To celebrate Studiocanal's 40th Anniversary 4K release of Nic Roeg's cult classic 'The Man Who Fell To Earth', starring David Bowie, Universal will be releasing the complete soundtrack, available for the very first time, containing seminal pieces written for the film by John Phillips and Stomu Yamash'ta. The film itself reached cult status due to Bowie's outstanding performance, and confirmed the film's director Nic Roeg, and book's author Walter Tevis, as champions of their respective fields. The music, highly celebrated but until now unavailable as a body of work, can now finally be acknowledged in its own light. Little is known, and much has been asked, as to why the soundtrack was never originally released, but due to lost tapes recently being uncovered it is now possible to present the original recordings, remastered on CD, Vinyl and in a dual format Deluxe Box. The Deluxe boxset features the 2CD & 2LP Vinyl components as well as poster, production stills and a coffee table book containing the story of the soundtrack. John Phillips of the Mamas and Papas composed and recorded much of the music for the film. The majority of Phillips' compositions have been unavailable for 40 years, until now.
Fresh from his Albiniboard is Powell, who is releasing his debut long player for XL Recordings. Sport is so named because of its nature as both a physically and mentally driven piece, described as "for both mind and body". A bit Descartes, basically, and the first single features someone from a group we love called HTRK. This should probably go down well.
Two tracks with New Order's producer plus Nico's selection of 1983 live recordings including 3 previously unreleased. Nico needs no introduction - she will forever be remembered as the sultry German beauty whose melancholy voice was the '& Nico' part of the Velvet Underground legend. Following the VU she emerged as a solo artist. Very much at odds with a perceived glamorous life-style - a model who mingled with rock-stars and film directors, associating with Fellini, Brian Jones, Bob Dylan, Jim Morrison, Alain Delon, Jackson Browne, Tim Buckley and Iggy Pop - she embarked on a dark, daunting odyssey, with an Indian harmonium as the favored accompaniment to her deep Teutonic vocals. Both the punk and gothic movements acclaimed her. Developing a heavy drugs habit, she gigged frequently in the 80's, recounted in a book by keyboard player James Young. She died in 1988, after falling from her bike in Ibiza. In 1982 she recorded two tracks with Martin Hannett, most known for producing the similarly gloomy Joy Division and New Order, and backed by The Invisible Girls. These tracks, a reworking of the Velvet Underground's 'All Tomorrow's Parties' and her own brooding 'Procession', are now reissued, alongside heavily atmospheric live tracks selected from her 1983 tour, first only issued on a UK cassette. This double-LP version includes three previously unreleased recordings. 'Femme Fatale' includes versions of songs written for her by Dylan, Browne, Bowie and Lou Reed as well as Nico originals, in all, 18 tracks over 80 minutes. It is packaged with in a gatefold sleeve with detailed biographical notes by Nina Antonia. Limited edition in colored vinyl.
Jane's Addiction Celebrate Sterling Spoon Anniversary With New 6LP Vinyl Boxed Set! 'Sterling Spoon,' the new 6LP Collection from Rhino Includes features 'Nothing's Shocking,' 'Ritual de lo Habitual,' Plus the Vinyl Debut Of 'Rarities,'A Complete Live Show From 1990, And More! Jane's Addiction will celebrate a "Sterling Spoon Anniversary" this year to commemorate the release of Ritual de lo Habitual and the first Lollapalooza. The revelry began in July when the band launched a highly anticipated tour that includes Ritual de lo Habitual played in its entirety each night. The party will continue in October when the band releases 'Sterling Spoon,' an epic, six-LP collection that includes Nothing's Shocking and Ritual de lo Habitual, along with the vinyl debuts for the 1990 concert recording Live From The Palladium and a selection of rarities, demos, and live takes from the 1997 compilation Kettle Whistle. Jane's Addition made great albums, but it was the band's live shows that cemented its legend. As a testament to it stage prowess, 'Sterling Spoon' includes the group's entire performance at the Hollywood Palladium from December 1990, a concert recording that was originally released in 2008 as part of the Rhino's boxed set A Cabinet of Curiosities. Among the highlights are thunderous performances of such classics as: "Three Days," "Stop!" and "Summertime Rolls."
A collaboration between Aphex Twin (Richard D. James) and μ–Ziq (Mike Paradinas), Mike & Rich - ’Expert Knob Twiddlers’ was made back in 1994. Richard edited the tracks into shape later in 1996 with his new Apple Mac computer and it was released later that year on Rephlex, the label he co-owned and which released the first two albums by μ-Ziq.
Many moons ago Primo Pitino, the DJ of San Francisco's legendary Oldies Night, passed me a copy of his friend Nick Waterhouse's ''Some Place.'' Nick was a local vinyl DJ and the kid working at our Shangri-la, Rooky Ricardo's Records. Though he didn't have a band at the time, Waterhouse assembled some local musicians to cut a one-off 45 in the vein of the electrifying mid-century modern rhythm and blues he loved. I threw ''Some Place'' on the Technics during sound check a few cities down the line and was blown away from the howling falsetto all the way to the end! I gave it a whirl every night from Texas to Tennessee and all the way back home to New York. Not only were the dancers' feet responding, but they were also asking about the track on a nightly basis. The Nashville Scene was so blown away that they printed a piece on Nick after a single listen. DJs and collectors everywhere wanted it so bad that the little record with the big sound started fetching upwards of $300 on Ebay. The immediate and unprecedented underground dance party success of Nick's DIY record resulted in a full band, gigs, and, after a number of obstacles, the widely acclaimed 2012 LP Time's All Gone. Nick's music, vision, and fully formed aesthetic caught on globally and he was instantly a fixture at nearly every major nightclub and festival on both sides of the Atlantic, Australia, Japan, and Russia - hitting stages everywhere from Primavera to Montreux Jazz Festival and charting on college, public, and commercial radio. Only a year after self-releasing his first single, Nick Waterhouse was thrust into the chaos of leading a band, touring, and recording in the big leagues! Pummeling high speed down a bumpy hill of lineup changes, economic problems, and general chaos without any breaks, Nick made it through and the challenges made him more focused. 2014's Holly captured a more experienced artist upping the ante in writing, performance, recording, and production, inspiring a new level of critical and commercial success. In addition to a jam-packed five years on the road, in the studio, and in the practice space, Waterhouse also produced septuagenarian soul legend Ural Thomas, Los Angeles Latin stars the Boogaloo Assassins, and garage rockers the Allah-las. He's currently collaborating with the likes of young Grammy-nominee Leon Bridges and Steven Colbert bandleader Jon Batiste. The Rolling Stones blast Nick's version of ''I Can Only Give You Everything'' at stadiums before they go onstage. Vogue hired him to pose with Kendall Jenner. He hipped her to Little Willie John while Anna Wintour complimented his shoes. While a lesser artist would get lost in these distractions, Nick Waterhouse's acclaim only seems to energize him and make him work harder and push his music to the next level. Nick's latest Never Twice is a culmination, intensification, and realization of everything he's been developing throughout this prolific frenzy. Catchier and loaded with more hits than its predecessors, Nick's new LP is at the same time harder hitting, more rhythmic, more harmonic, more diverse, and more adventurous than any of the excellent work that already separated him from the pack. A cool and elegant post-post-modern cocktail of 1950s r&b and club jazz, mixed with 1960s soul and boogaloo, and shaken with a minimal contemporary sensibility, Never Twice finds the artist taking his time, refining his vision, and speaking with new authority. In five short years Nick Waterhouse has come a long way and it looks like he may have just painted his masterpiece. - Jonathan Toubin
Directed by David Mackenzie Hell or High Water is a heist film starring Ben Foster, Chris Pine and Jeff Bridges. Based on the infamous 2012 Black List script, the film is set in West Texas, in an area formerly known as Comancheria, and tells the story of two brothers who plan a bank robbery to save their family farm. The film was extremely well-received during its Premiere at the Cannes Film Festival in May. Critics praised and applauded the film's archetypal Americana, along with the memorable performances of its main protagonists and the composers' moody and minimalist score. Nick Cave of the Bad Seeds and his musical partner Warren Ellis deliver a ravishing score perfectly fitting the dry and arid landscape in which the characters strive to survive. The soundtrack album also includes Sleeping On The Backtop (Colter Wall), Outlaw State Of Mind (Chris Stapleton) and many more country music infused titles.
Killer funk compilation full of highlights from the music archives of Josef Weinberger Ltd. in London, pulled from the most famous library albums on labels like JW (Josef Weinberger/ Theme Music), IA (Impress) or PM (Programme Music). First selection of 16 lost tracks by Toni Campo, Midas Touch, Trevor Bastow, Sidney Dale or Vick Flick, oscillating between jazzfunk, soul music, proto techno and eastern-tinged disco, with open drum breaks, fat bass lines and plenty of horns/ wah wah/ organs/ vibes/ flutes/ electronic effects. Recorded from the master tapes, restored and mastered 2016 for 6-Page-Digipack-CD and limited vinyl LP, comparable to the best works of KPM, De Wolfe or Bosworth. The history of music publisher Josef Weinberger goes back to the late Victorian era. He founded his publishing business in Vienna in 1885, mainly licensing stage works from the fields of Classical music. Over the years his company expanded into many more music genres, with its associated sound library “JW Media Music” as a leader in its field. Already at the beginning of the 1970s, JW Media started to produce countless vinyl LPs in the UK, presenting hundreds of tracks in various musical stylings on their record labels “JW/ Theme Music”, ”Programme Music” and “Impress”, as specially commissioned music for inclusion into radio, TV, movies or advertising. With this new sound collection from the vaults of Josef Weinberger, we dig deeper into the fascinating library music of Toni Campo, Midas Touch, Trevor Bastow, Vick Flick, Sidney Dale and other uncommon musicians, who used to work behind the scenes, usually composing for various music production companies. They are responsible for some of the most exciting library music ever recorded. None of their tracks were available for the regular music stores, while the carefully produced vinyl records were solely distributed from business to business, limited to pressings of only a few hundred as strictly promotional items. After countless months of research we are happy to finally present 16 rare tracks from the most wanted Weinberger albums recorded over a five year period from 1975 until 1979.
True to form, Boston-based label Cultures of Soul is set to release a compilation of obscure disco from a far-flung corner of the world. After forays into India and Brazil, they now turn their attention to South Africa. South Africa is home to a dizzying variety of musical genres and traditions, including some that look directly to American sounds for inspiration. In the late 70s and early 80s, many of the country’s best young musicians were guided by funk. All over the world, disco was growing harder and more electronic, with new synthesizers entering the market every month. The southern tip of Africa was no exception. Global music industry geo-politics, however, aided by the country’s pariah status and a UN-sanctioned cultural boycott, prevented the vast majority of this music from ever being heard outside the country, nor ever being released on CD or digitally. Until now. Compiled by Cultures Of Soul head honcho Deano Sounds in collaboration with Johannesburg-based DJ Okapi from the Afro-Synth blog and record store, Boogie Breakdown serves up two tracks apiece from six seminal acts from the era - Harari, The Cannibals, Neville Nash, Benjamin Ball, Don Laka and Al Etto – to offer a glimpse into this long-forgotten era in African music history. A period of true innovation and new possibilities – as well as isolation and political instability – the early 80s in South Africa saw the emergence of numerous talented, innovative artists, whose efforts soon gave rise to the big-selling ‘bubblegum’ sound of the mid-80s. As the decade wore on, this sound shed its American roots and took on more local influences, becoming ever more electronic and less funky, to become the kwaito of the 90s and ultimately the house music of today. It all started with the arrival of synthesizers and the creativity of producers and artists featured on this compilation - pioneers of a new sound before it became established and marketable – global in its appeal, yet rooted in Africa.
Virginia-born singer/songwriter Nicole Wray has everything you’d want in a singer: an infectious Jackson-5-family-member flare, a range like Aretha’s, and a church upbringing that’s brought a pure, healing texture to her voice. But the struggle she’s been through has made her more than a singer. Nicole Wray is an artist. When talking about Queen Alone, her first solo album in some time, Nicole explains, “It’s a reflection of my soul. It’s who I am today.” And aptly so. Released on Brooklyn’s Big Crown Records, Nicole is writing and singing songs about her life. And yet to even start to know her soul, you have to go back to the beginning. Growing up in Portsmouth was tough at times for Nicole. However, at the age of fifteen, life opened up quickly when Missy Elliot paid a visit to Nicole’s family home to audition her on the spot. Missy was there on the rumored strength and quality of her voice. Instantly blowing her away, she signed and left with Missy that night. Two years later, at age 17, she had a hit gold single off a solid debut album (Make It Hot). Suddenly she was part of a team that included late ‘90s R&B and rap royalty: Missy, Aaliyah, Ginuwine, Playa, Timbaland and Magoo. She made it, and fast. However, as rapidly as she achieved success, Nicole then found herself needing to re-make it. By late 2001, her time with Missy and company had run its course. They amicably parted ways and Nicole, once on top of the R&B world, was unsure of what was next. It was a very low, but important, point in her life. While her passion and talent propelled her forward–friends disappeared and her purpose seemed unclear. While neck-deep in this struggle, Damon Dash and Roc-A-Fella Records called. They signed an album deal and by 2004, in what was starting to be a pattern, just as things were looking up Roc-A-Fella suddenly (famously) split. Once again, industry factors beyond her control took charge. Like a recurring dream, Nicole found herself in a familiar situation. Having just been in the spotlight, and then again back living the “real life.” In 2013, Nicole paired up with London vocalist Terri Walker and released the album Lady. Once again, Nicole was tested. Terri parted ways with the group to pursue her own projects shortly after the album’s release–despite rave reviews and upcoming travel dates. Fast forward to now–the transformation from singer-for-hire to pure artist is evident in this new full-length solo release, Queen Alone. The record was written and recorded in 10 days at the legendary Diamond Mine Studios, in Queens NY with Leon Michels and Tom Brenneck handling production. Nicole says she is “Singing out loud now–singing from the stomach.” Back in 1998 she was coached how to sing, and told to stay in a pocket that never let her show her range, power, and passion. Today, after stutter-stepping in and out of the industry, there is a new soul and substance to her songs–all of it from her life. “They Don't Hang Around"", tells the story of her post Roc-a-Fella days, “Guilty"", is about her brother’s incarceration, “Make Me Over"" tells the relatable story of being broke with expensive taste, and ‘Let It Go”, a perfect way to end the record, is about the simple act of letting go and moving on. Almost echoing her new record, Nicole says, “You have to go through something for it to be real.” She has been living with one foot in fame and the other in real life. The result is clear: she’s feeling something real in her music again. And it’s hard for us as listeners not to follow suit.
Mndsgn (born Ringgo Ancheta) grew up in south New Jersey, raised with Gospel music at church, and B-Boy culture at home. Experimenting with beat-making, he befriended fellow producer Knxwledge and the two formed the influential Klipmode collective (along with Devonwho and Suzi Analogue). Mndsgn's music flourished when he moved to Los Angeles, catching the attention of Stones Throw who released Yawn Zen (2014), an LP of introspective and mostly instrumental beat creations, punctuated by vocal cuts. Body Wash is his second album for Stones Throw, a full set of realized songs that were only hinted at on Yawn Zen. Influences here include the likes of early SOLAR records material, Leon Sylvers III, Kashif, and Dave Grusin. These artists, Mndsgn says, "embodied that potent feeling in the early 80s boogie/funk/soul/jazz/fusion wave." He adds, "I was also digging back into some early 90s R&B sounds and started really imagining what it would be like if I had mashed the two eras together." He explains Body Wash as "a soul record that plays with nostalgic elements in a very dynamic & positive way. Think about it as a box of crayons for you to draw emotions with." The album was built around a backstory, a loose narrative thread through which he could filter his unformed ideas. In the narrative, a homeless man encounters a mysterious woman who gives him shelter. She instructs him to bathe with a very peculiar body wash. As he soaks and sinks deeper in a thick lather of this unknown solution, the man finds himself transported to an alternate dimension. Mndsgn describes the story as a vessel "that would allow me to speak on topics that were universally relatable … The story actually became a true outlet for me to address worldly issues with Self." The resulting album also represents a dynamic step forward in songwriting. Without explicitly relating its plot or characters, the album as a whole turns on the story's key theme, the psychedelic, transformative power of love.
Debuting on Adult Swim, two of the most conceptual and unusual alternative artists in underground hiphop have joined forces to tell an absurdist story of culture, art and oppression, set in a lighthearted dystopian future. As adventurous as the concept sounds, the album is musically grounded in hiphop fundamentals and off the wall lyricism. Joining the duo are artists like DJ QBert, Gonjasufi and Akrobatik. Wyatt Cenac (Daily Show, Bojack Horseman) lends his voice as the narrator of our story.
The 10-track offering-which finds the Detroit lyricist paying homage to Nas's classic debute LP, Illmatic-was produced entirely by Will Sessions. Fellow D-Town MC Royce da 5'9" and Illmatic beatmaker Pete Rock also make appearances.
Alpha Pup Records presents Mù Chè Shān Chū by Howie Lee: an innovative producer, master sound curator, and ambassador from the Chinese musical underground. Born in Beijing where he lives now, Lee has lived in London, recorded in Taipei, and is now releasing his debut album on a Los Angeles label – truly a global phenomenon. After being hit up by Snoop Lion for a remix in 2012, Lee’s “future music from Downtown Beijing” busted out of China to captivate crowds with its thoroughly unique style. His distinct approach blends local samples, traditional Chinese sounds, and inventive modern rhythms. Tracks are drenched thickly in bass and imbued with the fresh feel of youth – and often, are right at home on the dance floor. Gripping from the very beginning, intro track “The Gate” invites you into the artist’s underground world and sets the tone for an expansive, epic journey. Syncopated beats strut through “Cloud Lamps,” and “Sinka (feat. Zhang Yang)” steps right into a thundercloud. “Bei Hai” is a riveting experiment with an alluring rhythm, a warm wash of sounds that pulls in unexpected directions. Mù Chè Shān Chū is always in motion. Impossibly dense and lush, yet also incredibly spacious and vast – a juxtaposition that reflects China itself. From the plucked strings of the guhzeng to the butter-rich bass of the 808, Lee brings an unmistakable Far East flavor to the leading edge of modern electronic music.
I Told You is the debut album from Tory Lanez and follows his Platinum selling first ever single "Say It," which reached #1 on both Rhythmic and Urban radio charts, and the Benny Blanco and Cashmere Cat produced "LUV."
Ghanaian highlife master and “The Golden Voice Of Africa”, Pat Thomas, returns with his first full career retrospective on Strut this Autumn, covering his late ‘60s big band highlife recordings through to the “burger highlife” movement of the early ‘80s. Growing up with music around him (“my uncle, King Onyina, was an important highlife musician”), Thomas was inspired to become a singer after hearing vocalist Joss Aikins: “He sang with Broadway Dance Band and Decca in Ghana chose him to sing with any group that came into their studios.” When a new incarnation of Broadway Dance Band was created in ‘67, led by Ebo Taylor, Thomas received his first big break. “Ebo started to write new songs. I added the lyrics and sang them and it worked well.” The partnership with Taylor would become one of the enduring forces in Ghanaian music during the ‘70s, creating a fresh, progressive new highlife sound. They played with the Blue Monks band before, in 1974, forming Sweet Beans with the backing of Ghana’s Cocoa Marketing Board: “The album, ‘False Lover’, was the first under my own name and my first for Gapophone,” Pat reflects. “Reggae was “on” at that time - Jimmy Cliff was the guy - so I tried reggae fusions and brought in some soul.” The album established Thomas across Ghana. Sweet Beans disbanded but the musicians stayed together as Marijata. “The guys initially used Jewel Ackah as their vocalist but they involved me and I re-vocalled the album. This became the ‘Pat Thomas Introduces Marijata’ LP. At that time, I would go to George Prah at Gapophone to ask for money and he would say, ‘if you want me to pay you, go and write a song!’ So, tracks like ‘Coming Home’ came about that way, written on the spot.” A second Marijata album followed before a damaging coup in Ghana in 1979. “Jerry Rawlings’ “house-cleaning” was designed to stop corruption but it seriously damaged our country’s music culture.” Thomas left for Berlin and stayed true to his highlife roots, becoming the first Ghanaian to record highlife there. “In Ghana, people ex-pats living in Germany called themselves ‘burgers’, so the scene became ‘burger highlife’.” Thomas travelled to Togo and London, before settling in Canada: “I ended up there for ten years playing for universities, Ghanaian societies and festivals.” Pat is now back with Kwashibu Area Band and touring worldwide: “Today, highlife has become the world’s music and I am proud to still bring it to so many people.” ‘Coming Home’ is released on 2CD, 3LP and digital and features exclusive photos and a full interview with Pat Thomas.
Limited to 300. “Five Parts of the Soul is inspired by the ancient egyptian concept of the Soul, which says that a human soul was made up of five parts: Heart, Shadow, Name, Soul and Spark. 5POTS is a five-part journey into the past, passing through desolate canyons and scorching deserts, obscure rain forests and crowded thrift markets. All of the songs have different styles and takes on what Soul music could be.” -Kae
By Nights: Yogisoul’s debut album. This exciting conceptual listen features guest appearances from Ivan Ave, MoRuf, Awon, LumiHD, Dialate and the instrumentalists Kristoffer Eikrem (Jazz Cats) and DeAndre Grover who appear throughout the project. The cover art is a photo taken of a dusk-time basketball hoop, using a design by Dirty Hans. The album is available digitally or on LP. The concept of By Nights came from a long stretch of late night beat-making, resulting in a batch of beats that all had an apparent red line. The sound of late night, early morning hip hop beats. While there’s no doubt Yogisoul is a hip hop producer, the album clearly demonstrates creative versatility in blending inspirations and genres. From obvious hip hop tracks and instrumentals to jazz inspired souls tunes. The distinctive sound of his production is evident throughout the record. Dusty rhodes, analog synths, thick layered basslines and crispy drums are essential inYogi’s sound.The record was mastered at Strype Audio in Oslo to add the final touches in completing its overall warm sound, which in turn resulted in an original and timeless piece of music.
Boora & Mr. Robberhood (the latter is one of 3 members of KOVSH), out of Soviet Russia, release their first joint project, Soviet Aesthetics Vol.1.The title derived from the idea of conveying the Soviet art form on vinyl, using only soviet samples and synthesizers to present the new Russian-style, Golden Era 90’s-influenced, instrumental hip hop. The initial cover concept was slightly different to how it materialised, quite plain and simple; with the traditional Soviet white and black colour scheme and a cover photo taken by Volodya Kurashev, a Soviet sculptor at the exhibition for Eugene Vucetic. The back cover is a picture of the duo “cooking up heat” in the kitchen.
Adventures in all a cappella songs of Soul, Blues, Pop and Experimental. Edwin Mathis White (from the band Tonstartssbandht) creates the a cappella gospel that is Eola. The album “Dang” drops Sept. 23rd on Leaving. Blessed be.
The stunningly prolific Manchester-based beat-monger My Neighbour Is has returned to the Cold Busted label for his eighth album of head nodding delights. Elegantly titled Moon’s Reflection On A Quiet Lake, this set of funky dance floor nuggets showcases the producer’s acumen for punchy, rolling rhythms, smooth melodic textures, and cleverly woven sample tapestries. Moon’s Reflection On A Quiet Lake is perhaps the most accomplished effort yet from My Neighbour Is, evidencing an innovative producer on the rise. Don’t miss it.
Founding member ‘Lit Internet’ says of the music WWWINGS makes: “Our main inspiration is not good for our health, we live in post-Soviet countries and for people like us with our interests and hobbies and points of view, it’s a very uncomfortable zone. It’s not about the place, actually we like the nature here, it’s about the people who rule these countries and their laws. Struggle with real life in almost totalitarian countries affects us, so I think that's why most of our tracks sounds disturbing and depressive”. WWWINGS consists of three members aged between 18 and 25, ‘Lit Internet’ from the Kamchatka Peninsula in the far East of Russia, ‘Lit Eyne’ from Siberia and ‘Lit Daw’ from Ukraine. The three of them met on the Russian social networking site VK where Lit Internet and Lit Eyne formed a music blog, prior to their making music together. Pre-WWWINGS Lit Eyne taught and collaborated with Lit Internet, creating a soundcloud page and posting a track per month, gathering interest and forming many international friendships with like-minded artists, some of whom ended up collaborating on this album. After this, Lit Internet met Lit Daw who was already a skilled producer and in 2015 the three of them collaborated on the ‘WWWINGS’ project, remotely, using the Russian instant messenger service Telegram. The tracks on ‘PHOENIXXX’ approach electronic music with a punky, chaotic attitude. WWWINGS’ music straddles and sutures unlikely sounds and structures, often in the same tracks. Musique concrète morphs into trap and trashcan drums, the twisting dramatic soundscapes of gaming soundtracks, Eastern European folk music, new metal, industrial noise and explosions everywhere. This culture clash is hammered into something impulsive, dystopian and dripping in cold, alien slime. With a featured artists list that features the cream of the new wave of 2016 such as NON’s Chino Amobi, NAAFI artists Imaabs and Lao, Hyperdub signing ‘Endgame’, self described ‘transhuman experiment’ Born In Flamez, Symbols Records’ Kastle, Ebbo Kraan and DJ Heroin, PHOENIXXX is an uncompromising and highly original record.
Devonté Hynes has produced a lot of music. Some for himself: Testicicles, Lightspeed Champion and some for others: Basement Jaxx, Florence & The Machine, Theophilus London, Solange Knowles, Cassie, and Diana Vickers. Somewhere in between all of this, Blood Orange was created. Hynes has been living in New York City for the past three years where he has been concentrating on writing and producing for other artists. He simultaneously worked on songs in his bedroom, compiling them onto mixtapes that he would listen to while traveling around the city at night, letting the city’s nocturnal ecosystem seep into the music in his headphones. Informed by the equally neon atmosphere of Chris Isaak, Billy Idol, 80’s Japanese pop such as Yellow Magic Orchestra and French singer F.R David, Hynes took the songs that form ‘Coastal Grooves’ on a trip to the West Coast where he started turning the ideas into an album with producer Ariel Rechtshaid in L.A. Alongside the music he heard playing in after-hours bars, Hynes drew inspiration from the identity blurring work of transgender icons such as Octavia St. Laurent and the playful high-gloss nihilsm of Gregg Araki movies. Blood Orange is the music of a seedy yet inspirational New York night time. The first official release (the more eagle eyed of you might have picked up the infamous ‘exotica sage mixtape’ down an illicit highway or byway) from Blood Orange was the ‘Dinner’ 7” release on Terrible Records, the label run by Chris Taylor of Grizzly Bear.
With Nocturnes, Driftmachine have created a psychoactive, dream-inducing stimulant of sorts: Evoking and maintaining a trancelike state, the duo’s six-part journey into the dark was originally inspired by reading The Rest Is Noise and listening to the music discussed in Alex Ross’ seminal book. The resulting soundscapes, redefine the lines between insomnia and slumber, between wraithlike dub grooves gone awry, the dancing flicker of a slack-joint bedside lamp, and eerie electronics. Six studies in precision: perfectly symmetrical structures that slowly spread their bass-heavy wings, sprawl like digital fungi, shift shape and – paradoxically – seem to drift and to obey the two captains at the helm. With its meticulously displaced details and intricate harmony layers, Nocturnes also evokes the electronic avant-garde of the mid-70s, think Cluster during the band’s Zuckerzeit era. Nocturnes keeps the balance between intense, dramatic metrics and rather complex, modulated melodies. Also nodding to Krzysztof Komeda’s compositions (especially his score for Rosemary’s Baby) and the haunting, uncanny vibes of Raime. Nocturnes won’t let you sleep.
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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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• 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