Chaz Bundick meets The Mattson 2 Star Stuff is the kind of record that only comes about every once in a blue moon. It slips into existence by the merest margins at the very edge of universal consciousness and then expands to fill a vacuum that we didn't know needed filling until it appeared full right before us. The unspoken brotherly bond of the Mattson 2 and the incredibly refined and aesthetic genius of Chaz Bundick (playing both the role of musician and producer) combined to invoke this album from the ether. The Mattsons' brotherly forgetfulness acted as a catalyst for this most spectacular of collaborations: Jared Mattson (Guitar/bass/extra dimensional texture) forgot to pack a drum stool for Jonathan (Drums/Intra dimensional rythmality) for a show in Oakland in late 2014. A mutual friend, photographer Andrew Paynter, said he knew someone nearby who might have one, that someone was Chaz Bundick. Chaz stayed to watch their show, and over the following few months they recorded with no set schedule, no set plan, no rules and no limits. ''We all got together after that first encounter, meeting at Chaz's home studio in Berkeley. We had no set musical ideas because we wanted this to be fresh and pure and 100% collaborative... The songs started morphing and the camaraderie got so strong, inspired, and positive that it was absolutely exhilarating working together! We had the utmost trust in one another. It naturally became a joint record so it became fitting to call it a ''meets'' project.'' - Jared Mattson
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Silver Eye, Goldfrapp’s seventh album, is dance music which evokes a pagan ritual rather than a club soundtrack. Cold, metallic electronics with a hot current of blood running through them. A 21st century moon dance. It weaves together the two strands of Goldfrapp’s music like never before. If 2013’s Tales of Us, a set of noirish folk fables, roamed the same pastoral landscape as Felt Mountain and Seventh Tree, then Silver Eye (a reference to the moon) belongs to the pulsing, electronic lineage of Black Cherry and Supernature only deeper and darker. Silver Eye will be released March 31, 2017.
Domino is proud to launch Documents, an irregular new series of live studio recordings designed to capture our artists and their bands at the peak of their touring powers - the first official release of which will be Julia Holter “In The Same Room”. Comprised of new arrangements of songs from all of her studio releases to-date, Holter's Domino Document is essential for anyone who has witnessed her brilliant, beguiling band on tour around the world in the last five years, and is a perfect introduction to a truly important and innovative young artist.
Linear Labs now brings you Adrian Younge Presents: The Delfonics in a never before issued instrumental edition! Tracks from Adrian Younge Presents The Delfonics have been sampled by Schoolboy Q, DJ Premier (and many more) and have been heard in Netflix monster hit Marvel’s Luke Cage! The Delfonics is the quintessential sweet-soul group. Hailing from Philadelphia, the crew formed in the mid-'60s, with the definitive original lineup as lead vocalist and songwriter William Hart, his brother Wilbert Hart, and mutual high-school friend Randy Cain (later replaced by Major Harris). With the help of producer/arranger Thom Bell—and with William's signature falsetto—the Delfonics set the tone for all other sweet-soul groups that would follow. Between 1968 and 1974, the Delfonics had twenty charting singles and won a Grammy for their massive hit "Didn't I (Blow Your Mind This Time)." Out of their twenty hits, William Hart wrote or co-wrote eighteen of them, thirteen with collaborator Thom Bell, like "La-La Means I Love You," "He Don't Really Love You," and "Ready or Not Here I Come (Can't Hide From Love)."After five albums, the Delfonics would break up for good in 1975. Brothers William and Wilbert parted ways and over the years often toured separately with different forms of the group. But over forty years after writing his first hit, lead singer and songwriter William Hart has put his unmistakable falsetto back on analog tape and reinvented the Delfonics brand for a new generation. Los Angeles producer/composer Adrian Younge envisioned a modern-day Delfonics album and pitched the idea to William Hart, who hopped a plane from Philly to L.A. and began work on a new album. Younge helped to reshape the Delfonics by bringing on board two excellent young vocalists, Loren Oden and Saudia Mills—as well as Om'Mas Keith on the single ""Stop and Look (And You Have Found Love)""—to work alongside William. Adrian Younge is a self-taught multi-instrumentalist who traded in his MPC sampler for a carefully curated studio of authentic gear. Younge rocketed to international recognition after composing the original score for the film Black Dynamite and has since release ground-breaking projects including The Souls of Mischief’s “There Is Only Now” and Ghostface Killah’s “Twelve Reasons to Die” concept albums. Younge brings a unique perspective on modern rhythm and blues. "I was studying Delfonics stuff for years," Younge reveals. "I studied Delfonics to do the Black Dynamite stuff. I've been a fan, and I've just studied their music for so long that when I got the opportunity to do this, it just really blew my mind." From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. "I want people to expect something classic but not expect to hear the same thing rehashed," Younge says. "I want to push it forward. William and I strived to push this forward. Younge now makes this breath-taking musical outing available in a never before issued instrumental edition on his own Linear Labs imprint.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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