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High Roller Records, reissue 2022, white w/ orange & blue splatter vinyl, ltd 500, 425gsm heavy cardboard cover, lyric sheet printed on uncoatd paper, poster, A5 photo card, Restored Roadster master! Transfer by Marcus Mossmann at PHONGRAPHIC ARTIFACTS, mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in March 2020. Cutting by SST Germany on Neumann machines for optimal quality on all levels ... The ultimate audiophile edition of this eternal classic!

Crypt of the Wizard is proud to announce the debut LP from Riders of Rohan. Arise now, arise, and listen to these here ballads of courage, kinship, gracious good and ultimate evil heralded by Sweden’s Riders of Rohan. This power trio of epic proportions was forged in the dark smithies of Gothenburg and founded of black steel by Marcus Ferreira Larsen at No Master's Voice studio in Copenhagen. Our heroes play an enchanted breed of heavy adventure-rock, where KISS-like melodies merge with the punk rock 'n' roll delivery of Dead Moon to tell tales written for the love of Tolkien. Don't miss out on the first release from this fine fellowship. Stream it now or look out for it on cassette and vinyl later on this year. Ride now, ride now, ride! Ride for ruin and the world's ending! Death! Death! Death! Forth Eorlingas!

On their third album, »Rideau«, Swedish trio Tape made their great leap forward. Released in 2005 on Häpna, following two albums of pastoral folk meets electronica, »Rideau« saw the trio of Andreas and Johan Berthling, and Tomas Hallonsten, working with an outside producer, Marcus Schmickler (best known for his post-rock outfit Pluramon). On »Rideau«, Tape’s music opened out considerably, embracing traditional minimalism, and luscious melodicism. Now, seventeen years later, »Rideau« has a new home with Morr Music, who are reissuing the album on vinyl, marking its first appearance on the format, including an extra track.

It’s only logical that »Rideau« should reappear via Morr Music. Like Tape themselves, Morr Music was a significant part of the worldwide gang busy reconciling electronica, pop, and acoustic, group- oriented sound across the 2000s, and »Rideau« sits neatly alongside other releases of similar heritage. And yet, »Rideau« feels contemporary, suggesting the creative discoveries made by the trio have ongoing resonance; their elliptical poetry echoes through recent music from the likes of Tara Clerkin Trio, and Tape’s sometime collaborators, Tenniscoats.

Asked about the album, Johan Berthling recalls, “»Rideau« was a special album for us to make”. While they had previously recorded their albums in rural Sweden, for »Rideau«, the trio decamped to Schmickler’s Piethopraxis Studio in Cologne. The creative space that Schmickler carved out for the group allowed them to explore this new material to its fullest. For his part, Schmickler found himself drawn to Tape’s music –“Their focus was a combination of seemingly timeless folk influences with noisy electronics and field recordings,” he explains. You can hear Schmickler’s influence at an almost molecular level – Tape had never sounded quite so graceful and assured with their compositions. “Marcus really shaped the music, working architecturally to build the form of the pieces,” Berthling recalls.

»Rideau« represents a collective exhalation for Tape, with the trio exploring more involved, longer pieces, which situates them in yet broader musical contexts. There are clear connections with the history of minimalism, for example, via the repeating organ phrase of »Sunrefrain«, and the insistent piano arpeggio of »A Spire«, which builds into a Reich-ian dream song, with sensuous electronics and glinting vibraphone dappling abstract shapes across the song’s stretched canvas.

Reflecting on Tape’s essence, Schmickler isolates their “uncompromised ethos, caring about small details.” This echoes most radically through the twilight environment of »Long Lost Engine«, which sets the listener adrift on impossibly radiant drones, while a gentle, almost Feldman-esque melody plays out over the song’s surface. It’s followed by the reissue’s extra track, Japanese electronica quartet Minamo’s remix of »Roulette«, a connection that would lead to a Minamo/Tape collaborative album, »Birds Of A Feather« (2007).

For now, though, here is the gorgeous, penumbral abstraction of »Rideau«, an album of whispers and clues, quiet moments and grand gestures, reintroduced to a welcoming world.

Full Artwork Sleeve. Remastered and Recut for 2022 by Lewis Hopkin at Stardelta Audio Mastering

The Vinyl version features six D&B tracks on 3×12' Vinyl. From the bright, florescent metallics of 'Celestial Navigation,'(feat S.P.Y.) through to the darker tinges of the sharp-edged, sparse landscape of 'Hot Hands.' D&B gets a slightly more menacing dub makeover, while 'Paulista' (feat S.P.Y.) & 'Wacky Races' both hold the layered, tightly produced drum programming that Intalex is known for. 'Meltdown' is a typically immaculate, roller that stems from collaborating with Calibre. The album's standout is the beautifully emotive 'Climbing Up The Walls, which features the vocals of Drum & Bass producer Danny Fierce, and stands as a breathtaking, adventurous take on Radiohead. These tracks are currently being championed by the main beat seekers of D&B such as Radio 1s Fabio & Grooverider, Hype, Friction, Tony Coleman, Nu Tone. Ant TC1, Andy C.

RELEASE OF THE CLASSIC 1996 SWEDISH BLACKENED DOOM METAL
MASTERPIECE OF MELANCHOLY 'FOR SNOW COVERED THE
NORTHLAND'.The roots of Ancient Wisdom trace back to 1992 when the
project was formed by Marcus E Norman (Throne of Ahaz/Bewitched) in
Ume, Sweden as Pain', then Ancient'
After the release of the first demo 'In The Eye Of The Serpent' in 1993, the name
was updated to Ancient Wisdom' & the recording of the second demo, 'Through
Rivers Of The Eternal Blackness' swiftly followed in December of 1993. On the
back of this, a deal was signed with Italian label Avantgarde Music, leading to the
recording of the full- length debut album,For Snow Covered The Northland'. The
studio sessions took place in December of 1994, though the album did not see
the light of day until 1996.
'For Snow Covered The Northland' was a triumphant journey of atmospheric &
melodic blackened doom metal, with sombre & hypnotic guitar leads permeating
the album to great effect amid the anguished screams. Also utilising acoustic
guitar & piano/keyboard passages, the opus overall exudes an ambience of deep
melancholy & despair. The album was recorded at The Garageland Studio &
produced by Henrik Kjellberg, plus drum programming was made by Fredrik
Thorendal, founding member of Swedish legends, Meshuggah.
' For Snow Covered The Northland' has been remastered for this release &
contains a bonus disc featuring extensive rare material from the early years of the
band, including the 'In The Eyes Of The Serpent' & Through Rivers Of The Eternal
Blackness' demos, plus rare promo & rehearsal tracks.

Bad Colours is back with his sophomore album, "Always With U," out on Bastard Jazz Recordings in November, 2022. The London-born, Maryland-raised, Brooklyn-based DJ, songwriter, producer, and multi-instrumentalist - aka Ibe Soliman - continues to build on the well-deserved acclaim from his 2021 debut LP, "PINK," as well as a slew of standalone singles and collaborations with the likes of Shabazz Palaces, Jarv Dee, and Stas THEE Boss.

"Always With U" sees Ibe further develop his talents as a songwriter and producer, while maintaining the signature balance of banging dance music and dense bars that he's quickly becoming known for. The album expands Ibe's role to a collaborator, band leader, and all-around star-of-the-show; it's certainly still a dance record, but there's also so much more. Live instrumentation accompanies every track, with the notable contributions of Nigerian bassist Akin-Alade Ogo heard across the album, as well as the NY-based saxophonist Carras Paton on the jazzy, upbeat house number, "Heartache + U."

The lead single, "Maybe I Should Move to LA," sees the proudly Brooklyn-based Bad Colours contemplate a move out West – an idea that came about following a trip to LA for the 20 Years of Bastard Jazz anniversary party (which he DJed) in November last year. Bright pads, a thumping four-on-the-floor beat, and a catchy vocal line make it the perfect accompaniment to a top-down joy-ride up PCH. The album's second single, "You Don't Know," features frequent collaborator and PNW darling Jarv Dee, as well as KAS and JVDE who have both been making waves in the Brooklyn scene (KAS for his work with Grammy- nominated producer Harmony Samuels featured on BET, and JVDE as the lead-singer of alternative band Blind Benny). "You Don't Know" turns up the heat with Jarv and KAS trading dense, rapid-fire verses over a high-tempo beat and detuned vocal; the kick cuts out for the bridge, replaced by syncopated keyboard stabs and JVDE's stacked vocals. "You Don't Know" is high-energy hip house at its finest: Super catchy and irresistibly dancey.

The two singles are emblematic of the rest of the album, which largely alternates between vocal and hip house, sometimes jazzy, other times touching on R&B or dancefloor influenced pop. Dave Giles II and Cor.Ece (who recently both contributed to Beyoncé's chart-topping "Renaissance" LP and Honey Dijon's "Work" single) feature on "Flow," while Toribio (of the acclaimed Brooklyn band Conclaves) provides vocals for "Do Better;" both tracks are on the mellower side, reminiscent of late-90s New York mid-tempo garage. Rising artist N.O.V. features on the second track, "Ready," rapping over a bass-heavy beat; MarcusHarmon makes a return after appearing on "PINK," with smooth vocals on the romantic "Come Closer." Aforementioned JVDE can be heard throughout the album, contributing to "You Don't Know," "Flirtation Avenue," and "Easy Come, Easy Go."

While Ibe's career has spanned nearly two decades - as both a DJ (alongside the likes of James Murphy, Mark Ronson, and Q-Tip) and producer (for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others) - the Bad Colours name only came into being in early 2020, with the debut LP, "PINK," being released in February, 2021 on the Brooklyn tastemaker label Bastard Jazz. By tapping into his deep network of artist friends, Ibe compiled a treasure-trove of vocal samples, snippets, sketches, and fresh instrumental loops into a beautiful debut record that touches on hip-hop, house, and left-field electronic, while remaining danceable.

A slew of singles throughout 2020 and 2021 included "Feelin' Like," featuring the Seattle rapper Jarv Dee, has become an underground hit, popping up everywhere from Best Buy ads, Hulu's "Woke," celebrity Peloton instructor Emma Lovewell's playlist, and even as a soundtrack to the Mayor of Madrid's TikTok video. Most recently, "Feelin' Like" had a prominent placement in the #1 Netflix film "Spiderhead," directed by Joseph Kosinski ("Tron: Legacy;" "Top Gun: Maverick") and starring Chris Hemsworth, Miles Teller, and Jurnee Smollett. The breakout success of "Feelin' Like" further led to a collaborative EP with Jarv Dee, titled "BLAKHOUSE," which saw additional features from fellow PNW natives Shabazz Palaces ("Clouds," featured in Hulu's "Shoresy") and Stas THEE Boss ("Black Skin"). This year, Bad Colours dropped the early Summer banger "Hit The Breaks," and served as the musical director for the influential MADE New York festival, a two-day fashion, music, and arts event presented by Public School NYC and Paypal, that saw performances by Nas, Heron Preston, and Bearcat among others.

"Always With U" is a testament to Bad Colours' versatility as a producer and artist, which has allowed him to bring together such a diverse group of friends and collaborators. Yes, the house and hip-hop roots remain, but "Always With U" shows an evolution of the Bad Colours sound into masterfully crafted dancefloor sounds. It's a truly stunning follow-up from an artist undoubtedly on the rise. The album is out on all platforms, via Bastard Jazz Recordings, November 11th, 2022.

As a true cultural flagship medium, Arte expands its Arte Concert music offer with the 3 first volumes of its new vinyl collection ! A selection of Jazz, Soul & Electro Crème de la crème of ARTE TV

Green Vinyl

Shogun Audio are proud to present the ninth volume of the acclaimed Shuriken vinyl series - featuring four of the most popular tracks from the Shogun vaults that have never previously appeared on vinyl

Set on green vinyl, this is a strictly limited edition collector’s item so don’t miss your chance to assemble a set of weapons any warrior would be proud of, when they are gone they are gone…

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. Beauty For Ashes was named as the best reggae album of 2014 according to iTunes. A monumental achievement for undiluted, uncompromising RasTafari roots reggae music this side of the millennium. Two of the LP's tracks, Weather the Storm and Same I Ah One, have been catapulted into global notoriety in part due to the viral success of the YouTube video of the 'Dub in the Rainforest' session organised in St. Croix by Tippy I in 2014. The video offered an unparalleled audio visual insight of the powerful, captivating, energy of Vaughn Benjamin, Pressure Buss Pipe, Ras Batch, and many of the bredrin and sisterin of St. Croix rallying around the I Grade Dub living dub experience.

Following 8 years of anxious anticipation, for the countless Akae Beka fans that are also vinyl connoisseurs, this LP is now being released on as a 12" vinyl LP courtesy of Before Zero Records. This offers the listener not only the chance to enjoy this LP in an analogue form, but also the chance to hold the artwork as a 12" square masterpiece, created by the hands of Ras Marcus, the artist who gave the powerful visual presence that became synonymous to much of the I Grade / Akae Beka works over the years.

On 14 October 2022, wildly creative free-form songwriter Rachael Dadd is to release her brand new studio album 'Kaleidoscope' via Memphis Industries and follows 2019's 'Flux', which was released to much acclaim and which she was touring when the pandemic struck. Like so many people disconnected from their communities and struggling through the lockdowns, Rachael Dadd turned inwards, seeking escape through music and connection through song writing, and her hope is that when people listen to 'Kaleidoscope' "they will feel held and find space to breathe, grieve and celebrate." "This album is a lot more honest and personal than 'Flux'" she shares, "but I feel the songs are universal as they are largely rooted in truth and love. If I had to pick a favourite album it would be this one because of the magical rekindling of human connection when me and my band got back in a room together again. All that magic went into these songs." Co-produced "intuitively, boldly, and playfully" by Rachael and Rob Pemberton (The Staves, Emily Barker, Maja Lena), 'Kaleidoscope' includes musical collaborators such as Maja Lena (Low Chimes), long-time collaborator Emma Gatrill (Willy Mason), Alex Heane (bass), Charlotte West (synths), Alex Garden (strings) and 'Flux' producer Marcus Hamblett (Villagers, James Holden, The Staves), giving the record "just the right colour combination, just the right pattern of shapes, plenty of space where needed and finally landing in a sound world that feels fresh and open and true" reflects Rachael.

On 14 October 2022, wildly creative free-form songwriter Rachael Dadd is to release her brand new studio album 'Kaleidoscope' via Memphis Industries and follows 2019's 'Flux', which was released to much acclaim and which she was touring when the pandemic struck. Like so many people disconnected from their communities and struggling through the lockdowns, Rachael Dadd turned inwards, seeking escape through music and connection through song writing, and her hope is that when people listen to 'Kaleidoscope' "they will feel held and find space to breathe, grieve and celebrate." "This album is a lot more honest and personal than 'Flux'" she shares, "but I feel the songs are universal as they are largely rooted in truth and love. If I had to pick a favourite album it would be this one because of the magical rekindling of human connection when me and my band got back in a room together again. All that magic went into these songs." Co-produced "intuitively, boldly, and playfully" by Rachael and Rob Pemberton (The Staves, Emily Barker, Maja Lena), 'Kaleidoscope' includes musical collaborators such as Maja Lena (Low Chimes), long-time collaborator Emma Gatrill (Willy Mason), Alex Heane (bass), Charlotte West (synths), Alex Garden (strings) and 'Flux' producer Marcus Hamblett (Villagers, James Holden, The Staves), giving the record "just the right colour combination, just the right pattern of shapes, plenty of space where needed and finally landing in a sound world that feels fresh and open and true" reflects Rachael.

Wildly creative free-form songwriter Rachael Dadd is set to release
her brand new studio album, ‘Kaleidoscope’, via Memphis Industries.
The album follows 2019’s ‘Flux’, which was released to much
acclaim, and was the album she was touring when the pandemic
struck. Like so many people disconnected from their communities and
struggling through the lockdowns, Rachael Dadd turned inwards,
seeking escape through music and connection through songwriting,
and her hope is that when people listen to ‘Kaleidoscope’, “they will
feel held and find space to breathe, grieve and celebrate.”
“This album is a lot more honest and personal than ‘Flux’” she shares,
“but I feel the songs are universal as they are largely rooted in truth
and love. If I had to pick a favourite album it would be this one
because of the magical rekindling of human connection when me and
my band got back in a room together again. All that magic went into
these songs.”
Co-produced “intuitively, boldly, and playfully” by Rachael and Rob
Pemberton (The Staves, Emily Barker, Maja Lena), ‘Kaleidoscope’
includes musical collaborators such as Maja Lena (Low Chimes),
longtime collaborator Emma Gatrill (Willy Mason), Alex Heane (bass),
Charlotte West (synths), Alex Garden (strings) and ‘Flux’ producer
Marcus Hamblett (Villagers, James Holden, The Staves), giving the
record “just the right colour combination, just the right pattern of
shapes, plenty of space where needed and finally landing in a sound
world that feels fresh and open and true,” reflects Rachael.
Japanese aesthetics absorbed from her time spent living there are
subconsciously woven into Rachael’s songs. “I first stepped foot in
Tokyo in 2008, sparked by the adventure of such a rich and different
culture and later on I lived on a small island and experienced an
appealing and balanced way of life: the aesthetics, the art and the
traditions,” she recalls. “There was a lot of caring for each other, a lot
of gentleness, and a lot of simple living in harmony with nature. Japan
left its cultural mark on me and is now part of my inner world and I’m
sure this comes out with the words and music I write.”
“But overall,” Rachael explains, “this is an album of homecoming and
reconnecting to my own truth, to my community here, to the earthy
land that I love and to the sky that I know.”

Walter Smith III and Matthew Stevens are two musicians at the forefront
of developments in jazz and improvised music, listing the likes of
Terence Blanchard, Ambrose Akinmusire, Esperanza Spalding and
Christian Scott as collaborators
The pair started working together in 2017, and four years later, they're back for
the third iteration of their highly commended In Common project. Previous guests
include Nate Smith, Linda May Han Oh and Marcus Gilmore; on 'In Common 3',
Kris Davis takes the piano chair vacated by Micah Thomas, and completing the
lineup are two legends of the game - Dave Holland and Terri Lyne
Carrington.What's new, third time around? "It's longer, freer, and yet more
spontaneous," says Smith. The successful In Common formula - inventive 'onepage songs' written with specific musicians in mind - disguises the through-line
that uniquely shapes this record: "The spotlight is on the community of musicians
as a whole," Smith comments. "The general vibe is sculpted by the musicians'
interpretations of what we bring in." Davis' influential presence means the project
leans into the aesthetics of free improvisation for the first time; the resulting
soundworld lends itself to electronic manipulation, another first for the series.
The span of fifteen tracks showcases the duo's knack for reinvention, slipping
into unfamiliar contexts without losing sight of the album's focused essence.
Smith is keen to emphasise the standalone nature of the divergent In Common
recordings. Some aspects carry through though, like their commitment to
remembering lost influences - opener 'Shine' serves as both a thank you and an
acknowledgement to McCoy Tyner, Wallace Roney, Chick Corea, Jimmy Health
and Ellis Marsalis. That introduces the remaining fourteen tracks, that divide
nearly exactly into spontaneously constructed ideas that introduce fully
composed tracks.

High Roller Records, 2nd pressing, black vinyl, ltd 250, 425gsm heavy cardboard cover, 4 page insert printed on uncoated paper, A5 photo card, poster, Original transfer by Marcus Mossmann at PHONOGRAPHIC ARTIFACTS. Audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in November 2020. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile reissue of this eternal US Metal classic!

High Roller Records, 2nd pressing, black vinyl, ltd 250, 425gsm heavy cardboard cover, 4 page insert printed on uncoated paper, A5 photo card, poster, Original transfer by Marcus Mossmann at PHONOGRAPHIC ARTIFACTS. Audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in November 2020. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile reissue of this eternal US Metal classic!

There’s no escaping the motherlode - that eternal continuum of high drama and overheated amp stacks fit to raise the pulse and revivify the spirits. It’s merely an unmistakable band chemistry that transforms base hard rock into gemstones, and this process is an increasingly rare phenomenon in the here and now. Luckily for Stockholm’s alchemists LUGNET, they are one of the few. Here in these steamrollering grooves and strident anthems is just the kind of swagger and bravado on which rock built its foundations in the ‘70s, yet without any of the cliches or the bloated self-importance. The roots of LUGNET may be visible to see, and the primal stomp of early Deep Purple, the apocalyptic sermonising of Black Sabbath and the cinematic majesty of Rainbow can easily be detected in the almighty sturm-und-drang. Yet this sound is delivered with charisma and maverick energy that effortlessly summons fresh vibrant life to a classic form. The spark that lit LUGNET originates in 2009, when Fredrik Jansson-Punkka (also drummer of Angel Witch, and whose storied history includes stints in Witchcraft, Abramis Brama and Count Raven) met bassist Lennart ‘Z’ Zethzon at Sweden Rock Festival and the two first discussed getting together to jam. Three years later this finally came to fruition and guitarists Bonden Jansson and Mackan Holten joined the fray, alongside vocalist Roger Solander. An original plan to play ‘70s blues-rock with Swedish lyrics was ultimately warped and transformed into the monumental attack of 2016’s self-titled debut proper on Pride & Joy Music. The road to ‘Nightwalker’ saw changes afoot in the band, as Solander was replaced by the soulful pipes of Johan Fahlberg, who matches the swashbuckling charm of the Dio/Coverdale tradition with flourishes and personality all his own, whilst Bonden Jansson made way for wunderkind new guitarist Matti Norlin. This was a quantum leap on from the debut, replete with fiery interplay and incisive song writing, from the slow Zeppelin-esque catharsis of ‘Death Laughs At You’ to the monstrous ‘Stargazer’-esque grandeur of the mellotron-assisted finale ‘Kill Us All’. The aftermath saw Lugnet traverse from strength to strength, a notable highlight being packing out their tent at Sweden Rock Festival in 2018 even whilst a certain Birmingham-birthed Prince Of Darkness himself occupied the main stage across the field. Michael Linder (formerly of Troubled Horse) soon replaced Mackan Holten, and this line-up has subsequently amassed enough material for two albums, with all members throwing their hat into the ring song writing-wise. One of these ‘Tales From The Great Beyond’ has already been recorded at SolnaSound Recording with the dream-team of Simon Johansson (Wolf/ Soilwork) and Mike Wead (King Diamond/ Mercyful Fate) at the helm / mixed by Marcus Jidell (Avatarium/ Candlemass). Just like for the debut album, the front cover artwork was designed by Vance Kelly. Whatever the future holds for Lugnet, only a fool would bet on the result not being a spectacular explosion of righteousness. This machine is firing on all cylinders, and rockers of all persuasions would be well advised to get on board or get out of the way. Track listing: Still A Sinner; In Harvest Time; Another World; Out Of My System; Svarv; Eaten Alive; Pale Design; I Can’t Wait; Black Sails; Tåsjö Kyrkmarsch

Shadows by The Mysterious Flying Orchestra (Remastered Edit) b/w Morning (Remastered Edit) / Acquarius (Remastered Edit) by Cal Tjader | Black Hole BLKG-3 | Fresh delivery via @galaxy_sound_company test pressing! Black Hole's 3rd release in the Sample Series finds Black Cash & Theo link up for a trio of #jazzfunk, #soul sounds, all served up as special remastered edits.

Side A’s “Shadows” by The Mysterious Flying Orchestra is taken from their self-titled & sole 1977 LP & Is a cover of a Lonnie Liston Smith tune from 1974. Sampled by the likes of @gangstarr, Curren$y, & others, “Shadows” a stand-out track from an obscure album by the legendary jazz producer Bob Thiele that is wonderfully moody. Smith's melody is rather slight, which requires TMFO, in Ott's arrangement, to create the right atmosphere, perfectly voiced by the horn section. Smith is heard beautifully dancing throughout the piece on electric piano, offering a voice that was already one of the instrument's most distinctive at this point. Marcus solos on tenor sax. It is funky fusion made by some of jazz's best improvisers of the time & an absolutely essential addition to your 45 crates.

Side B offers up 2 tasty #CalTjader tunes that many hip-hop & beat heads fans are more than familiar with. Tjader is known for his deep love affair with Latin music & his fusion with his jazz sensibilities to form an inimitable & intoxicating heady blend of grooviness. “Morning” is taken from his 1971 LP “Agua Dulce” & was sampled by the likes of Gangstarr, Pete Rock, the Beatnuts & Buckwild. “Aquarius”, from Tjader’s 1968 LP “The Prophet”) is a lullaby #90shiphop heads immediate recognize via @atcq’s use on an interlude for the 1993 hip-hop classic LP #MidnightMarauders.

A co-founder of the P-Funk movement, Clarence Eugene ""Fuzzy"" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released two landmark solo albums on Westbound Records: `A Whole Nother Thang' in 1976 and `Radio Active' in 1978. With his brand of earthy & heavyweight funk, Fuzzy Haskins' solo works fits right in with many of the other great P-Funk side projects and was sampled by renowned artists and acts from the likes of Prince, The Prodigy, N.W.A and Fatboy Slim.On the album we are presenting you today (Radio Active from 1978) you'll find eight sublime tracks written (or co-written) by Mr. Haskins himself and recorded by Richard Becker at the legendary PAC 3 Recording Studios in Dearborn, Michigan where classic albums from Norman Feels and Dennis Coffey were born. One of the tracks (Woman) was personally mixed for the album by Tom Moulton (the originator of musical revolutions like `the remix', `the breakdown section' and the `12inch single vinyl format').Fuzzy switched between drums and guitar, while taking charge of the lead vocals and production, he was accompanied in the studio by an all-star musician line-up of P-Funk family members such as Jerome `Bigfoot' Brailey (drums), Cordell `Boogie' Mossom (bass), Gary Shider & Michael Hampton (guitars), Glen Goins (piano, drums & guitar)_and of course the fantastic Mr. Bernie Worrell on keyboards. Besides these Parliament/Funkadelic alumni, also present on the recordings are Bruce Nazarian (The Temptations) on Moog and Jazz pianist Gary Schunk (known for his collaborations with Marcus Belgrave & Wendell Harrison).The result of all this musicianship was a record that oozed quality. Despite the quality of the music (and just like with `A Whole Nother Thang') the album didn't sell the vast quantities that were projected and didn't reach the audience it deserved.`Radio Active' is filled with keyboard-driven spacey funk, sharp hooks, popping bass-lines, JB styled soulful (yet sexy) vocals, a hint of disco, fantastic guitar build-ups and breaks that make you shake_a true gem that deserves a place in your record collection (mint vinyl copies are hard to find and pricey these days). If you are a Funkateer_this one's for you! This unique album comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip and features the original artwork created by virtuoso Ronald Edwards (known for his graphic work with Parliament-Funkadelic, Bootsy Collins, Fred Wesley, George Clinton, Maceo Parker, Bernie Worrell, Fishbone_and countless others). To top it all off, this release also includes an insert featuring the original liner notes written in 1994 by renowned author and producer Rob Bowman (Otis Redding, Isaac Hayes, Marvin Gaye) who reflects on Fuzzy Haskins' two solo albums.

DELUXE EDITION

Das Herzstück der ersten Lou Reed Archive Series Veröffentlichung von Light In The Attic ist die Deluxe 45-RPM Doppel-LP Edition von "Words & Music, May 1965". Diese auf 7.500 Exemplare weltweit limitierte Sammlung wurde von dem mehrfach mit dem GRAMMY ausgezeichneten Künstler Masaki Koike entworfen und verfügt über einen stilisierten, gestanzten Klappumschlag, der von Stoughton Printing Co. hergestellt wurde, mit fortlaufender Foliennummerierung. Darin enthalten sind zwei 45-RPM 12"-LPs, gepresst auf 180-Gramm-Vinyl in HQ-Audiophil-Qualität bei Record Technology Inc. (RTI), mit der einzigen Vinyl-Veröffentlichung von "I'm Waiting for the Man - May 1965 Alternate Version". Eine Bonus 7" Single, die in einer eigenen, gestanzten Bilderhülle untergebracht ist und bei Third Man Record Pressing hergestellt wurde, enthält die einzige Vinyl-Veröffentlichung von sechs bisher unveröffentlichten Bonustracks, die einen nie zuvor gesehenen Einblick in Reeds prägende Jahre bieten, darunter frühe Demos, eine Coverversion von Bob Dylans "Don't Think Twice, It's All Right" und ein Doo-Wop-Ständchen, das 1958 aufgenommen wurde, als der legendäre Singer-Songwriter gerade 16 Jahre alt war. Ein begleitendes, gestanztes, 28-seitiges Buch mit Texten, Archivfotos und Linernotes enthält eine Archivreproduktion eines selten Briefes, den Reed um 1964 an seinen College-Professor und Dichter Delmore Schwartz schrieb. Das Set enthält eine CD mit dem kompletten Audiomaterial des Pakets in einer gestanzten Hülle. "Ein Tonband mit ihren frühesten Demos, aufgenommen am 11. Mai 1965 und bis heute unter Verschluss gehalten, zeigt Spuren von Dingen, die selten mit The Velvet Underground in Verbindung gebracht werden: Blues und Folk, erdig und traditionell, unsicher und zögerlich - und doch von diesem rostigen, ätzenden Lou Reed-Geist durchdrungen. Es ist eine Offenbarung." - Will Hodgkinson, MOJO. Light in the Attic Records ist stolz darauf, in Zusammenarbeit mit Laurie Anderson den ersten Titel ihrer fortlaufenden Lou Reed Archive Series vorzustellen: "Words & Music, Mai 1965". Das Album, das anlässlich des 80. Geburtstages des verstorbenen Künstlers erscheint, bietet einen außergewöhnlichen, ungeschminkten und ergreifenden Einblick in einen der wahrlich größten amerikanischen Poeten und Songwriter. Diese bisher unveröffentlichte Sammlung von Songs, die der junge Lou Reed mit Hilfe seines späteren Bandkollegen John Cale aufnahm und sich selbst als "Urheberrecht des armen Mannes" mit der Post zuschickte, wurde fast 50 Jahre lang ungeöffnet in einem Originalumschlag aufbewahrt. Der Inhalt verkörpert einige der wichtigsten und bahnbrechendsten Beiträge zur amerikanischen Popmusik im 20. Jahrhundert. Die fest in der Folk-Tradition verwurzelten Songs belegen Lous nachhaltigen Einfluss auf die Entwicklung der modernen amerikanischen Musik deutlich - vom Punk bis zum Art-Rock und allem, was dazwischen liegt. Diese Aufnahmen sind eine wahre Zeitkapsel und halten nicht nur die ersten Funken dessen fest, was die Keimzelle der unglaublich einflussreichen Velvet Underground werden sollte; sie machen Reed auch zu einem echten Beobachter mit einem angeborenen Talent, die Welt um ihn herum zu synthetisieren und in reine Klangpoesie zu verwandeln. Mit Beiträgen von Reeds zukünftigem Bandkollegen John Cale präsentiert "Words & Music, May 1965" die frühesten bekannten Aufnahmen so historischer Songs wie "Heroin", "I'm Waiting for the Man" und "Pale Blue Eyes", die Reed später mit Velvet Underground aufnehmen und unauslöschlich prägen sollte, in ihrer Gesamtheit. Außerdem sind mehrere bisher unveröffentlichte Kompositionen enthalten, die zusätzliche Einblicke in Reeds kreativen Prozess und seine frühen Einflüsse geben. Das Album wurde von Laurie Anderson, Don Fleming, Jason Stern, Hal Willner und Matt Sullivan produziert und enthält neu gemasterte Tonaufnahmen vom Originalband durch den GRAMMY-nominierten Toningenieur John Baldwin. Abgerundet wird das Paket durch neue Linernotes des renommierten Journalisten und Autors Greil Marcus sowie ausführliche Archivnotizen von Don Fleming und Jason Stern, die das Lou Reed Archiv betreuen, während die Veröffentlichung von dem mehrfach GRAMMY-prämierten Künstler Masaki Koike gestaltet wurde.

PRESSED ON OPAQUE YELLOW VINYL WITH JAPANESE STYLIZED INSERT AND DELUXE OBI STRIP

Remastered From The Original Analog Tapes

The first live Miles Davis electric band release since 1977’s very dark and heavy Dark Magus. The album features live performances from shows at Boston’s Kix Club. The double vinyl release contains reimagined versions of songs from The Man With the Horn (1981), tunes from the pre-electric Gil Evans collaboration Porgy and Bess (1959), and a dedication to the Boston venue called Kix. While this was one of the first live Miles Davis performances in over half a decade it certainly did not show!!! This album features R&B legend Marcus Miller on bass, Mike Stern on guitar, Bill Evans on saxophone, Mino Cinelu on percussion, and electric band alumni Al Foster on drums. Produced and edited by long time Miles collaborator Teo Macero.

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. Ride Tru, originally released digitally and on CD in 2014, stood every chance disappearing into the all eclipsing shadow of the LP released by them earlier that year, Beauty for Ashes, which had been named by iTunes as the reggae album of the year. A monumental achievement for undiluted, uncompromising RasTafari roots reggae music this side of the millennium. So needless to say, the bar was high and Vaughn Benjamin and Zion I Kings must have known that, as they managed to raise it higher again.

Ride Tru continues in the same form, rootsy, soulful, refreshingly polished and authentically raw, the threads of anciency that any devout reggae lover will be looking for and the threads of modernity that keep it alive and appealing in the modern day. A uniquely regal tapestry that has become synonymous with music created from the unity of Zion I Kings and Vaughn Benjamin

Following 8 years of anxious anticipation, for the countless Akae Beka fans that are also vinyl connoisseurs, this LP is now being released on as a 12" vinyl LP courtesy of Before Zero Records. This offers the listener not only the chance to enjoy this LP in an analogue form, but also the chance to hold the artwork as a 12" square masterpiece, created by the hands of Ras Marcus, the artist who gave the powerful visual presence that became synonymous to much of the I Grade / Akae Beka works over the years.

“How does an artist follow an album considered by many to be the best reggae album of 2014?..... you get right back in the studio with the same brilliant production team and follow that album a few short months later with one that nearly eclipses it entirely.”
Midnight Raver — Worldareggae

“...remarkable for the clarity of Tippy’s mix and the contrast between the hardness of Lloyd Richards’ drums and the softness of the guitars, keyboards and brass. The woozy analogue warmth of an old Augustus Pablo production – Son of Jah Dub - for Worry Free demonstrates how well Vaughn sits on the sounds of the original masters (an avenue that should be pursued further). Another veteran guest is the late Style Scott - who beats out one of his final patterns on How I & I Carry On.”
Angus Taylor — United Reggae

After a sold out 20 Anniversary 3XLP, Turntables on the Hudson returns with a diverse 3 X vinyl set that carries the Inside the Dance series (previously on WONDERWHEEL Recordings) to all new releases made between the international friends & family between 2020 - 2022. It was a call to action for inspiration, creation, motivation & moving your body in response to the depressing times of initial lockdown & continued music gathering closures during the pandemic. What we did instead was invested in music, art, collaborations, videos, remixes hoping to keep the spirits alive & inspiration high for each other. It’s now Spring of 2022 & we’re happy we did it all. Here’s the fruits of those seeds planted. Songs from artists across the sound spectrum from Morocco, Italy, USA, Spain, Argentina, Peru, UK, Montenegro, France, Belgium, Turkey, Dominican Republic, Niger & more. Almost all songs slightly edited to make sure we got enough output on each side of the record to mix the music in the clubs & on sound systems everywhere. Combining the singles artwork of Marcus (Tupi Lab) & the album LP vinyl art of Bodo (Marcial Arts), we have a very special limited edition 400 until pressing of this soon to be collectible. We hope you enjoy the collective effort that makes this look & sound so special. Ever since the party & label began in 1998, its mission was to shine the light on the underground international community making dance music & after 15 compilations, this is another proud example. Thanks for your continued support.

Will Sessions steps into the next phase of their sonic vision and invites you into their Electromagnetic Reality. The new 11-track LP of original compositions explores a new direction that pulls influences from an array of styles, highlighted throughout the 15 year discography from the Detroit-based ensemble.

Jazz, hip-hop, and soul swirl through the lens of producer and co-founder Sam Beaubien, capturing the spirit of live performance while utilizing the unique subtleties and styles of beat making. Other founding members Bryan Arnold (drums), Ryan Gimpert (guitar), and Tim Shellabarger (bass) welcome special guest musicians Ian Finkelstein (keys), Marcus Elliot (Saxophone), and Quentin Joseph (drums) to create a sound-scape that pushes and blurs the boundaries and musical concepts that Will Sessions has become known for.

Will Sessions has put together this fabric of sounds using threads and influences from all over the musical spectrum, setting their creative compass to their new Electromagnetic Reality.

Unstoppable elders of the L'Entourloop collective, King James and Sir Johnny, are proud to present on June 10, 2022 their long-awaited third and new album entitled "Clarity in Confusion". Featuring Alborosie, Promoe, Degiheugi, General Levy, The Architect ...

It is now official, 2022 will mark the return of the tireless seniors of the collective L'ENTOURLOOP! After a break to devote themselves to the creation of a new album and a new live show that promises to be exceptional, they are back on the road, more determined than ever!
The success of their last albums "Chickens in Your Town" (2015) and "Le Savoir-Faire" (2017), with their unique "Banging hip-hop inna Yardie Style" never cease to seduce sound-system, vinyl and French classics fans, all over the world.

Debut full length album on the Valley of Search label by Mexican born, New York-based vibraphonist, marimbist, improviser and composer Patricia Brennan. The twelve original instrumentals that make up the album were composed and performed solo by Brennan on vibraphone and marimba. Employing unusual performance techniques and occasional electronics, many of the compositions were borne from improvisations created live in the studio at the time of recording. At times exploring silence and space, stillness and patience the album investigates new sonic territories with an endless sense of curiosity. "This album is a personal statement not only as a vibraphonist but also as an improviser and composer," says Brennan. "From bowing and bending pitch, to the use of extended effects via guitar pedals, this album reflects my vision for the vibraphone and the potential of all the possible ways it can be played. I wanted to not only incorporate all those techniques in the compositions but also wanted them to become part of my general improvisatory language." Patricia has performed with many renown musicians including singer and composer Meredith Monk and Theo Bleckmann, saxophonists Jon Irabagon and Scott Robinson, trumpeter Ambrose Akinmusire, drummer Marcus Gilmore, guitarist Mary Halvorson and many others. She has performed in venues such as Newport Jazz Festival, SF JAZZ, and Carnegie Hall, as well as international venues such as Wiener Konzerthaus in Vienna, Austria, Alte Oper in Frankfurt, Germany, Palacio de Bellas Artes in Mexico City and Teatro Colón in Buenos Aires, Argentina.

A spellbinding tribute from one multi-faceted artist to another. New York-based artist Aki Onda (b. 1967) conjured a transduction to the Korean multi-media pioneer Nam June Paik (1932-2006). Aki himself describes the project:

“Nam June’s Spirit Was Speaking to Me occurred purely by chance. In 2010, I was spending four days at Nam June Paik Art Center in South Korea for a series of performances and had plenty of free time to wander. The building was packed with Paik’s artwork and related material. I have always felt a close kinship with him as an artist, and so it was a great opportunity to immerse myself in his works and ephemera.

It was that night I made the first contact, via a hand-held radio in a hotel room in Seoul. It was literally out of the blue. Scanning through the stations, I stumbled upon what sounded like a submerged voice and I began to record it in fascination. I concluded this was Paik’s spirit reaching out to me.

The project continued to grow organically as I kept channeling Paik’s spirit over long distance and receiving cryptic broadcasts/messages. The series of séances, conducted in different cities across the globe, began in Seoul in 2010, and continued in Köln, Germany in 2012, Wrocław, Poland in 2013, and Lewisburg, USA in 2014. The original recordings were captured by the same radio which has a tape recorder, with almost no editing, save for some minimal slicing and mastering.

Paik is known for his association with shamanism, a practice that constantly surfaces in his works all through his career. In an interview, he stated “In Korea, diverse forms of shamanism are strongly remained. Even though I have created my work unconsciously, the most inspiring thing in my work came from Korean female shaman Mudang.” Paik himself was a master shaman and vividly used shaman rituals and symbols for staging his performances and installations.

These recordings also became a way for me to explore the mythic form of radio—a medium which is full of mysteries. The transmissions captured may be “secret broadcasts” on anonymous radio stations. There are in fact hundreds of those stations around the world, although the numbers dwindle as clandestine messages can now be sent via encrypted digital channels. Some of these stations were likely for military use or espionage or relics of the Cold War. But many others continue without apparent explanation. These are just some of the questions that remain unanswered.”

Commissioned in 2017 by documenta 14's radio program “Every Time A Ear di Soun,” these recordings were continually broadcast on eight radios stations around the world that year. Nam June’s Spirit is a beautifully formed homage, I cannot think of any other like it. An intimate, flickering language discovered through the air. The LP comes replete with a booklet of photographs of Paik on the set of Michael Snow’s unreleased film Rameau’s Nephew (1974).

Sean McCann, 2020
Aki Onda, 2017

20-page art booklet including rare photographs of Nam June Paik from the set of Michael Snow’s film Rameau’s Nephew (1974), two essays on radio-wave phenomenon (by Onda and Marcus Gammel), and a remembrance of Paik by Yuji Agematsu

Also known as The Three Pieces and The 3 Pieces, we’ve gone for Three Pieces as this group from Washington, DC originally appeared on the Fantasy label 7” single in 1975. Members are Andre Richardson, Jerry Wilder and Lincoln Ross, both songs here from their one album “Vibes Of Truth” released that same year.

“If Only I Could Prove To You” and “I Need You Girl” are their biggest ‘rare grooves’ across the decades, produced by Donald Byrd at the time he was working with The Blakbyrds at Fantasy.

Bass player Jerry Wilder played with Chuck Brown & The Soul Searchers and Will Lester/Rodney Brown productions for Sharon Redd & Bobby Thurston. He is also lead vocalist with Three Pieces. Wade Marcus arranged the strings and is co-producer.

On his latest album, 'The Sun is Shining Down', Blues legend John Mayall
teams up with a stellar cast to deliver a funky soulful affair punctuated by
brass, violins, harmonica and electric ukulele
Special guests include, The Heartbreakers' Mike Campbell, fast rising roots rocker
Marcus King, Americana icon Buddy Miller, Scarlet Rivera of Bob Dylan's Rolling
Thunder Review, Chicago blues guitar mainstay Melvin Taylor and Hawaiian
ukulele star Jake Shimabukuro. Also on hand are Mayall's longtime dynamic
Chicago rhythm section of Greg Rzab on bass guitar and Jay Davenport on drums
with Austin's multi-talented and charismatic Carolyn Wonderland on guitar.
Recorded at Robby Krieger's (The Doors) Horse Latitudes studio with Grammy
nominated Producer Eric Corne, 'The Sun is Shining Down' is Mayall's 5th studio
album for Forty Below Records, a fruitful partnership that began with 2014's A
Special Life.
"I couldn't be happier with the new record," exclaims Mayall. "I can't wait to share
it with my fans. Each one of these special guests brings something unique to the
album and our team works so well together. I think you can hear that chemistry in
the music," raves Mayall.
The album explores a range of styles and eclectic instruments with guests
Scarlet Rivera's violin, Jake Shimabukaro's electric ukulele and Mike Campbell,
Marcus King, Buddy Miller and Melvin Taylor on guitars. As significant as each of
these guest turns is, however, they can't overshadow Mayall's own spirited vocals,
iconic harmonica and lyrical keyboard work.

Translucent Yellow Vinyl

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

REPRESS

Slide into summer with the Numbers repress of Kornél Kovács’ Radio Koko, available in vinyl for the first time since its original release in 2015. Radio Koko revives a dream radio station where music never sleeps and the hits keep coming, a soundtrack for both sweaty nights out and laidback beach BBQs. Listeners will already be familiar with the irresistible curveball house hit Pantálon, the Reese + Mentasm riffs of Gangsta, the jacking Lighthouse and the ecstatic/melancholic soundclash of Malon with Marcus Price. Coming on the heels of Kovács’ solo albums The Bells and Stockholm Marathon, this repress is a timely reminder of the prominent producer and DJ’s festive musicality and party-starting approach.

South London based producer and multi-instrumentalist Neue Grafik announces his new EP 'Foulden Road Part II' from his Neue Grafik Ensemble band, released 25th March on Total Refreshment Centre. The sequel to their impressive 2019 release 'Foulden Road', Neue Grafik continues to incorporate 100% live takes with the ensemble, as well as solo productions that reflect Neue Grafik's past work with both the Rhythm Section and 22a labels.

Neue Grafik explains, "This EP is a reflection of the social context which surrounds me" – created in a year of much social isolation as well as political unrest, 'Foulden Road II' explores the complex feelings that he found himself battling. He adds "In 2019, we released 'Foulden Road Part I', which was a transitional album, exploring a new culture and navigating between two worlds: Paris and London. 'Part II' is a bit darker, closer to realness with a sprinkle of hope. I couldn't have predicted that I'd finish it encased in my flat, between four walls, in December 2020 after a year of lockdown, Brexit, George Floyd protests, and without London's brilliant culture mesmerising my mind. Everything was sad and closed. Hills were difficult to climb. But it also gave me the time to work hard and deliver this second part of Foulden Road, pushing it forward".

Combining an array of influences — from London, to Paris via New York, Nigeria and Cameroon — with well-measured confidence, ' Foulden Road II' allows you to reflect on the complexities of the last year, whilst braced with energy and hope to move forward positively. Heavy horns and hypnotic poetry form the backbone record, which will ignite any room. 'Foulden Road II' begins with the grounding poetry of MA.MOYO on 'Black Bodies'. The EP is dedicated to Adama Traoré, a black man who died in police custody in Paris. Neue Grafik explains "His name is not well known outside of France. I was shocked, devastated even, to learn that his story didn't cross the Channel". 'Queen Assa' is a heavily percussive dancefloor-hitter which honours French activist Assa Traoré, (Adama's sister) her family, and her struggle to support all families hurt by police brutality. Broken beat elements flow through the horn accompanied 'Officer, Let Me Go To School', while West London rapper Lord Apex offers an unapologetic and poignantly personal perspective on 'Step To It'.

Released on the Total Refreshment Centre label, based out of Stoke Newington's Foulden Road, the EP is a testament to his versatility as an ever-shifting figurehead. Engineered by Capitol K, recorded at Total Refreshment Centre, mixed by Marcus Linon at Greasy Records and mastered by Guy Davie at Electric Mastering – a significant pillar in Neue Grafik's musical career. Having played a DJ set there in 2017, he was convinced by TRC founder Lex Blondin to start a band after he was heard playing some compositions on the communal piano. After spending a couple of sleepless nights on the living room couch, his first gig was booked in the venue space downstairs a week later. The ensemble was established and he has remained in London ever since.

Neue Grafik Ensemble's musicians include; Matt Gedrych, Benjamin 'The Chief' Appiah, Jack Banjo Courtney, Chelsea Carmichael, Dougal Taylor, Yahael Camara-Onono, Xvngo, Rebekah Reid, Dan-Iulian Drutac, Jamie-lee Glinsman and Zara Hudson-Kozdój.

Neue Grafik hosts The Orii Jam Sessions, an energising weekly jam night at Hackney Wick's Colour Factory, which has become a pivotal weekly gathering, inspired by the likes of Unit 31 and Steam Down.

High Roller Records, yellow/ black mixed vinyl, ltd 300, 3 bonus tracks, 425gsm heavy cardboard cover, 4 page insert, double sided poster, 2 x A5 photo card, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, yellow/ black mixed vinyl, ltd 300, 3 bonus tracks, 425gsm heavy cardboard cover, 4 page insert, double sided poster, 2 x A5 photo card, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

Debut full length album on the Valley of Search label by Mexican born, New York-based vibraphonist, marimbist, improviser and composer Patricia Brennan. The twelve original instrumentals that make up the album were composed and performed solo by Brennan on vibraphone and marimba. Employing unusual performance techniques and occasional electronics, many of the compositions were borne from improvisations created live in the studio at the time of recording. At times exploring silence and space, stillness and patience the album investigates new sonic territories with an endless sense of curiosity. "This album is a personal statement not only as a vibraphonist but also as an improviser and composer," says Brennan. "From bowing and bending pitch, to the use of extended effects via guitar pedals, this album reflects my vision for the vibraphone and the potential of all the possible ways it can be played. I wanted to not only incorporate all those techniques in the compositions but also wanted them to become part of my general improvisatory language." Patricia has performed with many renown musicians including singer and composer Meredith Monk and Theo Bleckmann, saxophonists Jon Irabagon and Scott Robinson, trumpeter Ambrose Akinmusire, drummer Marcus Gilmore, guitarist Mary Halvorson and many others. She has performed in venues such as Newport Jazz Festival, SF JAZZ, and Carnegie Hall, as well as international venues such as Wiener Konzerthaus in Vienna, Austria, Alte Oper in Frankfurt, Germany, Palacio de Bellas Artes in Mexico City and Teatro Colón in Buenos Aires, Argentina.

A collaboration oozing with class and consideration, 'Crackdown' is a piece of music that celebrates and remembers the absolute legacy of two of the finest minds to ever grace this genre and beyond, Marcus Intalex and Spirit.

Described by Goldie as one of the purest drum and bass tracks he's ever heard, 'Crackdown' was an instant hit with crowds and swiftly emerged as one of the most sought-after Metalheadz tracks in recent times. Coming as a 1 sided record with the Soul:r and Inneractive logos delicately etched onto the other, this is what we hope will be a fitting release to form part of the ongoing 25 Years of Metalheadz series.