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Since 2014 the music of Killers Walk Among Us has slowly spread worldwide and has grown a cult following among indie music aficionados celebrating the grandiose post rock crescendos mixed with Stefan Holmbergs heartbreakingly emotional lyrics and vocals. The album was praised upon its release by critics and fans alike, and since then the vinyl release has been a well sought out gem among record collectors. Now, in 2024, the surviving members of Killers Walk Among Us have regrouped for the 10 year anniversary of their self-titled album, recording the previously unreleased track When the Caged Bird Sings to be include on the re-mastered version of their seminal debut. The music shall prevail.

London, UK – May 23, 2024 – The Original Gravity Label proudly announces the release of "Gravity Dubs Vol.1," the highly anticipated new LP from label boss and chief musician Neil Anderson, a.k.a Prince Deadly. This pioneering collection sees Prince Deadly masterfully dubbing some of the early Original Gravity Reggae releases, transforming them with his signature early dub style. "Gravity Dubs Vol.1" is a testament to Neil Anderson’s deep-rooted passion for reggae and dub music. As Prince Deadly, he has meticulously reimagined and remixed classic tracks from the Original Gravity catalogue, infusing them with a fresh, vibrant energy while staying true to the genre's authentic roots. This LP is set to be a landmark release, bridging the gap between the past and present of reggae music. Neil Anderson, the creative force behind the Original Gravity Label, has long been celebrated for his innovative approach to music production. With "Gravity Dubs Vol.1," he continues to push the boundaries, offering listeners a rich, immersive experience that honours the traditions of early dub while introducing contemporary elements. "Gravity Dubs Vol.1" features an array of reworked tracks that highlight the versatility and depth of the Original Gravity Label's early reggae releases. Each track has been carefully crafted, showcasing Prince Deadly's expertise in blending hypnotic basslines, echo-laden rhythms, and atmospheric effects. The result is a collection that not only pays homage to the genre's pioneers but also sets a new standard for modern dub music. "I've always been deeply inspired by the roots of reggae and dub," said Neil Anderson (Prince Deadly). "With 'Gravity Dubs Vol.1,' I wanted to take the ethos of the formative years of Dub, where studio creators re-visited the classic Studio One rhythms to create a completely new sonic landscape. "Gravity Dubs Vol.1" will be available on all major streaming platforms from 1st June and the vinyl is now on pre-order and will be shipping in early June.

Double LP set capturing some of Causa Sui's heaviest, most psychedelic tunes recorded live at Loppen - a legendary Copenhagen venue, located in the famous - and infamous - Freetown Christiania commune. This is the sound of Causa Sui at their home turf, stretching out and exploring eight epic fan-favourites from their entire catalogue in front of a small crowd of 400 people in a packed sold-out venue. The show was recorded the first week that Covid restrictions were lifted on venues in Denmark, which called for an especially buzzing night, even for a band that has exclusively played no more than a handful of shows each year since their 2005 debut. Each Causa Sui show is unique. Here we're offered a different perspective of the band's music - it's looser, more free-flowing, and some tracks are warped into something far from their original versions, bouncing off the wooden beams on the low ceiling of Loppen with renewed energy. At one point you can hear the band calling to take a breather and let some air inside the sauna-like temperature of the show, which just weeks before seemed impossible. Loppen 2021 offers a complete set from start to finish, so since chances that you'll catch the band live in person are slim, this is the next best thing. Mixed and mastered by Jonas Munk. Edition of 1000 copies on coloured ecomix vinyl.

Speed, Glue & Shinki’s last album has been reissued in a gorgeous specification that faithfully reproduces the original, including the entire volume band! Released in 1972. It is a two-disc set that became the last album. Famous for its tiger jacket. There are a lot of songs that seem to be centered on Joey Smith now, but Bluesy Rock is fully opened like the previous work. Although some lyrical songs can be seen, the D-side medley makes heavy use of the precious Moog synthesizer at the time. Guests include Michael Hanopol, Shigeki Watanabe, Hiroshi Oguchi. The 96khz24bit sound source mastered in 2017 is used for this analog conversion. The jacket is a single jacket × 2, a full-length band, a lyrics card, etc. The original is reproduced as much as possible.

Mastered from the original 1972 LP, of which less than ten copies were originally pressed.

The Talented Italian Producer, Known for His Enigmatic Project Hill and Recognized for His Previous Ep Collaboration With the Detroit Legend Javonntte on Skylax Records, Is Making a Much-Anticipated Return Under His Real Name, Alessio Collina. an Ardent Aficionado of Authentic House Music, Collina, Hailing From Italy, Gifts Us a Remarkable Lesson in His Latest Offering, the "Pieces of Life Ep." Collina's Dedication to the Origins of House Music Is Evident Throughout This Ep, and It's a Refreshing Reminder of the Genre's Timeless Roots. Italy, a Country With a Deep Appreciation for House Music, Once Again Serves as the Source of Inspiration for This Artist. the "Pieces of Life Ep" Pays a Heartfelt Tribute to the High-Energy and Groove-Laden House Tunes of the 90s, Echoing the Sounds of Iconic Figures Like Dj Duke, Marshall Jefferson, and Labels Like Strictly Rhythm. With Each Track, Collina Effortlessly Transports Us Back to That Golden Era, Capturing the Very Essence and Spirit of That Unforgettable Time. the Ep Kicks Off With the Electrifying "All of That," an Absolute Masterstroke That Sets the Tone for What Follows. Its Pulsating Beats and Infectious Melodies Are Reminiscent of the Fervent Dance Floors of Yesteryears, Evoking a Sense of Nostalgia While Remaining Incredibly Fresh and Contemporary. the Ep's Three Other Titles, "Humble Groove," "Lost World," and "Mid Season," Continue to Captivate and Immerse Listeners in Collina's World of Evocative, Groove-Filled House Music. Each Track Showcases His Meticulous Attention to Detail and His Ability to Create an Authentic Atmosphere That's True to the Genre's Roots. Collina's "Pieces of Life Ep" Is More Than Just a Musical Collection; It's a Genuine Homage to the Spirited House Music of the 90s. His Dedication to Preserving the Essence of the Genre While Infusing It With His Unique Creativity Shines Through in Every Beat and melody.

This Ep Not Only Reinforces Italy's Profound Connection to the House Music Legacy but Also Solidifies Alessio Collina's Place Among Contemporary Artists Who Honor the Past While Paving the Way for the Future. as Skylax Records Prepares to Release This Exceptional 12-Inch, It's Clear That "Pieces of Life" Is a Treasure Trove for Any House Music Enthusiast, Inviting Them to Rediscover the Magic of the 90s With a Fresh Perspective....

Rolling in from the roots of Chicago, Tina Howell lights it up with her dynamic vocals to revisit a couple of classics. The CFB - Chicago Funk Band is locked in and rolling.

Lead Vocals - Tina Howell
Backing Vocals - Tina Howell,Spike Rebel, and Rahaan
Keyboards - Spike Rebel
Lead Guitar - Spike Rebel
Bass / Guitar - Todd Swoope
Percussion/DJ - Ainsley Strong
Drums - Eric Johnson

Recorded & Mixed - Arnell Newman
Mastered at- The Exchange Mastering UK
Photography & Graphic Design - Ronnie Boykin Jr.
All songs arranged by- Rahaan Rah
Exclusively licensed by - Soulistic 360 LLC

Executive Producers: Arnell Newman / Ainsley Strong / Eric Johnson

''More Than Ever'' is another impeccable pearl of Roberto Ferrante, considered one of the most extraordinary and evocative Italo-Disco productions, one of those songs that attracted millions of followers and made everyone fall in love with the genre. GLAM's original 1985 12inch is no ordinary record. This vinyl reissue from Planet Records Classics with stunning new mastering makes it even more special. The voice of GLAM is Clio, according to followers one of the favorite singers in the distorted and mirrored world of Italo-Disco; she always has full control of the voice, therefore a perfect interpretation, full of emotion. If you listened to ''Faces'', ''Feel the Fear'' or ''Eyes'' by Clio and liked them, I'm sure you'll love this epic piece too! Thanks again to Roberto Ferrante for this new powerful mastering of ''More Than Ever'' fresher overall, performed with much more vitality and energy.

'When Can' is a journey through the realms of musical serendipity, an ode to the unexpected twists of collaborative intuition. Conceived in the spring of 2012, this masterpiece is the culmination of a decade-long friendship between Reimer Eising aka Kettel, and Lennard van der Last aka Secede, two of the most talented electronic music producers from The Netherlands.

'When Can' is not just a collection of songs; it's a seamless continuum where each track breathes life into the next. As the listener delves into the sonic story, the music leads to uncharted territories, incorporating ambient and cinematic sounds and blending them with reminiscences from Renaissance to Baroque music. Far from a preconceived plan, the album organically unfolded, capturing the essence of the musical exploration from these two brilliant minds.

More than a decade after its birth, Lapsus is proud to release 'When Can' for the first time on vinyl. For this meticulously curated deluxe edition all the tracks have been remastered, and the artwork has been updated by Basora studio. And there's much more inside: two lithographic prints featuring original paintings by Jeroen Advocaat plus an extra 10" including the unreleased tracks 'Zipvanes' –a 10 minutes alternative cut of 'Ringvanes'– and 'Spoonful'.

As we embark on this musical journey, we begin with a series of singles by female-led groups that celebrate ancestral traditions through a feminist lens.

Orito Cantora and Jenn del Tambó (Orijenn), an extraordinary musical duo with more than two decades of artistic experience, have left a deep mark on the Colombian music scene as well as in various international festivals.

Orito Cantora is a talented luthier, singer-songwriter, producer, composer and feminist from Barranquilla. Jenn del Tambó, born in Barrancabermeja, is a producer, feminist, and master percussionist specializing in the rhythms and drums of the Colombian Caribbean.
She is the founder, leader and teacher of the First Network of Drummers of Colombia and Switzerland. Their music not only makes people vibrate, but also makes them think and strengthens the cause of gender equality. Their passion for music is powerfully intertwined with their social commitment, creating energetic and passionate sonorities.

„Awkward Attraction” captures Monstera Black’s exploration of both embracing and deconstructing pop music. The EP starts off with ‘system’, a piece that echoes a classic song structure while anticipating an unconventional sonic palette, setting the stage for the impending unraveling process that reaches its culmination in the final track, ‘who’s a hoe?’. As the journey unfolds, traditional structures progressively give way to a stream of consciousness, where motif-driven improvisation and softly sung melodies collide with a darker club and experimental soundscape masterfully crafted by alys(alys)alys. The lyrics, infused with provocation and sarcasm, delve into themes of existence and vulnerability, presented through warped vocals and repetitive hooks. „Awkward Attraction“ crafts a taunting atmosphere, challenging listeners to embark on a reflective journey.

Marking one year following Phase Fatale’s (aka Hayden Payne’s) last EP on his label BITE, ‘Love Is Destructive’ is a clear shift into true techno territories, integrated with his distinct curation of narrative and sonic framework, imprinted with a musical diet of sleek, synthesised storytelling.The 4-Track EP reflects the turbulent ebb-and-flow found with emotional conclusion - a genesis soundtracked by raw energy and driving undercurrents. The Berlin-based DJ, Producer and Label-owner’s propensity for creating a symbiotic harmony by blending seemingly divisive elements from his genre defying repertoire, demonstrates his masterful understanding and control of the listener’s borderless, auditory journey. Exemplified by his marathon closing sets at Berghain, as well as techno arenas such as Khidi in Tbilisi (both of which he is a resident), Phase Fatale’s recent DJ performances and production endeavours reflect his fresh approach to pure techno sensibilities. The title track sets the tone with imperative grooves, energetic vigour and intrepid attitude. Following a progression of techno propulsion in ‘Magma Driver’, infused metallic textures and trippy, headier elements add depth, whilst the body of work’s cutting edge sound design echoes spacey vivacity and purification in equal measures. Dichotomy comes forward with tracks ‘Ambivalence’ and ‘Introjection’, processed vocal samples with dub techno leanings and hints towards broken rhythms are sculpted by Payne’s focused approach, resonating a feeling of hopeful resolution akin to resurgence. These romantic sensibilities offset by cold mechanical nuances are reflected in the EP’s artwork, depicting roses against the backdrop of engine-like machinery. ‘Love Is Destructive’ is dedicated to Juan, Simone and Luis. Featuring artwork by Silent Editions.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

This 12-inch vinyl, officially licensed by Sony, features a superb remix by Mike Maurro, who masterfully reworks the stems. On the B side, you'll find the original version. Since its release in 1982, "Looking Up To You" has cemented its status as a modern soul anthem, co-written by Leon Ware and Zane Grey (of Grey & Hanks) and produced by Webster Lewis, all titans in the genre. Heavily sampled since it’s original release, notably by artists like Zhane ("Hey Mr. DJ") and Ortega Cartel ("Miami Vice").

Warehouse Find!

The masterful, supergroup of Phreek lead by Patrick Adams, sees three of its sought-after masterpieces, two of which have never been on a 12 inch, officially reissued and remastered on a label that’s fast becoming a go-to for in demand reissues, South Street Disco.

A pure classic, ‘Weekend’, was born back in ‘78 written by Leroy Burgess and James Calloway and produced by Patrick Adams and Burgess, they lead an expertly curated troupe for this massive Paradise Garage staple and Larry Levan favourite. That late ‘70s sound where synthesisers rose to prominence, sees a combination of cosmic keys, freakish strings and power-play funk guitars, tied together with tight percussion, bold basslines and Christie Shire’s lead vocals, that whole heartedly captures the spirit of disco. Famously remade into a house anthem 10 years later by Todd Terry, ‘Weekend’ is a timeless slice of celestial magic.

In a similar fashion ‘Everybody Loves A Good Thing’ does another blast around the cosmos - a Universal Robot Band feel emanating from the buzzing synths and awe-inspiring vocal prowess of Leroy Burgess, coupled with ‘Shining’ star, Venus Dodson. As uplifting as it gets, complete with a killer piano breakdown to draw out every ounce of anticipation.

Flip it over and a whole side is devoted to the greatness of ‘I'm a Big Freak R*U*1*2’. A mesmerising, fast-paced, disco workout with sensuous groans, sleazed up, supernatural keys and a heavy bass that just goes and goes and goes! Favoured by the biggest and best out there, from Ron Hardy to Theo Parrish, it’s got the power and energy to light up even the most demanding of dancefloors.

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

ZamZam 95 is a link with the enigmatic French producer Hiss Is Bliss. We’ve been fans since the very first drop on their 777Hz label and these two sides drive straight to the heart of the dub techno galaxy.

Little is known about Hiss Is Bliss beyond the fact that they hail from France, are steeped in esotericism, and create tunes as masterfully grounded in roots reggae as they are in techno and related strands of electronic music. Their releases are utterly free of hype, beautifully crafted 10” vinyl plates that let the singers and tracks speak for themselves.

At the risk of being cheeky, “Nope” is absolute dub techno bliss. The 808 kick propels the track relentlessly forward, saturated washes of color streak the night sky, while syncopated hi hats and warm, soulful chords bring life- dare we say funk- to a style too often stiff and clinical, too in thrall to the past to truly step forward. Matching Hiss is Bliss in mystery, Ras Lys’ vocal brings a Dread perspective on music and the sometimes shady business of music, a grounded contrast to the deep inner space explored by the tune itself. The B-side version “Abbadia” splits musical atoms through the desk, focusing squarely on the stripped 4/4 elements and gloriously distorted pads that echo and cycle like tides in a darkly shimmering sea.

Favorite Recordings proudly presents this new official single reissue of “Feel So Good Inside”, by Lamar Thomas. A killer deep-disco and very rare collectable single, fully coordinated for reissue by French respected DJ and Tropical rare-groove specialist, Waxist Selecta.

Lamar Thomas is an American singer, composer and producer who made a short solo career in the 70s, and then formed the duo Thomas & Taylor. He has also penned few songs for Johnny Bristol, Garland Green, Nancy Wilson, Maynard Ferguson, or Johnnie Taylor among others.

In 1980, he recorded this 2 tracks single for MCA Records, who released it on a 7inch left almost unnoticed at that time. 30 years later, this brilliant disco production has become a classic rare-groove title for a few DJs and diggers, with among them, French collector and DJ, Waxist Selecta (aKa Julien Minarro).

Schooled about this rarity by DJ Klas (aKa Josh Goldman), he then made it a real favorite in his various DJ sets. Curious to learn more about this forgotten piece, he also liaised with Lamar through the web, and discovered that all the masters had burned in a California fire at Universal.

As Julien already worked on an upcoming reissue project with Pascal Rioux and Favorite Recordings (more details in 2015), he offered him and Lamar to arrange a proper official reissue and produce a new master from his own vinyl copy. Coming out in a 12inch version built for dancefloors, the package also includes a great extended mix by Waxist.

Back in stock! A collection of super rare and highly danceable masterpieces recorded between 1969 -1981 by four legendary composers from Benin: ANTOINE DOUGBÉ, EL REGO et Ses Commandos, HONORÉ AVOLONTO, GNONNAS PEDRO & His Dadjes Band each one of them with their own distinctive sound. This compilation comes with a 40 page full colour booklet with ultra rare pictures and biographies. Fasten your seat belt and enjoy the mind-blowing sound of Benin.

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.