"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.
Black Tea: The Legend of Jessi James is the debut album from renowned poet, author, and publisher, jessica Care moore. The album features guest appearances from Talib Kweli, Roy Ayers and Jose James. Black Tea is Jessica's debut Album via Javotti Media.
They say you can't go forward without going back. So to move to the future, Mega Ran had to go back to the beginning to say thank you, then to say goodbye. Ran's 2015 full length album channels the soul of "The Call," the nostalgia of "Forever Famicom" and blasts into the future with new age production and concepts, while exploring the concept of finding one's true self through deep soul searching and experimentation. Mega Ran calls this "the album of my life." Hip Hop, pop, electronica and funk/soul meet at the crossroads of introspective, hilarious and heartwarming songs featuring outstanding artists such as Kool Keith, Open Mike Eagle, MURS, Joell Ortiz and more. Also featured on the album is "Mighty," an empowering track that serves as the ending credits theme on the highly anticipated game "Mighty No. 9."
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.”
East Coast hip-hop duo the Underachievers formed in the Flatbush neighborhood of Brooklyn in 2011, comprised of rappers AK and Issa Gold. AK had originally been using the stage name "The Underachiever" and applied the moniker to the duo when they began, representing their fondness for smoking weed, experimenting with psychedelic drugs, and other interests which could be seen as symptoms of underachieving by mainstream society. Their curiosity for psychedelics bled through into a somewhat trippy sound that combined frantic rhyme styles with heavy, experimental production. A video for one of the duo's early tracks caught the attention of critically acclaimed producer Flying Lotus, who signed the group to his label Brainfeeder Records in 2012 and released two of their mixtapes the next year. Proper debut full-length Cellar Door: Terminus Ut Exordium saw release in August of 2014.
Deluxe edition includes two bonus tracks and 12 panel poster. 2015 debut album from the Houston-based rapper and record producer. He released his first official full-length project, a mixtape titled Owl Pharaoh, on May 21, 2013. He then released his second mixtape Days Before Rodeo on the 18th of August 2014. The buzz has grown, making way for this highly anticipated release.
Slice Of Spice is proud to present Overworked & Underpaid, the debut album from First Division, in conjunction with Spaghetti Bender Music and Soulspazm. This killer debut album is Boom Bap hip hop to the core featuring beats by Marco Polo (Executive Producer), DJ Premier, Kev Brown, Jake One, The Doppelgangaz, BeatWyze and guest appearances from Prince Po, Rah Digga, Torae, Hannibal Stax and more.
Skepta is possibly the most talked-about grime artist on the circuit, and this is his debut artist album proper. No ordinary street mixtape; this is the real deal, a full album project. By the time of this CD's original release, Skepta had already been featured on MTV Base About to Blow, graced the pages of magazines from i-D to Dummy to RWD to Blues & Soul, and performed the world over, spreading his sound across Israel, Russia, New York, and Europe, with stops at such UK festivals as Glastonbury and V -- all before releasing an album. Here, the producer, MC, and stage-show master treats fans of Boy Better Know and club anthems like "Doin' It Again" and "Single" to 15 tracks of unadulterated grime. Skepta's perfectionist streak ensures that these are full songs, a combination of party lyrics and concepts that, while drawing from the underground, stands firm among the commercial.
Ambient Krautrock in line with Cluster, Popul Vuh, Tangerine Dream by JJ Whitefield (Poets of Rhythm/Whitefield Brothers/Karl Hector & The Malcouns). Download card included. Now-Again Records has enjoyed a long and creative partnership with Munich-based multi-instrumentalist JJ Whitefield, creative force behind the Poets of Rhythm, Whitefield Brothers and Karl Hector & The Malcouns. Rodinia, his latest project, is quite different than anything that’s come from his oeuvre to date, but follows in the line of the Poets of Rhythm’s great Discern/Define, as it reaches back to Krautrock’s experimental heyday but pushes its boundaries with a post-hip-hop approach. That’s to say that everything you read in the header above is true, but the ambient sound Whitefield and his Rodinia collaborator - saxophonist and keyboardist Johannes Schleiermacher – reached for found itself morphing over the course of a year. What was originally recorded in a two-day studio lock-in, which found Whitefield and Schleiermacher hooking up “all our vintage synths (Korg MS-20, Moog Prodigy, Roland Juno 60, Jen SX 1000, Korg Polysix), triggering everything with a vintage Korg rhythm box, absorbing some mind altering substances and jamming out,” was later turned into two, side-long suites, with over-dubbed reeds, drums and guitar, and self-made Moroccan field recordings introducing the project on its Drumside. The result is as winsome and exploratory as those from their forebears, but respectfully distanced from the past’s trappings. With original artwork by Jason Jagel (DOOM’s Mm Food, Operation DOOMsday).
After treating fans to a slew of Friday freestyles that spanned the entirety of Spring, Styles turns his attention to his forthcoming album. A Wise Guy And a Wise Guy will be released on October 9th and features a host of guest vocalists, including Chris Rivers, Dave East and Tyler Woods, and, of course, Sheek and Jada. The first single from the album is titled “My Party” and features ‘Kiss.' - AFH
DOOM's most recent solo album following 2004's MM..FOOD Guests include Ghostface, Raekwon, Bumpy Knuckles, Charles Bukowski with beats from J Dilla, Jake One, Madlib and the supervillain himself.
Semi Hendrix is the acid inside the headband and the fork inside the electric socket. It’s hard-core hip-hop, furious voltage spiked with funk and soul. It’s political and street, cerebral and reckless. It’s Jack Splash and Ras Kass running roughshod over everything from economic inequality to racist government policy to your girl. The album title is Breakfast at Banksy’s. Consider it the rare soundtrack for the revolution and the party. The duo formed following Splash’s world tour with his underground cult funk band, Plantlife. Upon its conclusion, the 10-time Grammy-nominated producer and three-time winner decided to leave Miami in favor of Los Angeles. For the native Angeleno, this was where it all began. He’d seen incredible success over the previous decade, producing for Cee-Lo, Alicia Keys, Kendrick Lamar, and a slew of others. But he wanted to return to his roots and make a pure hip-hop album, a passion project with no input from industry types. “I decided that if I was going to make true art, then I needed to work with the best of the best…the Picasso of the West Coast,” says Splash. “And everyone who comes from LA knows that it doesn't get any better than Ras Kass.” If you’re unfamiliar with the Waterproof MC, you need to stop reading this and listen to Soul on Ice, Rasassination, and any of the tracks bodied by the Golden State Warriors (Ras, Saafir and Xzibit). Once you’ve done that, you understand why the Carson-bred rap beast is one of the coldest MCs to ever hypnotize an audience. But neither Splash nor Ras has even done anything quite like Semi Hendrix—probably because no one has ever done anything quite like Semi-Hendrix. It’s a warped psychedelic odyssey glimpsed via two brilliant minds in a crooked world. Produced entirely by Splash, the instrumentals recall classic genre-liquefying experiments like DJ Shadow’s Endtroducing and Bizarre Ride II The Pharcyde. You can file Semi Hendrix somewhere between Gnarls Barkley and Run the Jewels. Faded acid-washed freak-outs fade out from raunchy comedy clips. There are shredding guitar solos and nimble funk lines. Meanwhile, Ras Kass spits flames about Brooklyn hipsters, greedy record labels, and Capitalist inequality. He interweaves Thomas Paine’s anti-Colonial tract, Common Sense with the rapper born Lonnie Lynn. In the course of four bars, he’ll slip in references to Biz Markie, Star Trek, Duke Ellington, and Cab Calloway. The intellect is staggering, but never self-serious. He’ll go from talking about squirters to indicting “Stop and Frisk” policy. The sound is kaleidoscopic. Nothing is sacred. Guest spots include Brothers Voodoo, Cee-Lo and Raheem DeVaughn, Teedra Moses, Kurupt, Montego Meli, Alice Russell, Wrekonize, and Jessica. But for all its virtuosity, this is 100 percent raw. If you wanted to know who Semi Hendrix are, the answer is simple: they’re the wildest style.
Prof, the newest signee to Rhymesayers Entertainment, is already a legend on the southside of Minneapolis. With three self-released albums, plus three additional mixtapes of exclusive material already under his belt, it should come as no surprise he's been tirelessly making music for over a decade. While he's continued to develop over that time, both musically and artistically, he's also fine-tuned his live show to such a spectacle that he's undeniably made a lasting impression on the scene. As an entertainer, Prof shows incredible diversity. Whether artistically, or characteristically, he purposefully maneuvers between the parallels of inconceivable experiences and extraordinary fantasies. From the factual to the fictitious, there’s seemingly no end to the number of unique narratives or deliveries at his disposal. Once considered the underdog, Prof has fought his way to the forefront of the scene and amassed a ravenous following along the way. On Liability, Prof describes our world; a place where a harsh environment and poor circumstances can make someone abandon their expectations and change their moral compass. The album takes the listener on a journey of incredible range, and ultimately calls attention to the often unseen conditions that lead individuals down the regrettable paths of being fighters, drunks, drug addicts– or simply put, liabilities. With impressive guest appearances from Tech N9ne, Waka Flocka Flame and Petey Pablo, and a list of production credits that includes Ant (Atmosphere), Aesop Rock, Big Chocolate, Mux Mool, Curtiss King and more, this album is without a doubt Prof's greatest work to date.
For the past few years Rabit (aka Houston, Texas based producer Eric Burton) has sent shockwaves through the underground via a series of acclaimed 12” and EP releases, building an increasingly bold and challenging discography. He’s been at the center of some of the most exciting, emerging electronic communities, sharing ties with both the Berlin based, dance deconstructionists of Janus (Lotic, M.E.S.H.) and with UK based grime experimentalists like Mumdance and Logos. With the release of Communion, the follow up to his acclaimed EP (and Tri Angle debut) Baptizm, Rabit shows no signs of letting up. As a sound designer Rabit has continued to push himself into new and compelling territories, reshaping various ‘club’ sounds into something alien and unpredictable, but with the release of this album he’s heavily politicized his music in a way he’d only hinted at before. The deeply personal aspect of his creative process, and what has been described as an “ intangible something “ in his music, resonates with listeners on a gut level, both pushing and pulling the listener into a world of destruction and rebirth. ‘Communion’ is a complex, disorientating album, and one that feels especially timely considering it was primarily inspired by issues relating to sexuality, gender, ownership of our natural bodies, societal and governmental injustices, and media manipulations, the discussion of which have been so prevalent of late. Consequently ‘Communion’ runs the full gamut of emotions; confusion and bewilderment transforming into anger and confrontation, finally ending up in a place of possible hope; the sound of earthly chains on the soul being broken.
From deep musical origins in Detroit, rapper/singer/songwriter Illa J has been slowly navigating his way through the oft-turbulent waters of Hip-Hop since the tender age of 13, when the young John Yancey aka Illa J wrote his first rhyme alongside his brother, the late great J Dilla. After his brother's passing in '06, he began teaching himself piano, bass and taking vocal lessons while finding himself touring the world and recording a slew of Dilla-related projects, notably being an active member of Slum Village until 2014. His first solo album, '08s Yancey Boys and the Frank Nitt 2013 collaborative album Sunset BLVD were both released on seminal label Delicious Vinyl. Feeling the need for a change creatively as well as geographically, in 2012 John moved to the future music hotbed that is Montreal ultimately making the connection with Canadian producers Nick Wisdom & AstroLogical aka Potatohead People (whose acclaimed Bastard Jazz debut album Big Luxury in Spring 2015 featured Illa J on two hit singles). The success of their initial collaborations inspired the team to dive into the studio and embark on Illa J's new self-titled solo album, and present an entirely fresh sound of his own. The album Illa J, produced without any samples by Potatohead People alongside a few groundbreaking coproducers, showcases a more mature and at-ease Illa J who is equally comfortable on top of an electronic boogie-inspired beat ("Universe") as he is getting grimey over a trunk rattling G-Funk joint (the Kaytranada coproduced "Strippers"). On tracks like the sparse, Rhodes driven "Cannonball" (co-produced by Montreal's Noo Bap), and the early 90s Spiritual / Acid Jazz inspired "Sunflower", Illa flexes his muscles through both song and rhyme. And of course being true to his roots, the classic Detroit boom-bap sound is ever present on joints like "French Kiss", "Perfect Game" (quite possibly Rap's only ode to bowling), and "Never Left", a touching tribute to his brother and a call-out to abusers of Dilla's legacy. Vancouver mainstay MC Moka Only contributes invaluably to the cohesive sound of the album as well, providing signature smoothed-out vocal choruses to tracks like "She Burned My Art", "All Good Pt. 2" and "Who Got It" (co-produced by Mosaic).
The Detroit MC returns with his third album for Stones Throw, produced entirely by Katalyst of hip-hop production supergroup Quakers. Guilty Simpson may have worked with hip-hop production luminaries from as far afield as California, New York and the UK, but his roots are forever in his hometown of Detroit. It was fellow Detroit native J Dilla who gave Guilty his debut, on “Strapped” from Jaylib’s Champion Sound (2003), and “As Serious as Your Life,” a Four Tet remix. At Dilla’s request, Guilty joined the Stones Throw fold, releasing his debut solo album Ode To The Ghetto in 2008, which established him as one of Stones Throw’s flagship artists.Two years later, Guilty returned with producer Madlib for OJ Simpson (Stones Throw, 2010), which Pitchfork heralded as “cohesive, focused, and flat-out fun… one of the best hiphop records of the year.” Guilty’s next appearance on Stones Throw was shorter but no less pivotal, a guest verse on “Fitta Happier” by Geoff Barrow’s hip-hop production supergroup Quakers. Time spent with Quakers co-founder Katalyst in Australia yielded an artistic chemistry between the MC and producer, and led directly to Guilty’s third album for Stones Throw. Detroit’s Son distills the essence of what made Ode To The Ghetto an underground classic. With the subject of life in the Motor City placed front and centre, Guilty’s uncompromising rhymes fit seamlessly with Katalyst’s hard-hitting beats. The raps are every bit as gritty as on Ode To The Ghetto or OJ Simpson, but there’s also a little light relief on tracks such as “Smoking,” probably about as close as Guilty will get to a summer anthem. This is the Detroit MC on his best form, rapping over beats perfectly tailored to his rough baritone. Guilty Simpson has always been skillful at combining hardcore rap with thought-provoking observations about the world around him, and it’s this talent that comes to the fore on Detroit’s Son.
Full description and tracklist forthcoming.
Hot on the heels of a critically acclaimed debut album, Ruth Koleva presents a collection of remixes by some of the most respected names in contemporary dance music. The Bulgarian artist, still only 25, has become a national treasure, sharing the stage with legends including imperious jazz vocalist Bobby McFerrin, mentoring on popular talent show Music Academy and performing a sold-out concert to more than 1,300 guests at Bulgaria Hall with the Sofia Philharmonic Orchestra. As a vocalist and songwriter she excels in all things soul and nu-classic R&B – think Erykah Badu and Jill Scott – but as a music fan her tastes extend much further. She has always kept an ear to the ground when it comes to club culture and the roster of producer remixers on Rhythm Slave confirms that. In addition to stellar remixes from producers as varied as Eric Lau (Lupe Fiasco, Tawiah) to Mark De Clive Lowe (Sy Smith), fans can also enjoy two original tracks recorded especially for this album: ‘Tuk s Teb’, a feisty crowdpeaser, and ‘Breaktaking Moment’, a supercharged number that fuses drum and bass with strands of EDM, once again demonstrating the singer’s versatility. Koleva’s second album promises to be an even more intimate and affecting set as she heads into the studio in LA with producer Crooked Waters (Kan Wakan).
Dre's first album in almost two decades, now available on CD.
Like his sometimes collaborator Madlib, MF Doom is a beatmaker and MC who always seems to have his (metal) fingers in several different pies at once. SPECIAL HERBS: VOL. 0-9 is a collection of hip-hop instrumentals drawn from various corners of Doom's laboratory, and while the artist's gruff, distinctive vocals and associative rhyming technique are missed, the beats and sounds included here should give hip-hop heads plenty to appreciate. Like much of Doom's work, the tracks on SPECIAL HERBS: VOL. 0-9 ride mellow, deeply grooved beats adorned with samples that are melodic yet slightly off-kilter. The tracks are generally short, but there are 80 of them spread across two discs, plus a 10-track bonus disc, making for a veritable treasure trove of MF Doom beats. In addition to its value as background chill music, SPECIAL HERBS will also prove useful to DJs and budding MCs who are seeking fresh tracks to mix and flow over.
What happens to the victorious army when they've won the war but lost the Peace? How does a prophet continue to refine the message when its truth is so widely understood and accepted that it's changed the world around it? Can a band maintain its position at the vanguard of a musical revolution when everyone who came up with them thinks the fight is over? Ask Chuck D. For 30 years, Public Enemy have not only been first to the barricades to defend the community they're part of and the culture they helped shape - Chuck and his band have written the rule book on how to stay two steps ahead. In 1985 they bum-rushed the rap show and turned this new musical art form from a curiosity to a powerful political tool. At the end of the 20th century they wrested control of the means of production, helping to consign the music industry's business model to history's digital dustbin. So it's no surprise that in 2015, the noise the band is bringing rings loud and with clarity on matters their competitors and contemporaries haven't even started to think about. Chuck and PE led the fight for the rights of the artist against the corporation, and by any reckoning they scored a significant victory. But the win came at a cost. Today, anyone can make a hit that's heard and loved around the globe: but it's still the corporations that are making the money. Those who know, know who: where it was once about CBS, RCA and EMI, today's music-biz corporateplantationopolies are Apple, Google and Facebook. The pigs are walking as tall as the men, but it's impossible to say which is which. God certainly laughs at anyone who makes plans, particularly if those plans involve music and technology. And the law of unintended consequences applies equally to the rebel as to the oppressor. Public Enemy changed the world, and they helped change the music business. With this record, they remind us that revolutions never end - that for every victory to savour there's always someone new to fight. One of those targets includes what Chuck calls 'corplantations.' On 'Those Who Know Know Who,' Chuck bellows: "Flipping the news got the people confused/Abusing all the rhythm, leaving us with the damn blues." Chuck says, "I feel like the government controls the media and the people are not being fed the truth. The subtitle for Yo! Bum Rush The Show was 'The Government's Responsible.' Today, it's like 'The Governments Are All Responsible.'" And speaking of album titles, Chuck says Man Plans God Laughs was inspired by a comment that the legendary Dr. Julius Erving made in a documentary for which Chuck provided the voiceover. "When Dr. J said it, he was referring to all his plans for him and his brother, and then his brother passed away. "That spoke volumes." Chuck says, "The message I got from that was, 'Stay humble.'" He adds that "the sonics on that track were inspired by Run The Jewels, Yeezus and Kendrick Lamar's latest works." It's a good bet that the track Mine Again will resonate with PE's African-American constituency. It stands as one of the album's most powerful jams. Chuck agrees that Mine Again is about an African-American having a conversation with himself about his African roots and sounding conflicted about his identity. "I wrote the song a decade ago after experiencing Africa and getting a handle on all the turmoil going down in the motherland. Yes I'm conflicted because it's been a continent of conflict." The jam was co-written and performed by James Bomb of the S1Ws who has written a few poems over the years, he says. "I guided him to write within the context of a conflicted person going back to his roots. To claim the motherland for the soul to provide service of helping folks in a war ravaged nation was the core of the song." Inside a reinvention of the PE sound - the result of the latest collaboration between the band and long-time producer/musical innovator Gary G Wiz - this album nods back to the anthems of the past as it constructs analyses of the present that can help shape our understanding of the future. Once again, Chuck and his band reassure us that there's nobody else we can count on to stand up for those values - political, personal, creative - that separate the conscious from the consumptive; no band better placed to keep on fighting the powers that be.
Dividing his sophomore effort between weighty, radio-aimed numbers and loud, Gucci Mane-styled party tracks, Meek Mill is a fine ringleader on his 2015 LP, his first since 2012's Dreams and Nightmares and his first since becoming Nicki Minaj's romantic interest. That latter bit brought the rapper a significant amount of public pressure as the semi-secret relationship lit up all the hip-hop gossip pages. Still, the unfettered Dreams Worth More Than Money swaggers with the utmost confidence, ferociously declaring its reckless supremacy during the Rick Ross feature "Been That" ("Just me and Junior in the Brinks truck/Doing all this s**t we can think of"). Chris Brown joins for the highlight "All Eyes on You," a fictional and fun recounting of Mill and Minaj's first meeting where Meek claims he didn't even know the diva's name. Minaj appears on the woozy "Bad for You," offering a simple and sensual chorus that's right in line with the most revealing moments of her 2014 album The Pinkprint. Raw banger "Ambitionz" sits next to the utterly plush "Pullin' Up" with the Weeknd, and yet this variety show is still easy to navigate, acting like a Fast and Furious soundtrack with folks like Drake, Swizz Beatz, and Diddy dropping by, all carrying their prime material. In the end, the street-worthy effort seems more influenced by Maybach Music than Minaj, as it forsakes the paparazzi and gossip pages for the better and continues on the path first laid out on the man's mixtapes.
Abel Tesfaye has transitioned expertly from shadowy R&B trailblazer to full-blown pop presence. In the wake of his deeply influential trilogy of 2011 full-lengths and his addictive contributions to 2014’s Fifty Shades of Grey soundtrack—“Earned it” and “Where You Belong”—the Weeknd mastermind unveils another gorgeous collection of electrifying melody and brooding atmosphere. Beauty Behind the Madness features the Michael Jackson-like vocal moves of ”Can't Feel My Face,” the hypnotic thump of “The Hills,” and the psychedelic serenading of “Often.”
Verbal Kent's new album blends his precise and aggressive style to create his most cohesive and honest album yet, featuring production from Marco Polo, Apollo Brown, Oh No and more. Special Guests include Freddie Gibbs, Skyzoo, and Red Pill.