming up in November is done by TURMSPRINGER + 2 heavy weights Producers. QUENUM labelhead of Cadenza delivered an superb minimal 80´s sounding remix and we could convince no further then Neil Fraser aka MAD PROFESSOR to join the Mole Audio Project He´s done a few “versions” on his old smokey dusty console which will come out within the next few month , Keep your ears open for this !

Das 2016 erschienene "Teens of Denial" markiert einen entscheidenden Wendepunkt in der Karriere von Car Seat Headrest und insbesondere von Frontmann Will Toledo. Nach einer Reihe von lo-fi Bedroom-Produktionen, die Toledo größtenteils allein aufgenommen hatte, war es das erste Album, das mit voller Bandbesetzung und größerem Studioaufwand entstand. Veröffentlicht wurde es über das renommierte Indie-Label Matador Records, bei dem Toledo kurz zuvor unter Vertrag genommen wurde. Das Album verbindet introspektive Texte mit energiegeladenem Indie-Rock und greift Themen wie Selbstfindung, Angst, Isolation und Jugendkultur auf. Songs wie "Fill in the Blank", "Drunk Drivers/Killer Whales" und "Destroyed by Hippie Powers" wurden schnell zu Publikumslieblingen und halfen der Band, ein deutlich größeres Publikum zu erreichen. "Teen Of Denial: (Joe"s Story)" ist nun ein komplettes Remake dieses 10 Jahre alten Klassiker. Toledo, der seinen Songbook gerne neuinterpretiert, wechselt hier die Perspektive und erzählt die Geschichte aus der Sicht von Joe. Auf dem Originalalbum verwendete Toledo häufig den Namen "Joe" als Pseudonym - eine subtile Hommage an Daniel Johnston. Als er Teens im Vorfeld seines 10-jährigen Jubiläums erneut aufgriff, verspürte er den Drang, Joe eine eigene Hintergrundgeschichte zu geben, und begann, das Album entsprechend anzupassen, um diese Geschichte zu erzählen. Die Band kehrte gemeinsam mit dem Teens-Produzenten Steve Fisk ins Studio zurück, um das Werk zu überarbeiten - mit angepassten Texten, überarbeiteten Arrangements und neuen Aufnahmen im "Denial-Stil", darunter "Optimistic Son" und die hymnische Single "Joe Drives Again". Das Ergebnis bewahrt die düstere Note und den jugendlichen Zynismus von Teens, lässt aber zugleich eine Spur mühsam errungener Mitmenschlichkeit in den Gesamtklang einfließen.

It's an honour and a privilege for Vinyl Fanatiks to be able to repress one of Tango's remixes. And half of the royalties of the track will be sent to his family. So supporting this release not only adds fire to your record box but also a few quid to Tango's family.

A cracking release and boy what a remix he delivers, total luxury and decadence which showcases the incredible vibes of Dave's original mix but adds that Tango rolling goodness too. A double winner! On the flipside Fantasia is remixed by Dave as Midi Magic(al).

[a] a1. Calm Before The Storm [Tango Remix]
[b] b1. Fantasia [Midi Magical Remix]

Für die Feier des Miteinanders! Mit ihrem zweiten Album "Wenn man das Licht zurückverfolgt, weiß man, wie alt die Sterne sind" gelingt WIM ein eindrucksvoller Schritt nach vorn. Die Hamburger Künstlerin verbindet erstmals ihre poetische Tiefe mit einem neuen, synth-poppigen Sound, der Raum für Leichtigkeit und Bewegung schafft. In zehn Songs erzählt sie von prägenden Momenten, Verlust, Erinnerung und dem, was Menschen im Verborgenen formt. Dabei entsteht ein Album, das Empathie einfordert, ohne zu beschweren - und das zeigt, dass selbst schwere Themen tanzbar sein können. Produziert von Tobias Siebert (Kettcar, Enno Bunger), klingt die Platte organisch und frisch - unverkennbar WIM, aber mutiger und offener als je zuvor, fast schon moderner, urbaner XL-Pop: Die Songs werden rhythmusgetriebener, luftiger und teils konsequent vom Beat getragen. Und wenn es inhaltlich doch zu schwer wird, tanzt WIM im Studio zu Paula Hartmann, hört Chappell Roan und lässt sich von Wir Sind Helden inspirieren. LP farbiges Coke Bottle Green Vinyl (140g), CD Digipak mit Posterbooklet.

Mit "Autosmile", ihrem Debüt für das Label 4AD, schärft das US-Duo @ (At) sein unverwechselbares Profil zwischen psychedelischem Folk, Indie-Rock und experimentellem Pop. Die Songwriter:innen Victoria Rose und Stone Filipczak entwickelten ihre Musik zunächst über Jahre hinweg aus der Distanz. Auf dem Nachfolger ihres vielbeachteten Debüts Mind Palace Music bündeln sie diese Arbeitsweise zu einer ebenso verspielten wie ausgereiften Klangsprache. Die elf Songs von Autosmile verbinden klassische Songstrukturen mit komplexen Arrangements, ungewöhnlichen Harmonien und einer ausgeprägten DIY-Ästhetik. Obwohl Stone während der Albumarbeiten nach Philadelphia zog und beide erstmals in derselben Stadt lebten, blieb der kreative Prozess bewusst unkonventionell. Unterstützt von befreundeten Musiker:innen, die Cello, Violine und Schlagzeug beisteuerten, entstand ein überraschend üppiger Sound, der dennoch seinen intimen Charakter bewahrt. Inhaltlich bewegt sich das Album zwischen Verlust, Selbstreflexion und Hoffnung. Der Opener "Bird" verbindet düstere Folk-Klänge mit eingängigen Pop-Momenten, während der knapp siebenminütige Titeltrack "Autosmile" eine Trennungserfahrung in eine poetische Reise voller mystischer Bilder und existenzieller Fragen verwandelt. Songs wie "I Know You Are (But What Am I Thinking)" feiern die Schönheit von Veränderung und Vergänglichkeit, während "Punish My Mind" das Spannungsfeld zwischen Selbstbestrafung und Selbstfürsorge auslotet. Trotz der oft dunklen Grundstimmung bleibt Autosmile von einer spielerischen Experimentierfreude geprägt. Prog-Einflüsse treffen auf Indie-Sensibilität, Melodie auf Komplexität. Victoria Rose und Stone Filipczak verzichten bewusst auf eindeutige Botschaften und schaffen stattdessen offene Deutungsräume, in denen sich persönliche Krisen und neue Möglichkeiten begegnen. Das Ergebnis ist ein Album, das Schönheit und Schmerz gleichermaßen umarmt und selbst in seinen melancholischsten Momenten einen leisen Optimismus bewahrt.

The Rio-based project Pra Gira Girar presents a new interpretation of the song Atabaque Chora, originally made famous by the trio Os Tincoãs. Written by Dadinho and Mateus Aleluia, the piece opens the group’s iconic 1977 album Os Tincoãs —and has now been chosen to mark the beginning of Pra Gira Girar’s own recording journey.

Formed by Alvaro Lancellotti, Michele Leal, and Alan de Deus on vocals, Pedro Costa on guitar, Kassin on bass, Zé Manoel on piano and vocals, Zero Telles (in memoriam) and Anna Magalhães on percussion, and Diogo Gomes on trumpet, the project was born from Alvaro Lancellotti’s long-standing admiration for the work of Os Tincoãs and his wish to create a live show celebrating the legendary trio.

For a year, Alvaro, Michele, Alan, and Pedro made up the core of the group, meeting weekly for rehearsals that became a deep dive into Os Tincoãs’ intricate vocal arrangements. These sessions were essential to recreating the grandeur and complexity of the Bahian trio’s music. Pedro Costa transcribed the vocal lines and, together with Michele Leal — a singer-songwriter with a background in choral singing — adapted the arrangements for a formation that, unlike Os Tincoãs, features a female voice.

Detroit techno visionary Keith Tucker returns through his acclaimed alter ego Optic Nerve with AUGMENTATIONS EP, a forward-thinking exploration of minimalist machine funk, futuristic sound design, and deep electronic movement.

Crafted with precision and unmistakable Detroit character, AUGMENTATIONS merges hypnotic analog sequences, mechanical rhythm structures, atmospheric synth textures, and driving electronic beats into a powerful sonic statement rooted in the city’s enduring techno legacy. Sparse yet immersive, the EP balances raw underground energy with cinematic futurism — designed equally for dark warehouse floors and deep headphone listening.

Pressed as a Limited Collector’s Edition Clear Vinyl 12-inch, PBX-38 captures the sleek, transparent aesthetic of the music itself: pure signal, machine emotion, and uncompromising Detroit innovation.


A1 — Augmented 1 (Optic Nerve Original Mix)

A deep, stripped down Detroit techno workout driven by pulsing drum programming, evolving synth modulation, and hypnotic minimalist sequencing. Functional futurism engineered for late-night motion.
B1 — Augmented 2 (Infinite Worlds Mix)

Built around a rolling funky bass line and eerie flowing string textures, this expansive composition moves through layers of atmospheric electronics and mechanical groove architecture. The track creates an immersive sense of drifting through endless digital landscapes while maintaining a sharp rhythmic intensity designed for the underground dance floor.
B2 — Augmented 3 (Visual Shapes Mix)

Abstract melodic fragments, and precision electronic rhythms collide to form a futuristic minimalist soundscape filled with movement, tension, and cinematic pulsed chords.

The “Kisses at Midnight” remix is an explosion of pure energy, designed for those who experience music directly on their skin. The track stands out for its rich sound design of open, sharp, and percussive sounds, capable of filling the room and creating a magnetic atmosphere from the very first seconds—thanks in no small part to the high-quality original sounds that define its sonic texture.

The real driving force of the track is its driving, arpeggiated rhythm: a continuous, hypnotic flow that doesn’t let you go for a single second, sweeping the listener into a non-stop journey from start to finish.

A physical and overwhelming track that hits you straight in the chest, giving no respite to anyone who wants to feel like an active part of the dancefloor.

– INCOGNITO

There are sounds that transcend time, capable of evoking entire worlds without needing any introduction. “Incognito” is exactly that: a visceral and modern tribute to the golden years of Italian progressive techno—an era that rewrote the rules of global clubbing.

The beating heart of the track lies in its hypnotic power. From the very first beats, you are captured by a perfect interplay of tight percussive rhythms and magnetic arpeggios, elements engineered to lock the listener to the groove and never let go. It is a continuous evolution, a sonic flow that destabilizes and fascinates, carrying us on a unique, mental journey.

Angelo Bass is an Italian DJ and producer known for his seamless blend of sophisticated electronica, house, and techno. After rising as a resident for the Push collective, he has graced the decks of top-tier clubs like Cocoricò, Sankeys Ibiza, and Veniceberg Verona. His production footprint is equally strong, featuring the highly supported “Drawn to the Floor EP” (Trend Records), his latest “Raw Luv EP” (Sengiley Wax), and key releases on Less Is More and Blackboard. Currently based in Ibiza, Angelo balances international club gigs with his role as an instructor at Accademia Italiana DJ.

Cruise Music continues to serve up irresistible nuggets with its Vinyl Jams series, now reaching volume 15. Once again, it is a various artists affair that blends high production value with the right amount of emotional depth and dance floor kicks, this time looking at the warmer side of house. Keller's 'Stressed Out' is clean vocal house with a catchy wiggle and soulful bass roll, Mirko & Meex that layer a soaring diva vocal into 'There's A Light' that could well become an instant classic. Pianos rule on Oliver Knight & Angelala's 'Your Sunshine,' which is a perfect outdoor cruiser for the hotter days and Dino DZ closes down with the well-sampled 'I Like It.' These are refined, accessible summer house sounds but done with a touch of class.

The iconic hits that marked a new era in Molella’s sound.
Presented together for the first time ever on a single vinyl
release.