UK Hip Hop 153 Items

Hit plus 2 unreleased tracks

Written during a year of hedonistic isolation whilst exiled to a forgotten mining village, Alecs in Wonderland’ is the debut self-produced rap album by rap enigma and ‘one man band’ Alecs DeLarge.

Alecs navigates ‘Wonderland’ with a bulging backpack of references to 90’s Toonami imports, king skins and rap nerdology, multi-syllable boxing through beats in a smoked out stream-of-consciousness drawl. From the cartoonish braggadocio on ‘Scooby Snax’ and ‘AM To AM’, to proclaiming his love for his anthropomorphic MPC 2000 on ‘Girl Joint’, Alecs emphatically proving that he’s much more than just the man behind the boards. Merging classic New York rap sensibilities with sarcastic British humour, 110’s and Berghaus coats taking the place of Timb boots and Lo sweaters.

Musically Alecs draws inspiration from Quasimoto’s anything goes approach, feeding his sampler a range of ingredients from 80’s pop to private-press French prog. Grainy samples of VHS TV recordings warble atop rumbling 808s, diced up jazz and funk fragments punch their way through stuttering MPC drums, whilst guitar loops rock back and forth, all glued together by a loose narrative made up of cut up cartoon dialogue, movie trailers and adlibs.

Wonderland is Alecs’ custom built version of The Matrix, a perfect world created to escape the one outside his council flat window, idyllic living in Lynchian reality. A therapeutic outpouring of the lonely man’s psyche, or maybe just a slow descent into madness, polished and delivered to your ears

in Long Play form.

For the majority of ‘in Wonderland’, Alecs is the sole cast member. The first of the two guest spots going to the ever brilliant King Kashmere, reuniting with Alecs to ruminate the two sides of fame on ‘Megabus Dreams’, whilst Hpblk swoops in to drop a “stack on your conscious” on ‘Empty Pocket Posse’.

Written during a year of hedonistic isolation whilst exiled to a forgotten mining village, Alecs in Wonderland’ is the debut self-produced rap album by rap enigma and ‘one man band’ Alecs DeLarge.

Alecs navigates ‘Wonderland’ with a bulging backpack of references to 90’s Toonami imports, king skins and rap nerdology, multi-syllable boxing through beats in a smoked out stream-of-consciousness drawl. From the cartoonish braggadocio on ‘Scooby Snax’ and ‘AM To AM’, to proclaiming his love for his anthropomorphic MPC 2000 on ‘Girl Joint’, Alecs emphatically proving that he’s much more than just the man behind the boards. Merging classic New York rap sensibilities with sarcastic British humour, 110’s and Berghaus coats taking the place of Timb boots and Lo sweaters.

Musically Alecs draws inspiration from Quasimoto’s anything goes approach, feeding his sampler a range of ingredients from 80’s pop to private-press French prog. Grainy samples of VHS TV recordings warble atop rumbling 808s, diced up jazz and funk fragments punch their way through stuttering MPC drums, whilst guitar loops rock back and forth, all glued together by a loose narrative made up of cut up cartoon dialogue, movie trailers and adlibs.

Wonderland is Alecs’ custom built version of The Matrix, a perfect world created to escape the one outside his council flat window, idyllic living in Lynchian reality. A therapeutic outpouring of the lonely man’s psyche, or maybe just a slow descent into madness, polished and delivered to your ears

in Long Play form.

For the majority of ‘in Wonderland’, Alecs is the sole cast member. The first of the two guest spots going to the ever brilliant King Kashmere, reuniting with Alecs to ruminate the two sides of fame on ‘Megabus Dreams’, whilst Hpblk swoops in to drop a “stack on your conscious” on ‘Empty Pocket Posse’.

Shuteyes (Buffalo / New York) & Dirty Hairy ( London / Zagreb ) connected in 2007 with a mutual love of hip hop and jazz. With consistent output a strong bond formed, and Anteek Recipes was born a few years later.

Their sound combines funky raw raps with topics spanning a general disdain for anything remotely commercial or fake, to stories and themes about graffiti, stealing records and straight up classic rap bars. Hairy's production is dusty Mpc60 driven jazz loops, chops and breaks that are deeply excavated from the crates of the world.

Their new EP will be available to pre-order on limited edition blue vinyl, black vinyl & digital.

All copies are come with a hand numbered OBI strip.

Axel HolyandMarka Sandeliver three songs off their first collaborative effort, the Chess (ep), available on limited 7" vinyl. "Strange World," "Parlez Vous," and "Chess," are the first offerings from the pair's EP.
All 7" include a free download code for the full EP.
The full6-track features six original tracks with an incredible amount of depth: grime, hip-hop, and trap. Axel Holy delivers gritty UK grime vocals over Marka San's dark post-apocalyptic atmospheric soundscapes.
Bouncing nitty gritty beats and rhythms between Ljubljana and Bristol, Axel Holy and Marka San's goal of a small EP quickly turned into 20-plus songs. The duo handed the songs over to their label,rx:tx, to finalize the track list of what would become theChess (ep).
Make sure you check out this exclusive 3-track release from Axel Holy and Marka San's upcomingChess (ep). Don't miss out, get yourself a limited vinyl while supplies last!

Babylon Dead consists of J Man & Illinformed

The 18 track album features Badness, Daddy Freddy, Devilman, Irah, Jamalski, Killa P, Rider Shafique & Warrior Queen

Limited vinyl edition!

“Teal” is a collaborative project between 3 artists hailing from the sunny South of England. This album is made up of Slim & Ella Mae, who both recently featured on Gilles Peterson's latest compilation on Brownswood Recordings, and Benaddict who just dropped his debut LP ‘Garden Of England’ on YoGoCop Records. Together the trio has combined their talents and put together this soulful, jazz tinged, 12 track LP.

Slim laces the album with his signature style of laid back, jazzy production, while Benaddict & Ella Mae provide us with humble, heartfelt and thought provoking lyrics and vocals throughout. Featuring Harvs, who has collaborated with Remulak on several occasions, on the brutally honest ‘On How To Waste Time’ & Little George Sueref playing Harmonica on ‘Evans’

This is a limited run of 300 LP’s with teal OBI strip designed by Mr Krum, with photos by Sam Barrett & artwork by Remulak. Tip!

Where the previous 184 & Big Toast album was a bluntly worded denunciation of the zeitgeist over a classic Hip Hop soundtrack, Who Shit in The Sandpit takes a sonic direction more akin to 184’s Trip-Hoppy electronic-folk collective, Button Eyes. With more

melodious production and a greater range in the vocal tones and styles of delivery, it sees the duo step outside of their comfort zones and attempt something less restricted by the confines of their genre. The title is an abstract and Toast-esque expression referring to how the world the next generation stand to inherit (the Sandpit) is being destroyed by the greed and stupidity of older generations (the shit). It is at least a partial departure from the nihilistic and misanthropic themes on previous projects, perhaps a consequence of Toast’s desire to leave a better world for his firstborn, who arrived during the making of the project. While no album which closes on a track about a nuclear holocaust can be described as light, Who Shit in the Sandpit? has moments of real humour, providing comic relief from the more pointed social and political statements elsewhere. Fellow Tuff Boy, The Strange Neighbour, joins Toast on “Anyone Order a Tough Guy?”, a verbal skewering of wannabe hardmen, and the offensively absurd “F.W.L.”. Sometime Sleaford Mods vocalist John Paul contributes his own unique brand of observational poetry to “Backpack” and Croydon’s Breezy Lee elevates every track she features on with her sumptuously soulful vocals. Halo Jones adds the finishing touches with his distorted guitar riffs,

providing further musicality to an already boundary- pushing Hip Hop album.

C.Tappin is a pianist/singer from South-London and member of the Lightworks crew, which consists of him and
jazz-rap duo Summers Sons. In 2018 they released their debut album "Uhuru" on Melting Pot Music. "Ashes To
Ashes" is Tappin's first solo EP. It's a reflection of a musical and personal journey. On four original jams Tappin fuses
cosmic jazz, broken beat, house and rap. Inspired by his life in London as well as by his travels to Tansania where
he is working as a teacher for various school projects. "Ashes To Ashes" comes with three radical reworks by some
of Tappin's favourite producers: Slim (Summers Sons), Reginald Omas Mamode IV and Hodini. The cover artwork
has been done by UK painter / illustrator Tilly Mint (known for her artworks for Yazmin Lacey and Wulu).

2 Years since the drop of the aptly titled 'A Fleeting Now' Capriisun returns to Group BraCil to flex that dexterity over glistening grand piano and Spanish guitar

laden beats we know him so well on, in fact he demonstrated this expertly on his recent collaborative project with Group BraCil family and affiliates Verbz and Mr Slipz ('Pass Thru'), yet on Calliope we have some surprises. On the latest release Cap opts to show off his more suave and brash side. 'Calliope' is a more of a series of themed paintings than a collage like the album proceeding it, less dense , more like scenes from a european film noir than excepts from a chunky holiday novel. Attune to his work on Clbrks x Morriarchi's "Bonito", Cap is out the garden and firmly on the bustling strip, and with both the aforementioned artists appearing on the project, its definitely a continuation of Cap's more mischievous persona.

The time has come for hip-hop’s favourite superheroes to unleash their highly anticipated album. The industry’s most recognisable voice, Chali 2na, and turntable wizard Krafty Kuts have been not-so-secretly preparing this project since 2017 through over 150 live shows and countless studio sessions. The time has finally come to grab your capes, don a pair of tights and load up the turntable ready for the show to begin. This is ‘Adventures Of A Reluctant Super Hero’ – prepare for the Purple Assassin and the Scratchman as they come and save your city, the scene and hip-hop as we know it.
Featuring a who’s-who of collabs and guest appearances from hip-hop royalty, this 14-track record takes you to just about every corner of the genre, leaving no stone unturned. With Lyrics Born and Gift Of Gab joining on ‘Guard The Fort’ to deliver a serious statement of intent to open the LP, the rest of the record is an adventure through funk, breaks, rolling basslines, buckets of groove and everything in-between. Throw in a generous portion of expertly delivered bars and vocals from genre sidekicks like Harry Shotta, Skye (Morcheeba), Omar, Dynamite MC and more, and you’re left with a hip-hop record that not even the comic books could have conceived.

Eagle Court' is the highly anticipated debut album from Brighton based hybrid rap three piece, CMPND, formed of members Kemastry,
Wundrop & Vitamin G. Since joining the High Focus Records family in April, the group have been tearing up the live circuit & churning out
singles showcasing their sonic versatility - Clearly demonstrating why they are the torch bearers ushering in a whole new generation & sound
into the UK Rap world.
On the 11th of October 2019 CMPND will present ‘Eagle Court’, a densely packed album that defies categorisation, the trio bring a whole new
vision and aesthetic to the forefront without sounding or mimicking the current sounds emanating from America, falling into the trappings of
Grime & Drill or recreating the ‘90‘s Golden Age’ Hip Hop sound - Whether it be the mind bending production or the next level pen game, they
are bringing something truly unique to the table. Named after the flat where they all lived and produced the album, it is clear the trio were
hermetically sealed in the lab, crafting an exceptional vision devoid of outside distractions and influences.
With surreal unpredictable rhymes from Kemastry, Vitamin G's multi-syllable machine gun verses and Wundrop providing cold, scathing social
observations as-well-as handling all production duties, expect ‘Eagle Court’ to provide a modern day, new-generation saga, fusing the gritty &
the suave in an audio visual experience like no other.

CoN and KwAkE are Confucius MC and Kwake Bass. They share long and entwined histories with saxophonist and Native Rebel label owner Shabaka Hutchings, and with many of the incredible London musicians and producers who have emerged over the last decade.

Eyes In The Tower, their debut album released one year ago, was the second release on Shabaka Hutchings’ Native Rebel Recordings, where he invites friends and family to RAK Studios improvise around sketches he’s written specifically for the invited artists. A uniquely London evolution of classic hip hop, it was brewed for over a decade before being made in three days.

Two tracks from the album have now been remixed to celebrate the one year anniversary of the album: 15 Minutes gets reworked by Daisuke Tanabe and Dance In The Dark by Anja Ngozi.

Confucius MC has been embedded in UK hip hop since the early 2000s. He was the support of choice for Mos Def, and recently toured with UK hip hop stalwart Jehst.

Kwake Bass is musical director for Sampha and Kae Tempest. Behind the kit he has become the player of choice for travelling US heavyweights, playing with MF Doom, The Roots and Joey Bada$$, as well as UK major players Lianne La Havas and Mica Levi.

Seeing himself as a social commentator, Coops continuously draws inspiration from everything around him and is feeling more inspired than ever. Having signed to the label in 2018 he has already released 2 poignant albums and continues to create at rapid speed. The 8-track project - which was made in just 4 studio sessions - is unlike Coops’ usual 14+ track albums both he and his fans have become used to. Coops turned the album around in record time to ensure his music was released during this unparalleled time in history. The homegrown beats come from his close friend and long term collaborator Talos who has produced almost all his beats to date. In the opening track, ‘ Boom Biddy Bye’ Coops doesn’t waste a second in putting his fellow rappers through their paces. A block rapper with no one to please but himself, Coops professes that he barely listens to what other rappers release to ensure they don’t infiltrate and influence his own music. Highly appropriate for these times, title track ‘ Crimes Against Creation ’ is the stand out voice of this generation and his message to the world. ‘W arped perception, thwart connections, they force perfection, then claim the antidotes an injection...’ plays out and we begin to appreciate how the current situation is playing heavily on his mind. As the album progresses we get to see all sides of Coops’ personality with ‘Piss Poor’ reminding us of the raw gritty London lifestyle from which he has risen from, whilst ‘Profile’ demonstrates his softer more promiscuous side as well as touching on themes of fatherhood and online relationships. Coops’ musical entry point begun by making music with his friends, but it wasn’t until he really looked at himself and the world around him when he decided he needed to go it alone, opening his mind and his solo stream of creativity which hasn’t stopped since. A self-proclaimed hermit he embodies the essence of a true artist and only finds comfort in doing what he loves, not what he is told.

Seeing himself as a social commentator, Coops continuously draws inspiration from everything around him and is feeling more inspired than ever. Having signed to the label in 2018 he has already released 2 poignant albums and continues to create at rapid speed. The 8-track project - which was made in just 4 studio sessions - is unlike Coops’ usual 14+ track albums both he and his fans have become used to. Coops turned the album around in record time to ensure his music was released during this unparalleled time in history. The homegrown beats come from his close friend and long term collaborator Talos who has produced almost all his beats to date. In the opening track, ‘ Boom Biddy Bye’ Coops doesn’t waste a second in putting his fellow rappers through their paces. A block rapper with no one to please but himself, Coops professes that he barely listens to what other rappers release to ensure they don’t infiltrate and influence his own music. Highly appropriate for these times, title track ‘ Crimes Against Creation ’ is the stand out voice of this generation and his message to the world. ‘W arped perception, thwart connections, they force perfection, then claim the antidotes an injection...’ plays out and we begin to appreciate how the current situation is playing heavily on his mind. As the album progresses we get to see all sides of Coops’ personality with ‘Piss Poor’ reminding us of the raw gritty London lifestyle from which he has risen from, whilst ‘Profile’ demonstrates his softer more promiscuous side as well as touching on themes of fatherhood and online relationships. Coops’ musical entry point begun by making music with his friends, but it wasn’t until he really looked at himself and the world around him when he decided he needed to go it alone, opening his mind and his solo stream of creativity which hasn’t stopped since. A self-proclaimed hermit he embodies the essence of a true artist and only finds comfort in doing what he loves, not what he is told.

Village Live Records are proud to present 'Time & Tide', the new album by Mancunian poet and emcee, D'Lyfa Reilly.

The 12-track album is entirely produced by Village Live artist Aver and is the last release to be overseen by the label's co-founder Joey Deez, who sadly passed away earlier this year.

D'Lyfa burst onto the UK hip-hop scene in 2011 aged 19. After releasing a slew of mix tapes and videos he gained notoriety across the UK, most notably being featured on BBC Introducing and Charlie Sloth's 1xtra national radio shows.

It was during this period that D'Lyfa befriended fellow Mancunian hip-hop producer Aver. The two had a shared vision of an alternative, no-nonsense approach to music and worked together for years on a number of projects that never saw official release. 'Time & Tide' is a combination of reworked tracks from this era and new music the pair created in 2019.

The album will be available on limited edition 12" vinyl in two colour ways: standard black, and the other an aquatic-themed transparent blue with white swirl. The digital version of the album, along with the instrumentals will also be available to stream/buy when 'Time & Tide' is fully released at the start of 2021.

10 years since their debut LP, Jam Baxter, Dabbla and GhostTown make their long-awaited return with 'Cherry Turbo / Death By A Thousand Cocktail Sticks'.

‘Cherry Turbo / Death By A Thousand Cocktail Sticks’ is available to Order.

Limited edition pressing on vinyl, full colour 350gsm reverse board gatefold sleeve. 6 track album. Shrink wrapped.

Acrylic Snail’ is the fifth album from Dirty Dike. Following a three-year hiatus since his last solo
outing ‘Sucking On Prawns In The Moonlight’ and after a ream of production work for the likes of
Rag ’n’ Bone Man (‘Put That Soul On Me’), Ocean Wisdom (‘Chaos 93’) and Lee Scott (‘Butter
Fly’) during that time, Dike is back with a brand new 14-track album; his most personal release
to date and a body of work that shines a full-beam-floodlight on his formative years, but
moreover, the dreamlike transition between then and now.
Firmly anchored in a chapter of the UK underground before everything went to shit, situated a
couple behind this current grizzly chapter, the songs bounce off the walls of abandoned
industrial estates and whoosh by at breakneck speeds like trains through tunnels. The album
embodies the freezing cold concrete pours, twilight toe slaps and irregularly shaped ballast
banks of the network. In short, ‘Acrylic Snail’ pays homage to the things Dike saw in the very
farthest reaches of night that made him who he is today.
Featuring a roster of guests vocalists (Rag ’n’ Bone Man, Jam Baxter, Lee Scott, Dabbla, Leaf
Dog, Eva Lazarus, J Man, Ronnie Bosh, Inja, Killa P, Foreign Beggars) and production from a
team of music makers (including Dike himself) ‘Acrylic Snail’ is an AAA invitation to Dirty Dike’s
playground and further cements his hard-earned status as one of UKHH's greatest
torchbearers.

‘Acrylic Snail’ is the fifth album from Dirty Dike. Following a three-year hiatus since his last solo outing ‘Sucking On Prawns In The Moonlight’ and after a ream of production work for the likes of Rag ’n’ Bone Man, Ocean Wisdom, Lee Scott (the list goes on) during that time, Acrylic Snail spans 14-tracks and is up there with his most personal releases to date. It is a body of work that shines a full-beam-floodlight on his formative years, but moreover, the dreamlike transition between then and now.

In short, ‘Acrylic Snail’ pays homage to the things Dike saw in the very farthest reaches of night that made him who he is today.

Featuring a roster of guests vocalists (Rag ’n’ Bone Man, Jam Baxter, Lee Scott, Dabbla, Leaf Dog, Eva Lazarus, J Man, Ronnie Bosh, Inja, Killa P, Foreign Beggars) and production from a team of music makers (including Dike himself) ‘Acrylic Snail’ is an AAA invitation to Dirty Dike’s playground and further cements his hard-earned status as one of UKHH's greatest torchbearers.

Album comes with a digital download upon fulfilment of your order AND an epic 16-page mixed media book inspired by photographs taken by Dirty Dike himself while on his well-documented adventures.

Dirty Dike’s highly anticipated fourth album ‘Sucking On Prawns In The Moonlight’ featuring guest appearances from Fliptrix, Jam Baxter, Chester P, Verb T, Remus, Ocean Wisdom, Lee Scott & Dabbla.

Production handled by Dirty Dike, Joe Corfield, Chairman Maf, Konchis, Klagen, Dr Zygote & Jazz T with cuts from DJ Sammy B-Side. Artwork by Mr Sorn.

Limited edition repress on translucent orange double vinyl, full colour 350gsm reverse board sleeve. 14 track LP over 2 discs. Shrink wrapped.

Run of 500 vinyl.

East London-born music legend and all round boundary-breaking innovator, Dizzee Rascal, today announces the release of his 7th studio album, entitled ‘E3 AF’ and new single ‘L.L.L.L (Love Life Live Large)’, out via Island Records. This new release marks the genesis of a new era for Dizzee and is the first album wholly written, recorded and produced in the UK in over a decade. ‘E3 AF’ is a 10-track layered, purposeful statement of intent, rooted in Dizzee’s inedible ties to both east London and Black British music’s legacy. He sound is sharper, stronger and more self-assured than ever, and it is obvious that he has poured the creative energy of the past few years into ‘E3 AF’ as a body of work. First single, L.L.L.L (Love Life Live Large), features Tottenham born MC Chip and kicks open the door with the force of a steel toe capped boot. Chip, adds another thwack of bravado to the rumbling, Dizzee-produced beat. ‘E3 AF’ confirms Dizzee’s status as an artist still very much in his prime, sonically it draws on the infectious pace of grime and resolutely forward-thinking UK rap. From one song to the next, you are taken on a journey through Black British musical excellence. Ice-cold UK drill drips on Smoke Boys-featuring ‘Act Like You Know’ (produced by MK the Plug) and Eastside pulses with pure grime courtesy of Chubby Dreadz and Platinum 45. Self-produced opener ‘God Knows’ (featuring P Money) and high-octane ‘You Don’t Know’ pull from dubstep, grime and drum ‘n’ bass while threatening to wreak havoc with your speakers. By the time Alicai Harley’s warm up vocals float over sunny syths on the deeply personal ‘Energies + Powers’ (produced by Steel Banglez), the album practically radiates heat. Dizzee Rascal is a unique artist that has inspired many for multiple generations. From his 2003 debut album release, the Mercury Prize-winning ‘Boy In The Corner’ to date, Dizzee has continued to push expectations and boundaries. He is British musical royalty. Every album that followed stacked up another marker of success. Between 2004 and 2017 all album releases blasted firmly into the Top 10 Official album chart, won awards, critical acclaim and amassed Dizzee a huge following of devoted fans. ‘E3 AF’ is set to confirm Dizzee Rascal’s status as the master at the top of his game.

Home Cooking' is the new, mature sound of DJ Yoda. Maximising the experience and enjoyment gained from recording live instruments and prioritising songs over beats for his previous two albums 'Breakfast of Champions' and 'Chop Suey', this is a big step for the cut-and-paster as a producer, having wowed the world over for over two decades with his celebrated turntable tomfoolery. Recorded between his own studio and the world famous Abbey Road, 'Home Cooking' keeps one foot in the hip-hop old school with collaborations with the returning Jungle Brothers (the party-starting 'Afrika') and Boston bastion Edo. G (a peaceful route from London to 'Roxbury'), and spreads to a melodic vibe scoring chilled Sunday mornings.

"I titled this one 'Home Cooking' because the music is so close to my heart, in terms of what I grew up on, and what really speaks to me on a personal level". Imbued with the spirit of Guru's 'Jazzmatazz', the output of Acid Jazz and 90s vitals from the Jungle Brothers, A Tribe Called Quest and De La Soul, Yoda admits that it's a happy accident that, whilst drawing on jazzy, soulful hip-hop from 25 years ago, the sound of 'Home Cooking' is very much of-the-moment.

"Every album is a reflection of where I am currently; reflecting on the past, projecting to the future…”

Fliptrix earmarked a nine album run when he released his first solo offering back in 2007. The highest numeral has always played a significant part in Fliptrix’s appreciation of the universe, so it always felt a fitting number to aspire to.

Fast forward sixteen years and Fliptrix finds himself where he always hoped to be; gearing up to reveal his ninth album ‘Mantra No. 9’ to the world.

As an artist committed to spreading positivity, sharing light and love through his music, and with a clear focus on inspiring his fans to achieve what they want in life through the messages he champions, ‘Mantra No. 9’ is as potent an example of these driving forces from Fliptrix to date; written and recorded in his new studio, off-grid, deep in the Portuguese mountains he now calls home.

After a year long break from writing, ‘Mantra No. 9’ sees Fliptrix more focussed and reactive than ever. Contemplating his immediate and speaking on the profound impact his new surroundings have had on him as both a person and musician, the album is truly from the source; interwoven by escapism, solitude, nature (and the chaotic world events that saw him embark on a new life chapter in the first place).

In celebration of the journey, ‘Mantra No. 9’ sees Fliptrix reconnect with the classic sonics that defined his earlier output, calling upon an all-star list of production and feature talent from the High Focus roster to help him on his way.

18-tracks, showcasing the evolution of the artist, each reaffirming why Fliptrix is regarded as one of the most valuable and forward-thinking voices in the hip hop movement today.

"Every album is a reflection of where I am currently; reflecting on the past, projecting to the future…”

Fliptrix earmarked a nine album run when he released his first solo offering back in 2007. The highest numeral has always played a significant part in Fliptrix’s appreciation of the universe, so it always felt a fitting number to aspire to.

Fast forward sixteen years and Fliptrix finds himself where he always hoped to be; gearing up to reveal his ninth album ‘Mantra No. 9’ to the world.

As an artist committed to spreading positivity, sharing light and love through his music, and with a clear focus on inspiring his fans to achieve what they want in life through the messages he champions, ‘Mantra No. 9’ is as potent an example of these driving forces from Fliptrix to date; written and recorded in his new studio, off-grid, deep in the Portuguese mountains he now calls home.

After a year long break from writing, ‘Mantra No. 9’ sees Fliptrix more focussed and reactive than ever. Contemplating his immediate and speaking on the profound impact his new surroundings have had on him as both a person and musician, the album is truly from the source; interwoven by escapism, solitude, nature (and the chaotic world events that saw him embark on a new life chapter in the first place).

In celebration of the journey, ‘Mantra No. 9’ sees Fliptrix reconnect with the classic sonics that defined his earlier output, calling upon an all-star list of production and feature talent from the High Focus roster to help him on his way.

18-tracks, showcasing the evolution of the artist, each reaffirming why Fliptrix is regarded as one of the most valuable and forward-thinking voices in the hip hop movement today.

Limited pressing!

At 14 years old, Funky DL and his older brother permanently moved from living with their Mother in Hackney to living with their Father in London’s Borough of Newham. It was this significant change that would begin to shape the most formative years of his transition from childhood into adulthood and his relentless pursuit into the world of music.

In the heart of Stratford, East London, a two bedroom apartment in a towering 22 story building was to permanently become DL’s new home. Lyrically encapsulating DL’s experiences between 1992 and 2005, from the first track, “Moving In” to the final song, “Moving Out”, this is a remarkably personal Funky DL album, aptly titled after the name of the building... DENNISON POINT.

LIFE AFTER DENNISON:
After an incredibly warm reception from the fans of the auto-biographical November 2018 release "Dennison Point", Funky DL returns precisely one year later with the sequel, "Life After Dennison". Keeping in theme with vocal accompanied breaks, the album explores topics such as, racism, discrimination, family, friendship, education, conflict, hardship, good fortune and the life lessons gained from them all. The focus sits firmly on the lyrical aspect of the album moreover the beats, however DL's trademark sound still weaves through and compliments the rhetoric throughout. One would think it difficult to capture so much insight into the last 14 years since moving out of Dennison Point, however, in just 30 minutes running time, the album showcases the continuation of DL's life exploits from October 10th 2005 to present day. The annexation of the 10 tracks from "Dennison Point" to "Life After Dennison" paint a vivid picture of the man behind the music and provide the backdrop of who Funky DL was, is and potentially might become. Enjoy.

While most spend their days wading through the treacly undercurrents of a decaying hometown, Jam Baxter spends his days carving out on a new existence in the heart of Mexico City.

With a forest of rare succulents of house plants on his eighth floor balcony, a notepad in his back pocket (for lizard spotting) and a flea market typewriter primed in his writing room, Baxter affords himself the time and grace for his new surroundings to seep into him, watching his writing take on new life in the exchange; days and nights spent in quiet contemplation as he sharpens his skills in unpacking the universe.

Granuja has eschewed the at-times chaotic metropolis of Medellín for a quiet life in the hills of La Ceja, where he produces and writes (followed around by his pack of loyal dogs). Six years since his debut solo LP ‘Círculo Vicioso’ dropped back in 2017, Granuja has been steadily carving a name for himself in Latin America and beyond with a series of critically acclaimed rap releases.

Baxter & Granuja first met in 2020; the former taking an impromptu 2-hour taxi cab in thickest night to Granuja’s studio way up in the winding hills of Antióquia. As with all great creative endeavours, plans to record ‘a couple of tracks’ snowballed; a single became an EP became an album, the momentum fuelled by a new Jack Danz’ instrumental landing in Baxter’s inbox every fortnight.

Before sunrise the bones of ’De las Sombras’ were born.

There is no question that Granuja and Baxter bring out a different side of one another. The two artists hopping borders, barriers and time zones; switching languages as often as they switch flows across an album unified by an all-encompassing sense of doom.

At its core, ‘De las Sombras’ is a gothic listen. A haunting, swooning downward spiral. Blacks, whites, purples and greens bubbling a thick concoction. Life and death at loggerheads in the back-and-forth; expertly soundtracked by Jack Danz most haunting works to date and complemented by a series of curated vocal samples furthering the gloom.

We like to think of ’De las Sombras’ as an OST for the album artwork. The castle a picture perfect symbol of an album persistently flirting with the supernatural.

While most spend their days wading through the treacly undercurrents of a decaying hometown, Jam Baxter spends his days carving out on a new existence in the heart of Mexico City.

With a forest of rare succulents of house plants on his eighth floor balcony, a notepad in his back pocket (for lizard spotting) and a flea market typewriter primed in his writing room, Baxter affords himself the time and grace for his new surroundings to seep into him, watching his writing take on new life in the exchange; days and nights spent in quiet contemplation as he sharpens his skills in unpacking the universe.

Granuja has eschewed the at-times chaotic metropolis of Medellín for a quiet life in the hills of La Ceja, where he produces and writes (followed around by his pack of loyal dogs). Six years since his debut solo LP ‘Círculo Vicioso’ dropped back in 2017, Granuja has been steadily carving a name for himself in Latin America and beyond with a series of critically acclaimed rap releases.

Baxter & Granuja first met in 2020; the former taking an impromptu 2-hour taxi cab in thickest night to Granuja’s studio way up in the winding hills of Antióquia. As with all great creative endeavours, plans to record ‘a couple of tracks’ snowballed; a single became an EP became an album, the momentum fuelled by a new Jack Danz’ instrumental landing in Baxter’s inbox every fortnight.

Before sunrise the bones of ’De las Sombras’ were born.

There is no question that Granuja and Baxter bring out a different side of one another. The two artists hopping borders, barriers and time zones; switching languages as often as they switch flows across an album unified by an all-encompassing sense of doom.

At its core, ‘De las Sombras’ is a gothic listen. A haunting, swooning downward spiral. Blacks, whites, purples and greens bubbling a thick concoction. Life and death at loggerheads in the back-and-forth; expertly soundtracked by Jack Danz most haunting works to date and complemented by a series of curated vocal samples furthering the gloom.

We like to think of ’De las Sombras’ as an OST for the album artwork. The castle a picture perfect symbol of an album persistently flirting with the supernatural.

Known as the 1st MC to fully use the English accent mixed with Yardie, to make it more distinctly an African thing, is Green Crypto Knight formerly known as Bionic from the Human Beatbox Sipho Jozana's group London Posse alongside Rodney P and DJ Biznizz. Sipho left the group early and Bionic retired a few years later. In the following years he continued to make music,producing his own tracks just to stay match fit but with no intentions to release anything. That was until Jan 2018 when DJ Jazz T sent him a track they had done along with producer Dr Zygote 10 years earlier called Superlover (the first word in the chorus). The tune was a banger and as he now went by the name Green Crypto Knight he decided the tune should be renamed "Superman"(the last word in the chorus). He knew it was time for the resurrection after that career death at age 33. Now back Better Stronger Faster Bionicman (BionicAsar) has been rebuilt on positive settings to do was he was made for and release music infused with love and intelligence .
The 12" is pressed on Transparent Green vinyl and has full colour artwork by Ronny Oner.

In uncertain times, hope and unity are important when moving through the unknown, so it feels like our latest release arrives at the perfect time. The title of the project is a handy mantra for these strange days, with the content serving as a reminder of what has come before, as well as a portent for what lies ahead.

All the instrumentals and cuts by Habitus
Recorded, mixed and mastered by Habitus at Dusty Sounds Studios.
Album produced with Akai S950 and Mpc 2500.

Limited to 200 copies.

The album is completely produced by illinformed and features 1jack, All Hail Y.T, Babylon Dead, Bil Next, Bill Shakes, Bisk, BVA, Chris Skillz, Crossbow T, Datkid, Dirt Platoon, Eric The Red, Frek 1, Gaza Glock, General, Inja, Jack Jetson, Jay Nice, Leaf Dog, Left Lane Didon, Lisaan'Dro, Pertrelli, Res One, Ruste Juxx, Sean Peng, Sk!nt, Smellington Piff, Tony Broke, Verb T, Wish Master & Wyatt Earp.

The album is completely produced by illinformed and features 1jack, All Hail Y.T, Babylon Dead, Bil Next, Bill Shakes, Bisk, BVA, Chris Skillz, Crossbow T, Datkid, Dirt Platoon, Eric The Red, Frek 1, Gaza Glock, General, Inja, Jack Jetson, Jay Nice, Leaf Dog, Left Lane Didon, Lisaan'Dro, Pertrelli, Res One, Ruste Juxx, Sean Peng, Sk!nt, Smellington Piff, Tony Broke, Verb T, Wish Master & Wyatt Earp.

The album is completely produced by illinformed and features 1jack, All Hail Y.T, Babylon Dead, Bil Next, Bill Shakes, Bisk, BVA, Chris Skillz, Crossbow T, Datkid, Dirt Platoon, Eric The Red, Frek 1, Gaza Glock, General, Inja, Jack Jetson, Jay Nice, Leaf Dog, Left Lane Didon, Lisaan'Dro, Pertrelli, Res One, Ruste Juxx, Sean Peng, Sk!nt, Smellington Piff, Tony Broke, Verb T, Wish Master & Wyatt Earp.

After over a year spent in a slight creative slump in a crumbling terraced house in Tottenham, Jam Baxter rang his label boss while heavily intoxicated to request they fly him to Bangkok forthwith, to rejoin forces with '...so we ate them whole' producer and engineer, Chemo. After an initial period of understandable hesitancy, the flights were booked and Baxter found himself suddenly regurgitated from the belly of a Jet Airliner into the magical and surreal surroundings of ‘Mansion 38’.

The album features Dirty Dike, Dabbla, Lee Scott & Trellion and comes shrink wrapped with a full colour 8 page booklet containing photos and Jam Baxter's 'Morning Revelation Elixir' recipe.

Referencing the cult alien sitcom from the turn of the 80s, ‘Mork Calling Orson’ is Jehst’s sixth album reaching a typically supreme standard of syllables and similes bearing a red-eyed hue.

Featuring the tracks ‘Daily Planet’, ‘One Horse Town’, ‘Wild Herb’ and ‘Autumn Nights’, and with Confucius MC, Eva Lazarus, Lee Scott, CW Jones and SINDYSMAN guesting, Jehst continues to unlock his superpower of making the melancholic incisively slice through all before him.

His partiality for provocative references to the fore, and sloganeering that “you hear the voice of God when I rock the mic”, “Jehst for president” and “I’m Nas in that ‘Illmatic’ phase” without either irony or pretence, ‘Mork Calling Orson’ begins as drowsy, clouded and dry-mouthed, occasionally letting light peer through the curtains, otherwise at peace with self-imposed exile (“ain’t no sunshine, regardless of climate change”). Nostalgic soundbites are interspersed with namechecks of Audio Two, Vanilla Ice, Daley Thompson, Mayor Quimby and Aloe Blacc, and Keor Meteor and Beat Butcha provide subtleties of assistance on production.

The classically 90s, NYC beats of ‘Footsteps’, and ‘Lonely World’ mutedly following its lead, have Jehst rising up, alert to self-examination and the outside world. Returning to familiar sticky green comforts on the G-funked ‘Wild Herb’, is a trigger for the album to find strength and leave its shell, with the subsequent ‘Doctor’ and soft rock lineage of ‘Daily Planet’ and ‘Flight to L.A.’ allowing for streams of consciousness and the sort of word association and reactions to reality that have been Jehst’s hallmark for decades.

The lullaby of ‘One Horse Town’ is the album’s centrepiece, gently ascending and fighting any previous pessimism, before Jehst retreats behind the ‘Front Door’ and on the graceful ‘Skyline’; a fractured soul conflicting his previous status of “mentally irate, physically primate”, stays eloquently, edgily tack-sharp to the last.

Produced by Sonnyjim (1/2/12) Jehst (3/5/6/11) Sam Zircon (4) Mr Brown (7) Beat Butcha (8) Keor Meteor (9) Taharka (10)

Opening with euphoric keys and soothing birdsong, Jman & The Argonautz’ debut LP ‘Therapy In Session’ feels like a seminal moment. Not just for the band (it’s not everyday you reveal your debut album to the world) but also in the HF canon.

As a label founded on emcees and breaks, the notion of releasing a fully fledged Live studio album, crafted by a 6-piece of likeminded and deeply connected musicians makes for a hugely refreshing kink in the arc, at a time when championing true art has never been more important.

The thing we love most about ’Therapy In Session’ is the sense of togetherness that runs through the album. From the aforementioned opening notes to the very last cymbal, every member bringing out the very best in one another as the track list unfolds. Everything poised and perfectly measured, Jman’s lyrical dexterity and Maddy’s accompanying melodies offering up a rich assortment of emotion and mood for the band to blanket in warm arrangements.

Above all else, ‘Therapy In Session’ represents catharsis for both Jman and The Argonautz; each track a deep dive into the highs and the lows, fears, lessons and regrets that life too often throws at us; 16-tracks, each eloquent and razor sharp at every turn.

Opening with euphoric keys and soothing birdsong, Jman & The Argonautz’ debut LP ‘Therapy In Session’ feels like a seminal moment. Not just for the band (it’s not everyday you reveal your debut album to the world) but also in the HF canon.

As a label founded on emcees and breaks, the notion of releasing a fully fledged Live studio album, crafted by a 6-piece of likeminded and deeply connected musicians makes for a hugely refreshing kink in the arc, at a time when championing true art has never been more important.

The thing we love most about ’Therapy In Session’ is the sense of togetherness that runs through the album. From the aforementioned opening notes to the very last cymbal, every member bringing out the very best in one another as the track list unfolds. Everything poised and perfectly measured, Jman’s lyrical dexterity and Maddy’s accompanying melodies offering up a rich assortment of emotion and mood for the band to blanket in warm arrangements.

Above all else, ‘Therapy In Session’ represents catharsis for both Jman and The Argonautz; each track a deep dive into the highs and the lows, fears, lessons and regrets that life too often throws at us; 16-tracks, each eloquent and razor sharp at every turn.

John Frusciante releases the first instrumental electronic album under his own name on Aaron Funk's Timesig label. The record is dedicated to his cat Maya who recently passed away, a fellow traveller in his otherwise solitary music making sessions. 'Maya' is inspired by John's favourite music: '91 to'96 UK breakbeat hardcore and jungle. It's a varied and personal take with sophisticated, authentic production balanced against John's acute sense of melody, an inspired blending of machines and samples infused with a joyful energy. "I don't have that interest in singing or writing lyrics like I used to. The natural thing when I'm by myself now, is to just make music like the stuff being released this year. I really love the back and forth with machines and the computer." The fun he's having on 'Maya' is infectious.

The second full-length LP from Jungle Brown, ‘Full Circle’, drops on Mr Bongo in September 2019. Featuring collaborations with Sampa The Great, Fliptrix (High Focus) and Terri Walker amongst other super-talents.
The trio – Ric Flo, MAEAR & Tony Bones – have spent the last two years redefining soulful hip-hop – the sound is bigger, more thought-provoking, and it has matured with a rich soulful underpinning. They have also entered
territories fans are yet to hear from them as they glide effortlessly over Tony Bones’ productions that introduce trap and house into their repertoire. The project is an eclectic array of their influences, twisted and blended together to create a ground-breaking release for UK music.
Jungle Brown’s debut album ‘Flight 314’ has achieved more than a million streams without any budget for marketing or promotion. They spent much of 2016 in Apple Music’s ‘Best of 2016 category, featuring on Spotify and SB.TV,
were requested to curate an exclusive playlist for Tidal and attracted attention from New York with Beats 1’s very own, Ebro.
They’ve shared the stage with the likes of De La Soul, Ghostface Killah, Lowkey, Akala and Donaeo, played major festivals including Glastonbury, Boomtown and Lovebox as well as a huge number of clubs shows across the UK.

A distanza di 10 anni dalla sua uscita e
dopo il rapido sold out della versione
"Limited Edition", la Tuff Kong Records è
orgogliosa di presentare la nuova reissue
in vinile di "kARMA", il masterpiece di
Kaos. Seguito e curato da Kaos in ogni
suo singolo aspetto, il disco dimostrò una
grande evoluzione e maturità dell'artista,
consolidandosi negli anni come un vero e
proprio classico dell'hip-hop Italiano del
nuovo millennio.
10 years since its original release and
after the quick sold out of the limited
edition, Tuff Kong Records is proud to
present a new vinyl reissue of "kARMA",
Kaos masterpiece. Curated by Kaos
himself in every single aspect, the record
shows great evolution and maturity from
the artist, solidifying this record as a true
classic in italian hip-hop of the new
millennium.
"L’album hip hop più importante degli
ultimi anni. È la chiave per aprire una
blindata di una casa senza finestre. Buia
come il buio. Pungente come il filo
spinato che la circonda" - Rockit
"Karma è un ottimo lavoro, la perla
hardcore e underground di questo 2007,
piena di raffinatezze e citazioni letterarie
e cinematografiche" - hano.it
"È l’immensa personalità di Kaos, i suoi
incastri metrici da infarto, le liriche
sempre ispiratissime. È la sua voce. Una
voce che esce dalle viscere: profonda,
sofferta e ringhiante" - Debaser
"Un disco di un altro spessore, di un altro
livello. Scritto da un mc di un altro
spessore, di un altro livello" - Rap
ManiacZ

The adequately titled ‘The Album To End All Alien Abductions’ sees UK stalwart King Kashmere and producer/rapper extraordinaire Alecs DeLarge unite for a 24- track ride through an epic space age boom bap odyssey. “F**k with your boy Judas Ascariot, who came back swinging - whipping the super chariot” declares a triumphant King Kashmere on the album opener ‘Angel Strike’, proving he hasn’t lost a step since his last full length rap project, #lp4080 dropped back in 2017. Thematically Kash’s lyrics are routed in sci-fi and Jack Kirby era comic lore, but on cuts such as ‘Old Earth’ (an ode to his Mother and coming of age on a North London council estate and ‘House of Cards’ (an exploration of mental health) the Iguana Man shows a rare glimpse into the man behind the freshly pressed super suit. Several cuts also see Alecs stepping from behind the boards to join Kashmere on mic duties, a pairing best displayed on the dusty bubbler ‘Most Blunted’ in which the duo trade verses in a puff puff pass of lyrical spliff boxing.

‘tr3b’ is a collaborative 7-track EP from expert lyricist King Kashmere and visionary producer Letherette.

After performing at the same Boiler Room a cool decade ago and connecting through a love of the same genre-blurring sonics that have defined their respective careers to date, King Kashmere and Letherette were always destined to make music together.

It was only a matter of time.

And space.

As an artist who champions a dozen or so sounds, rooted in gripping pop culture aesthetics, genre-smashing production and impeccable versemanship, King Kashmere’s quest to perfect the unperfectable has seen him carve out a unique (and ever-shifting) point on the rap map. Letherette are a duo; two school friends from Wolverhampton, with a rich release history spanning Ninja Tune and beyond, however, their current form fluxes and shifts with each creative endeavour (depending on where either they find themselves at any given fork in the road).

King Kashmere x Letherette’s collaborative EP represents something of a distillation process; avenues of thought and feeling presented as ‘tr3b’; a 7-track EP that feels more like a tapestry than a record, weighted in the experiments of the aforementioned decade, expertly presented for 2022 and beyond.

Limited TO Only 250 Records -

You know Krash Slaughta right? The man behind the recent wildly successful Doom/Sugacubes mash-up LP Sugar-Coated Doom, not to mention his unofficial remixes of the Wu’s K.R.E.A.M. and P.L.O. Style and collab. 45 with Phill Most Chill, Rebel Base? ‘Is he at it again?’ the monkey hears you ask. Yes, he is at it again, though the closest of the the three aforementioned releases to what he’s about to drop is the Wu remix 45. And what he’s about to drop is Diggin Deeper, not a single this time but a whole remix album of one of his (and the monkey’s!) all-time favourite hip-hop LPs – to wit, Niggamortis – more usually known as Six Feet Deep (especially in the U.S., though minus the best track under that name) by hip-hop supergroup Gravediggaz.

As many will know, this LP with its horror-movie fixated lyrics gave birth to a whole hip-hop sub-genre – that of ‘horrorcore.’ However, none of those who came after seemed to manage the lyrical humour of The RZArector, The Grym Reaper and The Gatekeeper (a.k.a. RZA, Poetic and Frukwan) and the only bit of production by The Undertaker (a.k.a. Prince Paul) that they seemed interested in was the sub-metal rap sludge of the shouty Bang Your Head – i.e. the LP’s one weak spot. But don’t worry, Krash isn’t interested in that sort of thing. Not only does he avoid rap-metal beats for Bang Your Head, he doesn’t use any on the LP at all – hurrah! What he does do is employ, arguably, as eclectic an array of sample sources as Prince Paul on the original – though with an entirely different end result. Bang Your Head with its apparently sixties garage band-derived beat for example is one of the standouts. The skeletal piano skank of 6 Feet Deep is another, while a beat featuring spaced-out eighties synths forms the new musical backdrop to Constant Elevation. Two more of the monkey’s favourites on this one are Here Comes The Gravediggaz, now underpinned by double-bass-led funk and the glorious inappropriately joyous bounce of Blood Brothers. The result? Your favourite cuts on this one might not be the same as your favourite cuts on the original. Two different versions of a much-loved LP, then; it’s why people remix hip-hop. All the vocal stems were created by Krash and the ultimate intention is to do a limited vinyl release. Cover art is by the Dead Residents’ Junior Disprol.

You know Krash Slaughta right? The man behind the recent wildly successful Doom/Sugacubes mash-up LP Sugar-Coated Doom, not to mention his unofficial remixes of the Wu’s K.R.E.A.M. and P.L.O. Style and collab. 45 with Phill Most Chill, Rebel Base? ‘Is he at it again?’ the monkey hears you ask. Yes, he is at it again, though the closest of the the three aforementioned releases to what he’s about to drop is the Wu remix 45. And what he’s about to drop is Diggin Deeper, not a single this time but a whole remix album of one of his (and the monkey’s!) all-time favourite hip-hop LPs – to wit, Niggamortis – more usually known as Six Feet Deep (especially in the U.S., though minus the best track under that name) by hip-hop supergroup Gravediggaz.

As many will know, this LP with its horror-movie fixated lyrics gave birth to a whole hip-hop sub-genre – that of ‘horrorcore.’ However, none of those who came after seemed to manage the lyrical humour of The RZArector, The Grym Reaper and The Gatekeeper (a.k.a. RZA, Poetic and Frukwan) and the only bit of production by The Undertaker (a.k.a. Prince Paul) that they seemed interested in was the sub-metal rap sludge of the shouty Bang Your Head – i.e. the LP’s one weak spot. But don’t worry, Krash isn’t interested in that sort of thing. Not only does he avoid rap-metal beats for Bang Your Head, he doesn’t use any on the LP at all – hurrah! What he does do is employ, arguably, as eclectic an array of sample sources as Prince Paul on the original – though with an entirely different end result. Bang Your Head with its apparently sixties garage band-derived beat for example is one of the standouts. The skeletal piano skank of 6 Feet Deep is another, while a beat featuring spaced-out eighties synths forms the new musical backdrop to Constant Elevation. Two more of the monkey’s favourites on this one are Here Comes The Gravediggaz, now underpinned by double-bass-led funk and the glorious inappropriately joyous bounce of Blood Brothers. The result? Your favourite cuts on this one might not be the same as your favourite cuts on the original. Two different versions of a much-loved LP, then; it’s why people remix hip-hop. All the vocal stems were created by Krash and the ultimate intention is to do a limited vinyl release. Cover art is by the Dead Residents’ Junior Disprol.

Got dust? Krash Slaughta has. In fact, for him, Everything’s Turning Up Dusty right about now. Surely this can’t be his brand-new double-vinyl LP journey into sound which finally realises an ambition to create a cut n paste opus held since his pre-turntable days of pause-button mixes? It certainly can! The project comes in four parts corresponding to four sides of 12″ vinyl which weigh in at approximately fifteen minutes each and each side of which took around a month to make! Man, that is epic! When did he ever get the time and concentration to put such a beast together? Wait – are we talking about yet another Krash Slaughta lockdown project? We are! And this bad boy stitches together vintage vocal loops, rare breaks, library records and obscure samples along with remixes of Stetsasonic, O.C., Tanya Winley, Jurassic 5, Edan, Nas, ODB, Gang Starr, Super Lover Cee & Casanova Rud (any one of which would be straight fire on 7″or 12″) along with pretty much whatever the hell else he wanted to put on there. Pressed at 45 rpm, this one features two differently-coloured slabs of wax: one mauve and one blue while even the centre labels and cover art get in on the cut n paste vibe having been created by hand by Krash homie Saleem Andrew McGroarty. As with previous such efforts from the KS camp, there will be no re-press! Sleep at your peril.

“GREY Area” continues to cement herself as a prominent artist not only in the UK, but across the globe, with her genre-bending sound and the undeniable honesty of her lyrics. “GREY Area” is a glorious melting pot of neo-soul, deep funk and experimental pop, without neglecting her roots of hip-hop and grime, providing a deeply personal commentary on her own life experiences alongside wider observations in society. Little Simz comes across experienced, free and at times ferocious - navigating through this world with political awareness, intelligence and integrity.

“GREY Area” continues to cement herself as a prominent artist not only in the UK, but across the globe, with her genre-bending sound and the undeniable honesty of her lyrics. “GREY Area” is a glorious melting pot of neo-soul, deep funk and experimental pop, without neglecting her roots of hip-hop and grime, providing a deeply personal commentary on her own life experiences alongside wider observations in society. Little Simz comes across experienced, free and at times ferocious - navigating through this world with political awareness, intelligence and integrity.

The incredible follow-up to an magnificent predecessor.

The incredible follow-up to an magnificent predecessor. Now on vinyl. This is the regular white edition.

19 tracks feat. Noah23, Icon The Mic King, Lady Daisey, Chefket and many more, rapping in English, Spanish, Dutch, Bosnian, German and other languages.

Originally released in 2017, Loyle Carner’s album Yesterday’s Gone will be released on picture disc for Record Store Day 2023.Loyle chose photos of him and his beloved poodle Ringo for the front and reverse of the disc: “People say I should have a rottweiler”, says Loyle, “But I like poodles”. Nominated for the 2017 Mercury prize, Yesterday’s Gone is a certified classic of UK hip-hop which continues to win new fans as it’s remarkable streaming figures prove.

Once again off the back of another very productive year, Micall Parknsun is on vinyl again. Teaming up with the mighty Boot Records to bring you his brand new Extended Player, the "Back In Business" EP. This killer record consists of 5 tracks and instrumentals , 3 produced by the main man himself, 1 produced by everyone's favourite DJ, DJ Jazz T and 1 produced by Jazz T & Dr Zygote. With the only feature being Brooklyn's very own Napoleon Da Legend, this is a sure fire bit of wax you won't want to miss out on.

The latin word “magnum opus” literally translates into “masterpiece”, and what this UK dream team has put together on this fulllength is exactly that. MC Micall Parknsun and producer Giallo Point’s collaboration “The Magnum Opus” has been elaborated on the three or four colour model by enumerating a variety of chemical steps to be performed. This was often arranged in groups of seven or twelve stages, this consistency is crafted within 13 solid forms. The process of transmutation, weaving their entire narrative with alchemical symbolism. The full-length boasts collaborations with Ric Branson, SmooVth, Jehst, Confucius MC, The Jones Bros, Juga-Naut, SonnyJim, Phybaoptikz, Napoleon Da Legend and Da Flyy Hooligan. Limited edition of 250 numbered copies, 100 on yellow vinyl w/ black splatter and the remaining 150 on black vinyl. This is the black one.