Collecting Orders for 2026 Repress!
The third option on our dining menu is a two course meal prepared by Soul Reductions.The critics are unanimous - utterly delicious.Take Away delivers music for you breakfast, lunch and dinner. It's not trendy or rare.Just the music you really want to hear, in your own home, whenever you want.
Gold Vinyl Represss
*A MODERN JAZZ REINTERPRETATION OF THE MUSIC FROM THE LEGEND OF ZELDA*
WRWTFWW Records is happy to announce the release of Casimir Liberski ReTRio's The Z Suites, a full-length jazz album reinterpreting the music from iconic Nintendo video game series The Legend of Zelda. The epic Z-Jazz journey is available in the following formats: limited edition 180g half speed mastered vinyl double LP housed in a heavyweight sleeve with obi, digipack CD with cavalier, and digital.
Casimir Liberski reimagines the golden era of video game soundtracks with jazz versions of Zelda favorites The Legend of Zelda (1986), A Link to the Past (1991), Link's Awakening (1993), and Oscarina of Time (1998) - plus a few Easter eggs! Dancing between nostalgia and avant-garde, the Brussels-born pianist and composer crafts a sonic world of pixelated folklore where melody and improvisation coexist in harmony.
Music critic Arthur Meurant perfectly explains:
For many video games are a journey of the mind. Since its inception - dating back to the early seventies - this avant-garde artistic medium has nourished the imaginations of a digital age. Casimir, like many others, has been fed a steady diet of pixels from an early age. From simple squares to cultural cornerstones they have become the trail on which playful travelers of the mind retrace the steppes of history. A shared universe, familiar yet endless, of pocket-sized mythology. Its name? Hyrule. Its goal? To amaze. In these few tracks - selected with care - the Casimir Liberski ReTRio invites you, finally, to visit a space which does not exist yet holds us all. A land where all feel welcome. Where all are happy. But also... to rediscover under another timbre the classical compositions of Master Composer K?ji Kond?. A man who, unbeknownst to him, composed our dreams as well as music. That single noble pursuit, where an artist gives soul without losing his own, is yet again a statement of humanity in its purest of forms: art as that which brings us together and makes us whole in a world eroded by modernity. Pick up your key. Gather your maps. Open the door. Adventure calls.
Long live Hyrule jazz!
French duo and Get Physical, Rekids and Definitive Recordings regulars Boogie Vice & N-You-Up cook up some silky deep house magic here with the one and only voice of Chicago house past, present and future, Robert Owens. 'Blessing' highlights their creative synergy while Owens' timeless and ever soulful voice delivers a message of gratitude. Nenor's remix adds a sweaty basement house vibe with organic textures but also hazy intensity. These are two tasteful tunes for the real heads who like it super deep.
2026 Repress
Slam rework Nitzer Ebb, Silent Breed, DK8, Terrence Fixmer and more for the final installment of their Archive Edit series.
Soma label heads Slam curate a specially designed package of tracks to finalize their Archive Edit project that sees them delve deep into Techno's past to bring some of the genre's best tracks into the modern age. The Archive Edit project started as a way for Slam to showcase and share the many different edits that had made their way into their DJ sets over the last few years.
The pairing of Stuart McMillan & Orde Meikle have both raided their extensive collections, picking out tracks that have defined countless sets over their career. Tracks from luminaries such as Nitzer Ebb, Thomas P Heckmann (as Silent Breed), Damon Wild & Terrence Fixmer have been re-edited alongside some of Slam's own unreleased material, showcasing the duo's current sound; one that naturally evolves, matures and demonstrates why the duo have been at the forefront of the global scene since its inception.
2026 Repress
Belgian based Phara makes a huge debut on Soma with The Great Attractor EP. With his fast, raw and energetic sound, Phara's ascent has been quick off the mark and this latest release has the young producer stretch himself farther with cleverly produced and exciting tracks. UK Techno don, Setaoc Mass backs up this already masterful EP, lending his own prowess to the title track.
Great Attractor leans on 90s, spaced out techno vibes as fast paced 909s fire against the backdrop of rapid, modulating synths. Setaoc Mass' remix comes up next, offering a deeper more restrained affair. However, as usual, the adept nature of his productions deal out devastating effect. On the flip, Mission 3,2,1 delves into dubbed out synth work whilst retaining drive and groove. Further dub explorations are found on closing track The Andromeda Manoeuvre. Spacial synth work and atmospherics ebb and flow as Phara's hard hitting and relentless percussive work deals the final blow.
From the heart of Tamanrasset in South Algeria, Imarhan transcend Tuareg tradition, weaving hypnotic synths into desert blues. The result is a timeless work—deeply respectful of their roots, yet alive with a stirring sense of modernity.
ESSAM is the band’s fourth album, recorded with the same core lineup, but marks a significant shift in their sound and approach. Musically, it marks a departure from the rocky, bluesy, psychedelic Tuareg guitar-driven sound influenced by Tinariwen’s heritage — moving toward something more open, modern, and exploratory.
For the first time, their long-time sound engineer Maxime Kosinetz stepped in as producer. He travelled to Tamanrasset with Emile Papandreou (of the French duo UTO), a multi-instrumentalist who introduced electronic elements by sampling live instruments and reprocessing them in real time with a modular synthesizer — subtly reshaping the band's sonic identity.
The album was recorded mostly live, in one big room at Aboogi Studio — the band’s own rehearsal and recording space in Tamanrasset. The studio, a converted concert hall, has become a kind of cultural hub for the local youth. Friends dropped by during the sessions to contribute handclaps, vocals, and just be part of the energy. It’s a space where people gather, hang out, play dominoes, smoke chicha — a rare communal spot in a city that doesn’t offer many for young people, somewhat like a youth and community center.
This context — the creative shift, the live recording process, the atmosphere around Aboogi — might be interesting threads to explore in the conversation.
For the fifth release on Silum Records, the in-house production collective Wavetest teams up with longtime friend Lexx for two tracks and completes the 12” with a new creation of their own. “Last Dance at Zukunft” and “Alpine State” were both inspired by the iconic Zurich venue Zukunft which closed its doors in the spring of 2025. Club Zukunft was a cornerstone of Zurich’s underground club culture for nearly two decades. Everyone involved in the making of this record spent countless nights there, whether behind the decks, on stage or dancing in the crowd. This release is both a celebration and a heartfelt farewell to a place whose impact on Zurich’s music scene remains unmatched.
After several remixes for the label, Sestrica returns with her first solo EP — A Way to Ananda. Across three emotionally charged compositions, Sestrica unfolds an intimate sonic journey that mirrors her own path of transformation.
From the raw energy of “Intuitions” to the emotional depth of “Letting You Go” and “Way to Ananda,” the EP captures transformation, freedom, and bliss.
“This EP is my experience of coming back to life after divorce,” says Sestrica. “Intuition was knowing it was the right decision. Letting You Go was leaving my past behind. Ananda is the new bliss I’ve found.”
Closing the release, Not Even Noticed deliver a sophisticated remix—minimal yet powerful, sharp drums and refined sound design perfectly sealing this chapter.
Everyone knows the story of American disco.
But few are aware that, between the late 1960s and the late 1980s, Italy wrote a parallel one — spontaneous, surprising, and incredibly creative.
It is a story that spans two distinct seasons: the Italian disco of the 1970s — melodic, handmade, sometimes naïve yet always original — and the emerging Italo Disco of the 1980s, electronic, futuristic, and lightheartedly projected toward the future.
Two different languages, yet both driven by the same desire for freedom and modernity. Discoteca Sound — Italian Discoteca Underground 1975–1986 brings together 18 rare tracks — including two previously unreleased — that tell this story of transition: from the orchestral and sentimental disco of Italian dance halls to the synthetic and visionary sound of the first drum machines.
A journey through private archives, local labels, regional studios, and forgotten voices — the sonic map of a country that has always danced, but to its own rhythm. From Mediterranean disco to the first Italo Disco, from the dim lights of provincial dance halls to the early home synthesizers, each track opens a window onto an Italy that dreamed of the dance floor as a universal language of connection during the brief season of revolutionary utopias.
This compilation celebrates ten years of work by Disco Segreta — a decade dedicated to the research, recovery, and appreciation of Italian disco and electronic culture. An act of justice owed to all those artists who had their moment yet were never remembered by history — bringing back to light an essential, still too little known part of our musical heritage.
Because dancing today remains, more than ever, a living act of memory.
Limited edition 2LP, features 2 previously unreleased tracks and a new 2025 version of Coscarella & Polimeno – Station to Station.
f Grazia Vitale – Poi (1975) Previously Unreleased
q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased
f Grazia Vitale – Poi (1975) Previously Unreleased
q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased
f B2. Grazia Vitale – Poi (1975) Previously Unreleased
q D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]
[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]
[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]
[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]
[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]
To submit or to surrender? Robert Johnson resident Oskar Offermann doesn’t have the answers, and that’s kind of the point. Things change: one moment you’re touring the globe as a recognizable face of one of the greatest clubs in the world, the next you’ve started a new life as a teacher. How do you handle that shift? On this record, Offermann doesn’t offer solutions so much as trace his own way through it, reflecting the whole process in his music and creative work.
Whatever the story, whatever the case, Oskar Offermann can still produce some of the most emotive, bleepy, strange dance music out there and this 12 inch is the proof. Sonically and conceptually it leans into that precise, melancholic German school: at points drawing from 80s wave and experimental music, then flirting with trancey motifs and closing in divinely crafted breakbeat. In just four tracks it packs in a surprising amount of functional range, exactly what you’d expect from one of RJ’s longest-standing residents. The A- and B-sides mirror each other: they open at full intensity, tempos pushed well past the 130 BPM mark, easy to imagine ripping through a peak-time floor – and still both sides land on something far more personal and reflective.
Even inside a framework of high-intensity club tunes, Oskar’s character shines through loud and proud. Think the slightly disjarring yet melodically captivating winds in the middle of the B1 trance induced number “Accepting”, or the masterfully paced build of opener “Planet Interface”. The same goes for A2 “Televise Improvise” and B2 “Sei mal nur lieb”: on paper they should feel like breathers next to the two behemoths, but they don’t. Offermann crams so much substance and personality into them that they become quietly dangerous. There’s that magical mix of squelchy acid, rough low end and naturalistic melodies on B2, and the relentless emotional drive of A2 “Televise Improvise”. Oskar is really, really good at making dance music irresistible.
Character, skill and honesty in one record, meant for the attentive listener and the brave DJ. A rare combination nowadays, get it fast!
For the second instalment of the Curio Cabinet gourmet-dub series, we bring you two fat slices of steppers’ delight, straight from the southern city of Toulouse.
Both are made by Stefan Dubs under the guiding light of his live project, Sòn Du Maquis. This project has deep roots in the free rave, micro-festival, and dub & sound system culture of his country. It’s also the name of his own label, home to his dub-infested productions; ranging from slo-mo jungle to droney steppers and blown-out trip-hop on a slightly medieval tip.
Staying true to classic sound system tradition, each side pairs the original cut with its own version.
First there is Tolosan Dub, a trancey bass meditation colossus with deep synth work moving around in the trees. Some early nineties UK digidub vibes are surely mashing up the dance here. The version workout slows things down a bit, taking you even deeper into the riddim... strictly warrior style !
On the B-side we've got Bonnefoï Dub, which is pure bass-bin filth with a rootsy harmonica touch and a raw clubby feel. This tune just screams to be played out loud on a proper sound system. The version is certified dance-floor gold, yet there are enough dubbed-out flavours going on for intimate headphone sessions or some mad home skanking.
Coral Morphologic is the brainchild of Jared McKay and Colin Foord. A mending of minds, the arts, science, and the sea. Their lab in Miami lies close to the Florida Reef just offshore; the third largest coral barrier reef system in the world. This album composed by Jared echoes the voice of the reef. A reflection of its cosmic connection to our moon. A departure from the earth into deep space. We often wonder what intelligent life exists outside of our own aquatic world. Look and listen to the synchronous celestial satellites and the endless love song they sing. *features a foldout poster with album art by Robert Beatty
Welcoming London-based artist House on the Strand to the Eastern Nurseries fold following his impressive 2024 debut, "Heroine", Ruben Elbrond-Palmer channels a sombre, cinematic sense of sound with "Unrest".
Interpolating the visual sensibilities of some of his favourite artists, filmmakers, and photographers into the sonic field, Elbrond-Palmer’s palette cuts loose from the percussive elements of his previous work, blending analogue synthesis with repurposed guitars, haunting melodies, and field recordings that call to mind the hazy delirium of a dusty summer’s day. Sitting at its core, "Unrest" places harmony front and centre, with each sombre movement rising and falling as electric fences hum, helicopters hover overhead, and unknown events are set in motion.
Deceptively simple, the resultant album is gestalt—an elegy of melancholic moments, lost to the world.
Mastered by Ike Zwanniken of Hysterical Love Project - mainstay mastering engineer behind majority of INDEX, Co:Clear & Theory Therapy Releases
Established in 2019, Eastern Nurseries is a platform for deeply emotional contemporary electronic music based between Porto and Newcastle upon Tyne. Curated by Rui P. Andrade (aka Canadian Rifles) and Christopher Macarthur Owen (aka Burning Pyre).
The label has released a steady yet considered magna of records from Hasfeldt, Emma Acs, innerinnerlife and VAs encompassing the likes of Conna Harraway, Severin Black & Slowfoam.
Eastern Nurseries no. 41
Written & produced by Ruben Elbrond-Palmer
Recorded in London, Kobaek & Aude, 2019-2024
Mastered by Ike Zwanikken
Cover photo by Andrew Weathers
Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.
The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.
'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.
'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.
Black Vinyl[28,36 €]
“I've always dreamed of making an album where I could bring together artists I deeply admire, curating voices, energies, and sensibilities that have inspired me,” says Brussels-born producer and multidisciplinary artist ShunGu of his new record, Faith in the Unknown. “It took time, and it grew into something very human, rooted in trust, patience, and creative risk. These songs are conversations, not just between me and the artists, but between worlds, eras, and ways of feeling.”
That spirit of dialogue and discovery is what defines Faith in the Unknown. Emerging from years of steady, meticulous work in the underground, the album is both a bold statement of identity and an invitation into Shungu’s world. Across 14 tracks, each a self-contained vignette, ShunGu guides the listener through shifting moods and perspectives- moments of intimacy, defiance, reflection and release, coalescing into a much larger story.
His distinct touch threads through the surefire cast of collaborators - Pink Siifu, Liv.e, Fly Anakin, Chester Watson, Fatima, Maxo, Navy Blue, Dreamcastmoe, Ruqqiyah, Zekeultra and Goya Gumbani — each track unfolding as a new dimension in the same universe.
ShunGu has long been a boundary-pusher, known for weaving jazz-inflected samples, skilfully constructed textures, and MPC-driven grooves into production that feels timeless yet untethered. With Faith in the Unknown he pushes further still: a project as much about collective energy as it is about personal vision. It’s a leap into uncertainty, carried by trust in the process and the people involved.
From the lo-fi beat tapes that first won him a cult following, to collaborations that span the globe, Shungu has forged a body of work rooted in exploration and community. Faith in the Unknown crystallises those qualities into his most ambitious statement yet; a record that doesn’t just blur boundaries between genres, but asks what happens when vulnerability and experimentation are treated as shared ground.
The result is a record that trades in subtlety. Each artistic contribution adds its own shade to the larger mosaic, pulling the listener deeper into an expanding narrative. If Faith in the Unknown has a message, it’s that art can thrive in uncertainty - that in the spaces where trust, risk, and vulnerability intersect, something entirely new can emerge.
Cassette[16,39 €]
“I've always dreamed of making an album where I could bring together artists I deeply admire, curating voices, energies, and sensibilities that have inspired me,” says Brussels-born producer and multidisciplinary artist ShunGu of his new record, Faith in the Unknown. “It took time, and it grew into something very human, rooted in trust, patience, and creative risk. These songs are conversations, not just between me and the artists, but between worlds, eras, and ways of feeling.”
That spirit of dialogue and discovery is what defines Faith in the Unknown. Emerging from years of steady, meticulous work in the underground, the album is both a bold statement of identity and an invitation into Shungu’s world. Across 14 tracks, each a self-contained vignette, ShunGu guides the listener through shifting moods and perspectives- moments of intimacy, defiance, reflection and release, coalescing into a much larger story.
His distinct touch threads through the surefire cast of collaborators - Pink Siifu, Liv.e, Fly Anakin, Chester Watson, Fatima, Maxo, Navy Blue, Dreamcastmoe, Ruqqiyah, Zekeultra and Goya Gumbani — each track unfolding as a new dimension in the same universe.
ShunGu has long been a boundary-pusher, known for weaving jazz-inflected samples, skilfully constructed textures, and MPC-driven grooves into production that feels timeless yet untethered. With Faith in the Unknown he pushes further still: a project as much about collective energy as it is about personal vision. It’s a leap into uncertainty, carried by trust in the process and the people involved.
From the lo-fi beat tapes that first won him a cult following, to collaborations that span the globe, Shungu has forged a body of work rooted in exploration and community. Faith in the Unknown crystallises those qualities into his most ambitious statement yet; a record that doesn’t just blur boundaries between genres, but asks what happens when vulnerability and experimentation are treated as shared ground.
The result is a record that trades in subtlety. Each artistic contribution adds its own shade to the larger mosaic, pulling the listener deeper into an expanding narrative. If Faith in the Unknown has a message, it’s that art can thrive in uncertainty - that in the spaces where trust, risk, and vulnerability intersect, something entirely new can emerge.
Flanked by a team of collaborators - including Nick León, more eaze, Ultrafog and Kissen - Ben Bondy captures the Kwia-pop zeitgeist on 'XO Salt Lif3', sluicing down dappled emo and downtempo grooves with log drum thwacks, tempered field recordings and sandblasted shoegaze guitars.
Forget what you think you know about Ben Bondy; like Naemi's fuzzy 'Breathless Shorn', ‘XO Salt Lif3’ is a decisive shift away from the ambient world and towards contemporary underground pop. Last year's amapiano-tinted loosie 'Bend' serves as the album's opener and is the best taster, its slick DSP squelches, granulated drones and sub rumbles immediately swapped out for breezy acoustic guitar riffs, tuned log drum hits and Bondy's own Autotuned vocals. When Bondy turns down the temperature a little, letting the orchestral synth arrangements slip into fuller view on 'Halfmoon', a collaboration with Nick León and Aussie producer Lovefear, it's tempered by low slung emo riffs and mumbled sweet nothings.
By the time we hit 'Dreamseed', Bondy's in full swing, offsetting slow breaks and multi-tracked vocal harmonies with full-spectrum shoegaze power chords that cut into the mix like a chainsaw, with crunchy amp crackle foreshadowing the Bark Psychosis-like drop. Bondy hits a cruise when More Eaze helps out on 'There Is A Place'. Maurice's unmistakable pedal steel draws us in, used by Bondy to add an Americana accent to his euphoric fusion of amapiano and indie pop. It's music that'll make perfect sense if you've caught one of Bondy's notorious DJ sets, where you might hear anything from American Football and Jessica Pratt next to Gwen Stefani, Skinny Puppy or Sneaker Pimps. It’s this chaotic, open-hearted approach - which also plays a part in the Shineteac material - that makes 'XO Salt Lif3' so effortlessly enjoyable.
Raw deep house pressure from Sascha Dive, four cuts blending soul, groove, and late-night mood, with Roland Clark blessing the mic. Limited green vinyl for those who still move to the real sound.
DJ Feedbacks :
Laurent Garnier : Cool tracks
Josh Wink (Ovum) : Liking 'Im Inspired' the best here.
C-Rock : Those Nights for me, nice NYC dub House touch!
Radio Slave (Rekids) : I've always been such a big fan of Sasha's productions and "There Is No Tomorrow" hits the spot.
Fleur Shore (Undergrowth / Cuttin' Headz) : im inspired, beautiful track
Reboot (Cecille / Cadenza) : schöne tracks ️
Satoshi Tomiie (Abstract Architecture) : Solid release!
Alinka (Twirl, Classic, Crosstown Rebels, Batty Bass) : Nice one
PBR Streetgang : Invocation and Im Inspired are great
D'Julz (Bass Culture) : those night is the one for me here
Damian Lazarus (Crosstown Rebels) : Thanks for sending. Xx
Ben Sims : Now downloading... will check asap!
Archie Hamilton (Microhertz / FUSE) : Nice thanks
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Tim Sweeney (Beats In Space) : Lovely
Doc Martin (Sublevel) : Sascha on a good one,with the voice of house music Roland Clark no less!!!
Terry Farley : THOSE NIGHTS WORKS FOR ME
Chloe Caillet (Smile Records) : love this!
Oliver $ (Classic Music Company / Play It Down) : Sooo gooood!
Ame (Innervisions) : thanks
Danny Tenaglia : Downloading for Danny Tenaglia, thanks!
Robert Owens (Trax / Musical Directions) : Cool tracks
Kai Alce (Real Soon) : Nice deep tracks from Sascha
Mark Farina : dig them.
Lea Lisa (Phonica Records / Folklor Club) : Really good definition of House
Alexkid (Rawax / FUSE / NG Trax) : Phonogramme (and Sascha Dive) on fire at the moment...
Harri (Sub Club) : lovely stuff, will play and support
Originally released in 1972, Toni Tornado's self-titled debut is a landmark in Brazilian soul and funk - a gritty, groovy record that helped define the sound of the Black Rio movement. Blending deep soul, psychedelic funk, and bold orchestration, this album channels the revolutionary energy of James Brown with the tropical swagger of Rio's streets. From the urgent rhythms of 'Torniente' to the undeniable strut of 'Mané Beleza' and 'Tornado,' Toni's music pulses with a fierce sense of pride and liberation. It's the sound of a new cultural identity taking shape - where African-American soul met Afro-Brazilian reality. Often compared to the legendary Tim Maia, Tornado brought his own explosive edge to Brazil's growing soul scene. By the 1970s, other Brazilian musicians, such as Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben and Gilberto Gil, began making soul records. DJs started throwing soul-only parties. Toni Tornado's voice carries grit and passion, his grooves hit hard, and his message is crystal clear - Black is beautiful, and the funk is real. Back on vinyl for a new generation, this reissue is more than a collector's gem - it's a time capsule from an era when music moved bodies and minds. Essential listening for fans of vintage soul, global funk, and revolutionary sounds. Reissue on 180g vinyl.
