Gap Mangione's monumentally influential Diana In The Autumn Wind. They said it could never be done. And with good reason. Be With has spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades. It's unarguably the most sought-after album for J Dilla/Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar, and Talib Kweli. But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation. Gap's story is told in his words alongside rare photos across a sumptuously designed two-page insert and, to augment this deluxe edition further, it's all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements -- rock, big band jazz, solo improvisation and "classical" music -- into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music." Under the watchful eye -- and extremely attentive ears -- of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much-needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.

LP version. "Wellspring presents the arrival of a powerful new voice in creative music, unrelenting in passion and invention, while always transmitting a deeply empathic grace. Masterful composer-improviser DoYeon Kim is an unparalleled practitioner of the Korean gayageum (a silk-string zither), and is also in possession of a purposeful vocal intensity. This is her debut album as a bandleader, featuring fellow master musicians Tyshawn Sorey (drums), Mat Maneri (viola), Henry Fraser (bass). Armed with an unlikely traditional instrument, flanked by three extraordinary improvisers, radiating a brash, acoustic strategy that simultaneously invokes folk universalism and a no wave battle-stance, the Brooklyn-based virtuoso drops a volcanic sonic statement with grand humanist goals. Kim mingles Korean lullabies, fervent interactions between drums and strings, and pure instrumental expressions of musical self. At times, she sounds like she can halt armies. Wellspring is a call for society to come together. How the Seoul, South Korea-born 34-year-old came to be the centuries-old zither's leading -- and perhaps only -- practitioner of contemporary improvised music, reflects an expansive embrace of her own culture, her place in modern society, and her ascending recognition of music's liberatory power."

For more than three decades, Go Hirano has developed a quietly enthralling sound world on the peripheries of the Japanese underground. Emerging in the 1990s, Hirano released three albums with the revered PSF Records label and established himself as an artist with a unique sense of melody and atmosphere that was both entrancing and intimate. His work, largely recorded at home and in the field, de-emphasized technical perfection in favor of an unvarnished immediacy that imbued the quiet moments of daily life with a dreamlike splendor. On The Habit, Hirano brings together recordings that span decades of his playing the piano and other instruments on a daily basis. The core of the album was recorded in 2020 at Pianola Records in Tokyo, while other pieces draw from recordings dating as far back as the late 1980s. Through this span of years, a coherent vision emerges, marked by patient, subtle engagement with repetition, space, and resonance. Hirano works with a restrained palette -- piano, pianica, wind chime, percussion, and synthesizer -- to develop simple melodic figures that gradually shift in harmony and texture. Spacious piano chords expand through soft synthesizer tones. Near-imperceptible rhythmic frameworks intertwine with tranquil phrases that drift and merge with the sounds of the world around them. This synthesis of music and the environment in which it is created is critical to Hirano's approach. Rather than isolating the music from its surroundings, he embraces the atmosphere of the moment, the room in which each piece is played, capturing the subtle sounds and artifacts of the artist's daily experience and the surrounding natural world. For Hirano, these "imperfections" are pathways to vibrant, living expression. While he may share affinities with Ryuichi Sakamoto, Hiroshi Yoshimura, and even Brian Eno, Hirano's dedication to "initial, unadorned expression" and processing the environment through his own particular filter sets him apart. The Habit reveals a meditative, melodic language unfolding over the decades and within the many spaces of a life in music marked by a unique warmth and beauty. Co-released with Conatala label, Japan. Mastered by Makoto Oshiro. Lacquers cut by Rashad Becker, Clunk Studio, Berlin. Pressed at Optimal Media, Germany. Artwork by Yukiko Ikeda. Design by Rob Carmichael, SEEN. Produced by Peter Kolovos, Conatala, and Rie Hirano.

"What's new for the first time in over a decade? Squirrel Bait's and Skag Heaven in the black. In '85-'87, their screamin' teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. 'Kid Dynamite' would ring in your head like a #1 single that had just unseated 'Sun God' from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively). With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now."

Never heard of Canberra's Samuel D. Rich, who rocked our nation's capital for approximately a mere 18 months circa 1973-74? No? That's OK. Up until about a year ago, nor had Eminent Vinyl. They -- they were a band -- played with a host of luminaries of the day -- everyone from The Aztecs, Stevie Wright, Buffalo, Hush, and Bakery to Mackenzie Theory and beyond, recorded this album then split up. Through a rather bizarre chain of events, these unreleased recordings landed in Eminient Vinyl's lap from band member Geoff Rosenberg, and now there is this incredible LP, Theme of Discontent. The group's sound was caught somewhere between the Oz-Prog of Spectrum, Mackenzie Theory, and Kahvas Jute, mixed with the acid-rock guitar flash of Santana and the psychedelic funk groove of early Chicago (minus the brass, and substitute it with a whole lotta flute, thanks). The band had some serious chops and an abundance of terrific original material, so they went into a studio in early 1974 and laid down an hour of tracks. By later in the year, they were no more, though the music was kept on a Betamax(!) tape and transferred to CD a couple of decades ago. Had they stuck around, they would have slotted into the Mushroom or Infinity stables nicely. Eminent Vinyl has taken the best 45 minutes of songs, had them remastered by Mikey Young and housed the release in an incredible package, complete with an informative four-page booklet designed by Luke Fraser. Fun fact: Canberra resident and law student, Peter Garrett, was such a big fan of the band that he tried out as their singer (he didn't get the job, but subsequently did pretty well in other pursuits). Theme of Discontent is a remarkable discovery for lovers of Australian rock of yore: completely unknown '70s music from the nation's capital ripe for listening in 2026.

Died Pretty's run of greatness possibly reached its peak with 1991's Doughboy Hollow. It was an album which finally and belatedly really saw the band rise above the musical underground and gain a wider audience. Spearheaded by incredible singles such as "D.C.," "Godbless," and "Sweetheart," Ron Peno, Brett Myers, Chris Walsh and co. were accompanied by the likes of cellist Sarah Peet and The Go-Betweens' Amanda Brown on violin to create a lush, widescreen sonic aura that still sounds magnificent 35 years later. This is truly one of the great Australian rock albums, remastered and ready for re-release.

"Nearly three years on from their self-titled debut, Psyché return with a new album that reinvigorates and expands their singular blend of groove and psychedelia. The band's name itself -- the ancient Greek word for 'mind' or 'soul' -- signals a deep-rooted love for psychedelic funk, while pointing towards a vast array of Mediterranean influences spanning Southern Europe, the Balkans, Anatolia, and the Maghreb. While their first record explored a mythical, timeless Mediterranean as a sort of 'elsewhere' -- reimagining ancient musical traditions through modern styles and sensibilities -- Psyché II adds a subtle political dimension and shifts the focus toward a wider, more contemporary geography. Here, the Mediterranean becomes a modern lingua franca -- a fluid bridge uniting diverse peoples, cultures, and musical legacies. In this vision, the band's native Naples serves as a vibrant crossroads where sounds from North Africa and the Middle East meet the echoes of distant shores like Brazil and Colombia. The album's core strength is the band's mastery of restraint -- their minimalist style. Veterans Marcello Giannini, Andrea De Fazio, Paolo Petrella, and Roberto Porzio -- all central figures in the Neapolitan scene through projects like Parbleu, Bassolino, and the Nu Genea Live Band -- excel at creating engaging, hypnotic music defined by few elements but deep, pulsating grooves. Their sound traverses cosmic funk and desert blues, cumbia, dub, and jazz, anchored by the use of analogue synths and propulsive basslines. The record gains further international and political weight through collaborations with Ziad Trabelsi on "Hurriya (We Must Resist)", an Anatolian-rock-style celebration of resilience and freedom with lyrics in Arabic, and Merve Daşdemir (formerly of Altın Gün) on "Yallah!", a proud unmasking of duplicity sung in Turkish and built upon the exotic rhythm of a Middle Eastern-inspired dance. Psyché II is the distillation of a journey through cultures and identities: an album where cross-pollination and a nomadic spirit become the tenets of a contemporary sound -- at once rooted in the Mediterranean and open to the world."

Dimensions: 314 × 314 × 8mm. Materials: die-cut laminated greyboard, archival case-wrapping. Media: 4× 80mm compact disc, 1× full-length compact disc. Electronic musician, composer, and conceptualist Joseph Branciforte joins pioneering Fender Rhodes artist Jozef Dumoulin on ITERAE, a compelling entry in the post-glitch canon. The album documents an acutely focused musical dialogue between two artists who have reimagined not only the sonic possibilities of amplified keyboard instruments, but the potential of technology to shape musical improvisation. Spanning 70 minutes, its eight modular sections hover between form and abstraction, precise sonic architecture and dream-like flow. ITERAE is issued as a bespoke multi-disc edition designed by Branciforte -- extending the music's own structural logic into physical form. ITERAE links two performers from opposite sides of the Atlantic known for their transformations of Fender Rhodes electric piano. Jozef Dumoulin is a Belgian keyboardist recognized for his role in redefining the Fender Rhodes as a 21st-century instrument, forging a highly personal musical language through extensive electronic manipulation. Joseph Branciforte is a composer, producer, and fellow Rhodes experimentalist known for bridging acoustic and electronic worlds in collaborations with Theo Bleckmann, Taylor Deupree, and Ryuichi Sakamoto. Both performers are fluent improvisers, with musical vocabularies drawing broadly from jazz, electronic, and contemporary music. Here, however, the focus is squarely on distillation: small fragments captured, transformed, and recombined into cascading, lattice-like structures. The result is a sound that merges aspects of the early glitch movement with bold explorations of harmony and form -- weaving together threads from modern classical, electroacoustic, and ambient to create something decisively of the present. The music unfolds with an unbroken focus and sense of direction, dense tapestries of glitches giving way to moments of deeply intuitive, harmonic convergence. The juxtaposition of open-ended improvisation and the precise, methodical compositional vision for which Branciforte is known creates a dynamic interplay, where flow and memory, improviser and editor remain in constant dialogue. ITERAE is issued as a bespoke multi-disc edition designed for both shelf and wall -- referencing the domestic scale of the vinyl LP while quietly subverting its familiar expectations. The format embodies the album's structural logic in physical form: four paired movements (⊏/⊐) distributed across four 80mm compact discs. Each disc can be played independently or sequenced freely, extending the music's own recursive methodology into its physical presentation. Each disc is housed within a die-cut matte greyboard panel. This outer layer is bonded to a rigid 4mm core, case-wrapped in white archival paper with a printed bottom spine -- allowing it to sit comfortably on a shelf alongside vinyl records. A full-length compact disc is included on the rear for universal playback, along with an integrated wall-hanging tab. Functioning both as a playable sound edition and sculptural object, the design reframes the album as a physical system.

"You don't have to be a cinephile to know Michael Winner's 1974 cult vigilante movie Death Wish. Starring the ever-stoic, quintessential action hero Charles Bronson, it was this film that defined the further careers of both Winner and Bronson. Right before this, they collaborated on The Stone Killer, in which Bronson plays a gritty detective from New York sent to L.A. to solve a case involving an old Sicilian Mafia family feud. The soundtrack is composed by jazz pianist and composer Roy Budd, who was also responsible for the much-praised soundtrack of the 1971 classic Get Carter starring Michael Caine. It begins with a gentle tender melody but it's a trick, as there is a 70-piece orchestra waiting to pounce. Suddenly the big picture is revealed and the listener enters a full-on Budd theme with a cool jazz accompaniment. The score perfectly demonstrates Budd's ability to blend jazz with orchestral arrangements in ways unparalleled by very few composers. In typical 1970s fashion, this soundtrack will surely satisfy fans of the jazz-funk and library music found on labels such as KPM and Music De Wolfe. The Stone Killer is available as a limited edition of 1000 individually numbered copies on 'Blade Bullet' colored vinyl and includes an insert with liner notes and a fold-out replica of the original movie poster."

"They have been known to deep soul, funk and disco collectors for decades for their sought after 7" 'Watching Out/Dazed,' long thought to be the band's only recordings. Egon tracked down Split Decision Band's vocalist and songwriter Gordon Starr Flipping in the hopes of more and got it -- with Split Decision Band, Now-Again presents an album of devastatingly good disco and boogie from the unlikely city of Des Moines, Iowa. Flipping's collaborations with Prince's stable made him a Midwestern legend, but his band's music is more than an urban tall tale -- this album finally proves to the world their merits."

"A newly unearthed and fully restored recording of Thelonious Monk's 1967 Paris concert. This marks the first official release from the Monk Estate. Captured at the height of Monk's creative powers, this historic performance showcases the pianist and composer with his classic quartet: Charlie Rouse (tenor saxophone), Larry Gales (bass), and Ben Riley (drums). The unparalleled composer/pianist/visionary Thelonious Sphere Monk epitomized every aspect of this in exponential form. As a result, he occupies a unique position in the Jazz pantheon. Every aspect of this extraordinary man epitomizes jazz expression at its most compelling level. His visual presence -- his headwear, his glasses, his sartorial style -- matched with his remarkably profound verbal statements, the way he danced around the piano during other musicians' solos; and even more importantly, his brilliant compositions that are both starkly angular, yet gorgeously lyrical, and matched by his piano playing which made dissonance and fractured rhythms so utterly delightful, make Thelonious Monk stand out dynamically even amidst his other transcendent peers. This release, Monk Live in Paris, 1967: Volume One, is very special, not only for its merging of these elements, but also because it showcases Monk's longstanding quartet featuring tenor man Charlie Rouse and the bass/drums tandem of Larry Gales and Ben Riley, who are joined by five very special guest horn men. Alto saxophonist Phil Woods, trombonist Jimmy Cleveland, Ray Copeland and tenor titan Johnny Griffin (Rouse's predecessor in the quartet) perform in various permutations. Volume One includes four Monk classics -- 'Epistrophy,' with a scorching, growlingly muscular Griffin solo and a lyrical and adventurous Copeland solo; the deliciously syncopated 'Evidence,' with sparkling Rouse, another terrific solo by Copeland; and bluesy, wickedly swinging Woods. On both extended pieces, the four horns provide densely harmonic thematic statements and some adventurous riffing that spurs on the soloists for a spontaneous feeling with a jam session atmosphere of jubilant excitement. 'We See' again highlights Rouse and Copeland; with the beautiful 'Ruby, My Dear' just featuring the original quartet completing the package. The recording is presented as a 180-gram audiophile pressing and was selected by Thelonious Sphere Monk III as the first in a new series of previously unreleased, rare live recordings, mastered by Rudy Van Gelder. The album cover artwork was designed by Japanese graphic designer and artist Gaku Inada. Vinyl: 180 gram, blue vinyl. Packaging: single pocket jacket with a polylined sleeve and insert."

2026 restock. "The compilation that started the renaissance. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to compile and issue previously unreleased and out of print material from Arthur's vast archive. This first album Calling Out of Context, features 12 previously unreleased tracks of Buddhist Bubblegum Alt Disco Pop recorded during Arthur's prime years 1985-90."

2026 restock. After the deluxe vinyl edition of the release of this classic German underground album (BB 100LTD-LP) sold out within a few months, Bureau B now makes a standard version of the vinyl album available. Still as a double LP in a fold-out cover on 180 gram vinyl, but without the bonus 7" and the extensive booklet that accompanied the deluxe edition. Therefore this version is also slightly less expensive than the former deluxe edition. The influential German post-punk electronic pop band Palais Schaumburg has reunited in the classic line-up. Since its release in 1981, their debut album has remained in a league of its own: fleet-footed and peculiar, abstract and pop, amateurish and savvy, it showed real alternatives to the then-pervasive crude search for identity found in the "new German wave." The band, which consisted entirely of divergent personalities, has reunited in this formation to rediscover their common ground, further develop, and to perform live. In this post-sampling era, with the current, dynamic changes in the creation and reception of music, their statement has lost none of its fascination. Anyone who sees and hears the combination of idiosyncratic bass riffs (Blunck), bizarre yet catchy rhythms (Hertwig, Blunck), Fehlmann's shrill horn and synthesizer fanfares, and Hiller's seemingly atonal staccato guitar work and oblique lyrical conglomerates, will immediately comprehend the influence of this band. Therefore, Bureau B are very pleased to reissue the important original works of Palais Schaumburg in an appropriate format. In 1980, two students met at the Hamburg Art Academy: Thomas Fehlmann, who appreciated art and music and wanted to connect them, and the musician Holger Hiller, who had escaped the fractious Hamburg alternative scene, preferring the art school's Conservatory of Music. The spirit of the early New German Wave blew through the country, the first independent labels vied for innovative artists, and the West German post-punk scene began to take shape. Hiller and Fehlmann brought in FM Einheit (from the band Abwärts) on drums and the Californian Chris Lunch on bass. But only shortly after the first single, with Timo Blunck's bass riffs and the adept drumming of Ralf Hertwig, did the band establish its classic line-up. Palais Schaumburg played numerous gigs in this line-up and recorded a second single -- then on the indie label Zick Zack. The recording of the album was enhanced by the British producer David Cunningham (Flying Lizards). Soon the music giant Phonogram came along waving a contract. Though it was predictable that the album would not exactly be a commercial success, its special position in German pop music soon became clear. The attention the album received was considerable, given the "awkwardness" of the music. These days, alongside the central works of the famous Krautrock bands, it is one of the most sought-after albums of German avant-garde music internationally.

2026 repress. "It's safe to say that hip-hop has never seen an album like Ol' Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks ('Damage,' with GZA), drugged-out party jams (the monster singles 'Brooklyn Zoo' and 'Shimmy Shimmy Ya') and bizarre, grimly hilarious fantasies of sex and violence ('Don't U Know' and the R&B-tinged 'Sweet Sugar Pie'). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol' Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality." Includes 18"x24" poster.

Alan Bishop's solo persona appears again from his now 15-year-old home of Cairo where it was recorded in and around many other projects over the past few years. And unlike his more recent singer/songwriter material, Malarial Dream drifts closer to latter day Sun City Girls (Mister Lonely/Funeral Mariachi) amidst a melodic Middle Eastern and beyond psych-warped folk setting. Mostly instrumental and, except for two obscure covers, original compositions that feature a cast of extraordinary players: Adham Zidan, Aya Hemeda, Cherif El Masri, and Morgan Mikkelsen (The Invisible Hands), Maurice Louca and Sam Shalabi (The Dwarfs of East Agouza), Amelie Legrand, Asher Gamedze, Eyvind Kang, Hana Al Bayaty, Huda Asfour, and Sammy Sayed. LP Limited to 500 copies. Produced by Alvarius B. and Adham Zidan.

Born from Israel's groundbreaking psychedelic pioneers The Churchills, Jericho Jones emerged in 1971 with Junkies, Monkeys & Donkeys -- an internationally-minded leap into hard rock, proto-prog, and melodic songwriting. Recorded in a single, electrifying 24-hour session at London's Tangerine Studios, the album captures a band in full creative flight. Blending heavy riffs, lush melodies, and subtle Middle Eastern influences, Junkies, Monkeys & Donkeys stands today as a lost classic of early '70s rock -- a vital bridge between psychedelia and the heavier sounds that followed. Features original artwork in gatefold sleeve. Newly remastered sound. Includes insert with detailed liner notes by Mike Stax (Ugly Things) with input from original member Robb Huxley as well as extra insert with lyrics.

Part-time farmer/musician Oliver Chaplin is the person behind one of the rarest private pressings from the UK. His cult masterpiece Standing Stone was recorded in early 1974 at a remote farm in Wales, using a portable 4-track Teac reel-to-reel machine. Helped by his brother Chris at the controls (an experienced BBC engineer who had worked on Syd Barrett sessions), surrounded by animals and "smaller winged creatures," Oliver sang and played acoustic and electric guitars filtered through tape echo, distortion and multi-tracking, creating a very unique sound, a kind of DIY mutant-psychedelic-blues (think Captain Beefheart) which sounded years ahead of its time. Despite the lo-fi nature of the recording, the sound quality is amazing and timeless. Only 250 copies of the album were pressed and it even caught the attention of the Virgin label, who were interested in distribution but Oliver finally refused their offer. Musicians like JJ Cale expressed interest in Oliver's music, inviting him to a jam session but in the end, Oliver decided he was not interested in the music business and left Wales to travel around Europe. He remains a kind of a mysterious figure and Guerssen now offers a new, long-awaited reissue of Standing Stone, sanctioned by the artist.

Two '70s Zamrock hard-fuzz monsters! "Hey Babe" by Ngozi Family was originally included on their sought-after Day of Judgement album and it features one of the loudest, nastiest Ron Asheton-esque fuzz-wah guitar solos ever committed to wax. "Really" by Crossbones is crazy fuzzed-out Sabbatt-esque hard-rock, taken from their impossible to find Wise Man album.

Legendary dub techno artist Paul St. Hilaire (AKA Tikiman) presents this new collaborative album, marking ten years of Kynant Records. Building on the success of Paul St. Hilaire's landmark solo album for Richard Akingbehin's label Kynant in 2023, w/ The Producers switches up the formula to pair St. Hilaire's with a different producer on each track. Referencing fellow dub techno pioneers Mark Ernestus & Moritz von Oswald's acclaimed album w/ The Artists as Rhythm & Sound, St. Hilaire flips the concept to feature as the lone vocalist. Over the album's nine tracks, St. Hilaire offers a range of conscious song-writing and headtop musings, such as the spoken-word dread of "What's This" or the sparse call-to-action of "Send Them On." The record weaves through all shades of contemporary dub evolutions, showing the vocal range and versatility of St. Hilaire. w/ The Producers is yet another essential record in St. Hilaire's unmatched discography. w/ The Producers finds Kynant Records bridging the original voice of dub techno with the genre's new wave. It's a statement of intent from the label, which began with deep, hypnotic techno and has veered gradually towards more dubwise sounds.

WRWTFWW Records presents The Gentle People's Soundtracks for Living (Expanded Edition), the ultimate lounge/chill out classic from 1997, reborn! Available as a limited-edition white vinyl 3LP in heavyweight 3-panel gatefold sleeve. When The Gentle People first glided into the mid-'90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of '50s/'60s easy listening and exotica and gently smuggled them into 1990s club culture. Soundtracks for Living was their defining statement: an album that "takes the lounge scene and runs away with it entirely -- blissful and heavenly," as one contemporary review put it. The Gentle People -- Dougee Dimensional, Laurie LeMans, Valentine Carnelian and Honeymink -- began in early-'90s Brixton, throwing dress-up theme parties before taking their audio-visual universe into the studio. For them, music was "a way of life": soothing to the ear, rich in pop hooks, and pitched somewhere between the playfully idiotic and the hyper-intelligent. This expanded edition of Soundtracks for Living finally gives this glambient lounge-pop milestone the treatment it has always deserved. Spread lovingly across 3LP, it features new mastering from the original sources, allowing every harp glissando, string swell and analog squiggle to float in high-fidelity widescreen. The core album is complemented by a bonus 12" of unreleased and rare material, offering a deeper dive into the Gentle world: alternate takes, lost interludes, and secret soundtrack cues for lives not yet lived. Crucially, "Journey" appears here in its original version, "Gentle Instrumental" and the cult Aphex Twin remix, reuniting band and labelmate in one place and underlining the quietly radical nature of the project: this was lounge music that could sit next to braindance, acid and IDM and still steal the scene. Pressed on limited edition white vinyl, Soundtrack for Living (Expanded Edition) invites long-time fans and new listeners alike to step back into The Gentle People's universe -- a place of fondue parties, bubble chairs, star-lit elevators and endlessly rewinding sunsets, where "the pathway to the stars" is never quite out of reach.

LP version. "'I wanted to try / And go very far.' These are the first words on Poem 1 and reintroduce an artist who's in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago. Heartbroken and reflective, Ana Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures. Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on 'Berceuse in A-flat Minor, Op. 45,' making each word count. On 'Keepsake' meanwhile, she sounds as if she's alone in an abandoned bar, stroking the dust off the piano's keys as she inventories her emotional scars. There's a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self-pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. 'Untitled II,' the album's pronounced, uninhibited centerpiece, delivers on the Lynchian promise that's been present since her first EP. Purring over a brushy, decelerated rhythm and funereal piano, Roxanne glances the edge of a hot spotlight, cutting through the stage smoke with her glassy evocations. And when she interprets the Robert Schumann's lied 'Stille Tränen' on 'One Shall Sleep,' she turns Justinus Kerner's words into a whispered echo of her own grief, narrating the 19th-century poem over syrupy synthesizers and strings. There's a light emerging on the horizon, though; burying her past on the choral standout 'Cover Me,' Roxanne shifts the pace and the mood on 'Atonement,' lifting her voice into a gentle lilt."

A major milestone in the history of electronic music, Jeff Mills' legendary Live at Liquid Room, recorded in 1995 in Tokyo, is widely regarded as one of the greatest DJ mixes of all time. A true techno anthology, this set made history with its boldness and intensity, inspiring generations of DJs and producers around the world. To celebrate the album's 30th anniversary, Jeff Mills presents this reissue of the iconic live recording. Featuring Surgeon, Joey Beltram, Millsart, DJ Funk, DJ Joe T. Vanellis, Csilla, Wicked Wipe, Circuit Breaker, iO, Joey Beltram, Club MCM, Claude Young, The Advent, Rhythim Is Rhythim, Ken Ishii, Damon Wild, X-102, H&M, The Shadow, Dan Morgan, and Hell & Jonzon.

LP version. With Heat, Société Étrange extends its work around repetition, groove and cyclic structures, shaping an instrumental music that is both hypnotic and enveloping. Without any radical shift, the Lyon-based trio subtly moves towards more melodic and more cinematic forms, revealing warmer, more textured and sometimes more luminous atmospheres. Formed by Antoine Bellini (electronics), Romain Hervault (bass) and Jonathan Grandcollot (drums), Société Étrange builds here a more diffuse trance, driven by generally slower tempos than on Chance (BJR 075CD, 2022). Organic drums interact with drum machines and layers of synthesizers, while the bass carries both pulse and melodic lines. The music breathes more, leaving space for silences and micro-variations, and unfolds as an immersive listening experience. With Heat, the band explores a strange form of instrumental pop, without formats or choruses, nourished by an imaginary close to soundtracks and narrative electronic music. A warm and hypnotic album, where repetition becomes texture, tension turns into atmosphere, and each track draws its own sonic landscape.

LP version. With Grumpy Pieces, Düsseldorf-based musician Stefan Schwander, aka Harmonious Thelonious, returns with an album that gathers many of the elements that have defined the project over the years -- while simultaneously pushing them apart. The record feels like a tightening of earlier ideas: interlocking melodies, hypnotic patterns, a sustained focus on rhythm and texture, paired with a sound that is rougher, drier and more immediate than before.

"Musically, Grumpy Pieces draws from familiar territory within the Harmonious Thelonious universe: Pan-African and Middle Eastern rhythmic concepts, repetitive minimal structures, stripped-down electronics and noise used as a structural force. Yet everything here feels less fixed, more unstable, at times close to falling apart. Melodies grind against rugged bass foundations; dry snare hits cut sharply through the mix. The groove remains central, but now carries a nervous, fractured quality -- noticeably more restless than one might expect from a project active for nearly eighteen years. The title Grumpy Pieces is more than a wry aside. The album reflects a present shaped by political and social tension. Anger, uncertainty and a muted sense of despair run through the tracks, without the music ever becoming literal or lapsing into overt commentary. Instead, it operates through friction: between dancefloor momentum and disruption, immediacy and resistance. While the A-side opens in a comparatively direct and driving manner with 'And You May Find Yourself,' the B-side increasingly embraces disintegration as a guiding principle, culminating in the aptly titled closing track 'Dissolving.' The album was once again produced in Schwander's home base of Düsseldorf, using a working method rooted firmly in the moment. The tracks were not arranged on a screen, but developed intuitively, recorded, abandoned and reshaped. This approach also connects directly to the live practice of Harmonious Thelonious: music understood as a repetitive state, a trance-like space that insists rather than narrates. Limitation, intuition and spontaneity are not stylistic gestures here, but essential conditions of the music itself. Influences from everyday listening -- from Brazilian music and electronic records to film soundtracks -- remain deliberately submerged, fully absorbed into a self-contained sonic world. Grumpy Pieces is not a break, but a sharpening. An album that further condenses and roughens the unmistakable sound of Harmonious Thelonious, offering an uneasy yet physical soundtrack to the current social climate. Dance music with teeth." --Daniel Jahn, 2026

"Like a lightning strike that travels through time, White Fence are all of a sudden cracking in the hear-view mirror again. Orange hits like, visceral. Guitars sound and like a shower spray forth. Resolutely picked. Cold and soothing. Swivelin' thru the jagged, jittery pop sounds of the '60s-'00s, the sharped focus of Orange's rock sonics gives Tim Presley exactly what he needed the most: open space to sing into, and songs to sing. The rest is White Fence magik at its most dark, as Tim's restless free-allusivation trippifyingly transforms the cramped confines of heart wracked self-excoriation right before our eyes and ears! In pop songs. On (the mixing) board with White Fence/on the (drum) kit with Tim is Ty Segall. Engineering tactics fully hand-in-glove with the White Fence intent, they produce a clean and uncrowded space to mount up all the rock 'n balladry, their clean lines surrounded by an emphatic/unalterable (minimalist) frame. Tim's lyric sets and chord progressions, with their perspectives, time codes and smash cuts, give up eleven fleeting glimpses from the other side of the 'Fence, each outfitted as foot-forward pop tunes for maximum rock 'n roll. Playing with genre throughout the album like a space-age Kinks, Tim's natty wordplay splatters against the songs' rock-solid edifice, spilling an infinitum of cracked, shaggy realities, billowing, mirrored, sharded. When it all moves, you move, and that's fun. Orange is an unstill life; a bowlful of Tim's latest conceptions for guitar band, grown larger through thoughts, feelings, SONGS and some keys and synth from Alice Sandhal (+ 2 drum cameos from the ever-righteous Dylan Hadley). A trance-like chronology of consciousness, captured in opalescent diamond tightness and ice fidelity at Ty's Harmonizer II studio. It's a KILLER. White Fence is Orange on time this time!"

Dang dut is the biggest musical genre in Indonesia. Dangdut, onomatopoetic name from the sound of hand drums used in this type of music, is what reggae to Jamaicans, country to Americans or skiffle to mid-20th century British people. And in this genre of dang dut, the name Rhoma Irama looms large. He is to this day the undisputable king of dang dut and his role as pioneer of the music is already in the history book. Most of Rhoma's well-known compositions may have been influenced by Indian tunes but some of his best quality works owed much to the West. Rhoma had long found home in Western pop music. In the early 1960s, after honing his guitar playing skill, Rhoma set up his first band Gayhand to play the tunes of The Beatles, Paul Anka, and Tom Jones. Yet, nothing changed Rhoma's fortune in the music industry, to a point where he decided to leave pop and switched to playing Orkes Melayu (Malay Orchestra) music, first with Orkes Melayu Purnama and later with Soneta Group. His career soon took off with Soneta, especially after he introduced what ethnomusicologist William H. Frederick considered as "theatre", through which Rhoma borrows many elements from stage performances of British and American rock bands. These elements, kitsch and pomp, he liberally adopted and became an inseparable part of dangdut itself; tight pants, long hair, platform shoes, glitter and glamour which would not be out of place in Elton John and David Bowie stage show. From technical point of view, Rhoma not only replaced the acoustic elements from Melayu Music with electric instruments but also created new synthetic sounds that has never been attempted before in Indonesia's music industry. Notice how Rhoma reproduced funk, which is all the rage in early 1970s, in the song "Santai" (Relax), this album's closer, or "Credit Title (Instrumentalia)" which opens this Darah Muda (Young Blood) soundtrack. The rubbery bass lines that open both songs can easily find home in any Sly and the Family Stone's or Isaac Hayes' tunes from that era. The 13 tracks contained in this compilation Begadang: Soneta Group Best Songs, 1975-1980 are some the most innovative music that came out of Indonesia's music scene in the 1970s, tunes that has cemented Rhoma Irama's status as the king of the genre. Only 500 copies were pressed for this compilation.

Paperback. 150 pages. "One of the towering figures of 20th-century art holds forth on his controversial life and career in a previously unpublished set of interviews. Over six sessions between September 1951 and November 1952, Marcel Duchamp sat down with collectors and gallerists Harriet and Sidney Janis for a wide-ranging conversation about his inspirations and working processes, and his many opinions on the workings of the modern art world and its histories. The Janises, owners of the influential Sidney Janis Gallery, were ardent supporters of modern art and close friends with Duchamp. Harriet, an accomplished author, led the interviews with an eye toward writing a monograph on Duchamp, though this was never realized. Now, this previously unknown chronicle is available for the first time through the efforts of Carroll Janis, Sidney and Harriet's son. Under Harriet's expert guidance, Duchamp holds forth on his artistic philosophies, his career, his friends, his rivals and his lifelong obsession with chess. He provides an inside look at some of his most famous works, from his controversial 'Readymades' to 'The Large Glass.' Contextualized with illustrations, annotations and an introduction by Carroll Janis, this publication is a rich treasure trove of information on one of the 20th century's most controversial, groundbreaking and larger-than-life artists. Marcel Duchamp (1887-1968) dismantled the boundaries of what constitutes a work of art. Although he began his career as a painter, Duchamp was also a curator, conservator, art advisor, professional chess player, writer, inventor and celebrity. Following the completion of his conceptual masterpiece, 'The Large Glass' (1915-23), he abandoned traditional artmaking altogether. Today he is best known for his 'Readymades' -- ordinary objects such as a urinal or bicycle wheel, elevated to works of art -- which challenged traditional aesthetics and redefined authorship."

A note from Lawrence English: "In late 1975, Annea Lockwood realized her composition World Rhythms. It represents one of the first creative works exploring the potentials of field recordings in a multichannel setting. It is a landmark work and a composition that, on its 50th anniversary, has gently carried forward over the decades, but arguably now is only starting to come into true focus, and be understood for exactly how revolutionary it was. World Rhythms was a work concerned with a practice of sustained listening into the world, and beyond. It expanded outward from many of the compositions and themes Annea Lockwood had been exploring since the 1960s. It sought to take those learnings and apply them to a new set of terrains and circumstances. Moreover, it suggested a sensing of sound that was drawn from profound curiosity, matched only by patience. In 2019, I reached out to Annea and started a conversation about a revisitation of World Rhythms. My initial proposition was a simple one: a re-issue that was remastered and touched up, reflecting Annea's thoughts on the piece in this moment. The conversation quickly spun outward though, and before long Annea had asked if I might be interested to revisit the master tapes with the thought that the work could be revived and prepared for performance presentations going forward into this century. On listening to the materials, during the period of restoring the audio from the original master tapes, I was struck by the profound dynamism of the recordings. Each of the sound-fields held an attentive flux, a rhythmic pulse that was breathing. Each one a story of the pulses of the world, and our universe, that spoke to a possible reading of reality that sits in excess of our everyday capacities. A poetics of pulse if you like. Here then is the result of those conversations and also the presentations of the piece that followed -- several of which Annea has overseen herself. On this newly rendered imagining of World Rhythms, new relations, listening paths and ways of exploring her sound-fields are brought into focus. The core of the piece remains, a prioritized zone of listening, but emerging from deep within it new sonic formations emerge, a reminder of the dynamism of our energetic world and its surroundings." Composition by Annea Lockwood; gong performed by Vanessa Tomlinson and Annea Lockwood; mix realized by Lawrence English. Design by Traianos Pakioufakis; essay by Lawrence English.

"Two giants of alternative/experimental music join creative forces for the first time in their storied, nearly fifty-year careers. A startlingly cohesive union that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. Bonner Kramer (previously known as Kramer) decoded the sounds of Galaxie 500 as producer on all of their records as well as producing Low, Will Oldham, and Urge Overkill's hit single 'Girl, You'll be a Woman Soon' for the Pulp Fiction soundtrack, to name just a few of his over three hundred and seventy producer credits listed on Discogs. He is the proprietor of iconic indie label Shimmy-Disc (a one-time home to Daniel Johnston, Ween, Boredoms, and John Zorn's Naked City among countless others), and an esteemed recording studio mastermind. Thurston Moore is a founding member of Sonic Youth, and responsible for Chelsea Light Moving and a massive and varied solo career, and remains an era-and genre-defining composer, cultural critic, prime mover of all things cool, and one of the most iconic, singular guitarists in rock music's long tail, the keystone of the explored tension between rock and noise."

LP version. Double Exposure isn't a departure, necessarily, but this new album contains some of the rawest and most deconstructed sounds that James Hoare -- of Veronica Falls, Ultimate Painting and Proper Ornaments -- has recorded to date. Principally, and for the first time, the guitars take a back seat. It's not a "no guitar" concept album by any means; it's mostly just the way it came together. It would also be inaccurate to suggest the guitars have been banished altogether, especially after the dual six-string solo that rips through the speakers on the mighty album opener Regrets. Following 2024's gorgeous Backwater Collage debut LP under the Penny Arcade nom de plume, this is a hallucinogenic experience, and the backbone of Double Exposure is the drum machine that informed the songs. It's also an album of sweet duality. The album features flashes of guest appearances, but for the vast majority it is an album of solo experimentalism, with gestations that bubble to life across the stereo before fading back out again. The drum machines take center stage, playing out like In Rainbows-era Radiohead channeled through Silver Apples, a trip in three minutes that you can play on an infinite loop. Like so much of the album, it was recorded almost instantaneously, with a simplicity and rawness that heavy overdubs and meticulous arrangements could never achieve. It is an album high on vibe. Clicking drum machines and oozing organs interplay with different hues of guitar work, from the ragas of the George Harrison-esque "Early Morning" to the tripped-out, smoke-drenched "We Used to Be Good Friends." Double Exposure is an unfussy collection of songs. The album harks somewhere between the restless experimentation of Syd Barrett and the uninhibited analogue innovations of Tim Presley as White Fence. It very much is what it is.

Paperback, illustrated, 296 pages. 15x22cm. Alexander Hacke became obsessed with classical music at an early age, but ended up dropping out of school and hanging out with punks, squatters, and bohemians in the West Berlin underground scene. After his first music projects under the pseudonym Alexander von Borsig, he joined the newly formed Einstürzende Neubauten in 1980. While the Neubauten became a groundbreaking and hugely successful band, Hacke not only experimented with all kinds of stimulants, but also continued to develop musically: whether as an internationally successful solo artist, collaborating with Crime & the City Solution, as a film composer, or together with his wife, the artist Danielle de Picciotto, with whom he has been roaming the world since 2010. Blast is a dazzling testimony to the wild West Berlin before the fall of the Wall, the rise of Einstürzende Neubauten, and the thrilling life story of a jack-of-all-trades. Hacke recounts international tours and surprising collaborations, as well as his cinematic soundscapes, and offers personal reflections on art and society. He looks back on an artistic career that uniquely combines avant-garde art, pop success, and creative freedom.

Already pioneers at home under their earlier name The Churchills, the band relocated to the UK in 1971 under the guidance of a big management, changing their name to Jericho Jones and finally Jericho. Released by A&M in February 1972, the self-titled Jericho album was heavier, longer, and more progressive than anything they had done before. Built around extended compositions, fearless arrangements, and telepathic ensemble playing, it captured a band operating at full creative stretch. The album opens with "Ethiopia," a ferocious multi-section rocker whose volcanic riffing and sudden twists set the tone for everything that follows. "Don't You Let Me Down," later issued as a single, delivers urgent hooks wrapped in the group's distinctive modal flavor. The towering "Featherbed" moves from melodic introspection to a widescreen instrumental workout that became the band's breakthrough moment on British stages. At the heart of the record lies "Justin and Nova," Robb Huxley's sweeping, cinematic psychedelic/ progressive epic. With its emotional narrative, dramatic dynamics, and lush piano and strings, the track has grown into a cult classic, often cited by fans as one of the era's lost masterpieces. The album closes with "Kill Me With Your Love" a hard-edged, proto-metal piece, ending the journey in grand, theatrical fashion. Internal strains and homesickness soon led to lineup changes, and despite tours, new singles, and even interest from heavyweight industry figures, momentum proved difficult to sustain. Within a short time, Jericho was over. Newly remastered sound. Includes original artwork in hard cardboard sleeve and insert with detailed liner notes by Mike Stax (Ugly Things) with input from original member Robb Huxley. Also includes extra insert with lyrics.

2026 restock. "With his honeyed falsetto, Horace Andy has long been considered one of roots reggae's most inimitable voices. His signature tune, 'Skylarking,' is one of a handful of songs that can be instantly recognized by even the most casual of reggae fans. Making his debut with producer and mentor Phil Pratt at the age of sixteen, Andy's expressive vocal style is immediately distinctive, bearing the soulful influence of American artists Otis Redding and Smokey Robinson as well as fellow countryman Alton Ellis. 1975's Get Wise collects a series of singles produced by Pratt including versions of hits 'Money, Money' ('Root Of All Evil') and 'Zion Gate' ('I Don't Want To Be Outside'). Recorded between 1972 and 1974, these sides were captured at legendary studios Channel One, Black Ark, Dynamic Sound and Randy's Studio 17 with house engineers Ernest Hoo Kim, Lee Perry, Carlton Lee and Errol Thompson at the helm. Originally released on Pratt's Sunshot label, the album doubles as a showcase for The Soul Syndicate Band, a typically ad-hoc session group which featured Sly & Robbie, Aston 'Family Man' Barrett and Earl 'Chinna' Smith, among others. Get Wise delivers ten tracks of Andy's finest material and should be in the collection of any aficionado of the classic '70s Kingston sound. Liner notes by JR Gonne."

2026 restock. Originally released in 1985, this is a compilation of classic Horace Andy, including covers of Tappa Zukie's "Better Collie" and Leroy Sibble's "My Guiding Star."

"Generic Flipper, the debut album by Flipper, remains the most absorbing full-length LP to emerge from the early San Francisco punk scene. A constant source of imitation for so-called 'noise rock' bands, it has yet to be surpassed in its nihilistic glee. Recorded between October 1980 and August 1981 and released in 1982 on the indispensable Subterranean Records, this album functions as a chaotic, sticky mass of individual personalities: the magma-like bass eruptions and dual vocals of Will Shatter and Bruce Loose, Ted Falconi's icy guitar scraping and the relentless beat of drummer Steve DePace. At times playful and taciturn, paranoid and absurd, Generic charts a deliberate path that willfully chances destruction. In early '80s punk, when the hardening default was 'faster-shorter-louder,' Generic subverts the nascent hardcore scene with a strictly applied regimen of turgid-slower-heavier. The lyrics are bleak, yet unnervingly beautiful. 'Ever' sets the tone with trademark restraint, while closer 'Sex Bomb' is a churning, 8-minute epic with looping bass, saxophone accompaniment and electronic effects of dropping bombs. Tons of indie bands have attempted to recreate Flipper's mix of acidic guitar, metallic bass sludge and sardonically brilliant lyricism, using the seemingly effortless template they pioneered; however, the effect usually drives listeners right back to Generic. While most of their contemporaries wilt under direct comparison, No Trend, the Butthole Surfers, feedtime and Church Police are a few who can stand the frigid heat."