Suche:d product

Who exactly is Sauce Walka? He is DAT BOY DEN. Often considered one of rap’s biggest enigmas for his larger than life personality yet equally sharp and grandiose pen game, the Houston based rapper aims to put a stamp on his name with his newest studio album, DAT BOY DEN. The 18 track album features appearances from popular artists such as Peezy, BIG30 & Freeway, as well as fellow Houston-based artist Money Man & The Sauce Factory labelmates Peso Peso, Sauce WoodWinnin, Sauce Gohan & 44 Mike Deezy. Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion. pPressed on Red & White Split Vinyl, housed in a widespine jacket.

Key Marketing/Selling:
Sauce Walka is an incredibly versatile rapper and while his image may be more street leaning, he is an incredibly gifted lyricist with an unmatched pen game and can outrap some of the more lyrical rappers
Founder of the popular Houston based label, The Sauce Factory
Popularized the term “Drip”
Made headlines in 2015 for releasing a diss track aimed at Drake called, “Wack 2 Wack,” over appropriating Houston culture
Sauce Walka has over 1.3M monthly listeners on Spotify
Supporting Conway the Machine on the WON’T HE DO IT tour from September-October 2023 and recently collaborated on the standout single, “Dangerous Daringer”
Sauce Walka is an extremely viral personality and very active on social media, and willing to put in the work to support his products
Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion

KingUnderground Records present the instrumentals version of Lewis Parker’s sought after hip-hop record ‘Frequency Of Perception’ - a record that continued to cement Parker as a stalwart of the 90s hip-hop sound, think Tribe, Slum Village, The Pharcyde et al.

The prolific UK born hip hop legend, proves to be as tapped into the feel of a pocket as he was when he came on the scene in the 90s. “All I Got”, the album's first track, has a groove to the bassline that you won’t forget. The spacey keys show themselves early in the record and are a constant that give the record a dreamy feel, adding a mystical and psychedelic energy. Whereas “All My Life” is a well executed balance between that energy found in the flute held up by a taught backbeat, allowing it to maintain a free spirit.

The attention to detail and the intent in the sequencing and production on “Frequency of Perception” is best noticed when listening front to back.
The whole album touches on dynamics in line with the iconic sound that Parker built his reputation on for decades. All while finding new ways to tell stories by further exploring instrumentation. Lewis remains consistent in his craft, continuing to cook up beats and productions with classic techniques and fresh ingredients. There is no sense of reaching, the productions exude an attitude that reaps a true passion for his craft.

Der New Yorker Songwriter und Multiinstrumentalist Nate Kinsella aka Birthmark liefert mit 'Birth Of Omni' sein bislang dynamischstes und experimentellstes Album ab. Im Laufe von 10 Songs nimmt er den Hörer mit auf eine wilde Fahrt voller Emotionen und innerer Gedanken zu den Themen Identität, Dualität, Sexualität, Verantwortung als Elternteil, Feminismus und Angst vor Männern. Kinsella, selber noch Mitglied bei American Football und LIES, holt sich dabei auch die Vocal-Unterstützung von Craig Wedren (Think). Goldrutenfarbiges Vinyl im Gatefold samt 24x12inch Einlage & DL-Code.

Always traveling, El Gato Negro, the moniker of "nomadic" singer/songwriter and multi-instrumentalist, stopped this time in Dakar, Senegal to record his new album “Tigre qui pleure” (“Crying Tiger”). In a combination of West African and Cuban musicians, under El Gato's Colombian flute, Jazz blends with Hip-Hop, traditional with digital, French with Wolof and Spanish. In this third album, produced by GUTS, El Gato Negro invited his musical family (Florian Pellissier, Kumar, Orchestra Baobab, Cucurucho Valdés, Pat Kalla, Cyril Atef, iZem, Djeuhdjoah & Lieutenant Nicholson...) and dropped his festive mask to let Axel, the melancholic, express himself.

"Cross My Heart" is a tribute to the harmonica player and singer James Cotton, one of Boney Fields" heroes and companions on the road, is certainly the most representative track of this thrilling groove mood that authentic blues musicians know how to infuse. Boney Fields possesses that almost funk tone matured enough to tickle our ears and make us tap our feet. By revitalizing, for example, "The Thrill Is Gone" in the spirit of its original author (Roy Hawkins), Boney Fields perpetuates the tradition of spirited orchestras of yesteryears without compromising the modernity of its irresistible tempo. Much more personal than all his previous albums, "Just Give Me Some Mo" is also the expression of introspection, that of a man who remembers without drowning in dark nostalgia. He thinks of the courage of his mother bravely facing obstacles in an unequal America. "Back in the Day" is not a sad song. It makes one stronger and nurtures faith in the future. This melody is certainly the most touching of the six compositions written by Boney Fields. From "Control of you" to "Something" holding me" or "I know yes I Know" he invites us into his intimate biography, the story of a large family shaken by inevitable upheavals that must be faced, the destiny of a combative musician who resists adversity. Boney Fields chose to let his soul speak. This effort of truth had to be supported by the artistic direction of a master. By enlisting Sebastian Danchin for the production of this album, Boney Fields turns to a historian of African-American culture whose keen ear has already won over Little Milton, Mighty Mo Rodgers, Toni Green, and Jean-Jacques Milteau, among others... Their exchanges uncovered a perfect understanding of "Chicago Blues" the brassy vigor of which they experienced firsthand 40 years ago. Surrounding oneself with the right people is quite a challenge. Fortunately, Boney Fields knows how to spot true talents. He was convinced that the Senegalese guitarist Hervé Samb would also be a good musical director. Hadn"t he been the first to highlight the expressive power of this luminous composer and arranger? The enduring vitality of the blues, when narrated with precision and insight, always manages to find its legitimacy. The months of reflection, of questioning, will not have been in vain. They have given substance and depth to this thrilling record which, we wager, will be a milestone. Boney Fields has waited long enough. Does he want more? We will give him more! "Just Give Me Some Mo" will now be a shared leitmotif, that of an insatiable conductor and that of enlightened admirers.

Repress!

Melbourne's Sgt Slick returns with another 4 superb re-edits for his Recuts imprint. 20 years deep in the game, accolades aplenty, collabs with some the finest out there and a serious string of his own productions, Sgt Slick knows what works on the dancefloor and these edits showcase that to a T. Some out and out classics, reworked with the club clearly in mind.

Zander Raymond is an interdisciplinary artist and musician working in Chicago, IL. In his visual work, he improvises with found materials, tools, and images to make drawings, prints, and sculptures that question the idea of productivity in a studio environment and serve as an autobiographical record of experience. His music is similarly rooted in improvisation, utilizing modular synthesizers and open-source sound computers to sample, warp, and build sonic images that embrace non-linear approaches to composition. Since 2018, he has participated in numerous exhibitions as well as performances across Chicago.

Bitchcraft was born in a move from New York City, where Bitch had lived for 15 years, to a log cabin in the woods. There was all the time in the world to make art, and it was there, in the cabin, that Bitch began to write some of the songs that would appear on Bitchcraft. 'It gave me space to think about the biggest version of myself that I could be,' she says of those early days in the cabin. The songs she wrote were a departure from anything she'd ever written before, and she began to craft huge pop tracks with the help of her trusty violin. Then, she moved to LA and Bitchcraft began to shapeshift again. In the time that followed, Bitch assembled a coven to complete it. She called on Anne Preven (Beyonce, Madonna, Demi Lovato) and God-des who helped her crystalize her vision in terms of writing and production. She called on Roma Baran (Laurie Anderson) to produce the violins on 'Polar Bear.' She called on Melissa York (Team Dresch, The Butchies) and Faith Soloway (Transparent) to co-write a couple of the songs. The resulting record is one that is full of glorious pop tracks that go in unexpected directions. Bitchcraft is like Joni Mitchell set to a click track, it's queer Cyndi Lauper. It's neon pink, in your face, ready to hex you with its brilliance. It's an unbelievably fun record that is extremely capable of breaking your heart a little bit. It also makes you think: about the state of the world, about evil politicians, about what it means to exist as a woman, and how to find joy along the way.

Reissue of Marvin Gaye cover by Sly & Robbie's Taxi Productions, originally from 1982.

Legendary singer Jimmy Riley's vocals are deep and mournful. B-side features a dubby, distorted, crazy instrumental.

With Japanese imaginary jacket.

The Ganjas Meets Nairobi. The Space Rock of the Chileans together with the Dub of the Argentines. First time on vinyl celebrating 10th anniversary. Sounding laid-back and incisive at once, crisp production and rock sensibilities. The Ganjas are one of the best exponents of Chilean Space Rock and a fundamental-must-listen to understand the new Chilean psychedelic scene of the last decade. They began 25 years ago with long jam -kind -of-playing, with steady drum beats and simple basslines, but adding innovative and colorful lyrics and synths, without never losing the song structure. On the other side of the Andes, the eclectic by nature Nairobi laid the groundwork for a new style in Dub. Since 2009 they had released 3 studio albums and worked with the best legendary Dub producers: Mad Professor, Lee “Scratch” Perry and Sly & Robbie. Touring the same year 2014 in Chile they coincided with The Ganjas at BYM Studios for an unforgettable session that brought this recording, that boasts an intricate rhythm, sumptuous keyboards, and soaring guitars offering elastic grooves, disembodied vocals, and deep bass lines. The album itself revisits the past while also looking to the future. The songs are particularly creative, with the Bob Marley & The Wailers cover ‘The Heathen’ totally revitalized and other passages like ‘Pastor’ and ‘Eagle & Snake’ that travel through an incredible mix of styles, brilliantly blending Trip-Hop, Dub FXs from soundboard, a Brian Jones-esque style slide guitar, and songs like ‘Soul Salvation’ that brings an steady reggae beat with genius saxophones lines from Ignacio Czornogas (King Krule). Mastered by Cem Oral at Jamming Masters (Berlin). AVAILABLE 300 BLACK VINYLS. For fans of: Primal Scream (Echo Dek), Sumo, Dub Syndicate-Murder Tone, Upsetters, Peaking Lights, Peter Tosh-Mama Africa.

Mista Sinista officially started DJing in 1986 and joined the X-Men in 1992. They later became the X-ecutioners and released two albums. Mista Sinista toured the world several times with the X-ecutioners and was a tour DJ for Common, Beatnuts, Joe Fatal and Lauryn Hill just to name a few. Some of his album credits include The Beatnuts Street Level LP and Common’s Resurrection LP. His work was also highlighted on Fat Joe’s sophomore release, Jealous One’s Envy. He continues to perform worldwide and is featured on The Rewind with DJ Safire which airs weekly on Beatminerz Radio. Mista Sinista’s debut LP is a mix of well-produced tracks along with live turntablism. The project features emcees Mr. VooDoo, Ill Bill, Vinnie Paz, The One Chadio, U.G. & The former MC Jean Grae to name a few. This album also features Rugged One, Q-Bert, The Cut Lieutenant, Ace & Rob Swift. Production credits on the project include Mista Sinista, Steve Dee, Nick Wiz, Statick, Eitan Noyze, Cee da Cuban & DJ Safire

Both hailing from Birmingham, Alabama, Shurlock launched his production career in 1990, Byron career began in 2007. Byron began collaborating with well-known Parisian producer Onra on an EP entitled "The Big Payback."

His catalog of songs and remixes for artist/groups where for artist Mista, Xscape, the Temptations, Juliet Arrington, DJ Nabbs, Ghost Town DJs, and many more. Together these 2 eclectic producers have come together to form a new experience in Hip Hop. From the classic styles of sampling and chopping beats, that was used in Egyptology, Time, and Play That Back.

To the new generation of beat making that encompass House, Jazz, Funk, and Soul, used in songs like Take It Back (Fool), I Miss Love (Love), and Love Instrumental (Tribe). This pairing has been years in the making, with both preparing in their own lanes and perfecting their craft. They’ve been told their hold life that you’re from Birmingham and you can’t make it in this world of music. Well this project is for those that stop dreaming, and believed that Shurlock, and Byron would never make it the world of music. Because they have had to make it without support or help, they obviously named this Album “Us Against the World”.

tapetopia 004 The Leipzig band Neu Rot represented a singular phenomenon within the alternative music reservoir of the GDR. As with so many bands that cultivated a more sophisticated sound in the late 80s, Neu Rot’s beginnings had been in punk rock. But, with a remarkable rigour against itself, the band steadily worked its way towards post-rock. This thorough process came to fruition in 1988 with the production of the tape “Halt An”. It had been preceded by the band’s struggle for its very own means and their technical feasibility. Neu Rot’s pilgrimage to its own centre was not unimpeded. The band’s name was perceived by the GDR’s cultural watchdogs as an erratic chain of associations between the suspicious word “Neu” and the ideological signal colour red. The band was legal, but its lyrics were deemed illegal. The edition of “Halt An” was somewhere between over fifty and under one hundred copies. Jörg Stein (voc, g, casio sk-1, yamaha ps-2) Karsten Maaß (bg, voc) Anke Mehlhorn (vl, casio sk-1) Henrik Eiler (dr, voc, casio sk-1) Produced by Mike Stolle & Jörg Stein Lyrics by Jörg Stein, except „Sometimes“ and for „Die Schlange“ by Christoph Wielepp Tape artwork by Daniel Schörnig Tape cover photos by Daniel Schörnig Published by Henryk Gericke Liner notes by Henryk Gericke Remastered by Black Flag Mastering/ Friedemann Kootz © Music by Neu Rot except „Sometimes“ (traditional) recorded Oktober 1988, Leipzig Thanks to: Mike Stolle, Adrian Neumann, Nikolaus Michael, Horst Pfaff, Andreas Berger, Christoph Wielepp, Daniel Schörnig and to the unknown roommate Lachmund Christian Andersen, Michael Barthel, Sarah Baumann, Ralph Gabriel, Ronald Galenza, Jakob Geisler, Ulrike Geisler, Gerd Gericke, Elke Grabinski, Gabriele Herzog, Egmont Hesse, Sabine Jansen, Siegfried Männer, Bettina Matten-Gericke, Christian Morin, Frank Siewert, Philipp Strobel, Christoph Tannert, Stefan Widdess, Margarete Wohlan In memory of Michael Pfaff.

This ain't from Chicago. But it could well be. The mysterious production duo operating under the sonic nom de guerre CHIHUAHUA ON ACID works the box like jack never left the dancefloor, fully indulging in a classic, ever so positive and ecstatic AcidHouse vibe that makes us feel like it still is 1988. An absolutely banging - or better: jacking - vinyl debut for the project, proudly presented by Intrauterin Recordings as a hand-stamped, limited to 300 copies one-sided yellow vinyl 7“ edition.

Taiko artist Kioto Aoki teams with Chicago techno producer Takashi Shallow for Paper, not plastic Dubs. Using three tracks from Aoki's 2023 FPE Records release, Paper, not plastic, Shallow explores process
and medium, treating the sounds to analog production techniques in an operation analogous to Aoki's
process-based work in film, as well as Alvin Lucier's early flirtations with musique concrète.

repress !

A conscious roots celebration on the A side with Patrick Andy on lead vocal and Yabby You on harmony. A thumping rhythm with Tommy McCook leading the horns on a tasteful arrangement. The flip side is a plea to ’Show a little love’ You can hear all the familiar trademarks of Yabby’s production techniques, attention to detail on the rhythm and the recording. Yabby, like may top quality producers undoubtedly involved in the songs text as well as production. Quality music. Comes in a grey Pressure Sounds custom disco bag.

"Stop the World" is another captivating song released in 1984 by Eyes Records, written by three names who certainly need no introduction. Ivana Spagna, Larry Pignagnoli and Ottavio Bacciocchi. However, their artistic depth and their fundamental contribution to Italo-Disco (and not only) in their respective roles should be remembered: Ivana, an excellent lyricist and singer (also for third parties) who became the great pop star still today considered the most graceful in circulation; Larry, who deserves a handful of Grammy Awards for his countless arrangements (but it is enough to mention "Easy Lady" and "Call Me") and finally the modest and precious Ottavio with his excellent Studio Master 33 from Cremona, among the first to find the right sound of Italo-Disco already in the early 80s.. Their contribution then married perfectly with the artistic direction curated by Salvy Lauria and Giacomo Danesi. It's worth highlighting the approximately 6 minute instrumental track of "Stop The World", it's a dance floor killer. Giuliano Saglia and Silvio Trisolino are right in wanting to re-propose only and exclusively the two original songs which after 40 years have been perfectly remastered by Dom Scuteri. Best Record is right to carry out all the work of this wonderful jewel, after having already reissued Blue Gas, Future State and Lily Ann, the other praiseworthy productions of the reborn Milanese label. Aficionados do well not to miss this other reissue of an Italo Disco classic from the 80s !!!

Oceanvs Orientalis reveals the second single from his forthcoming album on Crosstown Rebels with ‘Heart Pieces’ feat. Idil Mese, accompanied by remixes from Mustafa Ismaeel and Nightmares On Wax.

A producer, live performer and solo act whose productions merge influences spanning Turkish, Kurdish, Armenian and Arabic sonics and beyond, Safak Oz Kutle, aka Oceanvs Orientalis, has crafted a sound that is entirely his own ever since making his debut back in 2014. Following on from his impressive debut appearance on the imprint with ‘Il Lupo’ alongside Italian talent Tooker, revealing the first single from his forthcoming album, the Istanbul-based talent is back on Crosstown Rebels with another gem taken from the project as he reunites with singer-songwriter Idil Mese for the excellent ‘Heart Pieces’ - with remixes from Crosstown and Rebellion regular Mustafa Ismaael, and legendary house talent and Warp favourite Nightmares On Wax.

Slow-blooming and resonant throughout, guided by Mese’s soulful and emotive vocals, vibrant sax melodies and trippy background samples, ‘Heart Pieces’ is a dazzling slice of laid-back, jazz-infused house music full of subtle elements. Remixing the record, Mustafa Ismaeel leans towards late-night hours with a remix drenched in rolling percussion and sweeping leads, while Nightmares On Wax takes the track in two directions - opting for loose drums, hazy tones and chugging grooves across his first take before laying the focus solely on the musical elements with his ‘Club Dub’.

Dutch dance troupe ISOTOOP inaugurates its label with a quaternity of sly rhythms to mystify and elevate. Adhering to ISOTOOP’s unstated yet practised mantra of many growing as one, the culprits behind the pieces are none other than core family members Shoal (Kenny Kneefel) and Vand (Viktor van der Riet), unifying for the first time under the name of Voal.

The longtime friends and compatriots in sound meld together to form a distinct entity; aligned as one, but audibly a product of their individual approaches. Across the four cuts, the two producers share a singular vision of club music, designed to initiate movement and shake the floor, while leaving essential space for thought and imagination.

From the low-down and dirty funk of ‘Carpet Crawler’ to ‘Take My Hand’s bleary and dazed downtempo, evaporating in its final moments into transcendent closing ambience, Voal journey through a wide landscape of club electronics with a fervent pulse. Pinned between the two slower joints are ‘Lucifer’, a consecutive tumble through iterated rolling percussion and minimal basslines, and the kinetic, high-tempo fiesta of ‘Saffron’, a sure-fire favourite for the ecstatic midnight.

Thick like warm tar, and airy as steam, Voal’s debut whets the appetite for more.

Written by Freddie Hudson

Krafty Kuts and DJ Robert Smith have teamed up to highlight the skills they are best at. Krafty Kuts is known for his unique beats from Hip Hop to Ghetto Funk. DJ Robert Smith on the other hand is famous for his scratches and turntable work. After Krafty passed on a few beats to DJRS about 2 years ago, Smith quickly realized that he wanted to create an EP from these beats with the help of his worldwide connections. The first song to receive rap vocals was "Here I Come" ft. Wildelux, who delivered in no time. The vision was strengthened and more feature requests followed: Supastition, 1773, BambuDeAsiatic and Slimkid3 who took Moonbeam Kelly on board. Within a very short time a masterpiece of first-class artists was created. The "Krafty Smith EP"!

Don´t Stop featuring 1773 & Katjuscha
1773 are Wisdm Uno & Jay Nagoma from Chicago. They have worked together with Ohmega Watts, Othello & Bombeardo and among others. Katjuscha is a friend of DJ Robert Smith circle of friends. She is an absolute singing talent with an incredibly insane ability to perform live on stage. What a voice!

Hang On featuring Supastition:
Supastition is without a doubt one of the most talented underground rapper and beatproducer there is. His latest album "Every Last Word" and "Art Of Direspect" with his other project "Speaker Bullies" prove his rap and production skills, first-class entertainment.

The concept of naught (Ø) has challenged Salvatore Mercatante throughout his musical career, specifically, trying to understand how the idea of ‘nothing’ fits into the realm of sound, and at the same time, exist in a world of influence at every turn. In the absence of everything, are we able to create something truly free?
As a lifelong New York-based musician, Mercatante’s influences and productions run a wide spectrum. Just as happy producing 80s-inspired horror soundtracks as he is refining acute drum patterns over and over again, Salvatore is the first to ask himself, where next? When a musician’s output can be influenced today by so much, and there is no self-defined or perceived artistic goal in mind, how do you start from a place of nothingness, again and again?
This approach has born many minimal and experimental albums of note in the past, but with Ø, Salvatore ended up with an almost controlled maximalist approach. Beginning with open spaces and allowing sonic textures to live and evolve past where you may expect, Ø allows the space between notes to become equally as important as the notes themselves. Walls of noise, soaring soundtracks, dense techno, glittering IDM, and minimal glitch, sit side-by-side to present an all-encompassing palette of sonic possibility.
Often, even without any intent, what can be born from nothing will somehow transpire back into something more recognizable. It’s human nature after all. A subtle fingerprint, as a sequence, melody, pattern, or drum kick. Whether Salvatore intended for this record to represent his defining sound or not, only time will tell.
Mastered by Giuseppe Tillieci @Enisslab, Rome, Italy.
Artwork by Brandon Locher
Written and produced by Salvatore Mercatante

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.

Consisting of MCs A+, Phesto, Opio and Tajai (with production by A+, Domino, Del the Funky Homosapien, Jay Biz and Casual), East Oakland’s Souls of Mischief burst onto the scene in the early 90s with an impact that few other West Coast artists had at the time. Culminating in the release of their classic debut, they created a bouillabaisse that was most parts West Coast swagger but - similar to The D.O.C. and Cypress Hill - with a sonic approach that could just as well have stepped off the streets of New York City. Recorded in less than two weeks at San Francisco's Hyde Street Studios, 93 ‘til Infinity doesn’t suffer from a single freshman jitter or misstep. It’s a fully-realized effort, packed from start to finish with ridiculous lyricism - all carried out in impressive four-part, tag-team style - and backed by a wide range of musical possibilities, from hard boom-bap to 70s CTI-jazz-sprinkled grooves. But without worthy music, the group’s high-level lyricism could have fallen by the wayside. Digging deep into crates that other producers had yet to mine, the production crew gave the quartet exactly what they needed, with unpredictable rolling basslines, dusty drums and jazz keyboard and horn stabs and swirls. Non-singles like Disseshowedo (produced by Domino and Jay Biz), Batting Practice (Casual), Limitations (Jay Biz, with Del and Casual contributing verses) and What A Way To Go Out (Domino) made sure that the fast-forward button remained untouched. Get On Down is proud to present a 30th Anniversary pressing of this west coast Hip-Hop classic on cloudy blue and cloudy yellow vinyl, packaged in a gatefold jacket with liner notes and a commemorative 30th Anniversary stamped numbered OBI.

This is TEK2 Production Records third vinyl release with Winston covering the classic Channel One recording originally recorded by Jamaican harmony group Wailing Soul entitled Very Well

Emmavie is one of the London R&B's scene most exciting talents - equally shining as both a leading vocalist and a one-of-a-kind producer. Known for her collaborations with Alfa Mist, Soulection, The Alchemist, IAMNOBODI, ROMderful and an outpouring of public support from respected names the like DJ Jazzy Jeff, Phonte, and Knxwledge - Emmavie has quickly become the talk of the town in many music circles at the moment, with her refreshingly unique original production (think late 90's Timbaland meets neo-soul era J Dilla), sharp writing skills, and a voice that instantly pulls you in.

Attention Banger Alert! Parissior Is a Spanish Dj Producer Who Has Been Producing Countless Tracks for Many Years Now. His Style Could Be Described as a Mix of Dark Disco, Indie Dance, Italo, Trance but Personally We Think It Goes Much Further. He Has a Total Mastery of the Art of Production (Something We Have Rarely Seen), It Looks More Like Sound Design It Sounds So Huge. His Tracks Are Not Just Dj Tools to Be Played but Bangers to Send in Pick Time. It Is Extremely Powerful, We Have Already Verified This During Our Recent Skylax Evenings (Especially for Our Event &Ldquo;série Noire”) and We Can Tell You That the Effect Is Devastating. for Us, He Managed the Perfect Ep, the One That All the Italian Indie Dance Producers, Even the Biggest Names in the Genre, Failed to Create. There's Nothing Cheesy About It, We've Been Listening to His Music Non-Stop Since We Received It, No Weariness in Sight. This Guy Is Monstrous. the 12 Inch Begins With the Brilliant Antennae, Which Is the Perfect Mix of Italo New Wave & Trance, Followed by Canes Venatici Which Could Have Been Created by Daft Punk if They Had Chosen to Be Less Commercial and Put Their Balls on the Table Instead of Hiding Behind Masks. Ceres and Alpha Apodis Follow the Same Line. We Miss Words So Much This Maxi Is Gigantic. a F%c$ing Masterpiece. to Add a Final Touch, Just Note That Many of His Recent Productions Have Been Recently Played a Lot by Pablo Bozzi & Soft Crash at Hör Berlin....

VEMOD sind alles andere als eine Durchschnittsband. Die Norweger existieren vielmehr in musikalischen und lyrischen Grenzbereichen. Das zweite Album des Trios, "The Deepening", ist aus demselben tonalen Granit gemeißelt, aus dem schon der Vorgänger "Venter på stormene" vor über einem Jahrzehnt geschlagen wurde. Das klangliche Grundgestein lagert im Ort Namsos, wo VEMOD um die Jahrhundertwende vom damals 12-jährigen Jan Even Åsli als lebenslanges Projekt aus musikalischer Leidenschaft ins Leben gerufen wurden. Die nächstgelegene Großstadt ist Trondheim, wo die eigenwillige lokale Nidrosian Black Metal Szene, die sich auf den ursprünglichen Namen der Stadt bezieht, die ersten musikalischen Bezugspunkte für VEMOD lieferte - wie das erste Demo "Kringom fjell og skog" (2004) eindeutig belegt.
Als die Norweger sieben Jahre später mit dem Track "Moestæ Qverelæ" auf einer Split-Single sowie dem Demo "Vinterilden" im Jahr 2011 erneut auftauchten, hatten sie sich signifikant verändert. Das Trio hatte Elemente verstärkt, die schon zuvor vorhanden waren: Eine Prise Erhabenheit, die an frühe IN THE WOODS... erinnert, ein Schuss Melancholie und eine Messerspitze introvertierter Kontemplation inmitten einer breiten Palette emotionaler und dunkelfarbiger Klangbilder. VEMODs musikalischer Wandel findet Parallelen in der Entwicklung der französischen Brüder im Geiste, ALCEST, obwohl es in beide Richtungen keinen direkten Einfluss gab. Im Nachhinein können die Norweger als Vorreiter für aktuell so populäre Stile wie Blackgaze und Post-Black Metal gelten, obwohl sie sich beides nie auf ihre Fahne geschrieben haben. Mit ihrem Debütalbum "Venter på stormene" öffneten VEMOD im Jahr 2012 ihre Musik für neue Orte: Auf einen denkwürdigen Auftritt beim renommierten Beyond the Gates Festival in Bergen im Jahr 2013 folgte die legendäre Show im Vigeland Mausoleum beim Osloer Inferno Festival, die ein Jahr später VEMODs exzellenten Ruf sogar jenseits des Atlantiks zementierte.
"The Deepening" kommt nun mit einer veränderten Produktion daher, die ein neues Klangbild erzeugt, ohne sich von den Wurzeln der Band zu lösen. Auch stilistisch beschreiten die Norweger neue Wege, indem sie ihrem Sound weitere Elemente hinzufügen. Die lyrischen Themen, die sich durch "The Deepening" ziehen, erzählen von Veränderung, Vergänglichkeit, Transformation und Wachstum. "The Deepening" will die Möglichkeit bieten, lang gehegte Überzeugungen und tröstliche Illusionen zu überwinden. Wahrheit kann schmerzen. Und eine Wahrheit ist, dass an der Wegkreuzung, die VEMODs zweites Album erreicht hat, ein vertieftes Verständnis ihrer musikalischen Welt wartet.

VEMOD sind alles andere als eine Durchschnittsband. Die Norweger existieren vielmehr in musikalischen und lyrischen Grenzbereichen. Das zweite Album des Trios, "The Deepening", ist aus demselben tonalen Granit gemeißelt, aus dem schon der Vorgänger "Venter på stormene" vor über einem Jahrzehnt geschlagen wurde. Das klangliche Grundgestein lagert im Ort Namsos, wo VEMOD um die Jahrhundertwende vom damals 12-jährigen Jan Even Åsli als lebenslanges Projekt aus musikalischer Leidenschaft ins Leben gerufen wurden. Die nächstgelegene Großstadt ist Trondheim, wo die eigenwillige lokale Nidrosian Black Metal Szene, die sich auf den ursprünglichen Namen der Stadt bezieht, die ersten musikalischen Bezugspunkte für VEMOD lieferte - wie das erste Demo "Kringom fjell og skog" (2004) eindeutig belegt.
Als die Norweger sieben Jahre später mit dem Track "Moestæ Qverelæ" auf einer Split-Single sowie dem Demo "Vinterilden" im Jahr 2011 erneut auftauchten, hatten sie sich signifikant verändert. Das Trio hatte Elemente verstärkt, die schon zuvor vorhanden waren: Eine Prise Erhabenheit, die an frühe IN THE WOODS... erinnert, ein Schuss Melancholie und eine Messerspitze introvertierter Kontemplation inmitten einer breiten Palette emotionaler und dunkelfarbiger Klangbilder. VEMODs musikalischer Wandel findet Parallelen in der Entwicklung der französischen Brüder im Geiste, ALCEST, obwohl es in beide Richtungen keinen direkten Einfluss gab. Im Nachhinein können die Norweger als Vorreiter für aktuell so populäre Stile wie Blackgaze und Post-Black Metal gelten, obwohl sie sich beides nie auf ihre Fahne geschrieben haben. Mit ihrem Debütalbum "Venter på stormene" öffneten VEMOD im Jahr 2012 ihre Musik für neue Orte: Auf einen denkwürdigen Auftritt beim renommierten Beyond the Gates Festival in Bergen im Jahr 2013 folgte die legendäre Show im Vigeland Mausoleum beim Osloer Inferno Festival, die ein Jahr später VEMODs exzellenten Ruf sogar jenseits des Atlantiks zementierte.
"The Deepening" kommt nun mit einer veränderten Produktion daher, die ein neues Klangbild erzeugt, ohne sich von den Wurzeln der Band zu lösen. Auch stilistisch beschreiten die Norweger neue Wege, indem sie ihrem Sound weitere Elemente hinzufügen. Die lyrischen Themen, die sich durch "The Deepening" ziehen, erzählen von Veränderung, Vergänglichkeit, Transformation und Wachstum. "The Deepening" will die Möglichkeit bieten, lang gehegte Überzeugungen und tröstliche Illusionen zu überwinden. Wahrheit kann schmerzen. Und eine Wahrheit ist, dass an der Wegkreuzung, die VEMODs zweites Album erreicht hat, ein vertieftes Verständnis ihrer musikalischen Welt wartet.

"Keith Porteous, who was A&R at BMG brought me to a bar called The Absinthe to check out a new band he was working with. What was immediately interesting about them was that, while their tastes were root-ed in ‘70’s rock, they didn’t sound retro. They had created a classic rock sound for their generation. What was also great is that they were four distinct personalities-four characters, like the Beatles or the Monkees. But they all dressed in matching outfits and did coordinated rock moves on stage. Amazing. I went to Moncton, NB and met the guys at an old schoolhouse that they’d wrangled to do pre-pro-duction. We spent a week or so workshopping their super cool songs and hanging out at their favorite watering holes. They had sold me with their live show and part of the trick of producing them was to try to capture that. I knew we weren’t going to do a lot of overdubs or ornate production. That week was an absolute blast. The guys were so funny and so engaging, just dripping with personality, which I knew was going to serve them well in the music business. I remember going to a Chinese Buffet with them and their girlfriends and watched them eat half of the food in the restaurant. I think the bill came to less than $100 for the nine of us. I still love the record and I wish it had made them world famous rock superstars. Every song on it is so uniquely them, they had perfectly distilled their influences, both old and new, and I don’t think any other band could have made this record. " - Moe Berg

- Newly Expanded Deluxe Double LP Edition! - Double LP expanded edition includes outtakes, demos and instrumentals, including 10 previously unreleased recordings - 26 total tracks - Album remastered from pristine LHI master tapes by GRAMMYr-nominated mastering engineer John Baldwin - Liner notes by GRAMMYr-nominated reissue producer Hunter Lea including interviews with Torbjo?rn Axelman, Suzi Jane Hokom, Nina Lizell, Don Randi, Hal Blaine and Shel Talmy - Rare film production photos from the Torbjo?rn Axelman archive - Double LP housed in a gatefold jacket // Description: By the end of the 1960s Lee Hazlewood's LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success "Boots" had promised. Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Bra?nnvin...Sweden was calling. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee's journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood's orchestral melancholy country pop songs. Recorded over a prolific globe trotting three year period, Lee's peak on LHI records was ironically the label's swan song.

Opaque Lime vinyl. The Loneliest Girl is the third studio album by New Zealand musician Chelsea Nikkel, better known as Princess Chelsea. It was recorded by Chelsea between 2016 and 2017 in her home studio in West Auckland, New Zealand. The Loneliest Girl examines the loneliness and ultimately the artistic satisfaction a strong work ethic can bring, the result of which is this eclectic collection of pop songs. As a studio based artist Chelsea was conscious of not wanting to fall too deep into a production hole for her third album and wanted to more than ever before capture moments of inspiration, madness and spontaneity on record. Chelsea's trademark arrangements featuring classic 80s Synths (Yamaha DX7, Roland D-50), ambient guitars, and orchestral instruments are all here but are presented in a more refined and simple manner than on her previous releases. Stylistically The Loneliest Girl moves away the more uniform synth sounds of The Great Cybernetic Depression to more eclectic territory similar to her first release Lil' Golden Book and certainly sounds like a record made by a lover of pop music across all genres from 60s girl groups to 80s power ballads, and late 80s acid house to 90s pop. Like her earlier work, adult issues are presented in a humorous and sometimes childlike manner, and this juxtaposition rather than softening the blow makes jarring social commentary hit harder.

The Madlib Invazion Music Library Series Entry #7: Producer/multi-instrumentalist Joe Harrison (El Michels Affair/Gunna) fuses modern production with vintage instruments, drawing a line between J Dilla and David Axelrod. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat

An independent hip-hop fixture for more than 15 years, famed Los Angeles emcee Blu has mastered the lost art of the album, imbuing each new project with unique themes and often recruiting a single producer to craft a cohesive sonic experience. This has lead to full-length collaborations with the likes of Exile, Madlib, Shafiq Husayn, Oh No, Damu The Fudgemunk, and more, along with the 2018 classic Gods In The Spirit, Titans In The Flesh, produced by Virginia beatsmith Nottz. With major credits dating back to the late 1990s, Nottz is a production icon who has worked with Busta Rhymes, Snoop Dogg, 50 Cent, Scarface, The Game, Pusha T, Slaughterhouse, Ghostface Killah, Rapsody, Asher Roth, Little Brother, Talib Kweli, and many more. Now, Blu and Nottz are reuniting for the new album Afrika, a celebration of the rich history and culture of their ancestral homeland. With Swahili song titles and thunderous beats from Nottz, the collection finds Blu proudly embracing his roots, connecting black struggles in the U.S. to those of African peoples worldwide. "I hope this project inspires many others to speak on the father and home of humanity, Afrika,” Blu explains. This powerful message is reinforced by a legion of talented guests, as Afrika features appearances by Quelle Chris, Mickey Factz, Shad, Ill Camille, Scienze, Cashus King, and more.

Gary Martin is well known for his unique productions and his label Teknotika is surely a classic coming out of the famous motor city. This special 10" holds two sought after tracks that were found on a lost DAT tape by Yossi Amoyal and Gary Martin himself. On the A side we have a long time secret weapon, it's a hypnotic groove that was heard on many classic sets, Zip and Ben Klock to name a few. An extremely insane, hard to find Gigi Galaxy track that was changing hands for silly prices is on the B side, for those who know... massive release!