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Coming off his breakout LPs "pop 1967" and "The Rain Knows What It's Doing", andrew seemed an unlikely production partner for Zilla Rocca's bourbon drenched punchlines and late '90s east coast rap lineage.

But that's the thing about chemistry: you can't explain it. You just know when it works.

Every beat andrew sent over became a song. Every song Zilla wrote referencing the touchstones of Italian heritage South Philly residents know too well built a new brotherhood. "Don't Wait For Me to Leave" are songs born of experience backed by the lushest beats in the indie rap lane.

"Dom Irrera" is a note on how your favorite local spots change into vape shops and laundromats over time but you stay the same. "No One Cooks on Friday" boasts how fly it is to order in and do nothing every weekend. "Actions of the Now" examines how failures teach you more than any college ever could on how to succeed.

Of course, there is Rapping! Zilla Rocca has never rapped this much non-stop in his long legged life, specifically on cuts "Draper Papers" and "The River Knows", going 80+ bars deep. andrew takes a look under the hood to add his signature gravel-paved melodious tones to "Dom Irrera", "No One Cooks on Friday", and "You Need Friends". But even off the mic, andrew's now trademark ear for beauty and funk shape the record undeniably.

The most versatile indie rappers of today check in to tell stories and add their signatures to the bottom of the painting - Alaska of Hangar 18/Atoms Fam, PremRock and Curly Castro of ShrapKnel/Wrecking Crew, Wally Clark, Rich Jones, Teller Banks, and Brian Ennals.

"Don't Wait For Me to Leave" is for people who always prefer local over national, neighborhoods over culdesacs, Sunday's with Sinatra over Journey at the dive bar.

Yogisoul returns with his first album in 8 years, after breaking through creative blocks and discovering a newfound love for his producing craft rooted in his childhood.

A timeless throwback offering, an instant classic that will leave you wondering if you somehow missed this record reminiscent of 90’s West Coast Rap. It’s that blunt rolling record, with the deep G-Funk grooves, skits, and raps by Woof. A record inspired by the albums Yogisoul grew up listening to. A combination of his imagination of the West Coast California landscape portrayed by 90’s records on Death Row Records, and the real-life experiences of California-based rapper, Woof.

But before Yogi could get started on the project, he had some creative barriers to work through, hurdles that had him wondering if he’d continue making music at all.

“A few years back I became a father, worked as a teacher, and didn't really feel inspired by the music I was making. I was kinda fed up with the lane I was in musically and had doubts about continuing. Which was very strange since I´ve been into music so heavily since I was a kid. Time for music was a bit limited and I just hit a creative stop for a while.”

Sometimes an existential crisis is all you need to unlock the tools to look deep within and take stock of what inspired your love for making music in the first place. For producer Yogisoul, it was thinking about the golden era of hip hop that initially sparked his interest in becoming a producer, and revisiting the albums that remain deep within his canon that inspired the beginnings of his new LP, Let the Dopeness Begin! Yogisoul began an inward journey that found him trying to produce from the perspective of himself as a kid.

“I started listening back to the records I really loved as a young teen. When I listened, I loved and felt very connected to the music, but had no idea of how it was made or what went into the record-making process. I found it very refreshing trying to make music from that perspective of the young mind just feeling the music, not understanding it or breaking it down. I really found my creative output again that way. When I grew up, the rappers and producers I listened to were like superheroes, larger than life.”

As Yogi dove deeper, he was able to move past the self-doubt that had him overanalyzing what he was creating and started producing beats that he felt could set the stage for storytelling. He wanted to make music that made you feel like you were watching a movie or listening to a soundtrack, cruising the streets in a lowrider in Grand Theft Auto: San Andreas. Let The Dopeness Begin, taps into that storytelling not only with Woof’s raps but by offering multiple layers of production and sequencing that leaves room for skits that invite you into the sonic world of the album. When Yogi was trying to find a vocalist to collaborate on the album with, he had a vision for what the right voice would be for the project.

“In the process of finding my sound, I wanted to work with vocalists or artists that tell a story. Not necessarily by storytelling or in the lyrics, but just by hearing their voice you instantly know where they are from, what they represent, and what they are about. Like an outlaw on the prairie with an out-of-tune guitar is more interesting than a studio musician. Woof is that guy! Not on the prairie but in a lowrider under the streetlights sipping on gin & juice. My ability is not in living that life, but in the musical experience of knowing what can facilitate him in the best way sonically. Setting the scene for him with the beats, the talkbox, the scratches, and the skits on the record.” - Yogisoul

Yogi had become aware of Woof’s raps back in 2012, he always felt as if Woof was overlooked or going unnoticed. He made attempts to track him down, but it wasn't until more recently that Woof popped up on a social media page, which allowed Yogi to reach out in regards to the possible collaboration. The two made the record completely remotely, never even having a single conversation on the phone, it was all orchestrated via text. Yogi would send beats and Woof would send raps back, always making the recorded raps work for the beat, no matter the approach. Forcing Yogi to be creative with his production in ways he hadn’t before, testing his abilities to create a polished sonic world to lose yourself in.

“I worked a lot to make his vocals sound as good as they do, and have used a lot of analogue gear and processing to get them sounding the way they do now. The stems he had sent me have felt like a puzzle, and I pieced it together to a record in the end. I think that is what makes the record unique.” - Yogisoul

The first track they worked on was “94 Heavy”, which would become the first single on the album and is first the song on the record, past the album's introduction track. It wastes no time setting a vibe and transporting you back to 1994, the record is not just a record, it’s a time machine. A true representation of the whole record in one track, and a quintessential track within this collaboration of Yogisoul and Woof. It’s an undeniable head nodder, with smooth horns, deep synth bass that will leave no question about the record's low-end power, and a dope drum swing.

Other notable tracks on the record are “Comin Thru”, which is a braggadocious, G-Funk, banger! It contains all the ingredients of classic West Coast Rap albums. A smooth beat for Woof to weave in and out of, talkbox, scratches in the hook, and samples of legendary Los Angeles voices. A track that will make you feel like you should have a forty and a doobie nearby.

The title track, “Let the Dopeness Begin”, the self-titled track on the album is an homage to the West Coast Classics radio station on GTA: San Andreas. A cruise with the windows jam that slaps! “I want people to put this record on when the summer is incoming, when they pull their windows down, when they roll by the old court where they used to play basketball.”
For a record that comes in at just under 30 minutes, it is absolutely packed with material, and opportunities to explore the world created with the production, raps, and skits.
credits
releases August 16, 2024

All songs written by Colin Beverly AKA Woof
All songs produced by Lasse Mandelid Karlsen AKA Yogisoul
Mastered by Christian Øbermayer at Strype Audio
Recorded and mixed by Lasse Mandelid Karlsen
Vinyl lacquered by Shane "The Cutter" at Finyl Tweek
Cover art by Will Child
Art direction by Elliot Baxter

When it comes to the pantheon of hip-hop movies, ‘Wild Style’ is number one. While the actual plot carries about as much weight as ‘Beat Street’ or even the Fat Boys vehicle ‘Disorderlies’ – and the acting is also nothing to write home about – the soundtrack is an indelible classic.

What the film and its soundtrack caught was a moment in time and some key performances from genuine pioneers instrumental in the nascent hip-hop scene. And the influence has passed down through the ages, with rhyming couplets from the ‘Wild Style’ album still cited today, and Nas drawing on a snippet of the film for the opening track of his one true classic album, ‘Illmatic’.

What’s unusual about the soundtrack – and evidenced on the tracks showcased here, available for the time on 7” since a 1983 Japanese release – is that it didn’t draw on the tried-and-tested breakbeats that many of the artists featured on it would have cut their chops on. Charlie Chase, whose slithery scratches adorn both sides of this record, would have been used to going back to back on the records captured later on the ‘Ultimate Breaks & Beats’ compilations.

Instead, the music is produced by Chris Stein of Blondie in collaboration with Fab 5 Freddy, drawing inspiration from those earlier breakbeats, with drums provided by one Lenny Ferrari. Here, Grandmaster Caz of the legendary Cold Crush Brothers is at ease over both sides, the music evoking the sound he would have rhymed over at the block parties where he built his reputation. It’s a moment trapped in amber – you can’t listen to this 7” without imagining a graffiti strewn subway car in New York.

The Silhouettes Project a new platform for up and coming Hip-Hop, Soul and Jazz artists from the UK. It is not a record label or management team, it is a community project. The Silhouettes Project provides an open space - a recording studio and live venue located within the Total Refreshment Centre in Hackney, London - where MCs, singers, musicians and producers can connect and create.The Silhouttes Project was founded by community organisers/artists Asher Korner (aka Kosher) and Jaden Osei-Bonsu (Eerf Evil) in 2019. When they told us about the project and played us some of the music we were instantly hooked and joined the collective as label partner. The art direction is executed by Sergio „SagaUno“ Alferez, an acclaimed designer and illustrator from Medellín, Columbia.Starting in September, we release a new single each Thursday from artists like Kofi Stone, Summers Sons, Enny, KeepVibesNear, Manik MC, Lex Amor, Louis The Hippie, Summer-Pearl, Joe Beard and many more.

Here is the story of the Silhouettes Project as told by its founders Jaden and Asher: „We started The Silhouettes Project in February 2019, to shine a light on the new generation ofunderground Hip-Hop, Jazz, and Soul music in the UK. Community is everything to us, and wewanted to show that with a proper support network, access to professional facilities, and theencouragement of a family of artists, our community could produce something incredible. We felt a joint frustration that the current music scene in the UK only had structures in placeto support talent of a certain genre whilst overlooking a buzzing alternative Hip-Hop culture.We wanted to unify artists who are making ground-breaking music but who are in need of asolid structure to work within - artists who we felt deserved more recognition. This led us tothe name ‘The Silhouettes Project’, as we wanted to shine a light on those artists in theshadows. The journey started by embarking on a collaborative album project which allowed us to bringtogether more than 30 artists on a single tape and to create a network of incredibly talentedartists of the same calibre. The album took more than a year, working almost every day at theRoot 73 studio, a community space in Hackney. We knew from the first few sessions that wewere on to something, and the energy around the project kept it moving. As artists ourselves we understood that the creative process can be challenging and sometimesisolating, especially when there is no clear support network to fall back on. This led us to bringour efforts into the physical realm by organising a series of free live music events for all ofthese artists to come to, showcase their work alongside our house band, and connect witheach other. These events take place at The Total Refreshment Centre in Dalston, anunderground studio complex and warehouse space, which gave the events an intimatecommunity feeling and the people a sense of belonging. There is a desperate need for spaces in which people can come together and develop theircreative potential, especially with the consistent withdrawal of funding from the arts sector inthe UK and with the constant threat of gentrification which has seen the closure of countlesscommunity and grassroots creative organisations. As we grew as a brand and organisation, webegan to fully understand the importance of what we were doing. From the studio sessions tothe events, we saw the impact on people’s outlooks on their own careers, we saw them growin confidence in performing and collaborating and even taking their own initiative to utilise thenetwork provided for them. We heard their feedback, we felt the excitement in theatmospheres at our events and studio sessions, and we saw the community grow every timewe brought it together.“

Hip Hop has come a long way since it exploded onto the globe in the early 1980’s – it’s turned MC’s into global icons, given a voice to a youth movement, helped ethnic groups to cross colour lines and inspired all manner of political change and growth. Sugar Hill Records was there from the start and gave birth to Hip Hop’s first superstars. Original Hip Hop Classics presented by Sugar Hill Records presents the definitive collection of records that defined the first wave of Hip Hop to break through into the mainstream.

Including beats and rhymes from The SugarHill Gang, Grandmaster Flash, The Furious Five, Melle Mel, The Treacherous Three and The Sequence plus ground-breaking releases such as ‘Rapper's Delight’, ‘The Message’ ‘White Lines (Don't Do It)’, ‘The Adventures of Grandmaster Flash On The Wheels of Steel’ and more this is a true document of one of the most exciting and pivotal musical genres of all time.

Hip Hop started out with some spray cans and break beats with brothers and sisters getting down on cardboard boxes. Culture Power45 is true to the essence of this tradition and with the help of several creative sound providers we introduce to you Automatic Gain Control 12

German hardcore band Urge drops their fiery single release »Brainwashed«. After one year of work on this remix, Canadian rapper Abdominal who is known for his work with DJ Format is rhyming over a heavy Mo'Wax-esque beat produced by Smoove including lots of skilled cuts by Berlin based turntablist and DJ Robert Smith.

Together they built a deep-sounding monster of a tune. The 7inch which sits in a Japanese Katta round inner sleeve includes the original song as well as bonus Beats'n'Breaks for all the DJs.

Furthermore this release includes a hand-folded and hand-sleeved eco-printed poster for the black recycled version and a special riso-eco-printed high-quality poster (with vegetable inks) on the limited colored runs. There are 80 copies each of recycled red, light blue and dark blue transparent with color matching posters for sale on Bandcamp only. Total edition is 90 each (10 copies are reserved for the artists). All hand-numbered and hand-sleeved. When they're gone, they're gone.

The artwork of the poster is designed by Anton Volxem.

»Oonops Drops« is not a guitar-driven music label or specialized in hardcore or metal but it's an openminded label which finds ways to fuse and work until it fits with many different genres.

About Urge: The band was formed in 1989 and has a lot of stage experience touring with American and English bands. For instance, Urge toured Europe for a few weeks with Fugazi. They shared stages with MDC, Melvins, Fugazi, Voivod, Bolt Thrower, MDC, Melvins, just to name a few. The German music magazine Spex called them »Hardcorehausen« and for some time they were on the road as a site project with »Power Of Expression« with singer Marc Grewe (Morgoth) and played at the legendary Wacken Festival.

After excursions into Hip Hop, Rap and film music Austrian producer and musician Urbs has returned to the downtempo and Triphop styles that were the cornerstones of his most successful work, discovering his very own niche along the way. Using obscure samples as well as traditional instrumentation for his impressionistic instrumental pieces he takes us to „Geheimland“, the secret land of our imagination where things are not as they seem.

Born as Paul Nawrata in Lower Austria, Urbs is a veteran electronic producer and musician living in Vienna. A music fanatic from a very young age, he started writing and photographing for various fanzines in his teenage years, interviewing numerous artists as diverse as Kurt Cobain, Nick Cave and the Wu Tang Clan.

He soon felt attracted to the blossoming HipHop scene of Vienna, contributing to the radio program of legendary impressario Werner Geier aka Demon Flowers. Best described as the Austrian version of Tony Wilson, he took him under his wing and soon released his first steps in music production on his Uptight label.

In 1998 two EPs were released as Urbs & Chaoz, spawning a first success with „Closer To God“, which was not only a radio favourite, but was also used by famed director Ulrich Seidl in his early work „Models“ and remixed by none other than legendary Washington duo Thievery Corporation.

Heavily influenced by Kenny Dope, Todd Terry and Armand Van Helden’s HipHop releases,
the musical style of Urbs & Chaoz was dubbed Dope Beat in central Europe and can be seen as one of the precursors of Triphop.

His next musical partner was Cutex with whom he released „Breaks Of Dawn“ and „Peace Talks!“, two LPs of timeless instrumental HipHop, both of which are seen as classics of the genre. „The Thing“, a veritable hit on Austrian radio, was used for various commercials and even selected as one of the „Best 100 Austrian Songs“ by FM4, the leading alternative radio station in the country. Until today that song has been streamed more than two million times.

His first solo album was released on G-Stone Recordings in 2005 and was co-produced by Peter Kruder (Kruder & Dorfmeister). On „Toujours Le Meme Film“, Urbs channelled his love for film music and French Chanson. He toured Europe with a six piece band and a complex visual concept and the album became a remarkable success. Songs from „Toujours Le Meme Film“ were used for US TV shows „Grey´s Anatomy“ and „Nip:Tuck“ as well as numerous commercials; Gilles Peterson discovered the album and played „So Weit“ on his Worldwide radio shows.

Urbs began producing other musicians like Austrian MC Skero, released further EPs of instrumental HipHop and numerous remixes for the likes of Tosca, Marsmobil and Daniel Haaksmann along with countless other Austrian artists.

Together with award winning composer Karwan Marouf, he worked on film music for directors like Arash and Arman Riahi as well as Werner Boote, on commercials, documentaries and contract work for Red Bull Media.

Since the early days of social media Urbs has connected with MCs and singers from around the world and in 2017 finally released those collaborations on the (Rap-)album simply titled „Urbs“, which included contributions by MCs like Wordsworth and R.A. The Rugged Man. The song „10000 Years Behind Me“ with its spectacular video starring Austrian actress Birgit Minichmayr was another success on the alternative radio in central Europe.

While in 2020 the world was in the grip of the pandemic, Urbs, who had just become a father felt inspired by the fantasy and perception of his son. He reconnected with his roots and produced „Geheimland“ in one go, trying to find the essence of his work and musical passion and creating his very own musical language along the way.

Now this 45 release is a real treat, featuring both the original and Kenny Dope remix of Tyrone Washington’s timeless gem, ‘Submission’. A mysterious artist who seemingly disappeared from the scene after his last release in the mid 70’s, Washington created forward-thinking Jazz magic which has been loved ever since its original release - and sampled multiple times by the likes of A Tribe Called Quest and Pete Rock. On the Kenny Dope remix, we are served some heavy hip-hop breaks which pump underneath the inimitable brass of the original, chopped up to add some extra spice and groove. A master of beats, Kenny does the business on this remix and the results are truly special.

“I believe in the afterlife, hell and heaven, demons and angels. The horror in my music comes from a real place including things I’ve seen as well as nightmares and visions I have had.” While currently only in his mid-twenties the Inland Empire/Los Angeles rapper known as Trizz has come to be viewed as the dark horseman of Hip-Hop for almost a decade at this point.
Now following up on that sonically dank masterpiece before the duo of producer AC3 and MC Trizz presents a new full-length album together, “Ashes N Dust”. Self-described as a suburban horror flick on tape, Trizz explains “the town I come from looks beautiful but it holds dark secrets. At night, all hell breaks loose and goes undocumented. Ashes N Dust contains the lost files with everything you need to know about where I come from.”
The album’s first single “The Backstreet” is a collaboration with the current heir to the West’s G-Funk legacy, G Perico. The L.A. natives initially linking up by a chance encounter during this year’s Hiero Day in Oakland. Other collaborators on the album include Rob $tone, King Iso and Pomona Drey to name a few.

Only 115 hand numbered copies pressed on Clear Gold Vinyl.

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

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

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

Official and limited reissue on Def Jam. Previously released as a 2LP set, this version has now been converted to 1LP, in addition to a limited edition CE color vinyl version.

Undun is the tenth studio album by The Roots, released on December 6, 2011. It is a concept album that tells the tragic, reverse-chronological story of a fictional character named Redford Stephens, a young man who becomes involved in a life of crime and meets an untimely death. The album explores the themes of fate, choice, and the socio-economic pressures that lead individuals into cycles of poverty, crime, and existential struggle.

Undun is told in reverse order, beginning with Redford’s death and slowly moving back through the key moments of his life that led to his demise. This structure provides a reflective, somber narrative, examining the forces that shaped his decisions and eventual downfall.
The album’s narrative structure emphasizes the sense of inevitability and regret, making it a powerful meditation on the fragility of life and the consequences of choices.
The character of Redford Stephens was inspired by a piece of music by composer Sufjan Stevens, titled "Redford (For Yia-Yia and Pappou)." This instrumental track is reinterpreted and appears toward the end of the album, underscoring its emotional weight.

Musically, Undun is a mix of hip-hop, neo-soul, orchestral elements, and art rock. The production is lush yet sparse, with haunting melodies, complex arrangements, and The Roots' trademark live instrumentation.
Questlove’s drumming and Black Thought’s lyricism are central to the album, with the music often using minimalist beats and atmospheric soundscapes to complement the lyrical themes of existential despair and reflection.
The album also features moments of instrumental interludes, which add to the cinematic and conceptual feel of the project.

Key Tracks and Highlights:
"Sleep" – The album’s opening track (which depicts the final moment of Redford’s life) is introspective and haunting. Black Thought raps about the moments before death, with lyrics like "I’ve lost a lot of sleep to dreams" capturing the sense of hopelessness and inevitability.
"Make My" (featuring Big K.R.I.T.) – This single features a melancholic beat and lyrics that delve into regret and introspection, with Big K.R.I.T.'s verse complementing Black Thought’s meditations on life and death.
"One Time" (featuring Phonte and Dice Raw) – A standout track that focuses on the idea of seizing moments and making choices, set to a gritty, understated beat. Black Thought and guest rapper Phonte trade verses, exploring themes of existential crisis and fleeting opportunities.
"Kool On" (featuring Greg Porn and Truck North) – One of the lighter, more groove-driven tracks on the album, yet still reflective, with lyrics addressing Redford’s attempts to navigate the temptations and pressures of street life.
"The Otherside" – A soul-stirring track that looks at the crossroads between life and death, with deeply philosophical lyrics. Black Thought’s introspective verse, combined with Dice Raw’s somber chorus, reflects the haunting struggle between moral choices and survival.
"Tip the Scale" – A reflection on the difficulty of breaking free from the cyclical patterns of poverty and crime, with Black Thought delivering some of the most emotionally raw and philosophical verses on the album.
"Redford" (the instrumental suite) – A moving four-part instrumental conclusion, drawing from Sufjan Stevens' original composition. This suite, made up of piano, strings, and drums, evokes the emotional depth of Redford’s life and his ultimate fate.

Existentialism and Free Will: The album continually questions the role of fate versus choice. Redford’s life is portrayed as a series of decisions that, while influenced by his environment, ultimately lead to his downfall, raising questions about whether he had any real control over his fate.
Social Injustice and Poverty: Many of the lyrics explore how systemic injustice, poverty, and lack of opportunity can push individuals into lives of crime. The album highlights the harsh realities faced by young Black men in America, grappling with the intersections of race, class, and violence.
Regret and Reflection: Much of the album has a reflective, mournful tone as Black Thought and other guest vocalists deliver verses that look back at life’s moments, filled with what-ifs and regrets, exploring the loss of potential and the weight of past decisions.
Production and Collaborations:
The album is largely produced by The Roots themselves, with Questlove overseeing much of the production. The minimalist yet atmospheric production style mirrors the album’s darker themes, with an emphasis on live instruments.
Undun includes collaborations with Big K.R.I.T., Phonte, Dice Raw, Truck North, and Greg Porn, all of whom contribute to the narrative through their verses and vocal contributions.

Undun received widespread critical acclaim for its ambitious concept, narrative depth, and emotional resonance. Critics praised the album for its cohesive storytelling, complex themes, and innovative production.
Many hailed it as one of The Roots' best albums, with its conceptual depth and musical sophistication setting it apart from conventional hip-hop albums.
The album was noted for its maturity and introspective tone, marking a departure from The Roots’ earlier, more outwardly political works, and instead focusing on the internal struggles of the individual within a broken system.

Undun is often regarded as one of the best concept albums in hip-hop, comparable to works like Kendrick Lamar’s good kid, m.A.A.d city for its narrative depth and thematic richness.
The album’s reverse chronology and philosophical musings influenced other artists looking to explore more experimental and narrative-driven albums.
Undun reinforced The Roots' reputation as one of the most innovative and thoughtful acts in hip-hop, further blurring the lines between rap, live instrumentation, and high-concept artistry.

Undun is a deeply reflective and philosophical album, focusing on the life and fate of a character caught between the societal pressures and personal choices that ultimately lead to his demise. With its reverse storytelling, live instrumentation, and poignant lyricism, the album stands as one of The Roots’ most emotionally complex and musically innovative works. It challenges listeners to think deeply about the forces that shape lives and the fine line between survival and destruction.

Undun is the tenth studio album by The Roots, released on December 6, 2011. It is a concept album that tells the tragic, reverse-chronological story of a fictional character named Redford Stephens, a young man who becomes involved in a life of crime and meets an untimely death. The album explores the themes of fate, choice, and the socio-economic pressures that lead individuals into cycles of poverty, crime, and existential struggle.

Undun is told in reverse order, beginning with Redford’s death and slowly moving back through the key moments of his life that led to his demise. This structure provides a reflective, somber narrative, examining the forces that shaped his decisions and eventual downfall.
The album’s narrative structure emphasizes the sense of inevitability and regret, making it a powerful meditation on the fragility of life and the consequences of choices.
The character of Redford Stephens was inspired by a piece of music by composer Sufjan Stevens, titled "Redford (For Yia-Yia and Pappou)." This instrumental track is reinterpreted and appears toward the end of the album, underscoring its emotional weight.

Musically, Undun is a mix of hip-hop, neo-soul, orchestral elements, and art rock. The production is lush yet sparse, with haunting melodies, complex arrangements, and The Roots' trademark live instrumentation.
Questlove’s drumming and Black Thought’s lyricism are central to the album, with the music often using minimalist beats and atmospheric soundscapes to complement the lyrical themes of existential despair and reflection.
The album also features moments of instrumental interludes, which add to the cinematic and conceptual feel of the project.

Key Tracks and Highlights:
"Sleep" – The album’s opening track (which depicts the final moment of Redford’s life) is introspective and haunting. Black Thought raps about the moments before death, with lyrics like "I’ve lost a lot of sleep to dreams" capturing the sense of hopelessness and inevitability.
"Make My" (featuring Big K.R.I.T.) – This single features a melancholic beat and lyrics that delve into regret and introspection, with Big K.R.I.T.'s verse complementing Black Thought’s meditations on life and death.
"One Time" (featuring Phonte and Dice Raw) – A standout track that focuses on the idea of seizing moments and making choices, set to a gritty, understated beat. Black Thought and guest rapper Phonte trade verses, exploring themes of existential crisis and fleeting opportunities.
"Kool On" (featuring Greg Porn and Truck North) – One of the lighter, more groove-driven tracks on the album, yet still reflective, with lyrics addressing Redford’s attempts to navigate the temptations and pressures of street life.
"The Otherside" – A soul-stirring track that looks at the crossroads between life and death, with deeply philosophical lyrics. Black Thought’s introspective verse, combined with Dice Raw’s somber chorus, reflects the haunting struggle between moral choices and survival.
"Tip the Scale" – A reflection on the difficulty of breaking free from the cyclical patterns of poverty and crime, with Black Thought delivering some of the most emotionally raw and philosophical verses on the album.
"Redford" (the instrumental suite) – A moving four-part instrumental conclusion, drawing from Sufjan Stevens' original composition. This suite, made up of piano, strings, and drums, evokes the emotional depth of Redford’s life and his ultimate fate.

Existentialism and Free Will: The album continually questions the role of fate versus choice. Redford’s life is portrayed as a series of decisions that, while influenced by his environment, ultimately lead to his downfall, raising questions about whether he had any real control over his fate.
Social Injustice and Poverty: Many of the lyrics explore how systemic injustice, poverty, and lack of opportunity can push individuals into lives of crime. The album highlights the harsh realities faced by young Black men in America, grappling with the intersections of race, class, and violence.
Regret and Reflection: Much of the album has a reflective, mournful tone as Black Thought and other guest vocalists deliver verses that look back at life’s moments, filled with what-ifs and regrets, exploring the loss of potential and the weight of past decisions.
Production and Collaborations:
The album is largely produced by The Roots themselves, with Questlove overseeing much of the production. The minimalist yet atmospheric production style mirrors the album’s darker themes, with an emphasis on live instruments.
Undun includes collaborations with Big K.R.I.T., Phonte, Dice Raw, Truck North, and Greg Porn, all of whom contribute to the narrative through their verses and vocal contributions.

Undun received widespread critical acclaim for its ambitious concept, narrative depth, and emotional resonance. Critics praised the album for its cohesive storytelling, complex themes, and innovative production.
Many hailed it as one of The Roots' best albums, with its conceptual depth and musical sophistication setting it apart from conventional hip-hop albums.
The album was noted for its maturity and introspective tone, marking a departure from The Roots’ earlier, more outwardly political works, and instead focusing on the internal struggles of the individual within a broken system.

Undun is often regarded as one of the best concept albums in hip-hop, comparable to works like Kendrick Lamar’s good kid, m.A.A.d city for its narrative depth and thematic richness.
The album’s reverse chronology and philosophical musings influenced other artists looking to explore more experimental and narrative-driven albums.
Undun reinforced The Roots' reputation as one of the most innovative and thoughtful acts in hip-hop, further blurring the lines between rap, live instrumentation, and high-concept artistry.

Undun is a deeply reflective and philosophical album, focusing on the life and fate of a character caught between the societal pressures and personal choices that ultimately lead to his demise. With its reverse storytelling, live instrumentation, and poignant lyricism, the album stands as one of The Roots’ most emotionally complex and musically innovative works. It challenges listeners to think deeply about the forces that shape lives and the fine line between survival and destruction.

Undun is the tenth studio album by The Roots, released on December 6, 2011. It is a concept album that tells the tragic, reverse-chronological story of a fictional character named Redford Stephens, a young man who becomes involved in a life of crime and meets an untimely death. The album explores the themes of fate, choice, and the socio-economic pressures that lead individuals into cycles of poverty, crime, and existential struggle.

Undun is told in reverse order, beginning with Redford’s death and slowly moving back through the key moments of his life that led to his demise. This structure provides a reflective, somber narrative, examining the forces that shaped his decisions and eventual downfall.
The album’s narrative structure emphasizes the sense of inevitability and regret, making it a powerful meditation on the fragility of life and the consequences of choices.
The character of Redford Stephens was inspired by a piece of music by composer Sufjan Stevens, titled "Redford (For Yia-Yia and Pappou)." This instrumental track is reinterpreted and appears toward the end of the album, underscoring its emotional weight.

Musically, Undun is a mix of hip-hop, neo-soul, orchestral elements, and art rock. The production is lush yet sparse, with haunting melodies, complex arrangements, and The Roots' trademark live instrumentation.
Questlove’s drumming and Black Thought’s lyricism are central to the album, with the music often using minimalist beats and atmospheric soundscapes to complement the lyrical themes of existential despair and reflection.
The album also features moments of instrumental interludes, which add to the cinematic and conceptual feel of the project.

Key Tracks and Highlights:
"Sleep" – The album’s opening track (which depicts the final moment of Redford’s life) is introspective and haunting. Black Thought raps about the moments before death, with lyrics like "I’ve lost a lot of sleep to dreams" capturing the sense of hopelessness and inevitability.
"Make My" (featuring Big K.R.I.T.) – This single features a melancholic beat and lyrics that delve into regret and introspection, with Big K.R.I.T.'s verse complementing Black Thought’s meditations on life and death.
"One Time" (featuring Phonte and Dice Raw) – A standout track that focuses on the idea of seizing moments and making choices, set to a gritty, understated beat. Black Thought and guest rapper Phonte trade verses, exploring themes of existential crisis and fleeting opportunities.
"Kool On" (featuring Greg Porn and Truck North) – One of the lighter, more groove-driven tracks on the album, yet still reflective, with lyrics addressing Redford’s attempts to navigate the temptations and pressures of street life.
"The Otherside" – A soul-stirring track that looks at the crossroads between life and death, with deeply philosophical lyrics. Black Thought’s introspective verse, combined with Dice Raw’s somber chorus, reflects the haunting struggle between moral choices and survival.
"Tip the Scale" – A reflection on the difficulty of breaking free from the cyclical patterns of poverty and crime, with Black Thought delivering some of the most emotionally raw and philosophical verses on the album.
"Redford" (the instrumental suite) – A moving four-part instrumental conclusion, drawing from Sufjan Stevens' original composition. This suite, made up of piano, strings, and drums, evokes the emotional depth of Redford’s life and his ultimate fate.

Existentialism and Free Will: The album continually questions the role of fate versus choice. Redford’s life is portrayed as a series of decisions that, while influenced by his environment, ultimately lead to his downfall, raising questions about whether he had any real control over his fate.
Social Injustice and Poverty: Many of the lyrics explore how systemic injustice, poverty, and lack of opportunity can push individuals into lives of crime. The album highlights the harsh realities faced by young Black men in America, grappling with the intersections of race, class, and violence.
Regret and Reflection: Much of the album has a reflective, mournful tone as Black Thought and other guest vocalists deliver verses that look back at life’s moments, filled with what-ifs and regrets, exploring the loss of potential and the weight of past decisions.
Production and Collaborations:
The album is largely produced by The Roots themselves, with Questlove overseeing much of the production. The minimalist yet atmospheric production style mirrors the album’s darker themes, with an emphasis on live instruments.
Undun includes collaborations with Big K.R.I.T., Phonte, Dice Raw, Truck North, and Greg Porn, all of whom contribute to the narrative through their verses and vocal contributions.

Undun received widespread critical acclaim for its ambitious concept, narrative depth, and emotional resonance. Critics praised the album for its cohesive storytelling, complex themes, and innovative production.
Many hailed it as one of The Roots' best albums, with its conceptual depth and musical sophistication setting it apart from conventional hip-hop albums.
The album was noted for its maturity and introspective tone, marking a departure from The Roots’ earlier, more outwardly political works, and instead focusing on the internal struggles of the individual within a broken system.

Undun is often regarded as one of the best concept albums in hip-hop, comparable to works like Kendrick Lamar’s good kid, m.A.A.d city for its narrative depth and thematic richness.
The album’s reverse chronology and philosophical musings influenced other artists looking to explore more experimental and narrative-driven albums.
Undun reinforced The Roots' reputation as one of the most innovative and thoughtful acts in hip-hop, further blurring the lines between rap, live instrumentation, and high-concept artistry.

Undun is a deeply reflective and philosophical album, focusing on the life and fate of a character caught between the societal pressures and personal choices that ultimately lead to his demise. With its reverse storytelling, live instrumentation, and poignant lyricism, the album stands as one of The Roots’ most emotionally complex and musically innovative works. It challenges listeners to think deeply about the forces that shape lives and the fine line between survival and destruction.

Deluxe Edition celebrating the 25th Anniversary of the second The Roots album. Comes with a 24-page booklet. Must have!

Do You Want More?!!!??! is the second studio album by The Roots, released on January 17, 1995. This album is a landmark in hip-hop because it showcases The Roots' use of live instrumentation rather than relying on samples and drum machines, which was the dominant production method in rap at the time. It helped establish The Roots as a unique force within hip-hop, blending genres like jazz, funk, and soul into their music and standing out as pioneers of the "alternative rap" movement.

The album is notable for its organic sound, primarily driven by live instruments, with contributions from musicians such as drummer Questlove, keyboardist Scott Storch, and bassist Leonard Hubbard.
It represents The Roots’ early jazz-influenced, laid-back sound, which sharply contrasted with the harder, sample-driven beats of mainstream hip-hop in the mid-1990s.
Do You Want More?!!!??! was the group’s first major-label release (on DGC/Geffen Records) and introduced them to a broader audience beyond their underground roots.

The album is known for its strong jazz-rap influence, with heavy use of improvisation, live drumming, and horn sections, giving it a feel akin to a live jam session.
The Roots draw from the traditions of jazz and soul music, fusing those styles with the vocal rhythms and lyrical complexity of hip-hop.
Beatboxing and vocal percussion are also used throughout the album, particularly with contributions from Rahzel, known as "The Godfather of Noyze," who uses his beatboxing skills as an instrument in several tracks.

Lyrically, Black Thought (Tariq Trotter) and Malik B (Malik Abdul Basit) address topics ranging from urban life and relationships to the state of hip-hop and artistic integrity.
Much of the album is celebratory, exploring themes like the joy of performing, living in the moment, and reflecting on personal experiences.
The lyrics are often introspective and conversational, matching the album’s laid-back, jazzy feel. Unlike the aggressive or gangsta rap style popular at the time, the focus here is more on storytelling and social commentary.

Key Tracks and Highlights:
"Proceed" – One of the album’s standout singles, with a mellow, jazzy beat and Black Thought's smooth, confident flow. This track became one of The Roots' signature songs, with several remix versions following its release.
"Distortion to Static" – A jazz-heavy, upbeat track that features both Black Thought and Malik B trading verses, with intricate lyricism and a distinct live sound. This song helped establish their reputation as lyrical craftsmen.
"Mellow My Man" – A smooth, funk-infused track that showcases The Roots' musicianship, particularly Questlove’s drumming, and explores more laid-back, reflective themes.
"Essaywhuman?!!!??!" – An almost entirely improvised, live track, with live scatting and beatboxing, blending hip-hop with jazz in real-time, giving the listener a glimpse of The Roots' live performance energy.
"Silent Treatment" – One of the few songs on the album that delves into personal relationships, specifically the emotional dynamics of a romantic relationship gone awry. The song’s smooth delivery and production make it one of the more accessible tracks on the album.
"Datskat" – A playful track with an emphasis on jazz improvisation, including a prominent saxophone section and Rahzel’s beatboxing, highlighting the album’s unique sonic experimentation.
Collaborations and Guest Appearances:
Rahzel (beatboxing) and Scott Storch (keyboards) both play significant roles on this album, contributing to its eclectic, live-instrument sound.
Saxophonist Steve Coleman and trumpeter Graham Haynes lend their jazz expertise, enhancing the album’s jazz-fusion vibe.

Do You Want More?!!!??! received critical acclaim for its innovative use of live instrumentation and jazz influences in hip-hop. Critics praised the album for its originality and the band’s musical proficiency.
The album was celebrated for breaking away from the sample-driven norm of hip-hop production in the 1990s, helping to expand the genre’s sonic possibilities.
Despite its critical success, Do You Want More?!!!??! did not achieve major commercial success at the time, but it has since gained a cult following and is regarded as a classic in both hip-hop and alternative music circles.
Themes:
A key theme in the album is the exploration of musicianship in hip-hop. By blending jazz improvisation and live performances with rap, The Roots were not just making music—they were actively challenging the boundaries of what hip-hop could be.
Cultural identity and artistic integrity also play central roles in the lyrics, with Black Thought and Malik B often ruminating on their roles as artists in a changing and often commodified hip-hop landscape.

While not a massive commercial hit upon release, Do You Want More?!!!??! has become regarded as one of the seminal albums of the jazz-rap genre and a landmark in alternative hip-hop.
The album set the stage for The Roots’ later success and is seen as an important precursor to their subsequent, more polished and socially-conscious works, like Things Fall Apart (1999).
Do You Want More?!!!??! also helped to redefine live hip-hop performance, as The Roots proved that a live band could create complex, compelling music that resonated both within and beyond the hip-hop community.
Its influence extends to many artists in hip-hop and neo-soul, especially those involved with the Soulquarians, a collective of artists like Erykah Badu, D’Angelo, and Common with whom The Roots would collaborate extensively.
The album's blend of jazz, live instrumentation, and socially-conscious lyrics helped The Roots carve out a distinct niche in the hip-hop world, making Do You Want More?!!!??! a defining moment in their career and a critical touchstone in the evolution of alternative hip-hop.

Enigmatic instrumental group from The Pro-Teens pay tribute to the late great rapper MF DOOM, reimagining 14 iconic cuts through a wonky boom bap funk lens.Helmed by Hudson Whitlock, prolific drummer and percussionist of Karate Boogaloo and Surprise Chef, Melbourne's The Pro-Teens is a collective of instrumentalists making weirdo instrumental soul records. Drawing from the community of musicians from such bands in the College Of Knowledge orbit, The Pro-Teens' incorporate the comic book stylings of DOOM and Kool Keith, the dark and exotic flavors of Gravediggaz and Wu-Tang Clan, the cinematic compositional mastery of Galt MacDermot, Richard Evans and Marc Moulin, culminating in an unorthodox patchwork of cinematic soul, boom-bap funk breaks and left-field instrumental textures. MF TEEN: Your Concurrence In The Above Is Assumed recognises the legacy of rap's Illest Villain, traversing MF DOOM's discography and personas, flipping selections from Madvillain, MM.. FOOD, Viktor Vaughan, Danger Doom and more, taking care to ensure recognisable tunes such as Doomsday and Curls are represented alongside more obscure cuts such as The Gas Face, the Third Bass song that featured the first recorded verse from MF DOOM in his original moniker of Zev Love X of KMD. The full-length album follows the Pro-Teens now collectible 7"s of The Pro-Teens' renditions of Peachfuzz b/w One Beer and Doomsday b/w Curls, releases that built a feverous anticipation for the complete album. MF TEEN: Your Concurrence In The Above Is Assumed comes after 2021's Snooch Dodd & The Pro-Teens - I Flip My Life Every Time I Fly, co-released with UK tastemaker label Mr Bongo.

Enigmatic instrumental group from The Pro-Teens pay tribute to the late great rapper MF DOOM, reimagining 14 iconic cuts through a wonky boom bap funk lens.Helmed by Hudson Whitlock, prolific drummer and percussionist of Karate Boogaloo and Surprise Chef, Melbourne's The Pro-Teens is a collective of instrumentalists making weirdo instrumental soul records. Drawing from the community of musicians from such bands in the College Of Knowledge orbit, The Pro-Teens' incorporate the comic book stylings of DOOM and Kool Keith, the dark and exotic flavors of Gravediggaz and Wu-Tang Clan, the cinematic compositional mastery of Galt MacDermot, Richard Evans and Marc Moulin, culminating in an unorthodox patchwork of cinematic soul, boom-bap funk breaks and left-field instrumental textures. MF TEEN: Your Concurrence In The Above Is Assumed recognises the legacy of rap's Illest Villain, traversing MF DOOM's discography and personas, flipping selections from Madvillain, MM.. FOOD, Viktor Vaughan, Danger Doom and more, taking care to ensure recognisable tunes such as Doomsday and Curls are represented alongside more obscure cuts such as The Gas Face, the Third Bass song that featured the first recorded verse from MF DOOM in his original moniker of Zev Love X of KMD. The full-length album follows the Pro-Teens now collectible 7"s of The Pro-Teens' renditions of Peachfuzz b/w One Beer and Doomsday b/w Curls, releases that built a feverous anticipation for the complete album. MF TEEN: Your Concurrence In The Above Is Assumed comes after 2021's Snooch Dodd & The Pro-Teens - I Flip My Life Every Time I Fly, co-released with UK tastemaker label Mr Bongo.

Basically the idea for one remix evolved into a whole mega EP album, inspired by "Grime Status" LP, which The I.M.F. and LMT.Break created last year joining forces with other dope MCs and turntablists representing Bay Area and beyond!

LMT.Break described and explained well the whole concept/process of creating "Reign Supreme" with these few words:

"Originally the idea was to do a remix of “When Dope Was Fresh” having Roc Marciano on there was a big deal for us and I thought it would be dope to do a remix that sounded completely different. Kinda like “Jazz (We've Got) Buggin Out” remix by Atcq. Plus we had cuts by Dj Fooders and Kodac Visualz that we hadn’t used yet so it made sense to do it. Then I thought... a 7 inch with a new song on the b-side would be hella dope! So we went in and did "Reign Supreme" which we both was hyped about and kept goin' from there and I’m very happy with the results."

So we are, knowing you will dig it too! This is real Hip-Hop, soaked with that Boom Bap flava, drippin' from the speakers onto the floor where you will bust some b-boy moves after hearing these fly beats, rhymes and cuts!

The I.M.F. and LMT.Break present Grime Status on wax! This album shows both artists talent, I.M.F.'s lyrical skills and LMT.Break's in depth beats to bring you an album that defines all elements of Hip Hop. It is a timeless ode to the golden era, with respect to the DJ the arts the MC and beatbreaks for b-girls and b-boys to rock to. A collection of talented local hiphop DJ's participated on this project and special guest MCs from SF to NY. A sure fire album which you can't miss adding it to your collection!

The Allergies hook up with The Pharcyde's Bootie Brown on their brand-new slab of throwback rap, 'Stanky Funk'. It's a match made in hip-hop heaven, with The Allergies channelling classic early 90's boom bap beat business. Beefed up lo-fi funk loops, neck-snap drums, cuts and rumbling bass lines provide the backbone for a legend to get busy over.
'Never Gonna Let Go' is on the B-side – a funky up-tempo breaks-heavy banger that sees The Allergies twin monster samba samples with roots reggae vocal rips, for full dance-floor destruction.

Atlanta native Tha God Fahim has emerged as a leading figure in hip-hop’s thriving modern underground, captivating listeners with masterful street soliloquies and timeless production. Uninterested in the flashy trappings of the modern rap game, Fahim has channelled his energy into building a phenomenal catalog, blending soulful aesthetics with hard-edged rhymes. Now, the talented emcee is taking a break from his dizzying mixtape schedule to unveil the new studio album "Iron Bull". Highlighting the power of relentless determination, the collection finds Tha God Fahim stronger than ever, elevating beyond adversity while remaining true to self. "Iron Bull" includes guest appearances by Mach-Hommy, Your Old Droog, and Jay NiCE, along with hypnotic production by Nicholas Craven, SadhuGold, Camoflauge Monk, and Fahim himself.

Atlanta native Tha God Fahim has emerged as a leading figure in hip-hop’s thriving modern underground, captivating listeners with masterful street soliloquies and timeless production. Uninterested in the flashy trappings of the modern rap game, Fahim has channelled his energy into building a phenomenal catalog, blending soulful aesthetics with hard-edged rhymes. Now, the talented emcee is taking a break from his dizzying mixtape schedule to unveil the new studio album "Iron Bull".

Highlighting the power of relentless determination, the collection finds Tha God Fahim stronger than ever, elevating beyond adversity while remaining true to self. "Iron Bull" includes guest appearances by Mach-Hommy, Your Old Droog, and Jay NiCE, along with hypnotic production by Nicholas Craven, SadhuGold, Camoflauge Monk, and Fahim himself.

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.”

>
Brooklyn underground rap heroes Tanya Morgan drop a two-track heatrock of a 7-inch that lights up dancefloors while maintaining their true-school status with clever wordplay and progressive beats.
Since breaking on to the blog-era rap scene in 2006 with their debut LPMoonlightingand solidifying their status in 2009 with the now-legendaryBrooklynati, Tanya Morgan has represented the best of underground hip-hop. Your favorite rapper's favorite group, they combine trademark witty wordplay with tough, headnodding beats that demand rewinds and repeat listens. Bouncing back in recent years withRubber Souland other one-off cuts, the duo of Donwill and Von Pea has teamed with producer 6th Sense and quietly set about building the next chapter of their rock-solid legacy.
"Move It Or Lose It" is the latest manifestation of Tanya Morgan, a cut that is neither throwback nor trend chasing, but does double duty on the dancefloor as well as a headphone banger. Irresistibly funky, with Mathien's guitar and vocal the icing on top, and riding at a perfect tempo to get dancers bubbling, it got immediate attention from DJs when the group teased the digital version online.
The double A-side single continues on the flip with "Don't Look Up," another grown-man rap (as Von Pea asks, "How you want the old me acting brand new?") set to 6th Sense's progressive uptempo beat that recalls Q-Tip's adventurous recent productions, and featuring Mia Jae on vocals driving the chorus. Donwill's commentary on getting older and wiser in the music industry hits home to any of us who've been around the block: "Slow growth while the roots spread / Somebody said rap group's dead / They prolly wrote it as a sponsored ad."
Both cuts are primed to move feet and represent the continued lineage of quality underground hip-hop, proudly coming straight from the heart of Brooklyn as a collab with BK-based indy vinyl masters Names You Can Trust.

Record Store Day 2020 Release.

The debut release on Rick Rubin and Russell Simmons now seminal Def Jam label that shook the world with its evil bass and percussion. Never released on 7" before, this is a true Hip Hop collectors dream. Featuring the ground-breaking "Scratch Party Death Mix".

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time. Cut across double vinyl, it’s exceedingly limited, with just 500 pressed for the world.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this. It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.

PBS Nights (Star Hustler) b/w Turn. It. Up. by Strictly Butters | Gsc45-34 Galaxy Sound Co. | Even better, I love it when the always on-point @galaxy_sound_company takes a surprising turn from the edit game to drop another sure shot by Michigan beat maestro @strictlybutters. It’s the second release on GSC by the Owosso, MI skateboarder, cyclist & sneaker-head. He is a deep digging vinyl head, dad, & brilliant bedroom beat maker & now gifts us with another super sweet pair of hip-hop instrumentals. Side A’s “P.B.S.” recalls a 70s Public Broadcast Service afternoon with my babysitter aka the TV. Rolling piano & warpy keyboards over a tight drum break was a perfect soundtrack for me while walking my Detroit streets on a sunny afternoon. The vibe comes correct. Side B “Turn It Up“ bounces effortlessly and simply to do what Strictly Butters says, the sweet soul guitar riff will force you to turn the knob up to 11. So whatcha waitin’ for son?

Limited edition vinyl!
Check out this dope LA material!

Stranger Danger from North East LA hit Chopped Herring up with a project and it completely blew them away. Ridiculous break selection from and drug-fueled, hedonistic comedy from MC's Denzer, X-press & Stranger. What a treat this one is. There is definitely more to come from Mr Danger in 2018, no doubt!!
Stranger Danger started producing in the year 2000 and his first beat machine was a Boss SP 505, but he always collected vinyl since as early as the age of five when his parents bought him the first Fisher Price, Toys R Us record player.
Danger started freestyling and writing rhymes in 1995, but didn't actually start recording or mixing until 2001. He formed tha Roach Killaz in 2016 after his younger cousin X-Press told him that he and his homie Denzer wrote and spit ill rhymes as well.
During this time Danger was recording at a friend’s studio called The Halfway House where he met a 20-year old MC and producer named Saker, who he took under his wing as his protege to help him with production on the album.
In another studio session shortly after meeting, Saker brought his homie named Duer, and that’s when the puzzle pieces aligned perfectly and they knew they had something special. All of their influences are very similar. If it sounds dope, then it is! Greatest influences growing up were MF Doom, Kool Keith, DJ Premier, Kutmasta Kurt, RZA, Apakalypse, Necro, and DJ's like DJ Shi'iteand DJ Rob One.
The recording process is simple, let Mc's go at it until you hear something that you feel can help them sound better, whether it be vocal fluctuation, vocal tone, cadence, or energy.
Too much pride is a “no no”, it's all about doing whatever it takes to make the illest records possible. Stranger Danger digs or listens to music from all era's and over the world and studies music for at least six to eight hours a day, so what keeps him inspired daily is the opportunity to find incredible samples to flip.
It's an obsessive disposer but therapeutic at the same time. He used to have small intense spurts of creating, but now it's an all the time thing as he works on three to four albums at the same time constantly and always tries to top the album he did last.
X-Press, Denzer, and Stranger Danger are all Highland Park natives, (North East Los Angeles). Duer and Saker are originally from the San Gabriel Valley, which is in Los Angeles county as well! - Tha Roach Killaz, Killin Roaches.

Here's the good word from the fellas:



"Stereotype came together as a group in 2008. Made up of Producer/Emcee Frank John James, Mas1 and Braiiinstorm. Sophomore project, "Through the Speaker", is being presented over a decade later from their initial group LP "Instincts of Organisms" released on Echoes Of Oratory in 2013. After many solo and side projects amongst the 3 of them, they've come together with the help of co-producer Stranger Danger and completed another boom bap classic for the heads to bump. Woven together with samples and cuts from Roach the DJ, each member delivers original lyrics and critical views. Enjoy."



And here's the good word from Herring:



"Stunning album with breaks and drums for miles. Real bboy flava on the production, reminiscent of Strng3r Dang3r's earlier materual on the Herring-released "Tha Roach Killaz" record, but with an extra scoop of the jazz. All round a killer record and perfect for a drop on Herring. Had this on constant rotation in the Herring-mobile., now pleased I can share with the fisherfolk."

Here's the good word from the fellas:



"Stereotype came together as a group in 2008. Made up of Producer/Emcee Frank John James, Mas1 and Braiiinstorm. Sophomore project, "Through the Speaker", is being presented over a decade later from their initial group LP "Instincts of Organisms" released on Echoes Of Oratory in 2013. After many solo and side projects amongst the 3 of them, they've come together with the help of co-producer Stranger Danger and completed another boom bap classic for the heads to bump. Woven together with samples and cuts from Roach the DJ, each member delivers original lyrics and critical views. Enjoy."



And here's the good word from Herring:



"Stunning album with breaks and drums for miles. Real bboy flava on the production, reminiscent of Strng3r Dang3r's earlier materual on the Herring-released "Tha Roach Killaz" record, but with an extra scoop of the jazz. All round a killer record and perfect for a drop on Herring. Had this on constant rotation in the Herring-mobile., now pleased I can share with the fisherfolk."

Features Q-Tip, Talib Kweli, D-Block, M.O.P., Kool G Rap, Krs-One, Az, Cormega, Freeway, Royce 5’9”, Slum Village and many others!
It has been 10 years since Statik Selektah’s long awaited first official studio album landed, and now it’s available for the first time on vinyl. Red vinyl too.
It features a bona fide ‘who’s who’ in Hip Hop from underground celebs like Skyzoo, Termanology and Reks, to legends like Kool G Rap, KRS-One, AG, Q-Tip (A Tribe Called Quest),
Joell Ortiz, Freeway, Cormega, Royce 5’9”, AZ, Large Pro, M.O.P., Slum Village, Alchemist, Evidence, and more.. “Spell My Name Right (The Album)” has something for everyone,
with street anthems (“G Shit (Showoff Mix)”), underground bangers (“Did What We Had To Do”), straight battle raps (“Time To Say Goodbye”) and even the long forgotten DJ song
(“No Mistakes Allowed”). East to left coast, ALL the big dogs show up for this one, with all production by Statik Selektah. Receiving support from DJs worldwide, Kay Slay, Funk
Master Flex, Clinton Sparks and DJ Khaled to name a few, Statik has risen to an elite rank with his DJing and production skills, and is set to release his 8th solo album later this
year. he can be heard producing for the likes of Action Bronson and Eminem, and on his weekly radio show on Sirius/XM 'Shade 45' (Thursday Nights from 8PM - 12AM).
Hear where it all began with this limited red vinyl edition of “Spell My Name Right”!"

Released in 1992 on CD, MC and Promo LP only, Spice 1's debut gets a proper vinyl treatment.

Spice 1 is an undisputed West Coast legend, who first hit the scene after the N.W.A. and – closer to home – Too $hort explosion of the late ‘80s. As history showed, he continued that bloodline with finesse and authority. His nasal flow is menacing and strong, and fans have been consistently captivated by his ‘hood tales since his self-titled debut in 1992. If you want thematic range with your MCs, Spice isn’t that dude – he is all about crime tales and the perils of ghetto life. And he attacks that storytelling sweet spot with each new cut. Spice 1 boasted four singles by the time it was all said and done, and breezed to Gold status on the strength of cuts like the catchy “East Bay Gangster”, the heartfelt tales and truths of “Welcome To The Ghetto”, and the thick, grooving “In My Neighborhood.” He even produced the alcohol-themed “187 Proof,” another of the album’s singles, and the hands-down cleverest vocal outing on the LP. Sonically, the backdrops on Spice 1 range from plunky, keyboard-bassline funk to deeper, fuzzy ‘70s samples – and he sounds strong on top of both. “Break Yourself” is fueled with an electro-funk drive, “1-800 Spice” brings reggae flavor, and “Peace To My Nine” gets chunkier, with a well-placed P-Funk “One Nation Under A Groove” sample. Presented here on official retail vinyl for the first time since its initial release 26 years ago, Spice 1’s debut holds the test of time and carries the California gangsta flag with pride. Some colors just don’t fade.

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

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

Solemn Brigham is 1/2 of the group Marlowe. His music has been featured on Gatorade's G is for Greatness ad campaign, 7-Eleven's Harmony Korine (Kids, Gummo, Spring Breakers) directed low rider bike campaign, and NBA2K22. South Sinner Street is his debut solo album coming Sept 24th.

About the Album:
It is no secret that things are getting worse. By virtually any metric––economic or medical, or ones more abstract and spiritual––American society is in decay. The feeling permeates daily life in innumerable ways, giving the present a gnawing, ambient dread.

Solemn Brigham is not content to leave this at a low hum. On his dazzling new album, South Sinner Street, Solemn examines this decay through the prism of his hometown: Albemarle, North Carolina, where the blocks he grew up on are crumbling like everything else. “What was once a vibrant area now survives as a reminder that the only thing eternal is change,” Solemn says when describing the project’s genesis. “Trash and debris flood the streets, relics of the many lives lived––each piece with a story to tell.” South Sinner Street not only traces the degradation of the world around us, but documents the way communities can come together to stave off that slow death, lifting its members up in the process.

Solemn is uniquely equipped to animate the relics of a once-thriving neighborhood with the specificity they deserve. The rapper, whose work with his fellow North Carolinian, L’Orange, as the duo Marlowe has been critically acclaimed, is one of the most vocally acrobatic working today, able to contort himself into a dizzying array of different flows and inflections, accomplishing alone the sort of musical variety that sprawling collectives try and fail to achieve. Take “Couple Towns,” where Solemn moves from a seesaw pocket into a flow that cascades over the ends of bars; contrast this with the bonus track “Relax,” where each bar sounds as if it’s the final thought spilling out of his mind at the end of an impassioned phrase. The end of “Vice North” even recalls the technically stunning runs of One Be Lo, the Michigan rapper who in the 2000s became one of the genre’s chief chroniclers of a similar country-wide disintegration.

But this is not merely a showcase for verbal acrobatics. South Sinner Street is deeply personal, juxtaposing personal growth with the decay that surrounds it. “This is no rags to riches story,” Solemn warns. Of course––it’s more complicated than that. When, on “Vantablack,” of a toddler cradled in his mother’s arms while that mother nurses a cigarette, he is not asking the listener to imagine a tragic end or a harrowing origin story. The point is that we are all, perpetually, the child and the mother: doing our best to cope, even against our better judgment; persevering despite the circumstances that surround us.

And yet South Sinner Street is buoyed by a sense of playfulness that lights up even the pitch-black corners of Albemarle. “Nothing Left” succeeds in turning end-of-your-rope sorry into something like an in joke. When, on “Vice North,” Solemn raps about putting his hands together in prayer only to find “the line still busy,” his voice bakes something amusing in the complaint––maybe the sense that a young man in a small city is irked at God the way he might be at a flaky friend from the gym. And then, speaking of gyms, comes the laugh-out-loud moment on “Dirty Whip,” when Solemn concedes that he didn’t make the basketball team “‘cause I’m me-first.’”

Across its 14 songs, South Sinner Street argues for Solemn Brigham as one of the most exciting artists in underground hip-hop, a technical virtuoso who also happens to be one of the genre’s most surprising, most deeply personal songwriters. The album evokes the feeling of climbing onto a house’s roof to survey the nearly-burning city around you, with all the peril that entails––but also all the possibility.

Solemn Brigham is 1/2 of the group Marlowe. His music has been featured on Gatorade's G is for Greatness ad campaign, 7-Eleven's Harmony Korine (Kids, Gummo, Spring Breakers) directed low rider bike campaign, and NBA2K22. South Sinner Street is his debut solo album coming Sept 24th.

About the Album:
It is no secret that things are getting worse. By virtually any metric––economic or medical, or ones more abstract and spiritual––American society is in decay. The feeling permeates daily life in innumerable ways, giving the present a gnawing, ambient dread.

Solemn Brigham is not content to leave this at a low hum. On his dazzling new album, South Sinner Street, Solemn examines this decay through the prism of his hometown: Albemarle, North Carolina, where the blocks he grew up on are crumbling like everything else. “What was once a vibrant area now survives as a reminder that the only thing eternal is change,” Solemn says when describing the project’s genesis. “Trash and debris flood the streets, relics of the many lives lived––each piece with a story to tell.” South Sinner Street not only traces the degradation of the world around us, but documents the way communities can come together to stave off that slow death, lifting its members up in the process.

Solemn is uniquely equipped to animate the relics of a once-thriving neighborhood with the specificity they deserve. The rapper, whose work with his fellow North Carolinian, L’Orange, as the duo Marlowe has been critically acclaimed, is one of the most vocally acrobatic working today, able to contort himself into a dizzying array of different flows and inflections, accomplishing alone the sort of musical variety that sprawling collectives try and fail to achieve. Take “Couple Towns,” where Solemn moves from a seesaw pocket into a flow that cascades over the ends of bars; contrast this with the bonus track “Relax,” where each bar sounds as if it’s the final thought spilling out of his mind at the end of an impassioned phrase. The end of “Vice North” even recalls the technically stunning runs of One Be Lo, the Michigan rapper who in the 2000s became one of the genre’s chief chroniclers of a similar country-wide disintegration.

But this is not merely a showcase for verbal acrobatics. South Sinner Street is deeply personal, juxtaposing personal growth with the decay that surrounds it. “This is no rags to riches story,” Solemn warns. Of course––it’s more complicated than that. When, on “Vantablack,” of a toddler cradled in his mother’s arms while that mother nurses a cigarette, he is not asking the listener to imagine a tragic end or a harrowing origin story. The point is that we are all, perpetually, the child and the mother: doing our best to cope, even against our better judgment; persevering despite the circumstances that surround us.

And yet South Sinner Street is buoyed by a sense of playfulness that lights up even the pitch-black corners of Albemarle. “Nothing Left” succeeds in turning end-of-your-rope sorry into something like an in joke. When, on “Vice North,” Solemn raps about putting his hands together in prayer only to find “the line still busy,” his voice bakes something amusing in the complaint––maybe the sense that a young man in a small city is irked at God the way he might be at a flaky friend from the gym. And then, speaking of gyms, comes the laugh-out-loud moment on “Dirty Whip,” when Solemn concedes that he didn’t make the basketball team “‘cause I’m me-first.’”

Across its 14 songs, South Sinner Street argues for Solemn Brigham as one of the most exciting artists in underground hip-hop, a technical virtuoso who also happens to be one of the genre’s most surprising, most deeply personal songwriters. The album evokes the feeling of climbing onto a house’s roof to survey the nearly-burning city around you, with all the peril that entails––but also all the possibility.

Solemn Brigham is 1/2 of the group Marlowe. His music has been featured on Gatorade's G is for Greatness ad campaign, 7-Eleven's Harmony Korine (Kids, Gummo, Spring Breakers) directed low rider bike campaign, and NBA2K22. South Sinner Street is his debut solo album coming Sept 24th.

About the Album:
It is no secret that things are getting worse. By virtually any metric––economic or medical, or ones more abstract and spiritual––American society is in decay. The feeling permeates daily life in innumerable ways, giving the present a gnawing, ambient dread.

Solemn Brigham is not content to leave this at a low hum. On his dazzling new album, South Sinner Street, Solemn examines this decay through the prism of his hometown: Albemarle, North Carolina, where the blocks he grew up on are crumbling like everything else. “What was once a vibrant area now survives as a reminder that the only thing eternal is change,” Solemn says when describing the project’s genesis. “Trash and debris flood the streets, relics of the many lives lived––each piece with a story to tell.” South Sinner Street not only traces the degradation of the world around us, but documents the way communities can come together to stave off that slow death, lifting its members up in the process.

Solemn is uniquely equipped to animate the relics of a once-thriving neighborhood with the specificity they deserve. The rapper, whose work with his fellow North Carolinian, L’Orange, as the duo Marlowe has been critically acclaimed, is one of the most vocally acrobatic working today, able to contort himself into a dizzying array of different flows and inflections, accomplishing alone the sort of musical variety that sprawling collectives try and fail to achieve. Take “Couple Towns,” where Solemn moves from a seesaw pocket into a flow that cascades over the ends of bars; contrast this with the bonus track “Relax,” where each bar sounds as if it’s the final thought spilling out of his mind at the end of an impassioned phrase. The end of “Vice North” even recalls the technically stunning runs of One Be Lo, the Michigan rapper who in the 2000s became one of the genre’s chief chroniclers of a similar country-wide disintegration.

But this is not merely a showcase for verbal acrobatics. South Sinner Street is deeply personal, juxtaposing personal growth with the decay that surrounds it. “This is no rags to riches story,” Solemn warns. Of course––it’s more complicated than that. When, on “Vantablack,” of a toddler cradled in his mother’s arms while that mother nurses a cigarette, he is not asking the listener to imagine a tragic end or a harrowing origin story. The point is that we are all, perpetually, the child and the mother: doing our best to cope, even against our better judgment; persevering despite the circumstances that surround us.

And yet South Sinner Street is buoyed by a sense of playfulness that lights up even the pitch-black corners of Albemarle. “Nothing Left” succeeds in turning end-of-your-rope sorry into something like an in joke. When, on “Vice North,” Solemn raps about putting his hands together in prayer only to find “the line still busy,” his voice bakes something amusing in the complaint––maybe the sense that a young man in a small city is irked at God the way he might be at a flaky friend from the gym. And then, speaking of gyms, comes the laugh-out-loud moment on “Dirty Whip,” when Solemn concedes that he didn’t make the basketball team “‘cause I’m me-first.’”

Across its 14 songs, South Sinner Street argues for Solemn Brigham as one of the most exciting artists in underground hip-hop, a technical virtuoso who also happens to be one of the genre’s most surprising, most deeply personal songwriters. The album evokes the feeling of climbing onto a house’s roof to survey the nearly-burning city around you, with all the peril that entails––but also all the possibility.

Destituent is Soles 7th solo studio album. Sole is a co-founder of the legendary anticon label, and last year as Vice noted, Sole is a pioneer of underground avant-garde rap. Destituent is an album about the innate human capacity to solve problems and build new forms of life without the need for government and coercion. Musically this entirely self produced album is a departure from most of his work, featuring heavy New Wave / No Wave influence, almost to the point of being poppy, but the subject matter ensures that it never could be. Walls of noise, upbeat drum breaks, swelling distorted synths, poetic streams of consciousness and polyrhythmic rhyming styles. Anarchy, the call of the wild and the power of music. His work has been featured in Spin, C-Span, Democracy Now, Vice, 2 DopeBoyz, The Intercept, Truthout, and countless other outlets. Sole proves that you can make thoughtful music that works in the headphones, on the dance floor, and on the barricades.

Okayplayer is quoted as saying "Sleep Sinatra delivers sharp observations across Brainstormz" and they were correct. The flow appears effortless, yet complicated. The beats are stellar. The features are heavy. As of this writing this album has surpassed 50,000 streams and seems to be a favorite among Sleep Sinatra fans. This album is rap music at its finest; banger from start to end.

Okayplayer is quoted as saying "Sleep Sinatra delivers sharp observations across Brainstormz" and they were correct. The flow appears effortless, yet complicated. The beats are stellar. The features are heavy. As of this writing this album has surpassed 50,000 streams and seems to be a favorite among Sleep Sinatra fans. This album is rap music at its finest; banger from start to end.

The debut single from this Texas crew is a rambunctious heavy funk heater with hard breaks, punchy brass and vocal refrains from the singing duo US. A funky dancefloor jam. B/w a scratch laden remix featuring legendary NY rapper Kool G RAP. Guitar from Black Pumas bandleader Adrian Quesada.

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.

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

The days have become shorter, and the nights are cold and long. Winter season aside, we're living in uncertain times. From politics to healthcare, the rising cost of living and more - apathy and cynicism are the themes of the modern day. Even just getting by has become a demanding daily operation. However, in light of this social despondency, hope can be found between the cracks of the concrete. Hopefully, is a sharp and seductive six-track jolt of upliftment for the weak and weary among us. Sareem's penmanship across the EP is intentional and minces no words about the everyday struggle of surviving and thriving. However, the beauty of the music and message blossoms within the juxtaposition. On the title track, Sareem plays neighborhood hope dealer and wishes health, wealth and strength to one and all. As expected, the song is littered with thoughtful lines ("I hope you never have to code switch so you can blend"), which land firmly in the message received section of the brain. The sermon-like bars continue on Ain't No Time, where Sareem displays calm confidence in the rat race against the hourglass. He deftly reminds the listener that the past is always in the future and time is not to be feared - but embraced. Further introspection can be found on Piece Of The Pie. Sareem enters the center with thanksgiving in his heart, reflecting on the grind's culmination and celebrating the spoils of family and friendship. The mosaic-like production by Madi, who used to go by DJ Allstar, is smooth and spacious - bespoke in its bounce and bop. The former Uprok Records DJ serves up splurges of atmospheric buoyancy that pulsate through the mind, body and soul. The lost art of the head nod returns in a big way, and Madi delivers in an emphatic fashion. All hope aside, the chemistry between Sareem Poems and Madi is a wistful reminder of the sacred nature of the Hip Hop duo. The one emcee and one producer tandem are held dear in Hip Hop culture. These two hope dealers carry on tradition while pushing forward. Written by Christopher Mitchel (Breaking Atoms)

Styles of Beyond MC and Demigodz frontman, Ryu, unleashes his long-awaited debut solo album "Tanks For The Memories". From his early years ruling the Los Angeles radio and cypher scenes, to breaking necks and banging heads with Styles of Beyond via their critically acclaimed seminal debut album "2000 Fold" and their sophomore follow-up "Megadef", through to his work with Mike Shinoda in Fort Minor on their Jay-Z overseen “Rising Tied’ album. Experiencing both mainstream and independent, underground successes, Ryan ‘Ryu’ Maginn states “'Tanks For The Memories' is a metaphor for the battles I've fought throughout my career in the music business. That would include the bad and the good. You win some, but in my case I've lost a lot as well. In the end, I believe I'll win the war.” The album is entirely produced by Divine Styler, except for the last track which is produced by Apathy. Reuniting with Divine Styler on production was a no-brainer for the 'San Fernando Valley Rambo' as he explains “Divine Styler was instrumental in the development of the Styles of Beyond sound. So it was a very natural process when working together on this album." The album features Everlast, Divine Styler, Celph Titled, Bishop Lamont, Tak, Gravity Christ and Jams.

Paris based Roforofo Jazz is a 7-piece liveband fronted by Chicago born MC Days (aka RacecaR), with a certain taste for adventurous blends, mixing hip hop, afrobeat and jazz into their very own style. After more than 15 years slashing the afrobeat of Les Freres Smith with his guitar cuts, Martin Smith digged into the musical sediments and silts in a swamp of hip hop, funk groove, afro power, jazz freedom radicality, with a certain taste for adventurous blends. This wax solid 5 tracks Vinyl was recorded live in Montreuil (France) at Studios La Peche, in November 2019, just a few weeks after the band toured in Nigeria and played at the mythical New Afrika Shrine on the occasion of Felabration 2019, where they got invited to perform by the Fela Kuti family for a series of concerts in Lagos. The 5 titles include the single “Fire Eater”, a raw afro hip hop tune mixing rhythms in the tradition of polyrhythm afrofunk tunes, while also alternating in between jazzy mood and burning hip hop anthem. “Dump It” is a dark, mid tempo beat, borrowing the groove signature of ethiopian soul, and coated with hip hop sharp drops, while horns bring the jazzyness through their themes. “Helelyos” is a cover/extrapolation of Iranian singer Zia’s hit, to which Days vocals bring an heavy old school hip hop vibe. “2Kick1” is a relentless afrobeat oriented tune, though with a languorous spacy chorus that breaks with the traditional afrobeat routine. And “What We Think We Saw” ends the EP with an opening to more psychedelic visions, in which a Gil Scott-Heron spoken word style meets jazzy space echoes, flutes under massive reverbs in a global vibe that could remind old analog recordings of Mandrill, Cymande or LKJ.