Four LP vinyl set contains 10 unreleased songs from the recording sessions of group's classic platinum album The Infamous PLUS 4 additional tracks that did not appear on the CD version of the release! The Infamous Mobb Deep is a double album that will consist of one disc of new, original music and another of unreleased tracks from the recording sessions from their second studio album, The Infamous (1995). The album has been in development since 2011, but after the duo toured to celebrate the 20th anniversary of their debut studio album during 2013 the recording process kicked into high gear. The album's production is handled by Havoc, Boi-1da, Illmind and The Alchemist among others. One of the most prolific and original groups in hip hop, the infamous Mobb Deep are still a very active force in today’s music industry with twenty years of experience. The group has appeared on records that have sold over 40 million copies. Aiming from the Queensbridge neighborhood of NYC, the duo has been responsible for delivering some of the most popular and forever current anthems in rap music. Tracks like “Survival Of The Fittest’” “Shook Ones Part II” and “Quiet Storm RMX” have remained significant and still move crowds from NY to Tokyo. Mobb Deep’s ability to perfectly describe their gritty surroundings and lifestyle always made them a first choice for music writers and critics across the board. Mobb Deep have graduated to the role of cult group; today, they are followed by a new wave of cutting edge music listeners, as well as their original core foundation of hip hop aficionados.
Few artists enjoy a legacy that involves a re-engineering of the very genre in which they work. Lee "Scratch" Perry is such an artist. As a pioneer of dub reggae Perry viewed the mixing console as musical instrument in its own right. The influence of his revolutionary approach has been felt world-wide and into genres far beyond reggae. His 1976 effort, Super Ape, is considered a masterpiece of this or any genre. Working with The Upstetters at his Black Ark studio Perry created a sound with such a lasting appeal that The Rough Guide includes Super Ape as one of their 100 Essential Reggae releases.
Legendary Brownsville duo M.O.P. released their first album back in 1994, and have spent the past twenty years building a reputation as one of the most important groups in hip-hop history. They've been signed to iconic labels like Roc-A-Fella and G-Unit, released one of the biggest rap singles ever in "Ante Up", and did it without compromising their sound or integrity. Now, Lil Fame and Billy Danze are back with their new CD Street Certified. Executive produced by DJ Premier, Street Certified is full of the raw, unfiltered hip-hop that fans have come to expect from the Mash Out Posse. Featuring Maino, Busta Rhymes, and Mobb Deep, Street Certified defines classic New York hip-hop at its finest.
Tomas Barfod is fascinated with the idyllic wasteland, unveiling 'Salton Sea', an LP on the Friends of Friends imprint that draws from the concept of urban decay. The producer and drummer of the popular Danish group WhoMadeWho, with a history of solo and collaborative releases for Get Physical, Turbo, Gomma, and Kompakt, Barfod's latest full-length balances contrasts. At times bright with delicate pop melodies, 'Salton Sea' boldly submerges into dark, morose rhythms, juxtaposing the graceful and desolate characteristics of the Californian lakebed the album shares its name with. Opener "D.S.O.Y." wastes no time jumping out the gates with fervent energy and upbeat animation. After the LP's first single, "Broken Glass", "Came To Party" marks the height of the night, reaching a tipping point with big room dynamics. As the album continues its flow, the somber pop of "Till We Die" dwells in the late-night afterglow, while "November Skies" picks up the pieces to soar in an airy melody with vocals from Sweden's Nina Kinert. The frenetic, sinister Moroder disquietude of "Nighthawke", which features vocals from New York film Composer Lydia Ainsworth, and guttural pulse of "Python" provide tense codas to 'Salton Sea'. Either spatial and seductive or frightening and macabre, 'Salton Sea' engages multiple moods, jarring the listener and bringing them deeper into its shadowy pop. With remixes from Mark E, M.A.N.D.Y., Shlohmo, Salva, Kasper Bjørke, Suzanne Kraft and more, 'Salton Sea' looks to be one of the premiere electronic releases of 2012.
Now ! About Spare Overtime / Damu The Fudgemunk & RedefinitionIt was 5 years ago. If you’re familiar with “How it Should Sound” (RDF007), this is how it all started. Back in winterof 2008, Damu the Fudgemunk released a collection of instrumentals entitled, “Spare Time” (RDF002) as a free digital download to the masses. It was this album that introduced Damu as a solo artist and Redefinition Records to thousands, taking blogs and file sharing sites by storm. “Spare Time” was such a success, that a sequel “Overtime” (RDF003) was released in the summer of 2008. Collectively, both “Spare Time” and “Overtime” have exceeded over 200,000 downloads to date. With the rapid growth of Redef and the expansion of Damu the Fudgemunk, several titles have been released since in various formats making both the brand and artist, one of the most respected and relevant in independent hip hop. Ironically, “Spare Time” and “Overtime” never saw a proper release on vinyl or cd until now. The fans have spoken over the years requesting this material in physical form and to popular demand, “Spare Overtime RE-Inspired...” is the answer.Damu is a producer/DJ (and an occasional MC) from Washington DC who co-owns and operates Redefinition Records. Redef is a 100% indie hip-hop label that releases music on all formats and despite their low-key and humble approach, Redef has has released music featuring a surprising cast of characters including hip-hop icons such as MF Doom, Talib Kweli, Blu, Pete Rock, Grap Luva, K-Def, Kev Brown, The Artifacts, Germany’s Klaus Layer, and even Kanye West.About Spare OverTime...Newly recorded, re-sequenced and retitled versions of the beloved instrumentals were prepared for this album. Both “Spare Time” and “Overtime” have been consolidated into one and in the vein of “How it Should Sound”, Damu revisited all the old floppy disks to create the best listening experience. Constructed on his MPC 2000, the album is intact with The Fudgemunk’s signature production style and interludes. Two freshly composed unreleased tracks were conceived exclusively for the deluxe version which includes a 45. This is quite a bonus for fans who want more new music from Damu the Fudgemunk. Damu’s previous release, the “Spur Momento Trailer EP (RDF-C001)” was a step in a new sonic direction. His latest, “Spare Overtime Re-Inspired...” is reassuring that he hasn’t completely abandoned the sound he is known for, unlike some other artists who progress.
It’s been a long time between drinks for Melbourne’s mighty Afrobeat juggernaut The Public Opinion Afro Orchestra (The POAO). To get everyone warmed up for next year’s much anticipated LP release, two of the group’s vocalists, rapper 1/6 and singer / percussionist Lamine Sonko are fronting alternate sides of a split 7” out on HopeStreet Recordings. A highly nutritious Afro freaky snack to keep enthusiasts of all things raw and righteous satisfied till the main course arrives. The A Side, “Cosmetic Love,” is a rumination on the nature of relationships by one of Australia’s leading rap lyricists 1/6. The track’s life began as a jam session that went to tape in the early days of the Hope Street studio, based on an idea by PutBacks guitarist Tom Martin. The session lay unused for years till 1/6 came across it and threw down these inspired rap verses. Public Opinion producer and musical director Tristan Ludowyk laid in some organ, additional percussion and brass and suddenly “Cosmetic Love” wasn’t just a song, it was an A-side. An A-side born of happy accident. On the B side: The Public Opinion Six, formerly The Afrobiotics. The rhythm section behind the POAO, start with the same idea and re-imagine it, creating a whole new song. With lyrics wfritten and performed by Lamine Sonko, “Jappo,” in the Senegalese language of Wolof means “unite”. Behind Lamine’s straight-out-of-Dakar vocal stylings, The Public Opinion Six bring a heavy 1970s Lagos influenced groove, creating a pumping Pan African melange - sure to get motors running everywhere, from West Africa to worldwide.
St. Louis based F5 Records presents a collaboration of beatsmiths and lyricists from across the map. The undeniable Grap Luva, SP-12 veteran and hip hop legend, provides the tracks for the A side with original production from the late 90s, with rhymes by Black Spade and Count Bass D including instrumentals. The B-side also holds SP production by Crucial and Spade, featuring Fresh Daily, Dharma Jane, and Kryptonite. This is a limited press of 400 on 12" vinyl with full color jacket.
Kenn Starr sees his career at square one, despite being regarded among the elite of the DMV scene, and being in the inner circle of producers Oddisee and Kev Brown, and having his newest album signed to Mello Music Group. Eight years since his debut, Starr Status, Kenn Starr is baggage free on his sophomore album, Square One. Largely produced by Kev Brown with a nice block of production by Black Milk, and additional work by 14KT, Roddy Rod, and Kaimbr, Square One is Kenn Starr getting back to his foundation to begin anew. The laid back flow remains intact—complementary to the Kev Brown’s vintage soul-crate production—but the perspective is written with a wisdom earned through seeing opportunities that overpassed his doorstep. On “Cigarettes & Whiskey“ he addresses his history with passing fancy and a buried hatchet, “please pardon my view points / Starr Status wasn’t a classic but had a few joints,” and makes no qualms about his hiatus. Square One is the only album Kenn Starr could write in order to bid farewell to days past and move forward. With the firmest of grips on reality, Kenn Starr has kept his Low Budget Crew ties in toe, including Sean Born who makes appearances on “Product Of The Basement” and album closer, “Farewell”. Kenn also enlists Mello Music standout yU, and long time compatriot Wordsworth, as well as the lush voice of singing star Melanie Rutherford. Square One is built from the underground-up as Starr still writes from the mindset of being a product of the basement.
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Toots & The Maytals' long and storied musical career spans all the way back to the dawn of ska. The group are not only key figures in the development reggae, they were among the first to utilize the word in a song title which lead to the popularization of the very term reggae. Among the numerous musical accomplishments of Frederick "Toots" Hibbert and his group was the song "Pressure Drop", which was released initially in 1970, but received widespread acclaim for its appearance in the soundtrack to the film Harder They Come. It's since been covered by The Clash, The Specials, The Selecter, Robert Palmer, and numerous others, has been rated by Rolling Stone as one of the 500 Greatest Songs of All Time, and is credited with helping introduce reggae music to the world. Though originally released in 1970, the US wouldn't get to experience "Pressure Drop" until 1975, when it was released on the US version of their album Funky Kingston, easily considered one of the strongest albums in Toots & The Maytals' catalog, not to mention one of the greatest in reggae history. Upon its release in the States it received massive critical applause (Even warming the cold, icy heart of Robert Christgau) for its infectious melodies and rhythms on tracks like "Sailing On", "Time Tough", and the eponymous title track, quirky Jamaica-infused covers of tracks by John Denver and Ike Turner, and of course the influential "Pressure Drop." Reissued in a lovingly re-printed version of the original LP sleeve, Get On Down now presents a superb reissue of a legendary piece of music history.
Los Angeles wunderkind Flying Lotus makes his Warp debut with a distinctly off-kilter fusion of dark electronic soul, psychedelic rock and far-flung dancefloor jams. Much has been made of his Coltrane and Dilla connections, but Reset serves as both a proper musical introduction and a tantalizing peek into what to expect from his later releases.
Legendary French producer and Los Angeles resident Mr. Oizo presents The Church, a lavish foray into unexpected sonic dimensions. Limber and chaotic, The Church swerves from gasping intensity to minimal rapture. It is a loose cannon, a bold experiment that provokes outbursts of energy and dance. "Bear Biscuit" crashes through the skull, a forceful debut of Oizo's audio weaponry. Delusional undulations inhabit "Ham", while "Mass Doom" flips from an industrial beginning into an elastic sonic swim. "Machyne" is wickedly alluring, a synthetic tightrope crossing the wild high of technology. "Torero" drops into a thunderstorm, dabbling in the eye of an electrical tornado with a breakdown of flashing lights, shredded walls and colored confetti: pure swirling madness. Built with broken windows on a cavernous bassline, title track "The Church" closes the album with a luscious, geometric melody. Unpredictable and assertive, leaden yet light – Mr. Oizo's unique style and aerobic beats offer listeners an exhilarating aural excursion.
In Spanish, the word estar means "to be", but there's more to it than that. More specifically, estar refers to where someone is at - physically or mentally - at a specific moment. Simply put, there's nothing permanent about it, which is a big reason why E s t a r a is the perfect title for the second full-length album from Mtendere Mandowa, better known as Los Angeles-based producer Teebs. In truth, the LP takes its name from the house where much of the record was created. Although Teebs visited a handful of beautiful studios in the hills of Los Angeles in the process of creating the album, he ultimately kept coming back to his modest bedroom studio and the same Fruity Loops-based set-up that he's been using for years. When it comes down to it though, what's changed is Teebs himself. His first full-length, 2010's Ardour, was an effort that came together in the midst of personal turmoil and the death of his father. In contrast, E s t a r a was created during a period of relative calm; more importantly, the LP encapsulates a time when Teebs - who continues to work steadily as both a producer and a painter - has been making art entirely on his own terms. That freedom has not only strengthened his creative voice, but has also enabled him to craft some of the finest work of his career. E s t a r a contains plenty of the breezy melodies, rustling rhythms, gauzy atmospherics, and loose ties to hip-hop that have always been present in Teebs' music, but the LP also finds those elements coming together in a bolder, more cohesive fashion than ever before. Whether he's swirling melodic textures on songs like "The Endless" and "View Point", flirting with leftfield pop on collaborative efforts "Holiday" (featuring Jonti) and "Hi Hat" (featuring Populous), looping guitars on "Shoouss Lullaby" and "NY pt. 2" (featuring his Sons of the Morning partner Prefuse 73), or getting pensive on the shuffling "NY pt. 1" and the melancholy "Piano Days", Teebs sounds sharply focused, impeccably nuanced, and spiritually potent In the end, E s t a r a is absolutely, undeniably a representation of Teebs, but Teebs as he is right now. He may no longer be the upstart beatmaker that FlyLo once took under his wing, but that doesn't mean that Teebs has shed his past - he's simply evolved from it. E s t a r a is a remarkable album in its own right, but it's ultimately just the latest step in what has already been an incredibly fruitful musical journey. We can only hope that every chapter of Teebs' story will prove to be this engaging.
Forever a wildcat and wild card, Los Angeles' bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, is impossible to tame artistically. A true master of his craft, he can be found playing bass with Flying Lotus, Erykah Badu and Suicidal Tendencies, in the same breath as performing live with the likes of Stanley Clarke, Snoop Dogg or the Red Hot Chili Peppers. His 2011 solo debut (The Golden Age of Apocalypse, co-produced by Flying Lotus) created an equally genre-blurring enigma of indie rock and jazz, with a touch of electronica. On his second album, Apocalypse, Thundercat pairs up with executive producer Flying Lotus to pull the veil back and reveal the simple truths of the cycle of life, for all its beauty and destruction. An album about loss and rebuilding, trying to gain something back, and capturing that moment of clarity where one finally finds feet back on the ground again. Bringing a fusion of pop, soul, electronica, prog rock and funk into an unexplored dimension, the album slowly descends and tunnels to the core of what it takes to grasp peace, at a time that it seems most far. From the deep, rumbling entrance of 'Tenfold,' each of the 12 tracks coalesce with Thundercat's signature bass, his riffs and basslines gliding sky high to meet Fly Lo's astral touch. Bruner's vocals and harmonies also soar with open honesty, rising above heartbreak with uplifting odes to love and companionship ('Tron Song') and wise mantras to live by ('Special Stage'). The album plays as a comedy and tragedy at the same time, delicately addressing tracks like 'We'll Die' while bringing the all-out cosmic funk of the anthemic 'Oh Sheit, it's X.' As heavy as the lyrical weight may be, the divine musicality of Flying Lotus, and Thundercat's instrumental collaborations, brings light. Navigating dense rhythms and intense harmonic progressions, the LP pushes through the hypnotic strands of 'The Life Aquatic,' the analogue explorations of 'Lotus & The Jondy' (recorded in Adrian Younge's studio with drummer Thomas Pridgen), and Thundercat and Lotus' prog rock jam 'Seven,' a spontaneous improv recording that organically materialized in less than an hour. It's no wonder the kindred pair often refer to their freeform sessions as "going to space." Continually pushing tracks to their furthest point, they take the listener to another place completely - somewhere beyond time, a place that transcends this realm. As the aforementioned track 'Seven' (named for its challenging time signature) asks, "Can you hear the sounds of infinity?"
Brookyn-based Hip-Hop indie, Coalmine Records, gets set for the limited edition 7-inch pressing of Blu’s “”Kiss the Sky”” single, produced by M-Phazes, b/w the Large Professor Remix, featuring DJ Revolution. The A-side version, originally released digitally in May of 2012, has been revered as one of Blu’s strongest solo effort singles to date, reminiscent of his sound akin to 2007’s, ‘Below the Heavens.’ This 7-inch is to be released in conjunction with Coalmine Records’ forthcoming compilation LP, ‘Remineded: A Collection of New & Old Remixes,’ and will be packaged with a free album download card of the compilation. “The title ‘Kiss The Sky’ is very defining to myself holding the name Blu…” -Blu
Cold Busted takes a step outside what one might expect from the label with a new self-titled release from Moodprint. Then again, it’s really nothing unusual from a label that’s never ever easy to pin. Taken in the context of beats with complex rhythms and samples derived from soul, funk, and the like, Moodprint fits right in; they just approach things from a more futuristic slant. An innovative crossover between electronic, hip-hop, bass, funk, and ambient sounds. Made up of nine tracks, Moodprint’s eponymous album is syrupy. Bright melodies, heavily sweetened synths, well-sourced vocals, and no-stone-left-unturned rhythms make it a treat to digest. Opener “Storyboard” quickly sets the pace with a folk-like -- but totally electronic -- neuroticism. “Prophet” follows with intergalactic funk swagger, only hitting the brakes for dramatic effect. The subdued maturity showed on the elegant, future R&B / hip-hop cut “Flash” is a particularly shining moment for the release. “'96 JuKnow!” and “McElove” are bubbly and emphatically chord-heavy, tip-toeing towards the beloved early post-garage work of Mount Kimbie. By the end, an impression is made as Moodprint embraces and cements their name in sound.
The second release from boutique Australian label, We Play! Records. With their first release featuring O.C selling out completely, the label is back with their follow up featuring the almighty Apathy (Demigodz/AOTP). The release is limited to 500 copies world wide and is being released on blue vinyl. A must have for all heads.
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Paul's Boutique wasn't the instant smash that its predecessor, Licensed to Ill, had been. Still, the impact of its dense, Dust Brothers-produced tracks and voluble raps is such that every buried sample, every reference is pored over even today on numerous websites. Fearlessly crate-digging, the music remains funky and adds layers of idiosyncrasy and non sequitur that few would have predicted. And the stories often tweak the Boys' outlaw image. "Egg Man" is about attacking with just that ovoid, "Shadrach" cast them as Robin Hoods and the protagonist of"High Plains Drifter" shoplifts from Kmart. In the end, their most daring move was putting the Beatles to use on "The Sounds of Science." Its that kind of vision that helped keep the Beasties on the cultural radar, even if it took years for Paul's to go platinum. Our men had the last laugh. You can share in it.
Breakthrough is the debut full-length album from the Gaslamp Killer, a manic and mystic trip through the mind of a madman. Resident DJ and co-founder of the mythic Low End Theory club night in Los Angeles, the Gaslamp Killer is known across the globe for his impeccable turntable skills and high-energy performances. He delivers the same fire to Breakthrough, a project pulled from within his soul that is his strongest musical statement yet. Blending California-inspired psych with widespread global influences, Breakthrough is a musical anachronism, an unconstrained compilation from a wandering spirit. Finding new clarity through human connections after years on the road, the Gaslamp Killer’s evolution as an artist continues with Breakthrough. Overcast with ominous tones, loose drums and contorted sounds, Breakthrough is much more than a collection of beats; it is a musical project that reflects the culmination of almost a decade’s worth touring and performing around the world. Laying his hands on production and live drums, the Gaslamp Killer brings together a potent cast of friends to contribute to the album. Featuring guest appearances by Gonjasufi, Adrian Younge, Dimlite, Daedelus, Samiyam, Computer Jay and more, Breakthrough is a journey of creative connection, a tribal ceremony loaded with a sense of fellowship that reflects the Gaslamp Killer’s devotion to the collective experience. Lacing the album with ancient dust, Gonjasufi lends his gritty voice to instantly grasping “Veins” and the easy, grainy groove of “Apparitions.” Finding a frequency of high-strung horror, “Flange Face (with Miguel Atwood-Ferguson)” drops with a feeling of impending doom, a heaving monster with cinematic strings and meteors falling from the stars. “Impulse (with Daedelus)” immediately descends into madness, spinning out of control amidst wicked sound contraptions and a blurry, bass-driven melody. Named after the Gaslamp Killer’s grandfather, “Nissim (with Amir Yaghmai)” travels through a host of emotions, evolving from the solemn strums of a yiali tambur into a sunny tune that instantly transports you to Istanbul. “Seven Years of Bad Luck for Fun (with Dimlite)” slices the spine down the middle with chills, a cold-blooded tremor that congeals as it crawls through the shadows. Grabbing your breath through your guts and flinging off into the ether, “In the Dark”, is an encompassing track whose twisted strings and heavy horns overtake the album’s denouement with a shuddering glimpse of the end of the world. To his ever-expanding fanbase, the Gaslamp Killer is much more than a DJ or producer; he is a master crafter of the collective experience, a shaman of spiritual escape found by following the beats. The journey continues; turning 30 this year, the Gaslamp Killer has only scratched the surface of himself as an artist and a person. Resonating on a deeper level, Breakthrough is the Gaslamp Killer’s spirit shining through the haze, breaking through the foggy veil of singularity to find the human connection.
After finding gold and platinum success providing guitar heavy, adrenaline laced productions for the likes of 50 Cent, Busta Rhymes, Jim Jones and the late Proof of D12, BIG K.O. unites a legendary cast of hip hop Avengers on "Hellraisers", the first single on his Phantom Zone imprint. This monumental single features three Rock and Roll Hall of Fame members and contributions from the most legendary hip hop groups of all time. DMC of RUN DMC, PMD of EPMD, MC SERCH OF 3rd BASS, TERMINATOR X and CHUCK D Of PUBLIC ENEMY, and DJ ECLIPSE of NON PHIXION all provide newly recorded performances for this project, that will go down as one of the most important Hip-Hop collaborations of all time. The video for Hellraisers, directed by Rob Martin of PawnShop films will follow shortly after the single's release, and features legendary NY television personality Ralph McDaniels, as well as art from New York Times best-selling author/artist Ed Piskor's Hip Hop Family Tree comic series.
300 Copies on Black Vinyl. This limited edition 12" Vinyl, features all 6 vocal tracks remixed, with the instrumental versions on the flip side.
A$AP Ferg's debut album features production from Chinza, Crystal Caines, Finatik, Fly Beats, Frankie P, High Class Filth, Highdefrazjah, Jim Jonsin, Napolian, P On The Boards, Rico Love, Snugsworth, Versa Beatz, Veryrvre and Zac.
Scarface's third album is one of the few to receive a perfect rating from both The Source Magazine & XXL. It debuted at #2 on the Billboard 200 albums chart, & was certified Platinum by the RIAA on December 5, 1994.
Moon B’s next mini-LP offering to PPU, entitled III, is a varied affair. The a side offers up the older taped track “Realms”, a semi-muted yet chuggy number for the dance floor overwrought with moon-roasted synth progressions that coat the ears. “Neither Here Nor Where” is an ode to forgotten spaces and places, wrapped tightly in synth bazz and creamed pads that emanate from Moon’s favorite synth, the Alpha Juno 1. Flip the record to find Moon’s most “instro-spective” offerings to date. “Art Direction” bottomed out tempo conjures up images of 1984 Prince replacing Appalonia with Inga Copeland as his motorcycle passenger after a neon lit love-making session. “Moonda”’s slow fluctuation and linn drum echoes paired with sorrowful yet hopeful chords attempts to warm you in the coldest of polar vortices. “Polywarp” rounds out the affair with syruppy vacillating instrumentation paired with unforeseen wobbly bits and foreign percussive hits.
Welcome to the Mild High Club. A wayward home for the musical output of Alexander Brettin, a 21st century jazz musician from the Midwest who sounds more like Todd Rundgren spilling bong- water on his macbook than Charlie Parker. Brettin’s been swingin’ around LA as of late, playing with the likes of Ariel Pink, R. Stevie Moore, and Mac DeMarco, while recording his lovingly woozy debut record for Stones Throw.