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Epoch is the latest album from Scott Hansen's continually expanding project Tycho. The album is at once a departure and an evolution for Tycho; honing the sonic aesthetic of Dive while drawing on the kinetic energy of Awake, it explores darker themes and new musical territory.
“This was my first real album. My technical first album had originally been a 9 track EP then I added 5 more songs. Actual Factual Pterodactyl was my first body of work all released at the same time all recorded with my go to engineer Alejandro “Sosa” Tello. I was having a lot of fun. I didn’t care what anybody thought. I wasn’t concerned with concepts. I didn’t lay out any plan. I just found hot beats and rapped. I didn’t care about any type of sonic or thematic uniformity. All I wanted was for everything to be ill. I found my voice on this album. Before this you could hear my songs and tell who my influences were, but on Actual Factual Pterodactyl all this shit was some straight Homeboy Sandman shit. “ - Homeboy Sandman
Gabriel Garzón-Montano’s formidable skills have come to fruition on Jardín in his Stones Throw debut . “This album came out of wanting to make music that reminds people how beautiful life is and how delicate their heart is,” he said. “I've always wanted to make music that is healing, comforting, and funky. I named the album Jardín hoping for it to create a space for healing when people put it on.
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 once again on his own Linear Labs imprint. </p?
Future archaeologists will discuss two periods in 1980s: before Run-DMC and after Run-DMC. It’s no exaggeration to say that the group changed the course of music in the ‘80s, bringing the old-school of rap into the new with one simple piece of flat, black plastic. Coming up in the rap world of the early 1980s under the wing of Kurtis Blow (group manager Russell Simmons managed Blow, and Run was, at one time, a DJ known as “Son of Kurtis Blow”) and Blow’s bassist and burgeoning super-producer Larry Smith, the trio – Joseph “Run” Simmons, Darryl “DMC” McDaniels and Jason “Jam Master Jay” Mizell – learned from the best, but created their own path. 1983 was the year that they first broke out. With only an Oberheim DMX drum program and some cuts by Jay, “Sucker M.C.s (Krush-Groove 1)” was a shot across the bow to the slick, post-disco pocket rap had settled into. It was raw, pure swagger and it took both New Yorkers and music aficionados around the world by storm. The song’s lyrics are a mandatory memorization assignment to this day by MCs learning their craft. “Two years ago, a friend of mine…” The group’s sound, which was laid out muscularly on Run-DMC, had a harder approach than their peers, thanks to producer Larry Smith’s use of live musicians who laid down grooves but didn’t soften the edges. Lyrically the group wasn’t just about brags either, with songs like “Hard Times,” “It’s Like That” and “Wake Up” (the first two were singles). Run’s and DMC’s overlapping tag-team approach to lyricism was powerful and immensely influential. “Rock Box,” another single and arguably the centerpiece of the album, was a nod to their hard edge, and a foreshadowing of their first worldwide smash, 1985’s “King Of Rock.” Jam Master Jay’s DJ work was stellar, knowing exactly when to jump in and put listeners’ ears in a headlock. The album was the first rap full-length to achieve Gold status, and as fans know, the group was just getting started – their next two LPs would take them to even higher status in the music world, critically and sales-wise. But this is where it all started, and it’s a classic that still sounds fresh today as it did more than 30 years ago.
Under the Botany moniker, Spencer Stephenson creates rich psychological and emotional experiences through audio. His music is a thoughtful attempt to convey the non-verbal through his particular mental prism, where sounds have potent symbolism in ways that are all but forgotten in the hermetic modern world. He explains, “Sounds have archetypal connections to things in nature the same way visual symbols do. Low-end might be associated with thunder, or the sound of a mother's heartbeat as heard from inside the womb, or an approaching stampede, or earthquake. Low-end generally indicates something bigger and more powerful than you. Treble sounds indicate something deadly rattling through foliage or something vital like water flowing close by. Reverberation has a connection to the holy and transcendent, it implies spatial largeness. It’s fun to hear these symbols coming out of ear-buds in a world where they aren’t useful on a daily basis, but are still so subconsciously powerful." Though Stephenson sees these constituent signi ers, he has a holistic vision of music "...functioning as a single pulsating thing, instead of a band with distinct parts," which parallels his idea of the universe as an ever emergent, single conscious entity-- a concept he ends spiritually gratifying, and one that’s pervasive in his music. On Dimming Awe, the Light is Raw, the 28-year-old producer and composer continues dissolving the borders between his disparate-yet-beloved psych, hip hop, and ambient influences. Album standout "Au Revoir,” is a shimmering piece of sampler-psychedelia that bolsters verses by rapper Milo, and gracefully leads into the drum-less hum and crackle of “Birthjays”. Matthewdavid—the high-priest of ambient bass himself—lends a rare vocal feature to the uplifting burner “Glow-up" while the electro-inspired “Bad CGI” stitches Bambaataa chants and sci- flutters to a shamanic pulse, then morphs into a late-night opiated channel-sur ng montage, and the seams rarely appear. Unlike his previous album Lava Diviner (Truestory), which peaked and valley-ed through a narrative arc, Dimming Awe focuses on the artist's ever-unfolding, present state of mind. As a former jazz student, spiritual/free jazz philosophy regarding what he calls “emergent” music has increasingly become a guiding light when he creates. "The more emergent I let my music be when I'm making it, the more I like the result, it feels like a truer reflection. I feel like I am getting closer to doing that with computer-made music," he says. "This album is a document of what I do, not a statement in any explicit way. I feel like I'm moving closer to a jazz underpinning that I've always felt, philosophically more than aesthetically...making music feels more like exhaling as I grow older.”
"If I Was Your Girlfriend" was the second single from American musician Prince's 1987 double album Sign o' the Times. The song was a hit in the United Kingdom but was only a minor hit in America. It was originally from the Camille project of 1986, which was to be released under the guise of Prince's alter ego named Camille. The song is delivered from an androgynous male perspective to a woman, wherein Prince explores the possibilities of a more intimate relationship if he were his lover's platonic girlfriend. The B-side to the track was another "Camille" track, "Shockadelica".
Foxygen is the Big Bang of two combusting minds. It's the splayed Galaxy of polar geniuses Sam France and Jonathan Rado. It's a handshake with a knife behind your back. A sleepless night in a five star hotel. You listen to Hang properly. You take in each moment. Each new melody that threads forward from the fingertips of one of this generation's finest pianomen in Jonathan Rado. And you fall in line behind Sam France's sprawling and reckless lyric.Witness his mastery. Feel them struggle against the walls of their own creations. Follow them there. To the perimeter. To the exit sign. Notice that the two young guys aren't there anymore. They're outside looking for another joint to haunt. They're already out of sight.
Rashad Becker's new full length album, Traditional Music of Notional Species Vol. II, is a newly developed continuation and exploration of work since his highly-acclaimed first volume (PAN 034LP, 2013). Incorporating more instrumental-sounding components, the record moves through both fluid and dissonant sounds, which take on different structural and sculptural challenges through carefully-layered compositions. Following Traditional Music of Notional Species Vol. I, Vol. II expands in various elements, distorted and warped, focusing in on the tension and energy of synthesized sounds that appear to exist, hauntingly physically. Known for his unrivaled attention to sonic detail across his work, Becker's unique techniques and expressive manipulations of sound are laid bare in an exhilarating new form, stylistically distinctive and uncompromising. The album is mastered and cut by Rashad Becker at Dubplates & Mastering. Artwork by Bill Kouligas.
Limited to 500. Best of Nicktoons 12” Compilation - 4th pressing pressed on Orange Splat & Slime Green split color vinyl. The album features 41 tracks of musical highlights from all of the Nicktoons that had been produced up until 1998 (Besides Doug) including Rugrats, Hey Arnold, Ren and Stimpy, Rocko’s Modern Life, Aaahh!!! Real Monsters, Angry beavers, Kablam and the original cat dog theme is listed as a final “bonus track.” For all those 80s and 90s kids out there, this album is a real treat down memory lane complete with double sided lyric sheet.
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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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