Instrumental Hip Hop 293 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”.

The album finds the Haitian born, Montreal raised producer delivering on the promise of his early self-released EPs and remixes.

Since the age of fourteen, when he first began to DJ and when his brother introduced him to music production software, his output has been relentless. He explains, “after he showed me the basics, from that day on I couldn’t stop making beats,” pumping out a handful of tracks per day for the next couple of years.

Having released singles like ‘Drive Me Crazy‘ with Vic Mensa and ‘Leave Me Alone‘ with Shay Lia, Kaytranada has since cemented his reputation and his sound; an undeniable swing of the drums comparable to Dilla’s, a signature soulful touch in the melodies, and a healthy dose of funky bass lines.

99.9% features guest turns from Anderson .Paak, Vic Mensa, Little Dragon, Syd, Craig David, Goldlink, Alunageorge, BADBADNOTGOOD and many more.

2024 Repress!

The Silhouettes Project a new platform for up and coming Hip-Hop, Soul and Jazz artists from the UK. It is not a record label or management team, it is a community project. The Silhouettes Project provides an open space - a recording studio and live venue located within the Total Refreshment Centre in Hackney, London - where MCs, singers, musicians and producers can connect and create.The Silhouttes Project was founded by community organisers/artists Asher Korner (aka Kosher) and Jaden Osei-Bonsu (Eerf Evil) in 2019. When they told us about the project and played us some of the music we were instantly hooked and joined the collective as label partner. The art direction is executed by Sergio „SagaUno“ Alferez, an acclaimed designer and illustrator from Medellín, Columbia.Starting in September, we release a new single each Thursday from artists like Kofi Stone, Summers Sons, Enny, KeepVibesNear, Manik MC, Lex Amor, Louis The Hippie, Summer-Pearl, Joe Beard and many more.

Here is the story of the Silhouettes Project as told by its founders Jaden and Asher: „We started The Silhouettes Project in February 2019, to shine a light on the new generation ofunderground Hip-Hop, Jazz, and Soul music in the UK. Community is everything to us, and wewanted to show that with a proper support network, access to professional facilities, and theencouragement of a family of artists, our community could produce something incredible. We felt a joint frustration that the current music scene in the UK only had structures in placeto support talent of a certain genre whilst overlooking a buzzing alternative Hip-Hop culture.We wanted to unify artists who are making ground-breaking music but who are in need of asolid structure to work within - artists who we felt deserved more recognition. This led us tothe name ‘The Silhouettes Project’, as we wanted to shine a light on those artists in theshadows. The journey started by embarking on a collaborative album project which allowed us to bringtogether more than 30 artists on a single tape and to create a network of incredibly talentedartists of the same calibre. The album took more than a year, working almost every day at theRoot 73 studio, a community space in Hackney. We knew from the first few sessions that wewere on to something, and the energy around the project kept it moving. As artists ourselves we understood that the creative process can be challenging and sometimesisolating, especially when there is no clear support network to fall back on. This led us to bringour efforts into the physical realm by organising a series of free live music events for all ofthese artists to come to, showcase their work alongside our house band, and connect witheach other. These events take place at The Total Refreshment Centre in Dalston, anunderground studio complex and warehouse space, which gave the events an intimatecommunity feeling and the people a sense of belonging. There is a desperate need for spaces in which people can come together and develop theircreative potential, especially with the consistent withdrawal of funding from the arts sector inthe UK and with the constant threat of gentrification which has seen the closure of countlesscommunity and grassroots creative organisations. As we grew as a brand and organisation, webegan to fully understand the importance of what we were doing. From the studio sessions tothe events, we saw the impact on people’s outlooks on their own careers, we saw them growin confidence in performing and collaborating and even taking their own initiative to utilise thenetwork provided for them. We heard their feedback, we felt the excitement in theatmospheres at our events and studio sessions, and we saw the community grow every timewe brought it together.“

Finally back on wax. Great album feat. Sach of The Nonce, Yesh, Count Bass D, Ladybug Mecca & other fine MCs!

After the 2019 release of their debut album "Dark Smoke", the Danish trio Athletic Progression has gone from strength to strength in Denmark. Multiple sold out shows in DK and abroad, as well two Danish Jazz Award nominations - and even one for Danish musician of the year! - later, the group is now ready to release their next album, an instrumental opus years in the making. Highly recommended for fans of Thundercat, J Dilla, Comet is Coming and the likes.

The late, great J Dilla is widely regarded as one of the greatest hiphop producers of all time. An innovator who pushed the genre in new sonic directions, the Detroit native born James Yancey crafted
timeless soundscapes for the likes of Slum Village, Busta Rhymes, Common, Erykah Badu, A Tribe Called Quest, The Roots, and many more. Since his death in 2006, Dilla’s mother Maureen “Ma Dukes”
Yancey has worked tirelessly to further her son’s legacy, and her latest effort is the new posthumous album Motor City. Inspired by Dilla’s beloved hometown, Motor City is a collection of rare and
unreleased Jay Dee instrumentals, hand-selected and sequenced by Ma Dukes. Conceived as a “letter” to her son, Motor City is packaged in a limited-edition mailing envelope, complete with a handwritten
message from Ma Dukes to J Dilla inside. Both CD and vinyl formats also include access to an exclusive mix of the album by Dilla’s close friend J Rocc, a world-renown DJ and founder of the Beat Junkies.

Edition of 150 Copies.

Sealed copy! Limited edition: 300.

Originally released in 2020 on the leading lo-fi hip-hop label Chillhop Music, ‘On the Rhodes’ is best-known work from Austrian Lo-Fi beat-maker "Mr Kaffer". The recent lo-fi classic is now available on splatter colored vinyl for the first time!

Here's my new EP called unexpected I already had chosen the title but unfortunately my dad died unexpected so this is for you dad, I hope you found peace I love you - Eevee.

Hugo Kant 3rd album, Out Of Time.
© Bellring 2017

Berlin Zoo’s debut LP "Super Bad Disco" is the result of a chance encounter between three Danish beatheads (I Kicked A Cloud Once, Shatter Hands, and Fou Fou) in the German capital. The record is steeped in Soul and Jazz, with an uncanny view to both the past and future of instrumental Hip Hop, and a deliciously obscure sample selection. Straight killer, no filler, carefully sequenced and arranged. Highly recommended!

Kanzulu's acclaimed "Beautiful: Opus Of Love Deeper Than Flesh" finally gets a proper reissue treatment in gatefold sleeve. Originally released on 2 seperate EP's, the reissue comes as a 2LP vinyl set with an updated artwork by LGB5. Sureshot!

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

Indie Exclusive * Rock Konducta is the fifth installment in Madlib’s Beat Konducta series. Previous entries include: Beat Konducta : Movie Scenes, Beat Konducta: in India, Beat Konducta: Dil Cosby and Dil Withers Suites and Beat Konducta in Africa. Rock Konducta grabs its source material from various worldwide rock scenes from the 60s through the 80s, from American psychedelia to Germany’s krautrock to acid-soaked Spanish prog to synthy, early-80s oddities. Tied together by Madlib’s unique sensibility, these scenes coalesce into a new whole. Who knew that rock music sounded like this? Well, there’s one obvious answer to that question.

1988 is the follow up to Knxwledge’s official debut album Hud Dreems (Stones Throw, 2015). The same year Hud Dreems was released Knx worked with Kendrick Lamar on To Pimp a Butterfly, earning the producer his first Grammy. A duo with Anderson .Paak called NxWorries was formed around the same time. Their single “Suede” became a viral hit, vaulting the singer to R&B stardom, and their album Yes Lawd! followed through on that song’s immense promise. Knx and Paak have quietly continued collaborating, and some of the new work is heard on 1988.

A prolific artist in the extreme sense of the word, Knxwledge continues to redefine instrumental hip-hop almost in real-time with a stream of beat tapes numbering in the hundreds on Bandcamp, and video remixes on Instagram.

This prolific output began early. 1988 takes its name from the fact that much of the new record was created that very year, when Knx was an infant. As the story is told, little baby Knx was left alone by his mother for just a few moments and crawled to a family member’s vintage Sp–12 sampler. When his mother returned he had already produced his first beats and nearly mastered the machine. These tracks, all produced before nap time while rocking a Nike diaper, were stored over the years on floppy discs, then brought to his studio in recent months where they were finished up, mixed, and mastered.

Deltron 3030 The Instrumentals is the sibling of Deltron 3030's legendary
self-titled debut and an experience all its own. Since the record’s release
in 2000, Deltron 3030 has moved into the pantheon of greatest recordings
of all time, of any genre. Del’s Deltron Zero persona certainly has much to
do with the release’s setting in a dystopian future. But beyond that, and
beyond the great guest appearances the foundation of that setting is the
sonic landscape presented by Dan The Automator. The Instrumentals
puts the focus on the mood forged by The Automator’s soundscapes
which create a listening experience often referred to as cinematic.
Long out of print since its initial release in 2001, The Instrumentals return
housed in a unique die-cut jacket with a full color obi rounding out the
package. The result is a set that’s visual appeal compliments the rich
soundscape created by Dan The Automator.

More digging in the gospel section...

Possibly less obscure but definitely deeper. Made up of tracks that were started in Wyoming for Kanye/Sunday Service and then finished in LA and transposed to this project…

Includes 7 tracks exclusive to the vinyl release.

1988 is the follow up to Knxwledge’s official debut album Hud Dreems (Stones Throw, 2015). The same year Hud Dreems was released Knx worked with Kendrick Lamar on To Pimp a Butterfly, earning the producer his first Grammy. A duo with Anderson .Paak called NxWorries was formed around the same time. Their single “Suede” became a viral hit, vaulting the singer to R&B stardom, and their album Yes Lawd! followed through on that song’s immense promise. Knx and Paak have quietly continued collaborating, and some of the new work is heard on 1988.

A prolific artist in the extreme sense of the word, Knxwledge continues to redefine instrumental hip-hop almost in real-time with a stream of beat tapes numbering in the hundreds on Bandcamp, and video remixes on Instagram.

This prolific output began early. 1988 takes its name from the fact that much of the new record was created that very year, when Knx was an infant. As the story is told, little baby Knx was left alone by his mother for just a few moments and crawled to a family member’s vintage Sp–12 sampler. When his mother returned he had already produced his first beats and nearly mastered the machine. These tracks, all produced before nap time while rocking a Nike diaper, were stored over the years on floppy discs, then brought to his studio in recent months where they were finished up, mixed, and mastered.

Without sampling any breaks or loops, Funky DL has created the perfect audio tribute to arguably the greatest group in Hip-Hop history by remaking the beautiful sounds of A Tribe Called Quest's 1993 classic album "Midnight Marauders". The original album is considered a staple in the linear of Hip-Hop history and is the album that lead Funky DL to pursue his own two-decade career in the world of rap music. DL's new tribute serves as a beautifully presented homage for A Tribe Called Quest and Funky DL fans alike.

Radio Juicy presents Private Barrel Selection, the new album by Max I Million and Nocatchphraze. These two talented producers worked together internationally to bring us this collab, as Max I Million hails from Stockholm, Sweden, and Nocatchphraze is based out of Houston, Texas. The album has been in the process over the past couple years, but the two were able to find time to finalize it during lockdown.

Private Barrel Selection is an album that draws from many different influences, including funk, hip hop, disco, old school boom-bap and R&B. You can feel the unique touch of the two producers, making the album wide in perspective while still being a very focused and unique piece of work. Vintage vibes are present throughout the entire release, giving us the feeling that this one is an instant classic.

Private Barrel Selection seeks to evoke the feeling of a good time, enjoying a glass of aged whisky in a comfy chair while listening to a record player. The double entendre here is also that each of these tracks were matured and groomed to perfection, resulting in music of the finest caliber.

"For the third installment of his PeteStrumentals series, producer Pete Rock takes a departure from the sample-heavy style that has earned him recognition as a living Hip-Hop legend. This twelve-track project is instead a collection of beats crafted by the producer, then reimagined by his stellar band, The Soul Brothers - drummer Daru Jones (Jack White), keyboardist BigYuki, bassist MonoNeon (Prince), guitarist Marcus Machado and vocalist Jermaine Holmes (D'Angelo); all critically acclaimed musicians in their own rights. After performing together across Manhattan, cementing their creative bond, Pete Rock & The Soul Brothers combined their individual musical influences and experiences to craft a smooth sonic experience that is truly the sum of all of its stylistic and instrumental parts. PeteStrumentals 3 is a masterful blend of Funk, Jazz, Hip-Hop and Soul, a mellow soundtrack for any occasion."

Limited edition of 300 copies!

Over the last two decades, 20syl has crafted a unique, hip-hop infused, electro musical universe. He inherited a rich musical knowledge and a genuine understanding of analog and vintage sounds form years of classic beat making. He first got his start with Hocus Pocus, a band he founded in 1995. As the mastermind behind the band’s five LPs, including their Gold Record Place 54, 20syl has proved himself to be a visionary artist. A member of C2C - a turntablist quartet with whom he has won 4 DMC world titles – he took the genre mainstream with the groundbreaking album Tetra (2012). This successful opus was rewarded with 4 French Grammys and a Double Platinium Record.

In 2014, 20syl launched his solo career while still working with a few hand picked underground artists such as Grems, Raashan Ahmad and Blitz the Ambassador. In the recent years the prolific producer has taken his trademark overseas with popular remixes of ScHoolboy Q, Rihanna, and King Krule – setting up a booming environment for the 2014 release of his anticipated first solo EP, Motifs.

Co-founder of On And On Records, 20Syl has imposed himself as a flagship of the expanding new scene. Passionate about visual arts, 20Syl designs his artwork and direct his music videos.

A free electron, he seduces the public with his sharp identity and his ability to turn his own original creations into major musical trends.

Technically, Syrup are a hip-hop group with unmistakable leanings towards soul and jazz. The group consists of an MC (Turt), a pianist/singer (C.Tappin) and a beatmaker (Twit One). Their music is rooted in the tradition of collectives like Native Tongues and Soulquarians, and they have come up with a pretty appropriate term to describe their sound, which is “cool bap”. But if we put formalities aside and look at the bigger picture, Syrup are also a perfect example of how music can connect people beyond national borders, language and tradition. And furthermore, how Afro-American culture has influenced not only the musical taste but the views and opinion-making of generations of young people worldwide. The sheer existence of Syrup is also a big fat “Fuck Brexit!” which makes the group even more likeable. The story of Syrup begins in 2015 when Twit One is booked to play a dj gig in Bristol. Twit One is a producer, DJ, radio host, record friend and former bass-player from Cologne (where he also co-owns the Groove Attack Record Store). He is a member of a small group of pioneering producers, who during the 2010s laid the foundation for the European beat-scene as we know it today. Inspired by the likes of Dilla and Madlib these guys made it look cool to not be the rapper. And they recorded some pretty dope music, too, which we had the honour to release via Melting Pot Music as the “Hi-Hat Club” series (a title that Twit came up with). During that night in Bristol, Twit got acquainted with two young men by the name of Turt and C.Tappin. Two childhood friends who had moved from London to Bristol for their studies and had been avid fans of Twit's music for some time. “Back in Cologne, Twit told me about these MCs from Bristol with whom he might record some tracks” Olski remembers, “Needless to say that I never heard about them again until summer 2017 when the annual Radio Love Love boat party was about to happen and Turt and Tappin were actually coming over for the first time, to party and to rock the mic. A couple of months later we released “Hay Luv” a new Twit album that featured Turt and Tappin on two songs. On their next visit, the two were accompanied by Turt's brother Slim, a very talented beatmaker and one half of Summers Sons. We spent some quality time while mastering the ‘Undertones’ EP (including remixes by Twit One, FloFilz and Cap Kendricks) and shooting the album cover at the Groove Attack record store basement. Since then we released two more album by Summers Sons (“Uhuru” - a joint project with Tappin and “The Rain”), C.Tappin's debut EP “Ashes To Ashes” (with remixes by Reginald Omas Mamode IV, Hulk Hodn & Slim) and a Koop beat tape by Slim. During the same time, Twit recorded two albums: “Dispo To Dispo” as Flatpocket (a project with Lazy Jones) and “Two”, the long awaited follow up to the very first Hi-Hat Club album as Testiculo Y Uno (with Hulk Hodn).” In 2018, Turt and Tappin moved back to London (the Lightworks headquarter is now located in Streatham). They toured with Children of Zeus and shared stages with artists like Melodiesinfonie and FloFilz. But it wasn't until Brexit before the long talked about super group finally became a reality. At the final recording sessions in September 2019 we already knew that the next Eurostar ride would be a different one. Now with Covid-19 we have no clue when all three members of the group will be in the same room again – let alone rock a stage together. But fortunately, we were sitting on a big pile of great singles that we released over the summer months. The album “Rosy Lee” will follow in late September.

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.

Strictly limited edition of 300 copies on black vinyl. Kutmah's "Isolation Tapes" contains a sweet selection of tracks from his Bandcamp tapes Volume 1-4 made while on lockdown in Berlin. The project is named after one of his favourite Joy Division songs and shows the variety of musical influences of Kutmah. Tip!

The vinyl edition is limited to 300 copies and comes in a sealed heavy old-fashioned cardboard sleeve. A free download code plus a BJINT logo sticker round up the packaging.

Next up on Beat Jazz International is "Jazzpercesek" by Budapest-based producer Savages with features by Dil Maddy, Sakura, Charles Brown and Michael Simmons aka The Professor. The vinyl edition includes two bonus tracks which are not available digitally.

Beat Art Department and HHV proudly present this limited edition of Flips new album that comes with a bonus 45 including two productions by Flip with vocals by Sadat X & Fokis as well as ONYX! Only 100 copies. Only at HHV.

As instrumental HipHop albums seem to be at an all-time high, ranging from so called lo-fi aesthetics to progressive sounds with electronic vibe, one of Austrian HipHop’s godfathers and OGs on the boards has finally dropped an instrumental album on his own. The title “Experiences“ has been chosen not without reason as it both reflects the personal experiences the artist has gone through in his 25 years plus career but also hint the influences and musical aspects that went into this album.
Flip has tried to give insight into his musical influences that began in the 80ies with groups like Public Enemy or EPMD into the 90ies era with sounds ranging from Native Tongue territory to a DJ Premier or Pete Rock or the DITC producers, when he started making beats on his own for his rap group Texta. You can hear links to other production wizards like J Dilla, Hi-Tec or Madlib that changed the sampling techniques post 2000 with albums like Donuts, Hi-teknology or Madvillain. So yes, „Experiences“ is sample-based but further developed by Flip with original basslines, keys, guitar riffs played by the producer himself.
The final result though is not just a simple look back into the golden era but more a retro-futuristic approach that Flip tried to execute within those sixteen compositions. Additional scratches and vocal chops add more flavor to the tracks and as one song flows with ease into the next one, this makes „Experiences“ an experience for the listener, too. While a lot of HipHop instrumental albums just let some loops run for two minutes, Flip took a more ambitious approach where continued listening to the album will reveal new details and musical ideas every
time.

Another fact that won t go unnoticed is the heavy punch of the drums which is due to the As instrumental HipHop albums seem to be at an all-time high, ranging from so called lo-fi aesthetics to progressive sounds with electronic vibe, one of Austrian HipHop’s godfathers and OGs on the boards has finally dropped an instrumental album on his own. The title “Experiences“ has been chosen not without reason as it both reflects the personal experiences the artist has gone through in his 25 years plus career but also hint the influences and musical aspects that went into this album. Flip has tried to give insight into his musical influences that began in the 80ies with groups like Public Enemy or EPMD into the 90ies era with sounds ranging from Native Tongue territory to a DJ Premier or Pete Rock or the DITC producers, when he started making beats on his own for his rap group Texta. You can hear links to other production wizards like J Dilla, Hi-Tec or Madlib that changed the sampling techniques post 2000 with albums like Donuts, Hi-teknology or Madvillain. So yes, „Experiences“ is sample-based but further developed by Flip with original basslines, keys, guitar riffs played by the producer himself. The final result though is not just a simple look back into the golden era but more a retro-futuristic approach that Flip tried to execute within those sixteen compositions. Additional scratches and vocal chops add more flavor to the tracks and as one song flows with ease into the next one, this makes „Experiences“ an experience for the listener, too. While a lot of HipHop instrumental albums just let some loops run for two minutes, Flip took a more ambitious approach where continued listening to the album will reveal new details and musical ideas every time.
Another fact that won t go unnoticed is the heavy punch of the drums which is due to the ́ usage of old samplers like the legendary SP-1200, the ASR-10 or the MPC2000XL that Flip is still using, blending it though with the power of modern soft and hardware. So put your headphones on take a trip through Flip s musical mind.

4 drum heavy, dystopian instrumentals on a limited edition 45 in picture sleeve

Strictly limited edition of 300 copies.

A creative union of 90s hiphop production techniques, live instrumentation, turntablism and spoken word poetry. Performed by Dan Broak, Herbal Bert and Lion El Hämpton at Odd Funk Records studio under the dope quality control surveillance of the notorious production-duo The Blassics.

As a multidisciplinary artist, Evidence is able to effortlessly express his creativity in many forms. From his early success, rapping in the seminal independent hip-hop group, Dilated Peoples, before excelling as a solo artist, to earning praise as an esteemed photographer, to becoming a Grammy-award winning producer, it’s clear that Evidence has an ability to achieve greatness in his creative endeavors. No matter what discipline he chooses to explore, all of his compositions are lauded as both cutting edge and familiar.

Following the vein of his earlier beat-tape series (Yellow Tape Instrumentals, Green Tape, Red Tape, etc.), Evidence continues his production legacy with a brand new series to raise the bar. Squirrel Tape Instrumentals Vol. 1 is a 26-track collection of unreleased instrumentals, packed full of emotive melodies woven into hard-hitting drum breaks. Each beat transports the listener to a hypnotic state of nostalgia, perfect for study sessions or writing your own hits.

As a special treat, the vinyl has been pressed on three different, limited colors of vinyl, and packaged at random, so opening the record is just the first of many pleasant surprises in store for you. Also available on three different colors of cassette tape to rock your box.

Just like the front teeth of a squirrel, Ev’s growth is never-ending.

Beat Art Department releases an EP with remixes from the upcoming album of the Vienna DJ and producer Urbs by Retrogott, Brenk Sinatra and Cookin' Soul.
Retrogott aka Kurt Hustle from Cologne, who completely reshaped the track "10.000 Years Behind Me", is one of the most important representatives of
German Independent Hip Hop ever since the mid-2000s. Collectors spend a small fortune for his 2007 debut album “Jetzt Schämst Du Dich!”, which
has become the blueprint of German rap. He has remained popular, even when he changed his name.

It has been eleven long years since Urbs dropped his last album which was called “Toujours Le Meme Film”. Back then, the musician, DJ and producer created the soundtrack to a fictitious Film Noir, which was released on Kruder & Dorfmeister‘s G-Stone Label, but after touring Europe he almost completely retreated from public life. He does not consider his creativity as
being his career, but rather as a part of his life which rarely is subject to concrete planning, and that is why Urbs quite consciously took his time to create his latest –untitled- album.

Urbs: “A lot of people totally appreciated my last album “Toujours Le Meme Film”, and over the years I’ve learned that it really means a lot to some of them. Which was a burden, because, obviously, you do not want to disappoint these people. By now, I think enough water went down Danube river to perhaps surprise some of them with something completely new.
Those who know me know that I’ve always simply produced dope hip hop
tracks.”

This time, as a consequence, this is no all instrumental album but a collection of 12 soulful hip hop tunes that feature some handpicked vocalist
of the international rap, dancehall and soul scenes. On the album right next to EMC’s Wordsworth or R.A. the Rugged Man from New York, you will hear Ward 21 from Kingston, Jamaica, Voice Monet from New Orleans, One Self’s Blu Rum 13 from Washington DC, as well as long time companions like Skero from Vienna or Blabbwona from the group Abstract Art, who now lives in Munich by choice.

There also is a simple answer to the question of why the album has no title:
“This album, so to say, is my competitive exhibition in this field and owing to the endlessly long ripening process it is wonderfully and intensively boiled
down and on point. Therefore, no intros, no interludes, no title, no gimmicks, simply 12 good songs – period."

Californian keyboardist & beatmaker Kiefer (birthname Kiefer Shackelford) drops his debut LP on Leaving Records, which has “enough jazz piano chops to transform L.A.’s Low End Theory into a smokey speak easy.”

LIT is a snapshot of Bluestaeb und JuJu Rogers' musical endeavors in Fall 2016. Both had a successful 2015 & 2016 with highly acclaimed albums and a European support tour of Oddisee for JuJu Roogers. Both musicians are working on new solo albums and both of them are not happy with having the "boom bap" stamp forced on them. Their perspective is about progression, live music, changing the formula and going new ways. This doesn’t mean that they’re blindly following trends but to question and adapt one’s own formula. In the case of lit it means adding live musicians to the equation, going for a sound that refines the direction they took on their previous releases.

With regard to content, JuJu's raps on the project deals with the important questions of our time. The trend word „lit“ becomes „LIT“, an abbreviation for "lost in translation" and a metaphor for the disconnection from trends of our society in general and hip hop especially. Racism, police brutality, gangsta rapper turning activists while still following a pattern of hate and destruction. Bluestaeb’s productions fluctuates from soulful and smooth to raw and gritty without sounding redundant or interchangeable.

Originally announced before J Dilla’s death in 2006, "Jay Love Japan" was finally released in ’07, giving fans of the revered hip-hop producer (aka Jay Dee, born James Yancey) another sampling of his emotive and inventive aesthetic. Much of the posthumous album is steeped in Dilla’s vintage soul sound, as best exemplified by the cinematic “Can’t You See,” making it an intriguing addition to his impressive but tragically brief discography.

"Teklife presents Afterlife, the first release on the new Teklife Records label. The album is a celebration of the life and music of the late, great DJ Rashad and features 15 previously unreleased tracks, each a collaboration between DJ Rashad and friends from the Teklife crew and beyond. A limited edition double vinyl will accompany the digital release.

Afterlife is testament to an incredible breadth of influences and love of music with soul, hip-hop, house, techno and many more all brought together at 160bpm. Rashad's presence is felt throughout in the boundless energy and creativity which run through the album, whilst each collaborator brings their personal touch to the compositions.

With such a prolific body of work as both a solo artist and in collaboration with other musicians, it would be impossible to present a definitive collection of DJ Rashad's music and many many classics will remain unreleased for ever.

Afterlife is our tribute to our friend and our inspiration. Rest In Peace DJ Rashad.

A percentage of the profits from the album will be donated to Rashad’s family.

colors vary