After many years of fruitless praying, a true collector grail can finally grace every turntable the world over. Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore. With originals almost impossible to find, you already know how crucial this beautiful reissue is. Recorded in 1981 for Sylvester Music Company, Bright And Shining is breezy, dreamy and funky in a perfectly smooth jazzy-soul-groove fashion, with Moore's patented celestial male-female vocal harmonies this time benefitting from the addition of Fender Rhodes and pumping bass lines. As one particularly enthusiastic Discogs user put it: "If Eno is responsible for Music for Airports, Moore is responsible for Music for Holidays." Indeed, this is brilliantly unique, "maximum happiness music." If you miss the sun-dappled soft-psych soul of Koushik, the heavenly vocal arrangements of the great Library Music doyenne Barbara Moore will see you just right. The gigantic title track, "Bright And Shining," gallops out the gate, all sophisticated, jazzy leisure-soul with sax and guitars backing Moore's effortless vocal swag in this relaxed, mid-tempo head-nod strut. Up next, the sunny, vibey "Fly Me High" features strolling, "unworded" vocals alongside breezy alto sax and electric guitar. The jazzy "Real Thing" is another exercise in strolling sophistication, complete with wordless vocal harmonies. The fairly self-explanatory "Voice Over Sax" sounds precisely how you would expect; a relaxed sax number with heavenly vocal support. The audio for Bright And Shining has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored as the finishing touch to this long overdue re-issue.

Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought-after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor). It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes. It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend." Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and as the backing for Beyonce's ace "Woman Like Me". Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. The expansive title track, "Great Day" is melodic and bold; a horn-fueled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora." The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. The cop show funk of "Silver Thrust" is fast, purposeful and persistent. The dynamic "Convoy" is a brassy, organ-fueled sports-soundtrack b-boy breaks monster. To close out this extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored as the finishing touch to this long overdue re-issue.

Hogan, The Hawk & Dirty John Crown sounds like the soundtrack of a blaxploitation movie from the early '70s and, packed with funky fusion and smoother orchestral numbers, it is basically that. Featuring a veritable who's who of killer library break snakes, it's not hard to see how this commands over £350 on secondary markets. This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue. Recorded for De Wolfe in 1972, Hogan, The Hawk, Dirty John Crown is a fantastic start-to-finish listen. The flute-funk of Hawkshaw and Parker's opener "The Hawk" comprises driving, fuzzy, wah-wah-drizzled bell-laced breaks with synths and basslines to murder for. Up next, Haseley's "The Happening" is a carefree, rhythmic builder with strings and horns. Hawkshaw and Parker's amazing "Main Chance" is likely the reason you're here; it's a moody, beaty proto-hip-hop banger; all rolling drums and flute-laced, organ-drenched, synth-funk breaks. The cool AF "Hogan Baby" has a soft, rounded, bluesy feel. Grant's pounding "Dirty John Crown" brilliantly conjures swirling string-swept serenity atop driving, incisive drama-funk breaks. Hawkshaw and Parker come roaring back with the murky, creeping crime-funk of "Swarf" with killer basslines underpinning slow-mo high-class flute-funk. Reg Tilsley enters the fray with the bright, snappy, carefree "Turnover." The brief "Tarantula" gets listeners back on track with the driving crime funk breaks, super clean yet brooding. Side 2 opens with the car chase swag of Haseley's dramatic, driving "Precinct". Haseley's rolling "Sidewinder Version 1" is robust and exuberant with bouncy horns before a cracking Parker-Hawkshaw one-two featuring the tense "Pressure" and the deeply soulful "Call Me", a relaxed, medium-tempo organ feature. With building piano and strings Gordon Grant's excellently titled "Scorch" is as aggressive and dramatic as you'd hope. Hawkshaw and Parker's furtive flute-funk of "Digger" precede the light, melodic and romantic themes of Tilsley's "Marianne" whilst "Sidewinder Version 2", a faster iteration of Track B2 sees Haseley close out this remarkable set in bouncy, bright fashion. The audio for Hogan, The Hawk, Dirty John Crown has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored as the finishing touch to this long overdue re-issue.

A great name. A great cover. And, of course, outstanding library music. Soul City Orchestra's Meal Ticket houses titanic funk, mellow groove and symphonic disco-soul. Released in 1977 on Rouge, a subsidiary of the prestigious and long-established British library label Music De Wolfe, Meal Ticket was crafted by the studio band Soul City Orchestra (a pseudonym for the De Wolfe in-house composers Chris Rae and Franck McDonald). The driving instrumental funk-rock of the A Side is enhanced with strings and no little drama. However, it's undoubtedly the peerless flipside that makes this record an essential part of any collection. Head straight to highlight "Chamber Maid"; insistent, conga-driven funky rock with lashings of string-heightened drama. It's sophisticated, classical and deeply classy. The majestic, powerfully emotive "Sore Head" contains an excellent intro drum break and sultry slo-mo disco breaks throughout. It's low-key stunning. With a few melodic switch-ups, it's symphonic soul heaven and is comfortably the best and most beautifully crucial track on Side A. The breezy, Philly soul-tinged "Short Change," its intense strings reminiscent of the Salsoul Orchestra and TSOP, presents an easy-glide funk that's just irresistible. The funky, cool and slick AF "Wheeling And Dealing" is laconic flute and string-propelled sophisticated mid-tempo disco soul. It's worth the price of admission alone. The breezy, mellowed out disco-funk workout "The Jam" is a deliciously slinky and sophisticated soul strut. The crowning glory is the sweeping, sublime symphonic disco breaks of horn-infused "Soul City Drive," an absolute monster of radiant heavy soul-funk à la Barry White with great string and brass arrangement. Basically, this is essential for all groove-aficionados. The audio for Meal Ticket has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. 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 Record Industry in Holland. The original, iconic sleeve has been restored as the finishing touch to this long overdue re-issue.

LP version. After decades spent shaping the sound of southern Madagascar and becoming one of the defining voices of tsapiky, Damily returns with Fanjiry, his most intimate and focused record to date. Known for electrifying village ceremonies and carrying the fever of Toliara across continents, he takes a sharp turn -- not away from trance, but deeper into its core. Recorded in just three days at Studio Black Box with analog wizard Peter Deimel, Fanjiry strips the tsapiky band down to a single guitar and a single heartbeat. Damily plays alone, yet fills the space completely -- bass, rhythm, melody, pulse, and breath merging into a dense and vibrating sound. Every riff is architecture, every harmonic a door opening onto memory, childhood landscapes, and nights where music heals, binds, and exhausts the dark. There is no nostalgia here, no museum of tradition. Fanjiry is a new frontier for tsapiky: raw, precise, suspended between earth and sky, born from craft and necessity. The title -- the last star before dawn -- captures its essence: a quiet moment before the world awakens, where a single guitar can hold an entire history and still point forward.

interius/exterius is a striking new addition to the evolving catalog of Berlin-based composer Catherine Lamb, whose deep explorations of harmony, temporality, and collective resonance have made her a defining voice in contemporary experimental music. Developed through a close collaboration with New York's Ghost Ensemble, this long-form chamber nonet unfolds through finely calibrated tuning, deep listening, and continually shifting sonic intention. The work's title reflects its central organizing principle: tones move in "interior" and "exterior" directions, shifting between inward balance within the ensemble and outward expansion towards new harmonic possibilities. The result is a piece that is simultaneously precise and open, crystalline and fluid -- attuned to the interplay between individual agency and collective form. Scored for flute, oboe, accordion, viola, cello, four- and five-string contrabasses, harp, and hammered dulcimer, the work investigates how collective intentions or focal points allow various and sometimes unusual sonic pathways to emerge in an ensemble context. In an "interior" direction, tones balance inward, reinforcing the equilibrium of the collective, while in an "exterior" direction, tones radiate outward, inviting subtle changes in texture and a broader field of interaction. This interplay of interiority and exteriority extends beyond dynamics or articulation. interius/exterius took shape over a series of intensive workshops between composer and ensemble, supported in part by Chamber Music America's Classical Commissioning Program. The harmonic material of interius/exterius is derived entirely from the harmonic series of a theoretical 10Hz fundamental -- an inaudible frequency whose overtones define a resonant, interlocking lattice of sound. This base-10 tuning system allows every pitch to be understood in relation to its spectral position, creating a shared harmonic language among the performers. Ghost Ensemble's performance reveals the otherworldly sonorities that arise from this structure, as shifting alignments, phasing relationships, and gradual timbral transformations guide the music's unfolding. Lamb's compositional language is deeply shaped by her studies with composer James Tenney and Dhrupad musician Mani Kaul, as well as her ongoing engagement with microtonal performance practice. Her interest in musical perception and psychoacoustics positions interius/exterius as both an inquiry into the nature of harmonic space and a lived experience of collective attunement. Ghost Ensemble -- known themselves for championing the work of Pauline Oliveros -- are perhaps, then, ideal collaborators, bringing both profound sensitivity and intuitive fluency to Lamb's music. With interius/exterius, Lamb and Ghost Ensemble have achieved a collaborative work of rare clarity and conceptual depth -- simultaneously precise and open, crystalline and fluid, exquisitely attuned to the interplay between individual agency and collective form.

Alternate art version. On a Sunday in the early '70s in South LA one could easily find themselves experiencing the Pan Afrikan Peoples Arkestra doing what they do for the community, performing incredible music. Live at Widney High December 26th, 1971 is a previously unreleased PAPA recording. It finds director Horace Tapscott conducting the band at Widney Career Preparatory and Transition Center, a special-education magnet high school in Los Angeles. The band played shows here between 1970 and '72, often sharing the bill with contemporaries John Carter and Bobby Bradford's group, and at one point the Sun-Ra Arkestra. These weekend shows were free and meant for the surrounding Black community. On this date the PAPA performed a range of compositions from the Ark's expansive songbook, including arrangements of tunes by Pharoah Sanders and John Coltrane. The album's first single, Tapscott's arrangement of Coltrane's "Equinox," is one of many Coltrane compositions the Arkestra performed, as the most forward-thinking jazz player of the time was a consistent inspiration for the Ark. It's second single, "The Creator Has A Master Plan" demonstrates Tapscott's simplicity along with the band's fiery pace and feeling. The track list is completed by traditional spiritual "Motherless Child," and a medley of two compositions by Herbert Baker, one of the Arkestra's young pianists who passed in a car accident at age 17; "Little A's Chant," with lyrics written and sang by Linda Hill, and the hypnotic "Flight 17".

Wildstyle House is a new compilation series where Toy Tonics invites producers and DJs that have a very special, funky, unique sound to make one new track. The compilation should show the variability and diversity of house and disco TODAY. Like the wild music mix you can hear at the Toy Tonics events and the way Toy Tonics DJs combine many different styles of "4 to the floor" music into one new soulful, multi-style, and warm-sounding blended "genre." It's about the groove, about a new soul sound, the human feel, the organic and Y2K-inspired dance music that is growing and appeals to a new generation of dance music lovers. This first part of the compilation includes unreleased music by: Afro-funk and salsa-house producer talents Elado, Musta, and Alma Negra. Garage house maestros Melon Bomb and Italian musician Daniel Monaco (known for his New Wave disco and proto-house releases on Rush Hour and his work for Antal). Marla Kether, the London bass player and DJ, who is known for her work with Little Simz, Oscar Jerome, and Loyle Carner, and has now started to release her own tracks. Argentinian singer, musician, and DJ Alot, combining proto-house vibes with Spanish rap. Funk house producer and edit maestro Paul Older, who is starting to become one of the key names of the new soul house scene (supported by DJs like Folamour, David Penn, Seth Troxler, Kirollus, Breakbot). Toy Tonics' own Gee Lane, Kapote, and Arpy Brown also contributed new tracks.

A cascading piano improvisation by Xiu Xiu's Hyunhye Seo, recorded live during a Nam June Paik exhibition in Turin. On Side B, Japanese avant-garde pioneer Phew reinterprets Seo's performance into a new electronic landscape. Music as surrender, dialogue between performer, space and the present moment. 200 copies. Comes with Obi. Hyunhye Seo, a core member of Xiu Xiu, in her solo work navigates the precarious edges where composition dissolves into pure gesture. Through ecstatic piano improvisations, restless percussive attacks and an expansive use of acoustic space, she constructs layered sonic environments that move across the boundaries of noise, avant-garde jazz, ambient and contemporary classical music. Her performances reveal an unfiltered process of listening and creation -- a practice in which thinking becomes the enemy, and surrender the only viable strategy. "Continuation" captures one such surrender. Recorded live at MAO -- Museo d'Arte Orientale in Turin during the exhibition Rabbit Inhabits the Moon -- The Art of Nam June Paik in the Mirror of Time, this cascading piano improvisation unfolds as a dialogue between performer, space and the particular acoustics of a museum built to house contemplative objects. Jamie Stewart processes the sound in real time; Giuseppe Ielasi shapes the final mix. What emerges is a work of charged immediacy -- restless gestures giving way to passages of unexpected tenderness, noise and silence trading places in continuous exchange. The title is precise: this is music that refuses conclusion, that exists in a state of perpetual becoming. On Side B, "Continuous Extension" offers an unprecedented response. Phew -- the pioneering figure of Japanese avant-garde music since the late 1970s -- was invited by curators Chiara Lee and Freddie Murphy to reinterpret Seo's performance. Working with synthesizer and subtle processing, Phew distills the resonances of "Continuation" into a new electronic landscape -- waves of abstraction that echo like reflections in sound, tracing the harmonic tensions of Seo's playing into territories she herself did not visit. The accompanying booklet includes an essay by Bruno Lo Turco exploring the deep connections between improvisation and Buddhist thought, and a written reflection by Seo on her own practice of surrender and listening.

For the first time, all the 1978 recording sessions of Lino Capra Vaccina's legendary Antico Adagio -- including "Frammenti da Antico Adagio" and "Echi Armonici da Antico Adagio" -- collected in one definitive deluxe edition. Minimalism, and so much more. Sheets of resonance, stunning harmonic interplay, intricate rhythms rising as one. Sidelong works of pulsing, hypnotic, ritualistic drone built from vibraphones, marimbas, gongs, bells, and cymbals, threaded by the sustained vocal tones of Juri Camisasca and Dana Matus. A trance-inducing, meditative, cosmic world of sonic interplay -- the world beyond, joined with that which lays within. This music moves between modal fascinations, ritual evocations, and states of hypnotic trance, evoking the acoustic environment of Tibetan and Zen Buddhist ceremonies and the temporal structures of Noh theatre, from which Vaccina took the name of his original label, Nō. Now, fittingly, this complete collection appears on Ubi Kū, the label of the Italian Buddhist Union. Lino Vaccina (1953) first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient music while incorporating sonic traditions from across the globe. After leaving in 1974, he studied at Milano's Civica Scuola di Musica, collaborating with Franco Battiato and Juri Camisasca, and forming Telaio Magnetico in 1975. In 1978 he self-released Antico Adagio in a tiny edition and wouldn't be heard from again until 1992. From 1979 to 1985 he was percussionist with the Orchestra of Teatro alla Scala under maestros such as Abbado and Ozawa. His career has been marked by an incredibly high bar of quality and a tragically slim recorded output. "Frammenti da Antico Adagio" and "Echi Armonici da Antico Adagio" contain material from the original sessions, restored and issued by Die Schachtel in 2014 and 2017. The new masters, prepared by Giuseppe Ielasi, are based on those restorations and the original material. The package includes previously unpublished photographs from the May 1978 sessions and liner notes by Mauro Radice in Italian, English, and French. Limited edition of 250 numbered copies. Deluxe 3LP box, bound in linen and embossed, featuring a large 12-page booklet with previously unseen photographs from the 1978 recording sessions, and a large four-page booklet with the original liner notes. The box graphics reproduce the original cover drawing by Dana Matus, while the three individual LP sleeves feature 19th-century Japanese naturalist paintings chosen by Vaccina himself.

WRWTFWW Records presents a limited-edition vinyl release of the remarkable PONYBOI (Original Motion Picture Soundtrack) by Chilean-born composer, arranger, music producer, and multi-instrumentalist Cristobal "Cristo" Tapia de Veer (The White Lotus, Utopia, Smile, Black Mirror, and many more). This collector's edition presents Tapia de Veer's complete original score for the critically acclaimed feature film PONYBOI -- a bold, genre-defying neo-noir tale directed by Esteban Arango and starring filmmaker, actor, screenwriter, model, and intersex rights activist River Gallo who also wrote the movie. The soundtrack arrives as a deluxe audiophile vinyl LP, housed in a luxurious 350gsm gold cardboard sleeve, cut with utmost precision by Sidney Claire Meyer at the legendary Emil Berliner Studios, home to Deutsche Grammophon's world-renowned legacy. Vivid, seductive, gritty, dreamy, tender, and sometimes heart-pounding in its tension, the PONYBOI soundtrack is a sinuous creature of its own -- an emotional, atmospheric, and deeply textural listening experience. Tapia de Veer fuses shimmering electronics with haunting melodies, raw rhythms, shadowy ambience, and surges of romantic intensity, perfectly embodying the film's world of danger, desire, identity, and survival on a single wild New Jersey night. It's daring, intimate, stylishly noir, and unmistakably Cristo: music that refuses boundaries and speaks directly to the pulse. The LP showcases Cristobal Tapia de Veer's uncanny ability to blend experimental sound design with narrative emotion -- a talent that has earned him global acclaim and numerous awards, including four Primetime Emmy Awards for The White Lotus. This new WRWTFWW edition celebrates his artistry in its purest form: warm, rich, analog, and physically stunning. A must for soundtrack fanatics, ambient and experimental music lovers, and rare memorabilia collectors.

2026 repress! Be With Records present a reissue of DJ Quik's Rhythm-Al-Ism, originally released in 1998. DJ Quik is a giant of West Coast hip-hop. With his fourth album Rhythm-Al-Ism he created his masterpiece, a perfect hip-hop album. A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He's released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he's also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik's tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton's more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues. Released in 1998 on Profile, Rhythm-Al-Ism was the closest Quik ever got to making a commercial splash. "You'z A Ganxta" and "Hand in Hand" made radio waves across the country and the less radio-friendly tracks like "Medley For A 'V'" were bumping out of car stereos. Combining his soulful, jazzy P-Funk/G-Funk beats with his effortlessly smooth flow, Rhythm-Al-Ism was the quintessential West Coast Party. Squelchy synths, bouncy bass, monstrously knocking drums and freaky keys - this is peaking acidic party-rap, straight out the gate. Dripping with wit and good humor. A real swing to the vibe. Mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Original picture sleeve and insert.

Limited 2026 restock, last copies. 2LP Silk Screen Sleeve plus insert. Before Guaracha UFO propelled Meridian Brothers onto the international stage, Eblis Álvarez was already shaping his singular sonic universe in the shadows. Released only on CD in between 2009 and 2012 via local label La Distritofónica, Meridian Brothers VI and VII never had wide distribution or media exposure. Yet, these albums represent a crucial phase in the band's evolution, capturing the energy of Bogotá's experimental cumbia scene at the time. On VI, Álvarez crafts a hallucinatory patchwork of cumbia and vallenato, using his guitar as the guiding thread before layering other instruments on top. These two albums laid the foundation for the radical fusion and irreverent spirit that would later define Meridian Brothers. Now reissued on vinyl for the first time, these historic recordings offer a raw and fascinating glimpse into the origins of one of Latin America's most forward-thinking musical projects.

2026 repress. Double LP version with insert. In the early '80s in France, the happy-go-lucky gathered the nectar of each and every new release. Believing in a bright future for videotex and loosened up by budding pirate radio stations, the new generation dreamt of dancefloors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams. What has come to be called "French boogie" is a form of synthetic funk reflecting the spirit of those days when everything seemed possible. In popular clubs such as La Main Bleue in Montreuil or L'Echappatoire in Clichy-sous-Bois -- where Micky Milan could be seen behind the decks -- an enthusiastic audience discovered this post-disco sonic wave, influenced as much by French pop as by The Sugarhill Gang or Kurtis Blow. In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh musical hybrid. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), and Jean-Pierre Massiera (Anisette, Pirate Club, Mandrake, Groupe Scratch Man) added an eccentric touch. Singers like Agathe (the author of "La Fourmi" (included here) and of the hit song "Je ne veux pas rentrer chez moi seule") were far more than just window dressing, giving an ironic and subversive twist to this rather harmless genre. But by 1984, French boogie was already breathless, and merged with other genres; on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Dee Nasty's broadcasts on Radio Nova, and on the other, Italo, new beat, and house began to rule dancefloors. Squeezed between the age of disco and that of modern electronic music, French boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless basslines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French boogie is what you need to party. Includes tracks from 1980-1985 by Interview, Krootchey, Gérard Vincent, Style, Pierre Edouard, Casino, Bianca, Trigo & Friends, Hugues Hamilton, Pascal Davoz, Anisette, Pilou, Henriette Coulouvrat, New Paradise, Ich, Attaché Case, and Yannick Chevalier.

2026 repress. Patience is a virtue well-rewarded in techno; finding the right groove to build on then holding your nerve long enough to pay off the wait at the optimum moment is a much more skillful endeavor than it would seem for such a minimalistic style. And few display this talent better than Detroit originals Scan 7. Part of the hallowed Underground Resistance family, Scan 7 first broke out in the mid-'90s with a series of jacking machine funk 12"s that showcased their savvy for self-control -- a faculty they have demonstrated in releases year-on-year since. Highlighting this continuous font of vitality, Tresor Records has returned to the source and is proud to announce the reissue of Scan 7's debut LP, Dark Territory. First unleashed on the label in 1996, the album has been remastered from the original DATs by Mike Grinser, augmenting already powerful tracks such as the snake-like, teasing "Unusual Channel" (mixed by the master Blake Baxter), and the harder-edged "VII" resulting in music that will, without doubt, provoke an enhanced response when the pressure is finally released. Repressed on vinyl with updated artwork, these tracks still sound like a blueprint for the future, testament to the prescience and assurance Scan 7's leader, Trackmaster Lou, clearly had when writing "I hope you enjoy my records in the phuture to come" in the sleeve notes nearly 30 years ago.

A collection of intimate songs traced from the spectral darkness by Nanjo Asahito, the notorious leader of some of Japan's key underground psychedelic units (High Rise, Mainliner, Musica Transonic, Toho Sara, etc) Recorded between 1980 and 1988 and previously only available in a cassette micro-edition released by his La Musica Records label in the mid-1990s. Remastered and available for the first time on vinyl and digital. From the original La Musica cassette notes: "A compilation of secret projects recorded over a period of twenty years. Deeply personal music that achieves a strange balance between beat folk balladry and off-key mumbling. Suggestive self-celebratory music conceived as a confirmation of existence." A lesser-known side of Nanjo Asahito -- if all you know of his work is the overloaded, intensified psych-rock and free-sound of his group projects then the solo songs on M gently redraw the contours of Nanjo's private universe. There's something gem-like in the way these five songs are formed, even as they accrue grit and dirt while drifting out of the speakers. Here, Nanjo grabs handfuls of gentle chord changes, allows them to rotate in the air, suspended in reverb, flickering in half-light, as he murmurs drowsy melodies. The closing "Eucharist" pushes everything through a thin layer of distortion; elsewhere, tinkling piano, from guest Matsuoka Takashi, who also performed with Keiji Haino's Nijiumu, disturbs dust molecules to dance through hazy air. LP is housed in die-cut "Uni-Pak" style gatefold with metallic gold ink and soft touch finishes with printed inner sleeve. Vinyl pressed at RTI.

Dr. John Chowning (b. 1934) is a pioneering computer musician, composer and professor who, in 1967, discovered the FM synthesis algorithm. This breakthrough in electronic music allowed for simple, yet rich timbres described as sounding "real." With this discovery, Chowning composed singular, dramatic electronic music and changed the timbre of music forever. Chowning utilized the potential of computers to synthesize sounds according to programmed instructions. The composer's use of his own FM algorithms, digital synthesis with computers and the new compositional concepts offered by a programmable musical structure combine to create some of the most original and unique electronic music ever created. The compositions on this LP were realized between 1966 and 1981 and the music on this LP, with the exception of "Stria," was originally released on CD in Germany (Wergo, 1988). The version of "Stria" included here contains a section not included on the Wergo CD. Thus, this version of "Stria" is complete. This is the first time these purely digital recordings have been released on an analog medium. The original dynamics of these groundbreaking compositions have been preserved on this LP. As a result, listeners are advised to increase volume with caution. In 1975, John Chowning founded the CCRMA -- Center For Computer Research In Music and Acoustics at Stanford University. Through Stanford, Chowning licensed his groundbreaking algorithms to Yamaha resulting in numerous new instruments including the iconic DX series of keyboards. In 1972, his composition "Turenas," which is included on this LP, was the first to create the illusion of continuous 360-degree space using four speakers. All pieces on this LP are originally quadrophonic. The illusion of moving sound sources is thus projected from the surrounding environment given by four loud-speakers on the stereo-basis. The master tape of the original CD was made directly from the computer system at CCRMA which generated and stored the sound data in digital format. No analog recording was involved at any stage of the production and editing process.

Color vinyl. Kraftwerk FM radio broadcast, live at Muziekcentrum Vredenburg, Utrecht, Netherlands. Recorded December 10, 1981.

Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.

LP version. Exclusive gold color vinyl. A collaboration forged in the heart of the American Midwest, In The Earth Again unites Oklahoma City's noise rock institution Chat Pile with Texas/Oklahoma's visionary guitarist and composer Hayden Pedigo. What began as a casual split release idea spiraled into a thirty-six-minute album that threads their contrasting sensibilities into something entirely new. Pedigo's panoramic, primitive guitar, meets Chat Pile's industrial decay, creating a record that explores unknown emotional registers and atmospheric depth for both, In The Earth Again sounds like a post-apocalyptic transmission from rural nowhere. Instead of making concessions, the five artists work as a single unit, and each decision is made in support of the greater vision. The result is both intimate and expansive, a tribute to the modern wasteland. Cover art by Malcom Byers.

Golpes brings together some of the holy grails of Spanish post-punk in 7" format -- records that helped define the sound of the early '80s. This box set is a collection of rarities, but above all, a celebration of monumental songs that have become timeless anthems, transcending darkwave, la movida, and new wave alike. Just look at the lineup: "Autosuficiencia," "El Hospital," "Nacidos para dominar," "Cómo perdimos Berlín," "Quiero ser santa," "Los Celos se apoderan de mí," and, of course, "Golpes." You'll find names like Alaska y los Pegamoides and Gabinete Caligari, who went on to achieve massive popularity and commercial success, alongside legendary artists such as Desechables and Parálisis Permanente -- arguably Spain's most iconic post-punk band -- and cult favorites beloved by the most dedicated fans, like Agrimensor K and El Último Sueño. This box set comprises impossible-to-find singles, genre classics, and rarities like the 12"s by Seres Vacíos or the mythical flexi by Alaska y los Pegamoides, now appearing for the first time ever on 7" vinyl. In total, 14 seven-inch records, each with its original artwork and inserts. Also included is a 24-page booklet featuring flyers, posters, ads, quotes, and fanzine clippings from the era, plus a text by Borja Prieto, and the ultra-rare Alaska y los Pegamoides poster that originally came with the first pressing of their single "Horror en el hipermercado." Golpes is a deep dive into the darker side of Spain's vibrant 1980s music scene. An absolute must-have.

Released in 1969, Gal Costa is the album that cemented Gal as one of the boldest voices of Brazil's Tropicalia movement -- and it still sounds thrillingly alive today. Coming right after the genre-shaking Tropicália ou Panis et Circencis, this LP captures a moment when Brazilian music was breaking rules, blending psychedelia, rock, samba, and poetic experimentation into something totally new. Gal's voice is the real star here: warm, fearless, and incredibly expressive. She moves effortlessly from soft, intimate moments to explosive, full-throttle performances, always sounding confident and emotionally present. Backed by adventurous arrangements and songs from key Tropicalia figures like Caetano Veloso and Gilberto Gil, the album feels both playful and politically charged, even when it's being subtle. Several tracks stand out as absolute classics. "Baby" is a highlight right away -- cool, tender, and deceptively simple, with Gal delivering Caetano Veloso's lyrics in a way that feels both innocent and quietly radical. On the other end of the spectrum, "Divino, Maravilhoso" is pure intensity: urgent, raw, and electrifying, capturing the restless spirit of the era and showcasing Gal's power at full blast. "Não Identificado" leans into dreamy psychedelia, floating between romance and cosmic imagery, while "Que Pena" shows her knack for turning heartbreak into something irresistibly melodic and catchy. What makes this record special is its balance. It's experimental without being alienating, sophisticated without losing its groove. Tracks flow naturally, pulling you into a colorful, slightly rebellious world that reflects the cultural tension and creativity of late-'60s Brazil. If you're curious about Tropicalia or just want a timeless album driven by pure vocal charisma, Gal Costa (1969) is an essential listen.

"Troma Triple Feature Soundtrack 2LP features the film scores from Story of a Junkie (1985), Sugar Cookies (1973), and Scream Baby Scream (1969). It was made to bring that gritty 42nd Street grindhouse vibe straight to your speakers. All the sleaze and chaos of 1980's NYC safely contained on vinyl."

First time on cassette to celebrate BOMP! Records 50th anniversary. A legendary late-'70s Detroit trash outfit, fueled by the raw energy of The Stooges and New York Dolls. A definitive piece of garage-punk history.

Snad returns to Smallville with a bang. After "getting mesmerized" on his own Spandrel imprint, Shyam is back with three exceptional deep rollers, that will keep the floors moving worldwide. Comes with a full cover artwork by Stefan Marx.

Iquitos, one of Peru's most remote cities and the capital of its Amazon region, was the epicenter of the psychedelic cumbia movement. Countless bands emerged from this place, each with a different fate in their musical journeys. Some rose to become international stars and flag bearers of cumbia, while others remained local legends, their fame never traveling far beyond the Amazon jungle. Los Roger's achieved great success in Iquitos and served as the foundation and inspiration for many local bands that emerged in the late 1960s and early 1970s. ¡Qué ardiente! combines the best of the band's limited discography. The recordings come from their first 45 RPM single and their two mini-LPs for the FTA label, as well as their only elusive LP from 1971, ¡Qué ardiente!, ("How Burning!") recorded for the prestigious IEMPSA label. Their discography dives deep into Cuban-influenced sounds, where the guitar shares the spotlight with powerful percussion and -- with tracks like "Descarga Roger's" -- with the vocals as well. Los Roger's came to an abrupt end just one year after the release of their LP, at the peak of their career, due to their disappointments with the music industry.

Ángel Vásquez brought Antillean shades into the accordion tradition of a region overflowing with juglares, as the Colombian northern coast has always been. Vásquez built a monumental songbook where pachanga, charanga, son, cumbia, and even the Puerto Rican countryside, Boricua sound, played leading roles. His few recordings carried a remarkable stylistic range, making it difficult to put him into any single category -- a quality that led to a style he himself called vasquesón. In the early seventies, he released through Discos Fuentes a single that would become one of the anthems of the Barranquilla Carnival: "Pica pica en carnaval," a tropical, electrifying gem with a guarachero flow so unmistakable that it's still a staple in verbenas, neighborhood dances, and picó parties today. La gustadera comprises a muscular, rhythm-packed ride moving from pachanga to paseaito, passing through charanga, porro, son and, of course, vasquesón -- a full-on celebration where the accordion leads the dance. Here, direct lines are drawn between Colombian coastal folklore and Afro-Antillean sound -- pure joy painted with the everyday imagery of coastal life. First time reissue of this mega rare Ángel Vásquez album.

Edition of 300. Includes 8-page booklet. In 1969, while American minimalism was consolidating into its most recognizable forms, Charlemagne Palestine was conducting solitary experiments with oscillators and sine waves that only now reveal their visionary scope. This was the New York of lofts and abandoned industrial spaces, of artists pushing sound toward its physical limits -- a city where the boundaries between music, performance art, and bodily endurance were dissolving. Battling the Invisible unearths two electronic studies from that crucial year, paired with rare 1972 Bösendorfer sessions -- a document that illuminates the passage from pure electronics to the keyboard as an instrument of prolonged ecstasy. "Low Sounds 3" opens the record with fifteen minutes of low frequencies that seem to emerge from the very foundations of the sonic edifice. There is no development in the traditional sense, but a static presence that gradually colonizes the listening space. Think Eliane Radigue's meditative drone work filtered through a raw, almost brutalist sensibility. "Sine Tone Study" on Side B extends this practice for nearly nineteen minutes -- sine waves overlapping, creating beating patterns, zones of interference explored with the patience of an entomologist. The two 1972 Bösendorfer fragments function as bridges toward the Palestine the world knows better -- the strumming ecstasies, the hypnotic accumulation of overtones, the piano as a vehicle for transcendence. Here the physical approach to the keyboard is already evident -- what he would describe as a "battle." This release is part of Alga Marghen's The Golden Research series -- a concept devised by Palestine himself around the idea of "perfect sound." The series focuses exclusively on completely unreleased archival materials, bringing to light legendary recordings that have never been heard before. The LP includes a 8-page interview conducted by Sumner Crane and Rudolph Grey in January 1979 at Palestine's NYC loft, with Arto Lindsay present, later redacted by Alan Licht. The insert is an anastatic reproduction of the original 12-page typescript. Unfiltered, explosive -- Palestine on violence, on the body as battleground, on his Brooklyn childhood. Essential reading.

Double LP version. El Pulso del Acero: Shinkansen is Esplendor Geométrico's new album, featuring 16 powerful tracks that showcase the electric energy of this group, with a unique blend of trance-inducing industrial rhythms combined with collages of voices and noise. The raw power of their early work is also present here in some brilliant reconstructions of '80s tracks turning out very different from the originals. Songs such as "Auto Reverse" will be especially appreciated by the most avid fans of EG's early sound. Other tunes of futuristic industrial music closer to their previous album, Strepitus Rhythmicus, are also included. Ten tracks were recorded in 2025 in Tokyo, where Arturo Lanz (founding member of E.G.) currently resides. The other six were released, only on CD, in an ultra-limited edition shared with the group De Fabriek in 2023, long sold out, now finally on vinyl for the first time. Born in 1980 as a trio, and currently a duo formed by Arturo Lanz (founding member) and Saverio Evangelista (member since 1991), Esplendor Geométrico is an influential and international electronic cult band and also a rare case in the Spanish music scene, as they have developed their own independent path aside from tags, fashion or trends, in spite of being often classified as industrial music. Their career for more than four decades hasn't had interruptions. They haven't stopped composing, releasing albums, or playing live. Their influence has marked many later artists, usually classified in the so-called industrial music or rhythm & noise, as well as artists from current techno and certain types of experimental noise music.

In the summer of 1976, a peculiar album appeared in Italian record shops, its cover bearing no artist name, only the cryptic moniker Elektriktus. For the handful of listeners who encountered it before it vanished from circulation, the music posed a question that wouldn't be answered for decades: who had created this strange hybrid of jazz sensibility and kosmische synthesis, this music that seemed to emanate from somewhere between Cologne and Calabria? The answer was hiding in plain sight. Andrea Centazzo, by then a recognized figure in European free improvisation -- a percussionist who had shared stages with Steve Lacy, Evan Parker, and Derek Bailey -- had been leading a double life. Between 1973 and 1976, in the intervals between touring with Giorgio Gaslini's quartet (Gaslini would soon co-compose Dario Argento's Profondo Rosso with Goblin), Centazzo retreated to his farmhouse in Moruzzo and to studios in Pistoia, where he conducted experiments with Minimoog, Davolisint, and the GEM Rodeo 49, an Italian-manufactured synthesizer that had become essential equipment in the country's progressive rock underground. What emerged from these sessions was music that occupied a peculiar position in the taxonomy of 1970s electronic experimentation. PDU Records -- owned by the pop icon Mina and by the mid-seventies functioning as Italy's primary distributor for German avant-garde labels like Ohr, Brain, Kosmische Musik, Pilz, and Kosmische Kuriere -- recognized the value of what Centazzo had created. But there was a commercial calculus at work: the label's executives worried that Centazzo's established identity as a jazz percussionist would confuse the market for cosmic electronics, then in the process of consolidating as a genre distinct from both progressive rock and academic electronic music. The solution was to create Elektriktus -- a pseudonym that functioned as a conceptual portmanteau, fusing "electronic" with "Ictus," the name Centazzo would soon give to his own label and to his series of percussion works. The name suggested both electronic impulse and percussive attack, a synthesis that accurately described the music's character. For where German kosmische musik tended toward the infinite and the abstract, Centazzo's electronic music retained a tactile, almost physical quality.

Much of the Collide's sound is derived from an old Aria Pro II electric guitar from Leif's childhood, scratched up with damaged and unpredictable electrics. The record leans into this sense of things being broken or damaged -- and how sometimes things need to break in order for listeners to make sense of them -- reveling in, rather than resisting, unpredictability. Lush textures traverse the listener. across unexpected terrains.

The collaboration between Anthony Moore and filmmaker David Larcher began in the late '60s, at the start of both their respective careers and lasted many years. Following on from the 2024 release of the soundtrack to Mare's Tail (PD 041LP) (the first collaboration with Larcher) comes the release of the soundtrack to his second film, Monkey's Birthday. This LP is a condensation of the essence of this six-hour film. The sound is partly taken directly from the existing soundtrack and partly from stereo masters that have survived through the decades. Shot and edited between 1973 and 1975 this epic film moves through a variety of landscapes, both physical and abstract. It was filmed in various locations, starting in Germany and moving through Hungary, Romania and most substantially in rural Turkey. In large part this is a road movie that takes the filmed events and locations and uses them as sources for further experimentation. In much the same way, the location recordings made by Anthony Moore are used as raw material for creating much of the soundtrack, working from a battery powered studio in the back of his truck in this east bound convoy. The previously released excerpt, "Plains Of Hungary (ReR Quarterly Vol.2 No.1)" is included on this album in its rightful place among the collages of Islamic chant, field recordings, tape loops, jam sessions etc. Heathcote Williams is also in the mix reading from esoteric texts. Also feature, alongside various voices from the crew and general public, is a repeated theme using the looped cut up voice recordings from the two other members of Slapp Happy (Dagmar Krause and Peter Blegvad), who took to the road for part of this grueling journey. Comes with large four-sided insert. Numbered edition of 500.

A note from Brad Rose: "The Sound Leaves began as an interactive sound performance and installation based around humans' impact on the environment and how that impact is altering the sonic landscape of our world. As ecosystems change due to climate collapse, the sound of those ecosystems changes too. The Sound Leaves used an amplified collection of autumn leaves to encourage participants to listen closely to how their actions alter the sounds of the fallen leaves by walking on and through them for a period of time. By amplifying these sounds, processing and mixing them live, and playing them back via a set of speakers directed at the installation, the performance heightened the sonic changes participants' actions create. From that performance, a sound piece by the same name was composed using the recorded sounds with additional instrumentation. It was installed as a temporary exhibition on site at Philbrook Musuem of Art during the winter of 2023, emanating from a grove of oak and elm trees. A year later, as the climate crisis worsened, those same sounds were reprocessed and reconsidered, creating a more ghost-like approach, 'In Collapse.'"

A note from David Shea: "Meditations is a set of eight works based on the experience of meditation practice. Music made for both meditation and reflecting the realities of a life of daily practice. The breath, the quietness, the listening, the distracted dissonant and consonant thoughts that pass through. The texts throughout the pieces are fragments of the Buddhist Heart Sutra, the shortest and created from a mixture of traditions and sources, produced long after Buddha's death and meant to be chanted or sung as a ritual and personal meditation. The experience of meditation, so often covered in mythology and one dimensionally peaceful symbols, is in fact a complex set of traditions in all cultures and has roots in indigenous cultures world wide and involves the limitations of thought as well as the quietness of the mind as a source of understanding and health. The Buddhist teachings that are in focus in this album are in a sense a sequel to the record Rituals of 2015 in that they are adapted as Meditations that cross and combine traditions with any attempt consciously to synthesize them into a new whole. A conversation between traders, in the form here of musicians , languages, sound sources and the peace and struggle of maintaining a real meditational practice and living in the chaos and violence of society as well as accepting the world as it is, with all of the internal conflicts and release and rise of tension. The musicians on these pieces also are recorded live in a group setting listening to each other with a shared space and character I create and through this listening the connections that form the final piece are made. The Heart Sutra which I read in the last piece of the eight is a translation which has been collaged by many schools and cultures that adapted the teachings to their indigenous religions. The bonus track is a live mix (called a Metta Mix) of a performance and collage of all this material and other new pieces, performed in a virtual avatar world called 'Second Life' for a live audience who listens and attends in their own avatars. All pieces on this set of recordings are a version of this in some ways, with the mix being something both from me and for those that listen. Meditations is both a document of practice, past and present and an experience of listening, both personal and the connective mix of us and all the things that are not us."

A note from Stuart Argabright: "Degraded, faded cities now empty of people. You can hear household appliances in the kitchens still talking, but only to each other. The phrases are distorted, unclear; broken English, Japanese and a few Korean and Chinese automated voices, syllables, shopping lists, play lists for dinner and recipes. Somewhere one of the machines is dialled in on an isolated pre-Buddhist monk chant, distant like from a high cliff meditation cell. The flow of the wide, long Black Mother River Kali Gandaki below them. Here is Obliteration Bliss A world in a flash of light. The world running faster and faster. Another biomorph escapes the facility...she disappears into a backwater jungle town. A witness to smoking remains and death after generation wars, ash snow dusted, scorched lands. Look into a huge room filled with ancient machines and stumble among the fossils by the old silver river. Before the wind reverses and chokes us with sand, grit and who knows what else direct from the Subcontinent. The evening fog closes around impossibly high tower buildings. A pack of racing bikes approaching, lights flaring. Still we linger in-between the shadows and the light. There's another voice calling, but its form is hazed in fading neon. It's raining again."