Instrumental Hip Hop 463 Items

cover is close to NM

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!

On the outskirts of Bratislava, in the pulsating shadows of a refinery's burning chimneys, on the plot of a family house, there stood a small shack. Initially, it housed trials in domestic mushroom growing. Later, after a makeshift acoustic touch-up - lining the walls with old cardboard egg cartons - it became a shelter for music. Sensitive, evocative, nostalgic, lo-fi music by a man named Cadillac Face.
Today we would probably use the term 'safe space', but back then it was (in Cadillac's words) kutica, a cubbyhole. He hid there from a world that ached. Here, Cadillac secretly smoked, sang, and composed. And tried not to go crazy from anxiety. He wrote music unlike anything during his time.
Here, he struggled. With sound (unable to adjust it to his liking), with instruments (which he couldn't bring himself to play), with the world (with which, understandably, he was at odds).
Cadillac Face was a man who didn't belong here.
He wrote and sang in English (in a post-socialist and early-capitalist Slovakia, when command of English was no matter of course); he also wrote in Slovak (blogs and diaries, which, due to a stream-of-consciousness and surrealist style, were as incomprehensible as they were immersive and intimate); gave advice to teenagers (to their quasi-banal questions on talking forums [about relationships, life and adolescence], where they were often met with ridicule and mockery); he composed electronic and noise music (at a time when no one had a clue what the abbreviation DAW meant).
This Cadillac's compilation album is not aiming to compete with/replicate Noizy Days - a compilation of Cadillac's contributions to the project Noize Konspiracy. Underground compilations circulated through a local proto-social network. Borderline music without rules - open but often inaccessible. There, Cadillac contributed mostly with experimental-electronic compositions. Noizy Days was compiled by Ďuro Ďurček, one of the initiators of Noize Konspiracy. Both Ďuro and Cadillac have been dead for years.
Songs For The Trees is a selection from Cadillac's songwriting. The most intimate of his intimate recordings. Cadillac at his most fragile, brittle, and quiet. The most romantic, the most tormented, the most painful and direct of his songs I know.
Cadillac became an anthropomorphic grotesque tree. Neither broadleaf nor conifer. Or perhaps it's a candle slowly incinerating – bored, sad, playing the guitar. A tragicomedy. Sometimes it kindles what it doesn't mean to, and it can't put itself out. Or can it?

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.