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We are excited to continue our work with Art P / Art Programming by finally offering the first full-length work from this Bremen-based electronic group. Originally released only on cassette in 1983, the self-titled album has now been fully restored and remastered, complete with bonus tracks and unreleased mixes unearthed from a rare demo.

The LP opens with "Wesen vom anderen Stern" ("Beings from Another Planet"), a downtempo, 808-driven electro synth wave track with German lyrics telling a story of aliens capturing earth, becoming the new "Herren" (lords), while humans are reduced to mere "objects." Art Programming founding member Jens-Markus Wegener notes that this track has always been a favorite during live performances, and it's easy to imagine how the futuristic sounds would have blown people away at the time.

Next is the electro/proto-techno title track "Art Programming," which we previously issued on a limited 12" in its full-length form. With its straightforward Roland 808 rhythms, catchy synth lines, and vocoder vocals, it's a classic example of German electro, and one of the earliest proto-techno tracks - long before Cybotron claimed the techno mantle. Its extensive break and electronic twist make it an early precursor to the genre. Wegener recalls that this track was created exclusively by him and Grotelüschen, with Grotelüschen contributing most of the melodic elements, while Wegener focused on drum machine programming and vocoder vocals.

On "That's Me," the album welcomes back singer Claudia Roebke. Although it's an electronic composition, Roebke adds a rock-infused, almost psychedelic vibe to the song. The lyrics, written by Wegener, depict a person obsessed with their appearance, using irony to critique societal beauty norms, questioning the obsession with perfection and attraction.

The album continues with a series of uptempo electro tracks: "Videoscreen," "La Gare," and "Genscher Pull 'N' Push." The first two feature slightly different mixes from an earlier demo that we personally prefered over the versions that were available on the final cassette release. "Videoscreen" expands on the theme of social isolation, with lyrics reflecting on a world obsessed with watching video all day - a topic that resonates strongly with today's culture of doom scrolling and social media addiction.

Next up, "Genscher Pull 'N' Push" is an incredible electro/wave/proto-techno track recorded in October 1982 with a political edge. Originally omitted from the album, it was only available on the demo cassette we mentioned earlier. The song takes aim at German politics, with lyrics that shout "bitte geh nach links / bitte geh nach rechts" ("please go to the left" and "please go to the right"), referencing the shifting political allegiances during the 1982 coalition change, when Genscher's party, the FDP, left the Helmut Schmidt cabinet to join the CDU/CSU opposition. The track was never released as the political topic had become outdated just a few months later.

The album closes with "Light and Fire," which originally served as the album's opening track. Its quirky, upbeat vibe now makes for a fitting outro.

The gear used on this album reads like a dream list for early 80s electronic music production: Roland Jupiter 4, TR 808, TB 303, System 100, SVC 350, Korg Mono/Poly, Moog Prodigy, FRICKE-Sequenzer, Roland CSQ-100 Sequenzer, Coron DS-8, MM 12/2, Sony TC 399, TEAC-244 Portastudio, Ibanez DM 1000, EH-Electric Mistress, EV-Micro. This unique lineup of equipment sets the album apart from NDW releases of the era, lending it a distinct sound with heavy proto-techno leanings and that straightforward electro vibe we all love.

The album is being released as a very limited edition of 300 copies on transparent red vinyl, complete with a full picture sleeve and lyrics inlay. This is yet another rediscovered and restored 80s gem on our label that you definitely don't want to miss!

‘Soul Psychédélique’, released on Two-Piers, takes you on a journey into the world of Psychedelic Soul & Funk, from its early beginnings in the 1960s and 1970s to the current crop of artists championing the more Psychedelic, Trippy end of the Soul sound today.

‘Soul Psychédélique’ brings together legends of the Soul Psych scene, such as Curtis Mayfield, The Chambers Brothers, Marlena Shaw, The Temptations, and the brilliant ‘Sugar Man’ by Rodriguez. Place alongside Soul Titans like Isaac Hayes, Bobby Womack, Chairman of the Board, Terry Callier all delivering stunning Psychedelic Nuggets for your Listening pleasure. Throw in some covers like ‘Dear Prudence’ by The Five Stairsteps, ‘Hard to Handle’ by Patti Drew and ‘California Dreamin’’ Bobby Womack and finish with some brilliant modern-day exponents of the scene like Khruangbin, Gabriels and Michael Kiwanuka. The result is a crazy ride through the world of Psychedelic Soul and Funk. If you ain’t dancing and smiling by the end - what the hell is wrong with you!

‘Soul Psychédélique (The Best of Lounge & Exotica 1954-2022)’ is the fourth instalment in the ‘Psychédélique’ Compilation series on Two-Piers, following the critically acclaimed ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’, ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’ and ‘Lounge Psychédélique (The Best of Lounge & Exotica 1954-2022)’ and is available on 2LP Coloured Vinyl

Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.

Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.

Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.

As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”

Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.

The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

Wendy Eisenberg hat die letzten zehn Jahre als feste Größe der Independent-Musikszene und als Künstlerin von inspirierender Vielseitigkeit verbracht. Als Singer-Songwriterin, Improvisatorin und virtuose Gitarristin sind die Koordinaten ihrer Kunst ständig im Wandel, von Art-Rock über Jazz bis hin zu mitreißender freier Improvisation und ausdrucksstarker Folk-Musik. Mit Höhepunkten wie dem 2020 erschienenen Album Auto" und dem 2024 Free-Jazz-Album Viewfinder" hat sie sich einen Namen als ambitionierte Künstlerin gemacht. Nachdem sie die letzten fünf Jahre damit verbracht hat, in verschiedenen Bands, Genres und kreativen Herausforderungen zu experimentieren, und nach einer Phase der Selbstkonfrontation, die sie mit einem persönlichen Exorzismus vergleicht, hat Eisenberg einen Meilenstein erreicht. Die poetischen und formal gewagten Folksongs von Wendy Eisenberg sind ihre bisher klarste Vision. Die Songs begannen 2020 Gestalt anzunehmen, als Eisenberg aus West-Massachusetts wegzog, wo sie nach ihrem Studium am New England Conservatory in Boston einige Jahre gelebt hatte, und nach Brooklyn zog. Aus Sehnsucht nach der ländlichen Atmosphäre ihres früheren Zuhauses fühlte sich Eisenberg zu den warmen Klängen von Country und Folk hingezogen. Die Songs sind echte Folk-Lieder", sagt Eisenberg über ihr Album. Bei der Produktion geht es weniger darum, zu sehen, was die Gitarre leisten kann, sondern vielmehr darum, die inhärente Fremdartigkeit der Sprachen zu akzeptieren, die sie seit anderthalb Jahrhunderten spricht." Auf Wendy Eisenberg schafft die Künstlerin ihr eigenes Paradigma mit einem eng verbundenen Kreis von langjährigen Freunden und Mitwirkenden, darunter Bassist Trevor Dunn, Schlagzeuger Ryan Sawyer und Co-Produzentin Mari Rubio (more eaze), die für Pedal Steel, Synthesizer und Streicharrangements zuständig war. Die Aufnahmen fanden oft in Eisenbergs Haus statt und verliehen jeder Note eine wunderschöne Ensemble-Textur. Endlich war ich von Menschen umgeben, die mich akzeptierten", sagt Eisenberg. Viele der Songs auf diesem Album sind in diesem neuen Gefühl entstanden. Ich wollte, dass es unglaublich beruhigend wirkt, da es einige massive Veränderungen im Selbstverständnis und Selbstwertgefühl beschreibt. Es geht um Erleichterung."

No further introduction needed for this one

‘Distracted’ is Thundercat’s fifth studio album, featuring contributions from an incredible cast of friends including A$AP Rocky, WILLOW, Tame Impala, Lil Yachty, Channel Tres, and a long awaited collaboration with the dearly departed Mac Miller. The record was primarily created in close collaboration with a new creative partner – the super-producer Greg Kurstin – plus Flying Lotus, Kenny Beats (Kenneth Blume) and The Lemon Twigs. In the six years since his GRAMMY-winning album ‘It Is What It Is’, Thundercat’s star has risen: playing stadiums worldwide with Red Hot Chilli Peppers with Flea naming Thundercat “the best bass player on the planet”; performing live with A$AP Rocky, Steve Lacy, Tame Impala, Gorillaz, Silk Sonic, Erykah Badu, Spinal Tap, Yo Gabba Gabba; collaborating with Haim, Smino, Kaytranada, Kamasi Washington and Justice. He also branched out into acting with a role in Star Wars: The Book of Boba Fett. His warm, playful presence is never too far away, and life’s all the more enlivened by it.

A concentrated four track showcase extending the warm glow of last summer’s album “Cruise Control” into the spring of 2026. Satin Jackets lines up a heavyweight cast and delivers an EP that moves effortlessly between sunlit elegance and late night force.
A1) Satin Jackets & Kimchii – “Bring On Up Our Love” (Flashbaxx Remix)
Flashbaxx transforms the Satin Jackets and Kimchii track into a driving disco house floor weapon with bright chords and classic dancefloor swagger. Guaranteed to get everyone grooving.
A2) Satin Jackets & Erobique & Thunder – “You Get Me So High”
A radiant meeting of Satin Jackets, Erobique and Thunder that sails between disco, Westcoast soul and soft focus glamour. Built around the 2025 vocal, the trio turn it into a warm and irresistibly smooth homage to timeless Yacht Rock.
B1) Satin Jackets & Nazzereene – “Know Me” (Johannes Albert Remix)
The Berlin producer dives deep into Chicago house aesthetics and delivers a crisp, rolling late night tool that lights up any club at peak time.
B2) Satin Jackets feat. Seint Monet – “Control” (Ceci Remix)
Ceci closes the EP with a dreamy, slow burning rework that wraps Seint Monet’s vocal in hazy pads and gentle after hours warmth.
Extra Mile EP is the kind of twelve inch you do not pass on. A tight, potent combination of artists who elevate each other with ease.

Rising star Storm Mollison lands her debut on Heist with an ep blending House & R 'n B and we're completely hooked.

The future is looking bright for Storm Mollison - Heist's newest. Marked as artist to look out for by Shazam on their fast forward 2026 list, Storm's got a bright and busy year ahead, after an already big 2025. Last year alone, she featured on Kiki's hit 'Getting ready for the party', featured on a Mixmag London event and a Raw Cuts X Heist ADE party, had her first cover feature on Spotify, multiple radio 1 appearances, released several singles, a full EP on Noir Fever and a Luuk van Dijk remix.

If that's not enough to get you excited, we suggest you just listen to her 'Act like that' EP on Heist. In Storm's own words: "it's the most exciting music I've made so far" and we couldn't agree more. Her EP is a perfect blend of her love for house music and soulful R 'n B with its 4 tracks smothered in deep chords, smooth vocals and crunchy textures.

EP opener 'Doing Sumthin'' has been a staple in Dam Swindle's sets ever since receiving Storm's first demo and has never failed to make the crowd bounce from left to right with its quirky and equally cool vocal courtesy of Aaron Pfeiffer. Sometimes, you just need someone to tell you which way to move and before you know it, the whole club is doing it. The beat is chunky, and the sax lick is a nice wink to the old school house that has influences Storm's sound so much.

Act Like That - the EP's title track -, is a modern R' n B song that could have easily been on Rochelle Jordan's latest album. The lyrics are perfectly delivered by Storm herself and celebrate women who stand up to unreliable men. It could well be the badass soundtrack of womanhood for 2026 delivered in a silky-smooth package that'll live rent-free in your head for the foreseeable future.

On the flipside is "Gotta Go', an undercover dancefloor burner with lush keys and a lean-back groove. The track relies on crisp textures and little frizzles all throughout the track, with a big breakdown for ultimate release.

Ep closer 'Workin' takes us back into R 'n B territory, this time in a very danceable form. Storm's soft vocals lie on top of a steady beat with deep chords and a bassline so sexy It'll make you get down no matter where you're hearing this.

It's hard to speak about a breakthrough for an artist that has already seen such a rise in the scene, but if we're talking about her music, this will be the record that people come back to after years and say, "remember when she releases ALT!?"

As always, enjoy the music and play it loud!

Yours, Maarten & Lars

"Askew indie rock thrills, bubbling, synth-flecked and sitting at a perpendicular to the mundanity of the everyday" - Clash

London-based French chanteuse, multi-instrumentalist & composer Clémentine March shares her new single of entrancing avant-pop ‘After The Solstice’, from her upcoming new album ‘Powder Keg’.

Enriched by influences from jazz, folk and Brazilian music, ‘After The Solstice’ was initially inspired by a time spent touring the UK with acclaimed folk singer Naima Bock. For Clémentine, the song explores “the theme of memory and reminiscence” and employs an absorbing sense of cyclical repetition; a musical device used “to evoke the deja vu sensations we all experience in life”.

Out of life on the road, everyday recurrence and contemplative retrospection, Clémentine creates a profoundly hypnotic anthem on ‘After The Solstice’, both mellow and fervent. Evoking the likes of Stereolab, The Raincoats and Cate Le Bon, it’s a mesmeric singalong of graceful vocal lilts and poised musicianship, with every element moving in beautiful unison.

Recorded & arranged with Ollie Chapman (bass) & Sophie Lowe (drums), and featuring vocal contributions from Naima Bock, Sophie Jamieson, Katy J Pearson, MF Tomlinson, Marika Tyler-Clark, Robyn's Rocket and Alabaster DePlume, ‘After The Solstice’ is the first glimpse of Clémentine’s third album ‘Powder Keg’, following the rich international eclecticism of her debut album ‘Le Continent’, and the beguiling intimacies of her second LP ‘Songs of Resilience’.

Altiin Gün, die türkisch-psychedelische Band aus Amsterdam, veröffentlicht ihr sechstes Studioalbum "Garip", ein ehrgeiziges und vielseitiges Werk, das als Hommage an die türkische Volksmusiklegende Neset Ertas (1938-2012) dient. "Garip" enthält zehn von Ertas" ikonischen Kompositionen, die von Altiin Gün auf einzigartige Weise neu interpretiert und musikalisch erweitert werden. Die Band verbindet dabei eine Vielzahl von Einflüssen, von der klassischen Anatolischen Volksmusik über Arabesque und Bollywood-Soundtracks bis hin zu westlichen Rock- und Synth-Vibes. Das Album ist eine kreative Weiterentwicklung des bereits etablierten Sounds von Altiin Gün, der Elemente aus Funk, Rock, und türkischer Folklore miteinander vereint. Mit hypnotischen Basslinien, kräftigen Schlagzeugrhythmen und filigranen Synthesizer-Arpeggien schafft "Garip" eine Atmosphäre, die die Essenz von Ertas" emotional aufgeladenen Liedern einfängt und gleichzeitig die experimentierfreudige Energie der Band widerspiegelt. Die Band, die für ihre packenden Live-Auftritte bekannt ist, beweist mit "Garip" einmal mehr, dass sie zu den innovativsten Vertretern der modernen türkischen Musikszene gehört.

In den letzten fünf Jahren hat sich Joe Westerlund intensiv mit der Clave beschäftigt, dem metrischen Muster, das zunächst die afro-kubanische und lateinamerikanische Musik geprägt hat und dann in fast alle Bereiche des Jazz und Rock Einzug gehalten hat. Was bedeutete es, dass eine Idee so flexibel war, dass sie so viele Formen annehmen konnte und dabei doch ihre eigene Essenz behielt? Das Ergebnis ist für Westerlund ein Sprung ins Unbekannte: Curiosities from the Shift, ein 12-Track-Spielplatz mit endlos verwobenen Beats und Melodien, auf dem Westerlunds Begeisterung für die Clave auf seinen experimentellen Umgang mit Texturen trifft und seine rhythmische Symphonie mit Freunden Hand in Hand geht, die diesen Raum gemeinsam mit ihm gestalten. Die dreiteilige Suite, die die erste Hälfte von Curiosities ausmacht, beginnt mit den Schrottplatz-Percussions und den entzückenden Bass-Splashes, die ,Tem" umrahmen, und endet mit dem surrealistischen Boom-Bap von Daumenklavieren und Shakers auf ,Can Tangle". Diese Stücke strahlen eine hart erkämpfte Freude aus, als würde Westerlund sich in Echtzeit daran erfreuen, eine potenzielle Sackgasse zu entdecken, aber trotzdem seinen eigenen Weg nach vorne zu finden. Diese Songs wurden zu einer Art Arbeitsplan für das Terrain, das Westerlund auf Curiosities erkundet, vom glorreichen Call-and-Response-Opener ,Nu Male Uno" bis zum unheimlich amorphen Schlussstück ,Felt Like Floating". Alle diese Songs zeichnen sich durch einen erkennbaren Rhythmus aus, wie den galoppierenden Gang in der Mitte von ,Midpoint" und den kopfnickenden Puls, der sich durch ,Persurverance" schlängelt, dessen Name augenzwinkernd falsch geschrieben ist, um seiner Aussprache aus North Carolina via Wisconsin zu entsprechen. Aber das sind nur Sprungbretter für andere Texturen, Stimmungen und Ideen, wie die New-Age-Anklänge - schimmernde Metallophone, zwitschernde Vögel, zurückhaltende Flöten -, die ,Midpoint" durchziehen, oder die Dub-artigen Delays und Gamelan-Hymnen, die ,Persurverance" durchziehen. Dies ist zutiefst vielschichtige Musik, deren treibender Kern durch eine Reihe überraschender Entscheidungen ausgeglichen wird. Bittersüße und Freude, Trauer und Befreiung, Seufzer und Lächeln: All das ist hier vorhanden und verflechten sich bis ins Unendliche. In den Monaten nach den ersten Sessions wandte sich Westerlund an Freunde - darunter Tim Rutilli von Califone, den Saxophonisten Sam Gendel, den Trompeter Trever Hagen und die Violinisten Libby Rodenbough und Chris Jusell. Es waren seine am gründlichsten komponierten und präzisesten Werke, aber er wollte hören, was passierte, wenn seine Freunde in Echtzeit darauf reagierten. Sie lieferten Anmut, Tiefe und Gefühl, wobei ihre Parts den Vorhang zu verborgenen Winkeln rhythmischer Welten öffneten. Westerlund gibt bereitwillig zu, dass er von der Betonung des Grooves und des Metrums des Albums überrascht ist, die sich von abstrakten Klängen abhebt. Nachdem er so lange mit Bands gelebt und gearbeitet hatte, ging er davon aus, dass er mit grundlegenden Metren fertig war. Diese 12 Songs verschmelzen so viele von Westerlunds Leidenschaften zu endlos faszinierenden Stücken, die mit vertrauten Elementen seine Abenteuer ins Unbekannte übertragen. Verspielt, aber zart, wehmütig, aber wundersam, von Beats angetrieben, aber nicht an sie gebunden - dies ist Westerlunds bisheriges Vermächtnis, das Soloalbum, das einen Blick auf eine musikalische und emotionale Landschaft eröffnet, die vielleicht sogar noch reichhaltiger ist, als er es sich jemals hätte vorstellen können.

The album was pressed on double 180g black vinyl.

Limited edition of 200 copies worldwide.

J Dilla passed away 20 years ago. Metro himself paid tribute to the production master.

"Donutroit" is a meticulously crafted tribute to James Dewitt Yancey. Reinterpretations, reworks, and original compositions – a total of 24 tracks produced by Metro, who pays tribute to the legend with this album. Maciej returns with the album after a somewhat lengthy break, but he does it with a bang. This kind of hip-hop with soul elements has been unheard of in Polish music for a long time. This is the first Polish full-length tribute to Dilla. The guests are few, but they are impressive. Emade himself plays drums on two tracks, and Immortal Onion reworked one of James's iconic recordings.

Dawid ObyOby Frańczak is responsible for the full artwork.

The legendary Polish underground label JuNouMi Records is responsible for the pressing.












l 12: The Look Of Love (Medley No. 1) feat. Immortal Onion










[w] 23: The Look Of Love (Medley No. 2) [feat. Immortal Onion]












[l] B7: The Look Of Love (Medley No. 1) [feat. Immortal Onion]










[w] D4: The Look Of Love (Medley No. 2) [feat. Immortal Onion]












[l] B7 | The Look Of Love (Medley No 1) [feat. Immortal Onion]










[w] D4 | The Look Of Love (Medley No 2) [feat. Immortal Onion]

40th Anniversary No.1 Edition

Colored Vinyl. The Gaia II Space Corps ist ein Album, das nicht ganz nach Heavy Metal oder Hard Rock klingt, aber eindeutig die Qualitäten dieser Genres aufgreift. Es ist Post-Psychedelic und Pre-Metal und nah an einem echten Classic-Hard-Rock-Album, zumindest so nah die Band Motorpsycho diesem jemals kommen wird. The Gaia II Space Corps ist ein kurzes, knappes, eingängiges und mitreißendes Album, das dort anknüpft, wo die Tracks Stanley und The Comeback vom letzten Album aufgehört haben. Die Instrumentierung besteht größtenteils aus Gitarren, Gitarren und noch mehr Gitarren, doch es gibt auch eine ganze Menge Gesang sowie gelegentlich den einen oder anderen Keyboard-Sound. Vor allem aber ist es Gitarrenmusik, die _ nun ja, rockt! Und zwar heftig!!

ElCalefón

Salir Del Agujero

El Calefón's 1985 LP Salir Del Agujero is a rare bird.

Self-produced and privately released in Zurich, the albumdocuments one of the very few South American groups that were resident in Europe at the time, and certainly the only such band working in Switzerland. Co-founded by two Argentinians in Europe – the multi-instrumentalist, vocalist and composer Coqui Recaand the guitarist Pablo Miguez–the group consisted of Argentinian and Brazilian musicians, most of whom were present initially Europe as tourists, but had stayed on, without official sanction, as immigrants.Their music gathered its primary influences from the varied sounds of their home countries, fusing these elements drawn from the manifold indigenous styles of Argentina and Brazil with the international sounds of rock,jazz, pop and pan-Latin music.

Honed and polished by the steady gigging through which the group earned their living in Zurich, the music that appeared onSalir Del Agujero was sophisticated, original and filled with light. Resonating with a freshness undiminished in forty years, the album brims with possibility and hums with tropical warmth, bearing testament to the open-hearted musical freedoms of a mercurial musical era.

it „Symphonica“ schlägt Dark Tenor alias Billy Andrews ein neues Kapitel auf. Das 13 Tracks umfassende Rock-meets-Klassik-Album erscheint am 16. April 2027 und verbindet die monumentale Kraft großer klassischer Kompositionen aus unterschiedlichen Epochen mit der unmittelbaren Energie zeitgenössischer Rockmusik.
Dabei entwickelt Dark Tenor sein musikalisches und visuelles Konzept konsequent weiter: Während er klassische Werke erneut aufgreift und zu eigenständigen Songs formt, erhält jede Single
auch filmisch ihre ganz eigene Epoche. Die dazugehörigen Musikvideos entführen das Publikum in unterschiedliche Zeiten und Stilwelten.

Das persönlichste Album von Dark Tenor
„Symphonica“ entstand in enger Zusammenarbeit mit Billys Produzenten Eric in Helsinki. Für jeweils zwei intensive Wochen trafen sich die beiden in einem Studio der finnischen Hauptstadt, um gemeinsam neue Songs zu schreiben, Ideen weiterzuentwickeln und den besonderen Klang des Albums zu formen.
Fernab des Alltags entstand ein Raum für Offenheit und musikalische Freiheit. In den neuen Songs verarbeitet Billy viele Höhen und Tiefen seines Lebens: persönliche Erfahrungen, prägende Begegnungen, schmerzhafte Momente und entscheidende Wendepunkte.
Dabei richtet sich der Blick immer nach vorn. Trotz aller Nachdenklichkeit ist „Symphonica“ ein Album voller Zuversicht, innerer Stärke und Hoffnung.

Was ist Klassik heute?
„Symphonica“ ist mehr als Musik. Das Album eröffnet einen mutigen Dialog mit der Frage: Was ist Klassik eigentlich heute?
Billy Andrews verbindet die Werke ikonischer Komponisten wie Mozart, Wagner und Beethoven mit modernen Sounds. Rockgitarren, epische Drums und das 3D-gedruckte Cello „Cellini“ treffen auf fein gearbeitete Orchesterpassagen und eindrucksvolle Chöre.
Seine klassischen Wurzeln als ehemaliger Sänger des Dresdner Kreuzchors und später an der Semperoper Dresden verleihen jedem Ton Tiefe und Authentizität.

Walter Thomas’s “Chicago Knights” LP features a retrospective of songs written and released between 1987 and 2009, primarily with the Roland 1824 and the Fostex 8 track reel to reel. Channeling the spirit of underground soul and dance music specifically rooted within the greater area of Chicago, Illinois–a city known for its deep and healthy soul and r&b roots–this compilation features 8 of its 9 tracks on vinyl for the very first time.

The intro track “I Wanna Get Witcha” dates back to 1987, holds a proven track record of kicking off many a dance floor, rocking clubs worldwide in a blur of boogie-funk, disco, and soul. “Immaturity” and both versions of “Fed Up” echo the emotional differences and tensions between lovers in a spat. “Magic City” served as the anthem and homage to its namesake roller skating rink in 90s-era Waukegan, IL. While “Chicago Knights” is a relentless mid-tempo groove inspired by the aggressive motorists that dominate Chicago roadways, “2nd Chance” drops the tempo to a slow r&b roll, preaching the ethos of love, peace, and forgiveness.

Last but certainly not least, “E&J’s” was a real commercial jingle used for a once legendary BBQ joint “E&J’s” in Illinois: a short bonus track to close out the LP. These 9 tracks are just a touch of Walter’s expansive body of work, and we’re stoked to bring them to you on wax.


Walter Thomas is a singer, songwriter, producer, arranger, and composer from North Chicago, IL known for his soulfully smooth arrangements and vocals. Walter has toured internationally with quintessential soul groups like the Temptations and Friends of Distinction, as well as opening for performers including the Floaters, Bette Wright, The Emotions, and The Drifters. His decades of touring with nightclub and concert performances have honed this gifted artist into a seasoned and refined live act.

Essential 1969 album from Gal Costa, one of the defining voices of the Tropicalia movement. It showcases a bold fusion of psychedelia, Brazilian pop, rock, and samba, featuring standout tracks like Caetano Veloso's 'Baby' and Caetano and Gilberto Gil's 'Divino Maravilhoso,' as well as songs written by other iconic artists such as Jorge Ben and Erasmo Carlos.

A timeless classic that still sounds fresh and relevant. 180g vinyl reissue.

- For all fans of the Wamono series!

- All tracks selected by DJ Yoshizawa Dynamite. Includes the first ever vinyl release of The Peanuts' "Ohara Bushi" track, originally released only on tape in 1970.

- Fully licensed King Records masters.

- Mastering and lacquer cut by Jukka Sarapaa at Timmion Cutting Lab, Helsinki, Finland.

- 180g heavy vinyl pressing, reverse board jacket.

- Artwork by Nicolas Kerembellec (Nker).

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Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of Wamono music, Yoshizawa has published in 2015 the now-classic Wamono A to Z records guide book, which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene. He has also selected a large part of the music in our highly acclaimed Wamono compilations.

For this brand new chapter in the series, Yoshizawa explores King Records' legendary catalog and unearths exceptional, rare and unknown musical gems. King Records has been releasing music since 1931 and is one of the most prestigious labels in Japan. Traditional Japanese music, known as "Minyo", are ancient songs once sung by fishermen, coal miners and sumo wrestlers. They are reimagined here with vibrant afro latin, rock, rare groove and funky arrangements in this killer selection of music released on King between 1963 and 1979. Also worth mentioning is the track Ohara Bushi by The Peanuts, which was released only on tape in 1970 and is now available for the first time ever on vinyl format.

Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese funk, soul, rare groove and disco music developed throughout the years since the end of the fifties in Japan!

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180GWALP08 - Manufactured and distributed by 180g.

Todh Teri returns with a brand new record, and this time the spotlight falls on Hari Heart. The Return of Hari Heart marks the eighth release on Masala Movement Records and launches a fresh vinyl-only series that brings the mythical characters of Deep In India back to life in a bold new form. Todh Teri further expands his conceptual universe by focusing on deeper sonics & music explorations. Hari Heart guides the release with a delicious blend of nostalgia, analog warmth and a club-ready intentions - built for curious DJs (and listeners alike).

On the A side you will find Smriti (Remembrance) - a reimagined classic flipped into a peak-time driver - disco spirit, acid bite, and pure dancefloor release. Limited, loud, and made to move bodies. On the flipside we have ??a (Debt) - a deep, dubby slow-burn built around an evergreen melody which grows patiently - finally rewarding you with a sweet earworm.

The final tune on the record is Prem (Love) - a reinterpretation of a ’70s indie rock n roll gem. Unmistakably retrospective (if you know your history). Play it a bit longer into the dead wax, and you will catch a hidden acid sequence locked groove.

Art by Soju Aduckathil with creative direction from Masala Movement’s Manoj Kurian. This is the label’s eighth release, a vinyl-only exclusive, with more coming in 2026.

Gatefold Sleeve

M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.

When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.

The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.

M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.

Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.

It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.

The label Erdgeschoss celebrates the freedom of sound and vision at the bar of life, like football – only with a bass drum instead of a ball. And with beer. Because even with vinyl records, the ball has to go in the net.

Pop Vampires Cologne will kick things off; their surrealist debut masterpiece, Karianne, was already released at Total 25 last year. PVC lives up to its name. Like vampires, oskø and Wassermann once again sample their way through the pop supermarket of unlimited possibilities.
Almost overnight, in their illegal, digital garage, they clone hybrid sound structures, saturated with both foreign and self-injected blood doping. Forbidden fruit is known to taste the best. Consciously, explicitly, and provocatively, PVC explores sampling as an indispensable stylistic device, a universal tool for quotation and pop networking. Equally daring and respectfully irreverent, they oppose the new, all-disenchanting AI search engines on the internet with the freedom of art. The rest is surrealism. Just like the accompanying video, which isn't a video in the conventional sense, but rather a kind of making-of with Sabine as the main front character. And the digital versions of some tracks may differ slightly from the vinyl versions.
Because: Anything goes…

Das Label Erdgeschoss feiert an der Theke des Lebens die Freiheit von Sound and Vision wie Fussball - nur mit Bassdrum statt Ball. Und mit Bier. Denn auch bei der Schallplatte muss das Runde ins Eckige.

Den Anfang machen Pop Vampires Cologne, deren surrealistisches Debüt-Meisterstück Karianne bereits im letzten Jahr auf der Total 25 erschienen ist. Bei PVC ist der Name Programm. Wie Vampire sampeln sich oskø und Wassermann einmal mehr durch den Pop-Supermarkt der unbegrenzten Möglichkeiten. Quasi über Nacht klonen sie in ihrer illegalen, digitalen Garage hybride Sound-Gebilde, getränkt mit Fremd- und Eigenblutdoping. Verbotene Früchte schmecken bekanntlich am besten. Bewusst, explizit und provokant arbeiten sich PVC am für sie unverzichtbaren Stilmittel des Sampling als universelle Zitat- und Pop-Vernetzungsmaschine ab. Ebenso wagemutig wie respektvoll respektlos, halten sie den neuen, alles entzaubernden K.I. Suchmaschinen im Netz die Freiheit der Kunst entgegen. Der Rest ist Surrealismus. So wie das dazugehörige Video kein Video im herkömmlichen Sinne ist, sondern eine Art Making Off mit Sabine als Frontdarstellerin. Und die digitalen Versionen einiger Stücke sich leicht von den Vinyl Versionen unterscheiden. Denn: Erlaubt ist, was gefällt…

2026 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

There’s a special kind of feeling when everything falls into place - when the drums bounce easy, the bassline rolls steady, and a bright guitar line cuts through the warmth of tape. That feeling became the heart of the FULLNESS, from Marcus I meets aDUBta. The sound of FULLNESS is built on simple, living elements: real drums, deep bass, a warm sound, and melodies that leave space to breathe. It moves between Early Reggae, Rocksteady, and Roots - sometimes straight and solid, sometimes stretching out into Dub and Echo. With its voice, from singer and lyricist Marcus I, FULLNESS carries the message about gratitude, love, freedom, and the small moments of everyday life. While Marcus’s singing style nods to the great singers, he stays grounded in his own experience, which perfectly complements aDUBta’s production, giving him space to shine. This LP is a complete, warm, balanced, and uplifting experience from start to finish.

FULLNESS grew from a steady musical exchange between Marcus I and aDUBta - two people on different sides of the Alps (Marcus I in France and aDUBta in Germany), finding a shared rhythm. What began in early 2022 with a few Riddims sent back and forth soon turned into a regular flow of songs. Every week brought new ideas, new words, and new melodies. When they finally met in person at aDUBta’s Attic Roots Studio in Bavaria, Germany, it all fell naturally into place. Most of the instruments were played by aDUBta, and the whole LP was mixed live on his Tascam 388, keeping that raw, handmade feel. With several friends helping bring even more color into the music, aDUBta brought in Viti Sanchez to lend his expressive saxophone and horn lines, Michael Salvermoser with his warm trombone tones, and members of the Black Oak Roots Allstars - King HuHa and Jannis Klenke on bass and guitars, along with Morry 'Da Baron' (Dub Inc.) on bass. FULLNESS means the fullness of music, of life, of friendship, of gratitude. It’s what happens when music becomes more than a project - when it turns into a shared space where things just flow.

Long considered a "Holy Grail" of Latin vinyl, The Booga Mambo Beat (1967) by Steve Hernández y Su Orquesta Latinoamericana returns.

This LP has puzzled collectors for decades: who was Steve Hernández, the shadowy figure behind this powerful orchestra including top Puerto Rican and New York musicians?

Arranged by Ray Santos and featuring vocalist Vitín Avilés, the album delivers a unique mix of mambo, boogaloo, descarga, proto-salsa and 1950s big-band swing. A rare bridge between the Palladium sound and the emerging salsa era. Originally self-released and barely promoted, the record became a cult favorite among DJs and collectors.

Sourced directly from the original master tapes, discovered in outstanding condition, this edition is pressed on 180-gram vinyl and includes extensive liner notes by Pablo E. Yglesias (DJ Bongohead).and a digital download code.


A must-have archival release for collectors, DJs, and anyone fascinated by the hidden corners of Latin music history.

Zum 40. Jubiläum des ersten Teils des stylischen Actionspiel-Klassikers DEVIL MAY CRY erscheint der Killer-Soundtrack des Capcom Sound Teams - bekannt für seine Musik zur Resident Evil-Serie - spezielle für 180g Vinyl gemastert. Der OST ist eine genreübergreifende Meisterklasse, die von Rock über Techno zu Ambient und weiteren Paletten wechselt. Erhältlich als 2LP-Format mit 34 Tracks auf transparent-rotem und ockerfarbenem Doppelvinyl, sowie als luxuriöses 4LP-Boxset mit den kompletten 73 Tracks auf schwarzem 4fach-Vinyl.

2026 Repress

An anthology born out of isolation and deep introspection, Sky Dust Drifter is a cosmic medley of sun-soaked AOR, psychedelic folk, and soft rock. This soundtrack was driven by the lonesome cowboy, a lockdown savior leaving me adrift in desert winds and dimly lit country bars.

Long-distance trades and masked meetups yielded a collection of private press LPs and 45s from ten different artists spanning 1973 to 1980. This seemingly random stack of records revealed songs living entangled in themes of hard luck, heartache, and the inevitable loneliness of existence. Adorned in cracked leather and chrome, this album is an aimless wander from the soil to the stars.

Featuring an unreleased English version of the compilation’s title track “Sky Dust Drifter” (originally released only in Hebrew), the record shifts from laconic afterthoughts to bold proclamations. From Michael Andrews’ blue-eyed soul assertion “Something Bad’s Better Than Nothin’,” to the searing electric guitars and bold synths of Sunburst’s “Special Lady,” Sky Dust Drifter thrives on solitude in a universe of unconditional self-rule where loneliness is not darkness but rather a blazing light of autonomy.

2026 Repress

To enter the world of Sally Townes and Roberta Vandervort is to be swept away into a dimension of unique sound. Embellishments of smoldering jazz funk, seductive soft rock, breezy AOR, and misty folk, all paint a picture of the worlds which they inhabited; from the endless flat expanse of Dallas, the hot and humid bustle of a Bourbon Street night club, to the late night buzz of a Los Angeles studio session.
While Sally Townes and Roberta Vandervort never crossed paths in our reality, their supernatural union on this compilation feels like the meeting of old, yet familiar friends, set in a parallel dimension with lives intertwined. The songs feel like old friends, too — a comforting time capsule of the popular sounds of the era, yet offering something completely new. Bridged by the striking similarities in their musical confidence, vocal conviction, and boundless creativity, both women encapsulate an uncompromising passion for living, loving, and creating on their own terms.

Nala Sinephro veröffentlicht ihren ersten Original-Soundtrack für Benny Safdies Film "The Smashing Machine", der vor dem offiziellen Kinostart am 3. Oktober bei den 82. Internationalen Filmfestspielen von Venedig (mit 15-minütigen Standing Ovations!) Premiere feierte. Der Film erzählt die Geschichte des legendären Mixed-Martial-Arts- und UFC-Kämpfers Mark Kerr. Die Hauptrollen spielen Dwayne "The Rock" Johnson und die Oscar-nominierte Emily Blunt. Die Filmmusik wurde von Nala Sinephro komponiert, produziert, arrangiert, gemischt und gemastert. Mit dabei sind auch ihre langjährigen Weggefährten James Mollison, Nubya Garcia, Lyle Barton, Dwayne "Wonky Logic" Kilvington, Morgan Simpson, Natcyet Wakili, Mark Mollison und Sheila Maurice-Grey. Außerdem wirkt das Londoner Orchester Orchestrate mit, das bereits 2024 die Streicher für Sinephros hochgelobtes Album "Endlessness" lieferte.

Obwohl Sinephros Musik – meditativ, ätherisch und gewaltig – für eine Wrestlergeschichte paradox erscheinen mag, fand Marks Geschichte bei Sinephro Anklang, der die verborgenen Sanftheiten und Emotionen der Geschichte aufgriff. Die Filmmusik klingt immer noch unverkennbar nach Nala Sinephro – weitläufig mit gleichmäßiger Wärme, wunderschönen Streicherarrangements, leichten Themen, gemächlicher Harfe –, wurde aber intensiviert, um den Themen des Films zu entsprechen: Druck, Verlustangst, Sucht, Schmerz, vulkanische Beziehungen und das Gefühl des Hochgefühls.

Hate Love Trio made a low-key debut last year on this label with the slow, dreamy, dance-pop charms of 'Chan-O-Rama'. We have found out little more about the producer or producers behind it but here they or he or she returns with a full-length album of elegant and inventive downtempo and Balearic that starts off with those singles. Elsewhere, slow, mournful rhythms and melodies encourage inward reflection. 'Loosey Goosey' is a funky dancer for grown-ups, 'Billie Brownie' merges dub pacing with sunny guitar echo and 'Sunday I Don't Know' is a shimmering, jazz-flecked neo-classical warmer for intimate moments. An accomplished and adventurous album that is as good for the mind as it is body and soul.

2026 Repress

A gift to the overthinkers and overworked. Those who are over-concerned and always preoccupied. This is an invitation to hang up the bootstraps, take a load off, and visit a place in the mind where the sun is shining, the breeze is soft and the waves lap softly at your feet. Vacation From My Mind is a sonic realignment of melancholic soul, breezy soft rock, & mellow jazz-funk.

This album is a thoughtfully curated collection of 12 rare and obscure tracks from 1973 to 1981. From Jeanette Baker’s hypnotic 70’s soul title track “Vacation From My Mind” to the Latin rhythms of David Buckland’s jazz-funk “Celia”, this compilation was lovingly crafted to ease the stresses and worries of modern life. The Care Package’s song “The Storm” is a larger-than-life production of dreamy harmonies not often found on privately released 45s. Utopia’s “Lejos De Mi” is a slow-burning slice of Bolivian psych that will have you searching for similar sounds. Whatever your preference, we hope that this album will give you a vacation from your mind.

French composer and sound artist Franck Vigroux returns to raster with a new album called »Sonnailles«, set for release this spring.

Conceived as a sequence-driven work, »Sonnailles« unfolds through a series of tightly
structured musical passages interspersed with fragments of voices that appear within the compositions like ghostly presences. These vocal shards drift through the sonic landscape, punctuating Vigroux’s dense electronic textures and amplifying the album’s sense of tension and movement. At the heart of the project lies a deliberate contrast: the collision of raw, almost primitive sonic force with an underlying sense of compositional sophistication. Vigroux crafted the music with an ear for immediacy and physical impact, exploring how rough textures and driving rhythms can coexist with intricate sound design. The album was also inspired by two unusual invitations that pushed the artist beyond his typical performance environments: a rock and punk festival in France and a series of techno club performances in China. These contexts led Vigroux to imagine music whose primary purpose was to move bodies on the dance floor — an approach that marks a new direction in his work.

For Vigroux, the challenge was particularly compelling. Alongside his musical practice, he frequently collaborates with dancers and stages multidisciplinary performances known for their radical physicality. With this new album, he brings those parallel worlds together, completing a circle in his ongoing exploration of the relationship between sound and the moving body — where composition, rhythm, and physical motion converge.

Black Truffle is thrilled to announce Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.

Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely centre of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. As Reichel says in the charming archival interview with Markus Müller included here, he was ‘always a cuckoo’s egg at FMP’, a label that began as an outlet for roaring European free jazz. What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.

Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel’s own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel. Rarely has music been at once so strange and so beautiful.

Daniele Baldelli
"A pleasant surprise to find in this release various atmospheres and sounds that have always been part of my DJing. It even made me rediscover M’Bamina, whom I used to play back in 1974 at the Tabù Club in Cattolica.
There are afro vibes as well, with Black Line – Myele, which is featured on one of my Cosmic tapes, and Nowhere by the Stratosferic Band recalls a track I used to play at the Baia degli Angeli…
Excellent work!"

Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs.

The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene.
Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement.

The artistic direction of Voom Voom Music was marked by a distinct sonic identity — eclectic yet visionary. The Turin-based label founded by Ivo Lunardi embraced a sound that blended disco, pop, and rock influences, interwoven with African American grooves in a pioneering, international perspective.

Voom Voom Music was among the first Italian labels to introduce this kind of musical language in the country. A prime example is the Italian edition of the debut album by B.T. Express, Do It ('Til You're Satisfied), released in LP, 8-Track Cartridge, cassette, and 7" single formats.
The label’s productions clearly reflected the influence of black and funk music, as evidenced by the references and inspirations running through its catalogue. The track “Lady Pick-Up”, for instance, includes direct nods to “Do It Good” by KC & The Sunshine Band and Manu Dibango’s iconic “Soul Makossa”, revealing a musically refined and contemporary sensibility.

Among the label’s most representative works is Splash (1977) by the Stratosferic Band, a project conceived by Luigi Venegoni — producer, songwriter, and guitarist of Arti e Mestieri. Venegoni’s artistic journey spanned from progressive rock to space and Italo disco. The album artwork was designed by Piero D’Amore (1944 - 2022), a charismatic and multifaceted figure of Turin’s art scene (one of his works was even acquired by the MoMA in New York).
The record includes a disco reinterpretation of Van Morrison’s classic “Gloria”, and “Splashdown”, a track fusing the disco-rock energy of Rockets and Space. In contrast, “Nowhere” revisits the 1975 single by Hokis Pokis, a soul/disco band from Nassau County (New York), transforming it into a vibrant disco-funk number.

Another significant expression of the label’s catalogue is the afro-rock sound of M’Bamina, an Italo-Congolese group whose rhythmic energy and dialogue between African percussion and Western funk evoke the style of international formations such as Osibisa — themselves linked to a rich artistic history in Italy.

We’re proud to present the latest offering from Promising/Youngster & UF0, on the sublime Deep Techno / IDM imprint out of the UK, Fourier Transform

A lush 4-tracker. Uf0 and Promising/Youngster are the answer to a desire for breakbeats and perfect melodies. Radio plays to come from Damo Bs’ Outer Limits, Marcelo Tavares’ Deep Space, Richard Sens’ DoYouRadio

Uf0 and Promising/Youngster are the answer to a desire for breakbeats and perfect melodies. This is Uf0s’ (Sergio Garcia) second release on the label and when asked who he would like to be paired with, he wasted no time in suggesting fellow electronic musician and Spanish resident – Promising/Youngster (Diego Cardierno). This EP begins with P/Y’s “Random Memories” as tried and tested live by him last year and its big sound simply fills floors and gets feet moving. The second track of his is with a more subtle approach to the dancefloor but the analogue arpeggios and breaks still rock. Uf0 and his opening track “Sashita” uses vocals sparsely to create atmosphere and an epic soundscape. Ending the ep “La Musica Non Riporta De Te” opens with his trademark lush pads which drop into breaks, more well-crafted gentle melodies and of course “Bass”.

Between them both they have appeared on an impressive roster of underground labels - Wave Modulation, Analogica Force, Further Electronix, Adepta Editions, Altered Sense, Withold, Gated. Limited to 200 copies on marbled Eco vinyl, with painted sleeve, a sticker and an insert “Fun in the Sun”, giving you some interesting activities and experiments you can do using the power of the sun. Radio plays to come from Damo Bs’ Outer Limits, Marcelo Tavares’ Deep Space, Richard Sens’ DoYouRadio.

Limited to 200 copies worldwide!

Some 30 years after they first met in the DJ booth of Tokyo’s Spacelab Yellow nightclub, close friends François Kevorkian and Dimitri From Paris have finally joined forces in the studio. The result is The Nassau Excursion, a dazzlingly good three-track EP inspired by their joint love of disco and boogie-era dance records made at Island Records’ Compass Point Studio in the Bahamas.

Across three essential tracks, François and Dimitri explore and celebrate this distinctive Caribbean post-disco sound – one where weighty basslines and heavy drum machine beats rub shoulders with early ‘80s synths, dub-style production, heady hand percussion patterns and arrangements drenched in space echo and tape delay.

LIVE FROM MT. FUJI is a stunning new vinyl from visionary drummer and producer Yussef Dayes, capturing live performances of pre-released and new material featuring Minami Kizuki, as well as Yussef's regular collaborators Venna, Rocco Paladino and Elijah Fox. The project offers a rare window into Yussef’s creative world; a meeting of cultures, rhythms, and spirit inspired by the landscapes of Japan.

DJ Support: Adam Auburn, DJ Nova, Norm De Plume (Delusions Of Grandeur), Guy Perryman, Simon 'Palmskin' Richmond, Rocco Rodamaal, Damian Lazarus, Demarkus Lewis, Douglas Arellanes, Craig Smith (Yoruba Affil), Lay-Far, Dr. StrangeDub, Dennis Ruyer, Kono Vidovic, Roberto Rodriguez, Bill Brewster, Chris Read, Richard Earnshaw, Hot Toddy, Handson Family, Dj Pope, Robbie Akbal, Golf Clap, Marques Wyatt, Kiko Navarro, Mr Beatnick, Jamie Jones - Hot Creations, Marcia DaVinyl MC, Mikael Ikalainen/ Dj Lord Fatty, Ian Friday, Mr V, Mathieu Schreyer, Willie Graff, Makossa, Stuart Knight, Timo Maas, Bruce Tantum, Sean Brosnan (Futuredisco), DJ Harri, Vinny Da Vinci, Trevor McNamee, Roger Sanchez, and Dom Servini

PDD are excited to welcome the return of the legendary Winding Road Records. Originally launched in 2002 by Schmoov! and home to releases by cult artists such as Ron Basejam, Hot Toddy, both of Crazy P fame as well Vincenzo, Rhythm Plate, Spirit Catcher and not to mention Lovebirds and their monster hit, I Want You In My Soul. After a hiatus, the label is back with a bang and teaming up once again with Lovebirds for another classic EP.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 11

A1) Paul Kalkbrenner - No Goodbye (2019)

Berlin techno producer Paul Kalkbrenner became world-famous with his 2008 hit Sky & Sand. Since then, he has released one record after another and performed all over the world in the biggest venues and at the most renowned festivals. No Goodbye is one of his more recent hits, released in the summer of 2019.

The track was created using an a cappella he received on a demo tape while on tour. He was immediately inspired by the vocal and built his own sound and production around it. Interestingly, Kalkbrenner rarely uses vocals, but for No Goodbye he collaborated with Australian singer Chiara Hunter, giving the track a unique and instantly recognisable character. The result is a stylish, dance-floor-friendly track with a rolling house groove that quickly became a modern classic on dance floors worldwide.

A2) Water World - Give Me Love (2000)

This trance classic by Water World appeared in 2000 on the French label Adequat Records and is the perfect tune for a sunny summer evening. Warm melodies and pulsing beats instantly create that beach feeling, as if you were dancing with your feet in the sand. The record recalls Beachball by Nalin & Kane, sharing the same dreamy, sun-drenched vibe.

Behind Water World were producers Laurent David and Frédéric De Backer-names well known to many trance fans. In the nineties De Backer was active with projects such as Global Trance Mission (Dream Mission) and Y-Traxx, the trio that released the 1997 classic Mystery Land.

Give Me Love clearly bears their combined signature: euphoric, warm and melodic, with a timeless build that perfectly balances emotion and energy. The track was released on vinyl as part of Trance E.P. Vol. 01 and remains a fixture in retro-trance sets to this day.

B1) Panoramic - Colors (1996)

Colors by Panoramic is a Belgian trance classic released in 1996 on the legendary label XTC Records, a sub-label of Bonzai Records. Panoramic was a collaboration between Belgian techno icon Marco Bailey and Mauro Mirisola. The duo, also known under playful aliases such as The Coke Man & Sniff, released an EP featuring two powerful trance tracks.

We chose Colors, a tune with pure Belgian trance DNA: driving rhythm, dreamy synths and a catchy female vocal. The combination of Bailey's production expertise and Mirisola's creative touch resulted in a timeless track that still appears in many classic playlists.

B2) Natasha Bedingfield - Pocketful Of Sunshine (StoneBridge Club Remix) (2008)

British singer-songwriter Natasha Bedingfield released the album Pocketful of Sunshine in 2008, featuring the title track as a single. The original pop version became a major hit in North America, reaching the Top 5 in the US. Swedish DJ and producer StoneBridge (Sten Hallström) reworked the song into a groovy house version, released in the summer of 2008.

StoneBridge gave the upbeat pop tune a club-ready beat and an infectious piano riff that made it shine on dance floors worldwide. It was not his first time transforming pop into house gold-he had already achieved global fame with his remix of Robin S - Show Me Love (1992), one of the greatest house anthems of all time. He also remixed Sia - The Girl You Lost to Cocaine in 2008, another club favourite.

The StoneBridge Club Remix of Pocketful of Sunshine appeared on a special remix EP in July 2008 and was played endlessly in clubs-by us too, in the venues where we performed. The result is a timeless, sun-soaked house classic thatmakes sitting still impossible.

C1) Y-Traxx - Mystery Land (Fred Baker vs Mr Sam's Magical Mystery Dub Mix) (original release 1995)

Y-Traxx was a nineties trance project by DJs Laurent David and Fred Baker. This trance classic first appeared in 1995 as a B-side but gained real attention when it featured on a Paul Oakenfold mix album. Thanks to that success it received an official re-release in 1998 on the respected French label FFRR (Full Frequency Range Recordings).

In 2003 an excellent remix by Mr. Sam & Fred Baker followed on the Nebula label. That version is highly sought after on vinyl by trance collectors, and we are proud to feature it on our new sampler.

C2) Weiss - Feel My Needs (2018)

Feel My Needs by British producer Weiss (alias Richard Dinsdale) is the tune with that unmistakable old-school piano and catchy vocal that instantly pulls you onto the dance floor. Released in May 2018on the UK label Toolroom Records, the track is pure feel-good house with a modern touch. From the very first piano riff, hands go up in the air.

Toolroom even called it a "future anthem" for the summer of 2018, and indeed Feel My Needs became a huge floor-filler. The record charted high on global dance lists and gained massive popularity at festivals and clubs that year. With its warm piano chords, tight beat and soulful vocal, this is a modern house classic that will stay in the collective club memory for a long time.

D1) The Killers - Mr. Brightside (Jacques Lu Cont's Thin White Duke Mix) (2005)

American band The Killers formed in 2001 and scored a massive hit a few years later with Mr Brightside. Taken from their debut album Hot Fuss (2004), it became their biggest and best-known track-a true rock-pop anthem.

In 2005 the song was given an electronic twist when renowned producer and remixer Jacques Lu Cont (the alias of Stuart Price) created an eight-minute dance version titled Mr Brightside (Jacques Lu Cont's Thin White Duke Mix). This remix replaced the raw rock energy with a more progressive and electronic vibe, driven by a steady beat and long build-up.

The track found a second life in club culture and quickly became a dance-floor favourite. For vinyl collectors it was an instant must-have, and to this day it stands as the perfect party closer. The Killers themselves loved it so much that they often used the remix live as an outro, followed by the original version. A remix that perfectly bridged rock and club culture-and has since become a genuine classic.

D2) Sia - Drink To Get Drunk (Different Gear Remix) (2001)

The legendary ice-cube sleeve says it all: Drink to Get Drunk was a huge club hit in the early 2000s. Released in 2001 on the UK label INCredible, a sub-label of Sony Music, it was a collaboration between British DJ duo DifferentGear (Gino Scaletti & Quinn Whalley) and singer Sia.

The producers took Sia's original song Drink to Get Drunk from her album Healing Is Difficult and gave it a complete transformation, keeping her distinctive vocal and placing it over a hypnotic progressive-house groove.

The combination of Sia's unmistakable voice and the deep, driving production hit hard: the track became hugely popular in Belgian clubs and turned into an anthem of its time. In Belgium it even reached number one in the dance chart in early 2001, and it also performed strongly in the UK and the Netherlands.

To this day it remains a nostalgic crowd-pleaser that perfectly captures the atmosphere of the early 2000s.

A1 GIRL IN A BAND (ORIGINAL BY HALF GIRL)
A2 INCOMPREHENSIBLE WORLD (ORIGINAL BY LAUNDROMAT CHICKS)
A3 NACHT (ORIGINAL BY CULK)
A4 PAST LIFE (ORIGINAL BY EUROTEURO)
A5 INVISIBLE (ORIGINAL BY LUISE POP)
A6 CAN'T YOU SEE (ORIGINAL BY SALAMIRECORDER & THE HI-FI PHONOS)|TOPSY TURVY
B1 THE BULLSHIT (ORIGINAL BY TELEBRAINS)
B2 TOMORROW (ORIGINAL BY DIVES)
B3 SCHÖNE GRÜßE (ORIGINAL BY TCHI)
B4 WHO'S GONNA LOVE ME (ORIGINAL BY BAD WEED)
B5 TROUBLES CAUGHT (ORIGINAL BY MILE ME DEAF)
B6 PLEASE WASTE YOUR TIME (ORIGINAL BY POTATO BEACH)
B7 MARCELINO (ORIGINAL BY TOPSY TURVY)

Das Wiener Label SILUH RECORDS feiert 20-jähriges Jubiläum u.a. mit dieser limitierten wirklichen Vinyl Only-VÖ (no CD, no DL, no Stream)! Das Album kommt mit 13 Songs, aktuelle Label-Artists covern jeweils einen liebgewonnene Song von Labelkolleg*innen. Ein wilder Ritt zwischen den Genres ist vorprogrammiert, was auch den breiten Backkatalog der Wiener Indie-Institution Siluh Records gut widerspiegelt. Das 2005 gegründete Label mit mittlerweile über 100 Releases ist ein wahrliches Szene-Juwel, wo Bands wie DIVES, GARDENS, CULK, MILE ME DEAF, LAUNDROMAT CHICKS, SEX JAMS oder EUROTEURO ihr zuhause haben und zum kleinen Undeground-Hype der Musikstadt Wien maßgeblich beigetragen. Doch im Label-Backkatalog finden sich auch ein paar internationale illustre Gäste. So zum Beispiel gab es Releases mit JAD FAIR von Half Japanese bzw. dem französischen Elektro-Akustiker PHILIP PETIT, den 90er US-Indie-Rockern SWEARING AT MOTORISTS, eine Techno-Remix Platte mit ALEC EMPIRE, ERIC D. CLARKE, JASON FORREST und BERNHARD FLEISCHMANN, ein Single mit CASSIE RAMONE von The Babies, oder Alben vom Chokebore-Frontman TROY VON BALTHAZAR. Für die Jubiläumsplatte wurde jetzt der Auftrag an derzeitige Siluh Acts erteilt, je einen Song aus dem Katalog neu zu interpretieren. ISCHIA zaubern aus einem LAUNDROMAT CHICKS Song eine wahre Dream Pop Hymne mit Shoegaze Finale. LAUNDROMAT CHICKS wiederum basteln aus dem Garagenrock von TELEBRAINS eine Neil Young'esque Version. TELEBRAINS nehmen sich DIVES' "Tomorrow" vor, diese wiederum graben einen alten LUISE POP Song, der nie auf einem Album erschienen ist, aus und erwecken ihn zu neuem Leben. Die Indie-Folk-Gruppe GARDENS bearbeiten eine Dada-Pop-Nummer von EUROTEURO, die wiederum einen TOPSY TURVY Song eingedeutscht haben. Und so geht's munter weiter... Der Titel "POCKET SONGS" bezieht sich auf ein Zitat des befreundeten Betreibers von Bachelor Records, der mal meinte "Pocket Band, eine Band für die Hosentasche. Eine Band, die man liebt und von der man Freunden erzählen möchte, aber nicht zu vielen, denn die Band sollte klein und in der Hosentasche bleiben und nicht in den Playlists von jedem Tom, Dick und Harry vorkommen". Dem Vinylalbum beigelegt ist ein Siluh-Poster, alle Tracks nur auf LP hier exklusiv/original! Herzlichen Glückwunsch!