With many new roads traveled over the last few years, The Gaslamp Killer is back with the full-length LP Instrumentalepathy. Releasing on vinyl, CD and digital formats, GLK will initiate his new imprint Cuss Records with Instrumentalepathy. French surrealism artist Albane Simon designed the cover, supplying an array of psychedelic imagery that contains a brilliant sense of connection to GLK’s music & the chaos he’s survived. Instrumentalepathy features an impressive cast of artists tied closely to GLK over his music career with Brainfeeder, Low End Theory and beyond. Guests include Gonjasufi, Miguel Atwood Ferguson, Niki Randa, Kid Moxie, Mophono, Amir Yaghmai and The Heliocentrics. It’s been over a decade since GLK and Gonjasufi have collaborated on new music, bringing the two natives of San Diego back together for something truly special. As many know, GLK used the triumphs of battling a near death experience three years ago when shaping his debut Cuss Records album. A handful of the tracks were even captured from his bed, unable to walk, with morphine running through his veins and staples in his body. A musical illumination that one could argue helped save his life and steered him towards the achievements he has accumulated with his live band The Gaslamp Killer Experience. Instrumentalepathy marks the catalyst point of an important road for GLK and the electronic community at large. Instrumentelephy, like his latest releases, continues down the rabbit hole of his debut full length Breakthrough (Brainfeeder) and the recent live record with his band The Gaslamp Killer Experience. Molding psychedelic ethos and heavy drum breaks with the traditional music language of his ancestors and the futuristic landscapes of modern electronica, GLK continues to push the boundaries of contemporary music. Vinyl & cassette coming soon!
Guest artists include Kendrick Lamar, Ariana Grande, Ty Dolla Sign and more. This is an album about women and for women.
To say Reks took the underground rap scene by storm would be an understatement, as over the course of his first decade on the scene he was the definition of consistent, unleashing three consecutive albums that firmly established him as one of hip-hop's most revered new artists: Along Came The Chosen, Grey Hairs (primarily produced by Statik Selektah with additional production from DJ Premier & Large Professor), Rhythmatic Eternal King Supreme (which debuted on the Billboard charts and included production from Statik Selektah, DJ Premier, Pete Rock, Hi-Tek, Nottz, Sha Money XL & Sean C & LV). Rather than resting on his laurels, Reks choose to take his artistic direction and vision in another direction, devoting his time and energy to embark on a new mission working on passion projects (REBELutionary, Revolution Cocktail & Eyes Watching God); all of which foreshadowed many of the societal ails that we as a country and now fully embroiled in. While Reks' The Greatest X (pronounced as The Greatest Unknown) is not a comeback album, it is a return to force for the Boston wordsmith. As he did on his previous stand-out efforts, REKS is back working with the industries elite producers (Large Professor, The Alchemist, Evidence, Statik Selektah, Nottz, Apollo Brown, Black Milk, Buckwild, Streetrunner) as he sets out to take the next step in his progression. Reks has already set things in motion with the release of videos for the Streetrunner produced "Hands Up" (Wink Wink), the Nottz produced "The Recipe," "Jump Shots" (produced by Buckwild) and "Bitch Slap" f/ R.A. The Rugged Man, which have all been favorably received.
Madlib Medicine Show is a music series the producer began in late 2009 as the official launch of his label Madlib Invazion. The original idea was simple: 12 releases, one per month, alternating between original works and mixtapes spanning different genres. It took a little longer than planned to hit number 12 – so a bonus, No. 13 was added to the mix. Now that the individual CD offerings are increasingly hard to locate, the Madlib Invazion crew has decide to collect the entire series into a single release. We call this collection Medicine Show: The Brick. All Medicine Show releases revolve around the Beat Konducta’s 4-ton stack of vinyl. Get a glimpse of that motherlode with Medicine Show: The Brick. THE MEDICINE SHOW BRICK CONTAINS THE FOLLOWING DISCS:1. Madlib Medicine Show No. 1: Before the Verdict - Hip-hop Album feat. Guilty Simpson. Full-length, 17-tracks, combining new material and remixes.2. Madlib Medicine Show No. 2: Flight to Brazil - Mixtape. 80-minutes of Brazilian psyche, folk and jazz.3. Madlib Medicine Show No. 3: Beat Konducta in Africa - Hip-hop Album. Inspired by and based on African records of the early 1970s – obscure &independent vinyl gems from afro-beat, funk, psych-rock, garage-rock & soul movements from Africa.4. Madlib Medicine Show No. 4: 420 Chalice All-Stars - Mixtape. All Jamaican sounds, 80 minutes. Complete with Los Angeles medicinal marijuana guide.5. Madlib Medicine Show No. 5: History of the Loop Digga - Hip-Hop Album. Madlib’s early years, 1990-2000, from beat cassettes produced for local rap crew Crate Digga’s Palace.6. Madlib Medicine Show No. 6: The Brain Wreck Show - Mixtape. Psych-prog-avante-freak-out-funk rock mix CD.7. Madlib Medicine Show No. 7: High Jazz - Jazz Album. All new Madlib productions from his collective of jazz groups and musicians known as Yesterdays Universe.8. Madlib Medicine Show No. 8: Advanced Jazz - Mixtape. A jazz music course with no grades, lecturer or tests – just a room of dusty jazz vinyl and Madlib at the turntable.9. Madlib Medicine Show No. 9: Channel 85 Presents Nittyville - Hip-Hop Album feat. Frank Nitt. Loosely-based concept album around an obscure TV show, Nittyville, running on Channel 85. Full-length, 14 tracks.10. Madlib Medicine Show No. 10: Black Soul - Mixtape. The Disco era, 80 mins, mixed by Madlib.11. Madlib Medicine Show No. 11: Low Budget Hi-Fi - Hip-Hop Album. Dirty Demos produced by Madlib, with The Professionals (Madlib+Oh No), MED, Strong Arm Steady, AG, Guilty Simpson, J. Rocc, Supreme Team (Madlib+Karriem Riggins), and Jaylib.12. Madlib Medicine Show No. 12: Raw Medicine - Hip-Hop Remixes. Part mixtape, part beat tape, featuring a host of un-suspecting collaborators that run the gamut from thugs, street poets, star emcees and underdogs. The show runs 60 minute with 30+ tracks.13. Madlib Medicine Show: No. 13: Black Tape - Hip-Hop Remixes. The previously-unannounced encore to the Medicine Show series, and continuation of number 12. 60 minutes, 35 tracks.
After releasing a project with his group, Ugly Heroes, earlier this year, Detroit producer Apollo Brown is back and has joined forces with one of New York's most talented rappers, Skyzoo. Their full length collaboration, "The Easy Truth," will be out September 30th. Today you'll be able to get their first single, "One In The Same," featuring the extremely talented Patty Crash. "This joint is easily one of my favorite songs I've ever produced. Skyzoo and Patty Crash brought the music to life, then laid it to rest at the same time." -Apollo Brown "It felt like everything I wanted to speak on in terms of the content of not just this particular song but the entire LP: my neighborhood, unbridled but misguided ambition, police brutality, gentrification, the dichotomy that exists in life, everything." -Skyzoo
Sam The Sleezbag & DJ Mekalek team up to present their 3-disc set, "#SleezbagMekalekTape", showcasing some of hip hop's most respected artists from the East Coast. Spanning the first two discs is ninety minutes of exclusive freestyles and songs from the personal vault of Sam The Sleezbag --- all meticulously scratched, cut, mixed and blended in true mixtape form by DJ Mekalek. The third disc contains a 30-track bonus collection of unreleased joints and lost freestyles. The duo, consisting of New York based audio engineer/producer Sam The Sleezbag, and Rhode Island based DJ/producer DJ Mekalek, refuse to comply with modern day formats, and deliver nothing but the best quality music. This specially-priced 3CD set comes manufactured in a unique custom Digipak foldout.
Outer Space is a Catalan septet formed in Barcelona in 2014. A project born fruit of a mixture personnel between African styles like Afrobeat, the Afrosoul or EthioJazz, and funk rhythms standard rhythms of the sixties. An explosive cocktail that will be invited to travel with the mind and delve into outer space through a repertoire of original instrumentals with an obvious mantra approach that puts outer space near the orbit of Fela Kuti, the Budos Band or Mulatu Astatke. ‘Chase Across Orion’ offers a repertoire of songs that evoke spatial landscapes and environments of science fiction. most of its members have been trained in the dark cellars of Jazz and admit that the advantage of making instrumental music is that it gives wings to the imagination to fly and paint fantastic scenery. An album cooked analogically studies Tucxone Records, fresh, natural and frenzied percussion enshrining strength and rawness of the sound of the ‘60s.
Blank Face LP is a collection of catchy, urgent gangsta rap songs that show the South Central native at his charismatic best, gallows humor and tough talk failing to obscure a humane core. The album features guest appearances from several prominent artists, such as Kanye West, Jadakiss, Tha Dogg Pound, Miguel and Justine Skye, among others. The production was handled by various high-profile record producers, including Swizz Beatz, Metro Boomin, Southside and Cardo, as well as frequent collaborators Nez & Rio, The Alchemist, DJ Dahi and members of TDE in-house production team.
In a world full of cheesecake rappers, one man has assembled a phenomenal team to bring you madness. So stop stop what you're doing and get ready for a journey you've never taken before. Enter the sinister doctor, the Ultramagnetic visionary, Kool Keith, whose Feature Magnetic is his latest bizarre transformative odyssey. The album was primarily produced by Number One Producer (another one of Keith's aliases). The new track "World Wide Lamper" featuring rappers, Bars Murre and Dirty Nasty, premiered today at XXL, where Keith explains, "Album is a full ahead of time extravaganza. If you play it backwards you may hear some wild shit." As always, Keith seems unstuck in time, oblivious to geography, brilliantly mixed unflinchingly grim details with surreal, fantastical tangents. He’s from the Bronx, but belongs to far-reaching astral dimensions. And Where many of his contemporaries have become legacy acts or revivalists, Keith continues to originate and perfect his wild style. He’s parked behind Oracle Arena in Oakland with Norah Jones -- riding a horse and carriage through Central Park (bystanders shout that he looks like Mike Tyson). He drinks with MF DOOM in dusty London basement and recruits a legendary squadron of fellow travelers including Sadat X (Brand Nubian), Bumpy Knuckles, Boston pioneer Ed O.G., Slug from Atmosphere, and Vallejo legend Mac Mall. Throughout, Keith weaves in and out of our reality, stopping only long enough to dap his friends and pass the mic. The songs are straightforward: spare, innovative beats, simple hooks, and razor-sharp verses from an unlikely collection of geniuses. Keith switches moods, cadences, and points of view effortlessly. On “Tired” he’s world-weary and unappreciated; on “Bragging Rights,” the mink coat melts off his shoulders like butter. “Peer Pressure” cryptically considers his career and the shifting racial demographics of his audience, a far cry from the scene in “Stratocaster” when he pulls up in the teal Maybach, handing out off-the-book jobs to the people. In an era of careful branding and secret signings, it’s a radical act to put out a rap record where no MC can hide. The no-frills approach is a high-wire act, the kind of format that weeds out the fakes and the imitators. Predictably, however, "Feature Magnetic" is full of world-class acrobats. On the closing track “Writers,” Ras Kass sums it up best: “H-O-R-S, me and Kool Keith playing HORSE with a verse/ ...all you hear is swish.” All Tracks Produced by Number One Producer except tracks 08 (Ocean Ave Records), 09 (Ol Man 80zz & Futurewave), 12 (Giz for Crazy 100)
Jay Dee a.k.a. J Dilla is widely regarded as one of the greatest producers in hip hop history. The E-Mu Systems SP-1200 drum machine and sampler was the first electronic instrument Jay Dee worked with while crafting the incomparable styles and sounds which defined the early stages of his legendary production. The SP-1200 was his primary tool of choice at the inception of his career. During this period, he created classics for early Slum Village, The Pharcyde, A Tribe Called Quest, Busta Rhymes, among many others. After careful study and curation this one of a kind collection compiles the well-deserved documentation of Jay Dee's early musical masterpieces. Ma Dukes assembled a team of industry family who spent nine months working daily to bring this project to J Dilla fans everywhere. ''The King Of Beats'' feature's 40 tracks from Jay Dee's groundbreaking 'Batches' created using his SP-1200. In addition the CD release contains “The Lost Scrolls” and an additional 15 cuts created by Dilla on his MPC which was recently donated to the Smithsonian for their National Museum of African American History and Culture scheduled to open to the public in 2016. “The King Of Beats” is more than a collection of Dilla’s unheard works, it’s a glimpse inside the mind of a creative genius, a view into Dilla’s artistic process and a must have for any who call themselves a fan of his musical legacy
I, Ced—the prolific St. Louis producer best known for working behind-the-scenes with artists like Dâm-Funk, Shuggie Otis, Run The Jewels and Shafiq Husayn—emerges with his own collection of solo music. Five years since his debut All In My Mind, this time I, Ced has taken greater creative control by distributing his work through his own independent flagship, MoveNext Media. Throughout his new project, What Are We Looking For?, we see an artist becoming the conductor of his own course, acting as executive producer, singing every arrangement and playing virtually all instruments.The title track sets the tone by inviting the listener to share I, Ced’s journey of self discovery and search for answers,while having a little fun along the way. ith reflections on love, life and spirituality, the album draws from the artist’sdiverse musical influences, from the soulful 1970s psychedelia of “Things We Like To Do”—a cover of previously unreleased Shuggie Otis material from the Inspiration Information sessions—the 1980s boogie-inspired “Wildest Dreams”, the Minneapolis cosmic funk of“Signed Sign Signal”, and the powerful piano ballad “Not A Farewell”. While the album is deeply personal, it features contributions from I, Ced’s extended musical family: Thundercat, 14KT, Om'Mas Keith of Sa-Ra, Dotmatic, Jimetta Rose, Quelle Chris, Suzi Analogue, P.U.D.G.E., Erik Rico, and fellow Hawthorne Headhunters member Black Spade all add their immense talents to the work.
SET INCLUDES FIVE-DISCS, 80-TRACKS HONORING UNPRECEDENTED LEGACY OF SEAN “DIDDY” COMBS AKA PUFF DADDY & HIS BAD BOY ENTERTAINMENT Sean “Diddy” Combs aka Puff Daddy and Bad Boy Entertainment celebrates their 20+ year legacy as the ruling authority on hip hop and R&B with the release of the Bad Boy 20th Anniversary Box Set Edition, available on Friday, August 12th. A must-have for any music lover and collector, the set includes hits like “I Need a Girl,” “Juicy,” “I Don’t Wanna Know,” “Hypnotize,” “Money, Power, Respect,” “Peaches & Cream,” “Can’t You See,” “Flava In Ya Ear (Remix),” “Love Like This,” “Feel So Good,” “Pop That,” “Damaged,” and “I’ll Be Missing You,” from an all-star lineup of artists including Puff Daddy, The Notorious B.I.G., Craig Mack, Faith Evans, Total, Carl Thomas, Mase, 112, The Lox, Cassie, Janelle Monáe, Danity Kane, Machine Gun Kelly, French Montana as well as many other beloved Bad Boy artists. Accompanied by a 64-page historiography and foreword by hip hop journalist Michael A. Gonzales, the collection will take readers on a journey through the history of Bad Boy Entertainment, reminding fans of the label’s reputation as hip hop’s most notorious vanguards. With contributions from music industry veterans, readers and listeners alike will gain a 360 view of the rise of the label and their revolutionary sound.
"The cover photo is a picture of my great grandmother, Mabel. She, like my own mother, died young after years of struggling with her demons. This album is dedicated to my mother, Jody, and my great grandmother." - Red Pill Consider yourself lucky if you can’t empathize with Red Pill. No one channels bleakness better than the blue-collar Michigan MC, whose sophomore solo LP for Mello Music Group, "Instinctive Drowning" plays out like the ghost of Bukowski on a snarling bender. His songs are lifelines for the doomed, death letters written for fatigued skeptics, the anthems of an existence precariously balanced among a fifth of gin and a loaded .38 revolver aimed at the temple. The album title doesn’t come from some glib “sad boy” gimmick—it’s an allusion to his unstinting depression and chronic alcoholism. The saddest stories are usually the most honest and almost no one is more honest than Red Pill. His music is his own atheist confession booth. "Instinctive Drowning" unravels as a litany of fear and loathing: rooted in the worry that his afflictions are genetic. Many others in his close family have suffered their own battles as well. Pill’s own mother passed at 45 from alcohol-related issues. If he ends up next, the album might as well serve as his requiem. There is “The New Normal,” which chronicles his bout with viral meningitis, a disease practically alien to those in their late 20s, save for those whose livers are already ravaged. After two weeks of vomiting and vows to quit drinking, Pill finally recovered and went to the liquor store. “Club Privilege” is a club song for people who would sooner kill themselves than go to the club. It doubles as examination of white privilege, where Pill acknowledges the absurdity of his self-pity, while starting brawls and screaming at bouncers. There is “Fuck Your Ambition.” It is what it sounds like: a rejection of white-picket fence ideals that never really existed. It lampoons the Horatio Alger myths, the lies about self-sufficiency and the way Capitalism has created a slovenly class of consumers. It could come off as self-righteous, but Red Pill is never above the fray. He’s the condemned marching alongside us, suffering for our sins, chewing on stale pizza crust. Virtuosic Ohio native, Ill Poetic, handled production. The co-owner of San Diego’s Beat Box Records ceaselessly trawled his own bins, sampling forgotten art-punk 45s to foreign psych-funk. From there, he enlisted his Ohio band and a a wide range of musicians and singers to add their seasoning. The music is equally comforting and unsettling, eerie and familiar, offering the ideal contrast with Pill’s lyrics—creating something with soulful depth but raw grit. Of course, there is a paradox at the heart of this record. For an album that courts death so closely, it manages to be oddly life-affirming. Maybe Pill is an optimist after all. There is the still the slight hope that he can escape, the notion that by writing these songs he can somehow heal himself and help others. He still probably will drown, but for now, few can float this well.
As co-founders of the label MoFunk Records, and the production team behind one of modern funk’s signature anthems, “Press Play” (featuring Zackey Force Funk), XL Middleton + Eddy Funkster’s album is truly an opus long overdue. In sound, it draws heavily from LA’s musical well over the last several generations, bringing forth hard electro funk styles on “Show Some Respect,” bouncy lowrider funk on cuts like “Solicitation,” and giving a progressive nod to 90’s g-funk on the LBC’d out “California Fly,” which features Domino of “Getto Jam” fame. Furthermore, XL + EF channel the more modern feel of ambient, pad-heavy funk on songs like “On Our Way To Funkmosphere.” In spirit, it’s more of a P-Funkesque party, as the entire MoFunk roster plus extended family join in variously on all of the album’s 7 songs, contributing everything from vocals to guitar and talkbox. This is kind of party you’ll want to join in - an ongoing celebration known as modern funk.
Boris Blenn from Berlin releases a Nu Jazz Downtempo full-length album, ‘Berlin Future Lounge’ on Cold Busted. Starting off with the track ‘Mellow’ the listener is absorbed by the chill instrumental Hip Hop beats and lustrous warm and soothing synths. ‘Grain’ displays more minimal palpitations and clicks while the song ‘Funkazoid’ showcases active beats, wonky synths, funky breaks and an insane drum solo. Following is ‘Jazzaloid’ a feel good tune with lush diva vocals bee bopping and accentuating the rhythm and brightness with melodic keys adding a nice touch. ‘Sunshine’ is warm and calming with dazzling notes and organ keys and a caressing snappy snare, definitely capturing a pleasurable feeling of sun on your skin.‘Dream’ is another tranquil song with a happy hi hat, organic sounding Bass and emotive piano keys. Ending on a Jazzy note, ‘Still’ wraps things up with a moody Bass, free loving drums and a smooth male vocalist, all details earnest and charming. A seasoned producer with a colorful background, Boris Blenn delivers with this 14-track album, a fruitful and joyful collection of sounds. Fans of Prefuse73, Pole, Mark Farina and Gotan Project will likely dig this album.
Black Atlass is quite literally the only artist on earth to soundtrack Louis Vuitton and Yves Saint Laurent ads while featuring on Action Bronson songs. This diverse appeal is a testament to the captivating voice of Alex Fleming, the young singer, songwriter and multi-instrumentalist and who created Black Atlass as a vehicle for his unique vocals, heart-on-sleeve lyrics and experimental production techniques. Following the well-received “Paris” single and Young Bloods EP (the latter a personal favorite of visionary director Woodkid, who created mind-bending visuals for single “Jewels” featuring Fleming and supermodel Anja Rubik) and the three singles released over the past year, “Haunted Paradise,” “Tonight,” and “Island Love,” Black Atlass is finally ready to drop his full-length debut.
One listen to the striking instrumental “Burial Of A Dead Star” is all the assurance required to qualify The Silverback’s funk proficiency. It’s a kind of ethio-funk-space-soundscape, perfectly punctuated by tightly arranged horns, rich in texture and detail and with some slick gear changes. It’s this quality and blend of interesting styles the Madrid band employs throughout “Black Rose”, their first album with London-born singer Shirley Davis. Until recent times, Davis has been living in Australia, her home since her late teens. Now relocated to Madrid, she has wasted little time finding her new direction, building on her experience of working with heavy funk luminaries Deep Street Soul and Osaka Monaurail and influenced by friendships with Sharon Jones and the late Marva Whitney to produce a first-class album of funk and soul. Davis still retains an earthy London accent to her soulful voice, evident on the spoken breakdown on the soul burner “Two Worlds” – the everyday social inequality tale of ‘them’ and ‘us’. Her singing has soaring power, range and a nuanced ring very much her own. Coupled with the versatility of the band, wether in measured mode or getting down and gritty – the pairing works supremely well. There’s beautiful restraint on “Pay For Your Love” and “What Can I do”, terrific showcases with both band and voice complementing each other effectively. There’s also plenty of grit too as interstellar funk manifesto “My Universe” notches up the heaviness, towards the thrilling apex reached on the thumpingly funky “Vanity”. A colorful blend of exotic soul and funk; light and heavy. Black Rose is fresh, deep and lovingly made, with excellent performances and production throughout. These heavyweights flourish beautifully. Phil Gates. Funkalicious.
These days everything you consume has to be checked - a vibrant outside can hide a genetically modified Frankenstein interior. Finding that 100% organically grown with no artificial rhymes can be difficult. This album is for those looking for something less calculated. Powerful production runs the range from soulful, funk filled, and hard knocking to cool, laid back easy nodders. The rhymes are politically aware without taking themselves to serious - so from the occasional judo chop to the need for sexy, dirty slutty money - Denmark explores life from the perspective of a man who grew up on minimum wage and butter sandwiches. Lyrics don’t sugar coat anything -no matter how rough that truth might appear: “The fleek shall inherit the Earth and the meek shall be buried in dirt - ain’t nothing sweet.” Denmark delivers existential truths while still throwing in a “where the hoes at?” A street savvy album that explores Black love, brutality, capitalism’s grip on our daily thoughts, and the connection it all has to our ancestors. Gensu Dean has produced for David Banner, Large Professor, Roc Marciano, and more, while Denmark Vessey has had his praises sung by the likes of Earl Sweatshirt. Musical roughage to get through shit, to help you get through shit.
Lando Chill's debut on Mello Music brings traces of Gil Scott-Heron, Pharoahe Monch and The Roots , fusing scattered influences into a coherent vision.
If The Analog Brothers didn’t exist, the weirdest scientist couldn’t have invented them. Or perhaps they never existed. Maybe it’s possible this was all a demonic 31st century hallucination cooked up by Kool Keith and cyborg alien pimps peddling flesh and white fluff acid. But how else to explain the ultra-rare, ultra-magnetic artifact left behind: Pimp to Eat. Originally dropping from the skies in 2000, it’s being re-released by Mello Music Group, and remains the timeless mind-fuck that it was when it first emerged. It’s a laser beamed synthesized hieroglyphic that could sound timeless in any century or sonic dimension. There are a few clear things amidst the craziness. The centerpiece of the record is Pimp Rex (AKA Rex Roland), the legendary Angeleno hustler, who did production for Body Count and the chorus on Ice-T’s “I’m Your Pusher.” He enlists his longtime collaborator Ice Oscillator (Ice-T), Keith Korg (Kool Keith), Marc Moog (Marc Live), and Black Silver (Silver Synth). These are the five fly horsemen of the apocalypse, the Analog Brothers delivering digital blows, oscillating sub-tones, and urinating out of windows. According to Ice-T, the original masters of Pimp To Eat were delayed when Kool Keith’s vocals were stolen during the melee that followed the Indiana Pacers–Los Angeles Lakers NBA championship basketball game June 19, 2000 in Los Angeles. Who knows if this is true? Maybe Reggie Miller was the culprit? All we really know comes from the abstractions assaulting our eardrums. Rex Roland’s tribute to the old analog sound, eerie synthesizers and pimp-slapping 808 drum machines. Ice-T and Kool Keith trade bars like a rap Scully and Mulder. In the first minutes, the erstwhile Dr. Octagon shouts out George Gervin, swap meets and the Ultimate Warrior. On “Analog Technics,” the man better known as Black Elvis throws feces at celebrities at the Billboard Awards, sporting Superman underoos, and driving a lime green Corvette. On “More Freaks,” Keith sniffs 8 grams of coke in Calvin Klein boxer shorts, watching Wide World of Sports. While Ice-T panders with Motorola Pagers, eating Grand Slams and asking you to meet him at the back of Denny’s. This is how it goes across 16 tracks of interstellar pimping. Out of the attics of the insane comes one of the most overlooked rap classics of its era, full of bizarre boasts, ice-cold and meteor-hard beats, and the best bad examples. You couldn’t say no even if you wanted to.
It’s Time is Barcelona based Alma Afrobeat Ensemble’s third album, the second on Slow Walk Music records, and first with the Nigerian singer Joe “Olawale” Psalmist (Lagos, Nigeria) singing in English, Yoruba, and Broken English. It’s Time features songs that hearken back to the origins of Afrobeat; extended, elegant arrangements, socially and politically charged lyrics, and irresistibly danceable grooves. Add in a dose of trance, some unique improvisational solos, plus a modern feeling, and you have It’s Time. Side A of the album features new tunes recorded in the band’s hometown of Barcelona, while Side B features creative reevaluations by various DJ’s, which results in some very unique, creative and psychedelic sonic landscapes. The modern, warm sound is due not only to the band, but to the production of Marc Molas in El Tostadero Studios (Barcelona) and the mastering of Alex Psaroudakis at M-Works Mastering, in Boston. The title track, “It’s Time”, expresses the idea that it truly is time for a change. The hard-hitting intro is reminiscent of old soul tunes, which have always been a big influence for AAbE and Joe Psalmist. “Shakedown” addresses the current state of racist, authoritarian police institutions and their abuse of power. “Live and Let’s Live” expounds on the idea that not only must we let others alone, but we cannot forget to enjoy life ourselves. Finally, “Lost” peers into the nature of friendship and human relations and what it means to be “good”. The reinterpretations featured on “It’s Time” include remixes by a wide range of international DJs and producers such as DJ Farmo (France), DJ Quiet (Houston), DJ Phader (Chicago), Los Kalakos (Mexico), and Ray Lugo (New York) of the Booglaoo Destroyers and Kokolo. It’s Time is a contrastive reevaluation of the modern state of Afrobeat, which reaffirms AAbE’s role as an international catalyst for the style. It is both classic in its respect for the roots of the genre, yet modern and forward-thinking in its compositional style and aesthetic relevance.
(Emcee) M.I. and producer DJ Cutt return a year after releasing the critically acclaimed “Avant Garde” with a new album and concept. The duo, who have further developed their creative enterprises to incorporate film production as part of their ever expanding SIX2SIX organization, have drawn from their respective Italian and Russian heritages to adopt the personas of Luciano and Lansky in the new album “Omerta”. Describing the approach, M.I. explains “It’s to put a little of the fun back into hip hop, not just throwing out beats and bars. A return to the days where the focus was on entertainment, relating imaginative stories and putting more emphasis on actual songwriting.” The 13 tracks are a series of vignettes set in a metaphorical criminal underworld They depict familiar times, events and cultural reference points as a formula for conveying parallel meaning. Such imagery has been used by rappers for decades, eager to portray a glorified vision of themselves, but M.I. is a man on a different mission, adding “I’m not endorsing a lifestyle or suggesting this is who I am in any literal sense. I wanted to address this subject in a more intelligent way, compare mindsets and situations in a broader dynamic.”
Life is a cruel joke…were you waiting for a punch line? MindsOne connects with Belgium's DJ Iron on their newest endeavor, "Phaseology", and aim to examine the bigger picture. Why are we here? Where do we go in the end? Is that an SP1200? Damn right. Is life too complex to condense into 40 minutes? Challenge accepted. First, don’t look at life as the sum of its events. Think about it as a series of phases. Next, combine MindsOne’s handcrafted lyrical artistry with DJ Iron’s jazz infused boom-bap. Combine, two parts cynicism, one part mysticism, and add water. Then, sprinkle in a guest appearance by the sage John Robinson, throw in a heavy dose of turntablism from DJ Iron and MindsOne’s DJ Noumenon and Slim Deluxe, and the theory is complete. "Phaseology" is the follow-up to MindsOne's 2014 critically acclaimed release, "Pillars," produced by Kev Brown. Journey along as Tronic and KON Sci explore the phases of life and create scenes, both real and imagined, to give listeners a bird’s-eye view. Relive childish fantasies and revisit irrational fears. Go to work and act like an adult. Ponder your existence and reflect on your life. Spoiler: It’s all gonna end. But not today. We’re born alone, we die alone, etc. Talk to God if it’s too complex.
Diggin’ In The Crates crew are back in the studio, their own studio at that, and the result is their first new album in 15 years. 15 tracks deep, this album features lyrics and production by all members of the crew, including a few new affiliates. Highlights include a return to the microphone by Lord Finesse on the banger “Rock Shyt”, Fat Joe returning to this legendary Bronx crew and DJ Premier production on “Connect 3”. This album was designed to be the first of many new releases coming out of their new headquarters and label, DITC Studios.
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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.
Important information when ordering with Fatbeats.com...
• Online orders are processed within 1-2 business days.
• If you are confused or need to know about an order placed on the site you can contact us
• Order processing time is separate from shipping time requested.
• International orders and orders that require additional credit verification can take longer to process. Please be available at the provided number or email submitted to speed up verification time.
•We try and offer as many upcoming projects available for pre-order when the releases have moved into production. However, due to the nature of manufacturing and production, pre-order dates may change. If your pre-ordered items are holding your package from arriving please email us with a request to ship the in-stock items and pre-orders when they become available.
•If your order contains pre-order items we will hold the package until all titles are available to ship. Please specify in the comments section of the checkout if you would like to: a) hold your entire order until it can be entirely fulfilled or, b) have the in-stock items shipped immediately and the pre-ordered items ship when available. Please note that option B may require additional shipping charges as multiple packages will be shipped.
• Our stock rapidly changes and we try and set in place a system that avoids purchasing items that become out of stock. However, if a product ordered is out of stock, we will reach out and give you the chance to change or cancel your order. If you choose to cancel, you will be refunded in full.
• IMPORTANT: If the address or phone number supplied conflicts with other information provided, i.e. billing information versus shipping information, we may need to contact you to verify your purchase. Please be available to verify or write an explanation in the notes section during checkout explaining the conflicting information.
•Please make sure you give us your correct billing address and your correct billing phone number. Again, it is highly important that you are available at the provided number or email submitted to speed up verification time enabling us to avoid fraudulent purchases.
• All sales are final. However, if the item ordered is different from the item you receive, please contact us and we can arrange to get you the desired product.
• We are committed to protecting your privacy. There is an opt-in policy to receive marketing and other e-blasts about future products available as well as deals and coupons. If you do not wish to receive these emails you can opt out by simply removing the check from the marketing box below upon check out. We will never sell your email or personal information.
• Your payment and personal information is always safe. Our SSL (secure server software) is the industry standard and among the best software available today for secure commerce transactions. It encrypts all of your personal information, including credit card number, name, and address, so that it cannot be read over the internet.
Fat Beats offers internship opportunities. You must be enrolled in college and reside in the Los Angeles area to be eligible for our programs. If you meet these requirements, please paste your cover letter below and we will contact you if there are open positions available.
We are currently offering an internship program that offers an educational experience in all facets of our distribution operation. The intern would have the ability to assist in each of the following departments:
Online Retail / Marketing
Shipping & Receiving
- Enrollment in an accredited college/university that offers an internship program for academic credit
- Knowledge and passion in independent music and culture; with a specific interest in the artists/releases that Fat Beats supports
- Familiarity with Microsoft Office applications
- Positive attitude - no task should be considered too small
- Must be located in the greater Los Angeles area
Resumes/Cover Letters should be emailed to firstname.lastname@example.org