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Der in Berlin lebende syrische Musiker Khaled Kurbeh gibt sein Debüt bei Research Records mit Likulli Fadain Eqaéh Jedem Raum seinen eigenen Rhythmus, einem Klangteppich aus Sounds, die er über vier Jahre im Rahmen seiner Praxis muhawalat Versuche, Variationen und hawamesh Ränder geschrieben, aufgeführt und aufgenommen hat: ein Ausdruck von Gesten, klanglichen Fußnoten und Beobachtungen aus dem Alltag.

Kurbehs erste Veröffentlichung seit sieben Jahren weicht von seinem weitgehend akustischen Debüt "Aphorisms" ab, einer Zusammenarbeit mit dem Oud-Spieler Raman Khalaf und einem Ensemble mit Elementen aus Maqam und Jazz.

Likulli Fadain Eqaéh Jedem Raum seinen eigenen Rhythmus präsentiert eine Sammlung zehn elektroakustischer Kompositionen – grübelnd und experimentell mit Anklängen an Musique concrète. Die Trackliste impliziert eine Reisebeschreibung. Feldaufnahmen von Schwalben und dem Knacken und Entschalen von Sonnenblumenkernen im Zwischenspiel Nuzha I Exkursion I werden durch eine spärliche Komposition aus Low-End-Synth, Harmonium, Klavier und präpariertem Fender Rhodes, gespielt mit Schlägeln, auf Darb I–II Pfad I–II kontrastiert. Beckenmuster und bewegte Glockenklänge erklingen auf Jauqét Ajras Chor der Glocken, während Streichinstrumente auf al-Ajraf [Die Klippen] zittern und stottern. Die Veröffentlichung fängt vier Jahre sich überschneidender Klangwanderungen ein und balanciert fein die Spannungen von Harmonie und Dissonanz, Stille und Resonanz, Textur und Rhythmus – aufgenommen im Innen- und Außenbereich.

Das Gatefold-Cover zeigt Kunstwerke von Ida Lawrence und enthält ein Booklet mit zehn gemalten Variationen einer Szene. Auf der Außenseite erstrecken sich Wege unter einem dramatisch akzentuierten und lebendigen Himmel; im Inneren erscheint dieselbe Landschaft immer wieder in unterschiedlichem Licht.

Likulli Fadain Eqaéh [Jedem Raum seinen eigenen Rhythmus] erscheint im Sommer 2025 bei Research Records, Naarm/Melbourne. Ein weiteres Solo-Klavieralbum von Kurbeh, aufgenommen in seinem Studio in Berlin-Kreuzberg, erscheint noch in diesem Jahr.

Smoove returns with two unstoppable dancefloor heaters on this explosive new 45!

On the A-side, Push It Good delivers a brilliant rework of the iconic Push It, powered by heavy breakbeat drums and infused with vintage ’60s soul flavor — a guaranteed crowd-mover.

Flip it over and Smoove keeps the momentum going with Scandalized Lifetime — a masterful fusion that rebuilds sampled layers from Sugar Bear’s 1989 classic, interwoven with multitrack elements from Talking Heads. The result? Pure dancefloor gold — a certified champion!

Smoove pulls out two classic Hip Hop joints from 1987 & 1990 and gives them a fresh reworking utilising original multitrack parts while adding new samples and blunted head snapping beats.

Paid In Pounds - lovingly recreated with additional parts , slapping bass, 80,s synth pads and vocal cut and paste snippets aplenty

Ghetto - Using multitrack elements from the original 1973 score, Smoove flips the beat and strips back the track to its groove while showing off production techniques

APORIAMOR noun 1. The death of love’s contradiction.
| “Embody APORIAMOR”

Etymology
aporia-: an irresolvable internal contradiction or logical disjunction in a text, argument, or theory. from Greek aporos ‘impassable’, from a- ‘without’ + poros ‘passage’
-amor: love. Sentimiento intenso del ser humano que, partiendo de su propia insuficiencia, necesita y busca el encuentro y unión con otro ser. Del latín amor.
-mor: latin for death.

APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms.

With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she’s been incorporating into the sonic world of this new EP, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist.

With APORIAMOR (“the death of love’s contradiction”) elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language - a coping mechanism attached to its subsequent artistic expression – that isn’t founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth.

APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. APORIAMOR is both an affirmation and a release.

elsas makes canonical blends with a forward boundary-bending vision. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music — intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world.

The experience of working hand-in-hand with Sampha for the last 3 years and ongoingly has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth.

The making of this largely self-produced record unfolded over four years — “it’s a well-kneaded dough,” she says. These songs evolved through exposure to multiple environments: from early writing sessions in her childhood home in the Spanish countryside, to stages across the U.S. while on tour supporting Sampha.

Experimentation and modulation are an intrinsic part of elsas’ method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench (a long-time supporter of elsas’) and Nathan Boddy, and mastered by Matt Colton.

With APORIAMOR, elsas creates a visual world from the fabulation of the past, as an act of playful historical revisionism in which she embeds herself as both subject and storyteller. The songs function like an archive of her experiences across various years, each one unearthed and presented as some sort of archaeological artifact. Through this body of work, elsas begins to conceptualize herself as a legacy artist: one who honors the archive of her own becoming while emerging as a distinct and resonant voice in today’s musical landscape.

A long-overdue vinyl reissue for this underground gem from the Bronx! Originally released in the late ’90s, Ghetto Chronicle Daily stands as a timeless snapshot of New York street rap in its rawest form — a true reflection of the city’s golden era grit and lyrical craftsmanship.

The Money Boss Players — made up of Big Ah (RIP), Lord Tariq, Tre Bag, Eddie Cheeba, C-Dubb, and legendary producer Minnesota — were key figures in shaping that unmistakable Bronx sound. Their chemistry was electric: sharp lyricism, vivid street storytelling, and cinematic beats that carried the DNA of hip-hop’s golden age.

This first-ever vinyl reissue brings this underground classic back to the masses in its full glory and goes a step further with bonus tracks previously unreleased on vinyl, including “Drug War Rages” and “Same Shit” — raw, unfiltered cuts that capture the crew at their most authentic. Also included is “White Chalk Pt. 2”, featuring none other than The Notorious B.I.G., a rare collaboration that cements the group’s deep roots in the East Coast rap lineage.

Since the original release, members of Money Boss Players have continued to carve their own lanes — with Eddie Cheeba and Tray Bag evolving into Boss Money, and Lord Tariq making his mark as a solo artist. In recent years, Bronx rapper Yung JB has joined the fold, carrying the Boss legacy into a new generation.

Now, more than two decades later, Ghetto Chronicle Daily returns to turntables worldwide — remastered and pressed with care for true heads and collectors alike. A must-have piece of hip-hop history, finally on wax where it belongs.

After decades deep in the game, few names carry the same weight as D.I.T.C. veteran O.C. and East New York’s own PF Cuttin, the DJ and producer behind countless underground classics. Long respected for their consistency and craftsmanship, the two finally joined forces for Opium — a nine-track masterclass that channels the essence of true-school hip-hop.

Originally released to remind heads of what the real sound of the streets was, Opium plays like a time capsule from the era of block parties, 40s, and cipher sessions on the corner — where bars mattered and the beats hit hard. PF Cuttin’s rugged, sample-driven production perfectly complements O.C.’s sharp lyricism and timeless flow, delivering a record that bridges nostalgia with enduring relevance.

Reissued in 2025 with the same iconic artwork by Scarful, this edition celebrates a collaboration that captures the raw soul of New York hip-hop — pure, uncut, and eternal.

Subconscio left the smallest town in Gargano to begin a new life in uncharted Bologna.
Leaving mother earth, he still retains a strong sense of that distant world, expressed through the senses of his inner child. The Subconscio
project finds its expression in music, where it blends Neo Soul, Hip Hop, and Electronica into a sound deeply influenced by individual experiences. Soft vibrations and relaxed lyrics are the means through which he expresses his devotion to creative freedom, moving with the urgency of someone who has finally found his voice. The word dáimōn originates from Ancient Greek and means divine messenger, a guiding
spirit that hovers in a middle ground, called metaxu, the same place where the soul resides, and acts as a link between God and humanity.*
"Daimon" is Subconscio's debut album, produced by Luzee. It's the intimate vision of a person suspended in his imagination, questioning
the identity of his own memory and how the places that led him to his NOW are actually his future. The present doesn't exist in the narrative.
It exists only in the connection between childhood memories and the adult perspective.
Giulio is his son and also his parent: the Subconscious; the "daimon" is the musical journey that connects these two ways of observing the
same memory. Nostalgic turmoil meets the desire to recognize oneself and fuel the obsession with music, because only this—albeit the least
apparent art—is the only one that can be the voice and bearer of the dimensions of consciousness.
Featuring on the album: Madbuddy and Claver Gold

Across an extensive suite of enchanting miniatures, Matthias Kremsreiter and Christian Schoppik present the hypnagogic vision of Taghelle Nacht. Recording under their respective Roudi Vagou and Läuten der Seele aliases, Kremsreiter and Schoppik combine their distinct but equally accomplished instrumental practices into a new collaboration that weaves swooning samples amongst instrumental passages. They lead us through 16 vignettes that revel in the cognitive dissonance and seductive magic of moonlight at midnight.

Both artists have past form within the folds of contemporary experimental electronic music in Germany. Kremsreiter's work as alibikonkret has manifested on DIY tape releases created with a methodical, technically-minded approach. Debuting his Roudi Vagou pseudonym on Taghelle Nacht, he pivots to a more playful, instinctively felt method that allows the compositions to flow with a natural cadence. Schoppik has been a key figure in the celebrated dark-ambient-folk scene, not least as part of the group Brannten Schnüre. His work as Läuten der Seele includes the acclaimed 'water trilogy' of LPs between 2022 and 2024, with a greater emphasis on instrumental, atmospheric production, and a last, stunning collaborative album with Nový Sv?t's Jota Solo.

On Taghelle Nacht the precise ingredients of each piece soften at the edges as tape loops and swathes of reverb seal the joints between spellbinding melodic refrains. Opening track and lead single 'Gleisende Lichter' sets the tone with ghostly murmurs, spine-tingling string refrains and splashes of cymbal that cut through the gloom with stark clarity. A lilting romanticism stirs at the heart of the orchestral samples that populate the likes of "Grenzu?berschreitung" - old-world beauty sometimes buried in dust, elsewhere rendered with startling clarity. 'So Süß' lets buzzing, sustained drones and dissonant sweeps of extended technique glide in and out of each other. Granular processing subtly breaks apart the mellow swell on 'Komischer Anruf', and forlorn sax calls out into heavy-hearted space on 'Glaskopf Mit Watte'. At every turn a new scene is painted, distinct from the last and yet all bound up in the pervasive, pale blue light cast over the sleeping landscape Kremsreiter and Schoppik have sculpted.

Snatches of song drift by like dreamlike fragments, and achingly tender flourishes fleetingly appear and retreat - ideas and expressions momentarily caught in the light before retreating into the shadows once more. This is the evocative world of Taghelle Nacht - an unsettling depiction of the surreal blend of memories and imagination that merge into each other once the sun goes down.

Banda Black Rio is a Brazilian musical group from Rio de Janeiro that was formed in 1976. They were one of the first to undertake the fusion of Essential Brazilian Music with International Black Music. The songs are based on funk but also including samba, jazz and Brazilian rhythms. Compared to other soul-funk groups, such as Kool & the Gang and Earth, Wind and Fire, Banda Black Rio developed a particular style of instrumental soul music fusing together elements from a number of genres. With saxophonist Oberdan Magalhães, trumpet player Barrosinho, Cristovão Bastos on keyboards, Claudio Stevenson on guitars, Jamil Joanes on bass and Lucio Silva on trombone. Arrangements are from Cristovão Bastos and Claudio Stevenson. The album “Saci Pererê” was originally released in 1980.

From the heart of Tamanrasset in South Algeria, Imarhan transcend Tuareg tradition, weaving hypnotic synths into desert blues. The result is a timeless work—deeply respectful of their roots, yet alive with a stirring sense of modernity.

ESSAM is the band’s fourth album, recorded with the same core lineup, but marks a significant shift in their sound and approach. Musically, it marks a departure from the rocky, bluesy, psychedelic Tuareg guitar-driven sound influenced by Tinariwen’s heritage — moving toward something more open, modern, and exploratory.
For the first time, their long-time sound engineer Maxime Kosinetz stepped in as producer. He travelled to Tamanrasset with Emile Papandreou (of the French duo UTO), a multi-instrumentalist who introduced electronic elements by sampling live instruments and reprocessing them in real time with a modular synthesizer — subtly reshaping the band's sonic identity.
The album was recorded mostly live, in one big room at Aboogi Studio — the band’s own rehearsal and recording space in Tamanrasset. The studio, a converted concert hall, has become a kind of cultural hub for the local youth. Friends dropped by during the sessions to contribute handclaps, vocals, and just be part of the energy. It’s a space where people gather, hang out, play dominoes, smoke chicha — a rare communal spot in a city that doesn’t offer many for young people, somewhat like a youth and community center.
This context — the creative shift, the live recording process, the atmosphere around Aboogi — might be interesting threads to explore in the conversation.

Bass: Sam Jones
Cello, Bass: Isao Suzuki
Drums: Billy Higgins
Electric Guitar: Kazumi Watanabe, Kazumasa Akiyama
Recording & Remix Engineer: Yoshikane Okada
Executive Producer: Toshinari Koinuma
Piano, Electric Piano, Fender Rhodes: Cedar Walton

A gem of a crossover album from Isao Suzuki, who has continued to lead the Japanese jazz scene as a bassist.
Capturing the vibrant energy of the 1970s, this record has been rediscovered by club music aficionados and rare groove collectors alike.
The album fuses Van Morrison–like bluesy grooves with deep funk and jazz sensibilities, along with a uniquely Japanese melodic sense.

Bass: Takashi Mizuhashi, Teruo Nakamura
Drums: Bruno Carr
Piano, Electric Piano: Herbie Hancock

Recorded on February 22, 1977, in New York, this rare session captures Japan’s proud bassist Takashi Mizuhashi performing alongside Herbie Hancock.
Throughout the album, Mizuhashi’s deeply resonant bass tone and melodious phrasing shine, making this a quintessential “international” Japanese jazz classic.

Iconic hip-hop duo The High & Mighty, composed of rapper Mr. Eon and producer DJ Mighty Mi, make their long-awaited return with Sound of Market, their first studio album in over twenty years. The release marks a powerful comeback for one of underground hip-hop’s most celebrated duos — a project steeped in nostalgia, boom-bap grit, and the timeless energy of East Coast rap.

Named in honor of Sound of Market Street, the legendary Philadelphia record store that served as a hub for crate diggers, DJs, and hip-hop heads for decades, the album pays homage to the culture that shaped The High & Mighty’s sound and identity. Much like the store itself, the record celebrates deep cuts, rare finds, and the shared love of vinyl that connects generations of hip-hop fans.

Across 17 tracks, Sound of Market revives the duo’s trademark wit and sharp lyricism while showcasing an impressive lineup of collaborators, including Kool Keith, The Alchemist, Your Old Droog, Large Professor, O.C., Chubb Rock, King T, Skillz, and many more. The result is a cohesive, sample-driven experience that bridges the classic and contemporary — reaffirming The High & Mighty’s status as true architects of independent hip-hop.

From the opening anthem “Two Man Crew” and the surreal swagger of “Pinky Tuskadero” with Kool Keith, to the cinematic boom of “Mighty’s Big 5 (Live from The Palestra)”, the record moves effortlessly through sharp lyricism, layered production, and a shared reverence for the foundations of the genre. Sound of Market is both a return and a reminder — a record that feels timeless in its authenticity.

Die schwedischen High-Energy-Rocker The Hellacopters haben kürzlich ihr 30-jähriges Jubiläum gefeiert und nach der Veröffentlichung ihres neuen, vielgelobten Albums »Overdriver« am 31. Januar 2025, das zum zweiten Mal in der Bandgeschichte Platz 1 der schwedischen Charts erreichte 1 der schwedischen Charts erreichte – ist es nun an der Zeit, ihrer treuen Fangemeinde etwas wirklich Nostalgisches zu bieten.

»Cream Of The Crap! Collected Non-Album Works • Volume 3« ist der lang erwartete Nachfolger einer Reihe von Raritäten-Sammlungen, die 2002 begann und Material aus einer Vielzahl von Singles, EPs und Compilations vereint. Die 24 Titel dieses Sets wurden ursprünglich zwischen 1995 und 2004 veröffentlicht, die meisten davon nur auf Vinyl, und umfassen Originale wie »Disappointment Blues«, »Freeway To Hell«, »Doggone Your Bad-Luck Soul« und »Long Gone Losers« sowie Coverversionen von Songs von Motörhead, Wilson Pickett, Mc5, Smokey Robinson, Alice Cooper, The Ramones, The Nomads, Adam West – dessen Sänger Jake Starr die Liner Notes für diese Veröffentlichung verfasst hat – und vielen, vielen anderen.

Die schwedischen High-Energy-Rocker The Hellacopters haben kürzlich ihr 30-jähriges Jubiläum gefeiert und nach der Veröffentlichung ihres neuen, vielgelobten Albums »Overdriver« am 31. Januar 2025, das zum zweiten Mal in der Bandgeschichte Platz 1 der schwedischen Charts erreichte 1 der schwedischen Charts erreichte – ist es nun an der Zeit, ihrer treuen Fangemeinde etwas wirklich Nostalgisches zu bieten.

»Cream Of The Crap! Collected Non-Album Works • Volume 3« ist der lang erwartete Nachfolger einer Reihe von Raritäten-Sammlungen, die 2002 begann und Material aus einer Vielzahl von Singles, EPs und Compilations vereint. Die 24 Titel dieses Sets wurden ursprünglich zwischen 1995 und 2004 veröffentlicht, die meisten davon nur auf Vinyl, und umfassen Originale wie »Disappointment Blues«, »Freeway To Hell«, »Doggone Your Bad-Luck Soul« und »Long Gone Losers« sowie Coverversionen von Songs von Motörhead, Wilson Pickett, Mc5, Smokey Robinson, Alice Cooper, The Ramones, The Nomads, Adam West – dessen Sänger Jake Starr die Liner Notes für diese Veröffentlichung verfasst hat – und vielen, vielen anderen.

Belgian electronic duo schntzl, known for their fearless live improvisation and playful fusion of jazz, Dada, and ’90s trance kitsch, invite listeners to hear sound anew with their latest album.



On their new album Fata Morgana, an illusory trip of emotion and confrontation, Belgian duo schntzl conjure mirages of fleeting realities while diving headfirst into a trance-driven, confrontational digital sound.



Fata Morgana unfolds like a hyper-visual journey, constructing enveloping dreamworlds through trance-infused live electronica. Yet trance here is present not in form but in essence—an intensity, a state of being. It may stir the same emotions as club music, but schntzl express them in a language entirely their own. Kitsch loops, improvisation, and distortion bend their music into illusions that dissolve and reappear, creating sonic worlds that never settle into habitual patterns.

David Zé - Mutudi Ua Ufolo / Viúva da Liberdade is a major milestone in Angolan music, intensely blendingsemba, rumba, and bolero, recordedat the height of the country"s liberation struggle. Both soulful and political, the album resonates far beyond Luanda, carrying a universal spirit akin to that of Bob Marley. Originally released on CDA with Conjunto Merengue, it captures David Zé at his creative peak. Sung in Portuguese and local dialects, it combines rhythmic elegance with deep commitment, weaving links between Afro-Brazilian and Latin American traditions. After his assassination in 1977, the album was banned for several years, before being reborn as an essential work of resistance and beauty. In 2008, his legacy found a new echo when Damian Marley and Nas sampled "Undenge Uami" on Distant Relatives.

Epic Anime ist eine außergewöhnliche Sammlung neuer, offiziell von den originalen Studios und Verlagen autorisierter Orchesterarrangements einiger der bekanntesten Anime-Titel. Das Album der NDR Radiophilharmonie unter der Leitung von Dirigent Michael England erscheint als 2×180g-Vinyl in "Oxblood"-Färbung und auf CD. Das Album entstand in Koproduktion mit dem Norddeutschen Rundfunk.
Auf Epic Anime findet sich eine hochkarätige Auswahl an Gast-Solist*Innen, darunter die Geiger*innen Esther Abrami, Andrea Cicalese und Niklas Liepe, die Cellistinnen Mariko Muranaka und Raphaela Gromes, Akkordeonist Martynas sowie die Pianisten Tim Allhoff und Louis Philippson. Auf ausgewählten Titeln ist der Chor Pop-Up zu hören, als auch eine Rockband bestehend aus einigen der besten Sessionmusiker*Innen.
Das Album präsentiert neue sinfonische Interpretationen populärer Anime-Themen aus Demon Slayer, Neon Genesis Evangelion, Naruto, JoJo's Bizarre Adventure, Bleach, Kikis Delivery Service, Spirited Away und weiteren Produktionen. Sämtliche Arrangements und Aufnahmen entstanden mit ausdrücklicher Zustimmung der jeweiligen Rechteinhaber und gewährleisten damit höchste Authentizität. Das Album würdigt die vielfältige musikalische Tradition des Anime-Genres und verleiht den Originalwerken eine eindrucksvoll cineastische Dimension.
Epic Anime richtet sich an Anime-Fans, Soundtrack-Enthusiasten und Liebhaber orchestraler Musik gleichermaßen.

Temple Balls, the high-octane hard rock band from Finland, is back with a brand-new self-titled album. Over the past few years, the band has kept busy both in the studio and on the road, solidifying their reputation as one of the most exciting live acts in the genre. Having opened for legendary acts such as Sonata Arctica, Queen, Deep Purple, and Uriah Heep, Temple Balls have proven they can command any stage—whether it’s a massive festival or an intimate club. Their live shows are explosive, turning skeptics into die-hard fans with their raw energy and undeniable charisma. The journey began with their official debut single, “Hell and Feelin’ Fine,” released in September 2016, which gained heavy rotation on Finnish Radio Rock. Their debut album, recorded in May 2016 at Karma Sound Studios in Thailand, was released on February 24, 2017. Produced by Tobias Lindell (Europe, Mustasch, H.E.A.T.), the album marked the band’s bold entrance into the international rock scene. In the fall of 2017, Temple Balls embarked on a sold-out Finnish tour with Battle Beast, made their live debut in Japan, and completed a five-day tour across Ukraine. Their popularity soared in Japan, where readers of the country’s biggest rock magazine Burrn! voted them the “Second Brightest Hope,” and they were named “Newcomer of the Year” on Masa Ito’s Rock TV. Their sophomore effort, Untamed, released on March 8, 2019, received rave reviews from major music outlets including Soundi and Burrn!. A European tour alongside Sonata Arctica further cemented their reputation as a world-class live band. Their third album, Pyromide, marked their debut with Frontiers Records and was a melodic hard rock tour de force produced by Jona Tee (H.E.A.T.), packed with powerful riffs, massive hooks, and arena-sized choruses. In May 2022, Temple Balls toured Europe with Swedish melodic metal giants H.E.A.T., followed by a busy summer festival season across Finland. The lead single from their fourth album, Strike Like a Cobra, was released in March 2022 to widespread acclaim. That same year, they completed work on their next full-length, Avalanche, released in fall 2023, featuring the single “No Reason,” which dropped globally on June 22. Now, with their new self-titled album, Temple Balls continue the sonic evolution started with Avalanche, delivering an even more personal and refined sound.

Wewantsounds is delighted to announce the reissue of Music By Lee Mason, the cult classic from the Chappell Recorded Music Library, originally released in the UK in 1971. Credited to Lee Mason & His Orchestra, the album is in fact the work of renowned British composer and arranger Pete Moore - best known for producing the iconic "Asteroid" theme in 1968 for the Pearl & Dean cinema advertising company. One of the funkiest library albums of its era, blending cinematic tension, funky grooves, and jazzy undertones, Music By Lee Mason features the track "Shady Blues," famously sampled by Madlib. Newly remastered and featuring liner notes by Kevin Le Gendre, this long-overdue reissue brings a lost classic back to vinyl for the first time since 1971.