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Limited to 300 copies. Inspired by Ultraman and Norwegian nature, Torb the Roach and Floppy McSpace joined forces and cooked up their instrumental debut. The result, Tape Echo Gold Floppies. It tickles your senses with low fidelity rhythms, time warping space echo, rare world spices and psychedelic field recordings. Along with the project they’ve also released a 15-minute motion picture revealing the extraordinary story of how the record came to be; a dramatic piece involving ski accidents, black coffee magic and brutal fight scenes. The album is a combination of beats from the SP1200/S950 combo as well as dubs & effects from the Roland 201 Space Echo. Torb collects rare, obscure, world funk and rare groove records from India, Thailand, China & Japan. There are a bunch of dusty loops on the record made from his digs. Hand drawn illustrations, pictures of equipment and a photo of Floppy McSpace make the cover, design by Ocht & Torb.
Fredfades & Sun Raw are keeping alive the gritty, analogue sound with 12-bit drums and loops but with their own unique style. Fred has been working with KingUnderground for the last 3 years and has a flock of releases. Sun Raw from Stockholm, Sweden is new to the crew but about to drop his debut “Beat Weeks”. The duo are both part of Mutual Intentions crew and find inspiration from old music, from Jazz, funk, soul, rock and anything they find in the crates. Planet Asia has been affiliated with KU from early on with a release and some features. Some MC’s have been left behind, Asia isn’t one of those. He’s been kicking out better and better verses since he first showed up on the scene in the early 90’s and it doesn’t look like he’s stopping anytime soon. The pair are working on a collaboration album (currently untitled) to be released in 2017. This 45 is a taster of what to expect. This is a limited edition pressing run of only 300 units. There are 2 songs, all straight SP1200 both featuring Planet Asia with one of the tracks featuring one of PA’s friends Waz on the hook. We’ve stepped up our quality of vinyl pressing and moved to a new plant so you should hear the results in this new release.
After spending 13 years in Queens, New York, Lewis Parker returned to London in early 2015. Release The Stress is the first new material released since his return. The topic of the song is fairly self explanatory dealing with the everyday pressure of living, in a fast pace modern city environment. Lewis speaks on he's production and how he balances this with day to day life. The production captures the feel of the classic 90's hip hop but with a polished and very musical feel to it. Phat gritty SP drums, deep hypnotic bass lines, lush strings, catchy flutes, a dope late night sax, ill synths and wah guitars make this production up there with Lewis's best work.
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By Nights: Yogisoul’s debut album. This exciting conceptual listen features guest appearances from Ivan Ave, MoRuf, Awon, LumiHD, Dialate and the instrumentalists Kristoffer Eikrem (Jazz Cats) and DeAndre Grover who appear throughout the project. The cover art is a photo taken of a dusk-time basketball hoop, using a design by Dirty Hans. The album is available digitally or on LP. The concept of By Nights came from a long stretch of late night beat-making, resulting in a batch of beats that all had an apparent red line. The sound of late night, early morning hip hop beats. While there’s no doubt Yogisoul is a hip hop producer, the album clearly demonstrates creative versatility in blending inspirations and genres. From obvious hip hop tracks and instrumentals to jazz inspired souls tunes. The distinctive sound of his production is evident throughout the record. Dusty rhodes, analog synths, thick layered basslines and crispy drums are essential inYogi’s sound.The record was mastered at Strype Audio in Oslo to add the final touches in completing its overall warm sound, which in turn resulted in an original and timeless piece of music.
Boora & Mr. Robberhood (the latter is one of 3 members of KOVSH), out of Soviet Russia, release their first joint project, Soviet Aesthetics Vol.1.The title derived from the idea of conveying the Soviet art form on vinyl, using only soviet samples and synthesizers to present the new Russian-style, Golden Era 90’s-influenced, instrumental hip hop. The initial cover concept was slightly different to how it materialised, quite plain and simple; with the traditional Soviet white and black colour scheme and a cover photo taken by Volodya Kurashev, a Soviet sculptor at the exhibition for Eugene Vucetic. The back cover is a picture of the duo “cooking up heat” in the kitchen.
Two years in the making and with an evolved and developed style Simiah is back with his second full length LP ‘Colour Point’. With a deep connection between colour and music, Simiah has crafted this 20 track neck snapping instrumental LP that flows from track to track with a very fitting theme and nar- rative. With layered samples, intricate chops and hard knocking drums, Simiah once again proves he’s a unique talent and someone to firmly keep your eyes on. Arranged, mixed and mastered by Simiah & Mr Brown and with original artwork by Bee Graphics. ‘Colour Point’ is a stunning follow up to his acclaimed debut LP ‘Lost In Time’.
Born in the Bay Area, raised in England, and currently living in Los Angeles, Beatnick Dee is a producer as well as a record & sample dealer. His discography includes work with Vinnie Paz, Blu, Thes One (of People Under The Stairs), Ras Kass, Pheo, Army of the Pharaohs, Cali Agents, LMNO, and Infamous Mobb. He is also one third of Drumset Music Works, a production collective with Twiz The Beat Pro and Jaisu. Having grown up in England, Nick was exposed to a variety of musical genres from a young age when his father began taking him to Glastonbury Festival. Out of all the musical styles at the festival, it was Hip-Hop music that really caught Nick's ear, leading to his first experimentation with beatmaking. After years of accumulating knowledge in records, gear, sampling, and production techniques, he began collaborating with other Hip-Hop artists, making a name for himself and solidifying his trademark sound. It was after a visit to LA, as an intern at Tres Records, that his mind was made up — he had to make a permanent move. Only 6 months later, in December of 2011, the move was official — Beatnick Dee was now a Los Angeles-based hip-hop producer. It was this relocation which led to the evolution of his debut album, Creative Medicine. His move to Los Angeles allowed him to collaborate with talented, buzzing artists and well known rappers. These collabs as well as his full emersion into the melting pot of his new city allowed the amalgam of influences and musical styles to come together to create his debut album, Creative Medicine. At 12 tracks in length, Beatnick Dee carefully matches each beat to the unique voice of the artist, all the while creating a singular work that can't be fully appreciated without being heard in its entirety. His connection to the artist Cashus King (fka Co$$) had been established while he was still in England, but his move to LA only cemented their musical bond, as evidenced by Cashus' features on the album with Burning Clouds and Ketchup & Mustard. The latter is reminiscent of a classic-style LA anthem but with a sonically futuristic twist. With an affinity for 80's music, this first single brings an uplifting funk groove with spacey synths. On Never Looked Back, Big Twins (Infamous Mobb) and his signature gutter voice are featured, a soulful ode to NY rap at its grimiest. Luxurious Rain, featuring UTB Life$tyle’s Pheo, emits a more modern Hip-Hop influence. The versatile producer brings cosmic synths, strong 808’s and rapid hi-hats, mixing abstract, trippy samples into a unique track for the rapper. With more melodic arrangements like Be Free, featuring Denitia and Sene, and This Ain’t a Love Song with Yung Miss, Beatnick Dee displays his capabilities to produce beyond the Hip-Hop genre. Thicker Than Blood, the last track to be recorded for the album, is really where Creative Medicine comes full circle. Featuring Thes One of People Under The Stairs, Beatnick Dee finished his album with the artist that influenced him as a teenager to start producing in the first place. A solid set of songs seamlessly flowing through various moods and voices while still remaining cohesive, the project is a rich tapestry of sounds and styles that showcase Beatnick Dee's own creative medicine. A stand out set and one to watch. EP - Selecting some key songs from his debut full length release. The Creative Medicine EP version packs in 3 vocal songs, with the accompanying 3 instrumentals as well as 3 exclusive unreleased bonus beats made between 2011-2013.
'Look' is a 6 track instrumental project by Pings & Mr Brown. All the tracks have been created by sampling a multitude of cover versions of a well-known song from the late 60's. The initial idea for the project came about when the two producers over the years exchanged beats they had created from different versions of the song. This resulted in a perfect concept for a record. Graphic design and visuals play a vital role in all KingUnderground releases and this project is no exception. It has been influenced by jazz record sleeves from the 60's - 70's, in which, instead of showing the artist on a graphically designed album cover, they used wildlife, shadows, geometric shapes and other great photographs. This deliberately created contrasts and worked with and against the grain of the album titles. In other words, these album covers made you 'look'. Artwork by Bee, photo taken by Matt Drane.
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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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