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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”).

Jalaluddin Mansure Nuriddin was an American musician and poet. He was one of the founding members of The Last Poets, a group of poets and musicians that evolved in the 1960’s. Earlier in his career he used the names Lightnin’ Rod and Alafia Pudim. He is sometimes called, “The Grandfather of Rap’, and wa a devout Muslim, poet, acupuncturist, and marital art expert. Nurridin’s talent and genius with words and rhythm are renowned. He produced some epic poems. The band featured on this release just happens to be the one and only Kool & The Gang.

The sixth solo album from Jedi Mind Tricks frontman, Vinnie Paz, featuring the lead single and video, "Papi Wardrobe".

The Deluxe Drugz Collection consists of Volumes 1-3, remixed & digitally remastered. Y.T. went back in the studio and meticulously updated vocals and even recorded a new hidden verse. The order of the songs have been "shuffled" for a more pleasurable listening experience. The Collection also contains 2 previously unreleased records. The art work is curated by the legendary "Stab Master Arson", Ivan Merlin.

The Deluxe Drugz Collection consists of Volumes 1-3, remixed & digitally remastered. Y.T. went back in the studio and meticulously updated vocals and even recorded a new hidden verse. The order of the songs have been "shuffled" for a more pleasurable listening experience. The Collection also contains 2 previously unreleased records. The art work is curated by the legendary "Stab Master Arson", Ivan Merlin.

Big Apple *Ish is a new imprint dedicated to the stone cold classics from the

birthplace of Hip Hop. The first release features two remakes of rap supertunes: “Big Apple I*sh“ and “All 4 The People“, which were both game changers in their time and remain relevant to

this day. These surprised packed reworks are super DJ friendly and guaranteed to rock the

dancefloors across the globe

Limited to 150 copies. Jalaluddin Mansure Nuriddin was an American musician and poet. He was one of the founding members of The Last Poets, a group of poets and musicians that evolved in the 1960’s. Earlier in his career he used the names Lightnin’ Rod and Alafia Pudim. He is sometimes called, “The Grandfather of Rap’, and wa a devout Muslim, poet, acupuncturist, and marital art expert. Nurridin’s talent and genius with words and rhythm are renowned. He produced some epic poems. The band featured on this release just happens to be the one and only Kool & The Gang.

Roc Ville New York! The perspectives of Rochester and Brownsville, sharing many of the same obstacles and challenges of city life. Learning lessons of life early, understanding the survival of fittest mentally - playing Chess and not checkers. Raticus sets the vibrations for these MCs to tell some of their experiences and beliefs, forming the RocVille experience.

Roc Ville New York! The perspectives of Rochester and Brownsville, sharing many of the same obstacles and challenges of city life. Learning lessons of life early, understanding the survival of fittest mentally - playing Chess and not checkers. Raticus sets the vibrations for these MCs to tell some of their experiences and beliefs, forming the RocVille experience.

Paul White, South London purveyor of crumpled psych-hop beats and Danny Brown’s go-to UK producer, has unveiled an album-length collaboration with Florida rapper-singer Eric Biddines.

tiny wear. vinyl is Close to VG+

Underground rap stalwart, Vinnie Paz returns with his seventh studio LP, Tortured in the Name of God’s Unconditional Love. The 18 track LP falls on the heels of Jedi Mind Trick’s 10th album, The Funeral and the Raven, which dropped in November of ’21, and succeed’s the April 21 release of Vinnie’s sixth studio LP, Burn Everything That Bears Your Name.

Weighing in at nearly one hour of all new music, the hard-hitting LP ranks among Vinnie’s most decorated line-up of guest appearances to date, with features from the likes of Method Man, M.O.P., Kurupt, Geechi Suede (Camp Lo), Ras Kass, ILL Bill, Lord Goat, Big Twins, Thirstin Howl the 3rd and more. To boot, Pazienza calls upon the production talents of DJ Muggs, C-Lance, Stu Bangas, Oh No and more to lay the foundation with their neck-snapping soundscapes.

Over the past two decades, Pack Pistol Pazzy has ranked amont the most commercially successful indie hip-hop artists in the underground, and with his latest solo effort his legacy is only further reinforced.

Produced Entirely By Tone Beatz, The Spoils Of Babylon Chronicles The Life & Times of Man existing in an age of uncertainty. What a time to be alive, It seems like we're living something out of an H.G. Wells novel, or Your favorite Sci-Fi Film. Technological advances promise a better life, but at what expense? Y.T. wrestles with trying to fulfill his own base desires and needs, While the world around him is in utter turmoil. Climbing the heights of Success, Wealth and vanquishing his enemies mean nothing, When It seems the universe as he know's It is in Peril.The Project includes features from Heavy Hitters Eto, Tha God Fahim, Left Lane Didon , Jay NiCE & Chris Skillz. Experience "The Spoils Of Babylon"...

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

Beautiful Raw is the 4th release from Chicago duo Qwel & Maker, whose releases and worldwide touring raised them as the bar against which all raw complex underground hip hop is to be measured.

This album is a testimony to the hard work and thoughtful care that the two put into all of their music. Each carefully crafted track could stand alone as a highlight, claiming rightful shine as the lead single, yet the album as a whole complete work is a single seamless journey. The tale of the humble plant, once sewn deep beneath the concrete of the inner city slums, that against all odds has grown up through the concrete toward the light. Proof of hope is the recurrent theme and grimy raw is the soundscape.

“They said it couldn't be done, this one’s for provin’ ’em wrong, seems only suitable it’s beautiful raw. Planted the seed beneath the street but it was rooted too strong, grew to the sun and called it beautiful raw.”

In an unexpected and rare turn for the team, Qwel and Maker commissioned a little help on this album, pulling collaborative magic from fellow veterans such as The Grouch (Living Legends), Qwel’s fellow Typical Cat Qwazaar, Swamburger (Soliloquists Of Sound), Wes Restless, Scud One, D-Styles & more. The guest lyricists all help air out the record from Qwel’s dense spitfire lyrics.

Love, life, regret, money, drugs, joy, sorrow, lies, truth… but most of all hope, is what this album is about.

After a 3 year break Shuko & F. Of Audiotreats are finally back with a new Cookies & Cream Edition. This is the Soundtrack for your summer jams, pool sessions and late night rides. A full length Album full with good vibes by the producers behind a lot tunes from acts like Talib Kweli, Big Pooh of Little Brothers, Kev Brown, B-Real of Cypress Hill, C.L. Smooth, Evidence, Fashawn and more. Cookies & Cream 4 is the first release on Shuko´s own music label „For the love of it“ and the start for a lot upcoming jams this year.

A Cloak ReWork Orange is the remix album for A Cloak Work Orange.

This is a limited run of 2xLP, double gatefold with matte finish, and foil stamped numbered sleeves.

Raps by The Cloaks, Awol One and Gel Roc

Artwork by Awkward Logo by Propr Beer Tape Layout by Awol One credits released December 1, 2023

Intro by

Circus 2Mex Fat Jack Dante Ross Open Mike Eagle Charlie Tuna Fat Mike

The Cloaks, Awol One and Gel Roc

Guest Appearances by

Dose One and Mestizo as A7pha, Aceyalone, Megabusive, Quaesar, Brevi, Demrick, and Pawz 1

Remixes by

Controller 7 D-Styles Aceyalone Awol One Megabusive Paris Zax Fono Awkward Kenny Segal OG Calmer Factor Chandelier

Scratches by

Sir Beans D-Styles Roach The DJ

Hypersonic is the interstellar meeting of like-minded funky people. A conceptual album puzzled together by the creativity of BluRum13's introspective yet cadence-driven rhymes and Inkswel's forward-thinking yet reminiscent boom bap production. The two originally met back in 2007 at a One Self gig in Adelaide at the now defunct Crown & Sceptre Venue, a young Inkswel was captivated by the dope beats and rhymes and funnily stayed around after the show to enjoy cake and chai tea a fan had made lovingly for the One Self crew. Years later Blu and Inks reconnected over admiration of each other's music and work ethic and dropped a small EP, with talks for years later to build more - Hypersonic is that present destination. The album blasts off with a classic inspired hip-hop scratch introduction, featuring international turntablist DMC champion-legend DJ Woody waxing on the 1's and 2's manipulating the listening instructions for the aural journey ahead. The title track, Hypersonic sparks interest with ear-grabbing drum roll and brass hits bringing attention to Blu's opening bar, "My mind state to rhyme great" Enlisting rising Folk-Soul singer Georgia Oatley for the luscious chorus and call and response gives us a good grasp of the album's tone, as we cruise its universe. 'Can U' drops next, as a clever ode to A tribe called Quest, you can feel the pull of planet Native Tongue as you fall into the gravity of the tracks feel good, jazzy, nature. The track is rounded off masterfully with DJ Woody's refined and experimental pitch-based scratching. A few guest stars drop science throughout the album but it flows back to solo adventures, not relying on these stellar collaborations - With an emotional note to self on Rum13, funky moments on 'Set It Out' and 'Hustle' and deep thinking cuts like 'Love To The People' & 'Yes'. The album is closed out with an ode to NYC Hip Hop graffiti legend Fab 5 Freddy 'Collect All Coins'- Blu's most lyrically fierce moment on the record brings us home with the same enthusiasm and sense of adventure as when we left.

Brain Candy was developed thanks to help from a sub-audible humming made by brutalist architecture in high winds. You may not hear it, but behind every lyric… beneath every beat… the tone is there and it holds the album together. - Luke H Simmons

Featuring Appearances BY THA GOD Fahim, MAV, Dame Dash, Chris Skillz, Generalbackpain, THE Musalini, Jamal Gasol AND More!

“Never mind the title; Ill Gotten Gains, the new LP from the Delaware rapper All Hail Y.T. and Loretta Records boss Observe Since ‘98, is (mostly) an album about how to succeed in business by, well, trying. “Doing deals with discernment,” Y.T. raps in “C.E.O.,” “Reading terms and agreements/ Devil’s in the details, I peeped it/ playing defense fiscally.” As the song winds toward its conclusion, the voice of Dame Dash appears, extolling the virtues of putting your shoulder to the grindstone to build your own empire. At this point in history, there are enough albums about the luxury of the gangster life to fill several hundred ocean liners; Ill Gotten’s dedication to sound fiscal advice on its own makes the album a breath of fresh air. But it’s more than just that: the album, which drops on vinyl today at 1pm EST via the Loretta Records Bandcamp, comes to life thanks to Y.T.’s earnest, encouraging delivery. Whether he’s dispensing pithy koans (“Procrastination kills all dreams”) or reveling in the spoils of his hard work (“What’s the P”) he has all the optimism of a motivational speaker. He’s matched perfectly by Observe’s characteristically inventive production, which forgoes the obvious picks in favor of finding choice breaks buried on Italian pop records (“C.E.O.”) and sources that are even tougher to place. Musically, the album is the perfect backdrop for the three-day weekend; lyrically, it will prime you for the week to come.”

–J. Edward Keyes (Bandcamp Daily)

FREDDIE (RED ASTAIRE) CRUGER's downtempo concept album from the end of 2005. DJ friendly double vinyl now in a black sleeve with a color sticker. Released on FREDDIE's own HOMEGROWN RECORDS out of Sweden.

Featuring Appearances BY THA GOD Fahim, MAV, Dame Dash, Chris Skillz, Generalbackpain, THE Musalini, Jamal Gasol AND More!

“Never mind the title; Ill Gotten Gains, the new LP from the Delaware rapper All Hail Y.T. and Loretta Records boss Observe Since ‘98, is (mostly) an album about how to succeed in business by, well, trying. “Doing deals with discernment,” Y.T. raps in “C.E.O.,” “Reading terms and agreements/ Devil’s in the details, I peeped it/ playing defense fiscally.” As the song winds toward its conclusion, the voice of Dame Dash appears, extolling the virtues of putting your shoulder to the grindstone to build your own empire. At this point in history, there are enough albums about the luxury of the gangster life to fill several hundred ocean liners; Ill Gotten’s dedication to sound fiscal advice on its own makes the album a breath of fresh air. But it’s more than just that: the album, which drops on vinyl today at 1pm EST via the Loretta Records Bandcamp, comes to life thanks to Y.T.’s earnest, encouraging delivery. Whether he’s dispensing pithy koans (“Procrastination kills all dreams”) or reveling in the spoils of his hard work (“What’s the P”) he has all the optimism of a motivational speaker. He’s matched perfectly by Observe’s characteristically inventive production, which forgoes the obvious picks in favor of finding choice breaks buried on Italian pop records (“C.E.O.”) and sources that are even tougher to place. Musically, the album is the perfect backdrop for the three-day weekend; lyrically, it will prime you for the week to come.”

–J. Edward Keyes (Bandcamp Daily)

Heaven Razah formerly of the Sunz of Man has been putting in crazy work lately dropping gem after gem. This one dropped a few months ago and is available in 2 different versions.

Heaven Razah formerly of the Sunz of Man has been putting in crazy work lately dropping gem after gem. This one dropped a few months ago and is available in 2 different versions.

Featuring Appearances BY THA GOD Fahim, MAV, Dame Dash, Chris Skillz, Generalbackpain, THE Musalini, Jamal Gasol AND More!

“Never mind the title; Ill Gotten Gains, the new LP from the Delaware rapper All Hail Y.T. and Loretta Records boss Observe Since ‘98, is (mostly) an album about how to succeed in business by, well, trying. “Doing deals with discernment,” Y.T. raps in “C.E.O.,” “Reading terms and agreements/ Devil’s in the details, I peeped it/ playing defense fiscally.” As the song winds toward its conclusion, the voice of Dame Dash appears, extolling the virtues of putting your shoulder to the grindstone to build your own empire. At this point in history, there are enough albums about the luxury of the gangster life to fill several hundred ocean liners; Ill Gotten’s dedication to sound fiscal advice on its own makes the album a breath of fresh air. But it’s more than just that: the album, which drops on vinyl today at 1pm EST via the Loretta Records Bandcamp, comes to life thanks to Y.T.’s earnest, encouraging delivery. Whether he’s dispensing pithy koans (“Procrastination kills all dreams”) or reveling in the spoils of his hard work (“What’s the P”) he has all the optimism of a motivational speaker. He’s matched perfectly by Observe’s characteristically inventive production, which forgoes the obvious picks in favor of finding choice breaks buried on Italian pop records (“C.E.O.”) and sources that are even tougher to place. Musically, the album is the perfect backdrop for the three-day weekend; lyrically, it will prime you for the week to come.”

–J. Edward Keyes (Bandcamp Daily)

Featuring Appearances BY THA GOD Fahim, MAV, Dame Dash, Chris Skillz, Generalbackpain, THE Musalini, Jamal Gasol AND More!

“Never mind the title; Ill Gotten Gains, the new LP from the Delaware rapper All Hail Y.T. and Loretta Records boss Observe Since ‘98, is (mostly) an album about how to succeed in business by, well, trying. “Doing deals with discernment,” Y.T. raps in “C.E.O.,” “Reading terms and agreements/ Devil’s in the details, I peeped it/ playing defense fiscally.” As the song winds toward its conclusion, the voice of Dame Dash appears, extolling the virtues of putting your shoulder to the grindstone to build your own empire. At this point in history, there are enough albums about the luxury of the gangster life to fill several hundred ocean liners; Ill Gotten’s dedication to sound fiscal advice on its own makes the album a breath of fresh air. But it’s more than just that: the album, which drops on vinyl today at 1pm EST via the Loretta Records Bandcamp, comes to life thanks to Y.T.’s earnest, encouraging delivery. Whether he’s dispensing pithy koans (“Procrastination kills all dreams”) or reveling in the spoils of his hard work (“What’s the P”) he has all the optimism of a motivational speaker. He’s matched perfectly by Observe’s characteristically inventive production, which forgoes the obvious picks in favor of finding choice breaks buried on Italian pop records (“C.E.O.”) and sources that are even tougher to place. Musically, the album is the perfect backdrop for the three-day weekend; lyrically, it will prime you for the week to come.”

–J. Edward Keyes (Bandcamp Daily)

Robert Glasper is a premiere example of musical aptitude and a proven champion of Black music - boasting nine Grammy nominations and four wins for Best R&B Album, Best R&B Song, Best Traditional R&B Performance, and Best Compilation Soundtrack for Visual Media, and an Emmy Award for his song for Ava Duvernay’s critically hailed documentary “13th” with Common and Karriem Riggins. The 43-year old Houston native has a rich history contributing his artistry across both music and film, all the while carrying a consistent cultural message. In 2012, Glasper delivered his album Black Radio that hit the scene as the first album in history to debut in the top 10 of 4 different genre charts simultaneously: Hip Hop R&B, Urban Contemporary, Jazz and Contemporary Jazz. The feat was then repeated by Black Radio 2. The ongoing Black Radio series has since become Glasper’s calling card, upholding a place at the heart of a trailblazing community: from long-time sonic brothers Mos Def and Bilal, to legends including Ledisi, Lupe Fiasco, Kanye West, Jill Scott, and Erykah Badu.



"Robert Glasper has established himself as a master of the territory where jazz, hip-hop and R&B overlap" – Rolling Stone



“No one has shaped the resurgence of jazz in black music more than Robert Glasper in the 2000s” – Nate Chinen (NPR)



Black Radio and Black Radio II are landmark albums that have shaped the genres of jazz, hip hop and r&b for the past decade. Direct lines can be drawn to Kamasi Washington, Thundercat, Kendrick Lamar, and black music writ large.

For Black Radio III, 4-time grammy® winner Robert Glasper cements his legacy as producer, curator and cultural icon. These collaborations range from the most powerful voices in contemporary black music (Killer Mike, ty dolla $ign, D Smoke, PJ Morton) to the most important lyricists and performers of the past 30 years (Jennifer Hudson, Ledisi, Common, Gregory Porter, Musiq Soulchild, India.Arie)

Black Radio III is also a statement for these times. It is Glasper’s most direct statement of the frustration and opportunity of a world disrupted by social change.

It is at once beautiful, powerful and innovative.

Robert Glasper is a premiere example of musical aptitude and a proven champion of Black music - boasting nine Grammy nominations and four wins for Best R&B Album, Best R&B Song, Best Traditional R&B Performance, and Best Compilation Soundtrack for Visual Media, and an Emmy Award for his song for Ava Duvernay’s critically hailed documentary “13th” with Common and Karriem Riggins. The 43-year old Houston native has a rich history contributing his artistry across both music and film, all the while carrying a consistent cultural message. In 2012, Glasper delivered his album Black Radio that hit the scene as the first album in history to debut in the top 10 of 4 different genre charts simultaneously: Hip Hop R&B, Urban Contemporary, Jazz and Contemporary Jazz. The feat was then repeated by Black Radio 2. The ongoing Black Radio series has since become Glasper’s calling card, upholding a place at the heart of a trailblazing community: from long-time sonic brothers Mos Def and Bilal, to legends including Ledisi, Lupe Fiasco, Kanye West, Jill Scott, and Erykah Badu.



"Robert Glasper has established himself as a master of the territory where jazz, hip-hop and R&B overlap" – Rolling Stone



“No one has shaped the resurgence of jazz in black music more than Robert Glasper in the 2000s” – Nate Chinen (NPR)



Black Radio and Black Radio II are landmark albums that have shaped the genres of jazz, hip hop and r&b for the past decade. Direct lines can be drawn to Kamasi Washington, Thundercat, Kendrick Lamar, and black music writ large.

For Black Radio III, 4-time grammy® winner Robert Glasper cements his legacy as producer, curator and cultural icon. These collaborations range from the most powerful voices in contemporary black music (Killer Mike, ty dolla $ign, D Smoke, PJ Morton) to the most important lyricists and performers of the past 30 years (Jennifer Hudson, Ledisi, Common, Gregory Porter, Musiq Soulchild, India.Arie)

Black Radio III is also a statement for these times. It is Glasper’s most direct statement of the frustration and opportunity of a world disrupted by social change.

It is at once beautiful, powerful and innovative.

Robert Glasper is a premiere example of musical aptitude and a proven champion of Black music - boasting nine Grammy nominations and four wins for Best R&B Album, Best R&B Song, Best Traditional R&B Performance, and Best Compilation Soundtrack for Visual Media, and an Emmy Award for his song for Ava Duvernay’s critically hailed documentary “13th” with Common and Karriem Riggins. The 43-year old Houston native has a rich history contributing his artistry across both music and film, all the while carrying a consistent cultural message. In 2012, Glasper delivered his album Black Radio that hit the scene as the first album in history to debut in the top 10 of 4 different genre charts simultaneously: Hip Hop R&B, Urban Contemporary, Jazz and Contemporary Jazz. The feat was then repeated by Black Radio 2. The ongoing Black Radio series has since become Glasper’s calling card, upholding a place at the heart of a trailblazing community: from long-time sonic brothers Mos Def and Bilal, to legends including Ledisi, Lupe Fiasco, Kanye West, Jill Scott, and Erykah Badu.



"Robert Glasper has established himself as a master of the territory where jazz, hip-hop and R&B overlap" – Rolling Stone



“No one has shaped the resurgence of jazz in black music more than Robert Glasper in the 2000s” – Nate Chinen (NPR)



Black Radio and Black Radio II are landmark albums that have shaped the genres of jazz, hip hop and r&b for the past decade. Direct lines can be drawn to Kamasi Washington, Thundercat, Kendrick Lamar, and black music writ large.

For Black Radio III, 4-time grammy® winner Robert Glasper cements his legacy as producer, curator and cultural icon. These collaborations range from the most powerful voices in contemporary black music (Killer Mike, ty dolla $ign, D Smoke, PJ Morton) to the most important lyricists and performers of the past 30 years (Jennifer Hudson, Ledisi, Common, Gregory Porter, Musiq Soulchild, India.Arie)

Black Radio III is also a statement for these times. It is Glasper’s most direct statement of the frustration and opportunity of a world disrupted by social change.

It is at once beautiful, powerful and innovative.

Limited to 200 copies.

It’s a producer’s dream: Being given access to a vast library of material to construct something completely new and exciting out of all of it—and when Blockhead’s at the controls, the results are a listener’s paradise, too. The New York City-based hip-hop production legend’s latest album, Luminous Rubble, is also the fifth release in the London-based label Def Pressé’s KPM Crate Diggers series, which hands the keys to the KPM Library’s storied collection—home to over 70 years of music and sound designs made for television, film, and radio—to some of the best behind the boards. The results are like witnessing a kid unleashed in a candy shop, as Blockhead unleashes his boundless creative mind on the KPM Library’s limitless potential—pure inspiration and joy, for your listening pleasure.

Luminous Rubble is the latest missive in a particularly busy period for underground hip-hop veteran Tony Simon, who’s spent the last decades lending his considerable talents to work from artists like Armand Hammer, billy woods, Murs, and Open Mike Eagle; in 2021, he released the critically acclaimed collab LP Garbology with rap legend and longtime collaborator Aesop Rock, just last year he unleashed his twelfth solo album, The Aux. Luminous Rubble had its origins in a chance meeting after a Hamburg show between Simon and a KPM rep, who explained the Crate Diggers conceit to him.

“For me, as a producer who uses samples, there’s nothing better than free rein,” Simon recalls. “I was like, ‘Are there any rules?’ And he said, ‘Just make whatever you want.’ That was so exciting for me. I don’t get that on my own releases, but in this case every sample is cleared and it’s all good.”

As is the case with many sample excavators, Simon already had a deep history with what the KPM library had to offer him as well—to the point where, while digging through the crates in the making of Luminous Rubble, he even came across records he’d sampled from in the past. “Their vault is the one I’m most familiar with,” he says with a laugh. “Back when I used to go record shopping a lot, I would pretty much buy any KPM record on sight. They were always a huge find at record stores. So to be able to tap into these records with no limitations was really nice.”

“The challenge for me was trying to boil down what I wanted to do,” Simon continues while discussing the genesis of Luminous Rubble, which came together over the course of 2022. “I thought about making an album of super-long songs, but it would’ve been a whole different undertaking. So I just went with what I knew, because it’s a foolproof approach to me.” Of course, Simon’s track record as Blockhead meant that the familiar path was tried and true—but as Luminous Rubble’s ten tracks prove, it’s foolish to assume that would mean any laurel-resting on his part.

“My music is always very quirky and melody-driven,” Simon states while talking about how he stretched his creative wings in the studio. “I took chances more than usual when it came to samples and how I used them for foundation.” Indeed, Luminous Rubble finds Simon using the KPM library’s vastness to craft new and engagingly twisted beat-driven shapes; “Dork Crystal” radiates a sinister ominousness, with streaks of strings rubbing against stabbing guitar chords, while a delightfully scuzzy horn line dances around a hi-hat shuffle in “Scumlord.” “There’s something dirty about the horn sample,” Simon explains while discussing the track’s title. “It reminds you of oil-slicked streets in an alley. I wanted to embrace that feeling.”

Glittering bells and a woozy gait to “Serious About My Fitness” makes the tune sound as if you’re sweating it out on the Stairmaster (in a good way), while there’s a distinct thousand-karat shine to “Oh You Fancy,” which nearly resembles a glitzed-out haunted house in its gilded spookiness. “It just sounds like royalty,” Simon exclaims, before going into greater detail about how the creative parameters of the Crate Diggers series proved its own inspiration.

“I’ve always appreciated working within limitations,” he says. “Having no boundaries can be overwhelming when it comes to the creative process. Working with these samples forced me to find middle ground in cases where I’d typically just walk away and look elsewhere.” After hearing Luminous Rubble, you’ll be happy he stuck around.