Prins Thomas (UK & EIRE Only)
From obscure listening bars in Japan to packed dance floors in Berlin, Prins Thomas crafts a sound that’s both nostalgic and futuristic—a spacewalk through cosmic disco, psychedelic grooves, and electronic experimentation. His musical diet is a heady goulash of jazz, hip-hop, Italo disco, house, techno, and psychedelic rock, blended in endlessly inventive ways.
Born Thomas Moen Hermansen, Prins Thomas hails from the scenic calm of rural Norway. An eclectic musical upbringing and a steady supply of cheap used records helped shape his now-iconic sound. He was an early convert to the then-novel idea of DJing, and by 1984—still in his teens—he was already playing on the local circuit. A move to Oslo in the early '90s brought him into a burgeoning club scene where he quickly made his mark.
Thomas would become a cornerstone of Oslo’s Space Disco scene, gaining international recognition through his collaboration with Lindstrøm and their influential debut release.
A prolific artist, he’s gone on to release a steady stream of original EPs and LPs; remix work for artists like Dua Lipa, Lana Del Rey, Pet Shop Boys, Moby, The Orb, and LCD Soundsystem; and collaborations with fellow Norwegians Bjørn Torske and Bugge Wesseltoft.
He’s released on labels including Eskimo, Playhouse, Smalltown Supersound, and Mule Musiq, as well as through his own imprints—Full Pupp, Internasjonal, and Horisontal Mambo. These platforms have become vital platforms for both new- and established artists orbiting his unique sonic universe. His mix compilations, such as 25 Years of Smalltown Supersound and the iconic Paradise Goulash, stand as testaments to his crate-digging instincts and mixing prowess, while his solo records continue to expand his musical galaxy.
What sets Prins Thomas apart is his refusal to be boxed in. His sets and productions are always laced with humour and a sense of adventure—equal parts DJ tool and headphone journey. He calls this approach diskomiks: a loose, groove-led philosophy that favours feel over perfection. “I don’t want to make perfect tracks—I want them to breathe, to feel alive,” he once said. “It’s about capturing a moment, not chasing technical perfection.”