Hip-Hop News

Debut, 4 track 7" on KingUnderground by Flughand & Smuv. Flughand and and Smuv, 37 and 27 year old producers from Germany, collaborate on their debut EP "Fluo". They are both giants in the streaming game and known for their laid back, dreamy, lofi hip hop beats. They are two of the most well-known artists in the genre of lofi, with streams counting more than 100 million clicks. BeatPete, a fellow German and widely respected DJ, is the link here for the release on KingUnderground.


They each have their own distinctive style of cover art for all their solo projects and this time they worked with an Italian artist, "Heey Studio Design" for the "Fluo" EP illustration. It conveys the two of them, a cat (Smuv) sitting on a little island, chilling with a cocktail in the middle of an ocean and a dog (Flughand), flying an airplane up in the sky.

Next up on First Word Records, we welcome the return of Don Leisure, with an EP of beats that see his two alter-egos go head-to-head, 'Shaboo vs Halal Cool J'.

Probably best known as 50% of Darkhouse Family, along with Melange label boss Earl Jeffers, they released their acclaimed debut album 'The Offering' in 2017 and subsequent remix project last year, featuring DJ Spinna, Kaidi Tatham and more. The duo are coolly establishing themselves as Cardiff's very own Mizell Brothers, recently producing Kamaal William's latest work, featuring on Kutmah's recent Izwid compilation, and collaborating on the Chicago x London project 'Where We Come From', featuring Makaya McCraven, Joe Armon-Jones, Nubiya Garcia, Theon Cross and First Word label-mate Quiet Dawn, amongst others.

'Halal Cool J' appeared originally in early 2017 with 'An Ottoman Excursion' on our sister-label, Excursions. A series of edits born out of a decade-long love of Turkish music, and some record-digging expeditions in Istanbul, something Don Leisure did the very day after 'The Offering' release party, prompting another series of beats. Ahead of an all-new full-length Halal Cool J album, here we have two tracks to give you a taste, 'Kazakh Honey' and 'Kaymak'.

'Shaboo Strikes Back' on the flip-side, with a track of the same name, and 'Mango Season'. 'Shaboo' was the name of a beat album that came out on First Word in 2017, inspired largely by Don's Bollywood actor Uncle, Nasser 'Shaboo' Bharwani, and by memories of journey's with headphones hurling out Hip Hop, fused with the sonics of his Mum's interruptions, and her favourite Asian radio station. 'Shaboo' featured in several end-of-year album lists, with Piccadilly Records calling it "the best album of it's kind since Dilla's 'Donuts'. Unmissable."

Both prior projects got love from DJs and selectors far & wide, including Tom Ravenscroft, Lefto, Huey Morgan, Rob Da Bank, Om Unit, Simbad & Mr Thing. A truly global affair, the beat battle of 'Shaboo vs Halal Cool J' takes us on several short, sweet hikes across a variety of Eastern climes.

Join in the journey once again on 7" vinyl and digital on April 5th.

Boyoom Connective will release a mini-album by the talented producer duo Okvsho. Their EP Traphouse Jazz discovers jazzy hip-hop beats, brings it together with organic sound and adds some deep going lyrics on top. If you store world music, hip-hop and jazz this EP you don't wanna miss.

Whether he is Sample Jesus, MPC-Man or just Cuthead from the block, the Dresden based artist is here to help you discovering your body's potentials. With his latest EP "Can't You See" for Uncanny Valley he proves himself once again as a master in producing music that is both punchy and playful. You might not know how it feels to be on the moon but it's safe to say that "Lunar Lander" is an astral experience and a programmatic intro for the EP with heavy bass work and Trap Hi-Hats from space. "Can't You See" and "Sweet" is Cuthead to the core. Warm samples are combined with hard-hitting drum work and bass lines to remember. The results are House inspired dance floor stompers which you won't be able to resist. While "Kimono" and "Too Dark To See Tomorrow" shows off his Hip-Hop roots in typical head-nodding fashion, "Tranquility Base" is another kind of thing. Still based deeply in Hip-Hop, the track establishes a much gloomier feel with its meandering synths. Those of you that long for life-affirming House music will be very pleased with "Mount Platti". And on "Schlagzeug faellt die Treppe runter" various sharp synths und percussions are having a party that is as infectious as it's frisky.

Debut album from this fantastic Dublin based singer and musician. Stirring and beautiful songs, with a consistent optimism underlying even the murkiest moments. TOP TIP! Recorded in Connemara and Dublin (in a studio space shared with mates). Mixed by Brendan Jenkinson. Mastered by The Bastard.

* Debut LP from a UK based band
* Simiah on MPC, Dan Somers on Keys, Craig Crofton on Sax
* Lacquer cut by Pete Norman, mastered by Strype Audio
* Design by Rolling Drums Studio
* 300 copies. LP in PVC sleeve with sticker
* For fans of jazz, instrumental hip hop

The band was formed in Bristol, England and consists of 3 members; Simiah (MPC), Dan Somers (keys), & Craig Crofton (tenor & soprano sax).

The album is a collection of jazz inspired, hip hop instrumentals with MPC drums and live instrumentation. Simiah is well known for his live double MPC show cases and has performed alongside other live musicians so this new project is like a studio album of what he does naturally on stage. The unique sound has been developed through a monthly residency at Bristol's Gallimaufry bar where the band has improvised new material and fine-tuned ongoing compositions while welcoming special guests from the local jazz scene to sit in.

This New Record Occurs A Flawless Recipe, Featuring The Flavoursome Ingredientsused In Previous Releases, Seasoned With New Elements Which Brings His Sound To A Whole New Level. Bouncing Between Detroit Influenced Jazzy-house, Parisian 90's Friendly Grooves And Deep, Hazy Hip-hop Cuts.

The vinyl edition is limited to 300 copies and comes in a sealed heavy old-fashioned cardboard sleeve, the record itself is packed in a protective poly-innersleeve. A free download code plus a BJINT logo sticker round up the packaging.

After Philanthrope's opener »Waking Dreams« and the follow-up by IAMPAUL's 'Something Between' on Beat Jazz International, we are blessed to announce the third release focusing on Beats, Jazz and Vinyl.
Cologne's Flitz&Suppe delivers 13 mellow tracks on "Ijin" with features by Kupla and Leavv.

This New Record Occurs A Flawless Recipe, Featuring The Flavoursome Ingredientsused In Previous Releases, Seasoned With New Elements Which Brings His Sound To A Whole New Level. Bouncing Between Detroit Influenced Jazzy-house, Parisian 90's Friendly Grooves And Deep, Hazy Hip-hop Cuts.

5 dirty tracks by GBO for a new 7" from BMM records. If This disk does not break your neck it will be refunded ;)

5 tracks EP, deep, phonk and ghetto af.

Boris Lodel (aka GBO) is a drummer / producer based in Strasbourg, in eastern France. Drummer since his childhood, it is at the corner of a cloud he met the "Giant Mic Ô", his nebulous mentor. Following this mystical experience he took the name of GBO and was introduced to the art of sampling to complete the quest entrusted to him: to produce the perfect beat. At the controls of his MPC, he travels today the galaxy looking for the pearls of soul, jazz or hip-hop.

Beloved singer-songwriter-painter-poet Joni Mitchell will turn 75 this year on November 7th . Rhino will start the birthday celebration a few days early by releasing Mitchell's critically-acclaimed 2014 collection 'Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced' on vinyl for the first time as a limited-edition, eight-LP box set.

'Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced' was first conceived as the music to a ballet about love. But after spending 18 months trying to distil everything she'd written about love - and the lack of it - down to a single disc, Mitchell abandoned the ballet. 'I wanted the music to feel like a total work - a new work. No matter what I did, though, at that length, it remained merely a collection of songs,' she wrote in the liner notes to the set.

Undaunted, Mitchell did not give up. Instead, she continued to sequence her songs, determined to prove to herself that what she was after was possible. After two years, she had created a four-act ballet based on the 53 songs that make up this inspiring collection. 'I am a painter who writes songs. My songs are very visual. The words create scenes... What I have done here is to gather some of these scenes (like a documentary filmmaker) and by juxtaposition, edit them into a whole new work,' she explains.

Mitchell organized the music into different thematic acts, which allowed her songs to interact with one another in a whole new way. The process, she says, was a lot like making a film. 'I had forty years of footage to review. Then, suddenly, scenes began to hook up. Then series began to form. Instead of it being an emotional roller coaster ride as it was before - crammed into one disc - themes began to develop. Moods sustained. I was getting there... When this long editorial process (two years) finally came to rest, I had four ballets or a four-act ballet—a quartet. I also had a box set.'

Long-term listeners should find the music familiar but fresh. Newcomers have an adventure before them - a journey into highly-original, harmonically innovative, unusually rhythmic music. Some of the greatest musicians in the world are gathered here - supporting this emotionally charged exploration of love's many faces.

Limited to 5000 individually numbered copies, the set is presented in a hard-bound deluxe folio package. It includes 53 songs on eight 180-gram LPs. Etchings of Mitchell's artwork are featured on four individual album sides, each one signifying the end of an act in the ballet.

It truly is an artist-curated collection. Mitchell selected the material from 40 years of recording. She designed the package, which includes a book containing 53 lyrical poems, six paintings, and an autobiographical text illuminating her recording process. It is funny, mystical, and informative.







































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[ZZA] L4. 'My Best To You'

About The library Tool Kit' Series The New Sub-label From Wncl Recordings Features 12 Short tools' Per Release, For Use On Discotheque Sound Systems And Home Stereos Alike. Released On 10' Vinyl With Digital To Follow At A Later Date

About This Record Jane In Palma (the Artist Previously Known As Don Froth / One Half Of Bato Bato) Graces The Tool Kit Series With A Selection Of Jazz And Latin Cuts And A Flip Side Full Of Live Conga Jams

1996 is an instrumental album by Germany's beatmaker 'Shuko' who produced for the likes of Lil Wayne, Rick Ross, Snoop, Pusha-T, Jedi Mind Tricks, Talib Kweli, B-Real and many more... When he started to listen to Hip Hop in 1996 he never thought about working or writing with one of his icons. 22 Years later he looks back on a strong catalog of beats he produced for his childhood heroes from Cypress Hill, Grand Puba, Cl Smooth, Sadat X, O.C., Ras Kass, Keith Murray and many more just to name a few. For this album Shuko only worked with the original equipment that was used 1996 in Hip Hop's golden era to capture the same vibe and sound. SP1200 & Akai MPC60 are the foundation of all his Beats besides one of his favourite samples of this age. 1996 is a homage of one of the best years in hip hop with guaranteed flashbacks, knocking drums, jazzy vibes and nodding heads.

Tom Misch announces the release of his highly ant cipated debut album 'Geography' via his own label Beyond The Groove / Kobalt Music Recordings for an April 6th release. The rst track to be lif ed from the album is 'Movie', a melodic ode to romance writ en by Tom and his long term collaborator Carmody, and featuring guest vocals at the start by Tom's sister Polly Misch The track displays a di erent side to Tom's music as his calming voice lulls the listener into a daydream, giving us a taster of what is to come with the release of 'Geography'.

The idea for the track came to fruit on with Tom want ng to base the song around old classic movies and the charm that came with them. The upcoming visual for 'Movie' is a culminat on of old footage from Tom's grandparents in Germany in the 40's adding a personal narrat ve for Tom and his music. The artwork was created by Tom's mother Carol who has consistently contributed
to visuals for his previous releases. The silhouet es of Tom facing himself represent challenging himself to create a new landscape in his different moods and stages of creat vity. Woven in with ideas of contour lines and illusion we see one thing, then another, in the same way that music has its own mult layered language.
This release sees Tom exploring his songwrit ng and his own vocals, singing on most of the tracks plus excit ng features st ll to be announced, we get our rst preview with the tender vocals featured on 'Movie'. 'Geography' is an explorat on of a musical landscape, named af er a passion of Tom's which was never pursued, it dances between genres including Disco, Soul, Hip-Hop and Jazz, a true testament to Tom's diverse sound and genre uidity. Having self-released all music to-date (Beat Tape 1, Beat Tape 2, Reverie EP and 5 Day Mischon), mult -instrumentalist Tom Misch has built an auspicious online
fan base which includes 183,000 on Soundcloud, 103,000 across Facebook, 73,000 via Instagram, 33,000 on Twit er and a staggering 120 million streams across Spot fy and Apple. As well as radio support from Zane Lowe, Elton John, Annie Mac, Mistajam, Trevor Nelson, Jamz Supernova and more. He has also had a range of sold out shows from headlining Somerset House to most recently delivering performances at Printworks and Ronnie Scot 's, with t ckets going in record t me.
South London is burst n g with creat vity, new art sts are refusing the convent onal music industry model - they're collaborat ng and releasing freely, driven by the power of the internet. Tom is part of a truly excit ng scene which also includes rising stars such as, Loyle Carner, Jordan Rakei, Cosmo Pyke, Laura Misch & Poppy Ajudha. Tom's music has been championed by an eclect c array of supporters - from one of YouTube's biggest dance music channels, Majest c Casual, to the likes of Annie Mac, Zane Lowe, Huw Stephens, Clara Amfo and Jaden Smith. Plus, there's the fact that Tom has earned the reputat on as one of the best UK producers following remixes and reworks for the likes of Lianne La Havas, Mos Def and Busta Rhymes.

DILLA Inspired Beat Diggers series 45
Dedicated to Late Great Jay Dilla.
Samples series.45s
Crate Diggers. Vinyl only 45


" VERY LIMITED Release " by Jimi Entley & Placebo

305 is the first solo album of DJ Moya, a Turntablist and Beatmaker from Greece. The production of 305 is based on sampling and on turntablism. It's inspired by the Hip-Hop philosophy with characteristic heavy beats, dark melodies and chopped samples. At the same time, it introduces to the audience Moya's Funk and Trip-Hop influences.His track "Who's to blame" with the participation of Martzi, it will be released also in a video clip from his YouTube channel.The album was initially released as a Beat Tape on Internet and as of September 2018 it's available on a special edition vinyl with 2 additional tracks. The 12 track LP is released by the collaboration of the labels Mind The Wax and Imantas.By this time, DJ Moya has released a lot of Hip-Hop, Trip-Hop and Funky mixtapes and he has contributed in many music productions. He has participated in plenty releases as a Scratch DJ fo6r Hip-Hop bands as The Crows, Xnaria, Lyrical Punishment, Active Member and many others. Furthermore he has performed live and shared the stage with worldwide famous artists as Public Enemy, Dead Prez, Rodney P, DJ Skitz and others. DJ Moya is active in the discography since 2007 with the release of a vinyl record tool for DJs, called "Favlos Kyklos (Vicious Cycle) Vol. ||" as his own independent production.

Here introduce instrumental vinyl version of Jazzy Sport's top hip hop act GAGLE's 6th album Vanta Black.

All tracks produced by DJ Mitsu the Beats,and features musicians like Takuya KurodaTakumi Kaneko (Cro-Magnon).

Based on Black Music influence ...SoulJazzDubHouse/DiscoWorldmusic....DJ Mitsu the Beats make fantastic fusion of sounds and groove.

Thatmanmonkz and Simba have both been dropping loads of tight house releases this year.

Over at GAMM HQ we've been admiring their music from afar but have now managed to team them up together with a solid EP of house inspired reworks.
Split up over 4 tracks they snap elements from hip hop (Tribe Quest), R&B (E. Badu) and disco.
It's all deep, edgy and comes with a real gritty feel...just the way we like it.

For our next Excursion, we're off to the library. In search of library records that is - you know the type, the crazy rare records used for soundtracks and such and such. We have a sick selection of synthed-up beats and pieces chopped together by one Earl Jeffers, making the most out of his international library digging card* (*not a real thing).

For those that don't know, Cardiff's Earl Jeffers is one half of Darkhouse Family, regular family at our sister label, First Word, on which they released their debut album 'The Offering' late last year. Earl is a prolific producer in his own right, also releasing over the years under the aliases Chesus and Metabeats on labels like MCDE, Fat City and Local Talk, collaborating with artists like Byron The Aquarius, Action Bronson and Kamaal Williams / Henry Wu, turning his hand ably to house, hip hop, jungle, jazz and more. All this in addition to running his own label, Mélange Records.

A dedicated digger and record collector first and foremost, Earl has provided us with a quadruple set of heavyweight stuttery sci-fi boom bap. In Earl's words: "This record was mostly inspired by my penchant for the more electronic / synthesized jams, mostly replayed from the original compositions then thrust in to 2028 and beyond...."

B. Cool-aid Is A Duo Group Made Up Of Producer Ahwlee And Vocalist Pink Siifu. They Released Their First Album Last September '17, Entitled Brwn Via Akashik Records. Together The Group Focuses On The Divinity And Beauty Of Blackness In Every Area And Aspect To Bring Forth Full Embracement. The Mixture Of Culture That Comes With Being In Amerikkka And Difficulties That Come With Being Black In Amerikkka. Embracing The Roots We Come From And Also The Land. The Mission Is Knowledge Of Self With Love, To Embrace, And To Understand A New Perspective Of What We All Have Seen, Lived, Or Been Raised Up Under.

- Debut Album From Rapper, Producer Duo B.cool-aid On Akashik Records, A Label Co-owned By Mndsgn
- Vocalist & Rapper Pink Siifu (vibe Music Collective) Is Frequent Collaborator With Mndsgn, Swarvy And Iman Omari
- Produced Entirely By Ahwlee, Who Has Released Solo Instrumental Project Previously On Paxico Records & Uky Music Out Of Germany
- Features Vida Jafari, Nanna B & Akeema Zane
- Full Color Insert Sleeve
- Mix & Mastered By Swarvy

The Previous 3 Volume Series Is Now Compiled As A Compact 2lp. The Late, Great J Dilla Is Rightly Celebrated As One Of The Greatest Hip-hop Producers Of All Time, In Part Because His Ear For Music Was So Diverse And Expansive. As Dilla's Mother Ma Dukes Explains, he Didn't Come With A Limited Capacity, And Real Producers Produce, Produce, And Produce. there Are No Formats For Genius Workers...just Non-stop Creations.' Now, A Fresh Batch Of Those Creations Will Be Made Available To The World For The First Time, In The Form Of The Latest Official J Dilla Release, Dillatronic. Presented By Ma Dukes And Compiled By Djs Alien Villainz (fellow Detroit Natives Who Worked Closely With Dilla), Dillatronic Contains Over 40 Rare Instrumentals That Showcase Dilla's Undeniable Electronic Influences. J Dilla's Music Was Impacted By The Diverse Musical History Of Detroit - The Birthplace Of Techno And One Of The Most Important Cities In The History Of Electronic Music. you Can Hear It In Songs Like 'raise It Up' For Slum Village Or 'make It Hurt' For Busta Rhymes,' Says Young Rj (dilla's Protégé And Member Of Slum Village). the Detroit Influence Is Part Of What Gave Him An Edge In Production.' With Today's Music Sounding More Electronic Than Ever, Dillatronic Has A Shockingly Contemporary Feel. these Tracks Are Still Ahead Of Their Time Sonically,' Explains Rj. the Things Producers Are Doing Now, Dilla Did That 15 Years Ago.'

Executive production by The Alchemist.

The hours. Some stories just have to be told. But often, little is written of the hours. The writer Malcolm Gladwell describes the process of attaining mastery in any given field as a discipline. One that takes, at the very least, 10,000 hours to achieve. 10,000 hours of constant mistakes, constant doubts, constant frustrations, constant starts, constant stops, and constant incompletions. While there are those who get a glimpse of that, very few truly achieve it. Maybe it's because of the toll that the path to mastery takes on you. It's something akin to a monastic order, practicing the same thing day in, day out. It's the difference between a new + trendy sushi spot in downtown LA and Jiro Ono's modest sushi stall in the Ginza ward of Tokyo. Tucked away at the bottom of a stairwell in a subway station, Ono's nondescript shop is easily passed up. There are no outwards signs hinting at a master dwelling within but those who know, know. The sushi that he and his staff prepare - day in, day out - is simply the best. You can taste the work in it. All of those hours mixed down to one bite. Just the same, you can taste the work in Sebb's music. Hussle Crowe, the scientist, a craftsman who spends countless hours in a lab, hidden in a basement in Lausanne, Switzerland, just off Lake Geneva. It's a most unsuspecting location for a musical master to be situated. It's not the mecca that LA has become and certainly not the cultural center point that is NYC, but it serves it's purpose. And those who know, know. If you know how to hear it and what to listen for, then you get it. Take Gladwell's 10,000 hours, multiply that a few times, add in some authenticity, a whole bunch of sacrifice, a brain that's equal parts simple + complex. Two golden ears and one monstrous creative drive + output. There you have it. That's the recipe. Sebb Bash.

Wing Vilma is a title Miles Coleman has been using for just under a year. His debut album was created by harvesting found sound and crafting percussive sequences and melodic texture. His work is rooted in exploring the non-conventional jazz structures and grooves in an electronic context. Vast layers of dynamic percussion move vaguely familiar instrumentals across the soundscape to take the listener through the many rooms of thought housed under Coleman's ideas. At 19, this young Grand Rapids native has proved that his ear for captivating arrangements and non-conventional production styles rivals that of his seasoned peers. Safe by Night' takes it time establishing mood and tension through extended rhythmic movements, often culminating in euphoric, dense finales.

Padre Himalaya's third release counts with the Iran-born, Berlin-based, Mohammad Reza Mortazavi.
An internationally acclaimed artist who, when it comes to play the traditional Persian instruments, Tonbak and Daf, can single-handedly build an orchestra of sounds that are just as illusionistic as shamanistic.

In this Ep, "Focus", Mohammad brings us five lush percussion tracks. Expect complex and meditative rhythms in a journey between the throbbing minimal sounds of "Going", "Rebounce", "Floating In The Now" and the elusive hypnotic movements of 'White Daf' and 'Birth Of a Whale".


Artwork: Diogo Pinto and Marta Gaspar
Master: Hugo Santos
Recording Engineers: Bernardo Barata and Burnt Friedman

The fourth Express Rising LP (and second featuring the expanded lineup of William Suran and Kevin Blagg, in addition to leader Dante Carfagna) finds the trio largely eschewing percussion in favor of twelve concise, three-minute-or-so-long bittersweet excursions that nevertheless retain the restrained, measured, and highly melodic scaffolding of their previous work. There's more than a bit of Santo & Johnny at their most somnambulant here, slightly glazed, definitely reverb'd out, mysteriously bottling the flaring, saturated light of the desert at dusk.

This title is limited to 1000 copies for each format.

The womb is the Stargate of Humanity' says Ras G relating to the title of his third and strongest full length for the LEAVING label. Ras is more than your L.A. beat-scene beatmaker/producer/DJ, but rather an influential OG with an admirable no-fucks-given attitude towards liberally experimenting with fidelity and genre in the Los Angeles underground producer scene since the early 2000's. Ras has released multiple projects on luminary labels such as Brainfeeder, Poobah, and Fat Beats.

Following up his now sold out Redef debut (1996 Beat Tape, Vol 1), veteran producer DJ Spinna returns with another wave of hard hitting instrumentals. Entitled, Unpicked Treats Volume 1, the Jigmasta' Spinna has prepared the first of an ongoing series of beats that all have a similar story. Making tracks for well over 2 decades, this latest project features a small collection of beats that were created with the intention of backing MC's and vocalists, but were never officially used. Rather than archiving the material, DJ Spinna realized his fan base would appreciate these compositions in instrumental form. After all, he is the same producer who has garnered respect from the likes of J Dilla, Pete Rock, Jazzy Jeff and yes, the one & only Stevie Wonder himself. Without giving too much of his process away, Spinna challenged himself using the latest cutting edge software in tandem with some of his favorite gear from over the years. The end result is a glimpse into the spontaneous execution of top notch creativity. Listeners will have an unobstructed view into the ears and mind of the artist. Employing several different approaches, Unpicked Treats Volume 1 maintains a consistent vibe throughout it's 12 songs. Whether, you love beat tapes, instrumental music or are entertained by the art of sampling, this record is a commodity. Plans for volume 2 are already in progress, but in the meantime, be sure to get acquainted with Unpicked Treats Volume 1 and the genius of DJ Spinna.

Comprised of Vancouver producers and multi-instrumentalists Nick Wisdom and Astrological, Canadian duo Potatohead People boast a number of noteworthy accolades thanks to a their signature sound drawing influences from 90's boom-bap, future soul, classic jazz, deep house and boogie/funk. Beginning with a series of EP's, including their landmark "Kosmichemusik" EP, Potatohead People's productions quickly made their way to artists like Illa J who tapped the duo to produce his now critically acclaimed self-titled album, as well as producers like Kaytranada (who co-produced Illa J's "Strippers" with the pair). Supporters such as Soulection, Nightmares on Wax, Pomo, DJ Spinna, Big Boi, and Phife Dawg have also played formidable roles in championing the sound of Potatohead People worldwide.

Now with three years since their last release, 2015's critically acclaimed debut album Big Luxury, Potatohead People are back their long awaited new album Nick & Astro's Guide To The Galaxy (due out May 11th via Brooklyn label Bastard Jazz) The record picks up right where the pair left off, showcasing a leap forward in production chops, musicality, and songwriting. The first single "Quest For Love" "with it's neck snapping drum break, lush rhodes chords, cosmic synths, guitar & horn flourishes and unexpected musical changeups bring in the hip-hop infected musicality the duo has become so loved for, while Nick & Astro collaborate vocally on top. "Morning Sun" featuring Danish vocalist (and Anderson.Paak collaborator) Nanna.B is in part a melancholy piece with knocking drums, an infectious bassline and a soulful, shimmering hook, while "Do My Thing" featuring Canadian singer Kapok and Illa J is a neck-snapping Hip-Hop joint perfect for the dancefloor. "Liftin' Up" featuring San Francisco's K-Maxx ventures into West Coast boogie territories, while the album's closer "Rituals" goes for a deeper more atmospheric electronic vibe.

It was chance that brought about the release of One/Three, Dabrye's debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late '90s producing jungle, techno, house, hip-hop and more using the All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the contours of di-erent musical personalities. Dabrye was his hip-hop wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Umma-era Jay Dee, and the calculated subtlety of Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye's arrival with an unavoidable contribution to Detroit hip-hop. Ghostly International is reissuing the album in 2017 for the first time, including a long overdue vinyl edition.

On its release One/Three was the rare album that appealed to both fans of Slum Village's smooth yet rugged hip-hop and enthusiasts of the distinct American IDM released by labels like Schematic. Over the following decade, the inadvertent demo submission turned into a body of work that placed Dabrye alongside innovators such as Prefuse 73 amid the cannon of a new generation of producers. Today, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between J Dilla and Flying Lotus.

One/Three is a record that says much with little. There are no obvious hip-hop tropes. Instead Mullinix captures the ingenious minimalism of '90s hip-hop instrumentals to build tracks both supple and hard, joyous and melancholy, full of sharply angled rhythms and warm rubbery basslines: 'The Lish' throws a sickly sweet saxophone against digitally fragmented melodies, 'How Many Times (with this)' draws you in with an irresistible, clipped guitar groove, the rhythmic stutter of 'Smoking The Edge' makes your head spin with pleasure. Playing with his inspirations, Mullinix injects omitted downbeats for imagined rhymes and repurposes the intricacy of ragga jungle for breakdowns.

But what really defines One/Three is the rhythmic sensibility and metric modulation of Detroit's school of hip-hop production, which Mullinix was a fervent student of. The beats feel like they're constantly escaping a rigid tempo grid even though they are, in fact, pretty tight. A lot of it is nuance,' Mullinix explains. I've been known to say that I'm not impressed by spectacle. I think that nuance is what really captivates people.'

If you like your beats with a dash of class, do not miss this. An essential purchase of the highest order.' -BBC

- First time all tracks from the original 2001 release appear on vinyl.
- Remastered by Daddy Kev
- Standard weight black vinyl is inserted in to 3.5mm matte finish vinyl jacket.
- Download card includes free download of the Payback EP

When Ann Arbor's Tadd Mullinix began exploring hip-hop under the name Dabrye 20 years ago, he soon honed in on a startling vision of what the genre could be: ingenious, refined, daring. This vision came to life across two albums for Ghostly International — 2001's One/Three and its 2006 follow-up Two/Three— with each record further positioning the quiet Michigan producer as one of his generation's best, equally comfortable creating minimalist instrumental meditations or sharp rap salvos. In the late 2000s, following critical acclaim and accolades from both peers and inspirations (including the late Jay Dee with whom Mullinix collaborated before his untimely passing), Mullinix put the Dabrye moniker on ice and dedicated himself to other genres and ideas. All the while the influence of his work on a new generation of electronic musicians continued to make itself felt in subtle but meaningful ways.

All this changes in 2017 as Dabrye makes his long-awaited return with Three/Three, a razor-sharp rap album that brings to completion a prophetic trilogy. Mullinix's incisive productions provide the backdrop for equally acute rhymes that run the gamut from intergenerational observations and being your best self to back alley deals and having fun in the ride. Guests include indie rap legend DOOM, whose previous collaboration with Dabrye remains a point of reference for many, Wu Tang storyteller Ghostface Killah, L.A word fanatic Jonwayne, and Long Island's rugged surrealist Roc Marciano. Most importantly Three/Three is, much like its predecessor, an unfettered celebration of Detroit-area talent with Guilty Simpson, Phat Kat, Kadence, Quelle Chris, Danny Brown, Shigeto, Clear Soul Forces and more all lending their touch to Dabrye's return.

The blend of American and British dance music, hip-hop sampling, and Jamaican sound clash energy that underpinned Two/Three remains a quiet, guiding principle. At the same time Mullinix rejoices in a refreshed perspective, having had time to incubate ideas and find clarity in the distance between albums and the evolution of scenes.The beats are looser and less angular, more embracing of repetition. Organic techniques inspired by soul and jazz round off some of the harsher sonics. The resulting broad palette of tracks reflects both this evolution and the range of the Dabrye persona: relaxed headnod ("Tunnel Vision"), nervous, slow-motion electro ("The Appetite"), glacial motifs ("Emancipated"), jazzy, cut-up funk ("Sunset"), minimal brutalism ("Electrocutor"), intricate layering ("Culture Shuffle").

Three/Three marks the return of an innovator after close to a decade of silence. Despite what the title might imply, the album isn't the end of the story but rather the completion of a creative arc. Expect more Dabrye in the near future. The game is far from over.

- Final installment of the /Three series, started in 2001
- Guests include Ghostface Killah, Jonwayne, Doom, Danny Brown, Shigeto, and more.
- Media support from: The Wire, FACT Magazine, The Detroit Free Press, Pitchfork, XLR8R
- Past collabs with Jay Dee (J Dilla), MF DOOM, Beans & more
- Vinyl is housed in a matte jacket with black hot foil and includes 24-page zine designed by Michael Cina.

The early 2000s were a time of upheaval for hip-hop. The underground and mainstream divide that had dened so much of the previous decade was showing the rst signs of irrelevance. Timbaland and The Neptunes made radio rappers sound futuristic while independent artists struggled in a quagmire of backpacks and misguided claims to keep it real. Away from this, in a misunderstood middle ground between hip-hop and electronic music, a new generation of artists were busy imagining a new sound for hip-hop.

One such artist was Scott Prefuse 73' Herren, whose perpendicular MPC chops on his 2001 debut for Warp Records set curious minds racing with possibilities. That same year Tadd Mullinix released his debut as Dabrye on Ghostly International, a sonic wildstyle that appealed to both hip-hop heads and IDM nerds. Sometime that same year Herren and Mullinix met after sharing a bill in Detroit. CD-Rs were exchanged and a year later Eastern Development, Herren's newly launched label, released Dabrye's Instrmntl, a short album with a big impact. On its fteenth anniversary Ghostly International is reissuing Instrmtl on vinyl and making it available digitally for the rst time.

Instrmntl is a continuation of the beat experiments Dabrye began with One/Three and a bridge to the diverse textures that would dene Two/Three four years later. About half of its nine tracks (ten if you lived in Japan) were created at the same time as One/Three while the rest were newer or made specically for the album. Once again Mullinix looked outside of hip-hop to techno, house, and drum & bass for stylistic and technical ideas while embracing the blissful minimalism of a good hip-hop instrumental and the rhythmic nuance of Detroit.

Despite the similarities between Dabrye's debut and this follow up, Mullinix didn't simply replicate what had made One/Three so arresting. He pushed and pulled further between the two cornerstones of his approach to reveal more potentials. Instrmntl takes you deeper into electronic depths — the rugged synth stutter of 'Won', the tumbling, wobbling bass in 'No Child Of God', the electro get down of 'Prospects (Marshall Law)' — while also treading more organic grounds by letting samples breathe and moods unfurl at a gentler pace ('Take Me Home', 'Evelyn', and 'You Know The Formula Right'). And then there are the moments where this push and pull nds balance and the result becomes more, as it does on the mournful march of 'D-Town Tabernacle Choir' and the twinkling daydream of 'This Is Where I Came In'.

At just over 30 minutes, Instrmntl offers a snapshot of a time when potentials seemed innite, when lines could be drawn between jazz, ragga jungle, techno, and hip-hop and the resulting shape divined an exciting future.

- Reissue of the out of print 2002 album, available for the rst time on Ghostly.
- Includes previously Japanese-only bonus track, Gimme Lowlands'
- Standard weight blue vinyl is housed in a matte jacket.
- Dabrye's beats are like Jay Dee getting crunked up with Autechre.' — Prefuse 73

FRANK is the latest release from Dolfin Records, a Texas indie label with a prominent underground roster that includes rapper Lord Byron, producer Ben Hixon, R&B singer Jon Bap, and former Stanley Clarke drummer Mike Mitchell. Liv.e is one of the newer artists on the label, having previously collaborated with Hixon through a series of DJ parties in Dallas ( New Math Mondays'). Hixon and Bap have significant marks on this project, providing production, mixing, and background vocals. The beats they lend are often heavy on the drums, with short, hazy riffs that resemble Dilla-style syncopated loops. FRANK opens with a short hiss, launching into a jittery pattern of cymbals and drums, stinging bass slaps, and bouncy guitar riffs. You can almost see the tape reels rolling in front of you as the instrumental loops play themselves out with occasional flutters and skips. A chorus of voices enter with harmonies out of the George Clinton songbook, blending in behind the slow, finger-snapping beat. It sounds more like a lost, dusty funk recording from the '70s than an R&B song made in 2017. - Nitish Pahwa (Passion Of The Weiss) Artwork by Ghostdrank. Street Corner Music is proud to partner with Dolfin Records for this vinyl release.

Second release on KingUnderground
Double sided instrumental funk 45
Limited edition of 300 copies
For fans of funk, soul, library records & old film soundtracks
Promo copies have been sent to Giles Peterson & Thris Tian

Magic in Threes release their second release on KingUnderground with a double sided funk 45 inspired by 70s soundtracks.

The band Magic in Threes, consisting of 3 members are from Nashville, Tennessee. On Friday 9th February 2018 we are releasing two songs of theirs that sound like they could be on an old KPM library record or a 1970's soundtrack. The band have a full length in the making coming out on KingUndeground in the near future.

In 2016, the band were writing and recording a new track every week. They spent so much time in the studio that year that the song ideas just kept coming, one after another. They have always been rooted in library music and over the years they've dug deeper and deeper into that sphere of inspiration. "Finnish Funk" and "Shot Thru The Grease" are both loving homages to that genre. Heavy beats with diabolical melodies are the name of the game for The A-side, "Finnish Funk". On the flip side "Shot Thru The Grease" has more of a loping feel to it with ample portions of moody thematic elements. Like a score to a lost 1970s Italian action film, these tracks hit like a hard nosed detective closing in on his next collar.

The Tel Aviv based music label 'Raw Tapes Records' has been getting a lot of attention in the last few years, broasdcasted around the world (Gilles Peterson/BBC, The Gaslamp Killer, Toshio Matsuraa/Tokyo Moon FM, Dom Servini/Wah Wah 45 London, Peanut Butter Wolf/Stones Throw LA, Radio Nova/France, Wicked Jazz Sounds/Amsterdam, KCRW/LA, Andrew Jervis/Bandcamp).

With more than 70 albums released out of around 20 local artists within an 10-years work, this is no doubt the most productive independant music label in the history of Israel, and surely Tel Aviv's leading Beats/Hip Hop label and collective.

Puzzles vol.3 is the third volume in the Puzzles Compilations Series from Raw Tapes, featuring 13 of the current artists on the label, including Buttering Trio, Sol Monk & Nitai Hershkovits. The release features cooperations with MNDSGN, vocalist Jenny Penkin, Uzi Ramirez and more.

Curated by KerenDun, this album ranges from Beats & Hip Hop to Jazz and Electronics.

The album marks the 10-years-Anniversary for Raw Tapes.

45 Live DJ Team member Aeon Seven from northern France drops his first single 'Seven Breaks' on the label, a straight up BBoy jam aimed squarely at the Dancelfoor. A driving uptempo funk/breaks joint, all written by Aeon with heavy bassline, organ riffs, badass breakdown and tasty cuts and scratches. A peak time cut that any block rockin' DJ needs in their crates!
The flip features an instrumental version plus a little 'cuts' track so can add their own flourishes if buying doubles, or for use as an intro cut before dropping the main track.
Aeon Seven is a well seasoned DJ and producer with skills in abundance, from his early productions like the amazing 'Funky Furious ep', to the series of 45's DJ mixes he's been doing recently - 'Love Beams Defender', 'Lowdown Spectrum', 'Cosmic Thrill' and 'Funk-Time Continuum' - Aeon Seven is building an archive of seriously good music, produced and mixed with soul and flair.

Originally released through the Beastie Boys' French fan club, The In Sound From Way Out! is a collection of the group's funky instrumentals from Check Your Head and Ill Communication, with a couple of new tracks thrown in. The Beasties have a flair for loose, gritty funk and soul-jazz, and the stuttering, greasy keyboards of Money Mark give the music an extra edge -- he helps make the music sound as authentic as anything from the early '70s. Pressed on 180G vinyl.