When ground-breaking hip-hop group Das Racist emerged on the scene in 2011, the music world was stunned by their originality and potential. However, the project was short-lived and following their now classic Relax album (and two amazing mixtapes) the celebrated outfit went on indefinite hiatus. Now Himanshu Kumar Suri aka Heems, co-founder of Das Racist and their driving member and vocalist, rises from the fray as a hip-hop contender in his own right. Continuing with a socially-conscious ethos, mixed with biting racial commentary and humor, Heems' debut solo album, Eat Pray Thug, is one of 2015's most-anticipated releases of any genre. “The album is a manifesto about being a young chap, being a brown lad in post-9/11 America. Of how to put your best foot forward as a brown man, as a brown body in a state of affairs where the brown body is consistently policed by Babylon and the white man and the white devil and a system that’s created to put the black and brown body in prison.” - Heems
'Unkut Fresh' is the long-awaited collaborative album by extraordinaire production duo Jazz Spastiks and Los Angeles based emcees Rebels To The Grain (Cheddy & MP). First hooking up around 2009, these 2 like-minded artists have quietly been working on this full-length project. Consisting of a combination of old and new tracks, 'Unkut Fresh' LP is most definitely worth the wait! 12" Black Vinyl with 3mm spine and full colour sleeve. Limited to 400 copies worldwide.
Scientist's name can be found all over any dub record collection; he was a protégé of King Tubby, and many would say that when dub fell on quieter times it was Scientist who breathed new life into it. His pared-down mixing style suited the dancehall reggae sound that arrived as the '70s rolled into the '80s. This 1982 album includes the priceless dub of Johnny Osbourne's classic "Give a Little Love," as well as further cuts of the likes of Hugh Mundell and Wayne Jarrett. Scientist is always in control. This reissue includes the complete original album (which listed its tracks only as "Five Dangerous Matches" on each side), plus six bonus tracks.
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This spine-rattling 1976 LP by Jamaican studio trailblazer King Tubby and producer/melodica player Augustus Pablo is the milestone dub album by which all others are judged. The unstoppable title tune—a dubbed-out version of Jacob Miller’s “Baby I Love You So”—is filled with persuasive power and vibe; the repetitive hooks rise out of deceptively simple sonic textures and keen ensemble playing. The entire album shimmers with similar hypnotic rhythms, from the opening tune (“Keep on Dubbing”) to the finale (“Satta Dub”).
Built on Glass is the highly anticipated follow up to Australian musician Chet Faker’s gold-selling debut 2012 EP Thinking in Textures. Built on Glass was recorded and produced by Chet himself over a two-year period and melds his effortless R&B vocals and pop melodies with a youth spent making house, disco and intricate beats. “I recorded the album at my home studio. I rent a small converted cooling room in the heritage listed North Melbourne meat market. Honesty is a big part of the record. I recorded with easily affordable equipment, the budget was tiny. It’s the first time I’ve ever worked on a full length and I felt like hi-fidelity wasn’t something to strive for working in a room on my own. Lyrically, I wanted to explore how my life directly affected my music – that’s the glass, I guess." Chet has had a dream run since the release of Thinking in Textures in 2012: sell-out shows across Australia, the US, UK and Europe; festival slots including the Laneway Festival, Splendour, Falls and Field Day; media support the world over (including Radio 1’s Zane Lowe and Huw Stephens, Pitchfork, Prefix Mag and Filter); deals with influential labels Downtown Records (US), PIAS and Chess Club (UK); and a series of heralded collaborations with Say Lou Lou, Kilo Kish and Flume. Back home, Chet Faker was nominated for five 2012 Australian Independent Record Labels Association (AIR) Awards, winning for Best Independent Single/EP and Breakthrough Independent Artist. He was also nominated for two Rolling Stone Awards for Best New Talent and Best Independent Release, winning Best Independent Release. His Flume collaboration, single "Drop the Game" and Lockjaw EP, was certified gold within weeks of its release and polled at #5 in the 2014 triple j Hottest 100.
Sometimes stargazing and sunset-watching is just what the doctor ordered. For those moments, you might want the smooth R&B/rap-infused electronics of Ryan Hemsworth to pull tight around you, warding off the chill and soothing a rattled soul. Guilt Trips is the full-length debut of the Canada-born Hemsworth. Opening with the kaleidoscopic, slow-motion cartwheels of “Small + Lost” (featuring the sultry vocals of London singer Sinead Harnett), Guilt Trips reflects Hemsworth’s studied ear for collaboration and genre-melding. The floating “Against a Wall” features Miami rapper Lofty305, with the vocals playing second string to a heady ebb and flow of synth patterns and shifting backdrop textures. Baths (Will Wiesenfeld) appears on the mood-shifting “Still Cold,” giving the collection a skewed dose of pop melancholy. Instrumentals like “Weird Life” put atmospheric washes to work balancing out the crackle and pop of electronic polyrhythms and echoing vocal loops. “One for Me” drips with Tinashe’s buttery, soulful voice before the hard edge of rapper Haleek Maul glints on “Day/Night/Sleep System.”
Canadian producer Ryan Hemsworth has buzzed about the avant beat-making scene since 2010, when he began producing tracks for an assortment of underground emcees and remixing the likes of Kanye West and Grimes. His second album is his most whimsical; its playful textures recall The Postal Service as much as Drake. "Snow in Newark" is melancholy cloud rap with an understated chorus, while "Surrounded" bounds between wily drum and bass and slinking ambience. At once languid and restive, the tracks flit this way and that, their ranging influences flying by like billboards out the window of a speeding car.
In celebration of Björk’s mid-career retrospective at the Museum of Modern Art in New York, and the release of the Björk: Archives book, One Little Indian is reissuing the Björk vinyl back catalogue, and for an exclusive period the vinyl will be coloured to the hue that personifies that album character. Limited run of 5000 copies. Bjork's work turned softer and more intimate on 2001's Vespertine, an album inspired by concepts of love and sex. Sweepings strings are heavily featured on the album, as are glitchy, microsounds created by the American duo Matmos. Her intimate and celestial fourth official full-length outing features largely whispered vocals, micro-beats and lush strings which envelop and seduce the listener. As delicate as it is beautiful, Vespertine stands as one of Björk's crowning achievements. Includes the hypnotic singles "Hidden Place," "Cocoon" and "Pagan Poetry."
In celebration of Björk’s mid-career retrospective at the Museum of Modern Art in New York, and the release of the Björk: Archives book, One Little Indian is reissuing the Björk vinyl back catalogue, and for an exclusive period the vinyl will be coloured to the hue that personifies that album character. Limited run of 5000 copies. Never one to shy away from collaboration, Bjork pulls in the help of Mark Bell (from LFO), a fourteen-piece brass section, and Malian, Congolese and Chinese guest musicians, as well as the commercial hip-hop and R'n'B beat-meastros, Timbaland and Danja to input into her 7th studio album. The two tender duets with Antony Hegarty as tension respites from an album that is often heavily electronic, bold, fierce and brilliant throughout.
According to legend, when the Wu-Tang Clan formed like Voltron on their debut album in 1993, GZA happened to be the head—an appropriate place for a man also called "The Genius." Yet at the time few could have predicted that his 1995 masterpiece Liquid Swords would be considered "one of the most substantial lyrical journeys in hip-hop history" (Chicago Tribune). At the peak of his powers as a producer, Wu-Tang mastermind RZA crafted the album's distinctive soundtrack at his basement studio in Staten Island; a haunting landscape of dusty samples, sharp snares and menacing urban gloom, with frequent interludes of dialogue from the classic Samurai flick Shogun Assassin. Cerebral, strategic and precise with his words, GZA crystallizes a range of influences—from chess to kung-fu films to mob flicks and Eastern philosophy—into sharply delivered rhymes. The album features appearances by the entire Wu-Tang Clan, and includes the auspicious debut of Killah Priest on "B.I.B.L.E." Acknowledged as one of the "100 Best Rap Albums" (The Source) and "Top 100 Records of the 1990s" (Pitchfork.com), Geffen is proud to present Liquid Swords as it was intended to be experienced, on double vinyl with audio remastered from the original source tapes.
'John Carpenter has inspired countless musicians since his earliest minimal, synth-based film scores. The themes to his features like Assault on Precinct 13, Halloween, and Escape from New York have remained instantly recognizable since he penned them nearly four decades ago. In February 2015, Sacred Bones released his first solo record of non-soundtrack music, Lost Themes, to overwhelming critical success. The Horror Master proved that not only could he perfectly score his own films - he could also score the movies in your mind. Eight pivotal contemporary electronic artists were moved to reshape the original songs on Lost Themes in tribute to one the genre's great pioneers. Several of the remixes were released as part of the digital deluxe edition of the album, but Lost Themes Remixed marks the first time any of the tracks have been on vinyl. Label alumna Zola Jesus remixed ''Night'' with producer Dean Hurley, and the result nods to her lo-fi Stridulum-era work. Silent Servant, the Los Angeles minimal techno mastermind, delivers a pulsing rework of ''Vortex:' JG Thirlwell of Foetus' baroque reimagining of ''Abyss'' is in line with the modern classical scores for which he has become known. ohGr of industrial pioneers Skinny Puppy delivers a track on par with the best of that band's mid-'80s prime. Dominick Fernow (Prurient, Vatican Shadow, Hospital Records) had this to say about his remix of "Purgatory": "John Carpenter is the master of sustained tension with electronic music. The fine line between stasis and energy is almost impossible to define but Carpenter consistently achieves this paradox with Spartan means." Ben Greenberg, the Uniform multi-instrumentalist and producer, concurred: "There's a true minimalism at work in his music, but it's a means, not an end. It's simple, but synthetic, so there's very little going on, but it's very distinctive and unsettling."
LIMITED TO 500 HAND NUMBERED LPs, this is a vinyl-only release. Pyramid Vritra takes us, the listener, on a journey through space with this record. The Story of Marsha Lotus is a cohesive piece of music which moves between voluminous new age soundscapes, aggressive glitch-hop & solo piano recitals. This record is a carefully moulded dose of outer-orbit Hip-Hop-Psychedelia.
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).
MF Doom’s first group and their controversial sophmore release Bl_ck B_st_ards is now available in a deluxe double vinyl pressing. One of the LPs is a red vinyl pressing with the second LP being a picture disc featuring the group’s longstanding mascot. The gatefold jacket includes a pop featuring the KMD mascot and the set is rounded out with the inclusion of full liner notes by Brian Coleman. The words “lost classic” get thrown around from time to time, but KMD’s sophomore album, Black Bastards, truly fits the bill. Originally scheduled for release in the spring of 1994, their label unceremoniously shelved it at the eleventh hour due to controversy over the provocative cover art. Surviving group member MF Doom (then known as Zev Love X) – as fans know, his younger brother Subroc was killed in 1993 – tried to release the album on other labels, but met more dead ends. Sadly, it languished in hip-hop purgatory until six years later. Even then, the album had only a limited release via small indie labels. Beyond the fact that the controversy surrounding the cover – featuring the group’s long-standing mascot being hanged by a makeshift gallows – was unfair, the group’s fans being denied access to this album only compounded the injustice. Because musically and lyrically, it was a truly amazing record, full of youthful creativity, tinged with the stress of growing up as black men in urban America. Unlike on the group’s 1991 debut, Mr. Hood, Subroc had fully come into his own as both a producer and an MC on Black Bastards, and his untimely death made the album’s shelving that much more tragic. Heavily influenced by the mind-bending spoken word album Blue Guerrilla by Gylan Kain (from 1970), songs like “What A Nigga Know” (the only single released from the album), the slippery, bass-driven “Get U Now” and the album’s title track explore black consciousness viewed through young-but-experienced eyes. Musically alternating between bouncy and raw –many times both concurrently – the tracks gave both MCs the springboard they needed to express themselves clearly, whether on the catchy, more lighthearted “Sweet Premium Wine,” the psychedelic, abstract “Suspended Animation” or the intricate mash-up of television samples heard on the instrumental “Garbage Day #3.”
In their 20-year history together Grammy-winning robot helmet adorned French house duo Daft Punk - Guy-Manuel de Homem-Christo and Thomas Bangalter - have redefined electronic music, pioneered the live dance concert experience and shaped pop culture. Generally regarded as one of the most influential dance music albums of the '90s, Daft Punk's landmark 1997 debut Homework showcases an innovative synthesis of techno, house, acid house and electro styles amidst tracks that consistently engage the listener with rhythmically ambitious peaks and valleys. Featuring the acclaimed hit singles "Around the World" and "Da Funk" which were both nominated for Grammy Awards for 'Best Dance Recording', Homework offers a rewarding and groundbreaking early glimpse at a group who has subsequently become the biggest electronic act in the world! "Daft Punk's debut is pure synapse-tweaking brilliance. In the Nineties, when artists like the Chemical Brothers and Fatboy Slim were bringing in guest-star vocalists and sampling rock records, and ad executives were strip-mining club beats, French duo Thomas Bangalter and Guy-Manuel de Homem-Christo proved that techno and house could be as elastic, catchy and, at times, as funny as the poppiest pop without diluting its hypnotically driving, acidic essence." - Rolling Stone
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.
10th anniversary reissue of the hugely successful collaborative album between super producer Danger Mouse and Underground rap legend DOOM. The album features notable guest spots from Talib Kweli, Ghostface Killah and pre Gnarls Barkley, CeeLo Green. The album also features skits and contributions from Cartoon Network's Adult Swim characters Aqua Teen Hunger Force, Sea Lab 2010, Space Ghost and more. The album was a critical and commercial success and the iconic UK version of the vinyl designed by longterm Lex collaborator EHQuestionmark has been long sought after. The outer sleeve is made from thick translucent textured plastic with DOOM's mask printed on cover, and mouse ears on each side of the mask forming a pattern that looks like a Rorschach test (a technique reused in another Danger Mouse project six months later). The inner sleeves, visible through the outer at first glance pattern based on an Ishihara test, but inside the circles in the pattern are tiny icons depicting a different disasters - climate change, acid rain, holy war, nuclear leaks. "The Mouse and the Mask" was produced by Lex super-producer Danger Mouse and masked supervillain MF DOOM. The album features Cee-Lo Green (also of Gnarls Barkley), Talib Kweli, Ghostface Killah, Money Mark and the cast of cult cartoon show Aqua Teen Hunger Force and ten years on remains DOOM's best selling album to date. The reissue is presented in the exact same spec as the original double vinyl including the custom made frosted plastic outersleeve, spot flouro and metallic pantone printed inner sleeves. The album originally debuted at #2 on the Billboard independent albums charts. Subsequent releases from Danger Mouse include Gnarls Barkley, Gorillaz and Broken Bells, as well as production work for Beck, A$AP Rocky and the Black Keys. DOOM is, of course, the legendary producer/MC behind the Special Herbs series, Madvillainy (with Madlib) and collaborations with Jneiro Jarel and Bishop Nehru.
Love Story is the highly anticipated second album from multi-talented musician Yelawolf (born Michael Wayne Atha) and the direct follow-up to his two 2013 mixtapes: Black Fall and Trunk Muzik Returns. The album, with Eminem as executive producer, was recorded over two years largely at Nashville’s legendary Blackbird Studios with additional producers Malay and WLPWR. The Alabama-born rapper has described Love Story as being much more passionate than his debut, 2011’s Radioactive, and the 18-track 2LP-set serves as a revealing collection of the artist’s myriad musical influences. “I’m telling the truth about a lot of things,” Yelawolf adds. “I try to be as honest as I can with everything I do.” Yelawolf previously released three tracks off Love Story, including “Box Chevy V,” which he premiered in early 2014 on Sirius XM’s Shade 45 station; “Honey Brown”; and “Down,” which also appeared on 2014’s Shady XV album. The acoustic guitar-anchored “Till It’s Gone,” a track Yelawolf has described as “a very dark record,” premiered last September on the acclaimed FX drama Sons of Anarchy. Speaking to the creation of “Till It’s Gone,” the rapper’s said: “I looped the acoustic guitar up after we had figured out the line, took it to my car and wrote it in a couple of hours.”
Formed in Atlanta, Georgia TLC originally consisted of Tionne "T-Boz" Watkins, Lisa "Left Eye" Lopes, and Rozonda "Chilli" Thomas. The best-selling female group in music history, the trio greatly influenced the landscape of popular music during the final act of the 20th century, captivating audiences with their signature blend of pop, R&B, hip-hop, soul, funk, and new jack swing. TLC shot to superstardom in the '90s thanks to a series of best-selling albums, including 1992's quadruple platinum Ooooooohhh... On the TLC Tip, 1994's Diamond-certified CrazySexyCool (which has sold over 23 million copies worldwide and is the best-selling album by a girl group in the U.S.), and 1999's FanMail, which debuted at No. 1 on the Billboard chart and has been certified 7x-platinum in the US and has sold 14 million copies worldwide. Regarded as TLC's masterpiece, CrazySexyCool was nominated for six Grammy Awards winning for Best R&B Album and Best R&B Performance by a Duo or Group with Vocals for "Creep." All four of the album's singles ("Creep," "Red Light Special," "Waterfalls," "Diggin' on You") reached the Top 5 on the Billboard charts with both "Creep" and "Waterfalls" hitting #1. Rolling Stone rates the album at #379 on their '500 Greatest Albums of All Time' list, noting that with CrazySexyCool, TLC "emerged with the most effervescent and soulful girl-group R&B anyone had seen since the Supremes."
After breaking out of the Bay Area underground scene in the early 90s Del The Funky Homosapien made a radical turn with his sophomore release, 93's "No Need For Alarm." Casting aside the familiar G-funk vibe of his debut, perhaps as "No Need" was produced without the involvement of his cousin Ice Cube, he moved into a jazzier - some would say more East Coast direction on this project. The verbal content on "No Need" shifted as well, moving away from comic interludes and towards a focus on battle raps. "No Need For Alarm" was produced with his Oakland based Hieroglyphics Crew with Domino, A-Plus and Casual all contributing beats making the record one of the three "Hiero Golden Age" releases (along with Souls of Mischief's "'93 til Infinity" and Casual's "Fear Itself").
Two years after Shigeto released his second full-length, No Better Time Than Now, the busy Detroit polymath, born Zach Saginaw, has finally taken a break from his endless hustle to update everyone on his current musical headspace. "I've been on the road for a long time now and also have been working on other projects," he explains. With projects that include working on a new live ensemble arrangement, playing electronics in a jazz quartet, recording with Detroit rappers, and building a new studio, it's no wonder we haven't heard much from him since 2013. "I haven't found the next step for me yet. I've been making loads of music as always, but I'm still looking for that concrete new path." Shigeto's Intermission EP takes its title quite literally, then, presenting a snapshot of the artist's transition between ideas and inspiration. Indeed, listening to these six eclectic tracks evokes a dynamic sense of exploration, excitement, and stylistic freedom. Saginaw describes Intermission as a collection songs that "point to the past, present, and future." His inimitable hallmarks are certainly there: the heavy drum-machine knock and jazzy synth flourishes of "City Dweller", that airy thumb piano in beat suite "Do My Thing", and "Pulse"'s percussive, polyrhythmic grooves. They mingle with some fresh sounds from Shigeto, too. Mystic pads creep into the mix—especially on beatless, textural drifts "Gently" and "Deep Breathing"—and there's a decidedly unhinged touch to how the producer uses samples, almost like he's teaching himself a new language. But don't get it twisted, there's no grand vision this time out. "They're not meant as a strong message," Saginaw clarifies, "but more of a taste, like a halftime show of sorts." So if Intermission is here to hold us over until Shigeto's next big event, the record's palpable depth and complexity say quite a lot about where the man is now and where he's headed.
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.
Drawing inspiration from classical, jazz, electronic music, soul and even Brazilian popular music, Elaenia - named after the bird of the same name - is the epitome of the forward-thinking Floating Points vision in 2015. Elaenia - an album with roots deep in his formative years, and one that draws upon everything Shepherd has done so far. Every DJ set he’s performed, every talent he has produced, every composition he has written are thought of as precursors to Elaenia - a dazzling score which puts him in the spotlight as a composer who has produced an album that bridges the gap between his rapturous dance music and formative classical roots.
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.