Breakestra leader and brainchild stepped out on his own last year to release his guitarcentric rock n’ soul album The Fool Who Wonders. He took a shot at remixing his own track “Everything” & flipped it with a little influence from dub & psych rock music. The flip side “The Fool Who Wonders” is steeped in some deep ‘60s, stomping R&B meets Texas guitar blues. This is a limited, 500-only pressing for Record Store Day.
25th anniversary LP reissue of Eazy-E’s platinum-selling debut album. Produced, co-written and featuring Eazy-E, Dr. Dre, Ice Cube, M.C. Ren and D.J. Yella, Eazy Duz-It is a true Hip Hop classic that the Los Angeles Times called “a landmark album brimming with violence, profanity, sexually explicit content and antigovernment themes.” Raw and irreverent, it’s the perfect companion to N.W.A’s masterpiece, Straight Outta Compton.
Roll over, Josie and the Pussycats, and tell the Archies the news: There is a new cartoon band in town, the poppy, trippy, hip-hoppy Gorillaz. But cosmonaut vixens or pie-faced high school kids the Gorillaz are not; instead, they're an urban-chic troupe of misfits known as Murdoc, Noodle, Russel and 2D. For more on their story, go to gorillaz.com. As for the music, well, the people who actually created Gorillaz sorry to spoil the fantasy include avant-garde hip-hop producer extraordinaire Dan the Automator Dr. Octagon, Handsome Boy Modeling School, Deltron 3030, Blur vocalist Damon Albarn, Cibo Matto singer Miho Hatori, rapper Del the Funky Homosapien, and former Talking Heads/current Tom Tom Club members Tina Weymouth and Chris Frantz. The album is a tasty brew of the many musical stylings purveyed by its creators. The single, "Clint Eastwood," combines the Automator's toe-tappin' beats with Albarn's chipper, oh-so-British vocals "I'm feeling glad/I've got sunshine in a bag", and Del's tough-guy raps "Chicks and dudes/Who you think is really kicking tunes?". Other standouts include the aptly titled, minute-and-a-half Albarn screamfest "Punk"; Del's Grandmaster Flash-style rap "Rock the House" featuring the call-to-action "I want y'all to just get down"; the groovy indie rock of "Re-Hash," featuring Hatori's sweet backing vocals; and the ominous Pink Floyd-esque art-rock of "M1 A1," which features a sample from the horror flick Day of the Dead. Yep, this album is all over the place, but the Automator's production skills and seamless segues hold it all together. Action figures sold separately. - Barnes & Noble, Bill Crandall
“The Sit-In” is the new album by Twit-One from Cologne. It is quite different to his previous works but Twit’s music has never been easy to predict. Featured artists on “The Sit-In” are singer May, poets PB Louison and Imam Ally Salam and keyboard player Ruoy Yaw. Artwork has been done by Van Lagerstein and Robert Winter.
100% of the proceeds of this release will be donated to refugees from Iraq and Syria. Unreleased music by IAMNBODI, Brenk, Suff Daddy, Shuko, Farhot, Houseshoes, Cid Rim, Dexter, Torky Tork and many more. “My old friend Aras asked me one day if I could perform at the charity event he organizes for the refugees in the Kurdistan Region for the people who are on the run from IS fighters in Iraq ans Syria. He explained the circumstances to me and pointed out the immense struggle these families have to go through day by day. He told me that he and his team are about to fly the money directly to the people in need by themselves. The proceeds will be distributed among refugees, in the Dohug and Erbil Governorate which is very close to the Iraqi/Syrian Border. Due to it’s location a huge part of the Syrian as well as the Yezidi and christian refugees ended up in this region. The money will be delivered directly to the refugees, to help them attend to their most immediate needs, such as food, clean water and warm clothing for the winter. It was clear for me that I had to support his endeavors. As I realized that performing there wouldn’t be possible because of me being on tour with the Betty Ford Boys, I wanted to find another way to support this project with something bigger than just a performance. I started calling the homies and everybody was immediately down to support “FOR THE PEOPLE” with an unreleased instrumental. There you have it; this is how the idea for the compilation was born. I would like to thank each and everyone who bought this record and supported this movement. Also I would like to shout out all my brothers who sent me these dope ass beats. And last but definitely not least, Jannis and Jakarta Records for seeing my little vision and making this an official release via Jakarta to help raise even more money. Salute,Brenk
The Gift is a series DJ House Shoes started to spotlight under the radar producers. Pressed in a limited edition of 300 copies. The Gift, Vol. 6 is Cream Of Beats’ first celebration of the blues heritage for the Street Corner Music label. Cream Of Beats plays a very basic style of jazz, a genre that has gone largely untouched by post-Bop advances (at least not by many beyond those of Horace Silver and the early Sonny Rollins) and which is informed almost exclusively technically and inspirationally by the essential sources: gospel and the blues. The scope and breadth of its expression is restricted pretty much to the experiences and emotions which these sources are about. On this basis, and by the standards of 2015, it is probably valid to call Cream Of Beats’ blaps “primitive”. But this is not meant to imply a derogation of either the music or the man who is making it, rather it is intended to define both in their relationship to other contemporary jazz forms and contemporary beat culture artists. ‘Alive’ is a word that could be accurately applied to the whole album; the conditions out of which these musicians have come are hardly conducive to anything but the opposite of that word, but Cream Of Beats and the others have discovered in their music where the life is.
Hailed as the world’s best club DJ, J.ROCC continues to capture music enthusiasts around the globe. In 1992, Jason Jackson, internationally known as J.Rocc, launched his vision of forming a DJ crew comprised of talented musicians, by introducing to the world Southern California’s first turntable band - the Beat Junkies. A prized accomplishment enthusiastically received by worldwide audiences, J.Rocc continues to invent musical styles that display his creative expertise. Highly recognized for his funky showcases and original arrangements, J.Rocc has clearly distinguished his place in music history. Funky President Edits, Vol. 1 is the first installment of J Rocc’s 7” edit series featuring “Brothers Party” & “The Technique”, two party sureshots familiar to the discerning listener and edited with precision.
Mike Stroud and Evan 'E*vax' Mast have finally completed work on their second album, humbly titled Classics (and while we all think that each track is a "classic" in it's own right, this is NOT a Greatest Hits compilation of any sorts).. They'd have finished a lot sooner had their self-titled debut, released in 2004, not performed so well in the US. After changing their name from Cherry to Ratatat just in time for their tour with Interpol, the duo garnered a serious amount of praise for their first single release, "Seventeen Years" on Audiodregs Records.The album was released shortly afterwards, and in addition to a glorious press response Mast and Stroud found favour with a number of bands. This recognition from their peers took them on the road around North America and Europe playing shows with The Killers, Franz Ferdinand, The Stills and Mouse On Mars. They eventually packed away the flight cases after well over a year's worth of touring, and set about making the follow-up, with an impressive 20,000 album sales under their belts. The record began life in Mast's new Crown Heights apartment, but really took form when they spent 6 weeks out of the city at a friend's house in upstate New York. Of course, Classics remains resolutely instrumental, but they have however introduced a wealth of new sounds, from acoustic and slide guitar through to sleigh bells and cello. Having laid out their blueprint with Ratatat, their vastly improved production and writing makes Classics a refinement of their art.
Recorded live in one room with no headphones to analog tape, San Francisco Bay Area’s The M-Tet are back with their second 45, “Mike’s New Adidas” b/w “All Growns Up”. The M-Tet brings you their take on the 60’s sound with the classic quartet of Guitar, Hammond Organ, Fender Bass, and Drums. This record is sure to get your finger’s poppin’!
After over a decade long hiatus, Ace Lover returns with the brand new 7 inch record entitled “Love Me.” “Love Me”, a 4 song EP, is produced & arranged entirely by Ace Lover for a special limited vinyl edition. Ace Lover stormed through the New York City underground scene years ago releasing memorable 12 inches such as “Area Code 212”, “Lucky 7”, “Weed Spots” & “Classic Characters.” When Ace’s group, 2 For 5, followed up unveiling more favorites such as “Playin’ The Strip” & “Broke Minds Think Alike”, it felt like the world was in the palm of his hands until everything just came to a pause, until now. URB magazine listed Ace as “The Next 100” to look for and his group 2 For 5 was noted as “Best Album Of The Year”. “Love Me” displays a much more grown and mature Ace Lover. He isn’t the same wet behind the ears comedic 18 year old, but it doesn’t mean his charismatic sense of humor is no longer existent. Listen and hear for yourself.
Bells and Whistles, the new double LP from acclaimed independent musician Blockhead, provides more of the explosive beats and pulsating rhythms his fans have come to expect over the last decade. Rich in texture and eclectic in composition, this album will serve as the perfect soundtrack to 2015 and beyond. Check it.
After releasing albums by DJ Nate and DJ Roc, plus an EP by DJ Rashad, Planet Mu are proud to present their first compilation of music from the competitive world of Chicago’s 'footwork' scene. To those that don’t know, 'footwork' is a hyper rhythmic, abstract dance music, pitched around 160bpm, that largely consists of a template of cut-up samples and phrases that are twisted into repetitive rhythms & shapes, to offbeat, syncopated drum machine patterns and pumping sub-bass lines. Until now, bar a few low key vinyl 12”s and local mix cds plus tracks posted on sites like youtube and imeem, 'footwork' has remained very local to Chicago. Although it's an evolution from the dominant form of house music in Chicago since the mid 90’s - ‘Juke’ or ‘Ghetto house’, it’s a splinter scene you won’t hear on local radio. Instead, the scene is based around competitive dances in vacant warehouses, karate gyms and youtube where you will find DJs providing the soundtrack for a circle of spectators surrounding combatants or ‘footworkers’ battling each other with their legs, using the particular style of high-speed, combat-dancing that Chicago has created in isolation. The music on this compilation covers a spectrum of the music producers, from RP Boo, whose track ‘Baby Come On’ in the late 90’s is regarded as the first footwork release, to established producers who have come through the Ghetto house scene such as DJ Roc, DJ Spinn, Traxman, DJ Clent and DJ Rashad. To contrast, as well as the established DJs, Planet Mu have picked a number of young producers whose music is less known, and whose exposure has come more through using social networking sites and youtube than through the established networks of the local footworking scene. These producers are DJ Nate, DJ Diamond, DJ Elmoe, Tha Pope, DJ Killa E, DJ Lil Rome, Yung Tellem & DJ Trouble. Footwork is a utilitarian music, and although the tracks here have around the same tempo, different producers have singular styles. In reflection to the dancing it inspires, the rough, aggressive exterior of the music, with its dark themes and terms of combat, gives way to an incredible gracefulness at times, often combining intricate double-time abstracted drums with lush textures and choppy abstract sounds and a distinct way of salvaging popular music past and present and putting it to good use by cutting it up into futuristic, angular shapes. First time listeners may find the music bewildering, but the way the music utilizes recognizable features in unrecognizable ways is extraordinary: film themes spread over the top of drums give the music a liquid grace, techno gives it a frantic darkness, hip hop samples at half-speed create futuristic funk templates and freshen up stale breaks and chipmunked r&b samples often give the music a hallucinatory, otherworldly feel.
After amassing a sizable discography of 7″s, EPs and digital releases on a host of platforms, Ras G & The Alkebulan Space Program are Back On The Planet for their most complete demonstration to date. The countless nights at SpaceBase behind the MPC and SP-303 have seen G come fully into his own. On this project past experiments in chest-rattling bass, terse loops and bugged-out field noise come full circle. Ancient Afrikan poly-drum rhythms meet outer-synth splashes of white noise and intuitive experimentation meld with deep sub-harmonics for an otherworldly experience on this 2XLP for Brainfeeder.
Come peruse Collections 01, a menagerie of songs from Teebs on the Brainfeeder label. Like a cluster of exotic birds, anthology of short stories or secret case of sparkling gemstones, Collections 01 further explores the world expressed in Teebs’ previous album Ardour from several new perspectives. While drawing from the universe of Ardour, Collections 01 is more varied with more samples, each song containing specific elements that give it a unique character. Featuring tracks with harpist Rebekah Raff and Brainfeeder cohort Austin Peralta, Collections 01 offers a range of sentiment, always elegantly displayed. From hypnotic, dust-covered beats and languid daydreams to cascading shuffles and bright bursts of color, this beautiful collection is a further glimpse into the world behind the mind’s eye of Teebs, painter of sound. From Teebs:“With this record I’m trying to imagine a side project or group of mine that just so happened to make the same exact music as I’m making now. These records are neither EPs or full albums. Just mini collections of ideas…I hope to release them randomly through my life as if they were paintings in a drawn out series. The vibe I want people to be sent off with is a feeling of going out and buying some kind of rare library record they always wanted and not a “new album/EP.” This will be the first ‘Collections’.”
Ibeyi (pronounced ee-bey-ee) means “twins” in the language of the Yoruban culture of Lisa-Kainde and Naomi Diaz. The album of the same name, produced by XL Recordings boss Richard Russell, is the story of two sisters: their relationship, their origins, their shared history and their musical chemistry. The twins’ roots are reflected in the polyglot nature of the lyrics — in English, French and Yoruban — and music which combines ritual chants with synths and samplers, jazz vocals with the spellbinding mystery of Björk and Fever Ray, the traditional with the modern. This uniquely cosmopolitan sound is the perfect vehicle for their intimately personal stories. According to them, “This album is about love and family and people who are gone.” Lisa-Kainde and Naomi (the eldest by two minutes) were born in Paris, where they still live, but spent their first two years in Cuba. Their father was Miguel “Anga” Diaz, the member of the Buena Vista Social Club, who was acclaimed as the greatest conga player Record producer and XL Recordings boss Richard Russell first encountered Ibeyi when he saw them performing Mama Says on a 2013 YouTube video. He soon invited them to meet him - a serious offer from someone who in recent years has produced albums by Gil Scott-Heron (‘I’m New Here’) and Bobby Womack (‘The Bravest Man In The Universe’, co-produced with Damon Albarn), as well Albarn’s own acclaimed 2014 solo album ‘Everyday Robots’. The album is a subtle melange of diverse influences: not just Lisa-Kainde's soul and jazz leanings and Naomi’s up-to-the-minute beatmaking but the bloodlines of France, Cuba and Africa, including the use of Yoruban chants they first heard in the Santeria ceremonies. The tense, dramatic Oya, the lead track on their debut EP, addresses the deity (or “Orisha”) of change and destruction while River honours Oshun, the Orisha of love, rivers and fertility. Yoruban culture travelled from Nigeria and Benin to Cuba and Brazil with the slave ships centuries ago but is little-known in Europe.
The Budos Band return with Burnt Offering; a wild, booze-fueled ride of hazy riffs, take-no-prisoners horn lines and relentless percussion that summons the occult – an evolved sound for this mighty 10-piece band sparked by their love of Black Sabbath and Pentagram. Burnt Offering was recorded live in the studio, engineered and produced by Thomas Brenneck, a founding member and guitarist in The Budos Band who runs Dunham Records and Studios. It was written at the band's longtime Staten Island studio, where they've gathered for weekly rehearsals for over fifteen years. The haunting album cover was created by drummer Brian Profilio, a NYC public school art teacher. The new album is dripping with the psychedelic sounds of early heavy metal fused with the tight-knit propulsion of Fela Kuti. "The Sticks" kicks off with a snarling riff seamlessly doubled on bass and guitar and unfurls into sludgy breakdowns and searing guitars.
Truth & Soul is proud to present a “Best of” collection by the very mysterious, very enigmatic, and always psychedelic, six piece funk ensemble that goes by the name...The Fabulous Three. The Fabulous Three was discovered by legendary Soul Fire/Desco label head Phillip Lehman. In the early 2000’s, he recorded a series of 45s that showcased their psychedelic, spiritual-jazz sound. In these recordings they seamlessly jump from reggae to spiritual jazz, afro-funk to soul ballads without it sounding the least bit contrived. Lehman released one 45 by the Fabulous Three on the Psycho subsidiary of Soul Fire before he closed shop and moved to the Dominican Republic. Since then, their music has been comped on Soul Fire: The Majestic Collection and Fallin Off The Reel but never has their entire catalog been compiled on one LP. It is Truth & Soul’s pleasure to show the world the weird and wild music of the Fabulous Three.
Ltd. to 1000 Copies. No repress. Black and white drip color vinyl housed in a silkscreened heavy-duty Mylar sleeve. B-side is only available on this 7”. All music and package design by Shlohmo. Shlohmo’s sound has evolved in ways that are difficult to describe. His unique approach to production seems as steeped in sludge metal as it is in drum & bass, as much IDM as it is R&B. It is somewhere deep within this sonic collage that he has carved out a distinct and celebrated voice in the electronic music space. His production on BANKS’ 2014 single “Brain,” and his sought-after remixes and crossover style, as witnessed in this year’s collaborative release with Jeremih, are further evidence of his immense talent and wide scope of influence.
Dwight Sykes & Jahari 12” featuring two unreleased demos versions of “Fire and Desire” and the remastered studio version of “Situations”. 30 years overdue!
Klaus Layer uses his sampler as an instrument to construct the many layers of music all wrapped up in his songs. The Berlin Wall coming down was a huge event that opened up this musician’s mind and ears to whole new horizons, and it is a huge part of what he sounds like. Able to digest new music, artists, and movies, this historic time would propel him forward and shape his sound we know it today. Klaus’ fascination with antique bizarreness and the surreal grants his work a unique and instantly recognizable personality that transcends his inspirations. It’s a sound that demands and rewards repeat listens. On Restless Adventures, the beloved East Coast aesthetic of his influences are inverted somewhat with what seems to be a preoccupation with the sublimity of the organic green world. The effects are minute, subtle, and highly effectual. The ambient sounds of nature that Klaus organically weaves between layers of snappy drums and warped samples could be described as both psychedelic and organic … unfamiliar, yet strangely comforting. Kudos to Klaus for delivering a brave and experimental album to be enjoyed on numerous levels; it swings right for Hip-Hop heads, has layers of exotic instrumentation on top, and potentially something else in-between for listeners who like to look for narratives in their music. Perhaps most impressively, it does all of this a lot more cohesively than the title would have you think. The (Restless) Adventures of Captain Crook continue. All Songs Produced & Recorded by Klaus Layer in Germany.
Now Again's comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-, afro-rock ensemble WITCH, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So they're making the first four WITCH albums available in archival reissue form. As with their box set, the audio is nigh-perfect - restored and remastered from the original master tapes. WITCH's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's third album, Lazy Bones!!, is the band's masterpiece - a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk.
Darkside is the collaborative duo of critically acclaimed electronic artist Nicolas Jaar and guitarist/composer Dave Harrington. Darkside summon a hybrid of electronic music, psychedelic rock, and dance floor techno with the sort of artistic depth and breadth for which the term "progressive" was coined. Darkside's first full-length album released on Nico's own Other People label in conjunction with Matador Records is called Psychic. Darkside's Psychic is a watershed moment for the duo, a quantum leap forward from their 3-song debut, 2011's Darkside EP.
Nicolas Jaar has graduated– at least from the trappings of any young electronic music producer (his graduation from Brown University is 18 months away). Four years after his debut on the Brooklyn label Wolf + Lamb, and the much lauded follow up ‘Time for Us’, whose glacial slow-jam take on house sent journalists scrambling for adjectives, the 20 year old New Yorker by way of Chile returns to Circus Company with Space is Only Noise, an uncompromising manifesto on traces of the past, love lost, and specters of the future. Having previously contributed to the catalog twice with his ‘Marks and Angels’ EP as well as the sublime ‘Your Waltz’ on the Snuggle and Slap compilation, we are delighted to present his first foray into the realm of the long player. Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the cohones to ride a sub-100-bpm tempo at peak time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar’s potential influences will quickly find themselves in the deep waters of golden age Factory records, home spun digitalism of Mille Plateaux, Endtroducing era DJ Shadow and Eric Satie. Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on ‘être’, but quickly transitions into the sophisticated percussion and meandering melodies that characterise his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with ‘Too many kids finding rain in the dust’, Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive from the dance floor. Suddenly, on ‘Keep me there’, Jaar’s voice appears over the delicious, rumbling melody. “We’re in a really bad bed, right?” he remarks. “Mm– it’s not really a bed. It’s like a balloon” responds a sultry female voice as they both crumble away in laughter. Though your hips stir to the relentless bassline and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupts seconds later. “How can you talk about a landscape without showing the sky and the earth?” a voice asks, translating from the French on ‘être’. So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realised in contrast- the indulgent against the reserved, the sky against the earth; lightness and darkness. Space is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music’s most exciting producers.
Released only eight weeks after Tupac Shakur died from gunshot wounds, Death Row released this posthumous album, The Don Killuminati: The 7 Day Theory, under the name of Makaveli, a pseudonym derived from the Italian politician Niccolo Machiavelli, who faked his own death and reappeared seven days later to take revenge on his enemies. Naturally, the appearance of Don Killuminati so shortly after Tupac's death led many conspiracy theorists to surmise the rapper was still alive, but it was all part of a calculated marketing strategy by Death Row.