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From its opening notes ‘You, Me, Temporary’ announces itself as music from the soul reaching for the soul. The album recounts a modern day love story through the musical eyes of its protagonist, Sweatson Klank. It’s a story of love in the fast lane that touches on the good – innocence, romance, lust, sex – and the bad – drugs, debauchery, loss of self, despair – before closing with the peaceful beauty that comes with total acceptance of what is. ‘You, Me, Temporary’ is Sweatson Klank’s third full-length album in 10 years, and it shows just how extensive the Los Angeles native’s artistic growth has been. The music tight ropes between electronic, hip hop and futuristic R&B, sidestepping obvious boxes while finding its own effortlessly. ‘You, Me, Temporary’ transcends genres, balancing the vulnerable and sensual with the rough and jagged. The album has an emotive and sometimes pressing quality, in direct opposition to today’s disposable music mania. The hypnotic interplay of chords, melodies and rhythms draws you in and is equally effective in headphones as it is on the dancefloor. The warmth of analogue equipment flirts with expert sampling and chops that evoke the playful soul of ‘90s R&B and the heartfelt angst of classic hip hop while remaining forward thinking.

A wide cast of vocal guests help recount the different tales and stages of this story: Vikter Duplaix, Ango, Selfsays, Doc Illingsworth, Deniro Farrar, Anna Wise of Sonny Moon and Pat Parra. Upbeat and energetic songs sit next to hypnotic ballads, the sort most conducive to ‘baby making’ you might even say. The music is often elating, sexy and at times dreamy but also progresses to show melancholy and despondency in the sincerest way. Sometimes playful, sometimes serious the vocal tracks add a human dimension to the story that ‘You, Me, Temporary’ tells, completing its message and taking the album to that proverbial next level.

With this third album Sweatson Klank puts aside self-indulgence for simple honesty and the maturity that only comes with being a seasoned artist. ‘You, Me, Temporary’ tells a timeless story in a compelling way, and while its title hints at the trials and tribulations behind relationships, the overt concept lies in the impermanence of everything around us.

The reputation of the Japanese hip-hop production team Grey October Sound is spreading both in Japan and abroad. While they have released quality albums such as "Timeless" and "The Cave," their two lo-fi hip-hop cover albums, "Lo-Fi Ghibli" and "Lo-Fi City Pop," have become hits in record stores around the world. For the third installment of this series, they have set their sights on Japan's world-famous anime songs!

They will be covering songs from "Bleach", "Saint Seiya", "Puella Magi Madoka Magica", "k-on! and "Dragon Ball", all of which are lo-fi arrangements of theme songs and insert songs of high quality, while still showing respect for the originals. The cover of this album was designed by Rika Hase, an illustrator who also created the artwork for "Lo-Fi Ghibli" and "Lo-Fi City Pop".

Limited to 200 copies.

Fresh off the heels of 2021’s collaborative LP, Gotham from Talib Kweli and Diamond D, the BX icon returns with his sixth studio album, The Rear View. Comprised of 13 tracks, the album proves that without a shadow of a doubt, Diamond D’s reputation as the best producer on the mic remains unrivaled.

Never one to bogart the spotlight, Diamond is joined by a supporting cast of guest appearances that include Westside Gunn, Dre (Cool & Dre), Posdnuos (De La Soul), Ashtin Martin, Stacy Epps and KP, with a momentous introduction from the great Chris Rock. To boot, Diamond adds to the unblemished production value with additional board work from the likes of Nottz, Focus, D.R.U.G.S. Beats and Mr. Brady.

"I took my time crafting this LP to make sure every track could stand on its own as a possible single,” says Diamond. “Every feature and track was carefully selected from an elite group of artists and producers that I had the honor of working with. The end result is top tier bar work over pristine production,” he concludes.

Mega Ran's 11th solo full length album release explores the intrinsic relationship between hip-hop, basketball and the inner city cultures that have allowed each to thrive.

"90's hoops were just as influential as any video game or comic book I picked up," Ran says. "Now I get to give back."

Through tracks interspersed with words of wisdom from several Hall-Of-Fame level former NBA talents and analysts, the Philadelphia born MC weaves playful innocence with the storytelling and hopefulness that have made his fans proud over the past ten years. The album shines a light on many of the traits required to be a champion... from coaching to hard work, and even a little luck.

Now is the time to suit up and bring it home.

"Some albums act as tickets to travel through time and space, ones where you hear history and venture to worlds familiar, yet undeniably foreign and exciting. RBGxDD, the inaugural release for indie-label Uno Loop Records, is one of these albums. The LP is the beginning of a collaboration between two virtuosos you’ll want to keep an eye (and ear) on: producer Abderraouf B Grissa (Pink Siifu, Abstract Abder on Radio alHara) and drummer/producer Dan Drohan (Nick Hakim, Olden Yolk, Carrtoons, Andrew VanWyngarden of Mgmt).

Think CAN, Makaya McCraven, Sun Ra, or Madlib, and you’ll scratch the surface of what this LP has to offer, what it reminds you of, what it's inspired by. Grissa says of its creation, ""what began as a clear cut, beat-album featuring blistering acoustic drums evolved into a fluid, sonic journey that throws time- signature and structure to the wind."" RBGxDD is an album that expands the notion of how live instrumentation and sampling can continually innovate in unexpectedly catchy ways. The arrangements give space for both dancing and relaxing, with no shortage of finding the groove.

Joining them are artists who have perfected their craft upon arrival. Bobbie Johnston(Ear Yoga Ensemble,élan)delivers guitar riffs so smooth that they somehow blend into the music yet stand out in crispness and quality. Jarrett Gilgore (Heart of the Ghost; Jaimie Branch) takes a scorching approach to the saxophone that rejuvenates us, feeling as if we've been hit with a splash of cold water. Ahmad Kafari's (Sudan Archives, Pink Siifu, Jaw Gems, Chakram) piano playing is a gift, you hear expertise - years of influence by spiritual jazz and classical piano music emerge in a language first developed by Dorothy Ashby and honed by Dilla. Mastering was done by Kelly Hibbert (The Heliocentrics, Knxwledge, Flying Lotus, Karriem Riggins) who sends your ears to another sonic planet.

The LP is physically surrounded by something just as beautiful as the music it houses. We have artist Carol Summers and designer Daniel Rocha to thank for that. LP and artwork was licensed directly from Summers’ family. One of America's foremost printmakers with a career spanning over half a century, Summers has his works found in the Moma Lacma, NGA, and more. Rocha's LP designs are impeccably on cue with the music contained within, making the release look like it could’ve been released in 1973 or 2023. "

Get your ass up and let’s get ill! Yep, that’s right it’s Krash Slaughta and Phill – more accurately, it’s Phill and Krash because it’s that way round on what you get for your cash. Actually, face it, you’ll pay by card, though you won’t be bothered as these rhymes go hard. And you know it ain’t just them fat rhymes either, KS got the beats to give you a fever. That’s Side One, Definition Of Ill, but you know there’s another on the other side still. I Ain’t Playin’ With Y’All is what that’s called, more premium hip-hop to keep you enthralled. Phill says the music inspired the lyrics – apt because the finished tracks inspired this critic. Peace, I’m out! And if you don’t get your skates on, stores will be out too – of stock that is because while this one comes in two different cover & label versions, it’s strictly limited and there will be no re-press. Don’t sleep peeps!

Releasing now for well over a decade - Neue Grafik: known to friends as Fred, has successfully transplanted from Parisian rookie to one- man London Institution. Beginning as a solo producer and DJ,Fred spread his wings upon relocating to South London - at first with his Neue Grafik Ensemble and later with his now iconic twice-weekly Orii Jam - the latter of which has given agency to an entire new generation of musicians; spawning an aesthetic, nurturing a unique sound and becoming a launchpad for countless artists.

Dalston Tape Volume 1 is Fred’s attempt to fall back in love with beatmaking - taking it back to the roots of where the project began. I say “attempt” because he’s simply learnt too much and made too many friends along the way to make a mere DIY beat tape. Since his early MPC-led productions on Parisian label, Beat X Changers, Fred has learnt to play the keys to a concert hall standard, he has become proficient in double bass and built up a dense network of collaborators who he has composed, recorded, engineered and produced for both at home in SE London and in the iconic Total Refreshment Centre Studios in Dalston.

This experience adds unavoidable dimensions to his toolbox - resulting in something more akin to a miniature-magnum-opus than a simple beat-tape.

Yes, we hear the influences of Pete Rock, Mad Lib, J Dilla and Al Dobson Jr but we also hear the musicality of D’Aneglo, James Blake and live contributions from an ever growing army of young graduates of the Orii School.

Limited edition of 300 copies on vinyl of "Gebete ohne Gott", the new album by Hazenberg from Cologne. Included are old acquaintances like Knowsum, Retrogott or Lazy Jones, as well as new acquaintances like omega.ma, Repeter T or fosfoxn.
Make yourselves comfortable and listen to what Hazenberg has to say.

Includes 60 x 60 cm poster of the album artwork! The poster is only available at HHV!

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and Covid lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy." Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

Philadelphia emcee and OBH capo Dark Lo and Harlem based producer
V Don have joined forces once again on their new collaborative album “Timeless”.
Frequent collaborators (“The Message”, “They Killed Pookie”, “Alleyway Piss” and
“Blow 3”) “Timeless” is their first full-length project together, and this eleven (11)
song soundtrack to the streets leaves fans of the duo wanting more. V Don’s dark
and gritty production is the perfect background for Dark Lo’s tales of the streets,
violence and crime. “Timeless” includes features from the legendary Roc Marciano,
Griselda artist Benny the Butcher, and frequent V Don collaborator, Eto.
V Don has been a force on the New York rap scene for several years and has
worked with almost everyone in the game. His production of “Ghetto Symphony”
for A$AP Rocky brought V Don’s sounds to every corner of the country and
he hasn’t looked back since. V Don is coming off of a hot 2018 campaign
after releasing EP’s with Willie the Kid, Adonis, and his very own project “The Bone
Collector.” Dark Lo is best known for his work alongside AR-AB and the Philly hip
hop scene. His distinctive voice and style is reminiscent of classic Philly rap and he
brings his energy on each track on the new album. Dark Lo has also had a strong
2018 after dropping his anticipated album “The Testimony.”

Hailing from Massilon, Ohio, rapper Stalley has a well-deserved reputation for being a potent on-stage presence, and a force of hip-hop lyrical acumen. Throughout his career he has lent his distinctly Midwestern take on Dirty South-style rap to collaborations with veterans like Scarface, Curren$y, Ski Beatz, Paul Wall, and Rick Ross, with whom he has had a longtime association with, from his time as a signee of Ross' own Maybach Music Group label.
Now in 2018, Stalley finds himself riding solo once again, and unrestrained by a label, and creatively free. This lack of inhibitions comes out in full force on his new EP Tell The Truth Shame The Devil. Produced largely by Supah Mario (Drake, Young Thug, 2 Chainz), Tell The Truth takes an emotional detour from the familiar club anthems of his previous works, touching on issues of vulnerability, suicidal thoughts, artistic freedom, and more intense lyrical fare. (Which is not to say the album is completely free of freewheeling, boastful party rap goodness.)
Featuring guest spots from the hip-hop rapscallions of Migos, and freestyle aficionado Young Scooter, Tell The Truth Shame The Devil is uncompromising, filled equally with starkness and bare honesty as it is with revelry and ostentation.

Planet Asia helped jump-start the West Coast independent hip-hop movement, and has solidified himself as one of the most consistent and respected MCs in the game over his 20+ year career. He dropped his debut EP with producer Fanatik in 1998, and followed up quickly with the singles "Definition of Ill" (Stones Throw) and "Place of Birth" (ABB Records). In 2001, The Source Magazine gave him the ‘First Round Draft Pick’ and ‘Independent Album of the Year’ awards for ‘How the West Was One’, which was recorded with fellow CA rapper Rasco under the group name Cali Agents. This landed him a deal with Interscope Records, where he was signed until 2003 without releasing an album.
Planet Asia was nominated for a Grammy Award in 2002 for his feature on the song "W" by Mystic, and was later signed to Avatar Records, which released his official debut album, ‘The Grand Opening,’ in 2004. It earned him another ‘Independent Album of the Year’ award from The Source. Later, he started his own imprint Gold Chain Music, on which he has churned out multiple projects. He has also collaborated on albums with the likes of DJ Muggs (‘Pain Language’), Evidence (‘The Medicine’) and Madlib (‘Cracks In The Vinyl’), among others, and released songs with artists such as Linkin Park, Bun B, Talib Kweli and Ghostface Killah.
The Fresno MC is fresh off of a strong 2017 which featured well-received collaborative albums with producers DirtyDiggs (‘Dirty Planet’) and Apollo Brown (‘Anchovies’). For 2018, Asia teamed up with Bay Area producer izznyce for this true solo project, sure to be considered the next classic in his vast catalog.
‘The Golden Buddha’ was produced entirely by izznyce (producer for Superstar Quamallah and more) and features AZ, Hus Kingpin, Turbin, Marvelous Mag, Killa Kali, TriState, Xiomara and The Architect. Speaking on the project, Planet Asia says: “This album represents the foundation of what Planet Asia is about and that is ‘balance’. Me and izznyce also took our time with the record, and had a chance to really vibe out and make the type of music we personally like that will stand the test of time!”

LTF’s excursion into the unknown continues. Following the retrofuturistic Soviet jazz-funk sample madness on ‘Monolith,’ the productions on this album yet again spiral deep into dug-up sounds. To quote an article by Flea Market Funk about LTF’s music: “Sampling former Ussr wax and giving heads all around the world the chance to actually experience his version of that music—sample by sample—is what music is all about: sharing, learning, and preserving.”

For ‘Cinematic Wax,’ the producer from Omsk, Russia used rare records from countries including Russia, Georgia, Tarastan, Poland, Greece, and Hungary as his source material. “To this day, the 70s were the pinnacle years of musicians’ skill and imagination,” says LTF. “The only thing I can do is dig deeper and deeper into the crates and bring these masterpieces back to life.”

Since LTF’s first official record (2015’s ‘Light The Fuse’ on Black Milk Music), listeners kept telling him that his productions evoke a ‘cinematic feel.’ “I never really understood what they meant with that,” he admits. “I was just making jazzy, funky, boom-bap sh*t! Time went by, and people kept telling me how ‘cinematic’ my beats are. So this record is kind of an answer to the idea that was planted in my mind.”

Song titles like “Tbilisi City Walk” and “Tea Ceremony with Bamboo Monster” indicate the vivid approach to naming his funk breaks and boom-bap-minded productions. “I always try to put the feelings my production process evokes into the name of the tracks. To me, that’s quite hard to put into words. But in the end, finding the right way to describe those moods is extremely satisfying.”

There’s also a meaning to one of the vocal samples in the album’s intro track: a Secret Intelligence Agent from a Bond movie says how he “lights the fuse in any explosive situation.” A hint to the meaning of his artist name LTF (Light The Fuse), and a reference to his way of working with samples: explosive sounds of horn stabs, brass, bass, and breaks. Carefully digging for hidden material like a spy himself, distilling only the most treasured parts.

Roll the opening credits…

At the same time Hip Hop MCs like Run DMC and Kurtis Blow were helping Hip Hop evolve lyrically in the formative years of producing hip-hop albums, producers like Davey D and Vincent Davis were defining the sound of instrumental hip-hop. Four decades later, Rob Swift and Shawnecicontinue to push the boundaries of what an instrumental Hip Hop project can sound like on For Heads That Break. Rob Swift says, "It's not like instrumental Hip Hop albums haven't existed. Respect to J Dilla and all that. But I feel as thoughFor Heads That Break is more of a tribute to the originators of instrumental hip-hop. I'm talkin' dudes like Malcolm McClaren and the Supreme Team. A lot of people may not know that Duck Rock was the first EP to feature scratches and the majority of the EP's songs were instrumental. So when Shawneci and I linked up on this project, we knew scratches would play an integral role in the music." For Heads That Break serves up the kind of hip-hop that stays true to the genre's most influential and diverse era.

Get yo ass in the house, robot-- you cyber-spectre, you outhouse prime minister, you hard-headed mirror ninja, snapping selfies, living in the pixelated seams between bursts the of flashing images, birthed in a pool of TV static and Tik Tok dust. Black Encyclopedia OF THE AIR is here, not to save but to drown you. Heads better learn how to swim cause listen, this record is beat soup, hearty yet still minimal, a sonic mirage of prophetic soul that drop kicks your "chill beats to study to" Youtube playlist and hyper-intellectual rap podcasts into a hadron collider; it's only black matter on the other side-- 13 mesmerizing tracks about memory and imprinting and the future, all of them wafting through untouched space like the ghostly cinders of a world on fire, unbound and uncharted, vast and stretching across the universe. Moor Mother is a holographic figment of an Afrotopian dream, all at once goddess and warrior, mystic and cyborg, griot and future time traveller, etching noisy pieces of reverie into our consciousness for decades now. But check it: on Black Encyclopedia she's joined by a wide-range of friends, collaborators and co-conspirators on a trip through the murky cosmos, navigating the black universe with stardust as currency. In these times, they'll say, as they click and mash their way through the same inter-webs that seek to strangle them, Black Encyclopedia OF THE AIR is just what we need: a post-everything, 12:01 on the doomsday clock, anti-trip hop type of situation. "We ain't gotta fight no more," they'll say; the rest of us, we'll put this record on and imagine again that it's real.

This purple edition is limited to 200 copies.

Deca’s streak of entrancing releases continues with Smoking Gun, an album that deftly blends psychedelic, raw production with sharp insights and clever lyricism. But it’s thus much more than that. Smoking Gun is a sonic representation of an artist grappling with living in America, a country with a network of broken systems that leaves Deca questioning when and if it may turn around. To say this all makes for a compelling listen would be a vast understatement, because the New York City-based rapper/producer knows the key to presenting this material. He does it in a way that’s both refreshing and new, but never isolating or simply too oddball. There’s a left-field quality to his work, but Deca knows exactly what he’s doing. To prove that point, he enlisted fellow outside-the-box thinkers like Blu and Homeboy Sandman to appear on some of the album’s standout cuts. “Shelter,” which features Blu, is a jazzy, dusty piece of thoughtful hip-hop with crazy flows and lyrics to match. It’s so good you’ll wish these two would record an entire project together, and the same goes for Boy Sand’s appearance on “Dawn Wind.” Backed by Deca’s own low-key funky production, both he and Homeboy Sandman go verse for verse, each offering their own take on how to liberate yourself from the machine that aims to surveil and control both our outer world and inner peace. Other tracks embody a similar energy, including the justifiably cynical “St. America (feat. DJ Stan Solo)” and stunning “Tuning.” The latter track may just be the most impressive piece on Smoking Gun, thanks in part to the mind-melting beat-switch. It’s a thrilling musical journey that furthers Deca’s narrative about mankind’s ethical plight, and the problems we collectively face.

Known for classic collaborative albums with artists like J Dilla, MF Doom, and Freddie Gibbs, widely celebrated producer Madlib is a sampling savant who has crafted beats for the likes of Erykah Badu, Anderson .Paak, Tyler The Creator, Logic, De La Soul, and many more. The California artist’s latest project is Liberation 2, his second collaboration with hip-hop icon Talib Kweli. A global call for unity through space and time, the acclaimed album features appearances by Q-Tip, Westside Gunn, Roc Marciano, Roy Ayers, Goapele, Wildchild, Pink Siifu, and more. Now, the remarkable jazz-inflected Madlib instrumentals from Liberation 2 are receiving a proper vinyl release. Following in the footsteps of past Madlib instrumental classics, this limited-edition collection features 14 compelling tracks from one of the most gifted musical minds in hip-hop history.

Acclaimed producer, songwriter, and vocalist Shafiq Husayn has been a vital force on the Los Angeles music scene for decades. A member of trendsetting trio Sa-Ra Creative Partners, Shafiq has produced tracks for a staggering spectrum of talent, including Erykah Badu, Ty Dolla $ign, Pharoahe Monch, Robert Glasper, Ice T, Bilal, Jurassic 5, and many more. Over the last few years, the Grammy winner has also become the leader of The Dove Society, an expansive L.A. musical collective. Now, Shafiq Husayn and The Dove Society are debuting the new album So Gold, an eclectic masterpiece emerging from sessions Shafiq describes as “pure love, magic, inspiration!” A worthy follow-up to Shafiq’s acclaimed 2018 opus The Loop, the album features contributions from Anderson .Paak, Syd (of The Internet), Peyton, Thurz, Jimetta Rose, Speed Walton, and many more. Bursting with the kinetic energy of vibrant creative collaboration, the album synthesizes disparate styles into a cohesive tapestry of lush cosmic soul. “It’s new age everything and above,” Shafiq explains. “Focused and direct in the songwriting and production, but still adventurous and refreshing.”

One of LA’s smartest young voices says the LA Times…which the artist suspects, may just be a covert way of saying LA is dumb. “Open” Mike Eagle wouldnt terribly mind, being born and raised in Chicago where the painful winters and his uppity grandparents kept him inside as a youth. He spent his formative years watching alternative music happen on MTV and hoping to one day be able to audition for the Native Tongues. As a young adult after graduating with a degree in Psychology, he did the next best thing and moved to Los Angeles, joining the Project Blowed collective where he made music and toured with Busdriver, Aceyalone, Abstract, Nocando, and more. He’s also gained notoriety in the world of comedy by being invited by professional funny people (Paul F. Tompkins, Hannibal Buress, Matt Besser/UCB) to rap at their shows. He’d like to be rap’s Kurt Vonnegut but recognizes that he’d first have to create something as iconic as the four-stroke illustration of an anus. He practices by releasing rap albums that delight, entertain, and confuse

Decay, the new album from New Jersey rapper Fatboi Sharif and producer Steel Tipped Dove, is an anomaly. In an era of microwave projects and email collaborations, the duo spent more than a year writing, recording and mixing Decay together in Dove’s Brooklyn studio. At a moment when many independent hip-hop projects are sonically predictable, easily categorized, and derivative, Decay is unapologetically experimental. Love it or hate it, it doesn’t sound like any other record out. Add to all that the fact that, bucking the trend of feature-laden rap records, there isn’t a single guest appearance on Decay. This album is a one-of-one, handcrafted from the ground up by two of the genre’s most esoteric artists, under the umbrella of indie rap’s preeminent record label.

In October 2020 Dove got in touch with Sharif after hearing Gandhi Loves Children, Sharif’s project with Roper Williams.

“I really liked the experimental writing he was doing. The whole vibe was different from the beat choices, the visuals, the lyrics — all unique,” Dove explains. The two of them linked up and hit it off immediately.

“In the first session we had made two songs that ended up being some of the best work on the album,” Sharif says, “and as we worked on it we knew we had something special that we weren't hearing anywhere else and we kept building on that”

Sharif found himself digging deeply in order to write, which he credits to Dove’s attention to detail and ability to push the boundaries sonically. “Dove’s production kept me in the zone to touch on stories that I never touched on in my past work, from personal situations tucked away that I thought I wasn't ready to unveil yet, to convos we just would have regarding the state of everything going on in the world and beyond”

For his part, Dove was consistently impressed by the young artists’ dedication, as well as his ear for the unusual. “It was almost like a challenge to him, if I had a beat that no one had chosen, or that had kinda strange timing, he would almost always choose that one”

This is Koyaanisqatsi via Rahway, New Jersey. A winding nighttime drive along the narrow, rutted paths of a damaged psyche, dead deer watching from the roadside. Decay is a candlelit spades game in the parlor of a dilapidated mansion, eviction papers pasted atop one another on the front door. A black Woodstock in the wetlands, blotter acid in the headband, as ELUCID might say. Together, Sharif and Dove just flipped on the power to a carousel in the middle of an abandoned amusement park, and every horse has a rider, spinning and spinning in the dark

“Sometimes in life, we feel held down, tested and sought after by an unseen force that we can’t fully explain,” Sharif muses, “this album is a trip into the foundation of the dysfunction that surrounds us all in one way or another”

Following the success of the initial release, Skyzoo and The Other Guys present their sequel of sorts with the deluxe edition of "The Mind of a Saint", their critically acclaimed concept album which debuted at number 1 on the hip hop charts in the country upon release week. The album, which sees the fictional character Franklin Saint of the heralded FX series "Snowfall" step into a vocal booth and tell his story as an early 80's drug kingpin, suffering from the grief and stresses that come with the title. The original release saw members of the television series speak openly about the project, including the show's lead character, actor Damson Idris, who spoke glowingly of the album in Rolling Stone. After the series wrapped, Skyzoo and The Other Guys went back into the studio to let Franklin wrap up his story to align with the show's finale. A darker turn than its predecessor, this deluxe edition adds 7 extra songs, clocking in at 40+ minutes of new music, with Skyzoo once again channeling his inner Franklin Saint and letting the heartache pour one final time before the book is closed.

Kid Abstrakt and Polish beat magician Emapea have teamed up for an intriguing new album called Jazzy Vibes, a throwback to ‘90s Golden Era hip-hop updated with a 2020 spin.

Kid Abstrakt, a Los Angeles native born to a Nicaraguan father and Brazilian mother, formed his first group Revolutionary Rhythm in high school, which ultimately led him to touring with some of his hip-hop heroes, including members of the Pharcyde.

“I fell in love with hip-hop when I first heard A Tribe Called Quest and The Pharcyde,” Abstrakt says. “It was crazy to hear Q-Tip, Pete Rock and J Dilla sample jazz records and have MCs dropping conscious rhymes I could relate to.

“While mainstream hip-hop found different styles throughout the years, we just wanted to make music that was similar to the records we bought back in the late ‘90s and early 2000s. We wanted to tell our story over jazz and soul samples.”

As the title suggests, Jazzy Vibes retains the tried-and-true formula of mellow, jazz- infused production and boom bap style rhymes, but Abstrakt’s lyrics are bursting at the seams with deep, introspective musings on his private life delivered in a continuous barrage of flawlessly executed bars.

“The lyrics go beyond just rhyming words and trying to sound hard on a beat,” he explains. “The album dives into days where I struggle to stay positive and find a balance between work and what I love, and almost quitting on my passion because I needed to focus on supporting my family.

“Tomorrow is not promised and my music has helped others through their struggles. It’s deeper than rap and this journey has truly humbled me.”

The 10-track project boasts contributions from DJ Million Faces, Predominance, Innate and Young Dreamer and is expected to arrive on July 24.

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.

“The womb is The Stargate of Humanity” says Ras G, relating to the concept of his latest proper full-length – an astral ode to woman. “Stargate Music is a record that I livicated to the Womb-man…to the Vagina, The Stargate from which beings emanate life on this planet. I gathered these sound pieces and presented it as a reflection of the life cycle of beings on this planet.”

G has always been more to us than an influential L.A. beatmaker, but rather the luminary with an infectiously heartfelt zero-fucks-given philosophy towards raw experimentation in the Los Angeles underground producer scene since the early 2000s.

“From The Primordial Water Formation we flow thru The Stargate….and one’s great journey reconnecting and returning to the sweet nectar that is The Stargate….and this is the soundtrack to the journey.”
-Ras G

After creating a stir online with 2021’s outstanding collaborative project Tha Wolf On Wall St, independent hip-hop titans Your Old Droog and Tha God Fahim are back with an official follow-up. Blending Droog’s relentless punchlines with Fahim’s streetwise folk tales, "Tha Wolf On Wall St 2: The American Dream" highlights the duo’s undeniable chemistry, as this Brooklyn to Atlanta connection remains as potent as ever. While their styles differ, Your Old Droog and Tha God Fahim instill the collection with a shared vision, centered on overcoming adversity and attaining success against all odds. This special-edition CD includes the original "Tha Wolf On Wall St" along with the sequel.

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets Nola bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

Acclaimed L.A. rapper Blu has crafted a remarkable discography, partnering with a series of exceptional producers to deliver cohesive collections showcasing his vivid lyricism and effortless flows. Now, Blu is turning to talented SoCal beatsmith Sirplus, a protégé of famed producer Exile who has worked with the likes of Planet Asia, Edo G, MED, Cali Agents, and more. "Sirplus is my guy," says Blu. "He is the newest member of the Dirty Science crew, and I could tell he had talent and skill. I knew I had to work with him." Now available worldwide, "For Sale" is a new EP from Blu entirely produced by Sirplus, featuring appearances by Nolan The Ninja, Johaz of Dag Savage, Scienze, Noveliss, and more.

Mega Ran's 11th solo full length album release explores the intrinsic relationship between hip-hop, basketball and the inner city cultures that have allowed each to thrive.

"90's hoops were just as influential as any video game or comic book I picked up," Ran says. "Now I get to give back."

Through tracks interspersed with words of wisdom from several Hall-Of-Fame level former NBA talents and analysts, the Philadelphia born MC weaves playful innocence with the storytelling and hopefulness that have made his fans proud over the past ten years. The album shines a light on many of the traits required to be a champion... from coaching to hard work, and even a little luck.

Now is the time to suit up and bring it home.

Powerhouse R&B/Soul vocalist and Canadian Idol finalist. Gary Beals, is thrilled to be releasing his new album, The Melody Within. The Melody within is a musical journey that unfolds across two sides, much like a story that reveals new layers with each turn. The album is more than just a collection of songs; it's an emotional guide that beckons us to explore the depths of our own feelings and explores navigating emotions, self discovery, and nostalgia through soulful melodies. "This album serves as the aftermath to my previous album, "Bleed My Truth". It's a continuation of my musical journey, a fusion of soulful melodies and diverse influences that mirror both my personal and artistic evolution," said Gary Beals. "Each song is a chapter, a piece of my heart and soul, inviting listeners into my world of emotions, experiences and connection. It uncovers the melody that resides within. The anticipation is building as I look forward to sharing this collection of new music, and I hope it resonates deeply, offering a meaningful and memorable musical experience enriched with a multitude of emotions." With this new body of work, Gary had the opportunity to work with two talented primary producers,Beatchild (Drake, Justin Nozuka, Glen Lewis) and Myles "Losh'' Schwartz (Allan Rayman, Tobi, The Game, Pretty Lights). Additional production credits on the album include, Chris Guirguis, Frizzy Astro (Raz Fresco, Daniel Son), Jordan "Tempo" Farmer, Kobebeats (Rodwave, Kcamp, Sevyn),Sid Aakowa, Ty Danelley (Popcaan, Tory Lanez, Pressa) and Warren Williams, who all helped to shape the makings of the album while maintaining a consistent synergy. Side A of the album draws inspiration from the likes of Al Green, Aretha Franklin, Otis Redding, Marvin Gaye, and James Brown, and pays homage to artists who have played an integral part in shaping Gary's musical roots. This side includes Gary's previously released singles, "Good People, Good Vibes" and "All of Me," and the album's title track "The Melody Within," that commends the process of self-discovery and introspection. Also included is the album's 5th single, "Self Revolution," which will be released on October 27th along with the official music video. On Side B, you'll encounter a fusion of R&B and pop elements while still staying true to the album's soulful essence. Included on this side, is Gary's third single "I Like That," featuring Jrdn and Kayo ,and the new single "How Do I Say (I Love You)," released September 22nd. "How Do I Say (I Love You)" dives into the inner conflict of conveying affection, showing vulnerability, and the bravery needed to expose one's heart to someone else. About Gary Beals: Two decades ago, Gary embarked on his musical journey when he, a small-town kid from Nova Scotia (now calling Toronto home), made a remarkable entrance onto the national stage as a part of Canada's inaugural season of Canadian Idol. This month marks the 20th anniversary of the finale where Gary was crowned as the "runner up" on the show. The experience ignited a transformative period of self-reflection and discovery that propelled Gary toward personal growth, shaping his life and musical career in lasting ways.
Fast forward through three albums and twenty years, Gary's work and talent have made a remarkable impact and received widespread critical acclaim. Among his accomplishments are debuting in the top 10 of the Canadian sales chart, being nominated for a Juno Award for "Best R&B/Soul Recording," winning an East Coast Music Award and seven African Nova Scotia Music Awards, as well as scoring nominations for an Urban Music Award and a Canadian Radio Music Award. These accomplishments led to his home province's Premier officially designating November 22nd as Gary Beals Day in acknowledgment of his achievements.
With his return, Gary is poised to make a positive impact on the ever-expanding global community as he prepares to release his new album The Melody Within. The album will stand as a tribute to the strength that resides within all of us and a reminder that true fulfillment comes not just from achieving goals, but from discovering the intricate beauty that lies within our own hearts and souls.
Craig Charles is a big supporter of Gary Beals and spun his single 'All Of Me' for three weeks in a row on his Funk and Soul Show on BBC Radio Six
His first album, Gary Beals, entered the Canadian album charts at Number 10 and went on to sell 110,000 copies

Primarily an instrumental album, Jeff Markey’s Sports & Leisure project also features artists billy woods, PremRock, Fatboi Sharif, Defcee, Skech185, Googie and Shape. Now available on vinyl for the first time, Markey has added some very special bells and whistles: Instrumentals for every rap song on the album (Physically) unreleased Armand Hammer collaborations: Armand Hammer “Native Sun” (Half Measures) “Black Ark” instrumental (Race Music) “Halloween Fell on a Weekend” instrumental (wht Lbl) “Western Education is Forbidden” instrumental (Terror Management) Markey is a longtime Backwoodz collaborator, but while his contributions have always been memorable, they have also been few and far between. The credits tell the tale: There he is producing the very first track - “Native Sun” - on Half Measures, the very first Armand Hammer mixtape (2013). That same year he did “Black Ark” on the duos debut LP, Race Music and then doesn’t pop again on anything Backwoodz related until 2019 when he co-produced billy woods first single for Terror Management, “Western Education is Forbidden” featuring Fielded. In 2022, Markey and Fielded made it 2-for-2 with the slinkily fun “Halloween Fell On A Weekend,” a track on Armand Hammer’s vinyl-exclusive WHT LBL.

While he has put out a few other projects over the years and has an equally long history with Reservoir Sound, the arts collective founded by producer A.M. Breakups, Markey spent most of the past decade on the periphery of the NYC indie scene, as likely to drop heat as he was to disappear for years at a time. Sports & Leisure represents the beginnings of a new era for the Akron, Ohio-born producer who moved to New York City in 2004. The pandemic gave him the time and mental space to re-dedicate himself to music and this project figures to be the tip of the iceberg.

“I wanted to make beats that were rugged yet had really warm textures. Previously, I had been making such complicated and left-field sounding shit that I wanted to make something closer to normal rap beats,” Markey says. “I wanted to make shit that was special because good choices were made within an already existing framework rather than completely changing the framework”

2022 repress - Colored Vinyl

Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world? That’s what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.

The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.

This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge’s "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.

With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade. Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation. He says himself: “Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record”

“When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.”

Known to keep a low profile and cause pandemonium with each reemergence, rhyme writer extraordinaire Your Old Droog is debuting the appropriately-titled single "The Return Of Sasquatch", a collaboration with legendary producer Madlib. A brash, kinetic masterpiece, the track marks a historic encounter between two of the biggest names in independent hip-hop. This limited pressing on 7" picture disc vinyl also includes an exclusive live rehearsal performance of "The Unknown Comic" on the B-Side, produced by Edan.

Comes in a gatefold cover.

All songs written by Oddisee.
Appearances written by respective feature guests.

All songs produced by Oddisee.
"Bartenders" co-produced by Dunc.
Additional instrumentation by
Ralph Real (keys), Dennis Turner (bass),
Olivier St. Louis & Saint Ezekiel (guitar)
Jon Laine (drums)
Fredeka, Felix Herbst, Johan Lenox & Don Carn (strings)

Mixed by Oddisee
Mastered by Hans-Philipp Graf, HP Mastering

Artwork & Design by Arthur Banach

Outer Note Label 2023