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The medium is the message! Vinyl has always been our preferred medium for releasing music and without this tactile form of presentation, Samurai Music would not continue in its current form. Vinyl is the ultimate personification of what the label wishes to represent. Music always comes first, but the vinyl artefact is king for us. Hyaku is the 100th Vinyl release on the Samurai Music label. Through the many twists and turns of the industry in our almost 17 years of existence, the Samurai Music vinyl releases have maintained their aspiration for quality, unique design that stands the test of time. Praise and thanks always to our long time designer Ryan Quinlivan and the many pressing plants we have worked with over the course of our labels lifespan.
To celebrate this milestone we have assembled a gang of producers that best represent the Samurai Music sound of now to contribute tracks that they feel best encapsulates their take on our sound.
Hyaku is a mutable mix of vibrations that navigates from the searing ambient drift of Ancestral Voices all the way through to the heads down assault of Dom and Roland. Singular takes that capture the artistry of this impressive crew of creators at their glistening best.
Finally we'd like to thank everyone who has ever and continues to support our vinyl releases. We are forever grateful!

The medium is the message! Vinyl has always been our preferred medium for releasing music and without this tactile form of presentation, Samurai Music would not continue in its current form. Vinyl is the ultimate personification of what the label wishes to represent. Music always comes first, but the vinyl artefact is king for us. Hyaku is the 100th Vinyl release on the Samurai Music label. Through the many twists and turns of the industry in our almost 17 years of existence, the Samurai Music vinyl releases have maintained their aspiration for quality, unique design that stands the test of time. Praise and thanks always to our long time designer Ryan Quinlivan and the many pressing plants we have worked with over the course of our labels lifespan.
To celebrate this milestone we have assembled a gang of producers that best represent the Samurai Music sound of now to contribute tracks that they feel best encapsulates their take on our sound.
Hyaku is a mutable mix of vibrations that navigates from the searing ambient drift of Ancestral Voices all the way through to the heads down assault of Dom and Roland. Singular takes that capture the artistry of this impressive crew of creators at their glistening best.
Finally we'd like to thank everyone who has ever and continues to support our vinyl releases. We are forever grateful!

The medium is the message! Vinyl has always been our preferred medium for releasing music and without this tactile form of presentation, Samurai Music would not continue in its current form. Vinyl is the ultimate personification of what the label wishes to represent. Music always comes first, but the vinyl artefact is king for us. Hyaku is the 100th Vinyl release on the Samurai Music label. Through the many twists and turns of the industry in our almost 17 years of existence, the Samurai Music vinyl releases have maintained their aspiration for quality, unique design that stands the test of time. Praise and thanks always to our long time designer Ryan Quinlivan and the many pressing plants we have worked with over the course of our labels lifespan.
To celebrate this milestone we have assembled a gang of producers that best represent the Samurai Music sound of now to contribute tracks that they feel best encapsulates their take on our sound.
Hyaku is a mutable mix of vibrations that navigates from the searing ambient drift of Ancestral Voices all the way through to the heads down assault of Dom and Roland. Singular takes that capture the artistry of this impressive crew of creators at their glistening best.
Finally we'd like to thank everyone who has ever and continues to support our vinyl releases. We are forever grateful!

You’re NEXUS 21, central to the dizzy zeitgeist of the 1991 adrenaline rammed UK House Music juggernaut, and you have just recorded a masterpiece of an album MIND MACHINES.

DON’T DO IT LIKE THAT - somehow even though your record label love the album it does not get released.
DO IT LIKE THIS - it finally gets issued now.

When Mark Archer and Chris Peat flew back from a seminal recording session at Kevin Saunderson’s KMS Studio in Detroit there was a palpable feel of excitement. Instead of merely paying homage to their Techno forerunners, they were now creating their own just as innovative waveforms.

In the can was a gem - DON’T DO IT LIKE THIS, DO IT LIKE THAT. Motor City songstress Donna Black had unconsciously seemed to add Ma to the start of her name and her recorded in the dark vocals helped conjure up an almost Madonna and a drum machine meets Techno hybrid. This it was agreed could be a huge breakthrough single which - preceded by strategically released set up tracks - would build up Nexus 21’s surely inevitable rise to glory. And the release of the MIND MACHINES album. But it never happened. Instead one day Mark and Chris burst into Network’s Birmingham office excitedly brandishing no less than 8 new recordings infused with a propulsive Rave energy flash compared to their more cerebral Nexus 21 work. The label agreed that the new tracks should be released under a new artist name and an initial suggestion. Alien 8 replaced by Altern 8. What was planned as temporary dalliance became a long term relationship. You all know the score - Altern 8 became surf riders supreme on the rave tsunami, not just music makers but myth creators. The plan has been to run Nexus 21 and Altern 8 parallel, a kind of schizophrenic experiment by two men, a drum machine and a mad for it record company. History shows that Altern 8 became too DOMIN 8 and the lovingly recorded Nexus 21 album was left on the proverbial shelf (actually a box in Birmingham)

So now MIND MACHINES finally meets the World. First thing that screams out that it hasn’t half aged well. Obviously it is a wet dream for the anoraks of electronica, that goes without saying. But above and beyond the history lesson of how 2 young UK techno mad kids got the dots from Detroit and deconstructed them to create something very British the music they created, sometimes naive but frequently knowledgeable, sounds .. well just great.

The four Detroit recordings - NEXODUS, TOGETHER, DON’T DO IT LIKE THAT, DO IT LIKE THIS and EVERYTHING (NO STATUES) - variously feature contributions from Motor City luminaries Marc Kinchen and Anthony Shakir.

Only two of the twelve recordings were properly released in 1990/1991 with two more making it on a withdrawn white label 12 inch at the time. Three of the tracks, including a live recording at London’s Brain Club that has been retrieved from a DAT that was thought to have disappeared, are previously unreleased. And as well as two previously unreleased much altered versions of Nexus 21 gems there is the legendary much tougher mix of the duo’s signature techno treasure Self Hypnosis.

NEXUS 21

LOST AND NOW FOUND

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.

The medium is the message! Vinyl has always been our preferredmedium for releasing music and without this tactile form ofpresentation, Samurai Music would not continue in its current form.Vinyl is the ultimate personification of what the label wishes torepresent. Music always comes first, but the vinyl artefact is king forus.

Hyaku is the 100th Vinyl release on the Samurai Music label.Through the many twists and turns of the industry in our almost 17years of existence, the Samurai Music vinyl releases havemaintained their aspiration for quality, unique design that stands thetest of time. Praise and thanks always to our long time designerRyan Quinlivan and the many pressing plants we have worked withover the course of our labels lifespan.

To celebrate this milestone we have assembled a gang of producersthat best represent the Samurai Music sound of now to contributetracks that they feel best encapsulates their take on our sound. Hyaku is a mutable mix of vibrations that navigates from the searingambient drift of Ancestral Voices all the way through to the headsdown assault of Dom and Roland. Singular takes that capture theartistry of this impressive crew of creators at their glistening best.

Finally we'd like to thank everyone who has ever and continues tosupport our vinyl releases. We are forever grateful!

Futureslowdubdisco moves in a deep groove of sonic slowness: a two-way collaboration between producers Francesco Colagrande and Simone Ticconi, the creators of ‘Superpaesaggio’, their debut for Hermit Records.
These four original tracks blend dub and deep techno abysses, ephemeral ambient atmosphere, and hypnotic library obsessions. Lose yourself blissfully in the low beats, the lazy flow of the four movements, the hypnotic repetition, the almost shamanic rite that takes over all your senses.
The conclusion, though, is entrusted to two cleverly manipulated remixes of L'oggetto and D Lewis & Paul Hyde, which cranks up the BPM dial. Enclosed within kaleidoscopic artwork put together by Flavia Mastrella (Leone d'oro 2018), ‘Superpaesaggio’ is a journey into sound that has no worries sinking into the reverberations and delays of ordinance, as well as involving sparse and distant voices that bring more human entities into the entire Futureslowdubdisco project.






e B2 SUPERPAESAGGIO 1 L'oggetto RMX
D Lewis & Paul Hyde RMX

“Music is my forever cove,” writes Portland, Oregon’s Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer’s line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions (“I’m forever searching for a better descriptor than looping, which feels too simple and flattened by overuse,” Wyland says), shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what we perceive as linear time—like floodwaters seeking an exit, like streams running into the sea.

Artist’s Statement:
I made this record while spending significant time in the woods by the Sandy River in Corbett, Oregon,
where I've had my studio for the last five years. It is a diary of spontaneous live recordings edited to highlight the moments of clarity that emerge from long-form improvisations. These compositions express a slowing internal rhythm. An unwinding. A somatic recalibration as I enter middle age. A newly empowered vulnerability.

Here are the internalized cadences of my stutter, flowing freely from my fingers. The musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings. Disruptions in linear time, where the bubbling cadences of my stutter find unexpected pathways, reveal the elasticity of the present moment. This is my idiosyncratic language, shaped and inspired by my disability. Subliminally mirroring internal processes, neural firings, cognitive entanglements...

The title, Kuma Cove, refers to a beloved cove on the coast of Oregon my wife and I return to yearly. There has always been something so magnetic about coves. The way they cradle one from the overwhelming enormity of the ocean beyond, muting a primordial fear. I experience these improvisations as ecosystems I'm able to inhabit for stretches of time, embodying the particular rhythms and sensorial textures within each. Music is my forever cove. Everything you hear is created live in Ableton on a setup I've been honing for 15 years. I celebrate MIDI and computer music as an extension of self and strive to make it as expressive as any analog instrument. I was a visual artist for the first half of my life and quickly adapted those skills to composing and producing on a computer. The transition felt natural within the landscape of DAW's interfaces, especially as a synesthete. Ableton and its community of Max creators continue to surprise me with its expansiveness.

I'm forever searching for a better descriptor than looping, which feels too simple and flattened by overuse. I envision sonic loops as tangled masses of time, three-dimensional knots spinning on tilted axes, or overlapping wreaths refracting out a myriad of colors. My practice is continually refocusing my ear to what is revealed in the repetitions, searching for the fingerprint of each. I find it incredible how technology lets us manipulate time like this. Nothing on this record is quantized or locked to a universal bpm. Experiencing numerous tempos at once feels important. Recordings as mirrors. Freedom from expected (conversational) flow as we hold time for each other.
-Luke Wyland, August 2024

Artist Bio:
Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR (USA). Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland’s approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he’s collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. He’s also the co-creator of the “It’s A Fucking Miracle” dance class with Tahni Holt.
Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA’s Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.

A magical and inspirational collaboration between musicians from Burkina Faso - including West African griot and balafon player Seydou "Kanazoe" Diabate and guitarist Abdoulaye "Debademba" Traore - alongside French jazz vocalist and flutist Clotilde Rullaud. In the streets of Burkina Faso, the phrase "ka nana ye" can be heard everywhere. It means "it's not easy" but also implies that things will be okay. With the album Kananaye, which takes its name from this popular saying, things can only get better. Its foundational multiculturalism, conscious lyrics, intertwined traditions, and contemporary grounding are essential qualities in these times when optimism has become a survival virtue. It's not easy, but it will get better - provided we make the effort, crossing borders where others seek to close them. Clotilde Rullaud, Abdoulaye Traore, Achille Nacoulma, Seydou Diabate and Boubacar Djiga, the creators of Kananaye, are dedicated to this cause.

Music from Skalpel's iconic debut for Ninja Tune, reinterpreted by top Polish producers! 

Poland's ambassadors of jazz-inspired electronics invited outstanding local producers of downtempo, dance music, hip-hop, and jazz to remix this album. The result is "Recut," the best remix album in the history of Polish phonography. A record every bit as worthy as the historic original. It’s an extraordinary tale of the past and present of Polish electronic music.


This year marks the 20th anniversary of the release of Skalpel’s debut album, which was released by the famous British label Ninja Tune in 2004. The Polish duo, Marcin Cichy and Igor Pudło, gained international acclaim by venturing into the then lesser-known territory of Eastern European jazz, updating it with electronic tools.
Pitchfork praised the album enthusiastically: „On these tracks, Skalpel smudge the line between organic and electronic effortlessly, like a landscape artist working with charcoal, creating deep nuances of light and shadow that give the work its overall depth. (…)Its rhythmic dexterity and melodic sweep are hard to deny” -
The prestigious The Wire added: "Jazz, breaks, scat shuffles and funky riffs? of the highest standard. This release deserves to see them revered far beyond Poland"

Today, looking back over two decades, this album can be confidently considered a milestone in Polish electronica and a timeless classic of downtempo, nu-jazz, and trip-hop. Thanks to this record, the band also gained worldwide recognition, and their subsequent consistently high-quality albums like "Highlight" and "Origins" continue to attract significant interest.
Skalpel’s debut with Ninja Tune undoubtedly changed the face of Polish music, redefined the perception of the Polish jazz canon, and paved the way for younger creators. "Many of them, on 'Recut,' pay tribute to the enduring legacy of Marcin Cichy and Igor Pudło.
Artists like Magiera, Emade, 1988, Kixnare, Steez, Latarnik, Envee, Pejzaż, Etnobotanika, and others are now recognized names and respected figures in the Polish music scene. Though each of the artists invited by the Wrocław duo has developed their own original style, they find common roots in the duo’s music, on the border between jazz groove, hip-hop ease, downtempo moodiness, or ambient.
The excellent interpretations showcase the incredible potential revealed by Skalpel’s debut material, which continues to inspire new discoveries. This is a record that does not age, still captivates, and continues to inspire and provoke new interpretations.


Let’s RECUT this!!

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

First Word Records are very proud to present a brand new album from Kaidi Tatham!

'An Insight To All Minds' is Kaidi's 3rd solo album under his own name, following several EPs and two albums for First Word; 2018's acclaimed 'It's A World Before You' and the re-press of his seminal 2008 sophomore album 'In Search Of Hope' last year.

For those that don't know, Kaidi Tatham is a legendary multi-instrumentalist. Once dubbed "the UK's Herbie Hancock" by Benji B, he's a virtuoso on the keys and a true innovator in sound production as one of the original creators of the Broken Beat sound. Over the years his musical prowess has blessed numerous projects, initially with the likes of Bugz In The Attic and The Herbaliser, and more recently with DJ Jazzy Jeff (through the PLAYlist projects), Andrew Ashong (on the acclaimed 'Sankofa Season' EP last year) and with longtime accomplice, Dego. This in addition to session work for artists such as Mulatu Astatke, Slum Village, Amy Winehouse, Soul II Soul and Leroy Burgess, along with First Word label mates such as Eric Lau, Children of Zeus and Darkhouse Family. Kaidi is also a revered DJ known for rocking parties globally, whilst his solo catalogue spans tons of EPs and releases for labels such as 2000 Black, Eglo and Theo Parrish's Sound Signature.

On 'An Insight To All Minds', Kaidi says it's "not about a destination, but a process. It's about how you drive, not where you're going. Nothing in this world can torment you as much as your own thoughts… We are all going through it. We can all feel what the next person is feeling, believe it or not. It's learning how to tap into it".

The album is comprised of an assortment of Kaidi's unique flavours - uptempo jazz-funk bruk, laced with rhodes, flutes, live bass and delicious percussion. Using that blueprint he moves effortlessly through latin and samba, half-step, deep afro house and a sprinkle of curveballs, all presented in Kaidi's inimitable way.

'Intergalactic Relations' brings with it some 110bpm synthed-out spacey electro-breaks, 'Could It Be' sets off sounding like a Morricone film score, whilst 'Rodney' is some serious heads-down business; stark and punchy off-kilter broken beat and vocal stabs. There are a few guests too - 'Chungo' sees the return of Uhmeer (who previously appeared on 'Cupid' on the album 'It's A World Before You'); here the young Philly MC deftly rides a 9/4 time signature beat. Meanwhile 'Stro Kyat' invites in another supreme talent, Stro Elliot (The Roots), who provides a suitably crisp & crunchy riddim to accompany Kaidi's key play over a mind-bending 5/4 time signature.

With this new album, Kaidi Tatham adds further to his already impressive catalogue, a body of work that falls within the cracks of jazz and dance music, exemplifying modern British black brilliance once again; uncompromising, innovative, groundbreaking, intricately sophisticated and deeply funky. His fanbase expands on every release and it's no surprise that that fanbase includes peers such as Madlib ("ahead of his time"), Gilles Peterson ("a key part of an entire movement"), K15 ("a limitless source of inspiration"), Alexander Nut ("a true virtuoso") and Kyle Hall.

A double celebration of our rebirth 5 years ago and the very first release on the label back in 2000, the new series STATES OF ART features global creators of the forward-looking sound. The first of three vinyl EPs, with pioneering graffiti artist EGS delivering a special artwork.

Place: - Air Texture’s regional nonprofit series focused on local environmental causes, features Tunisia for its next in the series curated by Azu Tiwaline and Shinigami San.

As old veterans of electronic deep explorations they are driven by the aim to provide a general view and an état des lieux of the electronic microcosm of this scene supporting its different directions and creative aspects. This compilation is an invitation to have a deep dig into electronic Tunisia.

The artists curated to participate represent different backgrounds and musical perspectives. From score composers to established producers, crossing the path of more experimental ones the curators offer a large view of the ensemble of the different electronic approaches in Tunisia. Different generations are also meeting through this compilation, regrouping almost four decades of producers and sonic creators.

Campo's debut album, released in 2012, was a milestone in the new South American music scene. The brainchild of Juan Campodónico - one of the creators of Bajofondo - combines sophisticated pop, electronica, and South American roots, uniting past and present in a unique way. Neo-cumbia, tango, and candombe shake hands with Britpop, soul, and trip-hop in a timeless album. A place where indie rock intersected with the great Latin bands of the 1950s, fringe genres like cumbia villera were transformed into sophisticated music, tango joined alternative pop, and track music became contemplative and landscaped. Juan Campodónico has a long artistic career (Peyote Asesino, Bajofondo) and extensive experience as an artistic producer on some fundamental records of Uruguayan and South American music (Jorge Drexler, Cuarteto de Nos, No te Va Gustar among others). In 'Campo' is a very heterogeneous group of composers, performers and instrumentalists from different genres and geographical locations (Jorge Drexler, Martín Rivero, Ellen Arkbro, Pablo Bonilla and Verónica Loza, among others). 'Campo' was based on the song format, jumping the limits of the Río de la Plata, immersing himself in rhythms, genres and forms of South American songs from the past and present, seeking the link with pop, rock and electronic music. The album -which received nominations for the American Grammys, the European MTV Awards and the Latin Grammys- broke schemes and prejudices. He brought together opposite worlds such as cumbia and britpop, songwriters and dance music, or bolero and electropop, finding beauty and sophistication in unexpected places.

-3rd album from veteran rap duo Dillon & Batsauce. Dillon on the raps & scratches, Batsauce on the beats. ('On Their Way' - 2018, 'Self Medicated' - 2020).
-Produced entirely by Batsauce, guest features include Grand Puba, Kool Keith, Quelle Chris, Reef the Lost Cauze, Headkrack and Jay Myztroh of Stono Echo.
-Atlanta, GA + Jacksonville, FL album release parties booked for end of July + Northeast Tour Run scheduled for August.
-Batsauce has been producing hip hop and soul for 20+ years with multiple albums on labels BBE (Barely Breaking Even) producing for his wife, soul-singer, Lady Daisey + Galapagos4 where he produced multiple projects for Qwazaar of Typical Cats. He is 1/3 of the group, 'The Smile Rays' (which includes Lady Daisey and Paten Locke). He's also done extensive work with Akrobatik, Mr. Lif and even has multiple songs with George Clinton!
-Dillon is an Atlanta, GA based MC/DJ who has been releasing records for 20 years, 10 of those years was running FULL PLATE, the label he started in 2013 with Paten Locke (RIP). Dillon has worked with many of Hip-Hop's elite from the old school to the true school such as Chuck D, Diamond D, Count Bass D, Kool Keith, Greg Nice, Grand Puba, Homeboy Sandman, J-Live, Quelle Chris, Sadat X, Ras Kass, Stacy Epps, Planet Asia, eLZhi, Slimkid3 of The Pharcyde - and the list goes on!
-Classic black, standard weight vinyl in full-color jacket w/ matte finish. Includes Download Card.
Underground hip-hop veterans, Dillon and Batsauce have been making unorthodox rap music together for nearly 20 years with a simple formula: Batsauce makes the beats, Dillon writes the songs, and whatever happens, happens. After carving out their own lane with a catalog of EPs and LPs over the past 2 decades, the duo has finally slowed down enough to ask themselves, 'What Have We Done'?
Is the title of their latest effort rhetorical or meant to be an actual question? If so, Dillon and Batsauce probably don't want to know the answer. They probably don't want you, the listener, to think too much about it either. Instead, 'What Have We Done' is an invitation to experience the trials and tribulations, the small wins and the big losses of being aging independent artists in an increasingly cut-throat world for music makers.
But Dillon & Batsauce aren't the only ones on this joyride, we also hear from a well-curated crew of characters they've befriended along the way, from bonafide legends like Grand Puba and Kool Keith to modern day rap heroes, Quelle Chris & Reef the Lost Cauze. The end result is a collection of songs that runs the gamut from personal to aspirational to...delusional. Whether it's 'too much' or 'not enough', the answer to the question, 'What Have We Done' remains open to interpretation. Perhaps it’s not a question at all, but merely the naturally visceral reaction when career creators look back at a life lived on the edge.
Track Listing: 1. What Have We Done (Intro) 2. Mind Made 3. Quiet as a Library 4. Eddie Farah 5. Make History 6. Cannonball feat. Grand Puba 7. Banana Peels 8. Accolades feat. Reef the Lost Cauze & Jay Myztroh 9. Wakin' up Hungry feat. Headkrack 10. Goin' Viral 11. Ready on the Left feat. Kool Keith 12. What Are We Doing (Interlude) 13. Watercolors feat. Quelle Chris 14. Speak Easy 15. Isiah Thomas 16. Rock Bottom 17. Yoga Flame

This 2020 film has already become an indie classic, and it’s taken on a timeliness that its creators could not have foreseen. Teenage Autumn has to flee her rural Pennsylvania town in seach of an abortion, leaving behind her abusive partner, her indifferent parents (singer Sharon Van Etten plays her mother), and her callous community as she embarks on a journey to New York City accompanied by her cousin Skylar. No matter your stance on the subject, Autumn’s harrowing odyssey provokes compassion and contemplation, two states of mind in short supply these days. And accompanying Autumn every step of the way on her journey is the mesmerizing and, at times, achingly sad score by cult favorite composer Julia Holter. So much of the film is made up of shots of Autumn’s face as she attempts to process what is happening to her and around her; seldom has a film score captured a character’s interior monologue with such insight and grace. Never before released in any physical format, we at Real Gone Music are proud to present the soundtrack to Never Rarely Sometimes Always on vinyl, with the full consent and cooperation of Julia Holter.