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’.
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PRODUCT complies the A and AA sides of Sophie's first two EPs on Numbers, with the contents of the brand new "MSMSMSM b/w Vyzee" and "L.O.V.E. b/w Just Like We Never Said Goodbye" singles.
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
The Internet, the Los Angeles-based, R&B/soul band fronted by Syd and Matt Martians will release their third album, Ego Death, on Columbia Records in the summer of 2015. The album's first single, "Special Affair," is a sultry, skittering swirl of a song that perfectly encapsulates the feeling of the rest of the record. Ego Death was recorded in the band's hometown of Los Angeles. The album is a heady mix of confessions and come-ons, shiny Rhodes keyboard glimmers, chugging drums, slinking bass lines, and Syd's honeyed voice anchoring the mix. It's an album that connects the dots between Digable Planets, Erykah Badu's Baduizm, the warm, inviting breezes of the West Coast, and the stories that only happen very late at night or very early in the morning, all played by musicians who are carrying the soul torch for the new generation. The band says Ego Death is about "being vulnerable and honest. It's about us growing up as a band and as individuals, and the challenges we're facing and learning from. It's about us acknowledging our egos and the egos around us, and using them the best way we know how." Ego Death is The Internet's most evolved album to date, featuring guest appearances from the likes of Janelle Monae, Tyler, the Creator, and Vic Mensa. The Internet began as two people Syd and Matt. Syd taught herself how to record, engineer, and produce at age 15. She also sings, imbuing every song with a passionate, mellifluous, quiet power. Matt produces and plays synths. She's now 23; he's now 26. Like all post-modern relationships, the duo initially met on Myspace in 2008, only to meet in-person three years later. The Internet have released two prior albums including 2011's Purple Naked Ladies and 2012's Feel Good.
Take Care is the highly anticipated sophomore full-length release from platinum-selling, Grammy nominated recording artist Drake and follow-up to his 2010 breakthrough debut Thank Me Later. The album features guest appearances from The Weeknd, Lil Wayne, Rick Ross, Birdman, Nicki Minaj, and Andre 3000 along with production from the likes of Noah '40' Shebib, T-Minus, and Just Blaze among others. "Drake's 2010 debut Thank Me Later was one of the most striking hip-hop coming-out parties in recent memory. The Canadian rapper's tales of the high life were tinged with a sense of regret that perfectly fit the spare, somber tone in his music. The much-anticipated follow-up is more expansive, with producers from Just Blaze to the Neptunes to Lex Luger creating tracks that range from piano-laden R&B to Southern hip-hop, and guests like Rihanna, Nicki Minaj, Rick Ross, The Weeknd and Lil Wayne rolling through to liven things up. Drake is still the same lovably conflicted dude, and that's part of what makes Take Care...compelling." - Rolling Stone
Marc Moulin's Entertainment (2004)is the perfect sequel to 2001's Top Secret, boasting 10 compositions that continue in the vein of his signature sound: blue screen Jazz with a good-humoured, cartoonish edge. The latter day's sound of the Belgian keyboard player and founder of Jazz Funk pioneers Placebo and electropop act Telex, became somewhat similar to that of St. Germain, with an atmospheric line in spoken samples - such as Horace Silver's voice on the opener - and some tasty trumpet and flugel horn. When the grooves hit, Moulin usually surprises with new mix details. A song like "Preface" with its trumpet line by Bert Joris has a fuller timbre than that Moulin is known for. There's even a spooky cover of Tony Williams's "There Comes a Time". A song like "Irony" breathes a bit more, just like the exquisite "Easy".
The death of John Coltrane left not only a musical, but a spiritual void among his many followers and admirers. By aligning himself with the searchers among the new generation, John Coltrane legitimized their quest and set a daunting standard of excellence for those who experiment outside the mainstream of modern jazz. Among those searchers was young Alice McLeod of Detroit, a virtuoso on the vibraphone, piano, organ and harp. John Coltrane had always expressed a fondness for the harp, and while young McLeod never did bring that instrument into the context of Trane's working groups, she did bring her rolling, ecstatic style of piano to bear in the saxophonist's last quartets and quintets as Mrs. Alice Coltrane. JOURNEY IN SATCHIDANANDA, recorded in the fall of 1970, is a serene, composed meditation on the lessons of the 1960's, a mystical work of enduring sweetness and spiritual longing. The concluding cut "Isis And Osiris" (recorded earlier that summer at the Village Gate), is a global village of texture and song, animated by Pharaoh Sanders' gently wafting soprano and Rashied Ali's quicksilver brushwork, as Vishnu Wood's feathery oud, Charlie Haden's woody bass and Coltrane's sweeping harp combine to create a dreamy vortex of sound. The title cut and "Shiva-Loka"--centered around Cecil McBee's sonorous, lyric bass vamps and Tulsi's droning tamboura--are gorgeous evocations of modal jazz and Indian ragas, again exploiting the contrast between Sanders' reedy chants and Coltrane's blissful arpeggios. And then there's "Stopover Bombay" and "Something About John Coltrane," which reveal the melodious symmetry of Alice Coltrane's piano playing, a singular style deeply imbued in the old time testimonies of the spirituals and the blues.
Bluestaeb is one of the key figures of the new generation of up and coming beat producers from Germany. Equally influenced by Pete Rock, J Dilla and Kaytranada, he shouldn’t be labelled. Neither as “future” nor as „oldschool“, since he maneuvers in between those sounds effortlessly. His production is an unusual display of versatility, ranging from classic BoomBap to synth to 808-based beats. The 24-year-old was born and raised in Berlin and started making his own music at a very young age. Ironically, a birthday present his dad received dragged him into producing instrumental HipHop: Madlib’s »Shades Of Blue«. Soon after, the entire catalogue by the L.A.-legend and naturally Dilla, too, had formed his idea of aesthetics and grooves. Aside, he spent years studying African drum techniques such as Djembé and Daruka. Gradually, he found his sound identity and began to release his music plus producing beats for various MCs, such as Juju Rogers or Teknical Development. After forming Oldschool Future Tribe collective alongside his mentor Figub Brazlevic and a group of international producers, he released his debut LP »1991 Extraterrestrial« in 2013. This year, he dropped his experimental EP »B.L.U.E. Friday«, a song series featuring a broader scale of styles. On November 13th, Bluestaeb releases his sophomore album »Rodalquilar« via Jakarta Records, still carrying his distinctive concept of diversity. The work is dedicated to a Spanish village going by the same name, where Bluestaeb spent most of his summers since early childhood. In his parent’s summer cottage, he was enabled to evolve and concentrate on his music, mostly influenced by surrounding nature and light. »Rodalquilar« LP aims to embrace this atmosphere by including sound drafts, samples and ideas collected throughout last summer’s stay in Rodalquilar. The vinyl version comes with a photo booklet including the complementing visuals to the said journey that initially began in the mid 90s.
Carl Jean-Louis, better known as Dextah, is a Chicago native currently residing in Northern California. His work with various artists including Age, Dday One and the Bash Bros., has displayed his love for sampled beats, hard drums and contemporary rap. Originally released by the seminal New York label and Blog Grandgood (Dj Signify, Grandmaster Caz, etc) “Relentless Disillusion” is Dextah’s first official full length and is evocative of a David Lynch soundtrack. This current version “Relentless Disillusion Redux” is available this time around from special limited copies of vinyl including download code (200pcs) sourced from recently uncovered copies of the original pressing from the archives of the artist.
The original idea behind Buena Vista was to record a collaboration between a number of African and Cuban guitarists. World Circuit’s Nick Gold invited Ry Cooder to participate, having worked together before on Ali Farka Touré’s 1994 Grammy Award–winning Talking Timbuktu. Cooder replied within hours saying he would be there. The Africans failed to make the trip, but recording went ahead anyway. Buena Vista Social Club is both the name given to this extraordinary pool of musicians and the album, recorded in just six days in Havana’s 1950s vintage Egrem studios. The album has an intimate, natural charm that comes from musicians totally at ease with other, sharing a deep passion and understanding for the music and playing a repertoire suggested by themselves. Arrangements and instrumentation were worked out during recording according to the feel of the individual songs, and the vast majority of the performances were recorded "live" in one or two takes. The oldest musician on the album is the 89-year-old giant of Cuban music, guitarist and vocalist Compay Segundo. According to Cooder, “the whole album turned on Compay. He was the fulcrum, the pivot. He knew all the best songs and the way to do them. Well, he’s been doing them since World War One.” Featured on vocals is 70-year-old Ibrahim Ferrer, a star from the 1950s who was literally called in off the streets on the first day of recording after years of musical inactivity. Also on vocals is the great bolero singer Omara Portuondo, whom Cooder calls “the Edith Piaf of Cuba.” Omara happened to be in the studio lobby and Cooder invited her upstairs to record. On guitar and vocals is Eliades Ochoa, the great country musician who was flown in for these recordings from Santiago in the east of Cuba. On piano is the brilliant Rubén González, veteran of Arsenio Rodríguez’s early 1940s band whom Cooder describes as “the greatest piano soloist I have ever heard in my life.” These featured musicians are joined by a host of Cuba’s finest players, including Orlando "Cachaíto" López on bass, Manuel "Guajiro" Mirabal on trumpet, and the percussionists from the band Sierra Maestra. The album includes a wide variety of Cuban styles, from the city sounds of Havana to the country style of Santiago, and the songs cover a range of the Island’s history from "La Bayamesa" written in 1869 to "Chan Chan," a contemporary composition by Compay Segundo.
Brooklyn-based deejay and producer MentPlus is excited to announce the release of his debut instrumental EP, Stormy Nights. The 6-track effort gives listeners a variety of sounds that are based on his long history as a beat-battle producer, and party starter in the Tri-state area. In the past, Ment has relied on emcees to help validate his production, but he’s looking to make music that can stand on its own. “Often times various projects I've created got shelved or lost in the noise because the lack of promotional efforts,” says Ment. “My mistake for years has been waiting in limbo for artists to do something with the beats I send them, but now I’m switching gears. I’m investing in myself instead of holding out for someone else,“ he concludes. From the brisk opener, “Whispering” to the J Dilla inspired slapper, “Dillacation,” Nights celebrates Ment’s focus on becoming an instrumentalist. Inspired by the likes of The RZA, Diamond D, DJ Premier, Madlib, and Flying Lotus, the EP serves as a commencement of his revived musical direction. When he was crafting the EP, MentPlus wanted to add his own sound into the fold. “There’s a lot of producers who want to make songs without words, but I’m trying to establish myself as an instrumentalist, a producer, and a deejay. Stormy Nights is my way of conveying my own sound while giving everyone a beat they can really sink their teeth into.” MentPlus’ goal with Stormy Nights and the rest of his work are centered on supporting local talent; he also wishes today’s acts experiment with the tools used by the greats instead of relying on new technology. “Vinyl is forever, whereas your hard drive will probably crash. If you master the fundamentals, you’ll never worry about the fads and trends that that’ll come up.” The project has already caught the attention of famed DJ and producer House Shoes, as well as various tastemakers in the music industry and will be released through High Water Music, on September 23. The EP will serve as a prequel to a full 20 track instrumental LP, set to drop shortly after. If you hear a track that blows your speakers or has the whole crowd going crazy, know that MentPlus is behind it.
Four Tet's brilliant 2012 collection finally available on vinyl. Half-speed mastered for audiophile-quality reproduction. Double LP packaged in a stunning heavyweight spot-color jacket.
Wondaland Arts Society/Bad Boy recording artist Janelle Monáe has announced the release of her eagerly awaited debut album, The ArchAndroid. The star-studded featured cast includes the legendary Big Boi of OutKast, renowned poet Saul Williams, psychedelic dance-punk troupe Of Montreal, punk prophets Deep Cotton, and the Wondaland Arch Orchestra The album was recorded at Wondaland Studios in Atlanta, but written all over the world, including but not limited to Moscow, Prague, Istanbul, Berlin, Amsterdam, New York, and the Palace of the Dogs. The ArchAndroid was inspired not only by the energy of these places, but by such revolutionary musicians and artistic visionaries as Salvador Dalí, Walt Disney, OutKast, Stevie Wonder, Octavia Butler, David Bowie, Andy Warhol and John Williams. The album was Executive Produced by Nate Wonder, Chuck Lightning, Janelle Monáe, and Sean "Diddy" Combs, with Co-Executive Production from Big Boi of OutKast.
Solange is an American singer-songwriter, actress, model, dancer and DJ. Knowles was born and raised in Houston, TX along with her older sister Beyonce. She has released two studio albums to date: Solo Star in 2003 and Sol-Angel and the Hadley St. Dreams in 2008, which peaked at #9 on the U.S. Billboard 200 chart. She released the 7" vinyl single "Losing You" in 2012 which was recorded with Blood Orange (Dev Hynes) and the B-side "Sleep in the Park" was co-written by Kevin Barnes of Of Montreal. Her new 7-song EP, True, was also recorded by Blood Orange and will be released on Terrible Records. As Paste notes, "In the past, Solange dabbled with genres and moods like finger-paints; with True, she’s made some bold, inventive brushstrokes."
Souled Out is the much anticipated debut full-length from singer/songwriter Jhené Aiko. Souled Out is Jhené’s first major-length release since her debut EP Sail Out, which contained the sizzling #1 crossover hit “The Worst” and “Bed Peace” featuring Childish Gambino. Sail Out also featured collaborations with Kendrick Lamar and Vince Staples, as well as Jhené’s critically-acclaimed debut track of 2012, “3:16am.” Sail Out entered the charts in November 2013 and hit #1 on the Billboard R&B Albums chart, Top 3 iTunes and Top 10 Pop. To date, Sail Out has tallied over 300,000 sales, making it the biggest-selling EP in Def Jam history. The Los Angeles Times has crowned her hip-hop’s “new ‘it girl’,” while SPIN simply declares, “It’s Aiko’s moment.” And Rolling Stone predicts great things for Souled Out: “Aiko's full-length debut will set the spotlight squarely on her powerhouse voice.” The 26-year old Los Angeles native is over a decade deep in the music game, having been featured on singles, albums and mixtapes by Kendrick Lamar, Wale, Big Sean, Logic, J. Cole, Drake, and many more. Jhené was signed to Def Jam by No I.D., Executive Vice President of A&R, known for his studio work with Kanye West, Jay-Z, Rick Ross, Nas, and Common.
Legit reissue of a rare modern soul, funk 7" from 1983.
Senegal-born, Kuwait-raised, New York-based producer Fatima Al Qadiri works in the opposite direction of most artists' discographies by making her third substantial release, following the Genre-Specific Xperience (UNO) and Desert Strike (Fade to Mind) EPs, her least personal one yet. The former connected materialistic aspects of Middle Eastern and Western cultures while dipping into several strains of dance music, as well as some of the styles she heard in her youth. The baleful latter conveyed the desensitized, escapist feeling she had as a preteen playing a Gulf War-themed video game shortly after living through the conflict. On Asiatisch, Al Qadiri devises a soundtrack for an imagined or (mis-)interpreted form of China. When this was released, she had yet to visit the country, though she was well aware of how it is fetishized, caricatured, and demonized by outsiders. Oddly enough, she was unaware that Hyperdub head Kode9 had termed certain U.K. grime tracks like Preditah's "The Big Wok" -- a favorite of hers -- as "sino grime" and made a mix out of that and other Chinese-themed tracks back in 2005. The album begins somewhat contrarily, with the beatless and elegiac "Shanzhai" -- which incorporates a translated a cappella recording of Helen Feng singing the Prince composition "Nothing Compares 2 U." The following tracks, several of which are named after cities and locations, incorporate sampled or synthesized analogs of struck and plucked instruments, as well as woodwinds. Otherwise, they're not exactly stylistic departures from Al Qadiri's past work, rhythmically tricky with chilling and occasionally alienating qualities transmitted through sweeping and swarming synthesizers and distant voices. The most direct track is the shuffling "Dragon Tattoo," a kind of parody involving cooed refrains of "I got a dragon tattoo on my arm, and I mean to cause you harm" and "Speak Chinese, if you please." Tuning out the conceptual aspect is close to impossible, but there are some moments -- as in the hypnotic "Shanghai Freeway" -- that can be enjoyed on a purely musical level.
Simon Green aka Bonobo is back with nine perfectly formed tracks on a perfectly formed album. No huge, bloated, over-conceptualised rottage for the monkey man. He gets in, does what he has to do, gets out. From the opener, "Noctuary," with it’s creepy stoned-Hammer feel, through the headnod sitar-funk of "Flutter," on into the Rhodes-meets-Gamelan of "D Song," the first third of the record sets out the tone for what is to follow – all beautifully melodic and perfectly assembled but with enough of a creeping undertow to stop the music becoming empty or saccharine. "Change Down" is all double bass folk and cut-up drums, "Wayward Bob" is a devilish waltz, while single "Pick Up" is a straight funk ‘n’ flute throw down. "Something For Windy"sounds like a dub of a postman on his rounds, "Nothing Owed" is epic pastoralia, while "Light Pattern" rounds things off with what sounds like the theme to the best TV programme never made. With all instruments played, sampled and sequenced by Green’s own fair hand, there is a consistency here, both within the tunes and across the record that crate diggers can only dream of. There is real development, the building of moods and feelings, a genuine attempt to make great music which is incidentally computer music. He may make a monkey of himself, but he’s no musical mug…
180 gram clear vinyl shrink-wrapped in HD fidelity as glossy as a 2012 Toyota Prius. James Ferraro paints a 21st century still life on his debut album for Hippos In Tanks. The record is called Far Side Virtual. Each song, a melodious reflection of the moment NOW, comes shrink-wrapped in HD fidelity as glossy as a 2012 Toyota Prius. Ferraro’s muse is some enigmatic modern metropolis, where the streets are as slick as i-Pads, and where the symphonies ring with Macbook message alerts. Through the steam rising from our latte mocha chinos, he invites us to gaze out at the dreamy disorientation of our digital lives. Imagine a Darius Milhuad-guided tour of 5th Avenue. Imagine a Whole Foods bakery that sells only cakes emblazoned with frosting replicas of Camille Pissarro's “Haying at Eragny.” These are the surreal utopias Ferraro brings to life with sixteen swirly-pop concoctions sure to sell out at the candy stores. So slip in your ear buds, and welcome to Far Side Virtual.
Every November, just as we’ve got our rubber spiders and Ronald Reagan masks packed back into our sticky plastic pumpkins, we find ourselves inundated by “Holiday Music.” It hovers in every elevator, floats through every grocery store, and whines out of every receiver as we wait on hold with the cable company. Though there are dozens of standards in the canon – and we know every one of them all too well – they all seem to have one thing in common: they’re not Dap-Kings funk jams about Hanukkah! Ever wonder what it would sound like to hear Sharon Jones sing about latkes and Maccabees? Ever rip apart your record shelves looking for that perfect mixtape song for your Jewish friend? Ever get sick of the ONE Adam Sandler song that’s supposed to miraculously last us eight days? Here is your answer: “8 Days” of soul packed carefully into 7 inches of wax. Happy Hanukkah!
After a handful of name making dance-punk singles on DFA Records, producer and label co-founder James Murphy issued the eponymous full-length debut under the LCD Soundsystem banner in 2005. Three of those ubiquitous preceeding singles - "Movement," "Daft Punk Is Playing At My House" and "Disco Infiltrator" - also appear on the album while the track "Tribulations" was released as it's lead single. The record’s credits have Murphy on most sounds with future frequent collaborators Tim Goldsworthy (MoWax), Eric Broucek, Tyler Pope, Nancy Whang, Patrick Mahoney and Mandy Coon also making contributions. All songs were written by Murphy, with the exception of “Yeah” and “Beat Connection” written by Murphy and Goldsworthy and “Tired” by Murphy and Mahoney. Showing that he was more than just a singles/remix machine, LCD Soundsystem's well received debut received critical accolades across the board and was nominated for a 2006 Grammy Award for Best Electronic/Dance Album.
"CB Records is proud to announce the new 7” single by Mophono and The Gaslamp Killer titled “Murder Man (CTB vol 1)”, the first installment in the limited edition vinyl series based on the legendary San Francisco party Change The Beat. Founded in 2006 by Mophono, The Gaslamp Killer, Citizen Ten and Aspect McCarthy, CTB was known as the most forward thinking weekly showcase in the world, Hosting acts like Flying Lotus, DJ Shadow, Madlib, Slum Village, Edan, Mono/Poly and Eprom. The party description says it all, “Dirt Wave & Rock Electronique, Thug Jazz & Riot Funk, Psyche Madness & Funk Rock layered with the hardest instrumental & Dub beats from around the world!!!" The Gaslamp Killer and Mophono have worked together for over 10 years since their first meeting behind the turntables at a Halloween art party in San Diego. GLK and Mophono have consistently thrown back the boundaries of music and DJ’ing from the early days of CTB to working together extensively on GLK releases like Death Gate, Breakthrough and now this grimy new single Murder Man. There is an emerging vocabulary that accurately describes this experimental genre that Mophono calls Dirt Wave. The A side, with the surprisingly upbeat rhythms to the screeching breakdown at the end, “Murder Man” smashes a futuristic yet vintage sound that can be heard all over this new release. “Xposure” on the B side, is definitely not shy either. From freakout screams to the distorted bass and chaotic b-boy drums, this is definitely not for the faint of heart."
It seems surprising to think that Laurel Halo has actually not released any new music since 2013 single Behind The Green Door. In that time her presence and productivity doesn’t seem to have noticeably dipped, with plenty of live appearances and the like keeping her firmly in the spotlight. As a producer whose sound has morphed across her two albums and 12”s for Hyperdub, the time spent away can only be a promising sign of intriguing new wares to come. Having recently dropped a fine albums from Moritz Von Oswald Trio, DJ Sotofett, and the widely hyped Datura Mystic 12” from Tapes and Wareika Hill Sounds, Honest Jon’s has been on a winning streak of late, and the pace doesn’t seem to be slowing as we lead into autumn. Scheduled for a release later this month, the eight-track In Situ double-pack has been billed by some as a new album, although we’re yet to receive official confirmation. Halo herself, however, has announced the release as “her new record”, and in advance of that two tracks are available to stream below, showcasing a further move into unpredictable, expressive and generally intriguing realms for the Ann Arbor native.