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Afro Latin Vintage Orchestra’s (ALVO) new album Pulsion delves deeper into spiritual jazz, library and film music. The result is a heavier, more progressive and darker sound albeit
with their signature funk and groove remaining intact as the foundation.

Speak Easy is a jazzy, smooth party starter that sees Phill Most with his typically cutting punchlines flipping between single and double speed rhymes effortlessly, stepping all over MC conventions. The beat sees Snafu chop and mutate samples from a multitude of different songs to create a groove that's an immediate neck snapper, and Grazzhoppa completes the track scratching up various sounds from the 50s throughout the verses and chorus!

I'm On Vacation (808 Remix), exclusive to this 45 and not on the forthcoming 2LP sees Phill Most Chill on his story-telling mode with a wild tale about fighting wife beaters, getting accosted by porno stars while casually enjoying his margaritas unbothered! This remix sees Snafu strip off the Latin samples and go for a moodier 808 driven fast beat, complimented by live bass harmonics and some live hammond also sprinkled in! Grazzhoppa goes totally crazy on this completely blending his scratches into the beat, making the distinction between beat and scratches quite fuzzy at times! This is definitely one for DJs and big sound systems, b-boys and anyone who needs a dose of adrenaline!

Una Jauria Llamada Ernesto(a Wolfpack called Ernesto)Original Motion Picture SoundtrackDirector Everardo GonzalezMusic by Andrés Sánchez Maher, Haxah, Konk ReyesLabel Plaza Mayor Company LtdCombines true stories to create its titular character, and parallels with the manufacturing of a gun. The two stories’ convergent paths twits in a double helix of violence which leaves one person dead by firearms every 41 minutes.This score is the voice they wanted us to hear. It's the sophistication of the street and the gang. A mixture in which space was given to two young men who belonged to the packs of Mexico City: Haxah, Konk Reyes and the extraordinary experience of Andrés Sánchez, who managed to articulate a sound discourse as a gateway to the world of violence, the need for revenge but also to that of repentance and the desire to return to a starting point when everything could be avoided.Enjoy this atmosphere and let's try together to break the stigma that surrounds our Latin American children.Everardo González - Director

Anzola is a Toronto based Venezuelan-born recording artist and multi-instrumentalist, whose loop-based neo-psychedelic music incorporates elements of Instrumental Hip Hop, Electronic, Jazz, and Latin genres. Utilizing samplers, classic synths, drum machines, and live instrumentation, Anzola’s sound is groove-heavy and often depicts a laid-back landscape. Anzola is set to release his upcoming self-produced six-track EP entitled Bodega, on April 8, 2022. The record was developed throughout the course of 2020 and into early 2021 and was recorded at Anzola’s home studio in Toronto. Throughout the pandemic, Anzola continued working on music while re-building his home studio in a new physical space. This provided an opportunity to experiment with different layouts of his gear, which impacted the ways in which he interacted with the equipment. Bodega was born out of a manipulation of immediate loopable tracks for Anzola’s keys and synths, and fluid rhythmic changes that progressed as the songs themselves were created. Anzola’s previous 2020 release, Caracas, was a six-track EP that embodied his experience of growing up in the city of Caracas. The record celebrated his youth and explored the parts of himself that were left behind when he immigrated to Canada. Caracas was entirely self-produced and was created instrumentally utilizing drum machines, bass, synths, electric pianos, and samplers.

The Ill Adrenaline Records camp continues to push forward with pure unapologetic boom bap hip-hop. In 2012 Beneficence and AG (of D.I.T.C.) released the now classic collabo track/video for “All Real”, the strongest cut off Benef's much sought after underground smash album "Concrete Soul". The duo veterans are back at it once again with visuals and a limited edition 12” for the Jazz Spastiks produced track “Smooth Hardcore”, taken off the critically acclaimed LP "Basement Chemistry” (2016). The single contains the original album version plus a 90’s ultra-jazzy remix from legendary producer K-Def (Real Live, LL Cool J, Tragedy, Lords of the Underground, Ghostface Killah, etc.), and a Latin flavor remix from up-and-coming beatsmith Brous One.

Limited edition of 175 copies on white vinyl, exclusively available at HHV - only 1 per customer!

The Ill Adrenaline Records camp continues to push forward with pure unapologetic boom bap hip-hop. In 2012 Beneficence and AG (of D.I.T.C.) released the now classic collabo track/video for “All Real”, the strongest cut off Benef's much sought after underground smash album "Concrete Soul". The duo veterans are back at it once again with visuals and a limited edition 12” for the Jazz Spastiks produced track “Smooth Hardcore”, taken off the critically acclaimed LP "Basement Chemistry” (2016). The single contains the original album version plus a 90’s ultra-jazzy remix from legendary producer K-Def (Real Live, LL Cool J, Tragedy, Lords of the Underground, Ghostface Killah, etc.), and a Latin flavor remix from up-and-coming beatsmith Brous One.

El Barrio Spanish Harlem native Bodega Bamz’s breakthrough mixtape 'Strictly For My P.A.P.I.Z’ dropped in 2012 during the ‘New, New York’ movement, when the next generation of East Coast talent - A$ap Rocky & the rest of the Mob, Joey Badass & the Pro Era crew, Action Bronson - were moving from the underground to the mainstream. What sets Bodega apart from his peers is how uncompromisingly Latino he is, part Puerto Rican and Dominican, the tape is littered with Spanish slang, lyrics and samples. In 2015 Bamz went in a new direction on his sophomore album, ‘Sidewalk Exec.’ Produced entirely by V Don and released under the venerated Duck Down Music label, Bamz served up an LP that sonically and lyrically were reminiscent of the boom-bap era of New York hip-hop, incorporating the gritty, New York underground sound, and V Don did a good job mixing high-pitched flutes with an arrangement of woodwind instruments. Keeping his guest features to a minimum on the 40-minute-plus LP, Bamz recruited the help of some familiar faces with A$ton Matthews, Flatbush Zombies, Joell Ortiz and the late A$ap Yams all appearing on the project. Following the release of Sidewalk Exec, Bamz continued to release music (Papi) and expanded his fanbase and the Tan Boys brand, a collective of Hispanic MCs that aim to unite the Latin community of Hip-Hop, by going on several nationwide tours with the likes of Flatbush Zombies, Danny Brown, and Joey Bada$$. ‘yams Heard This’ is the 4th album by Bodega Bamz. Dedicated to the memory of his late friend A$ap Yams, the ten-track record includes features from Kevin Gates and Tan Boy Luka, with production that incorporates both the Latino flavor from Strictly 4 My Papiz and New york boom bap from Sidewalk Exec. Bamz delivers his fans what they have been waiting for and honors his mentor: “Originally, I had the idea to drop a project called Wwyd (What Would Yams Do). There was a time when I was lost. My homie Yams, who I would run all of my music by, was my sounding board, who always knew what was hot, and knew when I had a track ready for the streets, was no longer there. So the reason why I named this album Yams Heard This, is because if he was still alive today, I know he would have loved the vibe and energy of this album and would have given me his stamp of approval. These are the types of songs he would have wanted to executive produce.”

Twenty-eight years ago, pissed-off twelve-year-olds around the universe discovered a new planet, a Black Planet. Public Enemy’s aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even in the border town of Laredo, Texas, home of the future founders of the Latin-Funk-Soul-Breaks super group, Brownout. The band’s sixth full-length album (out May 25th) Fear of a Brown Planet is a musical manifesto inspired by Public Enemy’s music and revolutionary spirit.

Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn’t possibly have expected that their golden-era hip hop albums would sow the seeds for countless Public Enemy sleeper cells, one that would emerge nearly three decades later in Austin, Texas. Greg Gonzalez (bass) remembers a kid back in junior high hipped him to the fact that Public Enemy’s “Bring the Noise” is built on James Brown samples, while a teenaged Beto Martinez (guitar) alternated between metal and hip-hop in his walk-man, and Adrian Quesada (guitar/keys) remembers falling in love with Public Enemy’s sound at an early age. “When I got into Hip hop, I was looking for this aggressive outlet . . . and I didn’t even understand what they were pissed off about, because I was twelve and lived in Laredo . . . but I loved it and I felt angry along with them.”

Joseph Abajian (Fat Beats’ owner) must have sensed the deep hip-hop well lying beneath the versatile band’s Latin-Funk veneer. “I thought their sound would work covering Public Enemy songs,” Abajian says, and, “it was good to know they were P.E. fans . . . We came up with a track listing and they went to work.” Despite the band’s eagerness to work on new original material (an album of original songs is slated for next year), they couldn’t pass up the opportunity to pay homage to this iconic and influential posse.

Translating sample-based music to a live band turned out to be more of a challenge than they anticipated. Adrian tried to get inside the Bomb Squad’s [Public Enemy’s producers/beat-making team] head in order to find the inspiration to reinterpret P.E.’s songs: “imagine the Bomb Squad going back in time and getting the J.B.s [James Brown’s funky backing band] in the studio and setting up a couple analog synths and then playing those songs.” While some songs closely follow the original musical blueprint, others use the source breakbeats as jumping-off points later sweetened by Trombonist Mark “Speedy” Gonzales’ horn arrangements, synth wizardry courtesy of friend-of-the-band Peter Stopschinski, and DJ Trackstar’s turntable scratches. But don’t listen expecting to hear paint-by-numbers recreations of classic Public Enemy jams. “Our approach is never in the tribute sense,” Adrian explains. “We’ve always taken it and made it our own, whether it’s the Brown Sabbath thing or this Public Enemy thing.”

Coming off numerous tours as Brown Sabbath and even a stint backing the late legend Prince, Brownout is arguably the tightest and funkiest band on the road today and they’re psyched to bring this revolutionary music to the people. For a band without an overt political agenda, they collectively couldn’t resist the opportunity to play this music live, especially now. “If there’s any way that we can use the already political and protest nature [of P.E.’s music], we would like to try,” Beto says. “The album’s title, Fear of Brown Planet is definitely a relevant idea today and we’re not afraid to put it out there, because we want to speak out.” By reinterpreting these hip hop classics in their unique style and channeling the spirit of Public Enemy that first echoed around the world and captured their imaginations all those years ago, Brownout is doing exactly that.

“G.I.T.U., an acronym for Greatest In The Universe. The title encompasses the feeling this body of work for me. It’s my life experiences, my loves and losses, my stories about overcoming obstacles both external and internal, while learning to love myself and becoming the best version of me. Both as a person and as an artist I tried to push my boundaries and expand my limitations. Everyone’s world is their own, everyone has their own universe that they are in control of, this is mine. I’m the G.I.T.U.” – Chris Rivers

Since he first entered the rap game, every mention of Chris Rivers inevitably acknowledges the influence of his father, Big Pun, one of the art form’s all-time greats. It’s a gift that offered the Bronx MC the opportunity to be heard, but simultaneously a curse that elicits unfair comparisons. But with his Mello Music debut, G.I.T.U., Rivers achieves what would’ve been impossible for a lesser talent: he stakes his claim as a singular artist, one speaking for his generation, his culture, his familial heritage, and most crucially, himself.

If Rivers is unquestionably the son of the first solo Latin rapper with a platinum plaque, he has clearly evolved into his own man. G.I.T.U is the opportunity to tell his story--one that starts full of mourning and self-doubt but matures into a gripping tale of self-discovery. In bold declarative terms, he sketches a portrait of a life lived on the margins, weathering the storms of abuse, poverty, and the lingering shadow of high expectations.

There are struggles with addiction and suicidal thoughts, but Rivers transcends those demons to deliver audio dope that does his legacy proud. He raps with the jaw-dropping lyrical agility and syllable precision that you’d expect from his patrimony, but with the vulnerability and introspection that can only come from an artist who possesses a rare knowledge of self. You can hear the inheritance of his late great father, but also a synthesis and expansion upon the path trodden by Black Thought, Mos Def, and Lupe Fiasco.

The title itself doubles as a mantra: Greatest In The Universe. This is the self-affirmation that Rivers told himself in his most turbulent moments. It’s an inspirational credo that allowed him to keep going, but also operates as fuel to listeners -- particularly those seeking a refracted light from someone deeply familiar with the darkness.

The 16 tracks encompass nearly every mood. There’s the confessional “Perfect,” where Rivers declares “well, I never loved myself, but right now I’m in love with two bitches, I mean women, I mean prisons, I mean prisms.” In the course of a single sentence, he’s able to convey labyrinthine complications. There is “Trick,” where Rivers rumbles like a champion prizefighter, boasting about how his sisters taught him how to brawl, reminiscing on his early days as a “little Puerto Rican fat boy with a brain like an asteroid.” Over rope-a-dope drums, he creates an anthem built for stage-diving and chaos, delivering a pummeling series of references that run from MC Hammer to Cassius Clay to anime. It’s a modern iteration of a tunnel banger: riotous, rowdy, New York brass knuckle rap.

“Damaged Goods” finds the 25-year old lyricist questioning the differences between lust and love, dropped his guard to exhibit a relatable sensitivity. “Wolf Mode” pairs a poignant sax lick with a plea to be able protect oneself from the storms of life. It’s not about being bulletproof, but rather, to possess the strength to endure the chaos that we must face. Yet Rivers is willing to accept the challenges head-on, claiming that he’d “rather have the hard truth than a sweet lie.” While “N.A.S.A.” takes dead-aim at the traps of millennial life: too many useless contacts in your phone, the dim lies of clout, and the indelible need to find the real ones who will hold you down. There is also a flawless “Pakinamac” homage.

The emotional centerpiece of the album arrives on the heart-wrenching “Sincerely Me.” It’s a tribute to Big Pun, but one that refuses to bow down to over-sentimentality. You feel Rivers’ pain and sadness, the struggles of his family, and his frustration at being unable to have a father to turn towards for advice. It’s a votive to a dearly departed spirit, gone much too soon. But when the song fades out, Rivers is stronger than before. A prayer has been answered. It’s the fully fleshed out picture of a son who doesn’t want to eclipse the father but rather, who wants to be able to stand beside him, shoulder to shoulder, two of the greatest of their times.

Embracing his career path as an emcee/entertainer, Crimapple returns with his latest solo effort, El Cantante, which serves as an ode to Hector Lavoe and The Fania Era of salsa music's profound storytelling. Although devoid of any guest appearances, Crime is joined by a supporting cast of praise-worthy producers throughout the project whom include Bohemia Lynch (Westside Gunn), Michaelangelo (Avenue, Vel the Wonder) as well as his frequent collaborator, Buck Dudley, among others. And while there’s tracks that borrow aesthetics akin to latin music—such as the syncopated rhythm patterns on “Tuesday,” or the looping pan flute heard on “Out the Way”—you’ll still find the archetypal soundscapes that have defined Crime’s discography. These include the soulful/zone-inducing loops on tracks like the album opener, “My Song,” as well as “Together,” “Encore,” and “Precious.” And then there’s the chest-pounding bangers like “Cosos,” where Crime lyrically remains in his bag with unrelenting, braggadocious rhymes: “You cheesecake, rappers know I get on this shit and eat great / Get better at any take and drop on anyone’s release date” All in all, El Cantante is a self realization of sorts as the New Jersey emcee shares his current life perspectives as he touches on what it’s like to be considered a hip-hop legend by many, while also reflecting on the path that brought him to this point in his career.

Embracing his career path as an emcee/entertainer, Crimapple returns with his latest solo effort, El Cantante, which serves as an ode to Hector Lavoe and The Fania Era of salsa music's profound storytelling.

Although devoid of any guest appearances, Crime is joined by a supporting cast of praise-worthy producers throughout the project whom include Bohemia Lynch (Westside Gunn), Michaelangelo (Avenue, Vel the Wonder) as well as his frequent collaborator, Buck Dudley, among others. And while there’s tracks that borrow aesthetics akin to latin music—such as the syncopated rhythm patterns on “Tuesday,” or the looping pan flute heard on “Out the Way”—you’ll still find the archetypal soundscapes that have defined Crime’s discography. These include the soulful/zone-inducing loops on tracks like the album opener, “My Song,” as well as “Together,” “Encore,” and “Precious.” And then there’s the chest-pounding bangers like “Cosos,” where Crime lyrically remains in his bag with unrelenting, braggadocious rhymes: “You cheesecake, rappers know I get on this shit and eat great / Get better at any take and drop on anyone’s release date”.

All in all, El Cantante is a self realization of sorts as the New Jersey emcee shares his current life perspectives as he touches on what it’s like to be considered a hip-hop legend by many, while also reflecting on the path that brought him to this point in his career.

Embracing his career path as an emcee/entertainer, Crimapple returns with his latest solo effort, El Cantante, which serves as an ode to Hector Lavoe and The Fania Era of salsa music's profound storytelling.

Although devoid of any guest appearances, Crime is joined by a supporting cast of praise-worthy producers throughout the project whom include Bohemia Lynch (Westside Gunn), Michaelangelo (Avenue, Vel the Wonder) as well as his frequent collaborator, Buck Dudley, among others. And while there’s tracks that borrow aesthetics akin to latin music—such as the syncopated rhythm patterns on “Tuesday,” or the looping pan flute heard on “Out the Way”—you’ll still find the archetypal soundscapes that have defined Crime’s discography. These include the soulful/zone-inducing loops on tracks like the album opener, “My Song,” as well as “Together,” “Encore,” and “Precious.” And then there’s the chest-pounding bangers like “Cosos,” where Crime lyrically remains in his bag with unrelenting, braggadocious rhymes: “You cheesecake, rappers know I get on this shit and eat great / Get better at any take and drop on anyone’s release date”

All in all, El Cantante is a self realization of sorts CrimeAPPLE shares his current life perspectives and touches on what it’s like to be considered a hip-hop legend by many, while also reflecting on the path that brought him to this point in his career.

Quantity: 3100
Release type: RSD Exclusive Release

On July 20, 1993, Los Angeles hip-hop legends Cypress Hill unleashed their sophomore opus Black Sunday on the unsuspecting masses. The record changed rap music with its dark undercurrent, Latin inflection, no-holds-barred storytelling, and the inimitable interplay between B-Real and Sen Dog cast over psychedelically spun rap soundscapes courtesy of DJ Muggs.

Now to mark the 30th anniversary, two new remixes are available for fans on 12” black vinyl; “Insane in the Brain” from the esteemed DJ/Producer Statik Selektah, and “Hits From The Bong” crafted by the album’s original producer himself, DJ Muggs.

Repress ! Somewhere in between the rock-star mischief of the Beastie Boys and the slow-creeping funk of Dr. Dre, Cypress Hill introduced their hazy-eyed sound to the world on their self-titled 1991 debut and things have never quite been the same since. The original Cypress Hill album captures the group at their risk-taking best, mixing gangster posturing, LA street politics, Latin flavor and warped humor together under a thick cloud of weed smoke and innovative beats. Nasal-voiced rapper B-Real and his partner Sen Dog, backed by the adventurous production styles of DJ Muggs, produce classics records like "How I Could Just Kill a Man," "Pigs," "Stoned is the Way of the Walk" and "Hand on the Pump." Since its release, the album has won acclaim as one of Rolling Stone's "Essential Recordings of the 90s" and "Top 100 Best Rap Albums" by The Source magazine.

Cypress Hill was the first Latino American hip hop recording group to have platinum and multi-platinum albums, selling over 18 million albums worldwide.

They are considered to be among the main progenitors of West Coast Rap and Hip Hop in the early 90s, being critically acclaimed for their first four albums.

The band has also been important for the advocacy of medical and recreational use of cannabis in the United States.

Los Grandes Éxitos en Español is a greatest-hits album in Spanish by Cypress Hill. It was certified Platinum by the RIAA.

With exception of the last track, which was previously unreleased, together with "Latin Lingo," and "Tres Equis" which appeared on Cypress Hill, the album features old songs with new Spanish lyrics.

Mainly influenced by "the most beautiful ugly sound in the world,” introduced by D-Styles in "Phantazmagorea" in 2002, DJ Swet (Spain) has been perfecting his artisanal music production method for over fifteen years, exploiting the art of turntablism to orchestrate his soundtracks through scratching. After meeting Milano Constantine in person in the summer of 2018, and collaborating on "Body Bags" (Swet's latest work, alongside N-Wise Allah), it is now with Milano himself that he shares this album.

In “Block Work” Milano Constantine paints Spike Lee like scenes with strokes of psychological terror over the brittle and crumpled musical canvas provided by the Barcelona native Dj and producer. With the street cred of an OG and the hunger of a rookie, in "Block Work" the Manhattan emcee and Ditc affiliate eloquently recounts the experiences, feelings and visions of a runner (metaphorically and visually depicted by Rubens Ziontifik as a chess pawn), who gets involved in all sorts of situations caused by crime and illegal activities taking place throughout the blocks.

The album is completed with vocal interventions by Dano and N-Wise Allah, arrangements by Peter Party, guitar by Enric Peinado (track3), trumpet by Raynals Colom (track5), additional drums by Hoss Benitez (tracks 8 and 9), Rubens Ziontifik’s artworks, and mixing and mastering by the recently Latin Grammy nominated Harto Rodríguez. "Block Work" is edited and distributed by the Barcelona based label Architechs Records.

DJ Tudo e sua Gente de Todo Lugar’s 7th album, breed from Brazilian field recordings and made between 2007 and 2019 in trips around the world - Brazil and 11 other countries. It is a project that should have come out in 2013, but the “Pancada Motor - Manifesto da festa” came out ahead, having as a sequel the two volumes of Gaia Music series. By early 2019, the album was finalized. Pancada Motor is a term derived from the Alagoas traditions like the Samba de Matuto, Cambinda, Baianá and Caboclinha, about their cultural make or their rhythms. Here this name has been expanded to other cultures and rhythms of Brazil. Transformation and Cure are urgent needs for humanity and our relation with the planet, we need to transform our relationship with each other and Mother Earth for our healing as a whole. Artists from many countries and different cultures contributed to this work. It is hard to place an order of greatness and importance but certainly the traditional Brazilian groups were the initial inspiration: Matutinhas do Pontal de Coruripe, Cambinda Palmeirense de Porto de Pedras, Maracatu Nação e Rural de Recife, Caceteira do Seu Rindu de São Cristóvão, Terno de Congo 13 de Maio de Goiânia, Reisado São Miguel de Juazeiro de Norte, Carimbó Raízes de Coremar de Salinas and Queen Dona Neta from Maracatu Cruzeiro do Forte do Recife. Equally fundamental is the contribution of Sérgio Ricardo, legend of MPB (Brazilian Popular Music), and Chilean rapper Ana Tijoux that features the track “Terra para todos (Land for all)”. From Belgium, Rolland Van Campenhout, Steven de Bruyn, Bart Maris, Tuur Florizoone and David Bovée. Alan Bryden and Stuart Brown, BigTad and duo Twelfth day Esther and Catriona from Scotland. From Paris, guitarist Stefane Goldman who has participated in several DJ Tudo’s albums. From London, the percussionist Crispin Robinson, Lopa Kotari and Mariana Pinho. From Rio de Janeiro, the keyboardists Sacha Amback and Marcos Lobato. Lu Dlamini from South Africa. American drummer Marque Gilmore, who was recorded in Stockholm, Sweden. From Istanbul the Zas Player Murat Ertel. Rajasthan musicians met unexpectedly at a casual ride in a hotel elevator in Durban, South Africa. Brasília singer Ana Soares. From Ljubljana, Slovenia, accordionist Uros and Beth. From São Paulo, my brothers and sisters in arms: Gente de Todo Lugar - drummer Gustavo Souza, percussionist and singer Rafaella Nepomuceno, guitarist Rafael Martinez, saxophonists Marcelo Monteiro and Filipe Nader and trumpeter Amílcar Rodrigues. Planetary voices in the track “Nietzsche era triste ....” recorded in several countries. Thank you so much for the music and the affection that you put in this work, the result is nine songs and nine seasons linked to life. Knowing and respecting cultures is an eternal path of transformation, that this work reaches each one as a transforming element, especially in this almost inexplicable moment that we live on the planet.

Hailing from the sweat-drenched discotecas of Austin, Texas - El Combo Oscuro deliver a dose of Latin psychedelia that’s steeped in the magic and voodoo of New Orleans. Combine heavy percussion, reverberating guitars, and a solid baseline, and the affects of “Vudú y Chachacha” are mesmerizing. On the flip, New Orleans’ own Professor Shorthair remixes the original into a dance-floor-ready tune that features the vocals of Rakaa Iriscience of the renowned Hip Hop group Dilated Peoples. This limited edition 45 comes on bone colored vinyl with blue and violet splatter.

With his acclaimed debut album Seeds, Roots & Fruits, an inclusion on Mark Farina’s Mushroom Jazz 8, and notable Cold Busted compilation appearances, the Polish beat-master Emapea has been a producer to watch. Early in 2018 he unveiled Zoning Out, Volume 1, an album intended for chilling while deep in thought, or for getting into that crucial head-nod zone, like when the DJ drops the dopest beat. With listeners ready for more rhythmic brain-food, Emapea provides with the anticipated next installment: Zoning Out, Volume 2. Developing the theme of Volume 1, Emapea takes his jazzy sensibilities and fresh drum patterns and ups the ante, delivering 18 mandatory cuts that swerve and shimmy while exhibiting pure dopeness. Take “Last Cypher,” which is an infectious funk-hip-hop hybrid that flows with more than a few surprise embellishments. There’s also the low-rider spy-hop of “Big Small Talks”; “Tantra” with its smooth, old school ride; the sensual boom bap of “Blue Almonds”; and the infectious, latin-lounge-tinged “Rainy Day”. These are no-nonsense beat compositions, perfect for thinking, for grooving, for dreaming, for zoning out. Emapea and Cold Busted come correct once again.

"A newfound father's attempt to pass wisdom on to his children."

- Spring 2019 -

"As my girlfriend’s pregnancy was steadily treading along, I settled into my home studio in the attic of our new house. In our previous apartment I had a tiny room which could hardly fit my recording gear, let alone my drums which were still sitting at my parents’ house eating dust. Now that we’d moved into a bigger place, I had confiscated a part of the top floor to build my studio. This time I had just enough space to fit my drum set together with other percussion instruments, Fender Rhodes and synths. This sparked a whole new world of creative opportunities.

At the same time I also started to think about what kind of wisdom I would want to pass on to my children. I started writing down my thoughts. Little anecdotes, ponderings and things to think about as a human being.

These two events took place in parallel and once I actually started jotting down my first compositional ideas I saw the concept right there in front of me bright as day."

Fruit Distro Collective is a project by long time friends Boris van der Hoff & Tristan Coco. Raised on sampling & Hiphop beats, schooled through Jazz composition and inspired by Afrobeat & Afro latin styles. Pour some analog tape sauce over it et voilá!

Debut album 'Some Kind Of Wisdom' is a collection of nuggets of wisdom. The concept was born when Boris was about to become a father. He started pondering what wisdom he would want to pass onto his children.

The album features several talented guest appearances. Contributions by local jazz/soul friends Rebiere (Lucas van Ee), Shamis (Misha van der Winkel) & Suula (Thimo Geijzen) as well as support by Brazilian mogul Piry Reis.

This LP has been written and recorded as inspiration to think about things and to keep re-thinking again and again to strengthen the knowledge of self.

While most spend their days wading through the treacly undercurrents of a decaying hometown, Jam Baxter spends his days carving out on a new existence in the heart of Mexico City.

With a forest of rare succulents of house plants on his eighth floor balcony, a notepad in his back pocket (for lizard spotting) and a flea market typewriter primed in his writing room, Baxter affords himself the time and grace for his new surroundings to seep into him, watching his writing take on new life in the exchange; days and nights spent in quiet contemplation as he sharpens his skills in unpacking the universe.

Granuja has eschewed the at-times chaotic metropolis of Medellín for a quiet life in the hills of La Ceja, where he produces and writes (followed around by his pack of loyal dogs). Six years since his debut solo LP ‘Círculo Vicioso’ dropped back in 2017, Granuja has been steadily carving a name for himself in Latin America and beyond with a series of critically acclaimed rap releases.

Baxter & Granuja first met in 2020; the former taking an impromptu 2-hour taxi cab in thickest night to Granuja’s studio way up in the winding hills of Antióquia. As with all great creative endeavours, plans to record ‘a couple of tracks’ snowballed; a single became an EP became an album, the momentum fuelled by a new Jack Danz’ instrumental landing in Baxter’s inbox every fortnight.

Before sunrise the bones of ’De las Sombras’ were born.

There is no question that Granuja and Baxter bring out a different side of one another. The two artists hopping borders, barriers and time zones; switching languages as often as they switch flows across an album unified by an all-encompassing sense of doom.

At its core, ‘De las Sombras’ is a gothic listen. A haunting, swooning downward spiral. Blacks, whites, purples and greens bubbling a thick concoction. Life and death at loggerheads in the back-and-forth; expertly soundtracked by Jack Danz most haunting works to date and complemented by a series of curated vocal samples furthering the gloom.

We like to think of ’De las Sombras’ as an OST for the album artwork. The castle a picture perfect symbol of an album persistently flirting with the supernatural.

While most spend their days wading through the treacly undercurrents of a decaying hometown, Jam Baxter spends his days carving out on a new existence in the heart of Mexico City.

With a forest of rare succulents of house plants on his eighth floor balcony, a notepad in his back pocket (for lizard spotting) and a flea market typewriter primed in his writing room, Baxter affords himself the time and grace for his new surroundings to seep into him, watching his writing take on new life in the exchange; days and nights spent in quiet contemplation as he sharpens his skills in unpacking the universe.

Granuja has eschewed the at-times chaotic metropolis of Medellín for a quiet life in the hills of La Ceja, where he produces and writes (followed around by his pack of loyal dogs). Six years since his debut solo LP ‘Círculo Vicioso’ dropped back in 2017, Granuja has been steadily carving a name for himself in Latin America and beyond with a series of critically acclaimed rap releases.

Baxter & Granuja first met in 2020; the former taking an impromptu 2-hour taxi cab in thickest night to Granuja’s studio way up in the winding hills of Antióquia. As with all great creative endeavours, plans to record ‘a couple of tracks’ snowballed; a single became an EP became an album, the momentum fuelled by a new Jack Danz’ instrumental landing in Baxter’s inbox every fortnight.

Before sunrise the bones of ’De las Sombras’ were born.

There is no question that Granuja and Baxter bring out a different side of one another. The two artists hopping borders, barriers and time zones; switching languages as often as they switch flows across an album unified by an all-encompassing sense of doom.

At its core, ‘De las Sombras’ is a gothic listen. A haunting, swooning downward spiral. Blacks, whites, purples and greens bubbling a thick concoction. Life and death at loggerheads in the back-and-forth; expertly soundtracked by Jack Danz most haunting works to date and complemented by a series of curated vocal samples furthering the gloom.

We like to think of ’De las Sombras’ as an OST for the album artwork. The castle a picture perfect symbol of an album persistently flirting with the supernatural.

While most spend their days wading through the treacly undercurrents of a decaying hometown, Jam Baxter spends his days carving out on a new existence in the heart of Mexico City.

With a forest of rare succulents of house plants on his eighth floor balcony, a notepad in his back pocket (for lizard spotting) and a flea market typewriter primed in his writing room, Baxter affords himself the time and grace for his new surroundings to seep into him, watching his writing take on new life in the exchange; days and nights spent in quiet contemplation as he sharpens his skills in unpacking the universe.

Granuja has eschewed the at-times chaotic metropolis of Medellín for a quiet life in the hills of La Ceja, where he produces and writes (followed around by his pack of loyal dogs). Six years since his debut solo LP ‘Círculo Vicioso’ dropped back in 2017, Granuja has been steadily carving a name for himself in Latin America and beyond with a series of critically acclaimed rap releases.

Baxter & Granuja first met in 2020; the former taking an impromptu 2-hour taxi cab in thickest night to Granuja’s studio way up in the winding hills of Antióquia. As with all great creative endeavours, plans to record ‘a couple of tracks’ snowballed; a single became an EP became an album, the momentum fuelled by a new Jack Danz’ instrumental landing in Baxter’s inbox every fortnight.

Before sunrise the bones of ’De las Sombras’ were born.

There is no question that Granuja and Baxter bring out a different side of one another. The two artists hopping borders, barriers and time zones; switching languages as often as they switch flows across an album unified by an all-encompassing sense of doom.

At its core, ‘De las Sombras’ is a gothic listen. A haunting, swooning downward spiral. Blacks, whites, purples and greens bubbling a thick concoction. Life and death at loggerheads in the back-and-forth; expertly soundtracked by Jack Danz most haunting works to date and complemented by a series of curated vocal samples furthering the gloom.

We like to think of ’De las Sombras’ as an OST for the album artwork. The castle a picture perfect symbol of an album persistently flirting with the supernatural.

Without a pandemic, you’d now be listening to an album wholly recorded in Cuba with local musicians. Back in 2020, everything was organised, so that in May 2021 we could get started. Yet, the sanitary measures proved to be a fierce adversary, so rather than giving up entirely we decamped to Dakar in October the same year – a compromise that ended up being a positive event in itself.
Cuba has a long African history. Under mass enslavement and the Transatlantic trade, Africans were forced from their homelands, against their will, taking their music along with them. Merging throughout the centuries, taking on European influences, led to the birth of a distinctive Afro-Cuban musical tradition. Highly percussive, brass-based, simmering, full of danceable rhythms. The spirit etched into thousands of recordings, forever turning towards Africa. The departure point here is not to keep things the same. Rather, a return to the source enacts a loop – much the same as those providing the foundations for hip-hop beats.
The flame when it’s re-lit illuminates everything. Thanks to the Senegalese musicians in Dakar, the Cubans who crossed the Atlantic to join us and my usual family of musicians, this music – a cross-section of covers and original compositions - exists as a homage to Afro-Cuban music. Made in Africa, in Senegal. Three worlds, three languages, three colours. Recorded over 17 days, non-stop, germinating the seed born in Cuba at the end of 2020 so that the most beautiful fruits might be cultivated in Dakar, 2022.
When the world doesn’t seem big enough, we look up to the sky where even the blackness is lit up, where those I loved who are now gone shine as stars, shining as brightly as all the others. Each time I think I’m not going to make it; I recall the star of my mother. Then the path becomes clear.
Pandemic, visa problems, cultural clashes, bank transfers that didn’t go through, a fractured foot – this project sometimes felt like a series of accumulated challenges. The only thing linking us, a shared love for the music, each of us invoking our personal star and all that we have overcome.
In this way, the music is born as a call to our stars.

Cover is close to NM! Records with scuffs and some scratches!

Jahbitat is the audio project of Simon Williams, who moved around Latin America as a young child but eventually ended up growing up in the valley located on the Venezuelan coastal range. This massive urban jungle known as Caracas, is surrounded by every aspect of nature (sky, mountain, jungle, ocean, etc..) and creatures both big and small. This fusion of man-made technology meets complete wildlife is what can be found at the core of the Jahbitat electronic yet highly organic sounds ...

O Samba, it’s time to dance. JIM starts this summer with his Música Popular Brasileira EP debut. He blends old-school Hip-Hop production design with live recordings and Latin American styles and influences. Pachanga is the perfect mélange of a groovy and head nodding beat and catchy Brazilian piano and guitar vibes. Get ready for a warm day at the beach with friends, drinks, and dancing!

O Samba, it’s time to dance. JIM starts this summer with his Música Popular Brasileira EP debut. He blends old-school Hip-Hop production design with live recordings and Latin American styles and influences. Pachanga is the perfect mélange of a groovy and head nodding beat and catchy Brazilian piano and guitar vibes. Get ready for a warm day at the beach with friends, drinks, and dancing!

180g vinyl edition. Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets.

“Banana Peel is exactly what we need now. Visionary Jneiro Jerel at his finest channelling healing sounds and rhythms from Mother Earth. A much-anticipated lens through Jneiro’s third eye. Thank you!” King Britt

Krafty Kuts 4th release on Friday's Funky 45 is on the Latin tip getting ready for the summer season and festivals – Columbia is a catchy upbeat number with Hip Hop beats and vocal samples – Brujeria on the flip is of equal quality both tunes dancefloor sure shots grab doubles whilst stock last!

Writing on label sticker.

Vinyl is Close to VG+.

"Breaking to the Bus Stop", is a project around B.Boying, one of the four elements of Hip Hop ; a challenge can happen at any time, in the street, the subway, a bus stop... to settle scores. These songs are part of Marc-Aurèle Vecchione's Arte series "Boys & Girls Africa". Compiled by A1 Record historic sample dealer, Lord Funk, Each cover will be hand-drawn by the street artist's "Golf", 300 units limited. 2 tracks were played at the Olympics final of breaking A few more donuts such as "Perkushun", "Latin Breakdown", "Tex Mex Breaking" have been added to the cypher. Two of the songs, including the series' theme song, were composed with my DJ LC, from Légitime Processus. Strictly for hard core power moves. An authentic record to enjoy on a unique vinyl edition 300 copies tagged, numbered and signed by street artist "Golf".

Limited to 1000 copies for the European market.

Music by Madlib, arranged by Kieran Hebden, better known as Four Tet. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieren Hebden AKA Four Tet

McGyver is back in 2020 with "CARPE ORBEM" (Latin translation: Seize the World) following up on his 2019 album “MadmatiC”. His bilingual (English and Dutch) rhymes and unique harsh vocal sound, over hardcore boombap beats, topped by live instrumentation and killer scratches prove that there’s not one single artist like him.

This combination creates a stand alone record which conceptually revolves around the classic "The World is Yours" by NaS. Madmatic LP (2019, featuring production by
K-Def, Figub Brazlevic and others) already referenced to this classic once, but now McGyver returns to show the world a bigger picture and capture it while doing so - with even one of NaS - Illmatic’s original producers: Large Professor, on board.

McGyver is back in 2020 with "CARPE ORBEM" (Latin translation: Seize the World) following up on his 2019 album “MadmatiC”. His bilingual (English and Dutch) rhymes and unique harsh vocal sound, over hardcore boombap beats, topped by live instrumentation and killer scratches prove that there’s not one single artist like him.

This combination creates a stand alone record which conceptually revolves around the classic "The World is Yours" by NaS. Madmatic LP (2019, featuring production by
K-Def, Figub Brazlevic and others) already referenced to this classic once, but now McGyver returns to show the world a bigger picture and capture it while doing so - with even one of NaS - Illmatic’s original producers: Large Professor, on board.

OK it's the end of year fishermen. It's been a dope couple of cycles - sorry there weren't more releases - covid hit hard BUT the good news is , we're back in March with more cycles than 2022. Hold tight for some serious heat!!



For the last offering we have a superb 4 track EP of material from Texas crew MelloSoulBlack produced entirely by our Peruvian flavameister Smoky Kun. You may recognize him from his single on Los Herring Records 'Saoco Del Barrio". Peep it it's still in stock and features a grip of Peruvian MCs over some funky latin beats.

The latin word “magnum opus” literally translates into “masterpiece”, and what this UK dream team has put together on this fulllength is exactly that. MC Micall Parknsun and producer Giallo Point’s collaboration “The Magnum Opus” has been elaborated on the three or four colour model by enumerating a variety of chemical steps to be performed. This was often arranged in groups of seven or twelve stages, this consistency is crafted within 13 solid forms. The process of transmutation, weaving their entire narrative with alchemical symbolism. The full-length boasts collaborations with Ric Branson, SmooVth, Jehst, Confucius MC, The Jones Bros, Juga-Naut, SonnyJim, Phybaoptikz, Napoleon Da Legend and Da Flyy Hooligan. Limited edition of 250 numbered copies, 100 on yellow vinyl w/ black splatter and the remaining 150 on black vinyl. This is the black one.

Circa 2022, Ozo's new songs, stronger-thanever brotherhood and the potent emotional impetus behind Marching On further cements the legacy begun with the band's 1998 self-titled debut. With musician/producer David Garza (Fiona Apple, Sparta) producing in Bpre-pandemic 2020 at El Paso's Sonic Ranch, Ozo were honored with esteemed musical guests who contributed to the 11-song album including B-Real (Cypress Hill), Guatemalan singer-songwriter Gaby Moreno, J.J. FAD (of "Supersonic" Fame) and Lisa Lisa (Lisa Lisa & Cult Jam.)

It all started in 2020 when producer The Breed and guitarist Richard Holzmann decided to start their own project called PAPI CHURRO. The two german musicians came up with a unique combination of latin-folk and HipHop Sounds. Almost like a Lo-Fi Beat version of guys like João Gilberto or Carlos Jobim. But also the typical Mexican sounds of Druglord Movies like „Narcos“ are part of their soundcollage. In very short time PAPI CHURRO gained a fanbase and millions of streams on the net. Since all the instruments are played live the songs are not your average Samplebeat but come with some more complex arrangements. But still producer The Breed clearly references those „Chops and Breaks Roots“ on the songs.

Now it’s time for their first full-length LP. El Clásico features all of their recently released tunes but also comes with a bunch of new material. It features a lot of talented guest musicians. Blue-note artists Phlocalyst on some trumpet parts, Harmonica world champion Cy Leo from Hongkong. Lo-Fi producer Kid Taro and Bassplayer and producer FLKS appear throughout the record.

For the cover-artwork they hooked up with Los Angeles photographer legend ESTEVAN ORIOL (who just recently got his own bio-documentary on Netflix - www.estevanoriol.com/). Estevan himself has Mexican roots and so it was a perfect match for the project.

The Vinyl edition is limited to only 300 copies and comes in beautiful black vinyl via The Breed’s own label WE RUN THIS.

Limited edition of 350 copies only!

Powerule is back with the infectious 7-inch vinyl single "Glorify N Praise" (Produced by Large Professor). This unreleased B side "Get Right" Features Sonny Banks and produced by none other than Lord Finesse is a textured, infectious, hypnotic composition that gives you a window into the struggle of the inner city. This 7-inch is from the upcoming full length Limited Edition Digipak CD "The Anomaly: Reloaded".

In the late 80's and early 90's Powerule stood century as the vanguard of an eventual Latin explosion in Hip Hop. Dominating mix shows and video mediums the Nuyorican experience in hip hop culture finally had their own voice. In 1991 they released their debut album Volume 1” on Interscope Records that featured Leaders of The New School, Large Professor & Kurious Jorge. Powerule and 2Pac were the first Hip Hop artists signed to Interscope.

Powerule went on to pave the way for artist like Fat Joe , Kurious , Big Pun , Tony Touch , The Beatnuts and others. Throughout the 1990s they released a string of classic singles such as "Dawn to Dusk”, "Bright Lights Big City", "Rock your Knot Quick" , "Heatin up" & “Well Connected” produced by some of Hip Hop’s most celebrated producers: Mark Ronson, Erick Sermon & VIC from The Beatnuts.

Since then Powerule moved on to other areas of interest. 20 years later these pioneers have returned with even more potent production and lyricism. Their first ever soon to be classic 7" vinyl features Hip Hop Royalties finest. Large Professor gifts Powerule with a melodic masterpiece on the track "Glorify n Praise", an adult contemporary look at life and its peaks and valleys. The B Side "Get Right" Featuring Sonny Banks and produced by none other than Lord Finesse is a textured, infectious, hypnotic composition that gives you a window into the struggle of the inner city. These 2 tracks are from their full length “Anomaly: Reloaded” album available on a limited edition eco-friendly Digipak CD. Never has a group returned with more confidence and experience that translates into Hip Hop gems. Hip Hop is alive and well and Powerule will not be denied its rightful place.

Limited edition CD!

Featuring productions by Large Professor, Ayatollah, Lord Finesse and Psycho Les with guest appearances by Tragedy Khadafi, Sonny Banks, Thirstin Howl The 3rd and many others!

In the late 80's and early 90's Powerule stood century as the vanguard of an eventual Latin explosion in Hip Hop. Dominating mix shows and video mediums the Nuyorican experience in hip hop culture finally had their own voice. In 1991 they released their debut album “Volume 1” on Interscope Records that featured Leaders of The New School, Large Professor & Kurious Jorge. Powerule along with 2Pac were one of the first Hip Hop artists signed to Interscope Records.

Powerule went on to pave the way for artist like Fat Joe, Kurious, Big Pun, Tony Touch, The Beatnuts and others. Throughout the 1990s they released a string of classic singles such as "Dawn to Dusk”, "Bright Lights Big City", "Rock your Knot Quick", "Heatin up" & “Well Connected” produced by some of Hip Hop’s most celebrated producers: Mark Ronson, Erick Sermon & VIC from The Beatnuts.

It's been 26 years since Powerule released a physical album. This is unprecedented in the industry and happens to be their best work to date. The music and the lyricism proves that the Golden Era of Hip Hop still is relevant. A virtual who's who of producers provide the back bone for the album. Large Professor provides a hypnotic melody on “Glorify and Praise” and Prince Powerule delivers an adult contemporary message. When asked how it was working with Large Professor again after 26 years Prince said "I've never been pushed so hard in the booth. It took me a month to really get the flow and the lyrics right. It was exactly what I need to thrust myself back in the game."

Production from Psycho Les of the Beatnuts on “718” with verses by himself and Tragedy Khadafi make this Queens anthem bump!! DJ Eclipse provides a resident DJ appeal appearing on 3 songs. The album has a consistent feel capturing the essence of NY hip hop with strong story-telling and jewels of wisdom. Lord Finesse gifts Powerule with a melodic gem on “Get Right” feat Sonny Banks. Ayatollah, Self Service, VIC, Team Demo and others fill out this album but it ever loses its authentic feel..

Beat smith RED ASTAIRE (AKA FREDDIE CRUGER) returns with some crucial instrumental cuts from the 3 volumes of the "NUGGETS FOR THE NEEDY" series. The NUGGETS INSTRUMENTALS DLP features 'FOLLOW ME","MOVE YO ASS","COME DOWN " & more sounds of Lo Fi Hip Hop, Downtempo & Latin in full color jacket!

The third album from London-based multi-instrumentalist, Robohands. ‘Shapes’ fuses elements of jazz, krautrock, hip hop and ambient music. For fans of Khruangbin, Yusef Dayes, CAN, Coltrane and 70s library music moods.

Shapes is the solo project of London based composer, instrumentalist and producer Andy Baxter. His debut LP Green was released on Village Live Records in 2018 and was received with much love and acclaim in the UK Jazz, hip hop and surrounding scenes.

His follow up full-length, 'Dusk’, dropped in 2019, combining soul, funk, Latin & experimental moods. It featured vocalists & musicians from around the world including legendary New York French horn player, John Clark, who has worked with Isaac Hayes, Gil Evans Orchestra, McCoy Tyner, Jaco Pastorius, Ornette Coleman and many more greats.

'Shapes' is inspired by 1970s library music and their legendary composers including Piero Umiliani, David Axelrod, Brian Bennett and co. The album builds on these influences and incorporates modern motifs, contemporary jazz/hip hop drumming styles with a nod to 1990s Mo Wax artists such as DJ Shadow. The theme for the record is future/nostalgia, mixing vintage & modern instruments and production techniques.

Much of ‘Shapes’ was recorded with JB Pilon at Buffalo Studios in Limehouse, London. Due to the COVID restrictions that changed everything in 2020, the remaining parts were recorded in Andy’s flat using a collection of old mixing desk preamps and instruments.

For the heads – ‘Shapes’ features an array of vintage snares, including a 1960's Ludwig Pioneer and a mono, overhead ribbon mic on the drum kit provided extra old school points! The kick drum was re-amped through a huge vintage bass amplifier on a couple of tracks to give it some real character. “My favourite guitar sound achieved on this LP project is a

Sontronics Sigma ribbon microphone in front of a WEM Dominator amp, which you can hear on the track 'Odysea'. The bass sound for all the tracks is a 1973 Fender Precision into an old Altec valve preamp, the one used on most Motown recordings.”

2023 Repress on Black Vinyl.

The third album from London-based multi-instrumentalist, Robohands. ‘Shapes’ fuses elements of jazz, krautrock, hip hop and ambient music. For fans of Khruangbin, Yusef Dayes, CAN, Coltrane and 70s library music moods.

Shapes is the solo project of London based composer, instrumentalist and producer Andy Baxter. His debut LP Green was released on Village Live Records in 2018 and was received with much love and acclaim in the UK Jazz, hip hop and surrounding scenes.

His follow up full-length, 'Dusk’, dropped in 2019, combining soul, funk, Latin & experimental moods. It featured vocalists & musicians from around the world including legendary New York French horn player, John Clark, who has worked with Isaac Hayes, Gil Evans Orchestra, McCoy Tyner, Jaco Pastorius, Ornette Coleman and many more greats.

'Shapes' is inspired by 1970s library music and their legendary composers including Piero Umiliani, David Axelrod, Brian Bennett and co. The album builds on these influences and incorporates modern motifs, contemporary jazz/hip hop drumming styles with a nod to 1990s Mo Wax artists such as DJ Shadow. The theme for the record is future/nostalgia, mixing vintage & modern instruments and production techniques.

Much of ‘Shapes’ was recorded with JB Pilon at Buffalo Studios in Limehouse, London. Due to the COVID restrictions that changed everything in 2020, the remaining parts were recorded in Andy’s flat using a collection of old mixing desk preamps and instruments.

For the heads – ‘Shapes’ features an array of vintage snares, including a 1960's Ludwig Pioneer and a mono, overhead ribbon mic on the drum kit provided extra old school points! The kick drum was re-amped through a huge vintage bass amplifier on a couple of tracks to give it some real character. “My favourite guitar sound achieved on this LP project is a

Sontronics Sigma ribbon microphone in front of a WEM Dominator amp, which you can hear on the track 'Odysea'. The bass sound for all the tracks is a 1973 Fender Precision into an old Altec valve preamp, the one used on most Motown recordings.”

2023 Repress on Black Vinyl.

The third album from London-based multi-instrumentalist, Robohands. ‘Shapes’ fuses elements of jazz, krautrock, hip hop and ambient music. For fans of Khruangbin, Yusef Dayes, CAN, Coltrane and 70s library music moods.

Shapes is the solo project of London based composer, instrumentalist and producer Andy Baxter. His debut LP Green was released on Village Live Records in 2018 and was received with much love and acclaim in the UK Jazz, hip hop and surrounding scenes.

His follow up full-length, 'Dusk’, dropped in 2019, combining soul, funk, Latin & experimental moods. It featured vocalists & musicians from around the world including legendary New York French horn player, John Clark, who has worked with Isaac Hayes, Gil Evans Orchestra, McCoy Tyner, Jaco Pastorius, Ornette Coleman and many more greats.

'Shapes' is inspired by 1970s library music and their legendary composers including Piero Umiliani, David Axelrod, Brian Bennett and co. The album builds on these influences and incorporates modern motifs, contemporary jazz/hip hop drumming styles with a nod to 1990s Mo Wax artists such as DJ Shadow. The theme for the record is future/nostalgia, mixing vintage & modern instruments and production techniques.

Much of ‘Shapes’ was recorded with JB Pilon at Buffalo Studios in Limehouse, London. Due to the COVID restrictions that changed everything in 2020, the remaining parts were recorded in Andy’s flat using a collection of old mixing desk preamps and instruments.

For the heads – ‘Shapes’ features an array of vintage snares, including a 1960's Ludwig Pioneer and a mono, overhead ribbon mic on the drum kit provided extra old school points! The kick drum was re-amped through a huge vintage bass amplifier on a couple of tracks to give it some real character. “My favourite guitar sound achieved on this LP project is a

Sontronics Sigma ribbon microphone in front of a WEM Dominator amp, which you can hear on the track 'Odysea'. The bass sound for all the tracks is a 1973 Fender Precision into an old Altec valve preamp, the one used on most Motown recordings.”

Description : Three continents collide on 'Runaway', the latest single from Mozambican rapper / vocalist Simba Sitoi, featuring Canada's Kardinal Offishall, remixed by the UK's Chris Read. Simba Sitoi is a key player in the Hip Hop scene in his native Mozambique, where his vocals in both English and Portugese have graced releases including a full length album for UK stalwarts BBE Records. Kardinal Offishall is a 5 x winner at the Juno Awards (Canada's equivalent of the Grammys) and has collaborated with a host of artists including the likes of Scott Storch, Sean Paul and Eminem. London based producer Chris Read's production and remix credits include Grammy Award winning vocalist Bilal, BBC New Music Award winners Maylight and Hip Hop legends The Pharcyde.



The back story to this cross-continental collaboration features A Tribe Called Quest, Mozambique's colonial past and Nando's chicken. In 2018, Nando's flew Kardinal Offishal to Mozambique to film a short documentary exploring the history of the restaurant's Peri Peri sauce, an accompaniment to grilled chicken first developed by Portugese settlers in Mozambique. While filming, Kardinal visited Simba's studio to find out more about the regional music scene. The two vocalists hit it off and, in an unplanned studio session, 'Runaway', a track inspired by the UK's Broken Beat sound, was recorded. Simba had previously worked with Chris Read when he remixed Simba and Milton Gulli's cover version of A Tribe Called Quest's 'Scenario' for BBE Records back in 2013. Chris was enlisted to remix the track and has delivered a version which features Broken drums, a Latin flavored bassline and horns that add Dub feel.

Compiled by legendary producer Arthur Baker, "Breakers Revenge" is a near-definitive collection of original Funk, Soul, Latin, Disco and Electro classic tracks from 1970-1984.These tracks, a combination of classics and obscurities, have all since become legendary to Breakdancers everywhere. First played at South Bronx block parties, community halls and park jams in the 1970s and 80s, spun endlessly by the first three major hip-hop DJs - Kool Herc, Grandmaster Flash and Afrika Bambaataa - and found in the record crates of any DJ of note ever since.Seminal funk and soul tracks such as Dennis Coffey"s "Scorpio", The Jimmy Castor Bunch"s "It"s Just Begun", James Brown"s "Get on the Good Foot", The Mohawks" "Champ" sit side-by-side here with the ground-breaking, classic electro of Afrika Bambaataa"s "Planet Rock", and Arthur Baker"s own definitive "Breaker"s Revenge".

Compiled by legendary producer Arthur Baker, "Breakers Revenge" is a near-definitive collection of original Funk, Soul, Latin, Disco and Electro classic tracks from 1970-1984. These tracks, a combination of classics and obscurities, have all since become legendary to Breakdancers everywhere. First played at South Bronx block parties, community halls and park jams in the 1970s and 80s, spun endlessly by the first three major hip-hop DJs - Kool Herc, Grandmaster Flash and Afrika Bambaataa - and found in the record crates of any DJ of note ever since. Seminal funk and soul tracks such as Dennis Coffey"s "Scorpio", The Jimmy Castor Bunch"s "It"s Just Begun", James Brown"s "Get on the Good Foot", The Mohawks" "Champ" sit side-by-side here with the ground-breaking, classic electro of Afrika Bambaataa"s "Planet Rock", and Arthur Baker"s own definitive "Breaker"s Revenge".

Speak has carved a path with quick wit and wordplay since 2011 and his debut album Inside Out Boy. His sophomore album Gnarly Davidson peaked at #27 on the iTunes Top 100. Speak also wrote the RIAA gold-certified "Gucci Gucci" for Kreyshawn, a song far ahead of its time that has gone on to inspire modern rap sounds into this decade. Speak has culminated a body of work that has reached a global scale with millions of plays across various streaming platforms and touring in the US, Canda, Latin America, and the UK. Unique album configurations with accompanying merchandise lines, live shows, and music video projects continue to separate Speak from other artists in modern rap, representing Mexico City's explosion of new sounds, styles, and culture with a bold message. Collaborations over the years include Vince Staples, Mac Miller, The Internet, Denzel Curry, Juicy J, Odd Future, and many more. From the gritty Sex Quest series to the more introspective hearth throb visions of My Lonely Primavera, and now the futurism of Singularity, Speak continues to reinvent himself with every project.

Stretch and Bobbito’s debut album No Requests explores the legendary club DJs’ vast musical knowledge with covers of songs directly from their record crates! Featuring the M19s Band, a live band of elite hand-picked musicians, the gatekeepers of ‘90s Hip Hop step outside their foundational genre base to produce Latin, Afro-beat, Samba, Jazz, Reggae, and Soul reinterpretations of dance floor bangers—ranging from popular to rare and obscure—which loosely depart expected structure and create new nuances to familiar tunes. The group also offers original compositions along the sonic journey. All tracks have one goal in mind: GROOVE!

"Sunday Madness" is the first solo album by the Hamburg beatmaker Supreme.Frost – and a true statement. The 18 tracks are not instrumentals to study, but an exciting and relaxing listening experience somewhere between Detroit and the Bay Area.

From the first bar it’s clear: there is love in this. Love of hip hop, love of detail. Stumbling drum patterns à la J Dilla, creaking funk basses à la Erick Sermon and dreamy synth pads à la Curren$y – on “Sunday Madness” Supreme.Frost combines the influences of the most diverse music scenes and epochs into one that is homogeneous over the length of the album sound image.

The compositions are playful, and interspersed with creatively used vocal chops, giving a vibe that is at once fresh and classic. Pitched-down US disco and Latin American samples meet Moog basses that can be felt in the pit of your stomach. A warm feeling.

"Sunday Madness" fits perfectly with summer. It’s also the season the record was forged in, namely in the summer of 2020 – thanks to a fortunate coincidence of a talent, THC and free time through short-time work.

With his debut, Supreme.Frost serves up a chill-inducing sound buffet that makes your head nod and your heart smile!

Eight LPs in numerous groupings as well as various EPs and singles after his appearance on Sichtexotica III, Tajima Hal sets foot on European soil again with his next LP.

This means: intercontinental flavour for the German beat scene.

Breakbeats, Latin vibes, slow jams and disco dreams roar from energizingly to thoughtfully and calmingly through the Tokyo/Kanagawa-based producer’s basement club. His lush drum-arrangements and lovingly chosen instrumentals lead through a musical cosmos, in which everything between atmospheric layers, nested vocal cuts and acoustic guitars is reconciled. Guiding through multiple musical epochs, this is a homage to our dealing with things, our contemporary history and our togetherness.

Tajima Hal kind of loops, kind of beats, kind of love.

„Minor Sights“ is being released on 15th October 2021 on vinyl LP and in a digital version via Sichtexot Records.

In a world full of mash ups and cover versions and "first time on a 45" releases, Premier League Pressings is here to sort the wheat from the chaff and take you into the top tier of cheeky releases. Side A - THE Belmont Shadows - Kiss HIM Goodbye The first Premier League Pressing features one of the best known tracks in popular culture. The Belmont Shadows beef up an acapella version with cuts and beats from one of the top DJ's and Producers on the West Coast. Back of the net! Side B - Wilson DN - Kiss HIM Goodbye On the flip PLP score again with a tough breakbeat-heavy Latin version that has never been on a 45. One of those creative playmaker types from Brazil! Curling around the wall into the top corner of the net, Premier League Pressings have delivered their first victory. Look forward to more dominant performances!

Record Store Day. White Vinyl.
Includes original inner sleeve.

US-Megastar Travis Scott veröffentlicht sein neues Album UTOPIA. Das Album erschien bereits am 28.07. digital und nun auch endlich auf CD. Auf dem Album sind neben Beyoncé, Drake und The Weeknd auch weitere Superstars wie 21 Savage, Future oder SZA als Feature-Artists zu Gast und machen das neue Album des Megastars zu einem absoluten Highlight des musikalischen Jahres. Gestartet wurde die Kampagne mit der Veröffentlichung des Songs "K-POP" zusammen mit Latin-Superstar Bad Bunny (meistgestreamter Künstler des Jahres) und The Weeknd. Gefeiert wurde der Release dementsprechend aufmerksamkeitsstark mit einer ausverkauften Riesen-Show im Circus Maximus in Rom vor mehr als 60.000 Menschen. Das Album erreichte in mehreren Ländern der Welt bereits Platz 1 der Verkaufscharts und gilt schon jetzt als eines der fortschrittlichsten und einzigartigsten Hip-Hop-Alben der Geschichte.

Auf der CD sind analog zum digitalen Produkt alle Tracks des Albums UTOPIA enthalten inklusive MELTDOWN.

Cold Busted has reached into the funky depths to discover trog’low and his fantastic new album Midnight Calisthenics. Based in Toronto, trog’low has previously appeared on Cold Busted’s IWYMI series as well as his well-received debut album Mellow Feats. He’s gained attention with a deft combination of the old timey and fresh aesthetics, as boom-bap beats and deep jazz intermingle. trog’low’s refusal to follow production fads and trends gives his music a classic, timeless feel — with Midnight Calisthenics, he’s delivered an album that’ll linger.

The opening “Soul Vibes Summit” sets the scene. The time-warped sounds of an audience applauding a jazz combo are joined by phat old school rhythms and delicious vibraphone riffs. “Ballin' '72” keeps up the crucial jazz vibe, adding hardy horns and cool guitar chords. A sublime bossa nova feel is injected into “Hepcats In Heat,” imagining a surf-side retreat with classy jazzbos sipping martinis. And “Ossanha Flip” adds loungey latin elements, its low-slung groove and chopped piano ready to accompany sexy moves. That’s just a taste what Midnight Calisthenics has to offer within its 14 tracks.

Back in the early days of Gamm we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals. Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and Ditc. It almost sounds as if these are the original productions. No joke...it's that strong!!

Back in the early days of Gamm we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals. Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and Ditc. It almost sounds as if these are the original productions. No joke...it's that strong!!

Back in the early days of Gamm we used to release Hip Hop reworks of classic golden era favourites. After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle. The beats are all brand new production but you'll probably recognise the vocals. Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and Ditc. It almost sounds as if these are the original productions. No joke...it's that strong!!