Instrumental Hip Hop Vinyl 564 Items

Witches whisper, pumpkins glow, Halloween arrives, casting its eerie glow! Immerse yourself in the spooky charm of Halloween with Lofi Girl's latest compilation 'Halloween 2023'. Showcasing 33 talented lofi artists from around the globe, this musical cauldron of ghostly tunes harmonizes chilling beats with haunting melodies, offering a spine-tingling experience perfect for a chilling night in.

We are excited to present Tom Misch and Yussef Dayes’ “What Kinda Music” – an astonishing collaboration between two artists of very different disciplines, and one of the most unique and seamlessly original projects of its ilk to date.

Moving fluidly through sleek electronica, avant-garde jazz, vintage hip hop and so much more, Misch and Dayes take you on a journey that is by turns surprising and spontaneous, heady and head spinning, and nothing less than compelling – a singular vision which fuses the DNA of both musicians with spectacular results, as can be seen in the title track, which comes backed by a gorgeously atmospheric video by XX.

Even though the fundamental bones of this project came together very quickly, its actual provenance stretches back much, much farther back, with the pair not only growing up in the same area of South East London, but Misch actually seeing Dayes play on drums in the school talent show for the first time when he was roughly 8 or 9. They both kept tabs on each other – Misch becoming a fan of Dayes’ act Yussef Kamaal, Dayes clocking his videos in 2014 – but it was only when they met at a launch party for Misch’s debut LP “Geography” in 2018 that the proverbial creative sparks began to fly. “As a musician you’re always looking for contemporaries who can push you and challenge you and make you better”, says Dayes. “I instantly felt that with Tom – he was such a gifted musician, and so prolific”. That summer they decided to go into the studio together, jam a little, and see what happens, with no other expectation placed upon it.

As it turns out, the music came fast and furiously. Two initial tracks were suddenly followed by a handful of others, and the pair found themselves contemplating what to do next. “Pretty soon, we knew that something was gelling”, Dayes says. “It didn’t feel like a one-off collaboration, it felt like a body of work”. What made the pair click, according to Misch and Dayes, were the exact same factors that meant it shouldn’t, by all rights, work. Misch says, “Yussef comes from a more experimental background, and he has a lot of loose, crazy ideas. I know how to write a catchy melody, but with interesting chords and have a good understanding of popular song forms, so I think I streamlined those ideas and made them accessible”. And certainly, in “What Kinda Music” you can sense the DNA of both musicians, but fusing so effortlessly and beautifully that it creates something else entirely, the appropriately named “Lift Off” sending goosebumps with its jazz flecked crescendo, and “Night Rider” hynotising with its deeply mesmeric grooves. “I have a love for harmony and chords”, Misch adds. “Working with someone like Yussef, who has such a gifted sense of rhythm allowed a perfect balance”.

Throughout the record, there is an utterly joyful feel of two musicians at the top of their game sparking off one another, picking up ideas and running with them – zigging where the other zags, ebbing where the other flows, with Misch producing the majority of the record and both having a hand in the overall sound and feel of the record.

“Working with Yussef has actually changed the way I work as a musician”, Misch muses. “He’s pushed me and unlocked a more experimental part of me that I hadn’t really allowed myself to explore before. I think we really did impact each other in a fundamental way”. Dayes is similarly effusive in his praise for Misch. “A musician like him, who’s at the top of his game, he doesn’t need to do this”, he raves. “He can just keep doing the same thing and why not? He’s killing it. The fact that he’s so humble, that he’s so curious about everything and open to collaboration, speaks a lot to him as an artist, because it’s not easy finding musicians who want to collaborate. Something always gets in the way, whether it’s ego or their team or whatever. But with Tom it felt like the intention was purely creative, and that’s what made it exciting”. In fact, Dayes says that the intentions of the record go even deeper than just music. “Both our parents who’d never met each other before, are now best friends as a result of this, they now see each other more than we do! I’d like to think, in some small way, that this album has a similar impact for people too – everything feels so divided these days, it would be nice for people to hear the record and hear two very different musicians coming together and realise it doesn’t have to be that way”.

For the 1st time vinyl release of a seminal beat tape, 30 raw Hip Hop productions crafted between 2005.

With "We'll Be Okay" TrommelTobi releases his second solo album as a beat maker and producer. His debut album "Le Gruyère" was released on the Berlin based independent label "Long Lost Relative" (digital & 12" vinyl) in 2014. "We'll Be Okay" represents TrommelTobi's passion for instrumental downtempo music - relaxed musical journeys through dreamy and spacey soundscapes. Beats for a calm and focused timeout throughout the day make the perfect soundtrack for creativity & work or yoga and meditation. Smooth beats & crispy drums, turntablism & samples, warm synths & soothing, memorable melodies. Every beat on "We'll Be Okay" sounds different and represents different styles but you always recognize TrommelTobi's handwriting and his love for details, sweet harmonies and hip hop music throughout the whole album. "We'll Be Okay" was created and recorded during the lockdown periods of 2020. With a little help from my friends. Thank y'all so much for your help and support.

Radio Juicy proudly presents Cumulus Frisbee's debut album "Hyperion”, an odyssey into the artist's world and mind. This album serves as the perfect introduction to his art and music, if you are not already familiar. If you’ve been following him for a while you'll recognize his ever expanding imagination throughout this incredible piece, not only musically but artistically as well, since he drew the album cover by hand.

Hyperion is a fantastic tale picturing an alternate universe where everything seems oddly familiar yet foreign. His music takes a little while to become accustomed to for an untrained ear but after a couple tracks you'll start hearing it in it's entirety, like un-focusing your eyes for a 90's 3D image, only for your ears. After listening to the entire album, try going back to the beginning and you'll notice how you'll hear something different than the first time around. Be sure to check Cumulus’s social pages and get to know him better, and you'll see that he's both a visual and musical artist with a unique perspective. In our eyes he is one of today's most interesting upcoming artist. We'll go as far as stating that this release transcends what we've been doing so far: today we're bringing you contemporary art.

Due to the extraordinary nature of this release, we felt it was important to deliver a special package: a vinyl version of the album, coming with a 60x60cm poster (24''), a special color blend for the vinyl, and a cover printed on a "soft" matte coating to give the impression of a hard cover comic book. These extra additions will bring you a distinct experience you can only get with the limited physical copy. This is one that you will want to have in your collection.

All tunes have been baked together at the Jahtari HQ for maximum goodness and to include some
extra echos from the future. So don't miss out on this interplanetary cassette - limited pressing as
always!

Originally from Brussels, now based in Montreal, Senz’s first approach to cutting up records was in '98 as a DJ on a pair of Technics 1200s that he shared with his best friend, one month each. Flash forward to 2020, with close to 20 years spent producing on a variety of MPC models, Senz began making beats on his phone by bringing app-based Koala Sampler into his production arsenal, opening up a whole new chamber for him. He has worked with Da Buze Bruvaz, Giovanni Marks, Elucid, Beans (formerly of Anti-Pop Consortium), Dave Dub, Megabusive, Juga-Naut, Dibia$e, Duke Westlake, Uncommon Nasa, PremRock Brainorchestra & more.

Regarding his first official Grilchy Party release he presents "The Dream Juice Machine" the object is to bomb the senses yet make a smooth enjoyable listen. A record you can put on on a Sunday afternoon or as soon as you wake up. It just feels good. Senz set to work on what would become Dream Juice Machine after sifting through 100s of beats over several years, then Senz & MarQ Spekt selected 20+ bangers which Senz then stitched together into a seamless, trippy, boom-bap, jazz, jungle tapestry that represents the Grilchy Party Favors series properly. We are proud to present it to you on 4/19/24.

Kaito, an out cold skater as well, has a couple of self-releases you can find on his Bandcamp page, which are solid & sound at home alongside his pop’s ( Todd Osborn) Ghostly International releases. This 7” EP outing spins at 33 1/3 to pack in as much as GSC can squeeze in & is straight up beatloverz heaven. What is impressive, for this old timer, is how clearly deep Kaito’s musical knowledge goes. He clearly has learned well from his father & all the good music he certainly has had at his fingertips. From Madlib to Os Mutantes to Fela Kuti to J Dilla & other artists who were not afraid to dig deep & unearth beats & melodies to tickle your fancy, Kaito’s tastes are as refined as anyone in the game. I know a number of the original source materials that comprise each track, but that I leave to you to dig out for yourself. Here I encourage you to open your eardrums & listen deep with your fav pair of headphones & let each track wash over you. From straight forward head-nodding hip-hop thumpers to beautiful Brazilian femme fatale vocals that lure you into the loop, to a Afrobeat driver that’ll break ya neck, to a mellow, soulful MPC hopper that will lovingly recall a Arlo Parks joint, to then closes out with a synth-laden spaced-out dreamy loop to end credits.

Limited edition of 300 copies on colored vinyl.

Paris-based producers Alcynoos and Parental team up again for "Night Shift", another beautiful instrumental outing delivering that mellow vibes to make your head nod. 13 delights with features by Soul Intellect, Lawiss and Dan Amozig. Tip!

The producer’s own mixes – recently rediscovered – of his seminal EP, expanded with bonus tracks and now available in a special instrumental edition.

When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop – technically and creatively. “At the top of his game,” says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla’s oeuvre. “It’s a mysterious little project,” says his mother, Maureen Yancey. “But out of his entire career, that was the happiest time.”
Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry.
The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006’s Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla’s involvement. This version of the album takes Dilla’s recently discovered mixes of the album and restores his vision for the project.