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PHORMA makes its return from a prolonged hiatus with the second release by Stockholm's very own Adam Craft. The enigmatic EP, "Renata Tracks II," delicately unfolds like a well-kept secret. Kicking things off, "Pace (Variation)" mystically opens the EP. Meanwhile, "Pace," the second track, proves itself equally versatile, capable of setting the tone for the evening's outset or carrying you through late-night after-hours. Flipping over to the B-side, "Into Dust" takes center stage, a relentless and pulsating dub techno masterpiece that will undoubtedly get dance-floors moving. As we bid farewell to this extraordinary EP, "I Only Said" will be your soundtrack to the exit. Renata Tracks II is accompanied by the captivating sleeve design crafted by the talented New York-based artist, Sebastian Lemm.

"• Originally released in 2004, Soulfly’s 4th album hit #82 on the US Charts
• Charted globally: UK #103, Germany #24, France #38, Australia #49 and Austria #15
• Includes a cover of Helmet’s “In The Meantime”"

For Fans Of... Jerry Butler, Wee, Adrian Younge, Roy Ayers, Unlimited Touch. New York's Ben Pirani & The Means Of Production team up with Ohio's Wesley Bright to deliver a midtempo rider suitable for a breezy summer's night. Upon the Means pulsing mellow groove "The Honeyman" begins to make it sweet indeed. The tune opens with a bright Rhodes melody that sets the stage for Wesley's gentle tenor. The song archs upward - with professing of love and devotion - toward an irresistible hook punctuated with sweet soft harmonies. Six Minute Mile is backed with a spaced out part two. Swirling delayed synth melodies and acoustic guitar fill out the groove. Ben Pirani has begun to establish himself as a writer and producer in recent years. With the Means Of Production as house band you can expect much more from the Palmetto Street gang

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

PRESSED ON FRUIT PUNCH COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 2000 COPIES

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin’ (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009’s Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Til The Casket Drops was a departure from the duo of Malice & Pusha T’s previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us ‘Grinding’ & ‘Mr. Me Too’ still helmed 8 of the album’s 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath’s DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn’t lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam’ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…

The live reunion of Bob Dylan and The Band during 1973-74 yielded one of the decade's most celebrated, dynamic, and astonishing tours. Captured on Before the Flood, the results portray the two artists' shared chemistry as well as Dylan's instinctive ability to challenge audiences, his group, and himself via inventive rearrangements of classics that simultaneously ward off nostalgia and renew with meaning. Said by noted critic Robert Christgau to be "at its best, the craziest and strongest rock and roll ever recorded," Before the Flood crackles with intensity, relevance, and unhinged performances.

Arriving at a crucial time for both Dylan and The Band, Before the Flood is the furthest thing possible from a nostalgia trip. It's where Dylan begins his now-trademark feat of turning songs upside-down, taking risks, challenging expectations, and leaving audiences riveted to the edge of their seats in anticipation of what might come next. He sings with unabated passion, the moods spanning bitterness to jubilation. And his willingness to play fast and loose with the music gives way to compelling shifts, under-the-surface textures, complementary intricacies, and a sense of newness and discovery on par with that of an adventurer embracing total freedom.

Before the Flood buries any notion of limits, safeguards, or borders. It is an open map, each song a route begging for exploration without need or concern for exactness or an appointed leader. Collaborative in every sense, it's a portrait of six inimitable musicians feeding off one another, trusting in their past history as they hurdle towards uncharted territory, using soulfulness as a compass and opportunity as their vehicle.

Wholly different than the live episodes heard on Bob Dylan Live 1966, The "Royal Albert Hall" Concert, Before the Flood is equally seminal and, from the perspective of witnessing an artist dare not only his audience but himself to break through to a new plane, even better. Utterly astounding.

New for 2023! Kitty, Daisy & Lewis' iconic debut album reissued on Half Black and White vinyl. Originally released in 2008 when the band were still only teenagers, their self titled debut catapulted them into rock n' roll favourites and the album has since been regarded as a cult classic. With a sound deep rooted in the past, the sibling trio pay homage to those who inspired them from Charlie Rich to Muddy waters and released an album truly like no other.

Make Your Own Meaning continues to convey its unique techno message with a new statement of intent from label head Lurka. The artist has been busy of late and continues to be on a roll with another fascinating four tracker that genuinely serves up some original sounds and rhythms. 'Trip' gets things underway with organic percussive patterns stacked up over drilling bass to make for a prickly groove. 'Airlock' is similar but darker and heavier and 'Sick Flips' keeps the nimble feel going with dancing perc, rigid synths and scratchy sound effects all coalescing over broken drum patterns. Last of all is another dense, busy and multi-layered melange of tiny percussive sounds, synths and clipped rhythms that will make any floor move.

Following his impressive debut EP ‘Mirror In Man’, which touched on cosmic folk jams and Balearic pop, the Belgium singer-producer Mozes Mosuse aka Movulango has announced his second project ‘The Irony’, a 5 track EP out 24th November via Soulwax’s DEEWEE label.

Movulango’s musical paintings are a visual and intuitive reflection of what it feels like to be him. His weekly radio show, Radio Atlantis on StuBru, Belgium, is a clever alias he uses to explore different worlds, deconstruct existing music and blend it with his own musical experiments.

His latest project ‘The Irony’ is further insight into Movulango's devine mind, building deeply personal stories on feeling and emotion that bundle into soaring melodies and lyrics. You can try your best to understand what it all means or you can sit back and let them bewitch your mind and soul.

The new 12” series on Ballyhoo Records is dedicated to what label owner ‘Thee J Johanz’ describes as ‘Triptech Journeys’. The series takes the listener on a journey traversing old school house to mystical acid and everything in-between.

On volume 1, titled ‘There Is Power In Love’, side a gives us ‘Afrobot and Steven Pieters’ who deliver the perfect message of love. The artist ‘Strange’ then provides us with his stunning Indian style Charanjit Singh rag reworks. We then have raving madness from Goa’s finest ‘Deka’ whose track ‘Dance with me’ was a secret weapon played at a number of major festivals over the summer.

Flip it over to side b, we have ‘Thee J Johanz’ providing us with the perfect intro/outro tool for DJs (lets face it, there is simply not enough good ones on vinyl!) We then have ‘Sintaro Fujita,’ Ballyhoo’s best Japanese friend, delivering sharp and mystical vibes with his track ‘Are We Still Friends.’ Last but by no means least, snake charmer ‘Sid Ua’ slows it all down leaving us in a trance like state with his stunning track ‘Feels Familiar.’ Weird and wonderful music from a fabulous bunch of weird and wonderful talented outsiders, this cannot be missed!

CUT THE ENGINES is the third album by All Structures Align, following the critically acclaimed Details And Drawings and Distance And Departure (both released on Wrong Speed Records in 2022). All Structures Align began as a studio project reuniting brothers Tim and Adam Ineson of 90s underground rock heroes Nub. Their debut album Details And Drawings took everyone by surprise.

Rather than sounding like a tentative bedroom project, it arrived fully formed and with its own identity. It was an album of unhurried patience, of mounting tension (and eventual release) and it possessed a depth that rewarded repeated listens as irresistible hooks revealed themselves almost casually to the listener.

It also felt slightly out of time: no rush to the chorus, no gimmicks, no desire to pack out every second of space with sound. Lots of people agreed and the limited vinyl pressing sold out almost instantly. The follow-up came within the same year with the brothers recruiting drummer extraordinaire Neil Turpin (Objections, Bilge Pump, Polaris) to bring swing and pulse to their songs.

Distance And Departure was the result and widened their audience and acclaim further. So much so that the brothers decided to venture out and play live. To do so they brought in Oli Heffernan (Ivan The Tolerable, King Champion Sounds) on bass and Andrew Pollard (Polaris) on guitar and additional vocals.

If you’ve been lucky enough to see All Structures Align live over the last year, you’ll know this expanded band bring the songs to life beyond simple recitation. Those dynamic shifts in the music are now larger than life and fully multi-dimensional. Cut The Engines is the first All Structures Align release to capture the five-piece live band in the studio. Eight songs as spacious and measured as their previous work but with an increased directness and drama that seems to come from the interplay between people in a room.

Whilst never getting down to Ramones levels of brevity, the songs are compact and sharper than before, as though the addition of extra personnel has allowed their musical language to become more concise and effective. The songs still feel like rich novels condensed into short stories, but the band format has brought a confidence and ease to the telling that increases their impact. The resulting record is their most accessible yet, a slow-core indie-rock masterpiece that will intrigue and delight existing fans and newcomers alike for decades to come.

Gatefold sleeve / Black vinyl / Limited to 500 copies - Brand new solo release from YES guitar maestro, Steve Howe – Steve explains the concept of the Motif series of releases - The MOTIF idea pulls together my solo guitar writing and performances combining new tunes and refreshed and revisited studio performances of other tunes. My solo guitar tunes combine country picking with classical guitar pieces that have broader influences, jazz, rock, flamenco and folk, they've all been absorbed in my approach to writing and playing. It's 15 years since Volume 1 was released so it's delightful to announce the release of MOTIF Volume Two. Again I present some new tunes and further explore pulling the selection together to present a clear focus on all things 'solo guitar'. I record these myself onto a hard drive and then work on selecting takes and giving the sound some due consideration. Assembling the running order and then the final mastering means it's on to the sleeve information and design. Soon it's a 'wrap' and you're holding it in your hand!

Chicago's Magic Touch label gets the Numero treatment. Legendary rare groove selector & DJ Red Greg's edit of Disco Holy-Grail "Why Do I Love You" is now available on 7" for the first time and housed in official Magic Touch Double Disco Smash 7" Company Sleeve. This tune has been making waves in the DJ community for years only after Red Greg introduced his crucial edit eliminating the studio fluff and dialing in the raw disco meat. Certified Floor Filler with a groove guaranteed to answer all questions on love.

As the warehouse-rave season approaches, it’s perfect timing for Shadow Child & Mark Archer to make their collaborative debut on Food Music with a special release that includes 2 vinyl only exclusives that saw a digital release on DJ Haus’ Dance Trax label earlier in 2023. Adding to these is a brand new slice of big-room Techno in the form of ‘Chinwah (Big DJs)’, which will no doubt be pounding its way out of the worlds cooler parties in the coming months with a controversial spoken-word message to boot.

DJ Support:

Horse Meat Disco, Doc Scott, Josh Wink, Pangaea, Joyce Muniz, Benjamin Damage, KE (Kid Enigma), Yung Singh, Anja Schneider (Club Room), Pinch, Tom Findlay (Groove Armada), Elle Clark, Joshua James, Monty Luke, Adam Beyer, Otik, Tom Ravenscroft, Nightwave + Martyn Bootyspoon, Violet, TEED, Addison Groove, Mad Miran, Emerald, Dusky

Eight years following their debut LP “Charnel Passages” (one of the most anticipated death metal debuts of current death metal cannon), US-via-UK abyssic death metal contingent CRUCIAMENTUM have finally emerged with their sophomore masterwork “Obsidian Refractions” set for release on Nov 24.

Now more commanding than ever with a formidable new lineup, “Obsidian Refractions” sees CRUCIAMENTUM deliver their most advanced and overpowering work yet. Taking everything in the band’s death metal paradigm to the next sonic measure beyond anything they have previously released, “Obsidian Refractions” combines the very essence and aesthetic of ancient cult death metal while encapsulating the dynamic, complex, next-level affectations relevant in today’s death metal landscape. The result being “Obsidian Refractions” as a towering death metal monument unparalleled.

Bristol’s four-piece outfit Quade's debut album.

The first single ‘Of The Source’ will be released 4th October, alongside the album announce.
‘Of The Source’ opens in familiar territory for Quade, with distant drones and searching violin, before breaking down into perhaps the album’s most experimental track.

‘Nacre’ is the culmination of three years of work from the band, the blueprints of their songwriting and sound firmly established in the sprawling, haunting and yet hopeful record. Traipsing between gothic expansiveness and cosmic psychedelia, the record cannot be pinned down into one recognisable place. By the album’s close, the listener may be left wondering whether it was all a memory or a dream.

The recording and production of the record was collaborative, with the band drawing upon the services of Jack Ogbourne and Larry ‘Bruce’ McCarthy - two divergent pillars of Bristol’s music community - for engineering and mixing respectively.

Minimal don Kepler strikes a balance between dancefloor utility and introspection on his latest record, and debut for X-Kalay. Big house and techno incursions straight out of Yorkshire – Leeds, to be precise. It’s a strong testament to the region’s long standing reputation as a hotbed for late-night minimalism.

Subtle flourishes and details stand out across all four tracks. Uncovering relics from ancient futures, ‘Lowlife’ stimulates the pineal gland with a mescaline-strength take on classic ‘90s tech house. While it dials the trippier elements down just a tad, ‘Control’, like its predecessor, recalls golden era Wiggle or Asad Rizvi under his Silverlining moniker.

No half measures on the next one. Bringing heft in spades, ‘Stranded’ comes hurtling in with swinging, jacking 4 AM NRG. It’s some serious gear, which makes the EP closer such an unexpected left-turn. ‘Need’ offers proper heads-down introspection, complete with widescreen, nebulous chords that ripple out into the vastness of space.

The Cornish improv noise / post-rock / shoegaze band’s cult classic debut, remastered and re-edited by Slowdive’s Simon Scott and available on vinyl for the first time since its release back in 2017, with original copies (released via The Weird Beard) now changing hands for triple figures. The three tracks that make up the album were recorded live, in one take. They are presented as captured snippets of the one song the band used to play, the continually existing and evolving ‘CPA’ (Cosmic Pink Alignment). It formed the blueprint for their unique mix of Sonic Youth squall and Slowdive-style beauty, which was later heard on 2021’s acclaimed debut for Sonic Cathedral, Sleepover. “People have told us they aren’t able to get a copy of the album, so a reissue was a good opportunity for us to re-look at it having learnt a bit more about the mastering process when we did Sleepover,” says guitarist Matt Ashdown. “Simon also mastered that, so we really trusted him and didn’t give him a brief – he knows we like to squeeze out as much low end as possible, which is why there is also a new cut; more low end means less space on the vinyl.” Simon’s magic touch has really elevated this stunning record, making it sound bigger, bolder and better than ever

The Roger Webb Sound's Moonshade is one of the coolest records ever. Originally appearing via the legendary De Wolfe library in 1971, it's a sumptuous jazz-soul-funk instrumental set. Full of melodic, melancholic yet sun-drenched songs, rich with colour and contrast, it was composed by self-taught jazz pianist Roger Webb and features vocal performances by Barbara Moore. That's right; *the* powerhouse library music duo! It makes Moonshade the perfect precursor and accompaniment to Barbara Moore's eternal classic Vocal Shades And Tones. It will come as no surprise that original copies, if you can ever find them, will set you back north of 200 notes.

Moonshade is a phenomenal showcase of Brit maestro Webb's own roots in jazz. Those roots are served up here with a plethora of fast-stepping rhythms that truly give flight to the vocals of Barbara Moore, as they soar in wonderful ways. Moore sings wordlessly throughout, allowing her voice to act like another instrument in concert with the horns and keyboards elevating the fine arrangements. This is a deeply beautiful record.

The album opens with the ornate Baroque pop splendour of the sun-dappled melancholia of "Sunshine". Strings, piano and wordless female vocals combine to create this brief beauty of unimaginable grace. The cool "Gentle Eyes" features haunting and beautiful vocals, smooth jazz piano and horns and a general easy vibe without being easy listening, if you know what we mean. You do. Just listen. The pounding "Heavy Lace" is one for the beat-heads, funky open drums (!) with muted organ, bassy piano chords and ace horns. Sampled by Quakers for their great debut album on Stones Throw. The nostalgic "Yesterday" is wistful and beautifully melodic instrumental soul music with gorgeous acoustic guitar and flutes. It's followed by the light, lilting "Petal Soft" which features more Baroque styles, overflowing with flutes and harps. The bright, bouncing "Coaster" is an easy-going piano-led, guitar-driven swinger whilst "Grey Sigh" is another classic. A real highlight, with more fantastic propulsive drums and percussion and plaintive wordless vocals courtesy of Barbara. Speaking of which, the soft, sweet Rhodes jazz of the lilting "Sweet Thing" is another staggering showcase of the brilliance of Barbara. Just astounding.

Head straight past the honky-tonk-by-numbers piano jaunt "Cough Drop" and luxuriate in the soft, delicate beauty of the album's melodic, cyclical title track, "Moon Shade". Fragile flutes and acoustic guitar float across judicious bass notes before giving way to slightly ominous piano and, again, those beguiling wordless vocals. And then round again to the flute refrain of the intro. This time with the vocals to see us out. Majestic drama jazz at its finest. The cello-and-flute adorned "Sapphire" is a fluid orchestral beauty whilst "Interweave" rides with more urgency in its string and bass stabs. When the warm keys enter, it's a bonafide mellifluous wonder. The softer "Musette" begins in beautifully gentle fashion before pivoting for a driving yet elegant piano middle section. It reverts back to the mellow intro, for its outro. Understood? The melodic organ and prominent rhythm section running through "Reminiscence" makes for a delightfully understated folk-funk instrumental whilst the cool, rolling piano feels of "7.30 For 8.00" seem to perfectly suit the phrase "dinner jazz". It's no bad thing, c'mon. This classy, memorable set is rounded out by the half-minute mince of the Barbara-blessed "Sparky". It's just over too soon!

The audio for Moonshade has been brilliantly remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

On his album NEGRO DELUXE Siifu trades in soulful rap for punk, fueled by the Black experience in America followed by spiritual jazz and poetry. A beautiful chaotic collage of sounds that reflect the black man’s thoughts on the day-to-day. It doesn’t take long to reach the heart of NEGRO, Pink Siifu’s new album. It’s an aggressive collection of hardcore punk and free jazz, with bold lyrics that encourage shooting back at trigger-happy law enforcement. This album profoundly communicated the anger of an African-American community beset by police violence a month before the murder of George Floyd lit the streets on fire. In April 2021, he revisited the project with NEGRO DELUXE, which doubled the length of the original.

Pink Siifu tells Bomb Magazine “after we were done mastering and mixing, Zeroh was like, “Yo, NEGRO is like fire, and NEGRO DELUXE is like smoke….So I would characterize NEGRO DELUXE as, like, after you’re angry, after you’ve punched a wall, after you beat somebody up, whatever, how do I channel that into something else? How do I just let it go? I feel like NEGRO DELUXE is that, for real, in a nutshell. It’s like the chaos calmed down after all the fire’s gone and the smoke is in the air.”

It isn’t anything like ensley, Siifu’s breakthrough 2018 LP. Where that record used mid-tempo soul and hip-hop to score his upbringing, NEGRO is a riotous mix calling for Black revolution. It’s also the most fearless project in his growing discography. NEGRO harkens back to 1992, to Ice-T’s thrash metal band Body Count, song “Cop Killer”.

This album is meant to remind us of Rodney King, Racist Cops, The Black Panther Party, and Christopher Dorner, the ex-L.A. police officer who, in 2013, went on a violent shooting spree against his former colleagues and their family members due to seeing his own policeman violate the people there supposed to be protecting. “It’s about America, It’s about the trauma that comes from the flag. It’s about understanding that it’s okay to be angry.”

In the album, originally titled ‘To Be Angry’, Siifu started crafting NEGRO after listening to old Afrocentric jazz and watching clips of novelist and poet Amiri Baraka and civil rights activist Stokely Carmichael, reading Sun Ra’s sci-fi poetry book, The Planet Is Doomed, and started studying Bad Brains, June Tyson, Death, Ras G, and many others.