Limited to 500 copies. Short Stories defies traditional notions of what it is to create 'electronic music' traveling through uptempo house, heavy bass, UK-garage, hip hop and soulful vibes - in 5 succinct stories. Sam Gellaitry is the 18 year old from Stirling, [central] Scotland - where the "culture" part of the wiki section reads one line. Culture in the form of music however, is plentiful and diverse in Sam's case – drawing on influences from Madlib and Jamiroquai to Flying Lotus, Röyksopp, Hudson Mohawke, Mr. Carmack and Outkast. By the time Sam was 16, he'd learned to engineer and master audio which might shed some light on his unique song structure and diverse journey through many genres apparent in the course of one single track. Sam marries his love and knowledge of bass guitar, synthesizer and piano with honed production skills to create seamless heavy hitting electronic music that retains raw instrumental elements and evokes a certain happiness and soulful connectedness. With a father who has a background in making bagpipes amongst other talents and Mum - a former band member playing guitar and singing, it's really no surprise that Sam's magical ears give him the ability to translate 5+ genres seamlessly into one beautiful song or 'Short Story'.
Young Turks is excited to announce the release of the self-titled full-length debut by SBTRKT, a South London based producer. SBTRKT (pronounced “subtract”) has recently left his imprint on U.K. music by seamlessly fusing Detroit Techno, Berlin Electro and classic 2-Step into the thriving London Dubstep scene, although this masked man fits comfortably in any category he wishes to occupy. While massively prolific, a minimalist ethos runs through the work and style of SBTRKT, not just in the name but in the precision of the sonics and arrangements. He has done remixes for M.I.A., Modeselektor & Basement Jaxx, and has previously released 2 EPs via Young Turks (Soundboy Shift and Step In Shadows). While he has had multiple releases in single and EP forms, this is SBTRKT’s first full-length, and about that he says “This release is the culmination of a longer period of constant writing and collaboration, tracks on previous EPs were written as singular pieces. This record is much more of a whole project, more representative of my thoughts and ideas as an artist and each track was completed with the aim to be coherent together.”
Mysterious Phonk is the debut commercial release from South Florida producer and MC, SpaceGhostPurrp., compiling both new and old material, tracking the early years of this intoxicating prodigal talent.Hailing from Miami, FL, SpaceGhostPurrp, who spearheads the Raider Klan Mafia, was born on April 1st, 1991; a date that has subsequently become known to him and his followers as 'Purrp Day'. Cast in the classic mould of producer/MC, his musical influences read like a checklist of hip-hop touchstones - Three 6 Mafia, UGK, DJ Paul, Eazy E, Tupac and DJ Screw - revealing him as a true connoisseur of the gloriously weird and wonderful. Given his age, the reference to such rich heritage shows Purrp as a child of the digital era; his rhymes veering between the hallucinogenic, somnambulant and visceral, his productions syrup-thick, schizophrenic and refreshingly off-kilter. Hard to pin down, his choice of language is an intriguing invite into his murky world, with the track titles alone a playful assault on audience expectations.
The xx exist in a time and space of their own making. In 2009 the south London trio's debut album, xx, quietly made at night over the course of two years, bled steadily into the public consciousness to become shorthand for newly refined ideas of teenage desire and anxiety. Articulated with a maturity beyond their years, its hallmarks were restraint and ambiguity. In the age of the over-share, xx was pop with its privacy settings on max. Three years later, Romy Madley Croft, Oliver Sim and Jamie Smith release Coexist, and a new perspective. Where xx lent in close to whisper in your ear, Coexist gazes warmly in your eyes. Much has happened to lead to this point: most pertinently, they've grown up. Previously cast as the quietest of the three, Jamie became the public face of the xx in 2011. In-between DJ gigs, he focused on growing his production skills, developing a distinct sound and presence. His remix of Adele's "Rolling In The Deep," re-imagining of Gil Scott-Heron's final album on We're New Here with its defining single "I'll Take Care Of U," and his debut solo single "Far Nearer" set him apart as a highly regarded producer in his own right. That position was cemented when Drake asked Jamie to produce the title track of his album Take Care, inspired by "I'll Take Care Of U." Above all, though, Coexist is an album of confident adult reflection. "Angels," sung by Romy, is a perfectly distilled love song. Its counter is "Fiction" led by Oliver, a bittersweet ballad that s strength lies in naming its fear. What has changed for The xx? Nothing, and everything. Older and wiser, surer yet still so tender, Coexist finds itself on the other side of heartbreak, when the light returns.
The debut album from the xx, xx conveys the intimate, unembellished quality of the band's demos, featuring tracks rooted in beats made on Jamie Smith's laptop, later mixed in the studio with engineer Rodaidh McDonald. The result is melancholic and minimalist, with 11 tracks on vinyl that are built on basslines, sparse guitars and low-key vocal duets that explore themes of love, loss, intimacy and desire. 2009, Young Turks.
One of the ironies of the career of Chilean-born filmmaker Alejandro Jodorowsky is that while he is best known as a visual stylist, his most avid and loyal champions have often been musicians. When Jodorowsky arrived in New York from Mexico City in 1970 carrying a copy of the then-unreleased El Topo, it was the jazz producer Alan Douglas who bought the distribution rights to the film. When Jodorowsky and Douglas were looking for a venue in which to screen El Topo, it was John Lennon and Yoko Ono who asked for it to run at midnight following their short-film festival at New York's Elgin Cinema. After six months of sold-out midnight screenings at the Elgin, it was Lennon's manager, Allen Klein (ABKCO's founder), who bought the rights to El Topo and agreed to produce its follow-up, The Holy Mountain. And when Jodorowsky wanted, in his words, 'another kind of music -- something that wasn't entertainment, something that wasn't a show, something that went to the soul, something profound,' for the soundtrack to The Holy Mountain, forward came jazz legend Don Cherry and crack studio musician (and one-time Archie) Ron Frangipane to share composing and (along with Jodorowsky) conducting duties. And, boy, did they deliver -- the score to The Holy Mountain is every bit as hallucinatory as the fantastic visual imagery in the film itself. The deep, primordial chants that begin the movie, 'Trance Mutation,' give way to an almost jaunty percussion-and-plucked-strings melody, 'Pissed and Passed Out.' On the next track, 'Violence of the Lambs,' a single flute is slowly joined by a set of mournful strings while, onscreen, Gestapo-like soldiers in gas masks parade with bloody lamb carcasses on sticks. 'Drink It,' an upbeat sitar folk melody, follows, briefly accompanying the main protagonist The Thief's ill-considered decision to guzzle tequila (or sleeping potion). Then there is 'Christs 4 Sale,' a blaring orchestral riff that sounds like it was ripped from a 1950's swords-and-sandals epic. The next track, 'Cast Out and Pissed,' begins with a beelike buzz, then is overwhelmed by a cacophony of drums, horns, and, finally, screaming. 'Eye of the Beholder' which follows, changes moods entirely once again -- a string section swells with overwrought romanticism. (Onscreen, a group of young prostitutes prays in a church. One of them later walks arm and arm with a chimpanzee.) And then there is 'Communion,' a brooding, trumpet-led number that would be at home on the noir-steeped Chinatown soundtrack. (As 'Communion' plays, the Thief is not driving through Los Angeles at night but eating the face off a statue of Christ.) This veritable cornucopia of musical styles would be more than enough to fill an entire movie. It would be more than enough to fill three movies. But in fact, the eight musical compositions described above play entirely in The Holy Mountain's first 24 minutes. Still ahead lie the hard rock of 'Psychedelic Weapons,' the pomp and circumstance of the waltz 'Miniature Plastic Bomb Shop,' the gospel-inflected sax of 'Isla (The Sapphic Sleep),' and so on. Every one of the 24 tracks on the film's soundtrack presents another vertiginous twist in the philosophical and spiritual journey that is The Holy Mountain. Now, Real Gone Music, in association with ABKCO Music & Records, Inc., presents, for the first time ever on vinyl, the original soundtrack to Alejandro Jodorowsky's 1973 masterpiece The Holy Mountain. The double-LP edition features liner notes by New York Times contributor Eric Benson that include exclusive quotes from Jodorowsky himself, festooned with copious production stills. Produced for release by Grammy-winning producer Teri Landi and Mick Gochanour, and mastered from the original tapes by Joe Yannece (with lacquer cutting on the LP by Carl Rowatti at Trutone Mastering), this long-awaited release of Alejandro Jodorowsky's The Holy Mountain: Original Soundtrack offers a major addition to the soundtrack canon and a completely unique listening experience.
Championed by everybody from John Lennon to Peter Gabriel - and decried by 'establishment' critics ranging from Vincent Canby to Gene Siskel - El Topo remains one of the most controversial movies ever made. Director Alejandro Jodorowsky's bizarre, blood-soaked blend of spaghetti Western, druggy surrealism, Christian allegory, Zen Buddhist themes and avant-garde sensibilities gave rise to the entire 'midnight movie' counterculture phenomenon of the early '70s and forever changed the way adventurous audiences viewed film. Or, for that matter, heard film; for no soundtrack, before or since, has embraced so many styles in its pursuit of spiritual and artistic goals. Atonal, Tibetan Buddhist thighbone trumpets clash with beautiful, even sentimental, chamber orchestra pieces alongside pan flute rhapsodies, brass bands and parlor jazz; that Jodorowsky himself composed the score - after, no doubt, intently studying the work of Morricone - is almost as impressive an artistic achievement as the film itself. Now, Real Gone Music, in partnership with ABKCO Music & Records, is issuing this one-of-a-kind soundtrack album on LP for the first time since the original release produced by Allan Steckler for Apple Records back in 1971. What's more, the four-page booklet boasting some of the film's hallucinogenic imagery that came with the original release will be included in the gatefold LP reissue. Mastered by Joe Yannece at Classic Sound in New York, and produced for reissue by ABKCO's in-house Engineer Teri Landi and Mick Gochanour, with tape transfers by Landi, lacquer cutting by Carl Rowatti at TruTone Mastering and a 180-gram vinyl pressing, Real Gone/ABKCO's release of El Topo on LP fully captures Jodorowsky's singular sonic vision.
A lot of music enthusiasts consider this one of the greatest instrumental albums ever (You can hear music from this album daily on Sirius XM's Ed Lover Show, for example). Originally released in April 2010, How It Should Sound, aka HISS, is the definitive instrumental release by Damu The Fugemunk. “I just want to do hip-hop the way I hear it in my head. It’s about a mood and what records I find: I love digging and finding things that I want people to hear. That’s the beauty of this art form to me. I have a bit of every great producer rolled into me and it’s their approach to manipulating drum breaks and samples that really opened up my ear. I really don’t consider my sound a throwback; I consider it a method of production, a distinct approach to making music.” - Damu The Fudgemunk Redefinition Records is proud to present these timeless instrumentals from Washington D.C.’s finest, Damu The Fudgemunk. Produced mostly between 2004 and 2007, "How It Should Sound" brings together archived material that as yet has only existed on floppy disks stacked in between an oft-frequented MPC and an ever-expanding library of vintage vinyl. Don’t get it twisted though: What you now have in your possession is far more than a collection of sketches. HISS represent a body of lovingly crafted material that bears all the hallmarks of Damu’s signature aesthetic. Crunchy drums bolster intricately woven narratives of soul-infused samples in compositions that thump and groove all at the same time. Horns appear from nowhere before dissolving sumptuously into the mix. Layers are steadily unveiled only to gradually fold back in on themselves. But hey, you knew that already, right? Welcome. In case you hadn’t noticed, this is how it should sound. Stay Tuned for HOW IT SHOULD SOUND Volumes 3, 4 & 5 Coming September 2015.
'Back To Black' is the second album from London-based chanteuse Amy Winehouse. Although her 2003 debut was a success, her rowdy offstage behavior became the focus of tabloids and critics instead of the music. Because of this, Winehouse stepped out of the spotlight and concentrated on putting the focus back on her music. Three years later, her sophomore release has surprised critics and excited her fanbase. Combining a strong, Jazzy vocal style with often frank lyrical content recounting tales of love and loss, Winehouse is a truly talented songwriter with a good ear for melody, making this album an essential purchase.
Limited to 550, all copies hand-numbered and on blue and pink marbled vinyl. Under the guise of über-mack Big Willie Keith, Kool Keith has composed an album that is so over-the-top nasty, you might want to handle it with surgical gloves. Sex Style plays like an amateur porn film, and Keith has kindly included explicit samples from adult films that bump ugly against tracks like "Don't Crush It," "Lovely Lady," and "Plastic World." Keith calls the album "pornocore," an experiment in sexual excess that more than delivers on its premise. Expect some very scratchy, woofer-shaking funk that you'll definitely want to roll with. Only problem is, even the hardest listener might feel too embarrassed to blow the nasty vocal drip from this album out of his car speakers.
250 Autographed & Numbered Limited Edition Green Vinyl of 10 Unreleased Instrumental Tracks Produced and Mixed Circa 1992.
4 unreleased demo tracks from Beyond Comprehension featuring some early Kutmasta Kurt production. Limited to 200 on Orange wax.
8 unreleased tracks on blue vinyl limited to 250 hand-numbered copies with insert.
Features extended takes on two highlights off of Jamie xx's debut solo album, In Colour. The lead track `Girl' is a moody mid tempo groover something along the lines of Flume. With the flip sounding like Jamie doing his thing with stuttery drums, deep bass, and sparkling synths sitting on top. The sleeve is also beautiful with pastel hues and Young Turks trademark cut out.
So what happens when one of the most exciting young producers around reworks one of the most acclaimed albums from a true legend? The result is Gil Scott-Heron and Jamie xx's We're New Here which sees Jamie xx re-imagining 13 tracks from the original I'm New Here album sessions. In February 2010, Gil Scott-Heron released I'm New Here, his first album in Meanwhile, the last eighteen months have been meteoric for Jamie xx. His band The xx's self titled debut album (which Jamie produced) received huge acclaim, picking up 2010's prestigious Mercury Music Prize, while Jamie garnered respect for his remixes (in particular of Florence & The Machine's 'You've Got The Love' and more recently Adele's Rolling In The Deep) and solo productions (single 'Far Nearer' on Numbers).
Gil Scott-Heron is one of the most influential and important singer/songwriters to have come out of America in the second half of the last century. Much can be said about why this Gil's lyrics are so original and powerful but ,it is important not to overlook his utterly singular voice which is so distinctive and rough and tender. It is a voice of experience. And the way this voice of his floats over the shifting funk rhythms and the deep jazz, soul and blues melodies that he and his band create is nothing short of sublime. It's also what enables him to draw you in to the difficult issues he does not shy away from dealing with. His sound is intimate and warm and direct and consequently it is hard to resist being moved and inspired by his message. And he has been consistently relevant whether it be on a personal or political canvas. Early on in his career he wrote and recorded the song that for many is regarded as one of the first great rap tracks - The Revolution Will Not Be Televised. From its opening lines which turn Timothy Leary on his addled head ("You will not be able to stay home brother. You will not be able to plug in, turn on and cop out. You will not be able to lose yourself on scag brother, because the revolution will not be televised."), Gil threw down the gauntlet to we the people, challenging us to get involved, be informed, retain a sense of humour and do the right thing. He was angry, politically savvy, compassionate and very funny. When he was brought to Arista by Clive Davis in 1975, he was billed by the label as the black Bob Dylan, and whilst this reductive and over simplistic description is typical marketing bullshit, there is some raison d'etre for this moniker. For Gil is a protest poet of enormous subtlety who has railed against those things in the world that he believes are wrong. And like Dylan he has often used humour as a powerful weapon. A new record from Gil Scott-Heron, forty years after his first solo album, is a cause for major celebration and something that the world needs now more than ever. Gil Scott-Heron came to prominence in the late 60s and early 70s and is cited as a supreme influence on countless Hip Hop vocalists and producers. Despite an incredible and influential body of work, he has not released an album since the '90s. Produced by XL label owner Richard Russell, I'm New Here sees Gil reflecting on his life with his trademark vocal power and insight, sharing his visions among Russell's flickering, electronic soundscapes; which at various times conjure up thoughts of Burial and The XX, as well as a host of Hip Hop influenced sounds. The album is brave, contemporary and quintessentially Gil Scott-Heron.
Over the last year, London-based artist FKA Twigs has produced a series of strikingly original pieces of music, each of which featured an equally striking visual accompaniment. Produced by FKA Twigs and Arca, EP2 is comprised of the 4-tracks "How's That," "Papi Pacify," "Water Me" and "Ultraviolet" and serves as her first release for Young Turks.
LP1 is FKA twigs defining artistic statement to date, building on the success of her two previous EPs and accompanying videos (EP1 and EP2) which have elevated FKA twigs from a word-of-mouth secret to global obsession over the past two years. LP1 features none of these previously released songs; instead each track on LP1 is brand new, born out of FKA twigs’ artistic philosophy of spontaneous creation and collaboration in the studio.
The album is named for the combs used to maintain an Afro hairstyle, and that’s significant. The group’s Ishmael “Butterfly” Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style,” he has said.Like with 1993’s debut Reachin’ (A New Refutation of Time and Space), ‘utilizing the natural’ meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig ‘Doodlebug’ Irving and Mary Ann ‘Ladybug Mecca’ Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr’s Guru, Jeru the Damaja, and Jazzy Joyce.Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics – and its original inner sleeve was modeled on the newspaper of the Black Panther movement.Its instrumentation includes sax, vibraphone and flute. Its samples – gathered from global cratedigging trips while touring the first album around the world – included Grant Green, Eddie Harris, Shuggie Otis and jazz-funk pioneer Roy Ayers (whose “We Live in Brooklyn, Baby” became “Borough Check” here). And yet at the same time its beats are infectious and its spirit undeniable.This is an album firmly rooted in Brooklyn. “Growing up hearing and cherishing this album, it created a textured soundscape of a mythical world of rhymes, jazz, breakbeats, culture, art and urban ambiance,” says DJ and fan Mick Boogie in the liner notes. “When I moved to Brooklyn years later, I found that the world I imagined while listening to this classic LP actually really existed…”Though Digable Planets have reunited on occasion since – and though their influence endures in every top-shelf rap act with a jazzy sensibility – the trio parted ways after Blowout Comb, citing that old favorite "creative differences”. Sometimes, the most volatile combinations create the best art.
Previously available only on the Gaslamp Killer and Daedelus' 2010 Fall tour, this very rare vinyl single features a Free The Robots remix is limited to the remaining 100 units worldwide.
Backwoodz Studioz is proud to announce the release of billy woods’ new album, Today, I Wrote Nothing. This is the first new billy woods solo work since his critically-acclaimed 2013 collaboration with Blockhead (Ninja Tune, Definitive Jux), Dour Candy. That project was itself a follow-up to woods’ 2012 masterpiece, History Will Absolve Me, cementing billy woods as one of the most vital artists in the genre. The new album features production from Messiah Musik, Busdriver &Aesop Rock, Blockhead, Willie Green, Junclassic and Steel Tipped Dove. Today, I Wrote Nothing also features several guest appearances by labelmates, Elucid, woods’ longtime partner in the rap group Armand Hammer, and Henry Canyons. Only 500 copies are being pressed in this run of limited edition clear vinyl in a gatefold jacket.
Boogie Down Productions was one of the most important hip-hop crews of the 1980s and ‘90s, and are rightfully revered by both fans and scholars. First exploding out of the South Bronx in 1986, the group created an amazing mix of raw power and hyper-intelligence, and gave the world multiple classics throughout the late ‘80s, under the BPD moniker, even after losing DJ and chief producer Scott LaRock to gun violence in 1987. For reasons unknown, the group’s early 1990s output – which also includes Live Hardcore Worldwide and Edutainment – lost some luster in the eyes and ears of fans. But this wasn’t KRS-One’s fault. The legendary MC never faltered in bringing true intelligence and a forward-thinking stance to the rap world, even as derivative gangsta rap took over the music scene on the whole, in the wake of N.W.A. 1992’s Sex & Violence, the last album made under the Boogie Down Productions name, is a perfect example of an underrated classic, and fans will appreciate it getting new shine here, to correct its lukewarm reception upon its initial release. Produced by KRS-One and Pal Joey, the album explores the darkest sides of the American urban landscape and psyche, with KRS as narrator, detailing all sides of the matrix. While singles like the granite hard “Duck Down” and the funky-as-hell “We In There” got most of the attention in ‘92, the deeper sequence reveals plenty of additional gems: the history lesson of the dark and dusty “Drug Dealer”; “Ruff Ruff,” with scowling MC favorite Freddie Foxxx; the grooving “Questions and Answers”; and the frantic “How Not To Get Jerked.” Back on vinyl and ready for another (or, for some, first) listen, fans of old-school-done-right classics have no excuse this time around.
This limited edition issue of Lord Willin’ features seven “big hole” 7”s on white vinyl covering all 13 tracks in the original album sequence, plus a bonus remix of “Grindin‘”. The vinyl is housed in a plastic case featuring the original album art and each 7” is housed in a mini Star Trak die-cut jacket – replicas of the label’s original 12” sleeves. The first hip-hop group signed to The Neptunes' newly formed Star Trak label in the early 2000s was a Virginia based duo known as The Clipse. The group’s first single “Grindin’,” impacted young people with its bare-boned but infectious drum beat in the same way that Run-DMC’s “Sucker MCs” did almost two decades earlier. MCs Pusha T and Malice, combined with The Neptunes’ groundbreaking production, sent a clear message to the rap world – “we are not the same” (as rapped by Malice on his opening verse on “Cot’ Dam”). Pharrell Williams and Chad Hugo were able to combine their electro-punk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z and Mobb Deep, the Clipse offer a hustler's viewpoint, with clever, hard-hitting lyrics that are consistent throughout the album. The album starts off pulling no punches. On the lead-off track, “Intro,” you get a very personal testament of crack and the drug game, a recurring motif. Songs like “Virginia” or “I’m Not You” (featuring Jadakiss, Styles P and Roscoe P Coldchain) have lyrics that play as a musical notes alongside The Neptunes’ tailored beats. “Young Boy” and “Comedy Central” fit perfectly alongside “When the Last Time” and “Cot Dam” as each song plays its part as chapters to the Lord Wilin’ masterpiece. And the stand-out “Gangsta Lean” features a slightly lighter feel paired with Pharrell's trademark falsetto hook. All in all, each song on Lord Willin’ – which was certified Gold – is essential to making it the classic that it. Fans can’t deny that it sounds as good today as it did when it first hit in 2002.
Eddie Pendergrass Presents... teams up with Voltaire Records to bring you two new cuts from Loose Shus & Brian Ellis. “Ellis Island” is a mystical synth journey into the deep realms of Loose Shus’ galactic universe: Modern Funk meets science-fiction on this one. “Afterthought” begins with a crafty drum break, followed by some melodic synth riffs and a mean guitar solo to complement this gem that was initially set to be released on Ellis’ Reflection EP. Once again, Brian Ellis exhibits his multi-instrumentalist skills in all its simplicity; why change a winning recipe? - Voyage Funktastique