Madlib pays tribute to J Dilla. On Beat Konducta Vol. 5-6: Dil Cosby & Dil Withers Suite (both originally released as separate LPs in 2008), Madlib pays tribute to his late friend and collaborator J Dilla with contributions from J. Rocc. 42 soulful, floating instrumentals bid farewell to Jay Dee. Long out of print, both volumes are pressed on 2LP for the first time ever, on metallic silver and gold vinyl, and housed in a gatefold jacket.

Madlib's Beat Konducta series goes to India. Beat Konducta Vol. 3-4: In India is a 2LP made up of Madlib instrumentals inspired by Bollywood soundtracks and other ’60s-’80s productions from India. Both volumes were originally released as separate LPs in 2007. Long out of print, both volumes are pressed on 2LP for the first time ever, on semi-transparent silver and saffron yellow vinyl, and housed in a gatefold jacket.

Madlib is the Beat Konducta – often imitated, never duplicated. Beat Konducta Vol. 1-2: Movie Scenes & Movie Scenes, the Sequel were the first official releases in Madlib’s Beat Konducta series (Vol. 1 in late 2005 and Vol. 2 in 2006). Vol. 1: Movie Scenes and Vol. 2: Movie Scenes, the Sequel are instrumental hip-hop productions by Madlib presented in the style of ’70s TV and film library records to form an hour of instrumental soundscapes. Long out of print, both volumes are pressed on 2LP for the first time ever, on 50/50 split red and blue vinyl, and housed in a gatefold jacket.

*COMES WITH AN EXCLUSIVE ALBUM ONLY ON THiS BOX SET!***The Beat Konducta Box Set presents Madlib beats from 1994 through 2008 with inspirations ranging from 70s TV & film library records to Bollywood soundtracks and other 60s-80s productions from India, ending with a tribute to late, great friend and collaborator J Dilla. For the first time ever, Volumes 1-2, 3-4 and 5-6 – which have long been out of print – are each presented as 2LPs in gatefold editions on classic black vinyl. Exclusive to the box set: Vol. 0: Earth Sounds is pressed on “Northern Lights” green vinyl. Vol. 0 was recorded sometime around 1994-1996 and initially released in 2001 through a limited pressing.

XXXXX is a 16-track experimental electronic LP by Venezuelan artist Arca. Following her KICK pentalogy, this album turns inward to fracture fixed forms, blending high-tempo club grit, noise, glitch, and classical composition into an aggressive, posthuman exploration of humanity and technology

With The Boy and the Heron – Symphonic Suite for Piano and Orchestra, legendary composer Joe Hisaishi presents a newly reimagined concert work based on his Golden Globe-winning score for Studio Ghibli's Academy Award-winning film The Boy and the Heron by Hayao Miyazaki. Recorded with the Royal Philharmonic Orchestra, the world premiere recording features Hisaishi himself as piano soloist.Rather than simply arranging the original soundtrack, Hisaishi has completely recomposed the music into a standalone symphonic work for the concert hall. Beloved themes from the film are woven into a rich orchestral narrative, creating an atmospheric and emotionally compelling listening experience. An essential release from one of today's most celebrated composers.

A Safe Place To Be Wild is the seventh LP from Jordan Rakei, arriving after more than a decade of pushing the boundaries of soul, jazz and alternative R&B. Fearless, intimate and emotionally direct, the album finds Jordan embracing uninhibited self-expression and placing vulnerability at the centre of his songwriting. Stripping everything back to raw feeling and unfiltered moments, A Safe Place To Be Wild captures an artist fully stepping into himself, confronting the fear of exposing his inner world and finding power in doing so.

After his classic Rawkus Records solo debut Internal Affairs and three more acclaimed albums, Pharoahe Monch has become a true hip-hop luminary, working with Erykah Badu, J Dilla, Busta Rhymes, Linkin Park, Macy Gray, Conway The Machine, Black Thought, Common, The Black Keys, Pete Rock, Jill Scott, Immortal Technique, Talib Kweli, Ghostface Killah, and more.First official vinyl release since the initial 1991 pressing. 35th anniversary 2LP and CD, featuring three rare bonus tracks.

2026 celebrates the 20th anniversary of the 5x Grammy award winning album “Back To Black”, universally regarded as one of the greatest, most important and influential albums in pop history.

A landmark of Brazilian Tropicalia and psychedelic rock: “Carlos, Erasmo” ranks among the boldest records of early-’70s Brazil, blending fuzzed-out rock, Tropicalia, soul, funk, and Brazilian pop into a uniquely adventurous sound.A Tropicalia all-star lineup: Produced by Manoel Barenbein, with arrangements by Rogério Duprat, the album features members of Os Mutantes alongside legendary psychedelic guitarist Lanny Gordin.An exceptional songwriting cast: Erasmo’s longtime partnership with Roberto Carlos meets compositions by Caetano Veloso, Jorge Ben, and Marcos Valle, bringing together some of Brazil’s most influential musical voices.Produced alongside Tropicália veteran Manoel Barenbein, “Carlos, Erasmo” (1971) is one of the great late echoes of the Tropicalia movement. Although Erasmo was never officially a tropicalista, the album brings together an extraordinary cast of musicians and collaborators from that world, including Os Mutantes’ Sérgio Dias, Dinho Leme, and Liminha, as well as legendary psychedelic guitarist Lanny Gordin. Arrangements by Rogério Duprat add another unmistakable Tropicalia touch.The album opens with ‘De Noite na Cama,’ a Caetano Veloso composition written especially for Erasmo, and immediately establishes its restless, sensual, and slightly subversive atmosphere. From there, the record moves freely between fuzzy psychedelic rock, soul and funk, sophisticated pop, tender love songs, and Brazilian grooves, never settling into a single style.Erasmo also revisits his celebrated songwriting partnership with Roberto Carlos while embracing compositions by Caetano Veloso, Jorge Ben, and Marcos Valle, turning Carlos, Erasmo into something of an all-star meeting point for the most creative currents in Brazilian popular music of the era.The record’s psychedelic edge is especially striking distorted guitars, unconventional arrangements, eccentric production choices, and moments that seem to drift beautifully off course. ‘Maria Joana,’ it’s famously provocative marijuana ode, became one of the album’s most talked-about tracks, while songs such as ‘Agora Ninguém Chora Mais,’ Marcos Valle’s original ‘26 Anos de Vida Normal,’ ‘Ciça Cecília,’ ‘Mundo Deserto,’ ‘Sodoma e Gomorra,’ and ‘Masculino Feminino’ reveal the remarkable breadth of Erasmo’s musical vision.More than simply a psychedelic detour in Erasmo Carlos’ career, Carlos, Erasmo stands as a landmark of early-’70s Brazilian rock. It is rawer and harder-rocking than much of his catalog, yet equally capable of intimacy, soulfulness, humor, and experimentation. A record where Jovem Guarda, Tropicalia, rock, soul, and Brazil’s emerging counterculture collide—and where Erasmo Carlos sounds completely at home in the chaos.

Released by Polydor Records on April 1, 1972, “Mandrill Is” is the second album by Mandrill, the Brooklyn seven-piece led by brothers Carlos, Lou, and Ric Wilson. Recorded at Electric Lady Studios during the winter of 1971–72, it finds the band refining the adventurous blend of funk, soul, jazz, rock, and Latin rhythms established on their acclaimed debut.With its powerful horn section, deep grooves, percussion-rich arrangements, and flashes of psychedelia and jazz-rock, “Mandrill Is” sounds both tighter and more ambitious than its predecessor. ‘Ape Is High’ and the horn-driven ‘Git It All’ deliver the album’s most immediate funk, while ‘Cohelo’ and ‘Kofijahm’ explore Latin and Afro-diasporic rhythmic traditions. ‘Children of the Sun’ and ‘Lord of the Golden Baboon’ stretch further into expansive, progressive territory, revealing a band as interested in atmosphere, arrangement, and instrumental interplay as in the groove itself.The album’s strength lies precisely in that refusal to settle into one category. Mandrill use funk as a foundation for moving freely between soul, jazz, rock, Latin music, and psychedelic textures, creating a sound that is unmistakably their own. “Mandrill Is” captures the group at an important early peak: more focused and confident than their debut, yet still willing to follow the music wherever it leads.

Surprise Chef’s album Frogs In A Pond is an examination into, and an expression of, a shared human experience. Based in Australia, the quintet found inspiration from European film composers working in the late 60s and early 70s. The music expresses musical themes with a cinematic landscape of moods and feelings that evoke emotion without the listener having watched the film for which the music was composed, pushing boundaries that dictate a unique perspective to their music.