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The Gates of Slumber’s debut album and EP reissued in August Svart Records continue to reissue the works of Indiana’s true doom metal legends The Gates of Slumber by bringing back their debut album The Awakening and early EP Like a Plague Upon the Land in late August 2026. Crushing debut The Awakening from 2004 is an album of raw, slow, monolithic traditional doom with a gritty sound. Featuring heavy, battleaxe-in-the-gut riffs and depressing, slow leads, The Awakening is strongly influenced by Pentagram and Candlemass, with Conan-style lyrical themes and Ozzy-like vocals. An essential, cult classic album for the fans of true doom. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work, which resulted in the new self-titled album released in 2024 on Svart Records.

The Gates of Slumber’s debut album and EP reissued in August Svart Records continue to reissue the works of Indiana’s true doom metal legends The Gates of Slumber by bringing back their debut album The Awakening and early EP Like a Plague Upon the Land in late August 2026. Crushing debut The Awakening from 2004 is an album of raw, slow, monolithic traditional doom with a gritty sound. Featuring heavy, battleaxe-in-the-gut riffs and depressing, slow leads, The Awakening is strongly influenced by Pentagram and Candlemass, with Conan-style lyrical themes and Ozzy-like vocals. An essential, cult classic album for the fans of true doom. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work, which resulted in the new self-titled album released in 2024 on Svart Records.

Mariá Portugal has been active in the music scenes of Brazil and Europe as a drummer, composer, singer, and music producer. After graduating in composition, she has focused her research on free improvisation and its possible intersections with popular song. This exploration resulted in her acclaimed album EROSÃO (2021) and in the formation of two groups: the EROSÃO Septet and the EROSÃO Percussion Trio, both based in Germany.

She is also a member of the group Quartabê and has toured and recorded around the world with various artists, moving between pop, free jazz, free improvisation, and Brazilian popular music. She has performed and recorded with artists such as Elza Soares, Anthony Braxton, Joe McPhee, Fred Frith, and Tomeka Reid. She is a member of Fire! Orchestra, Fire! Trio, Endless Breakfast and MONSTER.

In 2020, Portugal was the 13th Improviser in Residence at the Moers Festival. As a curator, she has participated in the Soundtrips-NRW in Duisburg and currently coordinates the concert series “TOMA CHOCOLATE!” in Berlin, besides being the guest curator for this year's unlimited Wels festival. She also composes music for dance, theater, and film, including the award-winning soundtrack for the film “1976”, which earned her the Chilean Film Academy Award in 2025. She was nominated for the 2025 and 2026 German Jazz Prize in the drums and percussion category.
Emilio Gordoa is a Mexican sound artist, percussionist, and composer whose work focuses on sound and performance as primary means of expresion. Based in Berlin since 2012, he has been an active contributor to the city’s Echtzeitmusik scene and is involved in the international avant-garde music community.

His projects include solo and ensemble performances, sound installations, and compositions for film, theater and dance. He has collaborated with a wide range of artists, including Jérôme Noetinger, Ingrid Schomliner, Yuko Kaseki, Burkhard Beins, Don Malfon, John Butcher and Sabiene Vogel. Gordoa’s approach combines experimental percussive techniques with electronic elements, leading to invitations to perform at events such as the Moers Festival, Meakusma Festival in Belgium, A’larme!, and Maerzmusik in Berlin.

He founded WildSonico, a platform for experimental music, and has been part of artist residencies at institutions like the Akademie der Künste and Kunststiftung NRW. He also worked as the Improviser in Residence for the Moers Festival. His discography includes albums such as Substantial Myths (2022), Balderi Variations (2019), and GRIFF (2021), which reflect his ongoing engagement with music. His work has been supported by organizations such as the Goethe-Institut, Musikfonds e.V., and INM - initiative neue musik berlin, and he has received recognition, including an Honorary Mention at the Prix Ars Electronica.

Burkhard Beins was born in 1964 in Lower Saxony and has been living in Berlin since 1995. He is considered a stylistically influential percussionist as a composer/performer, due to his individually developed playing techniques. Additionally, he works with analog synthesizers and live electronics, plays electric bass, and has created various sound installations.

He collaborates as a soloist, as well as with artists such as Chris Abrahams, Keith Rowe, Sven-Åke Johansson, Axel Dörner, Andrea Neumann, and many others. He is also a member of several ensembles including Sawt Out, Activity Center, Polwechsel, The Sealed Knot, Zone Null, Perlonex, Trio Sowari, Vertigo Transport, the NoWave/Krautrock band Slurge, and the Berlin Splitter Orchestra.

Since the late 1980s, he has performed concerts and participated in international festivals for experimental and contemporary music across Europe, America, Asia, and Australia. He has released more than 70 CDs and LPs in collaboration with various artists.

Burkhard Beins has been an Artist-In-Residence at the Künstlerhäuser Worpswede (2009), EMS Stockholm (2014), Muong Studios, Hoa Binh/Vietnam (2015), the Robert Rauschenberg Foundation, Captiva/Florida (2017), as well as at DAR, Drsukininkai/Lithuania (2018), and the Agosto Foundation, Prague (2019).

Schwarzes 180g Vinyl im Gatefold Sleeve! Die Innenhülle kommt im schwarzen Doppel-Druck mit UV-Spotlack. LP mit 16-seitigem 12" Booklet und Downloadcode. "Do To The Beast" ist das erste neue Album von THE AFGHAN WHIGS seit eineinhalb Jahrzehnten. Gegründet 1988 in Cincinnati, Ohio, war die Band mit ihrer wilden, stürmischen Mischung aus Alternative Rock, klassischem Soul und den Obsessionen ihres Frontmanns Greg Dulli ihren Zeitgenossen immer mindestens eine Nasenlänge voraus. Das neue Album ist somit sowohl eine Heimkehr - zum Label Sub Pop, das die Band 1989 als ersten Act unter Vertrag nahm, der nicht aus Seattle bzw. dem Nordwesten kam und die beiden Alben "Up In It" (1990) und "Congregation" (1992) veröffentlichte - als auch ein Blick in die Zukunft einer der anerkanntesten Rock Bands der letzten 25 Jahre. "Do To The Beast" ist damit ein angebracht wilder Titel für die vielleicht intensivste, kathartischste Platte in der Karriere von Greg Dulli und sorgt für frischen Wind im AFGHAN WHIGS-Kanon: Da gibt es die brutale Selbstprüfung von "Gentlemen" (1993), die Film Noir Erzählung von "Black Love" (1996), den Überschwang von ,1965" (1998). "Do To The Beast" versprüht ein galvanisiertes musikalisches Spirit und rhythmisches Gewicht, das inmitten des Aderlasses Transzendenz und Hoffnung suggeriert. Aufgenommen zwischen L.A., New Orleans, Cincinnati und Joshua Tree - eine Landkarte der aktuellen und vergangenen Heimatstätten der Band - wartet das Album mit den AFGHAN WHIGS Gründern Greg Dulli und John Curley auf, zusammen mit der Kernband aus den Gitarristen Dave Rosser und Jon Skibic, dem Multiinstrumentalisten Rick Nelson und Schlagzeuger Cully Symington. Außerdem mit dabei: der Soul-Bilderstürmer Van Hunt, Marc McGuire (EMERALDS), Johnny "Natural" Nagera (der Musical Director von USHER), Alain Johannes (QUEENS OF THE STONE AGE, ARCTIC MONKEYS), Clay Tarver (BULLET LAVOLTA, CHAVEZ), Dave Catching (QUEENS OF THE STONE AGE, EAGLES OF DEATH METAL).

In 2023 we began our hugely successful 80s 12” series on CD – a year-by-year journey through the greatest 12” singles from the decade, and in 2024 we presented a selection of tracks from 1980-1982 as the first volume in our collectible vinyl boxset series, followed by Volume Two celebrating 1983-1984 in 2025.

This year, Now Music is proud to announce the third instalment in this essential collection, NOW Presents…12" 80s: Volume Three: 1985-1986, as a stunning 5-LP boxset. A limited edition and numbered set with each of the 5-LPs pressed on a different colour vinyl – red, yellow, blue, hot pink and lime green – to be released on July 17th, 2026, and for many of these tracks this marks the first time back on vinyl since their original 12” release!

Opening with one of the decade’s most powerful rock anthems, Queen’s ‘One Vision’ appears in its Extended Version, ahead of Eurythmics’ euphoric ‘There Must Be An Angel (Playing With My Heart)’ in the Special Dance Mix and Dead Or Alive’s irresistible ‘You Spin Me Round (Like A Record)’. Side A closes with Frankie Goes To Hollywood and the epic ‘Welcome To The Pleasuredome (An Alternative To Reality)’. Flip the LP over for more iconic 12” versions from 1985, beginning with Tears For Fears and the UK Extended Version of ‘Shout’, alongside Go West’s ‘We Close Our Eyes (The Total Overhang Mix)’, the massive soundtrack hit ‘Don’t You (Forget About Me)’ from Simple Minds and Arcadia’s sophisticated ‘Election Day (Consensus Mix)’.

LP2 opens with four defining tracks that perfectly capture the electronic and cinematic sound of the mid-80s. Paul Hardcastle’s groundbreaking hit ‘19 (The Destruction Mix)’ leads into two instrumental classics: Harold Faltermeyer’s ‘Axel F’ and Jan Hammer’s ‘Miami Vice Theme’, both featured in their Extended Versions, before Propaganda’s peerless ‘Duel (Bitter-Sweet)’ closes the side. Side B showcases some of the era’s biggest dancefloor favourites, from Mel & Kim’s ‘Showing Out (Get Fresh At The Weekend)’ and Gwen Guthrie’s enduring club anthem ‘Ain’t Nothin’ Goin’ On But The Rent’, to Aretha Franklin’s ‘Who’s Zoomin’ Who?’ in its Dance Mix and the soul-pop brilliance of Loose Ends’ ‘Hangin’ On A String (Extended Dance Mix)’.

LP3 brings together some of the decade’s most beloved pop and rock crossover hits. Side A opens with the powerhouse pairing of Philip Bailey and Phil Collins on ‘Easy Lover (Extended Dance Remix)’, followed by Bonnie Tyler’s dramatic ‘Holding Out For A Hero (Club Mix)’ and Pat Benatar’s classic ‘Love Is A Battlefield (Extended Version)’. Stephen Duffy’s infectious ‘Kiss Me (Mixe Plural)’ precedes The Human League’s U.S. #1 ‘Human (Extended Version)’. Over on Side B, Duran Duran lead with the ‘Extended Mix’ of ‘Notorious’ before a run of timeless dance-pop including Sly Fox’s ‘Let’s Go All The Way’, Jellybean’s ‘Sidewalk Talk’ and Maria Vidal’s ‘Body Rock’, culminating with Ashford & Simpson’s club classic ear-worm ‘Solid (Special Club Mix)’.

LP4 opens with huge examples of sophisticated synth-pop and dance-floor innovation from 1986. Pet Shop Boys’ era-defining ‘West End Girls (Dance Mix)’ is joined by New Order’s influential ‘Bizarre Love Triangle (Extended Dance Mix)’. Up next, Red Box’s pure-pop of ‘For America (Bazooka Mix)’ and Nick Kamen’s breakthrough hit ‘Each Time You Break My Heart (Extended Version)’. The reverse side celebrates some of the biggest floor-fillers of 1986 – all in their 12” Versions, beginning with The Communards with Sarah Jane Morris and their unforgettable #1 version of ‘Don’t Leave Me This Way’, alongside Bronski Beat’s ‘Hit That Perfect Beat’, Bananarama’s global smash ‘Venus’ and Five Star’s ‘Can’t Wait Another Minute’ in its ‘M&M New York Remix’ form.

The final LP opens with a side packed with some of the most enduring dance-pop and of the era. Whitney Houston’s ‘How Will I Know (Dance Remix)’ is followed by Steve Winwood’s uplifting ‘Remix’ of his massive hit ‘Higher Love’, the celebrated ‘Shep Pettibone Remix’ of Level 42’s ‘Lessons In Love’ and Bryan Ferry’s elegant and atmospheric ‘Slave To Love (12" Remix)’, whilst over on the final side some of the years’ most distinctive and innovative sounds are showcased: Big Audio Dynamite’s genre-blending ‘E=MC2 (12 Inch Remix)’ and Furniture’s cult classic ‘Brilliant Mind (12" Mix)’ feature alongside Talk Talk’s majestic ‘Extended Mix’ of ‘Life’s What You Make It’, and to close this superb collection, the full ‘Extended Version’ of Spandau Ballet’s powerful ‘Through The Barricades’ provides a fitting finale, bringing together 42 essential 12” versions from 1985 and 1986 across five superb LPs.

Jungle cemented their status as a major global force with their 2023 album ‘Volcano’ - a record that earned them their first BRIT Award and featured their worldwide smash hit single ‘Back On 74’. The trio - J Lloyd, Tom McFarland and Lydia Kitto - return with their eagerly anticipated new album ‘Sunshine’ set for release on August 14th. The album is launched alongside the new single ‘Carry On’, which was premiered as BBC Radio 1’s Hottest Record. Along with the single release and album announcement, Jungle have also confirmed details of their forthcoming global headline tour this autumn, which includes arena shows spanning three continents. 'Sunshine' will be available digitally and across a range of physical formats: standard black vinyl, 'desert peach' vinyl, translucent brown marble vinyl — all as single gatefold LPs — plus a digipak CD.

Lange vergriffen, jetzt in einer neuen Auflage mit Obi erhältlich, Transparentes Doppelvinyl in Orange und Blaugrün. ,A Certain Distance" (2009) gilt als das vielleicht beliebteste Album von Lusine, auf dem unter anderem die bahnbrechende Single ,Two Dots" zu finden ist. Seit seinen frühen Veröffentlichungen als Lusine bilden Jeff McIlwains elektronische Experimente eine der vielfältigsten Diskografien der letzten anderthalb Jahrzehnte. Mühelos verwischt er die Grenzen zwischen Techno, Electro-Pop und experimenteller Komposition - die Arrangements des in Seattle ansässigen Produzenten sind akribisch konstruiert, aber auch voller Emotionen und Seele. ,Aber noch nie war das Seltsame so unterhaltsam wie auf A Certain Distance. Die Mischung aus Ambient, experimenteller Electronica, üppigen Melodien und durchdachten Beats sorgt für fesselnden Hörgenuss _ das Album hat zudem eine filmische Qualität. Bilder strömen in deinen Kopf, während du zuhörst - ein Soundtrack zu tausend imaginären Szenen." - Clash Magazine

Elevating, uplifting and beautifully arranged. Jasmine Myra's sophomore album Rising builds on the success of her

breakthrough album Horizons to deliver a major statement from one of UK Jazz's rising stars. Produced by Matthew Halsall and mixed by Greg Freeman (Hania Rani, Matthew Halsall, Portico Quartet), Rising delivers a confident and vibrant follow up that joins the musical dots between Myra’s influences Kenny Wheeler, Bonobo and Shabaka Hutchings while delivering something unique, beautiful and profound.

Rising is also the sound of a composer and performer growing in stature and adding extra layers of confidence and poise to both her playing and composing. Aided and abetted by Matthew Halsall who once again lends his production skills, Rising is fuller, richer and deeper as Myra develops her uniquely uplifting sound.



Much like my first album, Rising is a reflection of a period of my life. It is a continuation from Horizons, which was all about my experience during lockdown, and entailed overcoming my struggles with mental health. Following on from that experience, I set out to continue building my self-confidence. This album has an uplifting and spiritual sound, drawing influence from artists such as Makaya McCraven, Bonobo and Shabaka Hutchings.



Rising features the same core of musicians as Myra’s debut album Horizons (Gondwana records GOND052): guitarist Ben Haskins, drummer George Hall pianist Jasper Green, harpist Alice Roberts (who both also perform with Matthew Halsall) and bassist Sam Quintana who collectively bring a deft understating of the subtle textures of Myra’s music and perform with a collective empathy and drive that really pushes the music on a radiant journey. And a string quartet add gently elevating textures to Still Waters, Knowingness, From Embers and How Tall The Mountains.

,been thinking bout confession", das dritte Studioalbum der Musikerin und Produzentin Frances Chang, ist eine synthlastige, experimentelle Pop-Erkundung des Selbst und der unermesslichen, unbekannten Tiefen, die es birgt. Das Album, das größtenteils auf einem hundert Jahre alten Stutzflügel komponiert wurde, bettet die unbändigen Emotionen von Changs DIY-Wurzeln in eine komplexe und poetische Klanglandschaft ein, die orchestrale Arrangements mit eigenwilligen, fast skulpturalen, elektronischen und analogen Elementen verwebt, bei der die durchscheinende Stimme der Sängerin die eigenwillige Instrumentierung leitet. Durch eine sich stetig steigernde Poesie führt uns Chang durch eine chaotische Architektur, ein Kerzenlicht fest umklammert, das zugleich selbsttäuschend und schonungslos transparent ist. Auch wenn ,Been Thinking About Confession" klanglich der außerirdischen Schönheit von Björk und der retrofuturistischen Verträumtheit von Broadcast verpflichtet ist, nennt Chang auch eher unerwartete Einflüsse wie Chet Baker, Dionne Warwick und Burt Bacharach, die das emotionale Rückgrat des Albums bilden. Chang hat ihre übliche Gitarre größtenteils beiseitegelassen und diese 11 Songs am Klavier geschrieben, einem Instrument, das sie als ,die weibliche Wurzel meiner Psyche" bezeichnet. Die unheimliche Verschmelzung von unkonventionell eingesetzten Federhall-Effekten, älteren Kompressoren und Röhrenvorverstärkern vor einem eindeutig zeitgenössischen digitalen Hintergrund sorgt für ein Hörerlebnis, das sich gleichzeitig über Vergangenheit, Gegenwart und Zukunft auszudehnen scheint. Für Fans von Cate Le Bon, June McDoom, Cindy Lee, ML Buch, Bill Callahan, Joanne Robertson

Music Evolution is the second and last album by the all-star jazz/hip-hop/R&B fusion project Buckshot LeFonque. Led by none other than jazz saxophonist Branford Marsalis and DJ Premier, the project was named after Buckshot La Funke, a one-time pseudonym used by alto sax legend Cannonball Adderley for contractual reasons.

The album features guest performances by rapper Guru, Matrix actor Laurence Fishburne, and the highly regarded session musician David Sanborn. While his brother Wynton holds conservative views regarding jazz, Branford is quite the opposite. On Music Evolution, he effortlessly embraces and fuses hip-hop, R&B, and rock into a sonic explosion infused with the joy of playing. The track "Another Day", featuring the soulful voice of Frank McComb, was especially popular in the Netherlands, reaching number 4 in the Dutch singles chart.

Music Evolution is available as a limited edition of 1000 copies on pink vinyl and includes an insert.

Brennan Wedl"s self-titled album is a testament to collaboration, with old selves, the selves yet-to-be and the friends helping you along the way. It"s an anthology of spiritual awakening that sizes up the road ahead, encapsulating the messes and triumphs when leaving a traditional path for something less steady. Wedl is already a prolific artist, releasing solo music since 2012, and co-founding the queercore outfit Dazey & The Scouts in 2015. On her debut album for ANTI-, she shakes off the prying eyes of expectation, leaving behind the anxiety of forming yourself for others and welcoming in the delight of finally being exactly who you are. Wedl enlisted Katie Crutchfield (Waxahatchee) and Brad Cook (Bon Iver, Hurray for the Riff Raff) to co-produce and play on the album, with instrumentalists Colin Croom, Lindsey Jordan and Matt McCaughan also sprinkled throughout. Together, they formed a middle ground between punk, grunge and Americana - "grungetry" as they affectionately call it - capturing all tracks within a 10 day stay at Cook"s studio in Durham, NC.

Matrix Music Arhiv (MMA) are proud to announce a re-issue of the highly sought-after album 'Resistance' by the seminal Yugoslavian electronic rock band Borghesia, originally released in 1989 on Play It Again Sam/PIAS (Europe), Wax Trax (USA) and Jugoton (former Yugoslavia). Available on 2Lp, 2CD & 1MC (MC original album only). The re-issue features a carefully remastered edition along with the exclusive bonus live album "Dal Vivo A El Paso", recorded in December 1988 during their performance in Torino, Italy, on one of their European tours. This recording features very different, raw and at times 'dubbed up' versions of their early tracks such as 'Naked, Uniformed, Dead', Am I? and Him (On). The historical perfectly captures the atmosphere and energy of their live appearances at the time. Borghesia (Italian for 'bourgeoisie'), who were formed in Ljubljana (Slovenia) in 1982, had always considered its art to be far broader than just sonic. Borghesia's transgressive, transdisciplinary alloy of film expression, distinctively physical performative practices, usage of new technology and conveniently abrasive EBM (electronic body music) musical production hasn't only been ground-breaking in terms of the holistic, visual/sonic presence of an art collective, but had a rather decisive influence on the general aesthetics of the immensely important Yugoslav subcultural landscape of the 1980s. Borghesia was one of the first bands from the East of the Iron Curtain who used the VHS video medium to distribute their art and was also one of few projects from socialist Yugoslavia to successfully penetrate the curtain itself, reaching international audiences. A series of their releases in the fruitful period between the years 1987 and 1991, including the Resistance album itself, was released by the legendary Belgian label Play It Again Sam (PIAS). The band dissolved in the mid-1990s and then continued their work in 2014. In line with Borghesia's unique social engagement, progressiveness and political criticism, Resistance is one of their most powerful statements. It's the ultimate fight the power manifesto, which makes punk and hip-hop albums of the time sound like children's songs. This is not music for nodding your head to; it's tactical broadcast for the nocturnal resistance to this very day. Borghesia didn't address control only - they sampled the political top, the secret police and explicitly connected authority with dominance. The production of the album isn't clean or polished. On the contrary - Resistance sounds like it was created in a bunker, using stolen military equipment and synthesisers. Borghesia's genius lies in their understanding that the relentless, mechanical EBM beat was the sound of the State - and by hijacking it, turning the system's own rhythm against itself they created the most powerful form of sonic insurgency. And since history repeats itself while the little man learns slowly, the re-release of 'Resistance' comes at the right time. The dark clouds of violence are already looming over Europe, they've never really left the Middle East, and the levers of power and capital ever so louder, not even covertly at all incite: war, war, war! In these times the only appropriate answer is: revolt, rebel, Resistance!

Matrix Music Arhiv (MMA) are proud to announce a re-issue of the highly sought-after album 'Resistance' by the seminal Yugoslavian electronic rock band Borghesia, originally released in 1989 on Play It Again Sam/PIAS (Europe), Wax Trax (USA) and Jugoton (former Yugoslavia). Available on 2Lp, 2CD & 1MC (MC original album only). The re-issue features a carefully remastered edition along with the exclusive bonus live album "Dal Vivo A El Paso", recorded in December 1988 during their performance in Torino, Italy, on one of their European tours. This recording features very different, raw and at times 'dubbed up' versions of their early tracks such as 'Naked, Uniformed, Dead', Am I? and Him (On). The historical perfectly captures the atmosphere and energy of their live appearances at the time. Borghesia (Italian for 'bourgeoisie'), who were formed in Ljubljana (Slovenia) in 1982, had always considered its art to be far broader than just sonic. Borghesia's transgressive, transdisciplinary alloy of film expression, distinctively physical performative practices, usage of new technology and conveniently abrasive EBM (electronic body music) musical production hasn't only been ground-breaking in terms of the holistic, visual/sonic presence of an art collective, but had a rather decisive influence on the general aesthetics of the immensely important Yugoslav subcultural landscape of the 1980s. Borghesia was one of the first bands from the East of the Iron Curtain who used the VHS video medium to distribute their art and was also one of few projects from socialist Yugoslavia to successfully penetrate the curtain itself, reaching international audiences. A series of their releases in the fruitful period between the years 1987 and 1991, including the Resistance album itself, was released by the legendary Belgian label Play It Again Sam (PIAS). The band dissolved in the mid-1990s and then continued their work in 2014. In line with Borghesia's unique social engagement, progressiveness and political criticism, Resistance is one of their most powerful statements. It's the ultimate fight the power manifesto, which makes punk and hip-hop albums of the time sound like children's songs. This is not music for nodding your head to; it's tactical broadcast for the nocturnal resistance to this very day. Borghesia didn't address control only - they sampled the political top, the secret police and explicitly connected authority with dominance. The production of the album isn't clean or polished. On the contrary - Resistance sounds like it was created in a bunker, using stolen military equipment and synthesisers. Borghesia's genius lies in their understanding that the relentless, mechanical EBM beat was the sound of the State - and by hijacking it, turning the system's own rhythm against itself they created the most powerful form of sonic insurgency. And since history repeats itself while the little man learns slowly, the re-release of 'Resistance' comes at the right time. The dark clouds of violence are already looming over Europe, they've never really left the Middle East, and the levers of power and capital ever so louder, not even covertly at all incite: war, war, war! In these times the only appropriate answer is: revolt, rebel, Resistance!

Matrix Music Arhiv (MMA) are proud to announce a re-issue of the highly sought-after album 'Resistance' by the seminal Yugoslavian electronic rock band Borghesia, originally released in 1989 on Play It Again Sam/PIAS (Europe), Wax Trax (USA) and Jugoton (former Yugoslavia). Available on 2Lp, 2CD & 1MC (MC original album only). The re-issue features a carefully remastered edition along with the exclusive bonus live album "Dal Vivo A El Paso", recorded in December 1988 during their performance in Torino, Italy, on one of their European tours. This recording features very different, raw and at times 'dubbed up' versions of their early tracks such as 'Naked, Uniformed, Dead', Am I? and Him (On). The historical perfectly captures the atmosphere and energy of their live appearances at the time. Borghesia (Italian for 'bourgeoisie'), who were formed in Ljubljana (Slovenia) in 1982, had always considered its art to be far broader than just sonic. Borghesia's transgressive, transdisciplinary alloy of film expression, distinctively physical performative practices, usage of new technology and conveniently abrasive EBM (electronic body music) musical production hasn't only been ground-breaking in terms of the holistic, visual/sonic presence of an art collective, but had a rather decisive influence on the general aesthetics of the immensely important Yugoslav subcultural landscape of the 1980s. Borghesia was one of the first bands from the East of the Iron Curtain who used the VHS video medium to distribute their art and was also one of few projects from socialist Yugoslavia to successfully penetrate the curtain itself, reaching international audiences. A series of their releases in the fruitful period between the years 1987 and 1991, including the Resistance album itself, was released by the legendary Belgian label Play It Again Sam (PIAS). The band dissolved in the mid-1990s and then continued their work in 2014. In line with Borghesia's unique social engagement, progressiveness and political criticism, Resistance is one of their most powerful statements. It's the ultimate fight the power manifesto, which makes punk and hip-hop albums of the time sound like children's songs. This is not music for nodding your head to; it's tactical broadcast for the nocturnal resistance to this very day. Borghesia didn't address control only - they sampled the political top, the secret police and explicitly connected authority with dominance. The production of the album isn't clean or polished. On the contrary - Resistance sounds like it was created in a bunker, using stolen military equipment and synthesisers. Borghesia's genius lies in their understanding that the relentless, mechanical EBM beat was the sound of the State - and by hijacking it, turning the system's own rhythm against itself they created the most powerful form of sonic insurgency. And since history repeats itself while the little man learns slowly, the re-release of 'Resistance' comes at the right time. The dark clouds of violence are already looming over Europe, they've never really left the Middle East, and the levers of power and capital ever so louder, not even covertly at all incite: war, war, war! In these times the only appropriate answer is: revolt, rebel, Resistance!

Jetzt auch als "Translucent Purple Vinyl" LP erhältlich. ,been thinking bout confession", das dritte Studioalbum der Musikerin und Produzentin Frances Chang, ist eine synthlastige, experimentelle Pop-Erkundung des Selbst und der unermesslichen, unbekannten Tiefen, die es birgt. Das Album, das größtenteils auf einem hundert Jahre alten Stutzflügel komponiert wurde, bettet die unbändigen Emotionen von Changs DIY-Wurzeln in eine komplexe und poetische Klanglandschaft ein, die orchestrale Arrangements mit eigenwilligen, fast skulpturalen, elektronischen und analogen Elementen verwebt, bei der die durchscheinende Stimme der Sängerin die eigenwillige Instrumentierung leitet. Durch eine sich stetig steigernde Poesie führt uns Chang durch eine chaotische Architektur, ein Kerzenlicht fest umklammert, das zugleich selbsttäuschend und schonungslos transparent ist. Auch wenn ,Been Thinking About Confession" klanglich der außerirdischen Schönheit von Björk und der retrofuturistischen Verträumtheit von Broadcast verpflichtet ist, nennt Chang auch eher unerwartete Einflüsse wie Chet Baker, Dionne Warwick und Burt Bacharach, die das emotionale Rückgrat des Albums bilden. Chang hat ihre übliche Gitarre größtenteils beiseitegelassen und diese 11 Songs am Klavier geschrieben, einem Instrument, das sie als ,die weibliche Wurzel meiner Psyche" bezeichnet. Die unheimliche Verschmelzung von unkonventionell eingesetzten Federhall-Effekten, älteren Kompressoren und Röhrenvorverstärkern vor einem eindeutig zeitgenössischen digitalen Hintergrund sorgt für ein Hörerlebnis, das sich gleichzeitig über Vergangenheit, Gegenwart und Zukunft auszudehnen scheint. Für Fans von Cate Le Bon, June McDoom, Cindy Lee, ML Buch, Bill Callahan, Joanne Robertson

There is an ecstatic melancholy in Dent May’s music. The bedroom pop auteur’s songs are both bittersweet and exuberant, breaking your heart while you can’t help but sing along.

Over six albums, May has built a wildly diverse discography spanning 17 years. He has typically worked alone, assembling perfect pop gems on his laptop, playing nearly every instrument himself. But when he began preparations for his new album, May’s tried and true process suddenly felt stale.

The Big One brings together both the scrappy DIY ethos of Elephant 6 Collective and early The Magnetic Fields with May’s lifelong affinity for the great ’70s singer-songwriters like Harry Nilsson and Ram-era Paul McCartney. The songs balance a clear-eyed view of the world with a cautious optimism, looking at the everyday experiences of disappointment and heartbreak with a sense of possibility for the good that may still come. Things might seem bleak, May tells us, but that doesn’t mean we can’t be thankful for our brief time here on Planet Earth.

The title track is the beating heart of the record. Over a steady drumbeat, piano, and accordion, a melancholy May sings, “The big one’s coming, the big one’s on its way,” promising disaster. But May won’t wallow in the misery: “Thank the Lord for all my friends/We can make it ’til the end/No we can’t stop now/Who knows? Tomorrow it all could turn around.” For May, hope comes in the form of others.

It’s with this joyful melancholy Dent May draws in the world. Everything might be ending, the planet could be careening off into chaos, but tonight there’s a party down the block and you’re invited. Be sure and bring your friends.

Ken Christensen (ECB) brings his long running Love Athletic project to the label on side A, joining forces with Sean McNulty to deliver an enticing blend of rolling, locked-in beats, soulful vocals, restless cowbells and psychedelic TB-303 acid lines. Jobu (Freaky Behavior) remixes, wrapping warming synth motifs and echoing vocal snippets around a deep tech-house groove. Over on side B, Dan Laino takes over with 'Under the Lights', a chunky and bumpy slab of lightly garage-influenced deepness. This in turn is reworked by Cory Wells, who opts for a more hypnotic and locked-in vibe.

Pure Devotion, benannt nach der gleichnamigen Live-Reihe von 2024, markiert einen weiteren Entwicklungsschritt für Overmono. Hinter dem Projekt stehen die Brüder Tom und Ed Russell, die bereits seit Jahren in der britischen Elektronikszene aktiv sind - sowohl gemeinsam als auch über ihre Solo-Projekte Tessela und Truss. Diese Erfahrungen aus dem UK-Underground bilden die Grundlage ihres Sounds bis heute. Das Album vereint bewusst Unschärfen, technische Imperfektion und zufällige Momente mit einer klaren künstlerischen Haltung. Über elf Tracks hinweg erweitern Overmono ihren Produktionsansatz und greifen dabei auf ungewöhnliche Mittel zurück: analoge Synthesizer aus den 70er- und 80er-Jahren, alte Lautsprechersysteme oder experimentelle Klangbearbeitung. Das Ergebnis wirkt kontrolliert, organisch und immer treibend. Auch die Vocals tragen zur Atmosphäre bei - unter anderem von John Joseph Holt, Kindora und Ruthven. Insgesamt legt Pure Devotion den Fokus stärker auf Emotionalität und Klangtiefe als auf reine Funktionalität im Clubkontext. Das Projekt entwickelte sich aus einer Neujustierung ihrer Live-Show und gewann parallel zu ihren Touraktivitäten an Form. Nach dem Erfolg ihres Debütalbums Good Lies (2023), welches ihnen größere Aufmerksamkeit und internationale Auftritte einbrachte, spielten Overmono zahlreiche Festivals und eigene Shows, darunter Glastonbury und Alexandra Palace in London. Während dieser Phase entstand neue Musik, die später in Rückzugsorten wie Spanien und Island weiter ausgearbeitet wurde. Die Single "Lockup" steht exemplarisch für die Herangehensweise des Duos: direkte, rhythmisch präsente Strukturen treffen auf zurückhaltendere, emotionale Elemente. Pure Devotion wirkt damit weniger wie ein Bruch als vielmehr wie eine konsequente Weiterentwicklung - geprägt von Erfahrung, Neugier und dem Anspruch, den eigenen Ansatz weiter auszuloten. Overmono sind eine neue Größe in der internationalen Club-Kultur.

Originally released in 2014, Travellers, the acclaimed album from Bison, returns in a newly remastered edition as a limited double vinyl LP.

Created by an exceptional cast of collaborators including Paul Mudd Murphy, Ben Smith, Ursa Klose, and the late Holger Czukay of the legendary German group Can, Travellers occupies a unique space between experimental electronics, psychedelic soundscapes, and leftfield dance music.The album also features reinterpretations by Conrad McDonnell of the influential DJ and production duo Idjut Boys, helping to cement its reputation among adventurous listeners and collectors alike.

Over the years, Travellers has quietly become a cult favourite. Long unavailable on vinyl, original copies have become highly sought after and increasingly expensive on the second-hand market, earning the record a near-mythical status among collectors and fans.Fully remastered from the original recordings, this new edition of Travellers brings renewed depth, clarity, and presence to an album that has quietly earned cult status over the past decade, while preserving the atmosphere and character that made it so distinctive.

More than ten years after its original release, Travellers returns not as a nostalgic artefact, but as a vital and enduring work whose reputation has continued to grow through word of mouth, discovery, and devotion from collectors and listeners around the world. Travellers remains a document of a unique moment in time, a collection of friendships, ideas and happy accidents that somehow found their way onto tape.

Ursprünglich im Jahr 2000 auf Fuzzbox veröffentlicht und 2003 vom Beggars-Imprint Too Pure erneut herausgebracht, stellte My Pain and Sadness Is More Sad and Painful Than Yours die Band mclusky aus Cardiff als eine drängende neue Stimme im britischen Rock vor. Das Album zeigt die Band in ihrer unmittelbarsten und rohesten Form und prägte mcluskys Mischung aus scharfkantigen Gitarren, schwarzem Humor und Andrew Falkous" pointierter, oft absurdistischer Lyrik. Noch bevor spätere Anerkennung für Alben wie Mclusky Do Dallas und The Difference Between Me and You Is That I"m Not on Firefolgte, fängt dieses Debüt die Band in einem ungefilterteren Zustand ein - volatil und direkt. Songs wie "Joy" und "Rice Is Nice" deuten bereits die Präzision und Bissigkeit an, die später voll zur Geltung kommen sollten, während ein Großteil des Albums auf Wiederholung, Spannung und Auflösung setzt - mit einem beinahe bedrohlichen Minimalismus. Nun, 26 Jahre später, wurde das Album von Sean Magee in den Abbey Road Studios neu gemastert und erscheint auf 180g schwerem schwarzem Vinyl, wobei das originale Artwork beibehalten wurde. My Pain and Sadness Is More Sad and Painful Than Yours bleibt ein zentrales Dokument der Anfänge von mclusky. Sein Einfluss lässt sich in späteren Wellen von Noise Rock und Post-Hardcore nachverfolgen, doch seine einzigartige Mischung aus Witz, Aggressivität und Ökonomie bleibt unerreicht.

Beefheart & McQuinn is the new project from UK artist Moby Beefheart aka William Murray (formerly of UK outfit Fur) and Melbourne / Naarm musician Winter McQuinn (Sunfruits, jade imagine). Coming together after a chanced coffee meetup, the musical connection between the two artists is palpable. Sharing a love for the folk and rock sounds of yesteryear without pastiche obsession, Beefheart & McQuinn make contemporary psychedelic folk / soft rock, a rich sonic tapestry of vocal harmony blends and deft musicianship / production.

Midtown Downtime is a debut album which explores the tensions of time and productivity in late-stage capitalism. The album is a collection of 10 songs that explore the genres of contemporary psychedelic folk / soft rock, with stacked harmonies over syncopated guitars and occasional synth / drum outbursts.

The album has a sound that is familiar yet unique, harkening to both Crosby, Stills, Nash, and Young and Luke Temple/Carol King. Lyrically the album covers a lot of ground with songs about the squeeze of capitalism coupled with the feeling of isolation and anxiety that the modern world’s political landscape can engender, alongside songs of love, friendship and nostalgia.

There’s a high energy feeling that runs through the 27-minute album's core, an energy that goes hand in hand with the modern era's ever-changing focus & diminishing attention spans, the record asks you to sit down and listen to it all in one go.

Zwei Monate bevor Jackie McLean sein bahnbrechendes Meisterwerk “One Step Beyond” einspielte, hatte
der Altsaxofonist im Studio von Rudy Van Gelder ein dynamisches Quintett für eine Aufnahmesession versammelt. Trotz der hochkarätigen Besetzung mit dem Trompeter Donald Byrd sowie dem Pianisten Herbie
Hancock und dem Schlagzeuger Tony Williams - die kurz danach Mitglieder des zweiten großen Quintetts
werden sollten - legte Produzent Alfred Lion die Aufnahmen erst einmal auf Eis. Sie wurden erst 1980
als Teil der “Connoisseur”-Reihe unter dem Titel “Vertigo” veröffentlicht. Das Quintett präsentierte eine
schwindelerregende Vielfalt an Stilen - von energiegeladenem Post-Bop über raffnierten Funk bis hin zu
langsamem Blues. Gekoppelt wurden das Material auf dem Album mit einer klassischen Hard-Bop-Nummer
aus dem Jahr 1959, die McLean mit einem anderen exzellenten Quintett ursprünglich für das Album “New
Soil” aufgenommen hatte. Auf diesem Album war sie aber wegen Platzmangels nicht erschienen.

Primarily drawn from a dynamic 1963 quintet session, Vertigo features Jackie McLeanacross a dizzying array of styles from hard bop and slow blues to sophisticated funk and bristling post-bop. Joining the alto saxophonist are Donald Byrd, Herbie Hancock, Butch Warren, and Tony Williams.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on gatefold jacket.

Maverick folk artist and touring veteran Rev Hammer has been writing and releasing music for over 40 years. He regards his music not so much as a passport to fame and fortune but as a ticket to ride and has enjoyed numerous tours, collaborations, and projects over his long and varied career. The Old Crow Folk Club album features 23 of his songs re-imagined by friends and artists including Justin Sullivan (New Model Army), Mark Chadwick (Levellers), Maddy Prior (Steeleye Span), Simon Friend (Levellers), Seth Lakeman, John Jones (Oysterband), Dan Donnelly & Jon Sevink (Levellers), Nick Harper, Kathryn Roberts & Sean Lakeman, Nick Parker,

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.

Der Begriff „Classic Rock“ existiert in den USA schon seit vielen Jahren, doch in Deutschland musste sich diese Bezeichnung nach und nach etablieren. Er umfasst das Spektrum zwischen AOR und Hardrock mit vielen Facetten. In diesem Vinylboxset findet man diese Bandbreite. Über MOLLY HATCHET muss man kaum Worte verlieren. Zusammen mit LYNYRD SKYNYRD zählt man zu den erfolgreichsten und wichtigsten Southern Rock Bands und ist auch heute noch aktiv.
RICK DERRINGER ist leider 2025 gestorben, hat uns aber nicht nur mit seiner ersten Band THE MCCOYS („Hang On Sloopy“) unsterbliche Musik geliefert, sondern vor allem als Solokünstler. Dieses Schaffen wird auf der LP „Beyond The Universe“ zusammengefasst. JOHNNY BLACK kommt eigentlich aus dem Punk, aber auch in diesem Segment gibt es Gruppen, die man anderweitig verorten kann. Seine von der Presse hochgelobte LP enthält einen zugänglichen Mix aus Classic Rock, Hardrock und 70s Rock – teilweise hitverdächtig. Etwas mehr Aufmerksamkeit muss man der Band FLOATING OPERA schenken, deren einzige LP einen anspruchsvollen Mix aus Classic Rock, Krautrock und Progrock aufweist. Das passte perfekt in die ausklingenden Siebziger und gerade beginnenden Achtziger. FLOATING OPERA ist die versteckte Geheimwaffe in diesem Boxset. Alle LPs wurden für Vinyl gemastert!

A new collaborative project between Neil Jones (lead singer of Stone Foundation) and Nick Corbin (founder of New Street Adventure), bringing together two of the UK soul scene’s most distinctive voices and songwriters. The project also features legendary keyboardist Mick Talbot (The Style Council) and bassist Ernie McKone (Galliano / The Brand New Heavies), creating a band rooted deeply in British soul tradition while pushing the sound somewhere fresh.

The seeds of the collaboration were sown during the Covid-19 lockdown, when Jones and Corbin joined forces for a marathon live-stream performance that quickly gathered momentum online. The result is Silent Stream — an album steeped in soulful songwriting, rich musicianship and understated groove. The lead single captures that spirit perfectly: warm, reflective and melodic, built around classic soul textures, Hammond organ, and a rhythm section that breathes with the ease of seasoned players. For fans of contemporary British soul with classic influences, the track sits comfortably alongside artists like Paul Weller, Michael Kiwanuka and the wider Acid Jazz / modern soul movement.

It’s a meeting of kindred musical spirits — born in lockdown, but very much built for the long road ahead.

The first-time tracks from the West Coast label “Cenco Records” have ever been compiled on one album.

13 tracks from the soulful side of this hidden gem of a label which includes many highly collectable and very rare releases.

Skyjack — the borderless five piece band spread across South Africa and Switzerland — announce their fourth studio album, Let The Sky Open Under Your Feet, out 3rd July.

Recorded in December 2025 at a secluded studio outside Stellenbosch, South Africa, the album captures the vibrant live energy of the band at its most expansive — drawing together free improvisation, South African jazz traditions, chamber music, kinetic groove, and ecstatic collective interplay into a singular body of work.

“This record is a very articulate representation of our sound, having grown deep roots into the earth with high branches reaching upward and outward”, says bassist Shane Cooper. “My desire is always to create sonic universes that can envelope the listener.”

The album’s title comes from a line in a poem by the 13th-century Persian poet Rumi, reflecting the music’s balance between groundedness and transcendence. Here, Skyjack move fluidly between meditative improvisation and lush orchestration across twelve tracks of free-spirited, cosmic journeying. Inspired both by the cultural traditions and natural environments of South Africa, Let The Sky Open Under Your Feet is a testament to the band’s intuitive connection and innate musical curiosity.

It arrives just over a year after Light Cycle (2024), a short gap that reflects the momentum built on tour. After exchanging sketches remotely across two continents, the band reunited in Johannesburg in late 2025, workshopped the new material onstage across South Africa, and then headed directly into the studio, where much of the album was recorded live in first takes — preserving the looseness and unpredictability central to Skyjack’s sound.

Comprised of Kyle Shepherd (piano), Shane Cooper (bass), Jonno Sweetman (drums), Andreas Tschopp (trombone), and Marc Stucki (saxophones), Skyjack first formed in Cape Town in 2013 during a fertile moment in South African jazz, as a new generation of musicians pushed against rigid genre definitions and opened the music outward toward broader sonic possibilities. Over the past decade, the band has built a singular sound drawing equally on South African groove traditions and European improvisation.

Individually, the members move between jazz, electronic music, film scoring, rock, hip-hop and experimental composition, with collaborations spanning artists including William Parker, Lionel Loueke, Zim Ngqawana, Ben LaMar Gay, Jorge Rossy, Shabaka Hutchings, William Kentridge, Makaya McCraven and Sylvie Courvoisier.

Since their self-titled debut in 2015, followed by The Hunter (2019) and Light Cycle (2024), the group has developed a reputation for immersive live performances and music that continuously reshapes itself in motion — rooted in what they describe as “warm menacing African grooves,” while refusing fixed stylistic borders.

10 years after the original, The Devil Wears Prada 2 picks up in a new era of fashion, ambition, and shifting power—where old rivalries resurface and the runway is fiercer than ever. The soundtrack matches every moment with Lady Gaga, Doechii, Dua Lipa, Miley Cyrus, SZA, RAYE, Laufey, Olivia Dean, and more, delivering the perfect mix of glamour, edge, and reinvention

ABOUT THE FILM

20th Century Studios’ The Devil Wears Prada 2:

Twenty years after making their iconic turns as Miranda, Andy, Emily and Nigel—Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return to the fashionable streets of New York City and the sleek offices of Runway Magazine in 20th Century Studios’ The Devil Wears Prada 2, the eagerly awaited sequel to the 2006 phenomenon that defined a generation. The film is directed by David Frankel, written by Aline Brosh McKenna, produced by Wendy Finerman, and executive produced by Michael Bederman, Karen Rosenfelt and Aline Brosh McKenna.

TMAC returns with a raw Chicago house banger inspired by tape-deck tracks From the early days of house. One-sided cut with two mixes on colored wax, this joint delivers funky synths, hard-hitting drums, and peak dance floor pressure.

The recordings on Volume II were captured in Copenhagen, Denmark on January 18, 2020. Guided as much by human instinct as by musical intention, the ensemble moved through the evening with a shared sensitivity…listening, responding, and trusting the moment as it unfolded. Though Morten McCoy admits to having felt quite ill that evening, nothing in the music suggests restraint. Instead, what remains is a vivid, playful exchange, where McCoy and Johannes Wamberg carry both Part I and Part II as a flowing conversation, speaking through sound rather than words.

Part I begins abruptly, almost throwing the listener back in time to the exact moment the improvisation was born. Jonathan Bremer steps to the forefront, providing a solid, melodic bassline as Kristoffer and Eliel, perfectly in sync, lay down a steady foundation for whichever voice chooses to rise above the rhythm.

This is also one of the few I Am An Instrument recordings to feature two guitarists. Johannes Wamberg leads the way, shaping the harmonic direction, while Steven Jess Borth II adds subtle rhythmic textures through muted palm work, deepening the groove without ever stepping into the foreground.

Part II unfolds with Morten McCoy on his Moog One, delivering a beautiful, expansive solo. Using a carefully chosen patch, the sound pulses through the rhythm, moving with the groove rather than above it, riding the beat like a wave through the ocean.
Shaped by trust, presence, and collective improvisation, Volume II captures a group deeply attuned to one another, allowing intuition and momentum to guide the unfolding form.
——
Volume III was recorded in Copenhagen on March 5, 2020. Little did anyone know that only days later, the world would be placed on pause for years. Captured just before that moment of global stillness, this session carries a heightened sense of presence, a final gathering before silence reshaped everything. Recorded in a space more commonly associated with a club atmosphere, the music draws on a different kind of energy and immediacy. With Eliel Lazo unable to attend, the group invited Victor Dybbroe of Girls In Airports to join on percussion, subtly reshaping the ensemble while preserving its core spirit. Part I opens with Steven Jess Borth II calling out on tenor saxophone, answered by Morten McCoy on Wurlitzer electric piano. The piece gradually unfolds into a meditative groove, patient and expansive, carrying the listener through an eight-minute journey of layered rhythm and restraint.

Part II begins with Jonathan Bremer on stand up bass, slowly joined by the rest of the ensemble as each voice enters with intention. Midway through, an unexpected vocal melody from Borth emerges, drenched in reverb and delay, later reappearing as a melodic line on the tenor saxophone.

Part III is led by Morten McCoy on Wurlitzer electric piano. His signature melodic language sets the direction, guiding the ensemble while leaving ample space for the music to breathe and evolve through collective improvisation. Reprise returns to the closing moments of Part II, its title reflecting its origin. The familiar groove reappears, transformed into a distinctly Jamaican-influenced rhythm, over which Borth delivers a final tenor saxophone solo, bringing the conversation to rest.

Any questions about any of these products feel free to get in touch and we'll help you out!

a a1. Part I [Vol.2]
[b] a2. Part II [Vol.2]
[c] a3. Part I [Vol.3]
[d] b1. Part II [Vol.3]
[e] b2. Part III [Vol.3]
[f] b3. Reprise [Vol.3]

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




d 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




d 04 - Big Bad Feat. Genesis Elijah, Killa P & Dabbla




d 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.

"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”

Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.

Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.

“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.

“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.

The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”

It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."

Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”

Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.

The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’

Zum ersten Mal seit der Originalpressung wieder auf Vinyl erhältlich - in einer neuen Obi-Edition, das Vinyl kommt in Schwarz-Weiß-Splatter-Optik. ,Sensorimotor" (2017) ist vielleicht Lusines einladendstes Album, mit der Single ,Just a Cloud" und weiteren Titeln. Seit seinen frühen Veröffentlichungen als Lusine bilden McIlwains elektronische Experimente eine der vielfältigsten Diskografien der letzten anderthalb Jahrzehnte. Die Grenzen zwischen Techno, Electro-Pop und experimenteller Komposition mühelos verwischend, sind die Arrangements des in Seattle ansässigen Produzenten sorgfältig konstruiert, aber auch voller Emotion und Seele. ,Sensorimotor ist ein Album, das seinem Namensgeber alle Ehre macht, gleichermaßen sensorisch und motorisch orientiert - und ein Werk, das ebenso auf intimen Texturen wie auf kühnen Rhythmen basiert." - KEXP

"Motorway City" is a superb, driving-based collection of library music. The tracks on this album were all written between the mid-60s and the early 80s to hymn car travel, back when the petrol-operated motor car was seen as the transport mode of the future, when motorways were new and thrilling. It was car travel’s golden age.
The tracks are highly collectable rarities from the libraries of De Wolfe, Chappell and Hudson. It has been compiled by Bob Stanley of Saint Etienne who has also written the informative sleevenotes. It stretches from mod movers to proto-ambient, something for every car journey.

Library music soundtracked the many short films that extolled the virtues of TopTray restaurant at Watford Gap or the comfortable leather seats in an Alpine Sunbeam. These tunes illuminated the joys of motor travel, and were given titles such as ‘Fast Lane’, ‘Super City’ and ‘Clearway’.
Many of these tracks seem time specific. The sun peeks over the horizon for Basil Kirchin’s ‘Through New Territory’; Reg Tilsley’s ‘Hold The Road’ is so bright at midday that you’ll need to wear shades to stop the sun getting in your eyes; John Fiddy’s ‘City Skyline’ has to be seen (and heard) at dusk.

Ex-Soft Machine Karl Jenkins provides the tense ‘Wheeling’, and Peter Reno’s thunderous ‘Convoy’ shifts the mood up a gear. Maybe you should risk nudging the speed up, 80-plus, to the soundtrack of Alan Hawkshaw’s ‘Fuel Injection’ or Simon Park’s mellow-but-dynamic ‘Big Road’.
Beautifully packaged in a gatefold sleeve, "Motorway City" could be the soundtrack to your summer holiday.