180 gram black vinyl in a double gatefold jacket.Following the success of his major label debut, good kid, m.A.A.d. city, in 2012, the rapper Kendrick Lamar's long-awaited follow-up, To Pimp a Butterfly (TDE/Aftermath/Interscope) is about carrying the weight of that clarity: What happens when you speak out, spiritually and politically, and people actually start to listen? And what of the world you left behind?
3 x black 180g 12"s in artworked 3mm spined sleeves all housed in a rigid board outer slipcase. Half speed cut by Matt Colton at Alchemy Mastering. Includes 2 x 12" poster inserts featuring exclusive artwork by KC Woolf Haxton and story adaptation and calligraphy by Kenturah Davis. MP3 download code also enclosed. The story begins with a man on high. He is an old man, a warrior, and the guardian to the gates of a city. Two miles below his mountainous perch, he observes a dojo, where a group of young men train night and day. Eventually, the old man expects a challenger to emerge. He hopes for the day of his destruction, for this is the cycle of life. Finally the doors fly open and three young men burst forth to challenge the old master. The first man is quick, but not strong enough. The second is quick, and strong, but not wise enough. The third stands tall, and overtakes the master. The Changing of the Guard has at long last been achieved. But then the old man wakes up. He looks down at the dojo and realizes he’s been daydreaming. The dojo below exists, but everyone in training is yet a child. By the time they grow old enough to challenge the old man, he has disappeared. This is, in essence, both a true story and a carefully constructed musical daydream, one that will further unfold in May of 2015, in a brazen release from young Los Angeles jazz giant, composer, and bandleader Kamasi Washington. The Epic is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn’t so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus. The Epic is a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble. The band are all from Los Angeles, mostly South Central, and its members – who call themselves variously “The Next Step” and the “The West Coast Get Down” – have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands. "Nothing compares to these guys," says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Kamasi and his compatriots from the beginning. “I challenge any group to go out on stage with them and see if they can keep up with it... Kamasi is at the top of his game, and only getting better.” “These young guys,” the rapper Common says, “remind me of why I love music.” And the story The Epic tells, without words but rather through some combination of magic, mastery, and sheer force of imagination, is the story of Kamasi Washington and the Next Step and their collective mission: to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again. They seek to both honour and alter tradition: as The Epic’s opening track announces, they are the “Changing of the Guard”. The sound can be felt like flames, sometimes waving in the coziness of a fireplace, in other moments sweeping everything around like a backdraft. But Kamasi is always in control of the burning. “He just plays the craziest shit, man. I mean, everything — the past, present, the future,” Flying Lotus says, whose family lineage includes one of Washington’s direct musical forebears, John Coltrane. “It's hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don't want to hear ‘My Favorite Things’ anymore… What I am hearing is a leader among artists.”
The best-selling record dedicated exclusively to Scratch noises and effects is back with a second volume, and not a moment too soon.
Each LP volume comes with a limited edition, glow-in-the-dark & embossed jacket and colored vinyl. The late, great J Dilla is rightly celebrated as one of the greatest hip-hop producers of all time, in part because his ear for music was so diverse and expansive. From the smooth, soulful soundbeds he laid down for A Tribe Called Quest, Slum Village, The Pharcyde, Common, The Roots, and D’Angelo to the hard-edged, synth-heavy tracks he crafted for Busta Rhymes, Jaylib, Oh No, and Phat Kat, Jay Dee’s music continued to grow and evolve throughout his brief time on this planet. As Dilla’s mother Ma Dukes explains, “He didn’t come with a limited capacity, and real producers produce, produce, and produce. There are no formats for genius workers…just non-stop creations.” Now, a fresh batch of those creations will be made available to the world for the first time, in the form of the latest official J Dilla release, Dillatronic. Presented by Ma Dukes and compiled by DJs Alien Villainz (fellow Detroit natives who worked closely with Dilla), Dillatronic contains over 40 rare instrumentals that showcase Dilla’s undeniable electronic influences. J Dilla’s music was impacted by the diverse musical history of Detroit - the birthplace of Techno and one of the most important cities in the history of electronic music. “You can hear it in songs like ‘Raise It Up’ for Slum Village or ‘Make It Hurt’ for Busta Rhymes,” says Young RJ (Dilla's protégé and member of Slum Village). “The Detroit influence is part of what gave him an edge in production.” With today’s music sounding more electronic than ever, Dillatronic has a shockingly contemporary feel. “These tracks are still ahead of their time sonically,” explains RJ. “The things producers are doing now, Dilla did that 15 years ago.” As the years go by, Ma Dukes plans to continue presenting music fans with the untold chapters in Dilla’s ever-expanding legacy. “I can smile in my heart, knowing my son’s work is being shared with the people as we planned before he passed,” she says. “I only share the best, and I only hope to continue introducing the world to the genius of J Dilla.”
Wu-Tang founding MC Inspectah Deck and veteran Boston duo 7L & Esoteric – isn’t concerned with the glitz and the B.S. that modern consumer culture is pushing. And neither are the group’s fans. In 2013, the trio appeared relatively unassumingly with their self-titled debut, which was chiefly produced by DJ 7L and included guests ranging from Ghostface Killah and Cappadonna to Vinnie Paz, Action Bronson and Roc Marciano. The soon-to-be acclaimed group found out quickly that there was a groundswell of hip-hop fanatics thirsting for the lunchpail, lyrics-above-all-else rap they fell in love with in the ‘90s. Several pressings of the album on CD, 2-LP and even cassette later, they are back and ready to up the ante. This time around the group is the same, but it’s fair to say that all three men have stepped up their game. “We knew how we felt about the last album, but weren’t sure how it would be received by listeners,” explains MC Esoteric. “But people really responded to it, even more than we had hoped. That gave us the confidence to really spread our wings and let loose on this one. The chemistry is even tighter this time around. We know exactly what lanes we are cruising in and what weight class we are fighting in for Round 2.” Inspectah Deck adds, “Czarface is like the Danger Room for the X-Men, I can use all my weapons on there. When I’m in Wu-Tang, I have to come a certain way because we have a certain style of fan, when I’m here doing the Czarface projects, it allows me to actually be an MC, it allows me to actually just spit…I love that. I love when i can just spit freely and just be an MC.” The fighting analogy – whether drawn from pugilism or ‘80s wrestling, both which figure into Every Hero Needs A Villain – is an apt one, considering the unrelenting lyrical attacks that Deck and Esoteric unleash on track after track, each trying to one-up the previous verse. Best of all, it is friendly camaraderie, based around a loose theme of renegade mutant MC talents running wild. DJ 7L explains, “All three of us are influenced by comics, sci-fi movies, TV, wrestling. Czarface encompasses all of that, and it helps with the visuals as well.” On the production side, 7L shows yet again – as he did with the group’s debut – that he remains a formidable yet underappreciated musical force, constantly providing hard, funky and alternatingly ominous backdrops for the assembled MCs to use as lyrical luge paths.
In 1995, fresh off the success of Nas's landmark debut album Illmatic the year prior, Columbia Records released Lifestylez Ov Da Poor & Dangerouz, the first LP by a relatively unknown Harlem MC named Big L. Few at the time would realize that Lifestylez — which was only a modest commercial success at the time — would go on to be considered a true classic of the era, comparable to Illmatic itself. Armed with a cocky Uptown attitude, a sharp wit and production from the likes of Lord Finesse, Buckwild and Showbiz, Big L established himself as one of New York's Hip Hop heavyweights with an album that balanced radio appeal with uncompromising hardcore lyricism. From the smooth sounds of "M.V.P." to raw posse cuts like "8 Iz Enuff" and "Da Graveyard" (which featured a rookie MC from Brooklyn by the name of Jay-Z), Lifestylez Ov Da Poor & Dangerouz solidified Big L's status as a Hip Hop legend despite being the only studio album released prior to his tragic death in 1999. Traffic Entertainment is proud to release Big L's classic debut album in a double-LP pressing for the first time ever.
Quasimoto first came to life on Madlib's personal beat tapes in the producer's early years in Oxnard CA – private music, not meant for release, made for himself and a small circle of local smokers and their car stereos. By the time of Quasimoto's debut The Unseen, most had caught on to the fact that Madlib and Quasimoto were one in the same. The MC as artistic alter ego, like a talking dummy from surreal rap vaudeville. Quasimoto is usually the "bad character," doing and saying what the producer doesn't, with Madlib along side as a noncommittal collaborator. The Unseen (Stones Throw, 2000) was among the new decade's first sleeper hits, ranking on Spin's year end list at a time when the producer and label were unknown outside hip-hop DJ circles. After a subsequent journey through jazz production and now-legendary collaborations with MF DOOM & J Dilla, Madlib called on Quasimoto again for The Further Adventures of Lord Quas. The album played something like a smoked-out comedy/crime Blaxploitation flick, and continued to build Madlib's reputation as one of the most creative and fearlessly skewed creators in hip-hop. As for Quasimoto – usually represented by pen & ink with brick in hand – he has been many things over the years: rapper, cartoon, the poor-man's Gorillaz, a toy, bad tattoo, internet meme. To all this Lord Quas might say, yessir ... whatever. It's all about the music. Yessir Whatever collects 12-tracks made by Madlib and Quasimoto over a roughly 12-year period. A few were released on rare & out-of-print vinyl, while a few others are previously unreleased, now mixed and mastered for the first time. Take two & pass. Yessir ... whatever. Artwork by Jeff Jank. Mastered by Dave Cooley.
The Unseen, released in 2000, was among the new decade's first sleeper hits, ranking on Spin's year-end list at a time when the producer and label were unknown outside of hip-hop DJ circles. Few could have known that this, Madlib's solo debut, would be just the first album in a rich catalog of music spanning from hip-hop to jazz, with wild experimentation and collaborations with MF DOOM & J Dilla. The identity of Quasimoto himself was a bit of a mystery - maybe he was Madlib, maybe he wasn't. Maybe it's none of our business. In fact, Madlib created Quasimoto as someone to rap on his beats for his own private listening while living in Oxnard and Santa Barbara in the 1990s. The Unseen was born out of Peanut Butter Wolf's convincing Madlib to release these recordings for the rest of us to hear.
12" single included clean, street and instrumental versions of Ebonics and Size 'Em Up.
There are very few albums across any genre that stand the test of time better than 93 'Til Infinity, the classic debut record from the Hieroglyphics crew's very own Souls of Mischief. In an era where Gangsta Rap and G-Funk dominated the West Coast Rap scene, Souls broke ground on a completely unique and thoroughly west coast sound. While the Dr. Dre's and the Snoop Doggs were garnering much of the mainstream attention, Souls were quietly forging a charismatic, critically acclaimed, and cohesively shaped record that when categorized, sounded much closer to A Tribe Called Quest than N.W.A. The sound of their debut is characteristic of the distinct style explored by the collective, including a rhyme scheme based on internal rhyme and beats centered around a live bass and obscure jazz and funk samples. 93 'Til Infinity was propelled into success by its title track and lead single, which reached #32 on the Billboard Hot 100. It also featured singles "That's When Ya Lost" and "Never No More" which also reached the Hot Rap Singles. In 1998, the album was selected as one of The Source's 100 Best Rap Albums of All Time. Considered by many to be a text book "slept-on" classic Rap record, 93 'Til Infinity has only grown better with age. The album simply defines the Hiero golden age with a sound that would later be fine tuned with strong releases from MCs Del The Funkee Homosapien, Casual and Pep Love. It takes some serious bravado to name your album 93 'Til Infinity, but certainly the goal of creating a Hip Hop "classic" must have been on the collective minds of group members A-Plus, Tajai, Opio, and Phesto when recording this landmark moment in Hip Hop history. It's true, even seventeen years after the album's initial release many people are still discovering it, and with this re-mastered reissue on double vinyl, fans all over the world will once again discover the brilliance that 93 'Til Infinity delivers and will continue to deliver beyond infinity.
Doris comes three years after Earl Sweatshirt's debut mixtape, Earl, introduced the world to one of the most talented and exciting voices in music. During the time that has passed, Earl attended a reform school in Samoa returning with a stronger artistic focus and a more mature outlook on life. To create Doris Earl worked with producers such as Pharell, RZA, BADBADNOTGOOD, Tyler, The Creator, and more while also receiving guest verses from Odd Future cohorts Frank Ocean, Domo Genesis, and Tyler, The Creator as well as LA-based rappers Vince Staples, Casey Veggies, and Mac Miller.
Though beset by label delays and Twitter squabbles, no amount of innuendo could stymie the vividly original debut by Harlem pop iconoclast Azealia Banks. The snaking electro-house breakout "212" remains essential listening, flanked by a kaleidoscopic mélange of Latin, funk, trap, and hip-hop: forget naming styles, they're all here. Rapping and singing with equal aplomb, Banks anchors the spooky U.K. garage of "Desperado" as ably as she does the industrial skronk of "Yung Rapunxel" (the conflation of "rap" and "punk" there is no accident). The Ariel Pink collaboration "Nude Beach A-Go-Go," with its echoes of Gidget and '50s pop, is positively flummoxing in the best way.
Forever a wildcat and wild card, Los Angeles' bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, is impossible to tame artistically. A true master of his craft, he can be found playing bass with Flying Lotus, Erykah Badu and Suicidal Tendencies, in the same breath as performing live with the likes of Stanley Clarke, Snoop Dogg or the Red Hot Chili Peppers. His 2011 solo debut (The Golden Age of Apocalypse, co-produced by Flying Lotus) created an equally genre-blurring enigma of indie rock and jazz, with a touch of electronica. On his second album, Apocalypse, Thundercat pairs up with executive producer Flying Lotus to pull the veil back and reveal the simple truths of the cycle of life, for all its beauty and destruction. An album about loss and rebuilding, trying to gain something back, and capturing that moment of clarity where one finally finds feet back on the ground again. Bringing a fusion of pop, soul, electronica, prog rock and funk into an unexplored dimension, the album slowly descends and tunnels to the core of what it takes to grasp peace, at a time that it seems most far. From the deep, rumbling entrance of 'Tenfold,' each of the 12 tracks coalesce with Thundercat's signature bass, his riffs and basslines gliding sky high to meet Fly Lo's astral touch. Bruner's vocals and harmonies also soar with open honesty, rising above heartbreak with uplifting odes to love and companionship ('Tron Song') and wise mantras to live by ('Special Stage'). The album plays as a comedy and tragedy at the same time, delicately addressing tracks like 'We'll Die' while bringing the all-out cosmic funk of the anthemic 'Oh Sheit, it's X.' As heavy as the lyrical weight may be, the divine musicality of Flying Lotus, and Thundercat's instrumental collaborations, brings light. Navigating dense rhythms and intense harmonic progressions, the LP pushes through the hypnotic strands of 'The Life Aquatic,' the analogue explorations of 'Lotus & The Jondy' (recorded in Adrian Younge's studio with drummer Thomas Pridgen), and Thundercat and Lotus' prog rock jam 'Seven,' a spontaneous improv recording that organically materialized in less than an hour. It's no wonder the kindred pair often refer to their freeform sessions as "going to space." Continually pushing tracks to their furthest point, they take the listener to another place completely - somewhere beyond time, a place that transcends this realm. As the aforementioned track 'Seven' (named for its challenging time signature) asks, "Can you hear the sounds of infinity?"
House Shoes recently started his quarterly “Flip Sessions” series where he selects a sample and producers get the opportunity to create their own interpretation. This time around Shoes picked his personal favorite 3 tracks submitted. The winning entries were pressed up on a VERY limited run of 45’s. House Shoes Presents: Flip Sessions Volume Two featuring Dert Beats b/w Chanes & Juicy The Emissary.
Second album by the rapper, producer and member of the Los Angeles-based hip hop collective Odd Future. Includes collaborations with Dash, Wiki, Na'kel and Vince Staples.
Released back in 2003, Take Me To Your Leader is arguably the most cinematic of MF DOOM’s albums from this period: entirely produced by him, it’s all dramatic strings, skyscraping samples and reflections on earth from Geedorah’s “alien perspective on humans. Reissue limited to 500 copies. Digital download included.
If indeed "you blows who you is," as Louis Armstrong once famously said, then Stephen Bruner's bass is a mainline to the soul of a man whose DNA was transcribed from the stars onto staff paper. His Flying Lotus-produced debut, The Golden Age of Apocalypse, offers both stone-cold skill and uncanny astrality, picking up where the pair left off on 2010's Cosmogramma and further distilling the jazz current running through that landmark Lotus release. A longtime contributor to others' albums, Bruner, aka Thundercat, is accompanied by an impressive cast ranging from Erykah Badu to members of Sa-Ra and J*DaVeY, to pianist Austin Peralta and his own Grammy-winning brother, drummer Ronald Bruner, Jr. Still, the end result is unmistakably a Thundercat record -- a lush and magical document combining classic jazz fusion, futurist electronic strains and timeless musical seeking. A native of South Los Angeles, Bruner found his instrument at the age of 4. That made him a late-bloomer in the house of Ronald, Sr., who drummed with the Temptations among others. His first bass was a black Harmony, and he practiced to the Ninja Turtles soundtrack until pops played him Jaco Pastorius. School was a blur of lessons, sessions and waking up for zero periods. At 15, he scored a hit in Germany as part of the short-lived boy band No Curfew. At 16, he toured Japan with soul man Leon Ware and joined thrash legends Suicidal Tendencies (he's still their bassist). More road and studio time followed, with everyone from Stanley Clarke to Snoop Dogg to Eric Benét. Eventually the name Thundercat stuck, a reference to the cartoon he's loved since childhood and an extension of Bruner's wide-eyed, vibrant, often superhuman approach to his craft. As one writer put it, he's "a mutant jazz cat," nuff said. Spanning a cosmic stew of players, locations and times, The Golden Age of Apocalypse was years in the making even though Bruner had never planned on releasing his own music. But Lotus spurred him on, and each song became a journey. There's the ebullient "Daylight," a soft whirl of bluesy piano, New Age synth, snapping beats and warm bass. There's "Walkin'," an upbeat soul strutter powered by Bruner's digitally distorted plucks. There are raw, improvised numbers like "Jamboree" and virtuosic bass pileups like "Fleer Ultra." One of the album's most stunning moments arrives with a spacious cover of George Duke's "For Love I Come," a taut beauty spangled with crystalline harp and keys. Bringing this string of divinely unexpected moments to a moody and cinematic close is "Return to the Journey." There, Bruner sings, "Time will pass us by," but listeners needn't worry. Inside of this space, time really isn't a thing.
The ten time Grammy Award winning musical phenomenon, rapper, producer and singer embarks on a new musical journey taking his audience to new heights. Kanye West returns with his fourth album 808s & Heartbreak. His highly anticipated 2008 album features the heart pounding first single, 'Love Lockdown' which premiered live for the first time on the 2008 MTV Video Music Awards. An electropop and R&B album, 808s & Heartbreak was primarily sung rather than rapped by West and has themes of love, loneliness, and heartache. The album also contains extensive use of the Auto-Tune voice processor and the Roland TR-808 drum machine, which was utilized and manipulated by West to produce a distorted, electronic sound. Approaching the album's production in a minimalist fashion, West intended to contravene the typical sound of hip hop beat and instead evoke a presence of tribal drums. The album debuted at number one on the US Billboard 200 chart, selling 450,145 copies in its first week. It produced four singles, including the hit singles "Love Lockdown" and "Heartless". Despite varying responses from music audiences towards West's stylistic change, 808s & Heartbreak received positive reviews from music critics and was named one of 2008's best albums. The album also influenced hip hop, pop, and R&B, as a new wave of rappers, singers, and producers adopted aspects of the album's musical and thematic content. 808s & Heartbreak has been certified platinum by the Recording Industry Association of America and has sold 1,700,000 copies in the United States.
Gil Scott-Heron is one of the most influential and important singer/songwriters to have come out of America in the second half of the last century. Much can be said about why this Gil's lyrics are so original and powerful but ,it is important not to overlook his utterly singular voice which is so distinctive and rough and tender. It is a voice of experience. And the way this voice of his floats over the shifting funk rhythms and the deep jazz, soul and blues melodies that he and his band create is nothing short of sublime. It's also what enables him to draw you in to the difficult issues he does not shy away from dealing with. His sound is intimate and warm and direct and consequently it is hard to resist being moved and inspired by his message. And he has been consistently relevant whether it be on a personal or political canvas. Early on in his career he wrote and recorded the song that for many is regarded as one of the first great rap tracks - The Revolution Will Not Be Televised. From its opening lines which turn Timothy Leary on his addled head ("You will not be able to stay home brother. You will not be able to plug in, turn on and cop out. You will not be able to lose yourself on scag brother, because the revolution will not be televised."), Gil threw down the gauntlet to we the people, challenging us to get involved, be informed, retain a sense of humour and do the right thing. He was angry, politically savvy, compassionate and very funny. When he was brought to Arista by Clive Davis in 1975, he was billed by the label as the black Bob Dylan, and whilst this reductive and over simplistic description is typical marketing bullshit, there is some raison d'etre for this moniker. For Gil is a protest poet of enormous subtlety who has railed against those things in the world that he believes are wrong. And like Dylan he has often used humour as a powerful weapon. A new record from Gil Scott-Heron, forty years after his first solo album, is a cause for major celebration and something that the world needs now more than ever. Gil Scott-Heron came to prominence in the late 60s and early 70s and is cited as a supreme influence on countless Hip Hop vocalists and producers. Despite an incredible and influential body of work, he has not released an album since the '90s. Produced by XL label owner Richard Russell, I'm New Here sees Gil reflecting on his life with his trademark vocal power and insight, sharing his visions among Russell's flickering, electronic soundscapes; which at various times conjure up thoughts of Burial and The XX, as well as a host of Hip Hop influenced sounds. The album is brave, contemporary and quintessentially Gil Scott-Heron.
In listing the greatest albums in hip-hop history, one title never seems to stray from the upper echelons, no matter how many years pass: Boogie Down Productions' undisputed classic from 1986, Criminal Minded. Released amidst a battle between BDP and MC Shan that would redefine the New York rap landscape as it was then known, the album, which features the songs "South Bronx," "Criminal Minded" and "The Bridge is Over," captures the excitement, urgency and raw power that embodies hip-hop culture as we know it, with KRS-One's aggressive yet intelligent lyricism backed by Scott La Rock's hard-hitting, stripped-down beats. A true classic, Criminal Minded has been recognized by Vibe Magazine, The Source and Rolling Stone as one of the most important albums of all time.Traffic Entertainment Group and B-Boy Records are proud to present Criminal Minded, presented for the first time ever in a double-LP pressing with a new digital transfer from the original analog master tapes.The album is packaged in a gatefold "paste-on style" jacket, featuring extensive liner notes from journalist Brian Coleman and KRS-One, full color printed dust sleeves with vintage B-Boy Records graffiti artwork, full-color 24" x 36" poster and the bonus track "P is Free (Original 12" Version)."
James "J Dilla / Jay Dee" Yancey leaves behind an impression on Hip Hop that will last the test of time. A bridge between Hip Hop's underground and mainstream, Dilla's contributions ranged from single handedly defining Detroit Hip Hop as a founding member of Slum Village to providing his production talents to Common, D'Angelo, Busta Rhymes, Erykah Badu, A Tribe Called Quest, The Pharcyde, The Roots, Janet Jackson and Macy Gray. The Shining marked the reunion of J Dilla & BBE, who had released Welcome 2 Detroit, J Dilla's debut album. The Shining was near completion when J Dilla passed on February 10, 2006. In pursuance of his mother's plan that his musical legacy continue, The Shining was released on August, 22nd, 2006. To add to that legacy, The Shining Instrumentals were released; allowing the listener to hear the intricate warmth of Dilla's beats completely untouched by MC vocals.
With the aim of breaking the mould and taking down boundaries, Andrea's "Black Magic" is the result of a combination of influences melted together in guitar amps to create a wavy piece of music. From the vocal-oriented track "Down" featuring Vanessa Elisha's lush vocals to the club-melting "Without You", Black Magic has a wide range of aesthetics and a particular attention to detail that creates its own unique world much like the artist behind it. Young Parisian native Andrea has been building up heat over recent months with his innovative live shows (playing at shows alongside Flume, AlunaGeorge, Shlohmo, Bondax and Glitch Mob amongst others) and his own productions and remixes of The xx, AlunaGeorge, Sam Smith, Say Lou Lou, Rosie Lowe, Stwo, Slow Magic, Drake and The Weeknd to name but a few, drawing in fans and scoring radio support from tastemakers such as Benji B, B.Traits, Monki and Rob Da Bank at BBC Radio 1 and Eddy Temple Morris at XFM. Some of his solo efforts have come in the form of a track on Trapdoor Records Trapdoor Volume 2 compilation series, a track on Flirtini’s Heartbreaks & Promises Volume 2 compilation and the much anticipated “Tenderly”. Add to this his residency on Rinse France, his own label Moose Records, countless remixes, free downloads, a collaboration on Ta-Ku’s Create&Explore project, Andrea’s very own #OneSampleOneDay project and his recent NASA EP and it becomes clear that Andrea is one of those artists who puts the work in. Thankfully, he has no intention of slowing down! Andrea’s Black Magic EP is due for release on via Jakarta Records the label that has been kicking off many successful careers in the last years with early releases from renowned producers such as Kaytranada, Ta-ku, Mura Masa, IAMNOBODI and many more. The release will be made available both digitally and on vinyl (with a very special white-label B-side).
'In Return' is the new sophomore album from Seattle electronic duo Odesza. The incredible second album more than delivers on the promise of the duo's previous work: a record with a precocious maturity and coherence, it's a start-to-finish stunner of pop-infused, electronic wonder, littered with infectious hooks and potent atmosphere. Harrison Mills and Clayton Knight began recording while they were students at West Washington University. They are now Seattle based. Their signature sound of glitched-out vocals, soaring, visceral melodies and ear-gripping drums quickly amassed a huge fan base.