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Vinyl with a couple of light scuffs

Numaads sounds different, looks different and thinks different.

Esperanzah is like a siren calling the listeners to her as she floats on the ocean of sound, created by her long time friend and musical partner Sense (of The Q4 and Shahmen). Her smooth earthy rap voice and angelic singing are carried beautifully by the strong drums and atmospheric vibes, and speaks to us of realignment with nature, with our roots and with ourselves.

Sense skillfully combines original use of sampling, interweaved with organic instrumentation, to sculpt a sound that carries an almost mystical atmosphere. He is a craftsman who has been perfecting his art for many years and is now coming forth in to the light.

The record features four original songs and two remixes of the title song Now, by renowned producers Robot Koch and J Rawls.

When hip-hop fans mention the Living Legends Crew - the 8 member collective from California that kicked open the doors for rap music that highlighted the everyday man - they often think of two members: Murs and The Grouch. While the two built a name for themselves within the crew, and as solo artists, they never collaborated on an official project with each other, until now.

The relationship between the two could be likened to college roommates who once shared living spaces together in their formative years, who went on to become successful in their own paths but remained rooted to their beginnings. After years of collaborating with other Living Legends crew members (The Grouch & Eligh, Three Melancholy Gypsies), and people outside of the crew (Atmosphere, Strange Music, Slightly Stoopid), the two decided to make a full project together - Thees Handz. They have both had success in the live space as well; Murs was the first rapper to have his own festival, Paid Dues, and The Grouch with his annual tour, How The Grouch Stole Christmas. While ruminating on who to tour with for the 12th and final year of the Grouch's Christmas Tour, a light bulb went off and The Grouch reached out to his brother, Murs. After discussing joining him on tour the two also decided to give their fans something they never knew they wanted - a joint album from Murs & The Grouch. Clocking in at 10 tracks - a reference to the title, by way of the number of fingers on two hands - the project is effective in it's succinctness. With tracks that run the gamut from braggadocious to introspective, Thees Handz will touch the listener one or another. The production is handled by The Grouch, Ant of Atmosphere, Eligh, DJ Fresh, DJ Rek, and Brady Watt. The album features Reverie, Rabbitt, Brady Watt, with scratches by DJ Abilities.

Ill Adrenaline Records is excited to announce a brand new 7" vinyl from critically acclaimed rapper Awon and UK producer Elements. The A side features "Game Matters" with head nodding soulful production highlighting Awon's raw uncut rhymes, blended together with a catchy scratch hook. Track 2, "Paper Off My Pager" combines Elements upbeat jazz infused production with Awon's vivid quick fire lyricism. Awon, "The 90s were really grimy and rigid, it was a different thought process of survival, getting money happened to be a part of that. While it sounds celebratory Paper off my Pager is really a reflection of bad decisions on top of bad decisions that led me to rap for a living. The celebration is that I survived." The B side features a golden age inspired Elements remix for "Game Matters" which shines a new light on Awon's braggadocio flows and showcases razor sharp cuts over melancholic jazz piano and upright bass. Awon has racked up millions of streams and immense exposure as an independent artist, with a stellar catalogue of underground hip hop classics. He recently starred in "Underdogs", a documentary that chronicles his journey with Don't Sleep Records, the label he founded with production partner Phoniks, winning best music documentary at Dtla film festival and streaming now on Netflix. Elements production placements have seen his music covered by tastemaker publications like Lyrical Lemonade, Afropunk, Billboard magazine and NPR music. The pair work together to create a unique sound on "Game Matters" and "Paper off my Pager" available for the first time on vinyl.

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.

Limited to 100 copies. Another great exclusive for HHV customers.

Ill Adrenaline Records is excited to announce a brand new 7" vinyl from critically acclaimed rapper Awon and UK producer Elements. The A side features "Game Matters" with head nodding soulful production highlighting Awon's raw uncut rhymes, blended together with a catchy scratch hook. Track 2, "Paper Off My Pager" combines Elements of upbeat jazz infused production with Awon's vivid quick fire lyricism. Awon, "The 90s were really grimy and rigid, it was a different thought process of survival, getting money happened to be a part of that. While it sounds celebratory, Paper off my Pager is really a reflection of bad decisions on top of bad decisions that led me to rap for a living. The celebration is that I survived." The B side features a golden age inspired Elements remix for "Game Matters" which shines a new light on Awon's braggadocio flows and showcases razor sharp cuts over melancholic jazz piano and upright bass. Awon has racked up millions of streams and immense exposure as an independent artist, with a stellar catalogue of underground hip hop classics. He recently starred in "Underdogs", a documentary that chronicles his journey with Don't Sleep Records, the label he founded with production partner Phoniks, winning best music documentary at Dtla film festival and streaming now on Netflix. Elements production placements have seen his music covered by tastemaker publications like Lyrical Lemonade, Afropunk, Billboard magazine and NPR music. The pair work together to create a unique sound on "Game Matters" and "Paper off my Pager" available for the first time on vinyl.

Limited to 100 copies.

Ill Adrenaline Records is excited to announce a brand new 7" vinyl from critically acclaimed rapper Awon and UK producer Elements. The A side features "Game Matters" with head nodding soulful production highlighting Awon's raw uncut rhymes, blended together with a catchy scratch hook. Track 2, "Paper Off My Pager" combines Elements of upbeat jazz infused production with Awon's vivid quick fire lyricism. Awon, "The 90s were really grimy and rigid, it was a different thought process of survival, getting money happened to be a part of that. While it sounds celebratory, Paper off my Pager is really a reflection of bad decisions on top of bad decisions that led me to rap for a living. The celebration is that I survived." The B side features a golden age inspired Elements remix for "Game Matters" which shines a new light on Awon's braggadocio flows and showcases razor sharp cuts over melancholic jazz piano and upright bass. Awon has racked up millions of streams and immense exposure as an independent artist, with a stellar catalogue of underground hip hop classics. He recently starred in "Underdogs", a documentary that chronicles his journey with Don't Sleep Records, the label he founded with production partner Phoniks, winning best music documentary at Dtla film festival and streaming now on Netflix. Elements production placements have seen his music covered by tastemaker publications like Lyrical Lemonade, Afropunk, Billboard magazine and NPR music. The pair work together to create a unique sound on "Game Matters" and "Paper off my Pager" available for the first time on vinyl.

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.

Larry June & prolific producer Cardo have joined forces once again to bring you their latest masterpiece: "The Night Shift," a nocturnal adventure that takes you on a ride through the vivid and pulsating streets of Larry's life, as brought to life by Cardo's distinctive production. Larry June, the San Francisco native known for his smooth, laid-back flow and his unwavering commitment to living a healthy and prosperous lifestyle, seamlessly blends his distinctive style with Cardo's signature production, creating a sound that's as crisp and refreshing as a glass of cold-pressed orange juice. "The Night Shift" is the soundtrack to those late-night drives, providing the perfect backdrop for contemplation and cruising. "The Night Shift" is more than just an album; it's a testament to the chemistry between Larry June and Cardo, two artists at the top of their game. This project is a reminder that, in the still of the night, when the city's lights are aglow, and the world is asleep, Larry June and Cardo are hard at work, crafting music that transcends time and place.

Debuting on Adult Swim, two of the most conceptual and unusual alternative artists in underground hip-hop have joined forces to tell an absurdist story of culture, art and oppression, set in a light-hearted dystopian future. As adventurous as the concept sounds, the album is musically grounded in hip-hop fundamentals and off the wall lyricism. Joining the duo are artists like DJ QBert, Gonjasufi and Akrobatik. Wyatt Cenac (Daily Show, Bojack Horseman) lends his voice as the narrator of our story.

In the Spring of 2019, Grieves let loose a flurry of new music, surprising and delighting fans with fresh new singles each week. Grieves was able to express both his growth and his hunger since releasing Running Wild, as this new work’s content and production ranged from light-hearted and jazzy to intense and introspective. Here, he’s compiled those songs, adding 3 more previously unreleased tracks, to create a sensational new project, The Collections of Mr. Nice Guy.

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.

Master of the mashup, Casual Connection cruises into town with a double shot of straight up summer burners to light up the dance.

Further to cementing 2021 as his huge breakout year, Digga D returns with his mammoth new single ‘G Lock’ featuring US rap star, Moneybagg Yo - out now via Cgm/ega alongside the he news of his highly-anticipated third mixtape, ‘Noughty By Nature’ - set for release this coming April 15th, 2022 via Cgm/ega.

‘G Lock’ follows on from Digga’s previous releases which include ‘2k17’, ‘Pump 101’ and ‘Wasted’, the latter two of which were his second and third top 10 records. Since the release of his critically acclaimed 2021 mixtape, ‘Made In The Pyrex’ – a project which showcased the lyrical dexterity of the West-London rapper – Digga D has firmly cemented his position within drill, a genre which he has dominantly spearheaded over the last few years. The tape featured hit single’s 'Chingy', 'Woi' and ‘Bringing It Back’ - all of which charted in the UK at #24, #18 and #5 respectively whilst also earning him a 4* review from The Guardian. Digga D has continuously been commended for his consistent work rate during which he showcases his technical lyrical ability and charisma, married with his unorthodox flow.

Breaking onto the scene with his 2019 hit single ‘No Diet’ – the track subsequently peaked at #20 in the UK singles chart and to date, has amassed over 26 million YouTube views. Shortly after, his debut mixtape ‘Double Tap Diaries’ charted at #11, making it the highest charting debut for a UK solo drill artist, ever. With over 300 million global streams under his belt, 2020 saw Digga D also became the first solo drill artist to be nominated, and subsequently win an AIM Independent Music Award. Thereafter he was nominated for a Mobo Award for ‘Song of The Year’, as well as ‘Best Rap Track’ at DJ Mag’s Best of British Awards. His BAFTA-winning BBC Three documentary ‘Defending Digga D’ detailed the many hurdles and setbacks Digga has faced since the beginning of his career however, in spite of this, the 21-year-old rapper has defied all odds, rapidly becoming a household name within the UK music scene.

Taken from the forthcoming album 'Prom Nite'. The opening single of 'Prom Nite' is a sermon perfect for log cabin lock-ins and losing yourself across the Balearics: 'Feel Like Home' is spirited, euphoric and thoroughly satisfying, not to mention an advertising executive's dream. London's House Gospel Choir, endorsed by Annie Mac and The Blessed Madonna, provide the salvation that everyone is looking for right now, their heavenly harmonies aligned to Yoda's gentle grooves and keys leading you to the light, encouraging the linkage of arms and for its soulful soothing properties to wash over you. Cover Art by ENDLESS..

Memphis-raised V.C.R, born Veronica Camille Ratliff, is the LA-based violinist, gospel singer, and multidisciplinary Cinematic Soul artist using music and literature as her primary tools of uplift. The debut album "The Chronicles of a Caterpillar: The Egg" follows V through fantasy storybook-style song narratives that equally touch upon Lord Of The Rings as it does Minnie Ripperton and Tchaikovsky. Veronica's book “The Creative Black Woman’s Playbook” was written in 2019 as a primer to her album, with the purpose of celebrating black femininity, honoring black heritage and history, and empowering creative black women internationally. The album releases April 29th 2022 via Leaving Records All Genre, and features vocal contributions from Pink Siifu plus production from Sudan Archives and Lastnamedavid.

"The Egg is dedicated to every human being who has ever felt alone. Every light being trapped in darkness. I see you, I feel you, I am you. Don't let your light be dimmed, for if you look up there is love all around you. Rise and rise till lambs become lions. I love you" -V.C.R

Rochester, New York, March 13th, 2019 - With the kind of year 38 Spesh had in 2018 and the way 2019 is going so far, it is only fitting that this Rochester MC/producer has been crowned The King of Upstate. And as the monarch of the region, he understands his responsibility to shine light on other talent from the area. Enter TCF Music Group. TCF stands for Trust Comes First and if you know Spesh, you know that “Truuust” is his trademark ad-lib...but more importantly it’s the family motto. However, what many might not know is that Spesh and TCF have been grinding in the game for years. In fact, Benny The Butcher was signed to TCF before he joined Westside Gunn and Conway at Griselda Records in 2016. Further, as evidenced by 2018’s highly underrated Stabbed & Shot album, Spesh and Benny are still tight and fully in business together.
May will see the release of Trust Tape 3, the third instalment of TCF’s compilation that spotlights the label’s lean and mean roster. Other than the man himself, this album is anchored by Che Noir and Klass Murda. Not to mention, former TCF artist, Benny, shows up on 8 of the 14 tracks! What’s more, the most buzzing names in production from Upstate New York, Eto and RickHyde, both contribute bangers to the project. The whole album is rider music from top to bottom, but there are some standouts you should not miss. The lead single “War Wounds,” is the lead single for a reason. Eto’s production coupled with verses from Duffel Bag Hottie, Benny, and Che that exemplify Reality Rap. Then, there’s the 38 solo joint “Black Horns,” which only reaffirms lyricists’ and producers’ fears that this double threat is about to take the industry by storm. Also, make sure you bump “Summer Pain,” “LMOP,” “Dope Dealing,” and the hella infectious “Section.”

Rochester, New York, February 25th, 2019 - 38 Spesh's buzz is running through the industry like a wild fire right now. While this MC/producer/entrepreneur is not some overnight success that just appeared on the scene, many music critics only became aware of him last year. In fact, Flour City recording artists like Eto, Pounds, and 38 Spesh have been out here delivering quality product for more than a decade. Being a native of Rochester, DJ Green Lantern has been attempting to shed light on the area's talent for 10 years+ as well. And he has consistently worked with Spesh since as far back as 2005.

Spesh was lured back to the streets while Trap was dominating the airwaves and Hip-Hop sales. But when he saw his homies like Benny The Butcher and Eto starting to make waves around 2017, he knew the time was right for a comeback. He made his return in grand fashion in 2018 by dropping collab projects with Mafioso rap godfather Kool G. Rap, Buffalo's most buzzing, Benny, and The Jacka's (RIP) protege, Joe Blow. Then, he sparked 2019 with two drops before February 2.

The first release was an EP titled 5 Shots, which was a warm up to get fans ready for his imminent opus. Then on February 1st he laced listeners with an album to silence the naysayers and satisfy the diehards, 38 Strategies of Raw. Spesh produced almost half this offering and he gets busy on the mic on all 11 joints. Guests include Fred The Godson, Benny The Butcher, Ransom, Klass Murda, Che Noir, and Green Double, and they all bring their A-game for this special affair. Make sure not to miss standout tracks "Soul Pain," "TrustGang," "Dark Night," "Menace," and "Family," although skipping any of the songs here would be a mistake. 38 is also the mastermind behind the TCF (Trust Comes First) Music Group, which boasts a roster that includes Spesh himself, Buffalo vet Klass Murda, and female phenom Che Noir. 2019 is all about TRUST!!

With the first song of his 2014 masterpiece, Dark Comedy, Open Mike Eagle reintroduced himself by defining his style: “I’m bad at sarcasm so I work in absurdity.” On that album, Mike deconstructed our overstimulated and over-surveilled society with ease and caustic wit. But what do you do when the world warps and bends into a shape so absurd that it can no longer be exaggerated?

Brick Body Kids Still Daydream is a searingly political record for systolic political times. It chronicles the life cycle of the Robert Taylor Homes, a housing project on the South side of Chicago that was demolished completely ten years ago. Families that had lived under the same roof for three generations were forced to scatter, condemned by bureaucrats and faceless cranes and public indifference. Mike Eagle brings the Robert Taylor Homes back to life--literally, with arms and eyes and a head like the dome of a stadium--and fights until the last brick is made to crumble.

As always, Mike slips in and out of various grey areas; on the opener “legendary iron hood,” he raps, “you think it's all good, but it's really a gradient.” The nostalgia (“95 radios”) is a little bit painful, the triumph (“hymnal”) comes through painstaking, incremental work. Everything needs to be earned, even the radio signals that are picked up through tinfoil wrapped on children's hands.

The thesis becomes fully formed on “brick body complex,” where the hook is a towering statement of identity: “Don't call me ‘nigga,’ or ‘rapper,’ my motherfucking name is Michael Eagle.” But this is not a departure from the man-as-building conceit--the flesh and blood and brick and mortar are inextricable.

In case there was any ambiguity about the political and cultural forces that lead to the Robert Taylor Homes’ eventual destruction, Brick Body Kids Still Daydream ends with perhaps the most powerful song of Mike Eagle’s catalog to date. “my auntie’s building” is a tour de force. “They say America fights fair,” he raps. “But they won't demolish your timeshare.” This is the point: the decay and eventual destruction of public housing--and of the physical lives of Black Americans generally--has been normalized in a way that should be grotesquely absurd. “They blew up my auntie’s building / Put out her great-grandchildren / Who else in America deserves to have that feeling? / Where else in America will they blow up your village?”

Production comes courtesy of Exile, Toy Light, Andrew Broder, Illingsworth, DJ Nobody, Kenny Segal, Caleb Stone, Lo-Phi, Elos, and Has-Lo, who produces and guests on “95 radios.” “hymnal” also features a superb turn from Sammus, who maintains the same rhyme scheme throughout her defiant verse.

As grave as the album’s stakes are, it's still anchored by Mike Eagle’s irrepressible sense of humor. (His live comedy show, The New Negroes, is upcoming via Comedy Central.) “no selling” is a hilarious take on practiced indifference, and “TLDR” bridges the economic gap with withering wit: “If you was rich and ‘bout to be broke, I can coach you / ‘Cause I can show you how to kill a roach with a boat shoe.”

Eagle has earned rave reviews in Pitchfork, the LA Weekly, and wherever brilliant, avant-garde rap is appreciated. Brick Body Kids Still Daydream is his most overtly political work to date, and puts to use all the dazzling technical skills he's perfected over more than a decade at the forefront of rap’s underground. In chaotic and increasingly fractured times, it has a few crucial things to bring to your attention.

Clear Vinyl.

Young Dolph (Adolph Thornton, Jr.) was born in Chicago and raised in Memphis. After having released a number of mixtapes around 2014, he released his debut studio album, “King of Memphis,” in 2016 which peaked at #49 on the Billboard 200. His 7th album, “Rich Slave,” was released in 2020 and became his highest-charting album, debuting at #4 on the Billboard 200 and was certified gold. Young Dolph was also featured on O.T. Genasis’ “Cut It” single which was certified double-platinum. He sadly passed away on November 17th, 2021. A posthumous tribute album, “Long Live Young Dolph” was released on January 21st, 2022 and featured Key Glock, Big Moochie Grape, Kenny Muney, Jay Fizzle, Joddy Badass, Snupe Bandz, Paper Route Woo, and Chinata. “Paper Route Frank” debuted on the Billboard 200 chart at #25.

With the original UK 7” of this release now as rare as hen’s teeth, and with the group having recently ‘reformed’ for one last album together, the Mr Bongo replica re-release of this 1990 masterpiece by Gang Starr couldn’t be more timely.
The now-legendary duo of DJ Premier and Guru dropped this at the height of hip-hop’s sampling of jazz, which had led to a creative leap forward for the genre. Yet while others plundered in the dark, this instant classic wore its influences on its sleeve and paid verbal homage to the musicians they were sampling. The “melodious funk” of “Thelonious Monk” gets namechecked, while the track samples two of his records, including 1958’s Bop gem ‘Light Blue’.
While both versions presented here have common elements, the ‘Movie Mix’ – so-named for the song’s appearance on the soundtrack to Spike Lee’s mythic jazz biopic ‘Mo’ Better Blues’ – goes in a few different directions to the ‘Video Mix’. Rather than just drop in an instrumental for the B-side, DJ Premier instead shows his versatility by switching up the base track (Kool & The Gang’s 1971 ‘Dujii’) and layering in other samples. In more ways than one, his virtuosity here echoes the improvisation of a jazz musician, akin to Denzel Washington’s Bleak in the movie.
Of course, he’s not the only show in town. The late Guru’s voice is as mellifluous as an instrument itself here, his potted history of the genre and the artists of jazz delivered with his own unmistakable cadence. Without this record, would he have gone on to make his ‘Jazzmatazz’ projects.

Originally scheduled for release way back in March 1996, “The Raw Factor” by North Carolina native Omniscence is one of the last of the unreleased mid-90’s albums to see the light of day. Despite being awarded The Source’s coveted “Hip Hop Quotable” and dropping two well-received singles (“Amazin” and “Touch Y’all”), record label politics meant the full-length “The Raw Factor” album was never released and fans were left wondering what might have been. 28 years later, “The Raw Factor” is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90’s Hip Hop. Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was “The Raw Factor” album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums. Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.

Positive K was no stranger to unrequited love. A few years before this, his biggest hit, dropped, he’d tried to ply his labelmate MC Lyte with chat-up lines on the First Priority gem ‘I’m Not Havin’ It’ – with little luck. Fast forward to the 1990’s and he’s at it again. Whether up in the club or in the street, ‘I Got a Man’ sees him chancing his arm and getting the cold shoulder from women who are already spoken for. The difference this time is that it’s actually Positive K delivering the brush-offs to himself, his voice changed with studio trickery to mimic a female’s. What propelled this to over 500,000 US sales? Perhaps it’s the light touch, the sense of humour that doesn’t cross the line and the insistently funky loop lifted from A Taste of Honey’s ‘Rescue Me’ (1980). Not forgetting the sprinkle of Take 6’s infectious ‘Spread Love’, which has improved every record it has ever been used on. Produced by the unsung LG, as was the harder-edged flip ‘Shakin’, this is the perfect pop hip-hop record, showcasing Positive K’s flamboyance. Fitting for a man who started out on First Priority Records, with its roster of characterful MC’s. This is the first ever reissue of this sought after 7”, previously only available as a UK pressing from 1993.

Black Sheep – and their 1991 ‘A Wolf in Sheep’s Clothing’ album - were definitely an outlier in the Native Tongues fold. They were raunchier and more playful than their peers which, given that those peers were A Tribe Called Quest, De La Soul and Jungle Brothers, is really saying something.
‘Strobelite Honey’ catches that difference perfectly, leaning heavily on a pair of 1980 disco samples rather than the jazz of their brethren, and taking a somewhat less chivalrous approach to women. ‘Strobelite’s slender but fun narrative sees rapper Dres up in the club and fooled by the lights – approaching a girl he likes the look off but backing off when they reveal she’s not what he expected. Charmed, we’re sure.
Dres and his partner Mr. Lawnge were always willing to push boundaries, and that extends to the often confusing labelling of the various remixes of this choice single. 12”s dropped with the ‘No We Didn’t Mix’, ‘Yes We Did Mix’ and ‘Maybe We Did Mix’ (not to mention a separate 12” of House mixes).
The last and best of these accompanied the original version on the now-rare 1991 7”, as it does here. The ‘Maybe We Did Mix’ adds urgent horns - almost like the buzzing of a bee - and a new beat to completely reconfigure the sound into something much more of its era. It’s a reminder of when remixes were about much more than the same beat with different rappers.

Straight out the gate, Nas dropped a classic. Since the release of the seminal ‘Illmatic’ album in 1994, critics and fans have been wondering if Nas peaked too early and if anything in his subsequent catalogue could be held up against this masterpiece. To be fair, it’s hard to follow up something this flawless, a project that allied his most insightful, pitch-perfect heartfelt rhymes with the work of the best hip-hop producers on the east coast.

DJ Premier, Q-Tip from A Tribe Called Quest and Large Professor all take their turns on the album, along with the unsung L.E.S., but it’s Pete Rock in his prime who provides the stunning backdrop for the cinematic ‘The World is Yours’. It’s a perfect nugget of a single, weaving in the brashness of Scarface, the repetition of a snatch of T La Rock’s early Def Jam gem ‘It’s Yours’ and piano courtesy of Ahmad Jamal’s ‘I Love Music’ from his own timeless ‘The Awakening’ album (1970).

Presented for the first time on 7”, the vocals of the album version and the instrumental on the flip provide the perfect opportunity to enjoy and compare the work of two masters at the top of their game. Pete Rock’s seamless weaving of disparate samples into a compelling whole, the then little-known Nas’ statement of intent. With a maturity beyond his tender years, Nas put himself straight at the top of the pile, this Queensbridge chronicle hinting at the ambition and greatness he harboured within himself.

Limited edition CD!

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

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

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

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

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

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

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

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

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

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

In addition to battle-ready bars and neck-breaking production, the lyrics and album title of course reference the nation’s current political climate. But the thing is, that wasn’t intentional for either collaborator. “The ‘political’ topics I touch on are just hints of what’s on my mind at the time” Diabolic explains. Adding to that, Vanderslice states: “You let the artist write and record whatever they want. It's my job to trim the fat and present it in it's absolute best light.” With the fat trimmed and everything in place, we're left with one of the most noteworthy rapper-producer collaborations of the year.
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Here we go with the very first recordings Noiseman produced back in 1993! In the early days Danny Noiseman Danmole teamed up with Scott Free and they rocked many shows all over the US. Opening up for names like Naughty by Nature, Das Efx, C-Funk, House of Pain, Gravediggaz, Lighter Shade of Brown, Goodie Mob, Lord Digga, Paris, Lord Finesse, Masta Ace, Assassin, MC Breed, Mystic, Total Devastation, DJ Quick and many more.
Being in an area where G-Funk reigned supreme they never got the props they deserved and it was an uphill battle trying to get their name and music out to the public. Prepare to be blown away because what you will hear is nothing but top notch 1993 hip-hop!

Once again HIM LO DA INAPPROPRIATE of DA BUZE BRUVAZ returns with his 7th solo release which is also his 4th collaboration project with the high exalted production wizard GIALLO POINT. HIM LO and GIALLO are collectively known as the
"COGNAC KINGZ"
Their newest masterpiece is entitled:
"CUBANZ N COGNAC"
It's laced with 13 brand new bangers crafted from pure fire and brimstone. Features are limited to his Buze Bruva CLEVER ONE and the super sharp rawness of the NO RULES CLAN straight outta COLOMBIA.The COGNAC KINGZ are a powerful blend of gritty, electrifying, veteran rhyming mixed with devastating, earth shattering beats. The heat they provide feels like it's all emanating straight from a mudpit located in a dungeon on the southside of hell. Mark your calendars, light your cigarz, sip the cognac and prepare your ears for another classic..from the Kingz!

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

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

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

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

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

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

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

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

R.I.P. Trugoy the Dove

Finally back on vinyl. Now as a double vinyl LP, officially reissued. Must have! 3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989 It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a 'hippie' group, based on their declaration of the 'D.A.I.S.Y. Age' (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).

Camp Lo’s late-‘90s hip-hop classic “Luchini aka (This Is it)” is, to put it simply, a sure-shot head-nodder. Upon making its way through any public-facing speaker system, then and now, it drives revelers to one of two important places – the dancefloor or the bar. It’s a feel-good rap track of the highest order, and sounds as good today as when it hit two decades ago. Featuring Bronx MCs Sonny Cheeba and Geechi Suede and produced by then up-and-comer Ski Beatz (who, during the same era, helped a young Jay-Z begin his steady and triumphant ascent), the cut oozes warmth and MC bravado. Sonny and Geechi are both technically top-shelf, but not backpacker stiff. Riding over an inventive chop of Dynasty’s electro-soul groover, “Adventures In The World Of Music,” they made it look very easy. The song would go on to create a stir on the Billboard charts in 1997, not only on the expected “Hot Rap Singles” list, but also well up the pop rankings of the “Hot 100” (peaking at #50). As with a few tracks from the era, it stretched beyond the rap world, as the group and their peers helped push hip-hop to the no-turning-back point, making the music into a true global phenomenon. The hit we know and love on the A-Side is complemented here with the 12-inch’s original B-side, “Swing”: a pimp-strutting, stuttering groove (also produced by Ski Beatz), with faster, more aggressive flows from both MCs. If “Luchini” was for popping bottles at the club, “Swing” was meant for the late night afterparty cipher. It even features a cameo by one of the crew’s lyrical idols: Butterfly of Digable Planets.

In March 2020, right as the whole world was entering into a transitional phase, Evidence released a single titled "Unlearning". Now, a year later, Evidence launches the campaign for his upcoming album, Unlearning Vol. 1, picking up where the single of the same name left off, and going beyond. Throughout his career, Evidence has always been adept at both staying true to his roots and evolving as he grows and learns from life experiences, including recognizing when the time comes to unlearn. During the campaign for his last album, Weather or Not (2018), he expressed a desire to close the chapter on the weather-related theme that had been a staple of his solo career to that point. Unlearning Vol. 1 not only sees that vision come to life, but shines brilliantly in the process. Unlearning Vol. 1 pairs Evidence's own production with works from The Alchemist, Nottz, Sebb Bash, Animoss, Mr. Green, V Don, Daringer and Eardrum (QThree). This highlights perhaps an undervalued skill of Ev's - his ability to collaborate with a multitude of producers on a project, while still creating an album with a cohesion and consistency rarely found in such extensive collaboration. While the album's musical soundscape sets the scene, it's Ev's gift for relatable yet inventively clever writing that really paints the picture, continually pulling the listener in. That said, a small but powerful cast of guest appearances also decorate the landscape, courtesy of stellar performances from Boldy James, Conway The Machine, Fly Anakin, Navy Blue, and Murkage Dave. Unlearning Vol. 1 embodies the sound and feeling of pure artistic expression, capturing a moment in time where marketability, album sales & streaming potential, and the desire to please anyone other than the artist themselves, are all just an afterthought. As one could expect, such freedoms allowed Evidence to tap into something special that sounds engaging and unique, and also remains true to his foundation. In essence, Unlearning Vol. 1 finds Evidence at yet another creative peak, creating a listening experience poised to catch the attention of new listeners while strengthening his core fanbase.

Playboy is the third studio album from Adedamola Adefolahan, known professionally as FIreboy DML, and features the hit singles, “Peru (feat. Ed Sheeran),” “Playboy,” & “Bandana (feat. Asake).” Discovered by Nigerian rapper, Olamide, and signed to his label, Ybnl Nation, he is without question one of the leading voices in Afrobeats, and is emerging as a truly global superstar in his own right, scoring collaborations with notable megastars, Ed Sheeran (“Peru”) & Madonna (“Frozen Fireboy DML Remix”). At 14 tracks, Playboy sheds light on how life has changed for Fireboy DML in unimaginable ways, and explores a future in which he can pursue his dreams without worry or fear.

Following Their Last Release, The Day Before Halloween_an Imaginative, Distorted-Synth-Driven Concept Album_atmosphere Returns With A Refreshing New Project, Simply Titled Word? Steering Back Toward Their Signature Sound, The Album Further Highlights Producer Ant's Undeniable Talents As The Project Leans Into The Classic Boom-Bap Aesthetic, Bringing A Uniqueenergy Out Of Slug's Wisdom, Wit And Delivery. From Onset, Word? Proves To Be Every Bit An Exercise In Refining And Advancing Their Craft As It Is A Harkening To Earlier Work. That Is, While Their Releases Have Grown More Broodingly Cinematic, And Increasingly Concerned With The Human Conditionand Mortality, Word? Manages To Reintroduce Moments Of Levity And Lightheartedness Throughout, An Approach Seldom Heard On Their Albums Of Late. From Album Opener "Fleetwood," With Its Razor-Sharp Snares And Warm Fleshy Bassline, To The Resonant Melody Of "Clocked", There Are Strong Hints Of Atmosphere's Nascent Years Within The Sound. Meanwhile, Songs Like "Woes", "Strung" And "Vanish" Cheerfully Make Light Of Daily Hardships, But They're More Likely To Be Remembered For Making Listeners Want To Bob Their Heads And Sing Along. With Slug And Ant Directing The Course, The Album Plays Like A Joyride Through A Range Of Experiences And Emotions, With An Extensive Cast Of Special Guests Hopping In And Out Along The Way, Includingevidence, Muja Messiah, Musab, Nino Bless, Nikki Jean, Anwar Highsign, Blackliq, Sa-Roc, Haphduzn, Lateef The Truthspeaker, Aesop Rock, And The Late Mf Doom (Rip). The Result Is A Project That Feels Like It Came From The Era Or, Perhaps More Fittingly, The Mindset That Created Albums Like God Lovesugly, Seven's Travels, Or The Popular Sad Clown Series, While Sounding As Polished And Perfected As More Recent Albums Like Mi Vida Local Or Whenever. Ultimately, Word? Pairs The Breadth Of Atmosphere's Talents With The Beauty Of Their Growth, All While Showing They Still Have A Lot Of Fun In The Process And Don't Mind Letting The Listener In On T...

Limited edition of 350 copies only!

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

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

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

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

Realer Than Most is the 8th entry in the Closed Sessions 45 series, featuring rare recordings with some of the most exciting and respected Hip Hop emcees and producers. "Realer Than Most" was recorded in 2014 - during the peak of a nasty Polar Vortex. In the studio, with the heat on full blast - promising emcees Saba, Noname, and Mick Jenkins and producers OnGaud, linked with Closed Sessions for their first ever collaborative track. "Realer Than Most" went onto be a fan favorite, and was a step for each artist on their path to breakout success. Saba, Mick, and Noname continue to be at the top of their game, and this song shows that promise in full display. The vinyl includes the original and instrumental, new front cover art by Spectacular Diagnostics, back design featuring original artwork from Niko Washington. It is limited to 500 copies.

Limited edition of 100 copies on cassette.

Originally set to be released in 1996, the self-titled debut "The Black Spooks" finally gets the official release treatment. The trio consisting of Dirty Birdy, Sly Boogy and DJ KMP represented the Inland Empire region of California, sporting a more progressive Westcoast sound but still keeping it street. The album was planned to be released on Perspective Records, but it never saw the light of day until now. 18 tracks in total straight from DJ KMP's original DAT's.

Available in a limited run on 2LP, CD in jewel case, cassette and digitally on all major platforms.

R.I.P. Trugoy the Dove

Finally back on vinyl. Now also back on CD, officially reissued. Must have! 3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989 It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a 'hippie' group, based on their declaration of the 'D.A.I.S.Y. Age' (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).

“This is me at my most imaginative, freakiest, and yet still most grounded and introspective,” says Japanese American rapper/actor Lyrics Born not only about his new album Vision Board, but also his “self” and his existence. “I feel like a new man! I’m healthier physically, spiritually, mentally, and emotionally.” The lead single and video “Diamond Door” is a pop/rap banger that lands you with an infectious barb and keeps you hooked for days, and is a thinly-veiled tribute to a particular style of female appreciation, but it can also be taken as a welcome mat to the new era of Lyrics Born. The accompanying video which shows Lyrics Born in his current physical form - svelte, stylish and with a confident swagger - reinforces this next chapter in his life. 60 pounds lighter, he lost the weight during the pandemic when he knew he needed to make a change. “Touring was becoming harder, and I was having all these weird health problems, but nothing that anybody could put their finger on,” he explains “My anxiety was high. I was not sleeping well. I was on the verge of really bad health.” And this improvement brought more confidence which shows in his new album. Vision Board is a focused affair that found him stretching his creativity farther and challenging himself to write in a way he’s never written before. Recorded primarily in New Orleans and produced by Rob Mercurio of Galactic (who also produced 2015’s Real People and 2018’s Quite a Life), it posited him in a new environment that helped his creative juices flow even more fluidly. “There’s nothing like recording in the Crescent City. It just gets in your blood, and the results are always funky and wild.” “This is about as psychedelic as I’ve ever been,” LB says. “I’m so proud of this album. I’m in a different space. The world is in a different space, and I wanted to celebrate that, loosen up and really create some imagery and share some emotion that I never have. I was listening to a lot of Shuggie Otis; a lot of obscure psychedelic soul and later Temptations,” he explained. “This is like if Alice in Wonderland was Japanese.” Vision Board was also inspired by another Bay Area rap luminary, although one who’s no longer with us - Gift of Gab. The dexterous Blackalicious MC and fellow Quannum Projects alum had a profound effect on Lyrics Born’s life, both creatively and philosophically. “I asked myself on some of these songs: ‘How would Gab approach them?’” he said. “I’d play with certain cadences, certain styles; I tried to stretch stylistically, lyrically and vocally on every single song. None of the patterns are the same.” Lyrics Born’s vulnerability shines through on the nine-track effort, something he’s not ashamed to admit (nor should he be). At one point during the pandemic, he was losing one friend, peer or family member every other week - from Zumbi of Zion I to Gift of Gab to Digital Underground’s Shock G. While many of the songs are deeply introspective, he had to “write some fun shit,” too. Celebratory horns, uptempo rhythms and fiery bars pepper the project from start to finish, and truly encapsulate Lyrics Born’s evolution of not just a groundbreaking Asian-American MC but also a human being. As the only Asian-American MC to release 10 studio albums, the first Asian-American to play major music festivals like Coachella and Lollapalooza and the first Asian-American to release a greatest hits compilation, Lyrics Born has been breaking barriers his entire life - and he’s not going to stop anytime soon. From the bombastic and tribal “I’m the Best Rapper in the World” with its self-winking boastfulness to the playful scat of “Bang Bang Bang” that slinks like an outtake from West Side Story, to the smooth and seductive “Who's The Best? (Dear Young LB)," to the psychedelic and swoony ”Alligator Boots” with it dreamy “Walk on the Wildside”-esque reverby sway, Vision Board sees Lyrics Born tackling different tones, textures and genres without fear and making them completely his own. It's an eclectic body of work that boasts more synths, more psychedelia and is generally more abstract.

Limited edition vinyl!
Chicago wordsmith Verbal Kent (Ugly Heroes) and Spanish-German beat maker Superior have joined forces. The resulting full-length album “Half My Life” is set for release via Below System Records. Known for his mixture of verbal gymnastics with humor and everyday pathos, Verbal Kent delivers what might be among his most personal rhymes.
Speaking on the significance of the album title Kent said “Half My Life signifies the amount of time I’ve been at this. I started rhyme writing seriously at 18/19 years old and never looked back. I’ve always felt grounded in my expectations, fame and fortune was never a factor for me. I love making music enough to do it seriously for 20 years now, and I doubt I’ll ever be able to stop.”
Superior’s creative use of psychedelic, rock, soul and funk samples create an eclectic yet cohesive musical backdrop. Some examples of the chemistry include the first single “The Little Things” which is Kent’s version of the love joint (see Common’s “The Light”) but
more in Seinfeld territory. Sample lyric “Dr. Kirschenbaum’s my dentist and now he’s your dentist and that goes for any practitioner of medicines.”
Tracks like “Classic Shit” and “For The Love” are deeply biographical tracks while there is also straight quality emceeing tracks including “Go Get The Dank” and “Steven Hawking Walking”. Guests that get it in on the album include Vic Spencer, Sonnyjim, Recognize Ali and Lance Ambu.
Initially linking up on a track on Superior’s album “The Journey” (released early 2017) the duo realized that they were a good combination. Speaking on the album process Kent said “when Superior started sending me beats I started realizing his beats are emotional, so I let them lead the way as a result a lot of the content is reflective.”
The budding of a serious team for boom bap lovers, Superior and Verbal Kent were able to link up in person this summer and perform at Hip Hop Kemp, one of Europe’s biggest festivals. “More on the way” Kent adds."

Featuring Pharoahe Monch, M.O.P., Celph Titled, A.G., Locksmith, Ryu and Diabolic. Production by DJ Premier, Pete Rock, Buckwild, Nottz, Stu Bangas, Chumzilla and more.

After developing a loyal cult following which spans over 15 years worth of catalog, seasoned veteran Apathy unleashes his 6th studio full length, which undoubtedly is one of the biggest albums of his career thus far. The Demigodz/Army of the Pharaohs MC maintains a hardcore vibe with surgically-precise writing and has brought along a who's who of legendary hip hop heavyweights to contribute on the project. Conceptually, the album is steeped within the mysteries of Freemasonry, showcasing songs that touch upon subject matter that only a Master Mason could craft. A theme running throughout the album that evokes intrigue with a sneak peak behind the curtain of an ancient fraternity. The concepts also delve in to the metaphysical, philosophical and spiritual -- Dissecting corruption of the government and holding a mirror to the ills of society, without losing the tradition of classic boom bap hip hop.

Exclusive to HHV in Europe!

Strangers Of Necessity consist of young upcoming producer, CoryAyo from Iowa City, IA, and veteran rhyme sayer, Fooch the MC, from Chicago,IL. The two connected by chance via twitter, after Cory saw Fooch in a 319 cypher video on youtube. They linked up offline and quickly became friends, sparking an immediate chemistry and need to make quality hip-hop music together; hence the name Strangers Of Necessity. They instantly began recording music and doing shows locally, generating a small buzz in the area. With CoryAyo's affiliation with London, UK based netlabel, Hard Jazz 7, and Fooch being an artist on Mic Hand Recordings, they knew they had the launch pad needed to release their debut EP, Tangerine Avenue.

Their sound is best described as a fresh take on that golden era of hip-hop, blending tasteful jazz and soul samples, crisp snares, boomy kicks on wonky patterns with a soulful delivery, dense schemes and potent punch-lines that hit peaks before unseen. Strangers Of Necessity now better acquainted and constantly adding shows to their calendar, are hoping to bring you retro fresh beats and rhymes that speak to right now; giving you that feeling that can only be described as ""goose bump music."

Heaven Razah marks a rebrith for Razah, who has re-fashioned himself as a modern day hip-hop prophet, spitting spiritual wisdom about the apocalypse, the presence of demons, mortality, and the afterlife. In light of recent events, his words sound even more prophetic. "It was like a premonition. I was thinking about these themes, and my destiny was already in my brain, but I didn't even know it," explains Razah in his first comments since his being hospitalized. "This is my testimonial. It's like I'm seeing the future through music."

RJ’s career took off while performing under the name Reign Man. He was selected as a finalist for MTV’s Making The Band 2 by P Diddy, and six months later won the MTV MC Battle, landing him a deal with Def Jam Records. Due to unexpected events involving the firing of then Def Jam President, Kevin Liles, Reign Man’s music was unfortunately shelved. Back in Philly, Reign Man linked with Reed Dollaz and joined Top Klass, the city’s largest independent label. He was an integral part of the battle rap DVD era and had a cult following on the internet. His last battle was in 2015 where he won against Urls Ty Law. Reign Man decided to drop the stage name and start recording music under his real name - RJ Payne. He released seven albums in 2017 under Educated Ignorance Music Group. Four albums were tributes to the late rappers, Big L, Big Pun, Prodigy of Mobb Deep, and Sean Price with all of the beats completely reproduced by PA Dre. He has continued on his relentless grind dropping dope project after dope project, and once again teams with Memphis born/Erie raised producer PA Dre for Beautiful Payne 4. These days, the rapper has been leaning toward more songwriting than battle bars through his Beautiful Payne EPs. BP4 sheds more light on Payne's personal life and musical journey. From honoring his late mother on "Momma I Made It" to fighting the thought of having a child in today's world on "The Curse," the indie artist offers transparency over light-hearted soulful production that gives him room to speak, but keeps listeners nodding their heads. In just nine tracks and two artist features (King Iso and Buffalo's own L Biz), you're taken on a wild ride through elaborate storytelling with countless gems to take heed of. The project allows Payne's words to resonate until the very end. It's safe to say that RJ Payne and PA Dre have created an undeniable experience for all of us to enjoy.

Limited edition of 300 copies on CD in jewel case.

Originally set to be released in 1996, the self-titled debut "The Black Spooks" finally gets the official release treatment. The trio consisting of Dirty Birdy, Sly Boogy and DJ KMP represented the Inland Empire region of California, sporting a more progressive Westcoast sound but still keeping it street. The album was planned to be released on Perspective Records, but it never saw the light of day until now. 18 tracks in total straight from DJ KMP's original DAT's.

Available in a limited run on 2LP, CD in jewel case, cassette and digitally on all major platforms.

Producer Ray West and Vocalist/M.C. Alaska (Hangar 18) connect on an introspective journey that bends genres and opens minds. Bohemian Grove brings a contemporary perspective on the cause and effect of the ‘Satanic Panic’, Heavy Metal, and mass hysteria of the 80s. West and Alaska aim to bring light to our deeper connections as people by combining years of history and modern social topics.