This Instrumental Collection of Necro features heavy Beat Classics of Necro Albums like “I Need Drugs” as well as various productions for other artists including Non-Phixion, Ill Bill, Cage, & Missing Linx!
Ivan Ave can’t do wrong. After dropping his critically acclaimed “Low Jams” EP with Mndsgn (Stones Throw), he now is back with another project to hold you over till his solo LP entirely produced by Mndsgn will drop early spring 2016. “Frutiful” though, was entirely produced by his Norwegian partner in crime Fredfades, who has been making noise in his own & has a handful of releases under his belly. Proving Norwegian HipHop is cool as Norwegian outdoor temperature, his versatile sound largely incorporating his incredible collection of rare modern soul and boogie is the perfect backdrop for Ivan Ave’s poetic tales about urban life, relationships and daily observations. Just like his project with MNDSGN, Ivan seems to have a gift in finding producers with which he manages to create coherent projects that don’t sound thrown together... Follwoing their “Brains” from 2009 & “Breath” EP 2014 by Fred and Ivan, the “Fruitful”LP was a just the next logical step, after Ivan moved to Oslo. The two started to hang out more and started recording new music. Fred took care of the mixing and tried to make a red line sound wise. The combination of these two is so fresh and brings a new, whilst still classic, sound to the game with a little help from guests such as Jakarta’s own JuJu Rogers and Fresh Daily. Ivan Ave’s solo album, entirely produced by Mndsgn will drop early in 2016.
After a two year hiatus, the Hi-Ht Club returns with volume 7 of the Melting Pot Music producer series. The Hi-Hat Club layed the foundation of the German beatmaker scene of today and kicked off the careers of artits like Twit-One, Suff Daddy, Dexter, Brenk Sinatra and Full Crate. Back in 2009 MPM hooked-up with photographer Robert Winter with the mission to give the burgeoning a platform and a good look too.
This collaborative project started as a conversation between two like-minded individuals, QSTN and Freddie Joachim. They call it, "STUDY GUIDE: An instrumental look at scholastic development." The concept was simple; both artists possessed a distinct sound with an emphasis on jazz. The end result is a compilation that walks you through one of the most progressive musical art forms. Both artists have been spinning hip hop and jazz plus other genres since the 1990s.
FloFilz has been one of our favorite producers for a while. Heading from the small town Aachen in the far west of Germany he’s been mastering the sound of sample based hip hop productions for some time now. At the same time he’s a professional orchestral musician & violin player. Being limited to one type of music just ain’t his thing. Over the course of the last couple of years he has gained a very strong following. Nearly 40.000 people are following his soundcloud channel & majestic.com has posted a handful of his productions. Speakthru, his first album on Jakarta Records, is a testament to the connective power of music. Transcending musical boundaries, Flo managed to bring together a wide range of MCs to feature on his tracks such as LA’s own Blu and Co$$ up to Norway’s Ivan Ave and London’s Barney Artist, including a half-dozen of powerful instrumentals sprinkled in between. “Basement Jazz” the first single off the album has been featured on a wide selection of blogs such as okayplayer.com, 2dopeboyz.com, egotripland.com, pigeonsandplanes.com, juice.de and many, many more. Look out for the video for “The Verb” feat. Barney Artist too which was recently shoot in London.
Join the German beat producer Wun Two at his penthouse. First time on vinyl.
2015 ten-year anniversary reissue of Lindstrøm & Prins Thomas's genre-defining 2005 debut album. Three 180-gram LPs in special-edition gatefold sleeve with download code and bonus 7" of previously unreleased material (including a 2015 edit of "Feel AM" by Prins Thomas). The Norwegian duo of Hans-Peter Lindstrøm and Thomas M. Hermansen aka Prins Thomas joined forces in 2003, after mutual admiration for each other's productions -- Lindstrøm as muso-wizard and Prins Thomas as the nu-skool remix-champ. They share a background in band projects -- ranging from punk and gospel through country and heavy metal to folk and psychedelia -- and they also share a passion for collecting records. Besides running their respective labels (Lindstrøm's Feedelity and Prins Thomas's Full Pupp) and working on various solo projects, their main priority is their joint venture into the ever-expanding outer limits of futuristic disko and universal boogie. Featuring Italo, funk, and disco-influenced productions alongside the production genius that defined those lost halcyon releases of the post-disco/punk era circa '78-'84, Lindstrøm & Prins Thomas provide lush basslines, sublime melodies, and rolling rhythms that cascade like snowflakes being hit by harsh early-morning sunlight -- icy, but with a heart bursting with pure emotion. Throughout one can find the experimental energy of the continental space-disco of the '80s, which the pair still adore -- melodic, synth-heavy, and Moroder-esque, with arpeggiated basslines set to proto-house 4/4 grooves. Wrap yourself in the basslines and melodies of Lindstrøm & Prins Thomas's sublime Norse code.
8 tracks of raw Arabic funk music, none of these have ever been reissued before. So far Fadoul (or Fadaul, or Faddoul, the transcribtion of his name to latin letters differs)& his music had not been rediscovered, as a matter of fact most of those songs still left no trace whatsoever in the world wide web. It took us 2 years and countless trips to Morocco to find the artists family to license the release from them. Vinyl and CD edition come with liner notes, unseen live photos and lyrics translations. “There was one record in particular that caught my attention. It was by a band called "Fadaul et les Privileges“ and mentioned James Brown in the writing credits of the song "Sid Redad“ on the a-side. Needless to say my expectations were high. The first time I heard the record I was blown away. A cover of James Brown’s "Papa got a brand new bag“ sung in arabic and backed by a rawly recorded three piece band. It’s hard to describe the music without having listened to it, but as time went by I somehow ended up summarizing it as Arabic funk played with a punk attitude. A description, that I feel, comes fairly close. Soon I became obsessed by the record but nobody seemed to know anything about the vinyl or the artists, even google didn’t help. A true gem forgotten about through the passages of time. I kept on traveling to Morocco trying to find infos about the artists, which did not end up being fruitful during the first couple of trips. What kept me going was the fact that over the course of the next years I kept on finding different records by Fadoul, in the end a total of four. They all had the raw sound aesthetic of "Sid Redad“. Energetic performances, a mighty voice and a very lively atmosphere that was preserved in the recordings.” “Sid Redad” has gotten plays on BBC, Radio Nova and more, our Habibi Funk mixes have been featured by The Guardian, Radio Nova, Waxpoetics, okayplayer.com, konbini.fr and many more.
The Dramadigs are giving smoke signals with a new beattape of the same name. “Rauchzeichen” is their first official instrumental release in three years. The two producers from Bremen are your favourite producer’s favourite producers when it comes to dusty soulful beats. Technically there’s nothing new about the Dramadigs school of choppin beats but they got the magic touch. True story. 21 tracks. Features by Flo Mega and singer / piano player Raelen. Mastered by Roe Beardie. Artwork by The Winters.
The Belgian beatsmith and producer Boogie Belgique drops his debut album on Cold Busted. From top to bottom, ‘Blueberry Hill’ is filled up with electro swing moods, funky hip-hop rhythms and tasty jazzy samples.
STUDIO is Benny’s 5th studio album. Not just casually called by its name. No, there is something else happening here. The word ‘STUDIO’ originates from the Latin word ‘studium,’ which stands for ‘studying.’ The studio is the place where painters, artists and musicians learn, study and create. It’s the place where Benny is most comfortable. Benny’s Amsterdam-based studio has an amazing view of the canals. STUDIO is an ode to this place, which he built 4 years ago, and everything it has brought him. Because it brought him more than just the music he produced there. It gave him his place in the world and with it so many other things. All of which is to be heard on his new album. You find him exposing true love, follow his search for a home, he opens up about settling down and he speaks of breaking through old patterns in which he found himself being stuck for years. Thanks to the co-operation with the young BEA1991 Benny is introduced to instruments that are new to him, after which he found himself coming out of the warm analogue world of the 70’s and 80’s and go straight into the icy digital world of the 90’s.
BENJAMIN steps forth with a deep and introspective take on life and love in their first official full-length album for Cherries. ‘Hello,’ the introduction into the world of BENJAMIN, starts the album and also sets the tone for this unique and timeless album. “I Almost Lost My Faith In Love”, a live, uptempo disco-esque funk jam is sure to ignite dance floors and please fans of 70’s style and modern funksters alike. “This Time” appears in it’s original version, a more raw vocal & guitar heavy take. Benjamin’s musical diversity and range is shown with “Closer”, a beautiful ballad with a slick, swelling synthesizer line and a hard drum machine pattern that will be sure to resonate with boogie & modern soul lovers. “N-E-E-D-L-O-V-E”, is an electro funk jam of the highest caliber. With a retro drum machine, a few synthesizers and a grand piano, Benjamin leaves you with an 80s inspired electro beat, but with a deep and inspiring worldly message. The finale ‘Arriving’ is a growing and building modern funk instrumental that ebbs and flows. It slinks along through your ears and into the future, giving us a feeling that this is just the beginning, and we are all “Arriving” into a new place, a new time, and a brand new sound for Cherries and the world alike. ABOUT BENJAMINIn 2012, a chance meeting at Bed-Stuy, Brooklyn’s iconic Tip Top Lounge grew into the multi-instrumentalist duo that is BENJAMIN. Up until this point, the two existed in eerily parallel worlds but had never met. Ben Pirani and Ben Carey are both sons of the Midwest (Chicago/Minneapolis) who grew up in musical families, founded long-running soul DJ nights (Windy City Soul Club/ Hot Pants MPLS), and independently produced original music. BENJAMIN’s sound stems from a wide range of musical influences grown out of years of DJing, record collecting and playing in various bands since the 1990s. Never confined to just one genre, BENJAMIN is currently working on projects that range from storming Northern Soul to dark Jazz-Rock Fusion. Their upcoming first LP Cherries release “Arriving” zeros in squarely on modern soul and 80’s funk. Stay tuned, as this release is just only a brief foray into the deep musical vaults of BENJAMIN.
As Noah Baumbach's second film of 2015, Mistress America shows a director hitting his stride. A screwball comedy about the relationship between two young women in New York, Mistress America is stuffed with outlandishly funny moments grounded in the fatuousness of self-absorbed people. The movie follows Greta Gerwig as Brooke, a boundlessly energetic self-styled renaissance women with New York wrapped around her finger. As her widower father prepares to marry a divorcee mom (Kathryn Erbe), Brooke finds herself thrilled with the admiration of her college-aged stepsister-to-be, Tracy (Lola Kirke). Faced with a personal dream on the brink of collapse, Brooke, Tracy and a few friends pile into a car heading for Connecticut, where complications of every kind arise. A hilarious take on the dynamics of female friendship and the unbreakable confidence of someone on the brink, Mistress America is one of Baumbach's finest works. The score to the film was composed by the duo of Dean Wareham and Britta Phillips (The Squid and the Whale, Tenure), former members of Galaxie 500 and the dream pop band Luna and longtime collaborators of Noah Baumbach. Songs by Paul McCartney, Suicide and Hot Chocolate are also featured. Album pressed on 180-gram vinyl with download card included.
EVENIFUDONTBELIEVE we are pleased to say it's true, the third album from Rustie is here. Arriving with little warning, this surprise new full-length offering is the sound of Rustie going back to basics and doing what he does best; stadium-sized euphoric tunez that will have you reaching for the lazers with a sugar rush smile. Following last year's Green Language LP where he enlisted various guest vocalists he departs that formula on EVENIF... by going on a solo tip for fifteen absolute belters. Highlights include recent fan favourite First Mythz which is a culmination of all he has produced before and a perfect pill-sized tab that sums up Rustie's sound to the T. A neon mixture of glowstick trance and happy hardcore trap shot all with a hazy 7 am glow, recent single Big Catzz finds itself a new home with its liquid synths perfectly sliding up against the rest of the album while tracks like Morning Starr 's glacial end-of-the-night glow are sure to be future classics. EVENIFUDONTBELIEVE is possibly the most realized vision of Rustie's sound yet and an utterly essential listen for anyone who has Glass Swords on rotation.
At long last, Coalmine Records is pleased to release Guilty Simpson and Small Professor’s highly acclaimed collaborative LP, ‘Highway Robbery,’ in vinyl format. Weighing in at 11 tracks, which includes the vinyl-only bonus track of Zilla Rocca’s Remix of “Go,” the album places the listener in a seemingly post apocalyptic Detroit where the mentality is feast or famine. The LP plays as one long narrative of Guilty’s day-to-day survival in Detroit’s concrete jungle, all set to the tone of Small Professor’s foreboding, percussion heavy production. Featuring guest appearances from Detroit’s Boldy James, AG (of D.I.T.C.), Elucid, and Castle, with both Statik Selektah and DJ Revolution handling the Technic 1200s, the vinyl format of 'Highway Robbery' is limited to 500 Units in a color-in-color configuration, equipped with a digital download card.
War & Peace Volume 2 (The Peace Disc) is the sixth studio album from Ice Cube. It is the second part from the two album project War & Peace. The album contains the singles "Hello" which features former N.W.A bandmates Dr. Dre and MC Ren and the club smash "You Can Do It." Continuing with its Respect The Classics campaign, UMe will be reissuing this album back on vinyl for the first time in over 10 years.
War & Peace Vol. 1 (The War Disc) is the fifth studio album from Ice Cube. It is the first part from the two-album project. The album features production by Bud'da, E-A-Ski, Ice Cube, K-Mac, N.O. Joe and T-Mix. It moves from intense street-oriented jams to rap-metal fusions, such as the Korn featured song "Fuck Dying." Continuing with its Respect The Classics campaign, UMe will be reissuing this album back on vinyl for the first time in over 10 years.
Virtually ignored upon its initial release, Laughing Stock continues to grow in stature and influence by leaps and bounds. Picking up where Spirit of Eden left off, the album operates outside of the accepted sphere of rock to create music which is both delicate and intense; recorded with a large classical ensemble, it defies easy categorization, conforming to very few structural precedents.
On the heels of Sam Smith's four GRAMMY awards in 2015, In The Lonely Hour: Drowning Shadows Edition will be released in Fall of this year. Including all songs from the Deluxe edition of his debut album (which sold over 9M units worldwide), this forthcoming release will also include new music, covers, live performances and collaborations.
Thomas Mullarney III and Jacob Gossett are unstoppable. The New York artists, collectively known as Beacon, have been on a productive hot streak since 2012, and their efforts continue to pay off. "When we weren't writing," Mullarney starts, "we hit the road and didn't really look back. We toured the US five times since The Ways We Separate came out, building this project the old-fashioned way." And Beacon's natural, time-tested process has brought us Escapements, their sophomore album for Ghostly. Whereas the duo's debut was more streamlined and defined, Escapements thrives on an amorphous, free-flowing nature. "We went into this feeling liberated," continues the singer/producer, and Gossett seems to echo his thought: "This record is in part our attempt to formulate what Beacon is going to look and sound like going forward."
Geidi Primes is Grimes' debut LP. Originally available as a free download, and a limited release of cassettes, it's now available worldwide on CD/LP/Digital. It has a strange air of being created unconsciously while the artist herself was asleep. It is a vastly intriguing set of pop tunes highlighted by its amazing fifth and sixth songs: "Avi" and "Feyd Rautha Dark Heart", which are each frighteningly reminiscent of an unaccountable psychic experience you may have never had.It seems like an album made for very tall people about what it's like to be very small. It calls to mind the glowering of a child king amidst the many vestments and decorations of his coronation. Listening to Geidi Primes is what its like to suddenly realize you are being watched while taking a cold shower... on the moon.
First ever vinyl reissue of the classic soundtrack immortalized by the GZA on Liquid Swords, remastered and pressed on 180 gram “blood red” wax. Housed in a hand-numbered deluxe gatefold “tip-on” jacket. Includes reproduction 27” x 40” film poster (folded to 9″ × 12″) It’s not unusual for hip hop artists to immortalize something by sampling it, but few did so as extensively—or as effectively—as GZA in his use of snippets from Shogun Assassin on his 1995 album Liquid Swords. Though we know them as elder statesmen now, in the mid-90s The Wu-Tang Clan were the spookiest kids on the block, sharing an obsession with shaolin monks, B-movies, and soul-chillingly dark string samples. Released to the grindhouse film circuit in 1980, Shogun Assassin is a martial arts Easts-meets-West culture mashup. Recutting scenes from the swashbuckling Japanese series Lone Wolf And Cub for the British and American markets, the film sold on its brutal action and frequent decapitations. Producer RZA was a big fan and let the soundtrack shape his work on his bandmate’s solo LP. “[The album tells] the story of a shogun told through different narratives and scenarios. It’s not a theme but more like a thread throughout the album,” GZA has said. “While we were mastering the album, RZA asked the engineer to go out and get it and bring it back to us. That’s when I watched it. I loved it immediately and thought it fit with the album well.” The film’s soundtrack blends eastern melodies chiming out of futuristic synths, electronic beats, and bouncing disco bass lines introduced by a child’s ominous voiceover. It was neither Japanese nor authentic. It was, in fact, recorded and mixed at Icon Studios, Hollywood and composed and performed by W. Michael Lewis (of LA disco pioneers Rinder & Lewis) and Mark Lindsay, a man well known as the frontman of hit 1960s beat group Paul Revere & The Raiders. The combination produces results that are typical of neither and all the more intriguing for it. Never officially released on vinyl beyond a limited promotional pressing, this is your chance to own the highly sought after LP. It’s sure to be of interest to soundtrack buffs, Wu-Tang lovers, Tarantino aficionados (who may recall Shogun’s homage in Kill Bill Vol. 2), and fans of experimental synth music.
Doug Hream Blunt learnt to play music at the age of 35, by taking an evening class in the Golden Gate neighborhood of San Francisco in the late 1980s. The class was organized by a local high school music teacher and his wife, and held in a small home-built studio of their garage. In the years to come, Doug wrote and self-pressed an album called “Gentle Persuasion”. The other students of the class became Doug’s band members, while his teacher joined on vibes and his wife on bass. (Doug learnt to play guitar from the teacher, who actually didn’t know how to play himself - thus letting Doug develop his very own (wild!) style of playing). Doug then let the album sit in his garage for five years, before he started taking it around to a few shops around SF. For promotion, he would play acoustic, solo shows for patients and elderly people at a hospital where he worked as a nurse’s aid. At a few occasions, he also arranged to play on the City Visions Public Access television show, which, like his record and hospital shows, went pretty much unnoticed. Today, Doug is starting to receive a cult following. With admirers such as Ariel Pink, Dam-Funk, David Byrne and Jamie Lidell, he has had a direct influence on the art and music of Dean Blunt, who has not only taken his name, but also created work following the steps of Doug - recording music with non-musicians and sidestepping other norms for ‘how things should be done’.
180 Gram Toxic Waste Puddle vinyl. Includes printed sleeve with composer liner notes and an extended interview with C.H.U.D. director, Douglas Cheek, by Michael Doyle, courtesy of Rue Morgue Magazine. Housed in a deluxe heavyweight, old style tip on gatefold jacket. Waxwork Records is proud to present C.H.U.D. The Original Motion Picture Soundtrack. Never before released in any format, Waxwork has tracked down the original master tapes with the effort’s of C.H.U.D.’s composers Martin Cooper and David Hughes. Released in 1984, C.H.U.D. has gained a devoted cult following amongst B-Movie Horror fans and the film is widely referenced in pop culture to this day via The Simpsons, Archer and more. C.H.U.D. has also served as a launching pad for numerous actors such as John Goodman (Roseanne, The Big Lebowski, Raising Arizona), Daniel Stern (Home Alone), and John Heard (Home Alone). The primitive synth score composed by Martin Cooper and David Hughes captures the seedy, grim landscape that embodied early 1980’s NYC. In collaboration with the composers, Waxwork has effectively re-stored, re-mixed, and mastered the full film score directly from the original master tapes. Included in the LP package are composer liner notes and an extended interview with C.H.U.D. director, Douglas Cheek courtesy of Rue Morgue Magazine. Tunnel A