Search "amewu+leidkultur" 152 Items

Kool Keith Is The Most Legendary Trailblazer Of Hip Hop Music. With Characters Spanning From Dr. Octagon To Tashan Dorsett To Black Elvis To Dr. Dooom, Keith Is Always Delivering Realness, Spectacles In Word And Sound, And Creating New Worlds With His Many Auras. Scorn Is The Electronic Beat Project Of Acclaimed Exnapalm Death Drummer Mick Harris, The Dark Lord Of Ambient Dub. Mick Harris' Prolific Ventures Across Numerous Projects Include Painkiller (With John Zorn And Bill Laswell), Quoit, Lull, Monrella, And Many More. Submerged Is The King Of Underground Drum N Bass DJs, Having Pioneered The Scene For The Hard Sound From Astana To Sao Paulo To Kiev To Brooklyn. He Is The Founder Of Galactic Enterprise That Is Ohm Resistance. Distortion Is A Collaborative Single With Some Of The 100% Certified Dopest Kool Keith Verses. He Is Tuned Into His Co-Authors, Dropping Lines About "Power Sources, Mediterranean Bosses", Going "52 States, European, Worldwide", Discussing "More Power To Explore", And Knowing How To "Stick My Hand Out The Speaker And Reach Y'all". A Massive Energy Liftoff Occurs As Keith Joins His Multiverse With That Of The Ohm Resistance Artists.Mick Harris' Instantly Recognizable Bludgeoning Beat Carries The Weight, As He Trades Off Bass Blast Duties With The Organic Overdriven Bassline Of Submerged. A Warning Shot Fired In Advance Of Scorn's Album, "The Only Place", This Single Adds The Missing Element To Scorn That Brings Out The Richness And Flavor Of Mick Harris Behind The Mixing Desk. "I'm So Happy To Be Working With A Great Voice - I Could Do More Of, It Adds Another Dynamic To Scorn." Says Harris. Submerged Explains His Usual Streak Of Unusual Luck - "I Had A Bassline I Had Written And Wanted To Send To Mick Harris For Scorn. When The Opportunity Came To Work With Kool Keith, Mick Made His Beat, And My Riff Fit Exactly - So We Coordinated The Forces To Put This Record Together". With Kool Keith Being One Of The Most-Named Influences By Many Of The Ohm Resistance Artists, His Arriv...

Who still sleeping on the kid?! Two of the hardest working veterans in the game, legendary MC Jim Jones has teamed up with cult favorite producer Harry Fraud for the new project, The Fraud Department. Pairing Jones’ iconic delivery with Fraud’s knack for cloud-like production, The Fraud Department elevates the duo’s best attributes and showcases how their chemistry is undeniable. The album features appearances from Belly, Dave East, Trav, French Montana, Curren$y, Jay Worthy, Conway the Machine, Marc Scibilia, Big Body Bes, Maino, and Kenny Sway.

Mr Doris and D-Funk join forces with UK rap aficionado MysDiggi to bring us hip hop of the highest order in the form of 'Cruise Control'. With production nods to the boom bap era of the 90's and a unique fun-lovin lyrical style delivered by frontman MysDiggi this track is a happy oasis of good time vibes that sets a precedence amongst those more electronic and synthetic out there. With remixes coming from 'Dazzla & Doris', 'Basement Freaks' and the mighty 'Nightmares On Wax' this is set to be a big release for their maiden voyage on the good ship Jam City.

China White cuttet Samples mit Katana, flippt puristisch – aber nur Filets. Almighty Warpath schwingt die Nunchaku gekonnt gewieft im Takt des Säbelrasselns und Glockenläutens. Chinese War Chants. Das Album kommt als 12inch über Am Apparat und blumeblau aus Münster.

Cover with a slightly bent corner

Donda Deluxe, das 10. solo Studioalbum von Kanye West, ist nun endlich auf Vinyl (4lp) erhältlich! Das hoch antizipierte Album erscheint somit knapp zwei Jahre nach seinem Grammy ausgezeichneten Album „jesus IS King“, das mit #1 Debüts in den Rap-Album-, Gospel-Album- und Billboard 200 Charts Geschichte schrieb. Außerdem übertraf er damit die legendären Beatles und zog erneut mit Hip Hop Schwergewicht Eminem gleich, der mit neun aufeinanderfolgenden #1-Albumdebüts in der Geschichte der Charts an der Spitze steht. „Yeezus“ bezieht u.a. auf „Donda“ erneut Bezug zu seiner Religion, wobei er wieder zu seinen anfänglichen Wurzeln à la „My Beautiful Dark Twisted Fantasy“ Inspirationen zieht. Donda enthält Beiträge von der Crème de la Crème der Musik-Welt, wie Jay-Z, The Weeknd, Chris Brown, Ty Dolla $ign, Pop Smoke, Young Thug, Playboi Carti, Travis Scott, Lil Baby, Roddy Ricch, Kid Cudi und viele mehr.

Vinyl Days is the highly anticipated seventh studio album from GRAMMY-nominated, multiplatinum artist Logic. Hosted by Funk Flex and driven by samples from the vinyl collection of MadLib collaborator, Egon, Vinyl Days boasts appearances from Wiz Khalifa, The Game, RZA, Action Bronson, Morgan Freeman, Earl Sweatshirt, Nardwaur, Anthony Fantano and more.

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

Sleepy Soldier finds Tanna pushing the boundaries of his creative expression while embracing a certain emotional complexity in his storytelling. The core message of the album is love, humanity, endurance. He likes to describe it as “human music” because it’s very honest about the span of emotions we all go through in a single day on this planet—all the sadness and disappointment and stress and also the joy. In a perfect counterpart to that vast scope of feeling, Sleepy Soldier offers up such sonically eclectic tracks as “Picasso” (a punk-leaning anthem that transforms frustration into pure catharsis) and “Death n’ Taxes” (a gorgeously ethereal, guitar-laced piece graced with wisdom Tanna gained during a mind-expanding trip to the ocean).

Celebrating the 25th anniversary of Beastie Boys’ 3× Platinum album Hello Nasty. This is a limited edition reissue of the rare deluxe 4LP version of the album that was released as an artist store exclusive in 2009. Long out-of-print and sought after by fans/collectors, it features two extra LPs (w/ 21 tracks) of bonus content, including remixes, live versions and B-sides (all of which are available at DSPs). The 4 LPs will be pressed on 180 gram vinyl and housed in a quad jacket inside a rigid slipcase. A sew-on patch is also included.

After the amazing NoDōz album we dropped last year, we hooked up with Def Jam Blaster once again to bring you more rare & unreleased heat! We have compiled no less than 19 tracks from the vaults of Def Jam Blaster. All tracks were transferred from the original master tapes and were recorded between 1987 and 1993.



We have Private Identity (3-2 & Def Jam Blaster), NoDōz, Big Mike, Infinity, Black B. Nimbl, Kerijames, D. Latroi and Billy Dee M.C. all spitting on this historical piece of Houston, TX hip-hop.



Once again you will be treated with a Werner Von Wallenrod interview with Def Jam Blaster about him opening up the vaults and dropping knowledge about this project. The booklet contains no less than 12 pages and besides the interview it will also include additional photos from the contributing artists and a track by track commentary by Def Jam Blaster filling in the blanks for us.



All music has been remastered by Jee Van Cleef and the artwork was handled by LDL. The CD will be limited to only 250 copies!

Anticipated new instrumental release from A.M. Breakups, NYC/NOLA-based producer heard on billy woods’ History Will Absolve Me, Cult Favorite’s For Madmen Only (w/E L U C I D), Armand Hammer’s Race Music, amongst countless other singles and deep album cuts across the Hip-Hop underground. Breakups presents a hard-hitting unique vinyl project that taps into the realm of the obscure, funky, ambient, and breakbeat heavy, honing his trademark atmospherics and sample editing with a focus on sound design, texture and composition. With Redivider, A.M. Breakups (aka Marris Mielnick) articulates the soundtrack for the resurgence and fresh envelope-pushing presently occurring in Hip-Hop’s left field of creativity. Breakups’ close affiliation and releases through Backwoodz Studioz in past years, as well as his production & engineering work with the likes of Vordul Mega (Cannibal Ox), Teddy Faley, GDP, Skech185, Uncommon Nasa (Def Jux/Uncommon Records) and many others, make this carefully crafted Limited Edition 180g vinyl pressing one collectors will want to have in their crates and record shelves.

tbc

Get ‘Em started as a collaboration between producers, Computer Jay and Dream Dave. It turned out to be Computer Jay’s first attempt on the mic, evolving into Taylor The Terror, accompanied by long-time Cohort Imani the Ghetto Oracle (from The Pharcyde). The project unknowingly snowballed into an LA Riot of features ranging from established wordsmiths to producers and DJs picking up the mic to bring an unknown underbelly of vocals to the canvas. Get ‘Em is undoubtedly cut from the golden era of Hip Hop, but with exponential growth of Technique in the production, cuts, and lyric schemes. This 16-song album has the cinematic action of Fight Club mixed with Blaxploitation films. The Get ‘Em Got it, and it and the Gettin weigh a ton of pounds. The Get ‘Em Gettin, and is of the Weird Science Sound.

Get ‘Em started as a collaboration between producers, Computer Jay and Dream Dave. It turned out to be Computer Jay’s first attempt on the mic, evolving into Taylor The Terror, accompanied by long-time Cohort Imani the Ghetto Oracle (from The Pharcyde). The project unknowingly snowballed into an LA Riot of features ranging from established wordsmiths to producers and DJs picking up the mic to bring an unknown underbelly of vocals to the canvas. Get ‘Em is undoubtedly cut from the golden era of Hip Hop, but with exponential growth of Technique in the production, cuts, and lyric schemes. This 16-song album has the cinematic action of Fight Club mixed with Blaxploitation films. The Get ‘Em Got it, and it and the Gettin weigh a ton of pounds. The Get ‘Em Gettin, and is of the Weird Science Sound.

Wow - here we have a Stunning 10 tracker from Tacoma-based producer DJ Shaggy C & his extended crew of different acts collectively known as Thunder Jam Alliance. There is loads of info in the biography/interview Here but what you really need to hear are the snippets.



A small number of the TJA demos are floating around on the net courtesy of a variety of demo tape collectors but nothing has been formally released, so here is an introduction to this mid-90s Tacoma crew's output. And hot damn, is this stuff special...



Big shout out to my man Hakan Dougpark for the connect and Unikone for his posts on the excellent Hip Hop The Golden Era Blog - 1L

Wow - here we have a Stunning 10 tracker from Tacoma-based producer DJ Shaggy C & his extended crew of different acts collectively known as Thunder Jam Alliance. There is loads of info in the biography/interview Here but what you really need to hear are the snippets.



A small number of the TJA demos are floating around on the net courtesy of a variety of demo tape collectors but nothing has been formally released, so here is an introduction to this mid-90s Tacoma crew's output. And hot damn, is this stuff special...



Big shout out to my man Hakan Dougpark for the connect and Unikone for his posts on the excellent Hip Hop The Golden Era Blog - 1L

And we're back in Tacoma, WA for more unreleased and unheard 1994-1995 bangers from the Thunder Jam Alliance crew. All tracks produced by Shaggy C. Such a shame a lot of this material didnt drop at the time of recording, but Herring, like Mighty Mouse, has come to save the day!!



Make sure you peep those snippets - some killer material right here for the heads!!!







Big shout out to my man Hakan Dougpark for the original connect and Unikone for his posts on the excellent Hip Hop The Golden Era Blog - 1L

Vince Staples’ Dark Times serves as the Long Beach rapper’s sixth studio album and is a snapshot of Staples presently: on top of the world on the surface, but reality might be trickier. Throughout the album’s thirteen tracks, he grapples with life’s heaviness, all while understanding what the gravity of his work means in the grand scheme of things.

And we're back in Tacoma, WA for more unreleased and unheard 1994-1995 bangers from the Thunder Jam Alliance crew. All tracks produced by Shaggy C. Such a shame a lot of this material didnt drop at the time of recording, but Herring, like Mighty Mouse, has come to save the day!!



Make sure you peep those snippets - some killer material right here for the heads!!!





Big shout out to my man Hakan Dougpark for the original connect and Unikone for his posts on the excellent Hip Hop The Golden Era Blog - 1L.



Extra Large shoutout to TJA crew member DJ Strike for the incredible mastering/engineering job -

Limited to 100 copies. Exclusively available at HHV. The debut collaboration by Harlem, New York City raised, Ugandan born, award winning hip-hop creative Emma Lee M.C. and decorated German producer Roccwell is a potent offering of globally creative proportions. Merging her bold, flowful vocals and piercingly imaginary lyricism with his smooth, classic, world-renowned "boom bap" production over seven tracks, the two who met during a pandemic aimed to stifle their artistry have used the "new normals" as opportunity to create new energy, tell new stories and re-balance tastes in the culture.

On the lead single “Like It’s 93” featuring hip-hop legend Masta Ace, listeners are treated to a unique twist on nostalgia. Emma Lee personifies hip-hop by lyrically describing a dysfunctional but loving relationship using over 40 classic rap album titles all released in the year 1993, with Masta Ace responding metaphorically in a classic rebuttal. The track rolls in with a dreamy soundscape over Roccwell's signature snare drum spine, lifts and waves with Emma Lee's softly layered vocals in the hooks, and ends with a sonic collage of reflective cuts by DJ LP2 reminding us why we fell in love with hip-hop. As mentioned from "Digable Planets to Doggystyle," this track is a witness and poetic questioning of a pivotal time in music.

The follow-up single "Cravings & Withdrawals" with hip-hop legend Bahamadia holds its own as one of the smoothest rap duets put to wax in a long time. As Roccwell riffs the beat like a spacey and jazzy interlude, an elite skill level of emceeing is on display by two generational talents unapologetically pouring onto the track. The dream duo gives us an unbeatable breather during the hooks which are elevated by an adaptation of classic neo-soul R&B, asking whether listeners are "craving something real?" Clever cuts by DJ LP2 once again punctuate the odyssey and are sure to please most music heads.

“Chocolate Bars” by Emma Lee M.C. & Roccwell stays true to its rooted theme and includes a few musical twists, start to finish. From its concept, choice of instruments, variation, undeniable lyricism, sounds and messaging, it creates both curiosity and satisfaction, and leaves hip-hop lovers surely wanting more.

The debut collaboration by Harlem, New York City raised, Ugandan born, award winning hip-hop creative Emma Lee M.C. and decorated German producer Roccwell is a potent offering of globally creative proportions. Merging her bold, flowful vocals and piercingly imaginary lyricism with his smooth, classic, world-renowned "boom bap" production over seven tracks, the two who met during a pandemic aimed to stifle their artistry have used the "new normals" as opportunity to create new energy, tell new stories and re-balance tastes in the culture.

On the lead single “Like It’s 93” featuring hip-hop legend Masta Ace, listeners are treated to a unique twist on nostalgia. Emma Lee personifies hip-hop by lyrically describing a dysfunctional but loving relationship using over 40 classic rap album titles all released in the year 1993, with Masta Ace responding metaphorically in a classic rebuttal. The track rolls in with a dreamy soundscape over Roccwell's signature snare drum spine, lifts and waves with Emma Lee's softly layered vocals in the hooks, and ends with a sonic collage of reflective cuts by DJ LP2 reminding us why we fell in love with hip-hop. As mentioned from "Digable Planets to Doggystyle," this track is a witness and poetic questioning of a pivotal time in music.

The follow-up single "Cravings & Withdrawals" with hip-hop legend Bahamadia holds its own as one of the smoothest rap duets put to wax in a long time. As Roccwell riffs the beat like a spacey and jazzy interlude, an elite skill level of emceeing is on display by two generational talents unapologetically pouring onto the track. The dream duo gives us an unbeatable breather during the hooks which are elevated by an adaptation of classic neo-soul R&B, asking whether listeners are "craving something real?" Clever cuts by DJ LP2 once again punctuate the odyssey and are sure to please most music heads.

“Chocolate Bars” by Emma Lee M.C. & Roccwell stays true to its rooted theme and includes a few musical twists, start to finish. From its concept, choice of instruments, variation, undeniable lyricism, sounds and messaging, it creates both curiosity and satisfaction, and leaves hip-hop lovers surely wanting more.

Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others.

From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio.

His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities.

Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class.

Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.

The debut collaboration by Harlem, New York City raised, Ugandan born, award winning hip-hop creative Emma Lee M.C. and decorated German producer Roccwell is a potent offering of globally creative proportions. Merging her bold, flowful vocals and piercingly imaginary lyricism with his smooth, classic, world-renowned "boom bap" production over seven tracks, the two who met during a pandemic aimed to stifle their artistry have used the "new normals" as opportunity to create new energy, tell new stories and re-balance tastes in the culture.

On the lead single “Like It’s 93” featuring hip-hop legend Masta Ace, listeners are treated to a unique twist on nostalgia. Emma Lee personifies hip-hop by lyrically describing a dysfunctional but loving relationship using over 40 classic rap album titles all released in the year 1993, with Masta Ace responding metaphorically in a classic rebuttal. The track rolls in with a dreamy soundscape over Roccwell's signature snare drum spine, lifts and waves with Emma Lee's softly layered vocals in the hooks, and ends with a sonic collage of reflective cuts by DJ LP2 reminding us why we fell in love with hip-hop. As mentioned from "Digable Planets to Doggystyle," this track is a witness and poetic questioning of a pivotal time in music.

The follow-up single "Cravings & Withdrawals" with hip-hop legend Bahamadia holds its own as one of the smoothest rap duets put to wax in a long time. As Roccwell riffs the beat like a spacey and jazzy interlude, an elite skill level of emceeing is on display by two generational talents unapologetically pouring onto the track. The dream duo gives us an unbeatable breather during the hooks which are elevated by an adaptation of classic neo-soul R&B, asking whether listeners are "craving something real?" Clever cuts by DJ LP2 once again punctuate the odyssey and are sure to please most music heads.

“Chocolate Bars” by Emma Lee M.C. & Roccwell stays true to its rooted theme and includes a few musical twists, start to finish. From its concept, choice of instruments, variation, undeniable lyricism, sounds and messaging, it creates both curiosity and satisfaction, and leaves hip-hop lovers surely wanting more.