SEALED

he highly anticipated follow up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation, and shows Arthur's sound is as poignant now as it ever was.

Redefnition Records is proud to release the latest project from one of hip hop’s most multi-talented artists, Insight the Truncator aka Andre Todman. Insight returns to the spotlight after a departure from the industry in recent years. Where was he and what was he up to? Well after a decade and a half in the business, dozens of respected records, countless national and international tours, Insight took a well deserved hiatus to try other endeavors such as app development, electronics and social media strategizing, areas in which he found great success. This shouldn’t surprise longtime fans who may remember in as early as 1997, Insight created his own website, Insight.fm which featured an interactive SP1200 and forums. This was rare during the pre-social media era, long before having a web presence was a part of an artist’s everyday operation. Building a strong reputation for his live performance, his on-stage capabilities included not only rapping, but also producing, DJing, and even live drawing-while-freestyling and interacting with audience members. The triple threat from Boston (MC / DJ / Producer) has dedicated his life to his creativity and his diverse portfolio and resume is a true testament to the kind person Insight is on and off of his recordings. Credited for mentoring and being instrumental in the career beginnings of many of the staples of Boston’s current Hip Hop scene, and beyond, Insight also assisted a young D.C. native known as Damu the Fudgemunk, who later matured into an esteemed solo artist in his own right (and co-owner of Redefnition records). The 2 would frst collaborate on one of the greatest hip hop albums of the 2000’s as Y Society on 2007’s full length, Travel at Your Own Pace. Through this collaboration they formed a brotherhood that today is well into its second decade, bookmarked by this latest release. On Ears Hear Spears, “The Truncator” passionately speaks his mind through rhyme while “The Fudgemunk” handles all production. Throughout 10 outstanding tracks Insight delivers a diverse lyrical exhibition over a then 20-21 year old Damu the Fudgemunk’s beats. There’s an undeniable level of directness and sincerity in his lyrics which are artfully assembled in a manner that will astonish literary buffs, yet permeate the lives of everyday listeners alike. Pick up a copy of the album on vinyl, Cassette Tape or CD now. Vinyl version includes printed lyric sheet. Album also available to stream or download on all digital channels.

Long Beach serial chiller Ahwlee is a beat vet who delivers smooth buttery samples with a nostalgic vibe. 1991 is a cult classic cassette now issued for the first time on vinyl. These tracks are dusty, mellow and easy-going. Don’t mistake mellow for boring, however, because Ahwlee’s production is nuanced and intricate underneath the minimalist overtones. There’s jazzed-up Rhodes all over the place, and the percussion work masterfully includes a ton of negative space in between perfectly chopped breaks. They’ll get your head nodding.

Aptly titled, “1996 Beat Tape Vol. 1”, DJ Spinna’s latest instrumental album features 18 original beats all produced on the EMU-SP1200 & Akai S950 circa 1996. With over 25 years in business, the Brooklyn native is tied to nothing short of greatness and a legacy of diverse extensions since his beginnings as a house DJ in the late 80s. Many know Spinna for being in the elite group of seasoned party rockers where his resume includes collaborations with Stevie Wonder, Spike Lee, Michael Jackson & Prince (Soul Slam) tribute parties and several US/international bookings a month. Others regard him as one of house music’s best for his well orchestrated dance tracks that blend jazz, soul & funk, caribbean and latin themes into his trademark, “Intergalactic Soul”. Producing in the mid 90s with his underground duo, the Jigmastas, Spinna acquired national recognition for remixing Das Efx’s, Microphone Master single. He would gain larger recognition for his classic remix of De La Soul’s, Stakes Iz High single originally produced by the legendary Jay Dee aka J Dilla who became a friend in addition to being a contemporary. After a deal with Rawkus Records and producing some of Eminem’s early official appearances, Spinna achieved placements as a go to beat maker for legends, veterans and new MC’s. Though DJ Spinna has found continued success away from his roots, he has always satisfed his core audience whether producing for Homeboy Sandman, Phonte, The Jigmastas or his own solo projects.”1996 Beat Tape Vol. 1” is a rare peek into his deep archive. Much of the material was sourced directly from aged dat tapes and ?oppy disks from the year 1996. Don’t let the 20 year lapse mislead that these compositions are primitive to today’s standards. The 18 track fully instrumental LP proves the advanced production techniques and sampling ideas Spinna employed are still ahead of it’s time long before much of the resurgence of 90s revivalist themes from today’s artists. The “1996 beat Tape” is the “Real McCoy”. All music was produced before computers, before accessible home studios and before instrumental hip-hop was a category. Many of the beats were made with vocalists in mind. Constructed on turntables, the EMU-SP1200 and the Akai S950, historians will appreciate the album cover designed by Joe Buck which depicts intimate photos of Spinna in his studio with the actual gear used to create the album’s contents. This is only the frst volume and the debut venture between Redefnition Records and Spinna’s own Correct Technique Records. With 2 plus decades of unreleased material, who knows what the future holds, but history shows that when DJ Spinna releases an instrumental album, they sell fast.- LP pressed on orange vinyl- Limited edition vintage instrumental collection from legendary producer, DJ Spinna- Will be supported by video content of Spinna in his studio, discussing his career and production techniques

A Safe Place to Be Naked is S. Fidelity's debut longawaited debut record via Jakarta Records. "A Safe Place to Be Naked" is S. Fidelity's debut album, which will be released on May 5th via Jakarta Records. It features 12 tracks, capturing the producer’s quest for a fresh sound, which he elaborated over the last two years, locked in his tiny basement studio in Berlin. Evolving from there the he has also released an EP with Feelin Music in 2014, and “Sidekicks”, a joint project with long-term friend and collaborator Bluestaeb in 2016.By working with artists like Tru Thoughts singer Harleighblu and label mate JuJu Rogers as well as fellow producers Bluestaeb and Shuffle Jack, his LP “A Safe Place to Be Naked” plays with sampled vocals and even his own voice – often distorted, but still present.S. Fidelity was born in St. Gallen, Switzerland, mainly works in Berlin and currently resides in London. As a producer he developed a unique and always driving sound, combining sampling techniques and classic beat making with unusual drum patterns, modern synth and atmospheric sound effects. S. Fidelity’s laid-back eclecticism is marked by a deep knowledge and fascination for Pop culture as a whole. His idea of fresh HipHop references to various genres, including Jazz, Ambient, Disco and Electronica.The LP contains an A2 poster & metall sticker.

Odion Livingstone present another essential reissue of a rare gem from the Nigerian archives, Grotto’s lost Afrorock classic from 1977, ‘At Last’.Formed at “Greg’s” (St Gregory’s college in Ikoyi, Lagos), Grotto came up at the same time as several other in?uential student bands based there, including Ofege. “As Grotto, we played a rock/funk fusion. We were probably aged 15, 16 or thereabouts and we were heavily into music, we listened to Jimi Hendrix, Carlos Santana and lots of rock bands,” explains lead guitarist Soga Benson.Their debut album is a heavyweight trip, drifting from psychedelic workouts to crunching breaks and funkier directions. “Odion Iruoje was the A&R manager at EMI at the time and he auditioned us, liked the material and signed us. He also produced our recordings,” continues Benson. “Most of us were boarders and the school encouraged music and had instruments so we had time to jam and really gel together. The group still continued after we left Gregs. We had to juggle A-Levels with gigs and we used to skip school whenever we had a show, rehearsal or a recording date.”While many Nigerian student bands were studio-based projects, Grotto was an active live unit during the ‘70s. “We played at The Shrine with Fela, with Tee Mac at Batakoto, with Sonny Okosun at Kakadu, Segun Bucknor at Granada Hotel.”This frst international reissue of Grotto’s debut album comes with a full interview with Soga Benson and producer Odion Iruoje + a selection of rare and previously unseen photos of the band. The album is fully remastered by The Carvery.

The denitive collection of funk beats from Nassau's The Beginning Of The End, this set is a comprehensive look at the family band's tight take on sizzling, sibling grooves soaked in Bahama night life, circa 1969. Includes the hit "Funky Nassau", plus 8 more cuts.

Molotov’ represents the best elements of its creators, Brooklyn rapper, Saga and Chicago producer, Thelonious Martin. The rhymes are potent and powerful, taking down everyone from cynics to haters, wack emcees, and inner demons. And the instrumentals serve to bring those words to life by way of head-nodding percussion, and slick sample flips.Because it was crafted by one rapper and one producer, ‘Molotov’ is especially effective, and have made it clear why their approach works so well, especially as a duo. The 12 tracks move in and out of each other seamlessly, while tackling a variety of sounds and subject matter, all with an effective supporting cast of notable features. Like the one-two punch of the straight-up banger “Karma,” which features a fired-up Freddie Gibbs, and the Fashawn-assisted lead single, “Yesterday.”“With Molotov, it was about maintaining the level of quality I'm known for,” the producer says, noting that it all started with the two sending tracks back and forth. “As the project was coming along, we started building the proper chemistry to make this special.”Saga agreed, calling the project’s conception “organic." It was that unrestrained vibe that he says “allowed me to be free with my thought process, and write for the moment.” As a result, he was able to explore new and intriguing ideas, like how “chaos is the end result of a long process of inner discontent within our own lives.” And you can hear him eloquently rhyme about this subject on "Misunderstood," his favorite cut on the 12 track LP.And the music doesn’t stop with ‘Molotov’’s release in February. The album will also be available on vinyl in April, courtesy of Coalmine Records. This falls prior to the duo’s departure for Europe, where they will embark on a multi-city tour in promotion for the LP, in late May/early June.