With all due respect to New York, Los Angeles, Atlanta, and Miami, the epicenter of the rap universe in 2016 just may be Chicago. With young stars ranging from Chief Keef to Chance The Rapper to Lil Bibby to Vic Mensa, the Windy City continues to push the boundaries of hip-hop music and culture. The latest artist to emerge from this hotbed of talent is Mick Jenkins, a gifted lyricist who has built a strong buzz online with a series of acclaimed mixtapes. Now, one of those collections will be available in physical format for the first time ever, with a limited-edition vinyl pressing of "The Water[s]" set to hit stores soon. Originally released online in late 2014, "The Water[s]" features appearances from fellow rising stars Joey Bada$$ and Noname Gypsy, plus production from Statik Selektah, Kirk Knight, J.U.S.T.I.C.E. League, DJ Dahi, and many more. XXL called the project an “indisputable success”, declaring Jenkins “a formidable opponent to some of hip-hop’s most highly regarded MCs”.
A limited pressing from the creator of the scratch roulette series... A collection of sound FX, phrases & noises now on 45... Caution: Not for the weak-wristed!
With the official follow-up to the classic "Operation Doomsday," MF Doom has hip hop heads foaming at the mouth. Cooked up with his special herbs and spices, get ready to devour "Mmm...Food," with the help in the kitchen from Count Bass D, Mr. Fantastik, and the good folks at Rhyme Sayers Entertainment.
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.”
As half of Heltah Skeltah, 1/8 of the Boot Camp Clik, and with a successful solo career in his own right, Sean Price (Brooklyn, NY) had a cult-like following, releasing critically acclaimed projects such as ‘Monkey Barz,’ ‘Jesus Price Supastar,’ and ‘Mic Tyson.’ Sadly, just two weeks before the scheduled release of Songs In The Key Of Price, Sean Price passed away in his Brooklyn apartment. The entire music community has since been grieving his untimely death, though the release of this 30-track mixtape offers an opportunity for fans and friends alike to celebrate the life and career of the storied MC.
Thundercat returns with his first solo material in two years with the mini-album “The Beyond / Where the Giants Roam”. Fans won’t have to wait long for Stephen Bruner—the virtuosic bassist and singer-songwriter behind the Thundercat handle—to unleash the 6-track set. The album sees him returning to the Brainfeeder fold after having already made outstanding contributions to two of the best reviewed albums of 2015 to-date: Kendrick Lamar’s To Pimp a Butterfly and Kamasi Washington’s The Epic. Where the Giants Roam takes listeners on six spiraling excursions to the outer limits of jazz-funk. The follow-up to his sonically adventurous and widely praised second album Apocalypse sees Thundercat team back up with longtime sparring partner Flying Lotus, who co-produced three of the albums tracks. The legendary Herbie Hancock also pops up on keyboards on “Lone Wolf & Cub,” and there are contributions from fellow Brainfeeder family members Kamasi Washington, Miguel Atwood-Ferguson and Mono/Poly on sax, strings and production respectively.
Little Dragon return with a spectacular second album offering in August, a pulsating electro pop epic that Prince would be proud of (only fronted by a beautiful Swedish lady with a sultry voice). A bold and surprising side/two step onwards from their self titled debut, released two years ago to great acclaim especially among specialist circles. Machine Dreams, with its nagging hooks and gloriously infectious tunes, should finally see the band break out into the mainstream.Recorded in their home city of Gothenburg, Machine Dreams is a gigantic leap on from previous material but still maintains a distinct sound that can only be Little Dragon. Be it Yukimi s warmly inviting vocals, Erik s dextrous drumming, the vast array of synths and bleeps created by Hakan or Frederik s bubbling bass lines, together they don t sound like anything else around right now. The move towards a more electronic sound was a conscious one, as Yukimi explains; The title Machine Dreams seems obvious. These days, humans seem more and more like machines, and as technology evolves, machines feel more human and it becomes fuzzy and beautiful and science fiction-ish. We feel dependent on our machines to create and live, and their sounds reflect us .Album opener A New breaks us in gently with a single whirring note on the synthesiser, an almost alien sound that gradually morphs into a slow, thumping bassline. Yukimi s vocals flow alongside Hakan s assortment of sound effects interspersed with militaristic drums breaks. A magical opener that sets the scene and seems to sink into itself, taking us with it, until the pace is swiftly ratcheted skywards with Looking Glass , the massive snare, crisp driving beat and experimental synths revealing the band s current penchant for the 80 s. This influence continues apace into stand out track My Step . Utilising a solid drumbeat that nestles next to jagged and playful synthlines, the track breaks down into motorik propulsion with a scuzzy techno bassline that Yukimi works with ease. Upcoming single Feather finds Yukimi s voice at its most detached and blaze, seemingly nonchalant yet magnificently seductive. Backed by Hakan s keyboard atmospherics, the song creates a soundscape reminiscent of Tears For Fears more reflective moods. Gradually layering more vocals, synths, echoes and reverb, it builds to a quietly psychedelic, dreamy cosmic swirl. Runabout brings forth a mini Airto style percussive breakdown at the tail end of yet another Little Dragon pop gem. Swimming bursts forth into vision with stabbing keys and reflective bass alongside yet another wonderful vocal performance from Yukimi who sings of young love and now so many years have past, my memories as clear as glass . The song is over as quickly as it started, flowing into the next miniature masterpiece in the form of Blinking Pigs The album closes with the stunning track Fortune , which has already caught the attention of none other than DJ Shadow. It s no wonder really, as the textured melodies blend with the drifting percussion, creating a blissful sonic mood. With a smattering of drums and bass and the magic of Yukimi s voice and Hakan s electronic dynamics floating on top, it s the perfect track to end this fascinating journey through Little Dragon s brave new world.With disparate influences from Depeche Mode to Prince, LCD Soundsystem to James Holden, Dancehall to R&B, Jazz and Soul, Little Dragon take their place among artists who straddle many genres, yet somehow create their own and in doing so create sounds that make time stop (Yukimi). Futuristic yet somehow retro, Machine Dreams sees Little Dragon achieve something timeless; that elusive pop classic.
Joey Badass is a 19-year old rapper from Brooklyn, NY. He burst onto the scene in 2012 with the release of his 1999 MIXTAPE, which was downloaded over 2 million times. Since then Joey has gone on several worldwide tours, performing with the likes of Wiz Khalifa, B.O.B., Disclosure, Kendrick Lamar, Schoolboy Q, A$AP Rocky, Big K.R.I.T & more. Joey Badass is now preparing to release his debut album, B4.DA.SS on January 20th, which also happens to be his 20th birthday. The album has production from Hit-Boy, DJ Premier, J Dilla, Statik Selektah, Kirk Knight, Chuck Strangers, and more. B4.DA.SS also features tracks with Kiesza, Action Bronson, Chronixx, Elle Varner, Maverick Sabre, BJ The Chicago Kid, & more.
Ritual Union finds the experimental, late-night charm of their debut LP colliding with the more upfront and danceable sounds of Machine Dreams. Already a blogger's delight, the first single 'Nightlight' sounds like Erykah Badu fronting the Psychedelic Furs, with a healthy smattering of digital Funk and Alt.Soul. 'Brush The Heat', their most club-friendly track yet, is a dancefloor detonator with the most infectious cowbells since Jay-Z told us about his '99 Problems'. Title track 'Ritual Union' is sleek and soulful Electronic Pop at its best. Little Dragon released Ritual Union after having collaborated on recordings by Gorillaz (Plastic Beach), TV on the Radio’s Dave Sitek (Maximum Balloon), SBTRKT (SBTRKT), and Big Boi (Vicious Lies & Dangerous Rumours). The album was recorded during gaps in their schedule as worldwide support for Gorillaz.
An original member of New York’s new-school pioneers the Ultramagnetic MCs, Keith Thornton is best known as a solo rapper. His signature style is stream-of-consciousness lyrical flow and complex vocals, two skills that earn him a perennial nod from the underground hip-hop community. The average Kool Keith album is peppered with bizarre, disjointed, even delusional or disassociated themes, concepts, and references. Nearly all of his albums incorporate a satirical dislike for more commercialized strains of hip-hop, as well as major record label scams. After single-handedly redefining "warped" as the mind and mouth behind the Bronx-based Ultramagnetic MC's, "Kool" Keith Thornton - aka Rhythm X, aka Dr. Octagon, aka Dr. Dooom, aka Mr. Gerbik - headed for the outer reaches of the stratosphere with a variety of solo projects. A onetime psychiatric patient at Bellevue, Keith's lyrical thematics remained as free-flowing here as they ever were with the N.Y. trio, connecting up complex meters with fierce, layers-deep metaphors and veiled criticisms of those who "water down the sound that comes from the ghetto." His own debut single, "Earth People" by Dr. Octagon, was quietly released in late 1995 on the San Francisco-based Bulk Recordings, and the track spread like wildfire through the hip-hop underground, as did the subsequent Dr. Octagonecologyst full-length released the following year. Featuring internationally renowned DJ Q-Bert (of Invisibl Skratch Piklz) on turntables, as well as Dan the Automator and DJ Shadow behind the boards, Dr. Octagon's left-field fusion of sound collage, fierce turntable work, and bizarre, impressionistic rapping found audiences in the most unlikely of places, from hardcore hip-hop heads to jaded rock critics. Although a somewhat sophomoric preoccupation with body parts and scatology tended to dominate the album, Keith's complex weave of associations and shifting references is quite often amazing in its intricacy. Universal Music Enterprises (UMe) will continue its Respect the Classics tribute to many of hip-hop’s finest with the vinyl reissue of Dr. Octagon's underground masterwork Dr. Octagonecologyst with a trippy 3D lenticular cover that appears to suck you right into Dr. Octagon’s crazed world.
Prince designed "Purple Rain" as the project that would make him a superstar, and surprisingly, that is exactly what happened. Simultaneously more focused and ambitious than any of his previous records, "Purple Rain" finds Prince consolidating his funk and R&B roots while moving boldly into pop, rock, and heavy metal with nine superbly crafted songs. Although Prince's songwriting is at a peak, the presence of the Revolution pulls the music into sharper focus, giving it a tougher, more aggressive edge. Even with all of his new, but uncompromising, forays into pop Prince hasn't abandoned funk. Taken together, all of the stylistic experiments add up to a stunning statement of purpose that remains one of the most exciting rock & roll albums ever created.
Following a year that saw the 50th entry in the long-running series released to wide acclaim, DJ-Kicks returns in 2016 another landmark edition. Iconic Detroit DJ and producer Moodymann is at the helm for his first ever multi-artist DJ mix compilation. Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music’s most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic. Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon’s aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard-to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house. In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, DJ-Kicks showcases the taste, skill, and soul of a dance music original.
Limited Edition of 500 Copies on black-white-marbled wax! With special printed brand new cover artwork by Georgia Anne Muldrow! For the first time this KanKick classic is finally available on Vinyl! Heavy 2LP press!
From Leaving Records, the debut album from drummer Deantoni Parks – John Cale, Sade, The Mars Volta, Flying Lotus collaborator. The relationship between music and technology is always evolving ... but true music can not exist without a soul. Some extraordinary musicians augment their natural talents with technology, adopting its benefits to fuel their own singular vision, and that is the basis of Deantoni Parks' debut album Technoself. Parks is one of the finest drummers working today, displaying a sleek and intuitive balance between raw rhythmic physicality and machine-like precision. He can play on one hand what many great drummers could not achieve with two – which he does frequently. His skills have seen him perform with artists such as John Cale, Sade, The Mars Volta, Flying Lotus and his own boundary-pushing group KUDU, among others. Notable collaborations aside, Parks is an artist in his own right, constantly in motion and expanding towards something new. On Technoself, you hear Parks totally in control. Three of the tracks were recorded live in a session at Dub Lab, the others in a studio. In his own words, "The sound result of Technoself is a digestion of sounds being refined, filtered, and re-arranged in the time period of the average thought." There are no overdubs or loops on this record. The sound is that of "segmented, split-second curated soundscapes atop a highway of refined, war-drum rhythms." The album plays out like a percussive crash course winding through Parks' diverse influences and moods, where the only constant is Deantoni's unmistakable sense of movement. In this case, the most important piece of technology turns out to be the human body.
The fourth release on Austin Boogie Crew Records is one we couldn’t be more excited to roll out: an undeniable 45 from none other than Starship Connection! Representing San Francisco, Starship members B.Bravo & Teeko have been leading the scene for years with their unique brand of modern and hiphop infused funk. With their first appearance on ABC, the duo offers two complimentary jams... A: “Heartbreaker” (105 BPM) An amazing modern funk cover of the Zapp & Roger original. Driven by talkbox harmonies, cracking drums, thumping bass, and slick halftime break downs, Starship puts their signature twist on a classic. B: “Do It 4 U” (102 BPM) A sweet and sultry midtempo stepper exclusive to this 45! The duo chills things out on this one, offering declarations of love and devotion on the talkbox over a killer groove.
180 Gram heavyweight vinyl, includes CD copy of album. A lot of people have one album that changes their lives, something that in some way alters everything after the first moment the hear it. 1999's Agaetis Byrjun is that album for a lot of people. Agaetis Byrjun (a good beginning), is actually Sigur Ros' second beginning. Three years previously they released their debut album, Von. After that the trio became a quartet and they evolved into something astounding. As suggested by a lyric from Agaetis Byrjun's title track, Sigur Ros had bigger ambitions after releasing Von. Agaetis Byrjun gradually grew into a huge commercial success in Iceland, remaining in the top of the charts for over 2 years. Dave and Alex from Fat Cat Records had had their eye on Sigur Ros since 1998 and quickly signed the band to their label following Agaetis Byrjun's release. The first indication of the critical acclaim the album would receive abroad came with the release of the Svefn-g-englar EP in September 1999. Ecstatic reviews began emerging and gushes like "the last great band of the twentieth century" and "like god weeping tears of gold in heaven" were not uncommon. Agaetis Byrjun became available to the rest of the world in 2000 when Fat Cat released the album in the UK, and in 2001 when PIAS Recordings released the album in North America. Agaetis Byrjun was an album that came literally out of nowhere and seemed to tug at the heartstrings of those who least expected it. No one thought an album by an unknown band of four shy Icelandic men in their early-20s, singing in Icelandic, would become the worldwide music phenomenon it became. The record label projected the album to sell 1500 copies - it has to date sold several million copies.
Sometimes you just gotta make dreams come true - it’s a big honor for us to realize the first Big Pun posthumous release after 15 years on Vinyl! Features KRS-One, Marley Marl, Kool G Rap, Cormega, Easy Mo Bee & Shaquille O’Neal!! Authorized big Domingo and his Rios family this release reminds us all about the lyricial genius Big Punisher - rounded off with an incredible Cover Artwork!
"If one is ever curious of the music that came out of the tough street punk scene of Philadelphia fifteen years ago, one could put on a Virus record. One seeking some insight to the way of living in the humble streets of Jamaica in the seventies, could put on a Maytals or a Marley record. It is difficult to give these records as much as a vague listen without feeling at least a hint of their lives in your presence. Similarly, if one seeks a record that will give them a somewhat surreal, yet accurate experience of the life in the modern age, one needs to look no further than Strange Journey.Ignition, an introductory track, is a thirty-second mission briefing, which commences the lyrical journey seeking to try and explore the complexities of the human mind and spirit of today’s world. The beat the drops for the first musical track of the LP, and who better to introduce such an ambitious and surreal lyrical journey than Del the Funky Homosapien? Del and Natti of CunninLynguists do well in setting the stage for the production in the track “Strange Universe”, and they do well in letting the listener know that the journey will in fact be very strange.The next couple of songs focus on contrasting aspects of urban life, with “In the City” describing the many dark aspects of city life over a spacy and mellow instrumental, while “South California” focuses on the more positive aspects, specifically the beautiful women of Southern California, on a beat similar in vibes to the former, with an added Beatles-esque feel.The following track “Drunk Dial” is a standout track in the album, a comedic portrayal of a situation that many of us are much too familiar with today, resulting from the combination of alcohol and the cell phone. Guided by Kno of CunninLynguists’ incredibly catchy chorus, the song will have you vibing out to the entire album.The next few tracks, “The Morning”, “Innerspace”, “Guide You Through the Shadows”, and “Castles” further explore the human soul through varied ways, with strong lyricism focusing on aspects such as sex, age, isolation, and guidance out of dark roads in life, and how all these things play out in and affect one’s life.“Kings” is the next track and stands out as what might be one of the strongest tracks on the record. The excellent lyrics are presented with excellent delivery, accompanied by a very strong hook by Sheisty Khrist and backed by a beat that manages to stay consistent in musical style, yet create a much larger feel in what might be the climax of the album.The pace of the record begins to slow down as the end of the record approaches. “Hot”, “The Format”, “Dying Breed”, and “Makes You Wanna Cry” provide a pleasurable listening experience with a more relaxing and smaller feel, assisted by lyrically focusing on the feelings of helplessness commonly present in today’s rapidly changing world, corrupted with violence, religious conflict, technology, etc. “Beyond the Sun” proceeds to add a bit of light to the dark theme of the previous tracks, and is a more hopeful and positive look at the world in which one has the privilege to live in.The power and the artistry of Strange Journey Volume Three is a breath of fresh air to not only the hip-hop community, but the music community in general. The album is a genuine piece of modern art, as it does an exceptional job in trying to make sense of the senseless and changing world around us, something that is universally strived for across genres and achieved by few. The music of the record are worthy of praise themselves, as one would be able to listen through an instrumental version of the album as easily as the original. Excellent work, and congratulations to the CunninLynguists for their great work!" (Victor Hernandez, Collective Lifestyle)
As one of the MCs in the classic crew NWA, Ice Cube made a name for himself at an early age, helping to pioneer West Coast hip-hop. Ironically though, Cube's debut solo album, AMERIKKKA'S MOST WANTED, is deep-rooted in fast-paced tracks that are reminiscent of the East Coast sound that help define Public Enemy. In fact, it was the Bomb Squad who produced most of the album. Tracks like "The Nigga ya Love to Hate" and "Turn Off the Radio" are high-energy gems that show the fiery delivery that helped make Cube one of the industry's true stars. Recommended tracks include "Once Upon a Time in the Projects," "Rollin' Wit the Lench Mob," and "Endangered Species (Tales From the Darkside)," the last of which has a guest appearance from Chuck D. AMERIKKKA'S MOST WANTED is truly one of the defining albums of the rap age; an instant classic that's sure to stand the test of time.
Breakthrough is the debut full-length album from the Gaslamp Killer, a manic and mystic trip through the mind of a madman. Resident DJ and co-founder of the mythic Low End Theory club night in Los Angeles, the Gaslamp Killer is known across the globe for his impeccable turntable skills and high-energy performances. He delivers the same fire to Breakthrough, a project pulled from within his soul that is his strongest musical statement yet. Blending California-inspired psych with widespread global influences, Breakthrough is a musical anachronism, an unconstrained compilation from a wandering spirit. Finding new clarity through human connections after years on the road, the Gaslamp Killer’s evolution as an artist continues with Breakthrough. Overcast with ominous tones, loose drums and contorted sounds, Breakthrough is much more than a collection of beats; it is a musical project that reflects the culmination of almost a decade’s worth touring and performing around the world. Laying his hands on production and live drums, the Gaslamp Killer brings together a potent cast of friends to contribute to the album. Featuring guest appearances by Gonjasufi, Adrian Younge, Dimlite, Daedelus, Samiyam, Computer Jay and more, Breakthrough is a journey of creative connection, a tribal ceremony loaded with a sense of fellowship that reflects the Gaslamp Killer’s devotion to the collective experience. Lacing the album with ancient dust, Gonjasufi lends his gritty voice to instantly grasping “Veins” and the easy, grainy groove of “Apparitions.” Finding a frequency of high-strung horror, “Flange Face (with Miguel Atwood-Ferguson)” drops with a feeling of impending doom, a heaving monster with cinematic strings and meteors falling from the stars. “Impulse (with Daedelus)” immediately descends into madness, spinning out of control amidst wicked sound contraptions and a blurry, bass-driven melody. Named after the Gaslamp Killer’s grandfather, “Nissim (with Amir Yaghmai)” travels through a host of emotions, evolving from the solemn strums of a yiali tambur into a sunny tune that instantly transports you to Istanbul. “Seven Years of Bad Luck for Fun (with Dimlite)” slices the spine down the middle with chills, a cold-blooded tremor that congeals as it crawls through the shadows. Grabbing your breath through your guts and flinging off into the ether, “In the Dark”, is an encompassing track whose twisted strings and heavy horns overtake the album’s denouement with a shuddering glimpse of the end of the world. To his ever-expanding fanbase, the Gaslamp Killer is much more than a DJ or producer; he is a master crafter of the collective experience, a shaman of spiritual escape found by following the beats. The journey continues; turning 30 this year, the Gaslamp Killer has only scratched the surface of himself as an artist and a person. Resonating on a deeper level, Breakthrough is the Gaslamp Killer’s spirit shining through the haze, breaking through the foggy veil of singularity to find the human connection.
For the first time in over five years, the catalog of Boards of Canada will be reissued on vinyl courtesy of Warp Records. The albums Music Has the Right to Children (1998), Geogaddi (2002) and The Campfire Headphase (2005) will be reissued in October of 2013 while Twoism (1995), In a Beautiful Place Out in the Country (2000) and Trans Canada Highway (2006) will follow. Each Warp reissue comes with a download code and an original BOC sticker design from the era. For 2005's The Campfire Headphase, Boards of Canada took the lens flare electronics they'd made their name with and added treated guitars and bigger production values. The result is a colourful record that rolls like a VHS road movie. The twanging guitar on "Chromakey Dreamcoat" sounds like crossing a desert highway, while "Peacock Tail" is one of their most epic and transcendent moments, with its twinkling keys and lulling waves of synths. It's then followed up by the soaring atmospheres and big riffs of "Dayvan Cowboy." Penultimate track "Tears From The Compound Eye" is a gentle balm of static and delicate ambience, as moving as any film soundtrack. A rich and immersive album to sink into, filled with beautifully realized drama.
Cavern Of Anti-Matter is the new project from Stereolab mainman Tim Gane, now Berlin-based and collaborating with original Stereolab drummer Joe Dilworth, and synth wizard Holger Zapf. This is their first album proper following limited edition vinyl releases on Grautag, Deep Distance, Peripheral Conserve and Associated Electronic Recordings. Void Beats/Invocation Trex also features contributions from Bradford Cox (Deerhunter), Sonic Boom (Spacemen 3) and Jan St. Werner (Mouse On Mars).
"Tap Water" is XL Middleton's first full-length LP in the modern funk mode. As with his previous single releases such as "Keep It Funkin" & "Press Play" (with Zackey Force Funk & Eddy Funkster), Middleton seeks to continue building on the links between 80's boogie funk & 90's g-funk, drawing heavily from both wells to create a fresh new sound that pays homage to its blueprints while continuing to progress and innovate at the same time. For the most part, the songs on "Tap Water" avoid the instrumental-only ethos of much of today's funk, instead opting for more traditional song structures, resulting in music with easily relatable content. Whether it's a love song ("I'm Ready"), a lust song ("Psychic"), speaking out on the disposable, trend-obsessed culture of the modern day ("Do Me Like That"), or simply declaring his funk dominance ("Bumpin'"), "Tap Water" is a well-rounded album designed to appeal to anyone from the most discerning funkologist to the more casual purveyor of all things on the one.
"Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Ze dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. I'm still surprised by what I wound up with. It was the first time I'd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasn't recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village. The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in." -- Liz Harris
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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• If you are confused or need to know about an order placed on the site you can contact us
• Order processing time is separate from shipping time requested.
• International orders and orders that require additional credit verification can take longer to process. Please be available at the provided number or email submitted to speed up verification time.
•We try and offer as many upcoming projects available for pre-order when the releases have moved into production. However, due to the nature of manufacturing and production, pre-order dates may change. If your pre-ordered items are holding your package from arriving please email us with a request to ship the in-stock items and pre-orders when they become available.
•If your order contains pre-order items we will hold the package until all titles are available to ship. Please specify in the comments section of the checkout if you would like to: a) hold your entire order until it can be entirely fulfilled or, b) have the in-stock items shipped immediately and the pre-ordered items ship when available. Please note that option B may require additional shipping charges as multiple packages will be shipped.
• Our stock rapidly changes and we try and set in place a system that avoids purchasing items that become out of stock. However, if a product ordered is out of stock, we will reach out and give you the chance to change or cancel your order. If you choose to cancel, you will be refunded in full.
• IMPORTANT: If the address or phone number supplied conflicts with other information provided, i.e. billing information versus shipping information, we may need to contact you to verify your purchase. Please be available to verify or write an explanation in the notes section during checkout explaining the conflicting information.
•Please make sure you give us your correct billing address and your correct billing phone number. Again, it is highly important that you are available at the provided number or email submitted to speed up verification time enabling us to avoid fraudulent purchases.
• All sales are final. However, if the item ordered is different from the item you receive, please contact us and we can arrange to get you the desired product.
• We are committed to protecting your privacy. There is an opt-in policy to receive marketing and other e-blasts about future products available as well as deals and coupons. If you do not wish to receive these emails you can opt out by simply removing the check from the marketing box below upon check out. We will never sell your email or personal information.
• Your payment and personal information is always safe. Our SSL (secure server software) is the industry standard and among the best software available today for secure commerce transactions. It encrypts all of your personal information, including credit card number, name, and address, so that it cannot be read over the internet.
Fat Beats offers internship opportunities. You must be enrolled in college and reside in the Los Angeles area to be eligible for our programs. If you meet these requirements, please paste your cover letter below and we will contact you if there are open positions available.
We are currently offering an internship program that offers an educational experience in all facets of our distribution operation. The intern would have the ability to assist in each of the following departments:
Online Retail / Marketing
Shipping & Receiving
- Enrollment in an accredited college/university that offers an internship program for academic credit
- Knowledge and passion in independent music and culture; with a specific interest in the artists/releases that Fat Beats supports
- Familiarity with Microsoft Office applications
- Positive attitude - no task should be considered too small
- Must be located in the greater Los Angeles area
Resumes/Cover Letters should be emailed to email@example.com