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When you hear the phrase, “everything’s fine,” we immediately understand it as emotional shorthand. In daily life, we depend on those perfunctory clichés (hope all is well, good to hear from you, etc.) to spare ourselves from the psychological unpacking that the truth requires. For that, there’s art. For that, there’s Everything’s Fine from Jean Grae and Quelle Chris, a jagged, acerbic odyssey that brilliantly riffs on this dystopian zeitgeist.
The thing is, anyone without a lobotomy and a toxic red hat understands that things are definitely not fine. The crush of modern anxiety, the late capitalist scramble to survive, and the brain warp rot of social media has left most of us half crazy.
“We have a dickhead for a president, and before our eyes, racial, religious, and sexual identity rights are moving backwards,” says New York’s (by way of Detroit) Quelle Chris. “Money is still a thing (I’m waiting for Star Trek life to start). There’s war, your kids may be sick, but if someone randomly asks ""how's it going?"" most people will say ""fine.""
Released on Mello Music Group, this album replaces that reflexive cliché with honest and eloquent tangents. It’s specific and subtle in its execution, achieving equilibrium between lackadaisical detours to smell the flowers and the frantic acknowledgement that there’s an inferno raging outside.
If the great political albums are often grim polemics, Everything’s Fine achieves its goals partially through withering satire. See the opening skit, a Prince Paul-style game show in which three contestants (including a futuristic robot) numbly croak that everyone’s fine despite flying high on every imaginable drug, crying themselves to sleep at night and being unemployed for a decade and a half despite having a Master’s in Fine Arts. I promise it’s much funnier than it reads off a screen.
“We’re both perfectionists in different ways,” Jean Grae describes their working relationship. “We both see huge pictures and concepts. So while listening, pay attention to the subtleties, the nuances, the dissonance and the harmony. The conversations and pieces of ourselves in the words, the flows, the beats. All of the open spaces. .Be uncomfortable and be okay with that. Be layered and be okay with that. Be angry and be okay.”
It’s rare to find a record where two rappers are so seamlessly intertwined. Yes, that’s partially a by-product of the teamwork that goes into being in any normal relationship where you wake, sleep, and dream together. But the album also bears the hallmarks of two singular creative geniuses trading bars, collaborating on beats, and combining fun with internal therapy and external observations. It features indelible cameos from Denmark Vessey, Grammy Award winner Anna Wise, Your Old Droog and Big Tone, as well as comics Ashok “Dap” Kondabolu, Michael Che, Nick Offerman, and Hannibal Burress.
In the streaming era, we tend to naturally overlook albums that require multiple listens. This is a record that will grab you on first listen, but it’s greatness only reveals itself through its careful construction, slick wordplay, and esoteric allusions.
On “Zero,” Jean artfully references Rachmaninoff and The Donner Party in the first two bars. With “Scoop A Dirt,” she name-drops the Babadook alongside the truth bomb that Friends was little more than a whitewashed rip off off Living Single. Meanwhile, Quelle balances boasts about bags of cash the size of Chris Christie with poignant existential laments. Somewhere in between, Jean will stealthily slip in jewels like, “it took me until my 30s just to put my finger on it, once you accept the knowledge/solace doesn’t follow/honest.”
It’s a record with only a couple antecedents: De La Soul is Dead, Organized Konfusion’s Stress: The Extinction Agenda, Blackstar, and maybe Cannibal Ox’s Cold Vein. Yet it doesn't sound remotely like any of them. It’s spontaneous and free, yet refined and meticulous. Even if everything is abject, it’s a reminder that music can transcend.
“This album is full of our minds. Our hearts. Our love for production, and words. flow and a lot of musicality,” Jeans says. “We don’t approach topics, issues, writing, or making beats in the same way. I’m harsh, blunt, quick, technical, I arrange classically and play more than I sample. I make joints with 80 tracks. I’m layers upon layers upon layers. Quelle is patient, he’s kinder. More loose and minimalistic. He makes sounds work together that shouldn’t fucking work. How? I have no idea. These are dreams within dreams.”

Cassette Store Day 2018 release! Since bursting onto the scene in 2012, Brooklyn hip-hop collective Pro Era has sent shockwaves through the culture. A true double-threat who’s just as skilled on the mic as he is behind the boards, Chuck is poised as the next breakout star from the Era with his highly-anticipated debut solo album, Consumers Park.

Hip-hop giants Cypress Hill have announced new album 'Elephants On Acid'.

The project finds producer DJ Muggs returning to helm the project, the first full length he has worked on with the group for over a decade.

Out on September 28th, the rap odyssey contains 21 tracks, moving from expansive pieces to short interludes, beat workouts and more.

“Anything can happen when Muggs, B-Real, and myself get together to record,” says Sen Dog. “We were kids when we first got together. We’ve grown up as men now, but the chemistry is still the same. When we first came out in the nineties, we sounded like nobody else; we sounded like ourselves. This is another continuation”.

B-Real adds: “The album is both a trip back to the roots and an escape into a completely new world”.

When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop - technically and creatively. “At the top of his game,” says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla’s oeuvre. “It’s a mysterious little project,” says his mother, Maureen Yancey. “But out of his entire career, that was the happiest time.” Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006’s Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dillaís involvement. This version of the album takes Dillaís mixes of the album and restores his vision for the project. “Straight from the mothafuckin’ cassette,” as he phrased the sound he was going for on the EP’s intro.

On 2007’s “Nostalgia,” a memorable track off Marco Polo’s album, Port Authority, chemistry between Polo and guest MC Masta Ace is easily heard and felt. What was a quick one-off collab was not only a reminder of Masta Ace’s timelessness, but it was also the impetus for a larger, more fleshed out concept between the Toronto beatsmith Polo and the legendary MC. The pair since formed a duo and the result is a powerfully evenhanded project, A Breukelen Story.

In 2018 we find hip-hop’s storied journeyman, Masta Ace, at the helm of another sharp, tightly wrought project. He’s traversed hip-hop’s ever-changing landscape for nearly three decades, navigating different eras while expanding his already extensive catalogue. From his formative work with the legendary Juice Crew, to a bombastically renowned stint with Delicious Vinyl, it’s hard to find a more humble master of ceremony than Ace—even harder is finding another figure whose work is equally embraced on both coasts, East and West, as well as abroad.

Despite amassing 7 solo albums, 5 collaborative projects and countless additional one-offs, Ace is still trying to show and prove, still moving the needle forward for himself, his fans, and his career. Says Ace: “My goal on A Breukelen Story was to do more lyrical stuff. I’ve done a lot of concept songs, and a lot of topical records, but I made a point to put a couple straight rhyming joints on here to remind dudes I can still do this.”

“I met Masta Ace for the first time while interning at Cutting Room studios in Manhattan,” says Marco Polo, longtime Canadian producer whose exploration of samples and boom-bap aesthetics certainly suite his moniker. “Ace came in for a session in the studio years and I introduced myself and gave him a beat CD.” While Polo was a young intern on the rise, he quickly worked the situation to his advantage, eventually producing for giants he grew up admiring— Kool G Rap, Large Professor, Scarface, Sean Price, Black Thought, Talib Kweli, to name a few.

Polo is not new to forming quality collabs with others in the art form, with notable stints on the aforementioned Port Authority as well as it’s follow up, PA2, and others like 2016’s work with young MC, A-F-R-O, fittingly titled A-F-R-O Polo. Yet out of Polo’s previous collaborative efforts, this one stands out and is a bit more special, according to Polo: “Ace does not like to write random songs, its usually conceptual and topical,” he says. “But we do have some straight spitting joints on A Breukelen Story which is what makes this album possibly the most diverse of all of my collaborative albums.”

The random meeting and a beat CD resultantly birthed A Breukelen Story, a collaborative release between the venerable veteran and an incredibly detailed and prolific producer. 14 tracks with pronounced guests (Pharoahe Monch on “The Fight Song” for example) all strewn together through Ace’s signature skits and interludes that frame the music and while telling the story of Polo manifesting his vision of being an NY transplant via Toronto while pursuing his dream of being a renowned record producer. Other guests range from younger MCs like Marlon Craft to spry OGs like Lil Fame (of M.O.P.), to Smif ‘n’ Wessun, to Styles P (of the Lox) Polo’s pastiche style boom-bap is the drum-driven centerpiece that perfectly couches Masta Ace’s thoughtful stanzas and vivid storytelling for this effusive Brooklyn narrative. – David Ma

Blu & Nottz are pleased to offer a special edition repress of their acclaimed 2018 collab LP, Gods in the Spirit, Titans in the Flesh, in a limited clear/light blue color-in-color configuration with yellow and white splatter. This epic two-part saga combines the previously released EPs into one full length LP. There is a care and attention to detail to this project that goes well beyond a standard reissue that clumps the previous projects together. Gits, Titf is a complete upgrade from the ground up with stunning new artwork by Dan Lish, re-mixed and remastered audio, and a reimagined tracklist featuring an ethereal new closing track (“Yesterday” feat. Sene & Elisa Meri). All of these fine touches really make the project a treasure for diehard fans, newcomers, and collectors alike. “Being some of my greatest material to date and the strongest lyrical follow-up I’ve constructed since ‘Below The Heavens,’” says Blu, “I feel more than honored to have both EPs officially commemorated as an LP to stand out amongst a band of classic full lengths produced by Nottz, like Asher Roth, Kardinal Offishall, Rapper Big Pooh and so on.” For Nottz, it’s all about showcasing the hypothetical hiphop beast dwelling beneath the surface of the previously released EPs. “With both EPs now combined, it’s a wrap—the kraken has officially been released with reckless abandon,” says Nottz.

This year marks the 5th anniversary of this classic collaboration by Crimeapple and BIG Ghost LTD and we couldn't let this go unnoticed! Aguardiente is undeniably one of the top 5 records of the last decade as well as a pivotal moment for both artists, a groundbreaking collaboration to say the least, featuring guest appearances by the likes of Benny The Butcher, Vic Spencer, Daniel Son, Lil Eto and Milano Constantine. We have teamed up with them to bring this back on all physical formats for this occasion, with the album being available with a brand new artwork, a new icy pendant cover as well as a revisited version of the OG artwork by Dom Dirtee, and featuring the classic Aguardiente Season Freestyle that started it all. Classic material right here!

This year marks the 5th anniversary of this classic collaboration by Crimeapple and BIG Ghost LTD and we couldn't let this go unnoticed! Aguardiente is undeniably one of the top 5 records of the last decade as well as a pivotal moment for both artists, a groundbreaking collaboration to say the least, featuring guest appearances by the likes of Benny The Butcher, Vic Spencer, Daniel Son, Lil Eto and Milano Constantine. We have teamed up with them to bring this back on all physical formats for this occasion, with the album being available with a brand new artwork, a new icy pendant cover as well as a revisited version of the OG artwork by Dom Dirtee, and featuring the classic Aguardiente Season Freestyle that started it all. Classic material right here!

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.

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

“After touring the United-States to promote my first solo album The Push, I discovered that I wanted to add more bangin’ songs to my live set as well as speak on some more topics that I have been dealing with.
Soul Power is the result. When I I say “Soul Power”, I’m talking about what gives my soul, my spirit power--which is music! This project was especially born out of all that I learned being on the road as well as teaming up with new friends I’ve met along the way which led to some dope collaborations! I definitely have to give thanks to the folks who have made me feel at home while away from home; who have blessed me with food, shelter, ciphers, laughter, conversation, money, memories, general nonsense, and love. Also mad thanks to the artists who blessed this project with their talent. Peace. Raashan”

Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world?

That’s what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.

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

This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there.

Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge’s "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.

With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.

Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.

He says himself: “Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record”

Nearly four years and a number of solo projects later, Detroit’s Clear Soul Forces are back with their most impressive release to date. Still is what happens when four proven artists continue to hone their craft and find their collective flow. At 11 tracks deep, this album eschews trends and instead provides timeless, straight-up dope Hip-Hop.

Speaking on why Still sounds so organic and cohesively produced, group member Noveliss says, “Everyone’s growth has made the creative process easier.” He adds that CSF may have been a team before, but each member had to prove himself individually. “Now, we and the world know what’s up, and it’s all about bouncing off each other and being a unit on every song.”

That sense of true teamwork and partnership is heard and felt on each track, from the neck-snapping opening track “Blaow (feat. DJ Odilon)” through to album closer “Don’t Stop” that serves up a wild burner-to-banger beat-switch. Other instant highlights include “Hit Me Now,” which Noveless says features “all of the random things that describe CSF,” and L.A.Z.’s favorite track “They Shootin’,” which is also the album’s lead single.

Those tracks, and the majority of the album, were produced by rapper-producer Ilajide, who complements his CSF brothers with beats primed for verses bursting with clever bravado, video game references, and head-spinning wordplay. Still is golden era Boom bap for the modern age, and it’s delivered through a lens that’s wholly unique to CSF. It’s also one of integrity, because there’s no fluff or superficial window dressing here—simply some of the best hip-hop you’ll hear this year.

* Two records for the price of one: The solo debut from THEESatisfaction’s Stas Thee Boss backed with EDM star Chong The Nomad’s first EP
* Pressed on 140g spattered vinyl in multiple colors, limited to 750 individually numbered copies
* Reversible cover design by Seattle artist Jennifer Campbell
* Specially mastered for vinyl by Adam Straney / This split LP from Seattle hip-hop label Crane City Music provides two entry points into that city’s flourishing underground hip-hop scene. It’s two records for the price of one! “S’WOMEN” is the highly-anticipated solo debut from THEESatisfaction’s Stas THEE Boss, while “Love Memo” is a runaway EP success from EDM wunderkind Chong The Nomad. Both artists are producers, singers, beatmakers and queer women of color creating distinctive music that expands our very definitions of genre.

Each project has amassed a wealth of accolades and album-of-the-year nods from national and local publications such as Pitchfork, Tom Tom Magazine, Earmilk, The Seattle Times, KEXP radio, and The Stranger. Chicago’s Dusty Groove Records praises the split vinyl, citing “hypnotic, abstract hip-hop vibe, moody beatcraft, insistent beats, and vocal samples... It's solid all the way.” Seattle Weekly calls this release “a perfect pairing.”

Chong The Nomad’s “Love Memo” landed “2018 Record of The Year” acclaim from The Seattle Times, Seattle Weekly, The Stranger and radio stations KEXP and 107.7 The End. In their review, The Stranger praised Chong The Nomad’s techniques of live-sampling ukulele and beat-box harmonica, alongside “heavy funk beats, marbles-scrambling bass frequencies, and torqued distortion… Holy shit.” NYC’s Tom Tom Magazine says that “multi-instrumentalist and producer Chong the Nomad is shaping the future of dance music.”

Pitchfork called Stas Thee Boss’s “S’WOMEN” a “sharp solo debut doused in heartbreak and identity.” She subtitles the record, “an aquatic explanation of failed female companionships.” Most songs are dense 120-second pops. French chefs have a name for their tiny, tasty morsels: “amuse-bouche” or “entertaining to the mouth.” Let’s call these songs “amuse-oreille” because they greatly entertain the ears… They’re little explosions of audio delight.

The first pressing of “Love Memo & S’WOMEN” is limited to 750 individually numbered copies. Every record is a different color with spatter accents.

It's safe to say that 2018 was a very busy year for both Klever Skemes and Willie The Kid, as they both delivered several bodies of work on their own and managed to put together these two incredible chapters of their "Gold Rush" series. Klever Skemes spotless productions perfectly combine with Willie The Kid's unique flow to deliver the perfect sequel to the "Gold Rush", featuring guest appearances by Roc Marciano as well as Manic, who fuels the engine behind the "Gold Rush" operation with his Romanic imprint. This incredible team is stepping their game up is ready to leave a mark in the game. We are glad to team up with Romanic once again to bring you the sequel complete with all instrumentals on the Bside as a limited edition of 500 handnumbered copies, with the first 200 pressed on white vinyl with gold splatter, and the remaining 300 on black vinyl.

It's safe to say that 2018 was a very busy year for both Klever Skemes and Willie The Kid, as they both delivered several bodies of work on their own and managed to put together these two incredible chapters of their "Gold Rush" series. Klever Skemes spotless productions perfectly combine with Willie The Kid's unique flow to deliver the perfect sequel to the "Gold Rush", featuring guest appearances by Roc Marciano as well as Manic, who fuels the engine behind the "Gold Rush" operation with his Romanic imprint. This incredible team is stepping their game up is ready to leave a mark in the game. We are glad to team up with Romanic once again to bring you the sequel complete with all instrumentals on the Bside as a limited edition of 500 handnumbered copies, with the first 200 pressed on white vinyl with gold splatter, and the remaining 300 on black vinyl.

Features Black Thought, Georgia Anne Muldrow, Gallant and Estelle.

“Produced By” pairs producers with a collection of some of today’s top artists across various genres to create exclusive, new recordings for Amazon Music listeners. Each Friday during the month of February Younge released an Amazon Original song as part of the series, only available to stream and purchase on Amazon Music. Featuring Black Thought, Estelle, Gallant, Georgia Anne Muldrow and Terrace Martin.

From Adrian’s perspective, each of these songs collectively celebrate the spectrum of black music, and are intentionally being released during Black History Month. Younge explains:

The obsession with race is disturbing to those that wish to divert attention away from the unyielding attributes that have plagued black America. However, we all must realize how such disenfranchisement has negatively affected us all. We are all equal and we are all human; we all have something to say and something to contribute; essentially, we all deserve to be heard, recognized and respected. That being said, our celebration of Black History Month brings us closer to understanding the struggles and contributions African Americans have made in making America what it is.

There was a time in America when Blacks weren’t free to pursue their creative endeavors. Such cultural tension led to Blacks creating the first American musical art form: Jazz. This music, the antithesis of western idealism, is what continues to inspire black music today. My work embraces this perspective, but furthermore, it serves as a reminder of how music can lay the groundwork for self-expression and cultural awareness. Embrace Black History Month and take the time to realize how black music has shaped the cultural narrative of America.

Adrian Younge has carved out an incomparable niche in the music community. He’s served as a producer, composer, studio head of Linear Labs, and owner of The Artform Studio in Highland Park, CA. Adrian, along with his production partner Ali Shaheed Muhammad (A Tribe Called Quest), is best known of late for work on the stellar score to the Netflix/Marvel series Luke Cage. Over the years, the versatile Younge has collaborated with artists including Jay-Z, Wu Tang Clan, Kendrick Lamar, Snoop Dogg, Cee Lo Green, Raphael Saadiq, and more.

The work of acclaimed L.A. rapper Blu is a hip-hop time capsule perfectly embodying the vibrant culture of the City of Angels. With no signs of slowing down, the talented artist continues to supply listeners with vivid lyrical imagery over exceptional production.

The latest addition to his catalog is A Long Red Hot Los Angeles Summer Night, a new album entirely produced by Oh No. The son of singer Otis Jackson and younger brother of beat god Madlib, Oh No has been among the most consistently relevant artists on the independent hip-hop scene since the release of his influential debut album 15 years ago. Equally skilled as an emcee and producer, Oh No’s storied career has included forming the duo Gangrene with Alchemist, composing the original score for the popular video game Grand Theft Auto, and producing for De La Soul, Mos Def, Action Bronson, Talib Kweli, Danny Brown, Prodigy, and many more.

Now, these two unique and innovative artists are joining forces for an impressive full-length album. With Oh No’s dynamic, soulful production setting the stage, Blu’s effortless flows and streetwise storytelling are on full display. "It's a true honor to put it down with the legendary Jackson Brothers,” says Blu. “Oh No never fails and this project has been provided with straight heat for the streets."

Featuring guest appearances from Abstract Rude, MED, Self Jupiter, Ca$hus King, and more, "A Long Red Hot Los Angeles Summer Night" is now available worldwide on CD and vinyl.

After 2017’s 10 year anniversary tour of Below The Heavens and a b-sides/rarities release in In The Beginning many wondered whether or not Blu & Exile would ever reunite for a proper new release or if that year was as much a curtain call as it was a celebration. Putting those questions to rest, Dirty Science Records is proud to announce the True & Livin EP – as Blu & Exile’s undeniable chemistry is yet again put on display. “True and Livin feels like a spiritual call to all that have honor and truth in their being. It sees how present day and beyond is always trying to calculate or monetize what comes from God or what comes from an artist’s spirit, but it also recognizes the truth that is inside of Blu and Exile's music and brags about it, even in a humble way somehow. This might be the first hip hop braggadocio song that invites us all to feel the same about themselves as long as they connect to the spirit and truth that is inside this song and inside us all.” Exile says about the EP’s title track. Positivity and strength remain a theme on this EP, in Spread Sunshine and the stand out posse cut featuring most of the Dirty Science crew in Choosey, Johaz, Cashus King, Aloe Blacc, Fashawn & Blame One on Power To The People. Blu adds, ““Power To The People” is a call to the people, a call for the people to unite. Unification is power, power in numbers.

There are not too many artists who can maintain over a quarter of a century but the man like Kwest Tha Madd Lad dropped a superb project a few months back and we decided to combine that full project with 5 of his 1994 [unused first album joints] previously only available on CD via the now-defunct No Sleep Recordings. His first album, on Rick Rubin’s American Recordings took a couple of years to drop but was completed in 1994. After the schedule was messed around with in favour of different artists on the label, the record finally dropped in 1996. At that time Kwest decided to leave out some of his earlier recordings from the session, so they never made it onto wax. But we are proud to say that the time has finally come to give them a vinyl airing. The new EP ‘S.P.I.T.R” was produced by Aneeway Jones and X-Ray Da MIndbenda [M.I.C.] and is one of the freshest and competent releases by a “mature mc” of recent years. The ‘Old To The New’ LP spans 1994 to 2019 in a seamless homage to the timeless art of lyricism. Enjoy!!!! There will be 350 copies pressed only. This first 120 copies will be on Purple & Green mixed Colored Vinyl. The next 230 are on traditional black wax!! Cover is a plain white sleeve with full colour large 20cm x 20cm sticker.

Since the early aughts, rapper Diabolic and producer Vanderslice have moved in similar circles, so it was only a matter of time that they would join forces for a collaborative record. With the release of Collusion, that time is now, and it couldn’t have arrived at a more perfect moment. The project eschews every trend and flash-in-the-pan style to create a record that’s a must-listen for anyone who truly appreciates sharp lyricism and neck snapping production.

“We’re two artists with 18 years of friendship, colluding to form a cohesive monster,” Diabolic says of working with Vanderslice. “The chemistry is automatic,“ he adds. “At first, we tested the waters to see if the chemistry was there, and if we could actually make a cohesive record, that we were both passionate about, and we did,” echoes Slice.

It’s apparent that Collusion is an absolute force when you hear opening track “Think of That,” a blistering banger featuring shots at his rivals, over Slice’s hypnotic production. And the remainder of the album hits just as hard, with tracks like the chest-thumping “Normalize,” the Nems featured heater, “See the Light,” the DJ Revolution-assisted “Simon Phoenix,” and the B-Side opener, “The Other Side,” which Vanderslice claims to be one of his toughest beats in years.

In addition to battle-ready bars and neck-breaking production, the lyrics and album title of course reference the nation’s current political climate. But the thing is, that wasn’t intentional for either collaborator. “The ‘political’ topics I touch on are just hints of what’s on my mind at the time” Diabolic explains. Adding to that, Vanderslice states: “You let the artist write and record whatever they want. It's my job to trim the fat and present it in it's absolute best light.” With the fat trimmed and everything in place, we're left with one of the most noteworthy rapper-producer collaborations of the year.
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The Good People are exactly that, good folks that have maintained a strong presence in Hip-Hop since the mid-naughts. Consisting of MC/DJ Emskee and MC/producer Saint, these two heads eschew the violence and misogyny of hardcore Hip-Hop but still give fans that energy and sound of classic 90s Boom Bap. While some may even group them under the conscious Hip-Hop banner, their intent is to just make the kind of music that listeners can't help but nod their heads to. The type of tunes that send b-boys into the circle without a second thought.

While this true school twosome dropped a number of well-received projects (group and solo) between 2004-2013, it wasn't until earlier this year that they released their third official group album, "Good For Nuthin". The effort showed they hadn't lost a step. In fact, it is the very definition of essential, "no frills" Hip-Hop. The LP features some of the genre's most enduring pioneers and vets, including DJ Red Alert, Large Professor, Sadat X, Lil Fame, the Cella Dwellas and more.

Now, only a little more than four months later they are back with an offering perfect for the upcoming dog days, which is appropriately titled "The Summer EP". The 6-track affair carries on tradition without sounding retro. It starts with the genuine LA vibes of "Windows Down" featuring Tash of Tha Alkaholiks, which is followed up by a braggadocios posse cut with A-F-R-O and Termanology titled "Sidewalk Barbecue." Quintessential East Coast horns and thumping drums dominate the remainder of songs, including the laid back lead single, "A Summer Night At The Symphony." The joint starts with the same narrated intro as The Juice Crew's "The Symphony," and features noted spitter John Jigg$ and his team, MXNXPXLY Family, getting busy on the mic.

Suffice it to say, this extended player will be getting enough spins in convertible rides, at BBQs, and on late night radio shows that still play the real. Push play and experience that feeling of a cold drink on a sweltering day.

Acclaimed Ukrainian-American rapper Your Old Droog recently made waves with the unexpected release of "It Wasn’t Even Close", a brand new album that drew widespread attention and endless praise after dropping in April with no advance warning. Fresh off this success, your old pal is returning less than two months later with "Transportation", a different album dropping on June 14th. The album features 15 tracks, all of which loosely relate to a method of transportation. “Not everything is literal though,” says the artist, which comes as no surprise considering the man’s penchant for abstract metaphors. "Transportation" finds Your Old Droog returning to the unique remind-you-of-NYC-at-night soundscapes that served as the backdrop to his classic self-titled debut, which was named one of the top 10 albums of 2014 by The New York Times and one of the top 15 rap albums of 2014 by Rolling Stone. Similar to the first project, the bulk of the beats on "Transportation" are handled in-house by eclectic Inwood beat wizard Mono En Stereo. Droog sounds more than at home delivering the audio equivalent of comfort food, with interludes sprinkled around beats and rhymes that go together like a peanut butter and jelly sandwich with a cold glass of milk in the middle of the night. In Droog’s case, it might be Bulgarian buttermilk.

So, True Force aka Tirrell (Killa Kidz old manager and exec producer) hits me up and says “Bob, I found more DATs!!!”. “No shit?” I said. And then the files started to come. Multiple versions and recordings of unheard and unreleased material from the early days of QB’s dopest undercover crew. Included was the 1995 bomb and first ever group recording “In The Mental”, the title of this excellent follow up to 2013’s “1996-1997 Phenomenon EP” on Chopped Herring. In total we have 7 joints from 1995-1997 off the original studio DAT’s. This is one of those ILL releases where maybe [just maybe] Vol 2 is EVEN doper than Vol 1. You can be the judge. But hurry the eff up – there are only 350 copies pressed. The early bird catches the funky worm, yo!!!!

Born in Philly and raised in Montclair New Jersey, The Custodian of Records is involved into many projects with prominent artists from the underground ”new wave boom bap” scene.
Sitting on a large collection of vinyls for over 20 years and finding his influences from legendary producers like Large Professor, DJ Premier, Prince Paul, The famous Public Enemy production team “The Bomb Squad”, DJ Muggs from Cypress Hill and The RZA from the Wu-Tang, The Custodian cooked up some dope beats with soulful samples and drum breaks with his cherished Akaï MPC2000XL and E-mu SP-12.
Freshly homemade with ingredients from real vinyl samples so no “YouTube shit” like he says.

A selection of 12 tracks made it to his compilation album called “The Sampler Platter”.
The sound reflects perfectly what the Custodian stands for. The album features Estee Nack of Tragic Allies, Vic Spencer, Daniel Son, Milano Constantine of the D.I.T.C. crew, Flashius Clayton, Sleep Sinatra, Fla-Fla of Sparrow The Movement, Chuck N Lock and SCVTTERBRVIN to name of few.

Termanology has been creating classic streetwise boom-bap hip-hop since the late 90s. One of the most prevalent figures of
the worldwide underground rap scene, Termanology has earned widespread critical praise and garnered a cult-like following
through his music, and has performed with acclaimed legends such as Kool G. Rap, Inspectah Deck, Ghostface Killah, and DJ
Premier, and is a frequent collaborator with his ‘Showoff Radio’ (on Sirius XM Radio’s Shade 45) co-host DJ Statik Selektah. He
has released over 30 highly-regarded albums across various formats, while his own imprint ST Records has produced records
for fellow underground-denizens like Shortfyuz, Ea$y Money, and Superstah Snuk.
Dame Grease, an NYC native, first made waves when he produced several songs on The Lox's Bad Boy Records debut album,
Money, Power & Respect, including the hit “We'll Always Love Big Poppa” featuring Puff Daddy and Faith Evans. He followed
that with work on Mase's quadruple platinum album Harlem World and on DMX's debut It's Dark and Hell Is Hot, on which
he produced thirteen of its nineteen tracks. The 2000s saw Dame establishing his own label, Vacant Lot, and making hits
for the likes of LL Cool J, Slick Rick, Ol' Dirty Bastard, T.I., Cam’Ron, Juelz Santana, Curren$y, French Montana, Riff Raff
and many more.
The two legends have collaborated on a full length album, Set in Stone, hitting the streets on Sept 13th 2019.
"Term and myself hooked up on the "Its Quiet" record (from Term’s More Politics album) a couple years back & that lead us to
creating Set In Stone. We wanted to make records that our fan base would respect, and have enough of a worldwide vibe for
the universe to appreciate," explains Dame Grease.
“The chemistry was just great. So one day while we were both on tour with The Beatnuts, Dame gave me the first batch of
beats and I began writing the album” says Termanology. “It was such a pleasure working with Dame- he makes so many
different styles of beats, I was never put in a box. I was able to just go wherever the beat took me. I really wanted to try
something different with this album. This is my most diverse project. Every song is different. I got boom bap joints, lyrical joints,
R&B records, political records, even a song about fighting alcoholism. There is something for everyone on this project.”

With a sound he describes as “the soundtrack to the subconscious of the space-time continuum”, Philadelphia producer SadhuGold has emerged as one of hip-hop’s most exciting new sonic architects. Specializing in raw, dusty vibes with an otherworldly feel, SahduGold has crafted tracks for acclaimed artists like Mach-Hommy, Westside Gunn, Tha God Fahim, Your Old Droog, and more. His latest project is "The Gold Room", a brand new instrumental album conceived as the score of a prequel to Stanley Kubrick’s classic film "The Shining". The album is a hypnotic, cinematic trip into the mind of a fascinating artist, delivering a haunting listening experience and, in the words of its creator, “an unwavering sense of unease and intensity”.

Elcamino Links With Dutch Producer Oh Jay To Cook Up Some Potent Product
2019 has been a banner year for Griselda Records. From recording their highly anticipated record for Eminem’s Shady
Records to Benny The Butcher signing a management deal with Jay-Z’s Roc Nation, they have made some major moves.
However, the young shooter of the crew, Elcamino, has been largely ignored by the press and masses alike.
After dropping his self-titled debut at the top of last year, Camino appeared on almost every track on Benny’s A Friend of Ours
EP. He then followed that up with a strong sophomore effort titled Walking On Water. This year the baby-faced Buffalo rapper
has already dropped his third LP, Don’t Eat The Fruit, as well as the well-received Lot and Abraham EP, and he is mere weeks
away from unleashing Elcamino 2 on the world.
You would think that is enough to start getting on the media’s radar, but as to not leave anything to chance, he is dropping
yet another project on September 27, Where’s My Pyrex? This offering is entirely produced by Dutch beat architect Oh Jay.
While the name may not be instantly recognizable to North American fans, Oh Jay is well known in The Netherlands and
throughout Europe. The veteran DJ and producer has been a part of a number of Hip-Hop acts since as early as 1990. In
fact, he received a Gold record for his contributions to the Brainpower album Verschil Moet Er Zijn. Much more recently he
handled production duties on Milano Constantine’s criminally slept-on Attache Case full-length.
Let’s just say that what Elcamino and Oh Jay put together for Where’s My Pyrex? is about to have Griselda fiends
falling out worldwide.

Mr Muthaf*ckin’ eXquire - the self-titled debut album out via eXquire's own label, Chocolate Rabbit - is long overdue, arriving over a decade in to the rapper's career and following several strong mixtape and EP releases. The album marks the start of a new phase for eXquire which finds him retaining his trademark potty-mouthed raps whilst introducing a more reflective, thoughtful outlook - Ptichfork says of the album, ""the Brooklyn rapper is back on his own label, back on his own terms, and just as defiant and provocative as ever". The first in a series of new releases, Mr Muthaf*ckin’ eXquire is a wild ride of impressive, defiant, funny and sometimes introspective lyrics, with raw, gritty beats - the album features Wiki, KAST and Iceberg Black, with production from some of eXquire's long time collaborators, CONSTROBUZ, Parallel Thought & Iceberg Black, amongst others.

“What more can I say? Top Billin’… Iconic hip hop gold from Audio Two that could run for the title as one of the most sampled beats in hip hop history. A straight-up classic from back in ’87 pressed to 7 inch and backed with the instrumental version on the flip. OG copies have been known to sell for over £175.

Limited to 300 copies. Carta' P. & Parental - A Beautiful Mess is a project that was recorded over a timespan of 2 years and was just released last month, on vinyl only. I had to make something happen with this talented duo for all the CD headz and I'm proud to say the CD version will include no less than 6 bonus tracks!

Paris, France based producer Parental has been steadily building his name for the last 10 years producing for acts like Kalhex, Zaïd (Deviants Of Modern Society), Pete Flux, Melanin 9, Glad2mecha, Pudgee Tha Phat Bastard, Horror City and more!

Former Adagio! emcee Carta' P. is a legendary rapper hailing from Mount Vernon and was formerly known as Big Cousin or the Obvious Wonder. He along with his Philly counterpart Rayme Supreme have been responsible for dropping countless classics since the mid 90's. The headz that know Adagio! will remember they had a distinct, own style that made them instantly recognisable and that's also a feat this album has to offer.

Ohio rapper Stalley burst onto the scene in 2010 with his breakthrough mixtape “Lincoln Way Nights”. In the years since, he's seen his stock rise further after signing with Rick Ross and Maybach Music Group, contributing to chart-topping albums, and releasing acclaimed solo projects featuring artists like Scarface, Nipsey Hussle, Migos, 2Chainz, Ty Dolla $ign, Meek Mill, Curren$y, and more. Now going the independent route, Stalley is back with the new project “Reflection Of Self: The Head Trip”. The collection is entirely produced by Jansport J, the California beatsmith responsible for tracks by Snoop Dogg, Ab-Soul, Dom Kennedy, Freddie Gibbs, Kool G Rap, Planet Asia, and many more. With Jansport’s raw, soulful instrumentals setting the tone, "Reflection Of Self: The Head Trip" is Stalley’s most introspective project to date. "With this music it’s more spiritual - it’s my story," he explains. "By being independent and having total control of my career, I now have the freedom to create freely and bare my whole self to my true supporters."

Future archaeologists will discuss two periods in 1980s: before Run-DMC and after Run-DMC. It’s no exaggeration to say that the group changed the course of music in the ‘80s, bringing the old-school of rap into the new with one simple piece of flat, black plastic. Coming up in the rap world of the early 1980s under the wing of Kurtis Blow (group manager Russell Simmons managed Blow, and Run was, at one time, a DJ known as “Son of Kurtis Blow”) and Blow’s bassist and burgeoning super-producer Larry Smith, the trio – Joseph “Run” Simmons, Darryl “DMC” McDaniels and Jason “Jam Master Jay” Mizell – learned from the best, but created their own path. 1983 was the year that they first broke out. With only an Oberheim DMX drum program and some cuts by Jay, “Sucker M.C.s (Krush-Groove 1)” was a shot across the bow to the slick, post-disco pocket rap had settled into. It was raw, pure swagger and it took both New Yorkers and music aficionados around the world by storm. The song’s lyrics are a mandatory memorization assignment to this day by MCs learning their craft. “Two years ago, a friend of mine…”
The group’s sound, which was laid out muscularly on Run-DMC, had a harder approach than their peers, thanks to producer Larry Smith’s use of live musicians who laid down grooves but didn’t soften the edges. Lyrically the group wasn’t just about brags either, with songs like “Hard Times,” “It’s Like That” and “Wake Up” (the first two were singles). Run’s and DMC’s overlapping tag-team approach to lyricism was powerful and immensely influential.
“Rock Box,” another single and arguably the centerpiece of the album, was a nod to their hard edge, and a foreshadowing of their first worldwide smash, 1985’s “King Of Rock.” Jam Master Jay’s DJ work was stellar, knowing exactly when to jump in and put listeners’ ears in a headlock.
The album was the first rap full-length to achieve Gold status, and as fans know, the group was just getting started – their next two LPs would take them to even higher status in the music world, critically and sales-wise. But this is where it all started, and it’s a classic that still sounds
fresh today as it did more than 30 years ago.

Undagawds – consisting of rapper Peter Manns & beatmaker Thelonious Coltrane – an American/Russian MC and Producer team with their chosen home Frankfurt am Main (Germany).
Peter Manns came from Cambridge (Massachusetts) to the German banking capital . There he met Thelonious Coltrane, who was about to flood the market across the city limits with a myriad of beat tapes long ago. It clicked between those two directly and, as a result, they created an absolute new school boombap-masterpiece.

The beats from Coltrane vary from soulful grooves und jazz samples (“Looking for Words“ and “Cognac“) to classic headnod-bangers („jump up“). Peter Manns adds his thoughtful lyrics being permanently performed with an unlimited amount of coolness to a perfect mix.

"Devil on my back, but i stay on track"

Friends left behind and newly won in the old and new home, phases of childhood and youth or simply the life itself – Peter Manns drags the listener into the hustle coming along with being a young immigrant from America trying to find his way in a foreign country and city. Of course, there are the girls, the funk, the partys and the weed as well... but foremost, each song those two present delivers the message: despite all difficulties and irregularities, it is the music, which makes it all void and, ultimately, puts together all the scattered pieces!

"We made a classic!" – and would they say otherwise, it would not be Hip Hop! Selftitled.

Undagawds.
Sichtexot Records.
You better pray.

Known for impressive lyricism and streetwise wordplay set to dusty soul and jazz loops, Atlanta native Tha God Fahim has defied expectations for hip-hop from his city, and his steady stream of output continues to draw attention. Just a few years into his career, the talented emcee/producer has already released more than 100 projects, establishing himself as one of the most prolific artists in rap today. Despite his rapidly growing audience, Tha God Fahim remains an enigma, releasing little background information and maintaining an air of mystery about himself, similar to frequent collaborator Mach-Hommy. Now, Nature Sounds is proud to announce "Lost Kingz", a brand new album from Tha God Fahim. Available worldwide on CD, vinyl, and digital outlets, "Lost Kingz" features appearances from Mach-Hommy and Vinnie Paz, plus production by DJ Muggs, The Architect, C-Lance, and Fahim himself.

Washington Heights, NY rhyme duo Pearl Gates and Syll return with the second installment of their “Play This” series.
“Play This 2”, the full-length will drop via Below System Records and is the follow up to the first EP installment (which dropped back in 2016). “Play This” the EP’s narrative was introducing the listener to their hood from the heights to the dark underbelly. Being that Gates has been on several international tours following the first EP and Syll has been making moves as a songwriter for other artists, their worldview has grown since and is reflected on this album. As Gates says, “Play This 2” is “a collective story of our experiences and meant to take the listener on a journey with us. To reflect this journey, the beats are wide ranging and should appeal to a progressive audience who enjoys a traditional Hip-Hop sound as well as blend of trap, inviting melodies and a chill vibe.” One example of this vibe is the album’s first single “Kingz” which features appearance from West Coast lyricist, Blu, with the beat laced by French producer, C0rrado (who produced the entire first EP). Speaking on the link-up with Blu, Gates said “I spent some time in Los Angeles working on some tracks for Blu & Exile and Blu reciprocated with a dope verse.” It should be said that in addition to his prowess as an emcee, Pearl Gates is adept as a singer as well and has lent melodic hooks to tracks by Masta Ace, Kool G Rap and eMC. This melodicism is in effect throughout “Play This 2” which blends more modern era production and moody boom-bap provided by Frankie P (A$AP Ferg, Meek Mill), Sirplus, EyeDee (Heem Stoogied, Ty Farris), DJ Soulclap, Jay Notez and Quincey Tones (who worked with Pearl Gates on his collaborative album with Wordsworth, “Champion Sounds”).

R.A. The Rugged Man is one of the most fascinating figures in hip-hop history. His career spans decades, and defies simple narratives. The Rugged Man has been an up-and-coming star, an industry outcast banished and forgotten, an underground cult hero, an independent success story, and an influential master of the art form.

Now, R.A. The Rugged Man is back with ""All My Heroes Are Dead"", a brand new album that stands as his best work to date. “So many of the greats are gone, and the legends who made it out alive are cast aside,” R.A. explains. “Society left our heroes and their culture for dead. We have to dig that greatness out of its grave, and bring it back with an angry vengeance.” "All My Heroes Are Dead" features an all-star lineup of hip-hop heavyweights, including Atmosphere, Chuck D, Ghostface Killah, Immortal Technique, Vinnie Paz, Ice T, M.O.P., Kool G Rap, Brand Nubian, DJ Jazzy Jeff, Chris Rivers, Onyx, Inspectah Deck, A-F-R-O, Masta Killa, and more.

R.A. The Rugged Man and Atmosphere are two of the most important names in underground hip-hop history. Among the original architects of the independent hip-hop revolution, both of these iconic artists have defied the odds to thrive for decades in the ever-changing rap landscape. Now, R.A. The Rugged Man and Slug of Atmosphere are joining forces for the first time ever to bring some much-needed joy to listeners during these trying times. Featuring a hook by famed singer Eamon, the historic collaboration "Golden Oldies" is a feel-good trip down memory lane taken from R.A. The Rugged Man's new album "All My Heroes Are Dead". This limited-edition 7" single gives fans the opportunity to experience the nostalgic anthem in all its old-school glory.

Strictly limited edition of 300 copies on green and red Colored Vinyl. Comes in UV-finished gatefold sleeve with black poly-lined innersleeves.

Originally released in 1996 on Lethal Records, the entire album "Sex, Props, Cream ... And The Drama In Between" by Long Island's Punk Barbarians finally gets a proper re-release on 2LP and cassette. The original 1LP missed a few tracks off the album, so this is actually the very first time you can hear the full release on your turntable.

In November 1996, The Source gave 3 and a half mic's and here's what Miles Marshall Lewis wrote about the Punk Barbarians debut album: "It seems like recently in rap, everybody's album is based on one of these three concepts, but they're not dealing with the reality of the drama in between," says Doozer mid album, discussing Sex, Props, Cream & The Drama In Between title of his Punk Barbairan crew's debut album. The PBs - Sunny Cheeba, Bam Bam, Doozer and Renegade (aka Shine On) - arrive to a ravaged hip-hop landscape with high aspirations: detailing the drama in between libido, recognition and economics could fill 14 albums, much less the 14 tracks on Sex, Prop, Cream - in essence merely struggle - is, after all, the basis of life itself.
With their work cut out for them, the Punk Barbarians still manage to leave a strong mark. Their lively interplay - with an engaging reminiscent of an Onyx or Lost Boyz - sounds honest, like a crew that's been together since the sandboxes of their native Long Island. The fousome bounce off each other like perfectly arranged quadraphonic accoustics, particularly with thepulsing "Blast Off" and the Spanish-guitar textured "Sweets". Jazzy production includes snippets of vibe and harp that echo masters like Lionel Hampton and Alice Coltrane, while simultaneously evoking the aesthetic feel of The Low End Theory. Some tracks - "The Struggle" (which features Donald Byrd) and "You Don't Know" - ride the line between simple influence and imitation of Tribe's jazz-rap masterpice, but with an intuitive understanding rather than mere bastardization.
"Hooptie Car" shins as a diamond in the rough, dreamily escapist like the Pharcyde's "Passing Me By". As Sunny and Doozer reference Grce Jones and Donna Summer - "Pull up to my bumper," "Toot toot, ah, beep beep" - in mid-rhyme, the irony of this track's dopeness sets in. Because while the Punk Barbarians allude to "Malcolm, Martin and Marcus and W.E.B." on "Rest In Peace" and speak of how their rhymes are "killing you like daily intakes of swine," on "Magic," their real flavor is best presented on frivolous cut like "Hooptie Car."
Sex, Props, Cream & The Drama In Between remains an excellent starting point for the PB quartet, and unless their name erects an Alkaholis-like stumbling block, they should have time to display an interesting evolution."

Strictly limited edition of 100 copies on green coloured cassette.

Originally released in 1996 on Lethal Records, the entire album "Sex, Props, Cream ... And The Drama In Between" by Long Island's Punk Barbarians finally gets a proper re-release on 2LP and cassette. The original 1LP missed a few tracks off the album, so this is actually the very first time you can hear the full release on your turntable.

In November 1996, The Source gave 3 and a half mic's and here's what Miles Marshall Lewis wrote about the Punk Barbarians debut album: "It seems like recently in rap, everybody's album is based on one of these three concepts, but they're not dealing with the reality of the drama in between," says Doozer mid album, discussing Sex, Props, Cream & The Drama In Between title of his Punk Barbairan crew's debut album. The PBs - Sunny Cheeba, Bam Bam, Doozer and Renegade (aka Shine On) - arrive to a ravaged hip-hop landscape with high aspirations: detailing the drama in between libido, recognition and economics could fill 14 albums, much less the 14 tracks on Sex, Prop, Cream - in essence merely struggle - is, after all, the basis of life itself.
With their work cut out for them, the Punk Barbarians still manage to leave a strong mark. Their lively interplay - with an engaging reminiscent of an Onyx or Lost Boyz - sounds honest, like a crew that's been together since the sandboxes of their native Long Island. The fousome bounce off each other like perfectly arranged quadraphonic accoustics, particularly with thepulsing "Blast Off" and the Spanish-guitar textured "Sweets". Jazzy production includes snippets of vibe and harp that echo masters like Lionel Hampton and Alice Coltrane, while simultaneously evoking the aesthetic feel of The Low End Theory. Some tracks - "The Struggle" (which features Donald Byrd) and "You Don't Know" - ride the line between simple influence and imitation of Tribe's jazz-rap masterpice, but with an intuitive understanding rather than mere bastardization.
"Hooptie Car" shins as a diamond in the rough, dreamily escapist like the Pharcyde's "Passing Me By". As Sunny and Doozer reference Grce Jones and Donna Summer - "Pull up to my bumper," "Toot toot, ah, beep beep" - in mid-rhyme, the irony of this track's dopeness sets in. Because while the Punk Barbarians allude to "Malcolm, Martin and Marcus and W.E.B." on "Rest In Peace" and speak of how their rhymes are "killing you like daily intakes of swine," on "Magic," their real flavor is best presented on frivolous cut like "Hooptie Car."
Sex, Props, Cream & The Drama In Between remains an excellent starting point for the PB quartet, and unless their name erects an Alkaholis-like stumbling block, they should have time to display an interesting evolution.

Rap duo Real II Reel aka Phatheadz was formed in 1990 by Ed Gledhill aka Ease and Nick D’Amato aka Nick Nice. The boys grew up in Pennsauken NJ just outside of Philly and met while in high school. They started rapping in their late teens and pressed their first 12 “ in 1990 [2 Def – Soul On A Roll] which featured none other than DJ Royal Rocker from Krown Rulers out of Camden supplying the cuts. Ed was lucky enough [his words] to gain an internship at a studio to learn engineering and that afforded him the time to concentrate on his own production work. Most of the songs back then were recorded onto Adat. Ed used a Yamaha S-760 for sampling and Roland equipment for beats, sounds and interface for a program called Master Tracks.

They changed the name to Phatheadz shortly after the 12″ dropped because, as they felt, times were changing and the play on numbers in groups titles was getting old [and also maybe because there was a house act called Real II Real?]. They were close with a deal at Ruff House records outta Philly around 1993-1994 but unfortunately it fell through. As with many artists of a certain age, they felt they were getting older and had lives and families and responsibilities and they lost the drive to do it anymore but we are pleased to say they remained friends to this day.

Props to the fellas for letting us do this project and supplying four previously unheard and unreleased heaters. Peep the snippets yo – this is Classic, slept on 93 ish

The new album from Burgundy Blood including bonus joints and interludes! Herring and Burgundy Blood go back like prehistoric cave paintings and garden loungers, but this is the now people and what we have for you is the album of our times. It’s the shiznizzle, the goose that laid the golden egg, the spatchcock chicken, the wind beneath Everyone’s wings AND the cure for our current predicament. Not the Robert Smith, goth-pop Cure, stoopid, but the medicine we all Need to make us feel human again. These are unprecedented times my friends, but ‘The Fall of Man’ will guide you towards the light, then deviate past the light, back into the darkness, then perform an immaculate 3 point turn, eye up the target and foot down, as we proceed, and continue, to rock the mic….

On the really really reel, myself and the man like Matthew have been working together since the early 90’s. I used to spin for Nanosphere Complex, which comprised of Ash-Trai & Z-9, in the mid 90’s; I used to spin and jointly manage their group The Idiots in the late 90’s; the first release on Herring featured Rod Hotley/ly on the cult classic ‘Out To Lunch’ in 2001 and Herring released Burgundy Blood’s debut album ‘Suede Comet’ in 2014 and their debut EP ‘Cordial Stance’ in 2013. So without any cynicism or hi jinx of any kind, I can honestly say, this rare musibiz collaboration which has lasted a few years shy of 30 years, has been the most fulfilling I’ve had in the game [wipes tear from eye, then wipes ass, as writing this on the bog]. Ladies and germs, I give you, the very lovely, the extremely fluffy, the Benedict Cumbabubbly, Burgundy Blood and their brand new planet-saving album ‘The Fall Of Man’.

The new album from Burgundy Blood including bonus joints and interludes! Herring and Burgundy Blood go back like prehistoric cave paintings and garden loungers, but this is the now people and what we have for you is the album of our times. It’s the shiznizzle, the goose that laid the golden egg, the spatchcock chicken, the wind beneath Everyone’s wings AND the cure for our current predicament. Not the Robert Smith, goth-pop Cure, stoopid, but the medicine we all Need to make us feel human again. These are unprecedented times my friends, but ‘The Fall of Man’ will guide you towards the light, then deviate past the light, back into the darkness, then perform an immaculate 3 point turn, eye up the target and foot down, as we proceed, and continue, to rock the mic….

On the really really reel, myself and the man like Matthew have been working together since the early 90’s. I used to spin for Nanosphere Complex, which comprised of Ash-Trai & Z-9, in the mid 90’s; I used to spin and jointly manage their group The Idiots in the late 90’s; the first release on Herring featured Rod Hotley/ly on the cult classic ‘Out To Lunch’ in 2001 and Herring released Burgundy Blood’s debut album ‘Suede Comet’ in 2014 and their debut EP ‘Cordial Stance’ in 2013. So without any cynicism or hi jinx of any kind, I can honestly say, this rare musibiz collaboration which has lasted a few years shy of 30 years, has been the most fulfilling I’ve had in the game [wipes tear from eye, then wipes ass, as writing this on the bog]. Ladies and germs, I give you, the very lovely, the extremely fluffy, the Benedict Cumbabubbly, Burgundy Blood and their brand new planet-saving album ‘The Fall Of Man’.

Repress! R.A. The Rugged Man is one of the most fascinating figures in hip-hop history. His career spans decades, and defies simple narratives. The Rugged Man has been an up-and-coming star, an industry outcast banished and forgotten, an underground cult hero, an independent success story, and an influential master of the art form.

Now, R.A. The Rugged Man is back with ""All My Heroes Are Dead"", a brand new album that stands as his best work to date. “So many of the greats are gone, and the legends who made it out alive are cast aside,” R.A. explains. “Society left our heroes and their culture for dead. We have to dig that greatness out of its grave, and bring it back with an angry vengeance.” "All My Heroes Are Dead" features an all-star lineup of hip-hop heavyweights, including Atmosphere, Chuck D, Ghostface Killah, Immortal Technique, Vinnie Paz, Ice T, M.O.P., Kool G Rap, Brand Nubian, DJ Jazzy Jeff, Chris Rivers, Onyx, Inspectah Deck, A-F-R-O, Masta Killa, and more.

Inimitable rap musician Your Old Droog is back. After recently releasing the acclaimed projects "It Wasn't Even Close" and "Transportation", the prolific artist is returning with the brand new album "Jewelry". The album is a celebration of YOD's Jewish heritage, which he is now officially revealing to the public for the first time. "Jewelry" features guest appearances from the likes of Matisyahu, MF DOOM, and Mach-Hommy (who also wears the hat of executive producer on the project), with beats by Quelle Chris, Tha God Fahim, Edan, Preservation, and more. "I'm a Jew in America", says Droog. "This is my story. Shalom."

Strongly limited edition of 300 copies of the 26th release in our »HHV Boombap 45's« series.

Not much left to say about this double sided donut. Craig Mack's "Flava In Ya Ear" gets the 45 treatment, backed with Q-Tip's "Get Down Remix". Hurry!

2020 marks eight years since Blu & Exile's last full length album 'Give Me My Flowers While I Can Still Smell Them'. Now in an effort to make up for lost time, the dynamic duo are back to the double album 'Miles: From An Interlude Called Life' ('Miles' for short). Released through Dirty Science Records, the album includes features from Blu‘s childhood friend and now platinum recording artist Miguel, Exile’s childhood friend Aloe Blacc, Dirty Science alum Fashawn, along with several emerging artists like The Last, Artful Dodger, Choosey, Iman Omari, and more! 'Miles' is slated for an July 17th release (coincidentally the same day as their lauded debut 'Below The Heavens'). “We planted the seeds of creativity and grew about 40 plants,” Exile says of the release. “We picked the ones that we thought were the best for an album, but that didn’t mean that the other flowers weren’t beautiful.” Blu & Exile are ready prove they haven’t missed a beat, as their undeniable chemistry is yet again put on display.