The underground hip-hop scene in Los Angeles is constantly expanding, with artists flowing in and out of the cities boundaries that activate every area of the genres base. Few artists remain embedded with creative endurance intact and one of the rising hip-hop voices whose spirit remains true to LA is Trenttruce. He’s a frequent collaborator to Stones Throw / Leaving MC Koreatown Oddity and Black Jungle Squad co-founder Jeremiah Jae, guiding an opulent sense of lyricism over an odyssey of experimental beats. After a few years of backing others in the underground world of LA hip-hop, Life After Life is Trenttruce’s debut album. The Order Label is home to artists such as Milo, Jonwayne, Sahtyre and Kenny Segal. Trenttruce will be a main staple for the imprints momentum going into the future.
Clutchy and Fatty....High desert crunch meets city life punch for this collaborative project in sound. Instrumental elements of soul, jazz, hip-hop, rock and more resonate throughout the record. Just what any Clutchy Hopkins or Fat Albert Einstein fan would ask for; track after track of laced up loveliness. These two gents pair banging rhythms with lush melodies and top them off with their signature low brow high fi sound. Guaranteed for some straight nasty. Acoustic and electric instrumentation set the tone and in their individual styles; Clutchy and Fatty navigate your journey through psych folk caverns of cactus dust and marine layer funk with bloodshot rust. It is distinctive, original and fresh, paying homage to the past, present and future. Visionary folk funk.
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Limited to 150 copies. Volume 3 of the Clean Plate Club beat tape series features the work of long time collaborator & Full Plate Family member, Batsauce (Member/Producer for The Smile Rays, Duct Tape, Lady Daisey, Mr. Lif, Akrobatik, Qwaazar, Dillon and many more! ) Always flying in his own direction, Bat's background as a bassist and avant garde jazz musician shines through in this collection of instrumentals ranging from the far left field to on-the-one funk. Perhaps a more subtle influence are his world travels which can be heard throughout the album in the form of obscure samples, regional percussive patterns & international instrumentation. When Batsauce isn't making banging beats, he's making coffee for his wife, the ever lovely, Lady Daisey. Also, ask him about his George Clinton stories...
The Far Field refines and builds on the breakthroughs of the Baltimore-based trio’s 2014 album Singles, bursting with undeniable hooks and disarmingly honest lyrics written by Samuel T. Herring (vocals, lyrics), William Cashion (bass, guitars) and Gerrit Whelmers (keyboards, programming). After the success of Singles and the hundreds of Future Islands shows played in that period, the band began writing new material on the coast of North Carolina, and continued throughout the year in Baltimore before road-testing these songs at a series of secret shows under fake names. Later that year, they traveled to Los Angeles to record with Grammy Award-winning producer John Congleton at the legendary Sunset Sound, where everyone from The Beach Boys to Prince have laid down masterpieces. With string and horn arrangements by Patrick McMinn, The Far Field is the first Future Islands record to feature live drums by Michael Lowry, who joined the band prior to their sensational performance of “Seasons (Waiting On You)” on David Letterman’s late night TV show. Blondie’s Debbie Harry also makes a guest appearance, in a duet with Herring on penultimate track “Shadows.” Across The Far Field’s twelve chest-pounding love songs and odes to the road, Future Islands brilliantly expresses the band’s central themes they’ve been exploring for the last decade: that there is power in emotional vulnerability, that one can find a way to laugh and cry in the same breath – and be stronger for it. “This is the kind of band that makes you wish other bands tried harder.” - Pitchfork “An absolute and unqualified triumph” -Stereogum “Mournful, triumphant, heroic” -Complex
Pure Comedy, Father John Misty’s third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. Tillman has released two widely acclaimed albums – Fear Fun (2012) and I Love You, Honeybear (2015) – and the recent “Real Love Baby” single as Father John Misty, and recently contributed to songs by Beyoncé, Lady Gaga, and Kid Cudi. While we could say a lot about Pure Comedy – including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen – we think it’s best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species’ only hope for survival, finding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like “love,” “culture,” “family,” etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species’ loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty’s longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey.
Comes in a diecut jacket with a reversible inner sleeve plus an insert with additional artwork and interview with composer Carlo Maria Cordio. Mastered for vinyl by James Plotkin and artwork by Devon Whitehead. Lunaris Records is proud to unleash the soundtrack for the 1990 cult classic horror comedy, Troll 2. Composed by Italian maestro Carlo Maria Cordio (Absurd, Pieces, Body Puzzle), the soundtrack offers an eclectic mix of synth, bluegrass, and guitar rock jams.
Formed in 2009, the prolific Austin, TX experimental synth quartet S U R V I V E have released two full-lengths and numerous EPs / singles since their inception, including recent contributions to the soundtrack for the acclaimed indie horror film The Guest. Additionally, two of the group’s members recently scored the soundtrack for the new hit sci-fi / horror show Stranger Things starring Winona Ryder on Netflix. S U R V I V E have appeared at numerous esteemed festivals across the US including Moogfest, Levitation Fest, Fun Fun Fun, Beserktown, Day in The Desert, Decibel, etc. and have played alongside acts like Goblin, John Maus, Tame Impala, Lightning Bolt, This Will Destroy You, A Place To Bury Strangers, Max Cooper, and many others; Noisey even called their live show “transcendental.” Now, S U R V I V E have completed self-recording their second full-length via their home studios, which will see a September 30 via Relapse. The synth quartet’s sophomore full-length and Relapse debut is a dark, sweeping exercise in analog synth mastery. The pulsating, 9-song instrumental release showcases immense diversity between tracks – RR7349’s compositions range from grim tom-tom thunder to space-age epics, pairing tense plodding grooves with meditative ambience and driving, rhythmic beats. Inspired by IDM and horror scores alike, RR7349 is simultaneously ominous and hopeful; tense and relaxed; percussive and melodic. A unique addition to the Relapse discography, and unquestionably S U R V I V E ‘ s best work to date. S U R V I V E are: Adam Jones / Kyle Dixon / Mark Donica / Michael Stein
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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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