Instrumental Hip Hop Vinyl 481 Items

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”.

Inspired by the music of one of the most iconic pop culture licenses of all time, main composition was assigned to Tee Lopes, the talent behind the music of Sonic Mania and Streets of Rage 4: Mr X’s Nightmare. His musical vision echoes the spirit of the turtles and this specific game specificities: tributes to classic Tmnt tunes with a good dose of fun and switching fluidly between 80s/90s electro, funk, rock, and jazzy tunes with chiptune vibes.

On top of that, prestigious guests were added to the line-up. Kid Katana Records are proud to host legends such as Raekwon The Chef and Ghostface Killah from the legendary rap band Wu-Tang Clan, and Mike Patton, frontman of Faith No More and Mr Bungle. They all performed exclusive tracks recorded specifically for the game and the OST.

This modern classic, while previously available only in a plain sleeve, is given the proper treatment of a full color jacket.

Classic Nas instrumentals combined on a 2LP, including tracks from his very first LP "Illmatic" as well as bunch of classic cuts like "Affirmative Action", "Hate Me Now" or "Nas Is Like".

Moar is a French Beatmaker making beats since 1995 with a traditional vibe of digging & sampling wax with all in one sets as MPC or SP just like the most influential beat makers in the Hip-Hop culture (Dj Premier, Pete Rock,Large Pro, Nottz, Diamond D...) Moar is back again with a vault of old school beats produced between 2002 & 2006.

It's been four years since Sweatbox Dynasty, the fourth solo LP from Pennsylvanian experimentalist Tobacco. In that time, Tom Fec's project has toured with Nine Inch Nails, provided the theme song to HBO series Silicon Valley, and teamed with Aesop Rock for a collaborative album as Malibu Ken. He now returns to Ghostly International for Hot Wet & Sassy, a full-length album oozing with his most playful and approachable songs to date, which, conversely, express notions of antilove, self-hate, and disappointment in others. Pop impulses have always surged beneath the surface of his sound - blown-out bass, analog synths, drum machines, and Fec's unmistakable analog gurgle and hiss - here they've bubbled to the top. "I feel like it's the most I've been able to refine what I'm doing," says Fec. "For the past decade I've had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from 'what would the Butthole Surfers do?' to 'what would Cyndi Lauper do?'" And what would Trent Reznor do? Fec found his answer straight from the source. Their collaborative track, "Babysitter," fuses their voices into one deranged presence: "I'm the new babysitter," they alert, before pivoting into a menacingly saccharine bridge. The track tumbles on a tom fill, then a punishing synth line rips into a cacophony of drums and feedback like a lawnmower gnawing through the living room carpet. "This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further," adds Fec. The collaboration is a work of alchemy seamlessly blending Tobacco's trademarks with Reznor's industrial rust and sonic gore. Downcast, sincere, woozy, "Jinmenken" might be the closest Fec has come to a ballad. "Maybe you can find me down the line," his vocoded delivery bounces along the beat. "It's me trying to write a Jets song," says Fec. Album opener "Centaur Skin" presents the stylistic concoction that has been the Tobacco MO from the beginning, crossing dreamy melodic shimmer with the sinister tones and slime. This has become easier to digest, but also far more potent. A motorik beat steadies the track's galloping arpeggio, acting as a springboard for Fec's dark ruminations as well as an uncharacteristically crystalline synth solo. "It's my feel good self hate anthem. Don't worry, I'm good. It was fun to write." Tobacco hasn't been reinvented, but it has been refined and distilled. Brighter, sharper, and far more dangerous because of it. Hot Wet & Sassy is practically staring at the sun without shades and feeling those corneas roast. Everything looks good as your vision fades. The pop-forward structures exert their undeniable hooks with baneful precision, pulling listeners into their clutches; once there, sugary melody rewards submission.

A bunch of the legendary dance-floor hitmakers' instrumentals combined on one album. Essential!

Your favorite toucan is approaching your neighborhood with hyper speed. Legend Wun Two is blessing us with an LP of unreleased beats from his analog MPC era of 2013-2014. The album is called Hawaii & Snow - some of the OGs might remember this from SoundCloud, but most of the beats are unheard and simply put - crazy dope.

The vinyl release will contain 4 beats that won’t be available on digital platforms, or anywhere else besides wax, just so we empower the culture of real heads & vinyl lovers as well. It is available in limited edition black & snow-white vinyl.

Your favorite toucan is approaching your neighborhood with hyper speed. Legend Wun Two is blessing us with an LP of unreleased beats from his analog MPC era of 2013-2014. The album is called Hawaii & Snow - some of the OGs might remember this from SoundCloud, but most of the beats are unheard and simply put - crazy dope.

The vinyl release will contain 4 beats that won’t be available on digital platforms, or anywhere else besides wax, just so we empower the culture of real heads & vinyl lovers as well. It is available in limited edition black & snow-white vinyl.

Do we have to write something great about Twit One? Not really, but we take the liberty of presenting the the album "Teenwolf". You won't hear standard boom bap beats. It consists of casually composed vocals and drums perfectly matched to the chopped chords. Enjoy 14 tracks with range of lofi beats, jazzy vibes & dope samples.

So if you're looking for soulful beats with a pinch of humor, you've come to the right place.

-3 track EP on 7" vinyl
-Including hand-numbered Artwork A Insert
-Limited to 25 copies
-brown kraft discobag
-Mastered by SterilOne / Staub Audio Engeering

Italian Library GEM Re-imagined BY Beatmaker Koralle AND Rapper Illa J

Four Flies is proud to present a new installment in the Reloved series, ‘New Levels / Chartreuse’, with an original track from late-70s Italian ensemble Modern Sound Quartet and a rework from producer and beatmaker Koralle featuring iconic rapper Illa J.

The mysteries of science and the art of music merge in the twisted mind of Oddly Humes, the Florida based beat-smith delivering his latest album, Know Matter. There are few details known about this enigmatic producer, but it is rumored he went into hiding after a catastrophic lab accident that left his features disfigured and his mind obsessed with digging for beats. After a few years of seclusion in an underground bunker — his activities discernible through the sounds of clanking metal and crackling vinyl records — Oddly Humes has emerged with ten cuts of Nobel-worthy sample-fusing experiments. As Dr. Frankenstein once shouted, "It's alive!"

With Know Matter's tracks each named after a chemical or mineral substance, the alchemy here is strong. Oddly Humes quotes the golden era of '90s trip-hop while adding a cinematic flair that wouldn't be out of place in a Tarantino romp or an Argento giallo. "Cobalt," opening the LP, sets the tone with slide guitars, looping bass, spectral melodies in the distance, and a dusty drum kit driving the atmosphere. "Sulfur" is likewise incendiary, blasting speakers with a crucial beat as a symphony of textures greet unsuspecting eardrums. There's also "Titanium," a strange rocker of a track that can't help but summon some serious Twin Peaks vibes. Oddly, indeed.

For those looking for off-kilter cuts or if you're just into supporting cutting-edge scientific research in the rhythmic sciences — look no further than Know Matter. Oddly Humes continues to mix compounds alongside his mixed beats, and his discoveries will advance the craft of downtempo music into the future.

Meitei’s 2020 album 'Kofū' was the bold bookend to an expedition, where sounds were first navigated and then subverted in 2018’s 'Kwaidan' and 2019’s 'Komachi'.

All three albums were Meitei’s attempt at immersive storytelling, reimagining moments of Japanese history he felt were being washed away – not least by the unforgiving sands of time – through wistful compositions that stretched across ambient music, hauntology, and musique concrete.

When it came to finalizing 'Kofū', Meitei found he was left with over 60 fully realized tracks, bursting with ideas that fired in divergent, curious directions. Meitei was content with the 13 tracks he had selected. But when it came time to begin his next album, he found that it had been sitting in front of him all along. He realized his work wasn’t over yet.

Meitei sounds right at home celebrating the past he first reimagined in his previous work. The merriment is palpable in its first two tracks of 'Kofū II' – a loop of cheery whistling amidst the clanking of wood leads into strings, cricket sounds and flutes, all united in bustling harmony.

'Happyaku-yachō' is where it comes into focus. Pitch-shifted vocal samples roam around in the crowded sonic field. “My image of this music is that it expresses the vibrant mood of Edo's merchant culture,” says Meitei, “where old Japanese dwellings were densely packed together in a vast expanse of land.” The affair becomes bittersweet as the track leads into the desolate 'Kaworu', a compositional piece lifted from his 'Komachi' sessions – a final requiem to his late grandmother.

The album is bursting with spectral vignettes of wandering samurais, red lanterns, ninjas, puppet theatres, poets, even a vengeful assassin ('Shurayuki hime', known to Western audiences as ‘Lady Snowblood’).

'Saryō' is as elegant and refined as you would expect. It induces stillness in its repetition, with each synth note a brushstroke. It was inspired by a Sengoku-era tea house he once visited, designed by national icon Sen no Rikyū. Meitei tied it to the reaction he felt while poring over the ink paintings in his grandmother’s house. “The decayed earthen walls and faded tatami mats gave me an emotional impression,” he says. “And the cosmic flow of time drifting in the small room. I decided to put my impression of this into music.”

In 'Akira Kurosawa', an appropriately thunderous track, Meitei finds deep resonance in his vast filmography, which drew equally from Japan’s rich heritage and troubled circumstances post-WWII.

'Kofū II' is not a leftovers album, nor is it a straightforward companion piece. In this album, Meitei has his biggest reckoning with the Japanese identity yet. Over the years, he has attempted to peel back what he believes has defined Japan and its people. After seeking answers with three full-length albums, his fourth poses more questions.

If his first three albums inspired a sense of longing – or, perhaps inevitably, fed an irreparable nostalgia doomed to history – 'Kofū II' compels us to reassess our relationship with the past. By constantly looking back, are we ever afforded a clearer present? After capturing the “lost Japanese mood”, where does that leave its country in the modern world? Meitei offers no immediate answers with 'Kofū II'. It forces you to sit with its disparate moods, to meditate amidst the textured fragments.

'Kofū II' will be released on 180g LP, CD and digital format on December 10, 2021 (LP expected to land January 28, 2022) via KITCHEN. LABEL. Both LP and CD format are presented in a debossed sleeve with obi strip and include a 16-page insert with words in Japanese and English from Meitei, printed on premium paper stock with design by KITCHEN. LABEL founder Ricks Ang, and is mastered by Chihei Hatakeyama in Tokyo, Japan.

Yeah, this is the 1st real album by Matthew Tavares (Keys), Chester Hansen (Bass) & Alex Sowinski (Drums).

Nearly a decade after their last album, Lilacs and Champagne picks up right where that record, Midnight Features Vol. 2: Made Flesh, left off. With bizarre excursions into pillowy, sentimental made-for-TV music - and children's choirs incanting the blackest dread-filled music the band has conjured to date - Fantasy World is both transcendent and traumatic. Despite sharing two founding members of Grails (multi-instrumentalists Emil Amos and Alex Hall) Fantasy World only peripherally resembles their core group. Lilacs & Champagne have exaggerated their early record's implications and accelerated their mercurial rearranging of music history by deftly incorporating live instrumentation and samples with equal amounts of deference and disregard. Previously existing primarily in a realm adjacent to instrumental hip-hop (J Dilla, Clams Casino, Madlib), Fantasy World exposes Lilacs & Champagne's deeper lineage as playful tape-collage culture jammers in the vein of legendary sound satirists, Negativland and Severed Heads. It embraces the effect of a child entering a dollar store: the immediate euphoria felt upon discovering the seemingly endless aisles piled impossibly high with novelty toys, utensils, party decorations, and toiletries eventually gives way to the overwhelming realization that they're actually just a tourist in a perilous mountain of colorful garbage. From those mountains, Lilacs & Champagne mold monuments to curiosity and confusion.

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Summertime and the living is easy. Sun in the sky, flip-flops on the feet, and stress levels appear to be at an all-time low. Making the hot months even hotter is Chillhop Music's newest compilation Essentials Summer 2024. 28 new instrumentals in 2xLP form to help you welcome a new season and new chapter.

Featuring a community of 42 artists from our Chillhop family, this 72 minute compilation is perfect for your next holiday, your next getaway, your next lazy Sunday nap. Featuring dozens of Chillhop familiars like Saib, SwuM, Birocratic, and Psalm Trees, as well as some new names like Loyae, Aduza Dolozi, and Kofi Anonymous.

We hope you enjoy our newest compilation. One to blast the next time you soak in the sun. Poolside, feet up, without a care in the world. You deserve it.

Jealous Hours is the first full-length LP by the Tel-Aviv based DJ & producer Lily Haz. Featuring nine genre-bending tracks in her affirmed electro-dub style, Lily takes us for a tour in her obscure, ethereal universe where hip hop’s supremacy is undisputed. Flirting with the club realm while fearlessly determined in her style, each of one of her core influences is essential to this parallel universe. Out there, pitched-down rap verses top obscure beats and rolling liquid jungle drums ; extended intros and outros riffle through the whole spectrum of human emotion.

Instrumental versions to Elzhi's (Slum Village) tribute to Nas "Illmatic" performed by Chicago funk band Will Sessions. Limited edition vinyl with free mp3 download card.

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It's not officially Fall until Chillhop Music releases Essentials Fall.

Providing a fresh new soundtrack for the chilled months ahead, Essentials Fall is a 28 song 2xLP project. Featuring plenty of familiar names like Aso, Blue Wednesday, Ian Ewing, Philanthrope, SwuM, Chris Mazuera, Birocratic, Psalm Trees, Leavv, Nokiaa, as well as new trio Enough Cereals (check out their debut project with Chilhop, if you haven't already). This release confirms a new season is upon us, so spin this one well into winter, as well as the many autumns to come.

Whether you're taking a stroll through nature or reading by the fire. Whether you're enjoying some coffee or baking a pie. Whether you're meditating or picnicking or studying or stargazing. Whatever it is that highlights your life, we hope you enjoy Chillhop Music's newest compilation as a backdrop. One to blast as you put on your hoodie and cozy up for the season.

For those keeping count, this is our 35th (!!!) Essentials release. Maybe we'll do something special when we hit 40. We started this special compilation series back in 2016 with a release for every season of the year. Providing a fresh spin on the artwork every time, each calendar year presents a cohesive world-building storytelling mode and narrative arc. For 2024, our Raccoon returned to the countryside where they grew up and has spent the year catching up with family, reconnecting with old friends, taking plenty of naps, and reflecting on childhood. A time that was so long ago yet feels just like yesterday. As a result, Essentials Fall 2024 is nostalgic and steadily reminiscing on the past while also enjoying the present and all of the exciting things to come in the future.

In April 2022 FloFilz released his critically acclaimed album “Close Distance” featuring Alfa Mist, Blue Lab Beats, Jerome Thomas, Dal, Summers Sons, KeepVibesNear & Hunter Rose. This 7“ single contains four songs from the “Close Distance” sessions that did not make it onto the album. Limited to 500 copies.

Remixes Jid020 is the twentieth installment in the Jazz Is Dead catalog. This remix album features London based artists Shabaka Hutchings and Theon Cross, New York tastemaker Melanie Charles, LA based producer Bei Ru, Brazil’s Dj Nyack, Detroit based producer Tall Black Guy, Bay Area producer Mophono and the LA based house duo LO & Disko. Remixers sampled the previously released Jazz Is Dead records created by Adrian Younge, Ali Shaheed Muhammad and icons including the following: Lonnie Liston Smith, Jean Carne, Tony Allen, Henry Franklin, Phil Ranelin, Wendell Harrison, Garrett Saracho, and Katalyst.