Record Label: Duck Down Music
Pete Rock & Smif N Wessun have joined forces for a MONUMENTAL album. Pete Rock has provided the entire production on the album, as well as vocals on several key tracks including the title track, MONUMENTAL. The album features Bun B, Raekwon, Styles P, Sean Price, Buckshot, Black Rob, Freeway, Memphis Bleek, Rock of Heltah Skeltah, Hurricane G, Top Dog of Boot Camp Clik, and Jahdan of Noble Society.
LIMITED BLUE/PURPLE MARBLED 180 Gram Audiophile Vinyl, numbered to 1000. The Carnival is the debut album released by American Hip Hop musician Wyclef Jean. Released in 1997, the album was a critical and commercial success, reaching number sixteen on the US Billboard 200 chart, and reaching the top Five on the Top R&B Albums chart, while receiving two Grammy Award nominations. The album embraces many musical genres, including Hip Hop, Reggae, Folk, Disco, Soul, Son Cubano and Haitian music. The album features guest appearances from Celia Cruz, The Neville Brothers and Jean's bandmates from The Fugees, Lauryn Hill and Pras. The Carnival spawned the singles "Gone Till November", "We Trying to Stay Alive", "Guantanamera" and "To All the Girls". The album sold over 5 million copies worldwide, and was certified double Platinum.
Venetian Snares' classic orchestral 2005 album. What if, for just a day, we could both be pigeons? Sometimes one moment in time can take on such an important significance that it becomes an endless world unto itself and everything outside of that moment, past and future spots in time, become the folklore of that world. What if we could both fly over the Királyi Palota and see it just as these pigeons do? A beautiful culture of dissimilar angles as donkey angels above this city. But even in the world of the infinite moment, we cannot choose the feather of our bird and the pigeon may long to be the goose, the donkey the pigeon and so on. Furthermore as our world blossoms out of this single tick in time, it is for one pigeon a swirling romantic flood of euphoric possibility and fascination, for the other an inferior life of shitting on everyone from the sky, awkward and ashamed, resigning themselves to be the wretched nuisance they are painted as by those they shit on. Ultimately, as quickly as our world blooms, our world is discordant, and our pigeons are wounded, and as our world dies, we die, and we are extinct. If only we could kill ourselves over and over until we get it right. So just as an entire genre of music can be born out of one sped up ten second breakbeat, a full symphony orchestra can come together in harmonic unison to create that perfect moment in time, thus every moment can give birth to an entirely new world, and every world can house the perfect moment, and just as that breakbeat may be broken beyond any recognition, that orchestra may combine to bring forth a dissonant barrage of colossal sorrow, and so the moment disintegrates it's world and that world suffocates the moment under it's collapse.
Long Beach, Cali rapper Vince Staples debuted his seven-song EP, HELL CAN WAIT late last year. The release of HELL CAN WAIT followed Vince s 3-week, 13-city Paisley Summer Tour headlining stint, which wrapped up at Hard Rock Live in Las Vegas. Vince has contributed tracks to dozens of today's hottest artists, including Earl Sweatshirt's first and second albums to Dilated Peoples' Directors Of Photography to Jhené Aiko's The Vapors (on her Sail Out debut, the biggest-selling EP in Def Jam history) and Common's latest album, Nobody's Smiling, on his single Kingdom, performed live by Common with Vince at his side on Jimmy Kimmel Live and at the 2014 BET Hip Hop Awards. As Common stated in XXL, "He's cold on the mic... This dude can really rhyme. It made me want to write." With HELL CAN WAIT, Vince turned the microscope on himself and his family for some of hip-hop s most remarkable music. Ain't nothing realer than the truth, he explains. Ain't nothing better than the truth, like I really did all that. I really seen all that. I really been around that my whole life. Vince's debut album, Summertime 06, set to drop this summer, will be no different. Vince describes Summertime 2006 as the summer that started it all. He looks back in time to tell a story of how his budding career came to be; this album will provide insight into who Vince is and why he does what he does. The countdown to Summertime 06 is on!
Foremost a guitarist, growing up listening to rock rather than club music, West continues to strive towards finding a more personal balance between music for home listening and larger spaces. The title track was inspired by the howl-like tones he developed by running synths through guitar pedals. "By slowly drifting the pitch through distortion and delays, the result sounded like vocal cries – something which was perfect for the song and this inspired me to take on a darker set of tones across the whole album. It was made over the past few years, inspired by capturing small performances on synths, touring with some of my musical heroes, playing with feedback when I should have been catching a train, sampling my voice in unexpected conditions and recording textures in different countries.” The album explores a wide range of emotions; from the dissonance eruptions and primal rhythms in 'Howl', to the mournful improvisations of '3 Laments', which features a sample of his own voice. Alongside his performances on Moog, Prophet, tape delay and guitar, West enlisted the help of drummer Fabian Prynn for ‘Low’ and cellist Peter Gregson for ‘Walls’, both long-time collaborators of Erased Tapes peers Douglas Dare and Michael Price. "This album features a lot of my own recordings, rather than simply using samples that I have sitting on my computer. This gives the album a more personal feeling, which is very important to me because I think we live in a time where there is just so much recorded material out there, and accessible at a click of a button, that the joy of recording your own drum sounds, your own percussion, your own claps, seems redundant – but it’s not! That should be a priority because its often more interesting and makes you choose a different creative path." It’s rarely reported that Rival Consoles was Erased Tapes' very first signing, with a CDR of early demos under the name Aparatec that inspired founder Robert Raths to start the label. Indeed West has more in common with his contemporaries Nils Frahm and Peter Broderick than some might think. His consistent desire to create a more organic, humanised sound sees West often draft early ideas on traditional, acoustic instruments like the guitar or the piano; forming pieces that capture a sense of songwriting behind the electronics. "I try to create atmosphere and mood throughout with a less-is-more approach to composition. I'm always trying to find an exciting reaction from a few ingredients, because that is magic to me. To make something interesting with tons of layers of effects just doesn't excite me. But to make something interesting with just three layers requires a special alignment of sounds, ideas and timing. This is my most personal work to date, following on from 'Odyssey' and 'Sonne' which gave me the confidence to continue exploring my own ideas and approach to sound. The essence of this album was made with a few synths, some guitar pedals and lots of cups of tea. I hope you’ll enjoy it." Having repeatedly performed at such prestigious venues as the Tate, and having created a bespoke audio-visual performance for Boiler Room at the V&A Museum, the blueprint for West’s current live A/V show was formed. Featuring self-programmed visuals in Max/MSP has earned him appearances at music festivals around the world including Mutek, Decibel, Big Ears and Berghain’s Pop-Kultur Festival, as well as tours in support of Clark, Nosaj Thing, Luke Abbott and Kiasmos.