G PERICO - 2 THA LEFT: DELUXE BUNDLE Exclusive bundle includes 2 Tha Left on 180 gram clear/blue splatter vinyl and a blue bandana, limited to 100 bundles. The album features LA rappers TeeCee4800, AD, and Polyester alongside Northern California's Nef The Pharaoh and Mozzy in addition to the legendary New Orleans rapper Curren$y. Production on the project is characterized by a modern take on classic G-Funk courtesy of longtime collaborators Poly Boy, Polyester, Westside Webb, and Cardo amongst others. Release Date: 2/2/18 1999 classic debut album presented as a deluxe set, with Seven 7-Inches; 2 unique DOOM 45 adapters; new artwork by original cover artist Lord Scotch; and customer leatherette outer box with silver-foil DOOM mask and logo. As the ‘90s came to a close, hip-hop music was thriving in two separate ecosystems.

On one side, Puffy’s Bad Boy Records, Roc-A-Fella and the rest of the major label world was pumping plenty of shiny music by bling-ed out, made for MTV stars. These pop stars sold truckloads, but it felt like a lot of “empty calories.” On the other side of the coin, a very strong underground scene had emerged in the mid-1990s worldwide. Hungry, innovative artists who had no use for the major label system thrived artistically in this ever-growing pond, ranging from Dr. Octagon and Jurassic 5 in Cali, Atmosphere and the Rhymesayers crew in the Midwest, and Company Flow and Definitive Jux in the East, among others. As the decade closed, from somewhere even beyond both of those poles, a man who would come to rule many corners the underground universe for the next two decades appeared from depths that were darker than most of his fans would ever know: MF DOOM. The artist formerly known as Zev Love X of major-label-but-underground heroes KMD had disappeared from most fans’ view in around 1994 – after his brother and artistic co-producer Subroc was killed, and the group’s Black Bastards album was shelved by Elektra.

By 1997, DOOM started peeking his head up from the grime, with no-distribution singles on Bobbito Garcia’s Fondle ‘Em label like “Red & Gold” and “Dead Bent.” As other appearances and singles trickled through the underground, by 1999 the album Operation: Doomsday appeared seemingly out of nowhere, again on Fondle ‘Em, and fans who actively ran from the glitzier side of rap music ate it up like they had been on a hunger strike. Musically raw and at-times off-kilter, former Fondle ‘Em singles like the aforementioned tunes plus “Gas Drawls,” “Hey!” and “Go With The Flow”were joined by a whole slew of new tunes.

So Young So High 05. You Will Do What We. About; How to use the site. Dada Life The Rules Of Dada. Download The Rules Of Dada No download. Free download Dada Life So Young So High Mp3. We have about 4,244 mp3 files ready to play and download. To start this download Lagu you need to click on [Download.

It all sounded familiar but new at the same time. It shouldn’t be overlooked that in addition to the dusty, wobbling music, the former Zev Love X completely changed up his vocal style on the tracks that would land on Doomsday, chopping his flow up and bringing a whole new approach to his formerly liquid, and often humorous lyricism.

Standouts on this bonafide underground masterwork are honestly hard to pick, since fans each have their own DOOM faves. But “Doomsday,” “Rhymes Like Dimes,” “The MIC,” the experimental “Tick, Tick” (with MF Grimm) and “Red & Gold” (with King Ghidra) are great examples of how stretched-out this visionary album is.

This new 7-Inch Collection edition via Get On Down includes seven 7-Inches that run in order of the songs from the original issue (including interludes). The records are housed in a custom black leatherette outer-box that is laced with silver-foil renderings of DOOM’s legendary mask and bubble graffiti logo on the outside, and a never-seen-before DOOM drawing by the legendary Lord Scotch, the original artist behind the Operation: Doomsday art, on the inside. In addition to holding the 7-inch vinyl, the box also contains two metallic-silver colored 45 adapters, each a 3D rendering of DOOM’s gladiator mask. Picture sleeves for each of the seven pieces of wax all feature brand new work by Lord Scotch (Blake Lethem aka KEO aka Scotch79th) as well: new hand-lettered track listings on one side, and incredible new color illustrations on the flip that, when laid side-by-side, fit together like puzzle pieces, to form one large image. Release Date:2/23/2018 25th Anniversary Edition - First ever vinyl reissue housed in a deluxe wide spine jacket with booklet and inner sleeves! Includes liner notes by Larry Mizell Jr.

Interviewing Ishmael “Butterfly” Butler. At a time when hip-hop was determined to snap your neck, a young, hip trio from Brooklyn (by way of Seattle, Philly, and Brazil) conspired on an uncommonly smooth new sound and freaky way of speak, a titanically chill expression of Black bohemia loaded with jazz idiom and a subversive Marxist bent—and pushed it worldwide via an undeniable crossover hit.

Digable Planets’ 1993 debut, Reachin’ (A New Refutation of Time and Space), unexpected to all involved, produced a massive radio hit in “Rebirth Of Slick (Cool Like Dat)”, which won the 1994 Grammy for Best Rap Performance by Duo or Group. Unduly lumped into an “alternative rap” subgenre they chafed at, the Dig Plans were dismissed by some as one-hit wonders, coming out of nowhere; but the Digable Planets concept, and what became Reachin’, had been in the works for close to five years, as group leader Ishmael “Butterfly” Butler wrote music and soaked up game in multiple cities, navigating the industry of hip-hop’s golden age. In the end, Butler, Mary Anne “Ladybug Mecca” Vieira, and Craig “Doodlebug” Irving came together to create a seamlessly articulated vision of urbane hiphop cool with an uncommonly literary bent that subtly pushed the hip-hop genre’s frames of reference and added breadth to rap music’s burgeoning political philosophy. Drawing on inspiration from Butler’s jazzbo father, the Black Panthers, Jose Luis-Borges, the Last Poets, and Jimi Hendrix, Reachin’ posited a theory of “universal beats”, narrated by three unearthly MC’s that had “split to Earth to resurrect the funk”, assuming curious, arthropodic aliases—a nod to the natural collective action of the insect world. In just four years the crew would record two beloved and ambitious LPs before disbanding.

Out of print on wax domestically since 1993, Reachin’ captures one of the last gasps of rap music’s jazzy, upbeat adolescence in the early 90’s—those warm, blissed-out grooves every bit as slick as when they were laid way back when. Put this on, roll up with your crew and bug out again with the insect tribe. Release Date:2/2/2018 Limited to 1000 “Last year I linked up with Redbull France. They brought me out to Paris for a week, paid for my records, and let me craft beats in their studio (I ended up moving the equipment to my hotel room due to smoking restrictions). The idea was to use strictly French samples, then hook me up with a bunch of dope new young artists from France and Brussels to make songs out of the beats.

The final piece to the project was a sold out show in France where I presented each artist and they performed both the songs we did and their own hit songs. The project came out dope, I linked up with some really talented artists, and ended up making more than enough joints. This is the instrumental version of the project. Only 1000 pieces made. Enjoy.” - Alchemist.

Release Date: 2/2/18 20 years after its initial release, the Bay Area uber-classic Latyrx: The Album – lyricists Lyrics Born and Lateef The Truthspeaker, with production from DJ Shadow, Chief Xcel and Lyrics Born – still stands as a seminal recording. It has gone on to resonate with successive generations of listeners, and influence countless artists. Recorded over a two-year period, it was the first full-length release from the legendary Solesides collective, and encapsulates a highly creative and influential time in hip-hop, frequently dubbed The Golden Age. Over the course of the original release’s 42 minutes, not only can you hear Lyrics Born and Lateef literally growing into themselves as artists, but you can also hear the germination of the Solesides sound, first given birth at California’s UC Davis in the early ‘90s, driven by brothers-in-beats-and-rhymes Blackalicious and DJ Shadow. Partially by design, and partially out of necessity, Latyrx—and the Solesides crew as a whole—became trailblazers. Lyrics Born remembers (in this set’s lengthy liner notes), “We really wanted to explore.

New styles, new subject matter, new textures, new vocabulary. It came down to even wanting to do words in the English language that you had never heard in a rap song before. It was all about pushing.” And push they did, with game-changing lyrical exercises like “Say That,” “Balcony Beach,” “The Wreckoning” and “The Muzappers Mix.” Beyond cuts that back-in- the-day fans know from the original sequence, the two bonus tracks included in this edition are: “Looking Over A City” [produced by El-P], originally released on the Quannum compilation Spectrum. And “The Last Trumpet,” which closes this new deluxe edition.

Originally appearing on the 2003 Lyrics Born solo album Later That Day, it’s one of Latyrx’s most-realized collaborations, and one of their most overtly-politically-themed songs. This deluxe, 2-LP issue of Latyrx: The Album is a must for longtime fans and newly-initiated listeners alike, with in-depth liner notes by veteran Bay Area journalist Eric Arnold (including input from Lyrics Born and Lateef The Truthspeaker) and packaged in a gatefold format. Release Date:3/2/2018 Narrated by The RZA, this is Ghostface Killah’s brutal tale of gangsters, betrayal and one vengeful soul hunting the 12 most powerful crime lords in the World. The Deluca's pressed Tony's remains into 12 vinyl records - one for each member of the family. But little did they know - he would return. This project is a daring, full-length Crime/Horror concept album. Executive Producer, and Ghostface Killah's longtime Wu-Tang Clan collaborator, The RZA refers to the album as 'groundbreaking' in the hip hop genre.

Apollo Brown was asked to record an alternate album at the same time as Adrian Younge created “Twelve Reasons To Die.” Keep in mind, the legendary Detroit producer (Apollo Brown) was given access to Ghostface Killah’s recordings and constructed beats around GFK's work. This made the project one of the producer's most challenging projects to date. That hard work has paid of as “The Brown Tape” is also one of the best albums to date from Ghostface Killah or Apollo Brown. Cinematic and nasty, this is Hip-hop at it’s most raw. Release Date:1/26/2018 He may sound like Wu-Tang Clan’s Ghostface Killah, but when rapper Action Bronson calls upon his past life as a chef and spits heavy culinary knowledge in his songs, you certainly won’t confuse the two. After studying at the Art Institute of New York City’s culinary program, Action went on to join the restaurant business as a chef.

He slipped in the kitchen breaking his leg, was out of work, and decided to become a rapper. His mixtapes gained him popularity on the web and his performances intrigued the masses landing him a major label deal. Featuring old friends and FTD regulars Big Body Bes and Mayhem Lauren along with Rick Ross and others (more to be announced soon) Bronsolino is getting back to basics with the style of Queens rap that brought him to the forefront of hip-hop 5 years ago. In that vein Bronson worked with some of his most frequent and trusted producers for the project in Alchemist, Harry Fraud and of course no Blue Chips project would be complete without the talents of BC OG Party Supplies. Release Date: 2/2/18 With an insanely prolific year, King Gizzard & the Lizard Wizard return with their twelfth album, “Polygondwanaland” to journey into the depths of the mind and the limits of the universe. The Australian 7-piece have made a name for themselves with a steady stream of new material since their inception 2010, blending everything surf rock, prog, soul, folk, metal, garage rock, and even elements of spoken word and cinematic presentation, creating a large buzz and rabid fanbase stretching far across the globe from their Melbourne roots.

Release Date: 2/2/18 Red vinyl, limited to 300 copies For the 3th album of the ['n Chillow series], Chillow collaborated with one third of the legendary hiphop group 'Artifacts'. El Da Sensei is an American rapper from Newark, New Jersey. Since Artifacts during the 90's, 'El da sensei' has released several solo albums to critical acclaim. Right now he finished working on a new album with Belgium producer/dj/beatmaker Chillow. This album is the closing chapter of the ['n Chillow series] El Da Sesnei and Chillow already worked together in the past for the EP 'Art of Raw' on the underground urban label 'Earquake' The song they did was titled 'Bomb Mc' and can be found on vinyl and on bandcamp. They connected and worked on something bigger.

This is Danny Watts' debut album Black Boy Meets World on Jonwayne’s imprint Authors Recording Company. Beats were supplied in full by Jonwayne, creating the environments that mesh to Danny Watts’ introspective lyricism and soulful cadences on the mic. The Houston based rapper has created a body of work that details his life experiences with an honest and uncompromising lens, jumping out of the Authors Recording Company gates as the first release after the critically acclaimed Rap Album Two.

Before the release of Black Boy Meets World, Danny Watts is offering up the album’s lead single “Young & Reckless” feat. Toni Braxton Unbreak My Heart Download Zippyshare. Danny Watts and Jonwayne recently captured Black Boy Meets World in the span of only a week, recording the 11-track LP at the Los Angeles recording facility Cosmic Zoo.

Danny also wrote all of the lyrics to the album in this same window, finishing up to three songs per day as the Cosmic Zoo sessions occurred in an intense yet efficient form. Mixing and mastering was completed by Low End Theory’s Daddy Kev and artwork was supplied by Authors’ creative director Shane Sakanoi. With executive oversight and production on every track supplied by Jonwayne, guest contributions and features include Ray Wright of Warm Brew, DIBIA$E, Leaving Records’ Kiefer, Dr. Octagon collaborator Juan Alderete de la Pena, Zeroh, and many others. The overall effect presents the ethos of hip-hop’s many forms, pulled into the weight of classic sounding kicks, snares, hi-hats, basslines, keys, synths, and horns. The process that brought Danny Watts to this stage of his music career defines his maturation process as a man and the roads that have split out from this path.

“This whole album is me telling my story from my perspective,” explains Danny Watts. “Everyone goes through their own unique experiences in life that forces them to really understand how the world operates. You either allow yourself to succumb to the pressures of life or just find the strength to make the best of your environment. Writing this album helped me realize how some lessons in life are inescapable. I spent my whole life telling myself that I would never end up like certain people. Thinking that I was better than a lot of people because a part of me felt and thought differently from most of my peers.

Then I ended up finding myself in those same situations that I just knew for sure that I wouldn’t end up in.”. A Little Bit Of Somethin' is a quietly majestic gem. Brimming with Guerrero's horizontal loose grooves, these brief but innovative instrumentals demonstrate a rich variety and, as such, comprise an LP that is aptly titled. An enchanting start-to-finish listen, it was instantly regarded as essential upon release via Mo Wax in 2000.

It has aged remarkably well. Throughout this inspired collection, simplicity is key. In deploying it, Guerrero presents a beautifully crafted melodic soundscape. The distinctive, mellifluous approach of his guitar style, blending Brazilian, Cuban, Mexican, soul and jazz motifs, is at once startlingly new and tantalizingly familiar. Set against unrushed percussion, the music releases a crystal-clear stream of healing frequencies to create a fragile, hypnotic atmosphere.

Each track clocks in at around three minutes and, with a lack of studio Polish or commitment to traditional song structure, it's a wonder how this enigmatic record demands your attention. However, through it's gentle dynamism and impressive playing, it does just that.

Whilst resolutely low-key, this lo-fi aesthetic feels genuinely organic and remarkably personal; it's powerful intimacy truly connects. It's what makes this album so beloved of those lucky enough to be already familiar with it. From Margaret Kilgallen's truly iconic cover artwork to the music contained within, it's all brilliantly effortless. Guerrero's musical ideas are consistently compelling throughout, making it impossible to select highlights. The album's laconic drift touches upon jazz-fusion workouts and slow-mo hip-hop drums, Tortoise-style experimental post-rock and cinematic sound textures.

It's at once hazy, light and bouncy yet sombre and bluesy. The Latin soul of El Chicano blends with the breezy jazz of Grant Green. By employing guitars and drum machines to create a stripped down rhythmic tapestry of spellbinding, addictive songs, there are even traces of The Durutti Column.

A little bit of country, a little bit of rock & roll. A Little Bit Of Somethin', indeed. Originally released on Brainfeeder in 2011, Tokimonsta’s own Young Art Records is proud to reissue Creature Dreams on blue vinyl. “Tokimonsta is not content with standard 4/4 time signatures and verse-chorus-verse-style track construction — her instrumental compositions are a mind-melting mix of intricately layered samples, exotic percussion, and live instrumentation. Her songs take a strange approach to mellow —both cosmic and off-kilter. The seven tracks on Creature Dreams are all distinct, but still work well together, from the breezy vocals of 'Little Pleasures' (with Gavin Turek), to the freaky, panned sound effects of 'Stigmatizing Sex,' to the neck-breaking stomp of the closer 'Day Job.'

Akin to artists like Daedelus, Flying Lotus, and Gaslamp Killer, this is modern-day head music for listeners bored with simple genres.” – Apple Music. The reissued double vinyl LP features deluxe double pocket gatefold, printed matte with gloss overlay with printed eurosleeves inserts. Vinyl comes in standard black as well as limited edition color versions of 100 on Clear, 400 on Red, and 500 on Grey. “4 Tones to facilitate travel through time.” So begins the listeners’ journey into what has become one of the most treasured and revered pieces of COIL history ever released. Each of the four pieces on Time Machines is named after the chemical compound of the hallucinogenic drug that they were composed for, and the album was meticulously crafted to enable what John Balance referred to as 'temporal slips' in time and space, allowing both the artist and audience to figuratively 'dissolve time'.

Inspired by long form ceremonial music of Tibet and other religions, where the intent is to lose oneself in the music – to meditate or achieve a trance state – Time Machines became Drew McDowall, John Balance, and Peter Christopherson’s “electronic punk-primitive” answer to this tribal concept. Starting as a rough demo tape recorded solely by Coil member Drew McDowall, Time Machines started to take full form when McDowall enthusiastically delivered these demo recordings to Balance and Christopherson as sketches for a new Coil project with the primary goal of shifting Coil’s sound further into a more conceptually abstract direction.

Largely recorded in 1997 using single takes with minimal post production, these four drones contain every intended fluctuation and tone, along with every glitch of the original – “Artifacts generated by your listening environment are an intrinsic part of the experience.”Remastered by Josh Bonati. This is a new pressing of Have a Nice Life's Deathconsciousness. The engineer that cut the first Flenser edition of Deathconsciousness felt that he could improve the quality of the pressing.

The result is a louder and clearer edition of the most important record we have ever been a part of. Pressed at RTI. All print work is identical to the previous edition.1000 units for this repress.In 2008, Have A Nice Life released their now cult classic Deathconsciousness LP to a whimper and critical non-interest. Six years after its release the band followed up with 2014′s stunner The Unnatural World, Deathconsciousness has become a force of influence and fanatic obsession. Seamlessly blending, with unparalleled depth and weight, shoegaze, post punk, new wave, industrial and noise. The album was originally released by Enemies List Home Recordings founded by HANL members Dan and Tim. The album has since floated in and out of production, with the last instantly out of print vinyl pressing occurring in 2009.

Now, longtime HANL collaborator The Flenser will re-issue Deathconsciousness with deluxe packaging, including a lengthy accompanying zine and colored vinyl. Have A Nice Life commented, “Working with Flenser lets us keep things comfortable on our end, while also pressing enough copies to actually meet the need and not creating an artificially-inflated collector’s market, as happened with some of our past releases.”The Flenser’s reissue of Deathconsciousness will be accompanied by a 75-page booklet detailing the dark and forgotten history of the Antiochean cult. Blurring the lines between novella, liner notes, and academic text, the zine itself presents an engrossing narrative. The album is rhythmic, primal and expansive and is a gloomy-post-punk masterpiece; a mediation on death, loss and unrequited love. Deathconsciousness feels more fresh and engaging with every listen and has held up as a remarkable piece of art.

Fans of Have A Nice Life exhibit both cultic thought and action for good reason. It is perhaps a fanbase as dark and mysterious as the Antiochean’s, the album itself revolves around. Now The Flenser is honored to rerelease Deathconsciousness a gorgeous and disarming contribution to the modern lexicon for a larger audience.The reissue of Deathconsciousness will come in a thick case-wrapped gatefold jacket. The jacket features a new layout by Niels Geybels with some additional text by the band. All variations of the album come with the 70+ page zine made from the same files as earlier editions.

This double-LP package combines two of the earliest releases from the often imitated but never duplicated Melvins. Formed in the early-’80s in the scenic wonderland known as Aberdeen, WA, the band took inspiration from Black Flag, Black Sabbath, Venom, Flipper, Stooges and other floggers of high-energy, low-velocity plod. Today, more than 30 years later, they might be more popular than ever. Slow and steady wins the race.Disc one is Ozma, from 1989, which was recorded soon after their move from Washington to San Francisco, and was their first release to include the diminutive yet mighty Lorax (Lori Temple Black) on bass. In fact, the first sound one hears at the album’s opening is Lori standing on her tiptoes to switch on her amp, thereby warning the listener of the onslaught to come.

Distorted, down-tuned doom riffs start, stop, lurch sideways with no warning, and seem to end before they start. Buzz Osborne adds extraneous guitar static and vocal squeals.

Drummer Dale Crover plays as if he’s inside a barrel going over Niagara Falls; the long, slow fall allows the space between beats to grow and grow until he crashes into the water with the vessel blasting apart in an explosion of drum rolls. The classic Melvins heavy grind is set up and broken up by assorted odd sidetracks: “Revulsion / We Reach” flows forward slower and slower until it eventually melts into a gooey feedback drone. “Raise a Paw” is a superball paddled against one’s head by a grinning village idiot. “Love Thing” enlists in the Kiss Army before getting dishonorably discharged. Disc two is Bullhead, from 1991.

The songs are longer, the mood is calmer, yet more menacing. “Boris” (which gave the Japanese group their name) is a long, slow, low death march of addiction and self-abuse. “Zodiac” is a frantic punk rock machine gun blasting away at Buzz’s demons (both inner and outer). “Cow” is a happy baboon bashing away at the best drum solo of his life.

“It’s Shoved” is a groovy beat for the cast of Shindig to bop along to, until their carefree performances of The Pony, The Mashed Potato, and The Watusi are horribly interrupted by the soundstage tilting up and sliding them all into a mangled heap of screaming dancers, broken cameras and flaming electronic equipment at the bottom.The LPs have been remastered and are back in print on vinyl for the first time in 15 years. The new gatefold packaging includes never-before-seen vintage photos, as well as the original artwork and insert, all tidied up and ready to meet Mom and Dad. Free download (with one extra track) is included. During the fourth quarter of the year, Kendrick Lamar is giving away one last treat before we wrap things up.

The Compton, California rapper releases his DAMN. Collectors Edition. Album, which is a newly enhanced version of his Grammy-nominated DAMN. This edition doesn't have any new songs on it, but it's special to K. Dot and his loyal supporters since the tracklist is put in reverse. If you recall when the album dropped in April, fans were speculating whether or not the album could be played in reverse, to which the West Coast MC confirmed back in August.

- Now, he's releasing the reverse LP as an official project, starting with 'DUCKWORTH.' And ending it with 'BLOOD.' The album still contains guest features from the likes of Rihanna, Zacari and U2, as well as his hit single 'Humble.'

The song is up for a total of seven Grammy nominations for next year's awards show. - The studio album also incorporates some new album artwork, showcasing the To Pimp a Butterfly entertainer sporting the signature white t-shirt, which reads 'DAMN' on it, with the same braided hairstyle from the original cover, but this time Kendrick appears with his mouth open and head up. The original cover art finds Kendrick looking down in a seemingly defeated expression. He may sound like Wu-Tang Clan’s Ghostface Killah, but when rapper Action Bronson calls upon his past life as a chef and spits heavy culinary knowledge in his songs, you certainly won’t confuse the two.

After studying at the Art Institute of New York City’s culinary program, Action went on to join the restaurant business as a chef. He slipped in the kitchen breaking his leg, was out of work, and decided to become a rapper. His mixtapes gained him popularity on the web and his performances intrigued the masses landing him a major label deal. Featuring old friends and FTD regulars Big Body Bes and Mayhem Lauren along with Rick Ross and others (more to be announced soon) Bronsolino is getting back to basics with the style of Queens rap that brought him to the forefront of hip-hop 5 years ago. In that vein Bronson worked with some of his most frequent and trusted producers for the project in Alchemist, Harry Fraud and of course no Blue Chips project would be complete without the talents of BC OG Party Supplies. Release Date: No_One Ever Really Dies is the 2017 album from N.E.R.D, and their first album since 2010. This album includes the hit single 'Lemon' (featuring Rihanna).

Other guest artists include Kendrick Lamar, Future, Andre' 3000, M.I.A., Gucci Mane, and Ed Sheeran. N.E.R.D is an American funk rock band. Pharrell Williams and Chad Hugo were signed by Teddy Riley to Virgin Records as a duo, The Neptunes. After producing songs for several artists throughout the late 1990s and early 2000s, the production duo formed the band with Shay Haley as a side project of The Neptunes in 1999. 'It is written 'Change is the only true constant'.my debut album reflects that change and growth for me, musically.' Rapper/producer Young RJ has been working behind the scenes of hip-hop for a long time, but has now stepped out of the shadows and into the forefront.

With a long history of production credits, and as a member of the revered group Slum Village, Young RJ now releases his debut solo album. Blaq Royalty delivers a classic old school sound, harkening back to RJ's 'Slum' days, married with a modern, radio-friendly vibe. Not to mention a bounty of A-level features on joints like 'Issues' (Featuring BJ The Chicago Kid), 'Wait' (Pete Rock & Boldy James'), and 'Motion' (Joyner Lucas & Statik Selektah). Featuring production by Young RJ himself, as well as abandoned beats from the legendary J Dilla. A classic in the making. Produced entirely by the legendary DJ Muggs of Cypress Hill. Feautring Action Bronson, B-Real, Roc Marciano, Sean Price, Conway, and Mr. Muthafuckin' eXquire.

Meyhem Lauren's Gems From The Equinox is the crown jewel of modern NY rap. A future classic soundtracked by legendary producer DJ Muggs who has redefined dusty hip-hop production into a polished and dark, psychedelic world. The equinox is the one day of the year where day and night are the exact same length and this is the perspective of this album; the equal balance of darkness and the light. The project chronicles the urban decay and wild experiences only to be found in the New York underworld from the perspective of an intelligent hoodlum, Londell Manuver, AKA Meyhem Lauren. Sonic influences from elements of Cypress Hill's Black Sunday, Mobb Deep's Hell On The Earth and Capone and Noreaga's The War Report. The album features include the likes of Action Bronson, B-Real, Roc Marciano, Sean Price, Conway, Mr.

Muthafuckin' eXquire and more. New Cassettes. With the first song of his 2014 masterpiece, Dark Comedy, Open Mike Eagle reintroduced himself by defining his style: “I’m bad at sarcasm so I work in absurdity.” On that album, Mike deconstructed our overstimulated and over-surveilled society with ease and caustic wit. But what do you do when the world warps and bends into a shape so absurd that it can no longer be exaggerated? Brick Body Kids Still Daydream is a searingly political record for systolic political times. It chronicles the life cycle of the Robert Taylor Homes, a housing project on the South side of Chicago that was demolished completely ten years ago. Families that had lived under the same roof for three generations were forced to scatter, condemned by bureaucrats and faceless cranes and public indifference.

Mike Eagle brings the Robert Taylor Homes back to life--literally, with arms and eyes and a head like the dome of a stadium--and fights until the last brick is made to crumble. As always, Mike slips in and out of various grey areas; on the opener “legendary iron hood,” he raps, “you think it's all good, but it's really a gradient.” The nostalgia (“95 radios”) is a little bit painful, the triumph (“hymnal”) comes through painstaking, incremental work. Everything needs to be earned, even the radio signals that are picked up through tinfoil wrapped on children's hands. The thesis becomes fully formed on “brick body complex,” where the hook is a towering statement of identity: “Don't call me ‘nigga,’ or ‘rapper,’ my motherfucking name is Michael Eagle.” But this is not a departure from the man-as-building conceit--the flesh and blood and brick and mortar are inextricable. In case there was any ambiguity about the political and cultural forces that lead to the Robert Taylor Homes’ eventual destruction, Brick Body Kids Still Daydream ends with perhaps the most powerful song of Mike Eagle’s catalog to date.

“my auntie’s building” is a tour de force. “They say America fights fair,” he raps.

“But they won't demolish your timeshare.” This is the point: the decay and eventual destruction of public housing--and of the physical lives of Black Americans generally--has been normalized in a way that should be grotesquely absurd. “They blew up my auntie’s building / Put out her great-grandchildren / Who else in America deserves to have that feeling? / Where else in America will they blow up your village?” Production comes courtesy of Exile, Toy Light, Andrew Broder, Illingsworth, DJ Nobody, Kenny Segal, Caleb Stone, Lo-Phi, Elos, and Has-Lo, who produces and guests on “95 radios.” “hymnal” also features a superb turn from Sammus, who maintains the same rhyme scheme throughout her defiant verse. As grave as the album’s stakes are, it's still anchored by Mike Eagle’s irrepressible sense of humor.

(His live comedy show, The New Negroes, is upcoming via Comedy Central.) “no selling” is a hilarious take on practiced indifference, and “TLDR” bridges the economic gap with withering wit: “If you was rich and ‘bout to be broke, I can coach you / ‘Cause I can show you how to kill a roach with a boat shoe.” Eagle has earned rave reviews in Pitchfork, the LA Weekly, and wherever brilliant, avant-garde rap is appreciated. Brick Body Kids Still Daydream is his most overtly political work to date, and puts to use all the dazzling technical skills he's perfected over more than a decade at the forefront of rap’s underground. In chaotic and increasingly fractured times, it has a few crucial things to bring to your attention. The Greatest Gift is a mixtape of outtakes, remixes and demos from Sufjan’s 2015 album Carrie & Lowell. The release is available in translucent yellow vinyl and yellow cassette.

This collection serves as a companion piece to the Carrie & Lowell Live album released earlier this year (and as an expansion to the original album). In the same way the live show featured re-interpretations of the songs from Carrie & Lowell, the mixtape unveils new remixes by several longstanding collaborators including Roberto C. Lange (aka Helado Negro), Thomas Bartlett (aka Doveman), and James McAlister (aka 900X). The album also features Sufjan’s own remix of “Drawn to the Blood.” The mixtape includes a few alternate and/or demo versions of songs from the original album.

The digital release also contains an iPhone demo of the song “Carrie & Lowell.” Greatest Gift features four previously unreleased new songs, “official” outtakes from Carrie & Lowell (they were recorded at the same time as the album). These include “Wallowa Lake Monster,” “The Hidden River of My Life,” “City of Roses,” and “The Greatest Gift.” This new material, in its investigation of love, life, death, God, and the beautiful state of Oregon, serves as a contemplative companion to the original album. We hope you enjoy. For the third installment of their raw, analog Cubetazo mixtape series, Lexiglass stretches out on a set of improvised keys-and-drums originals, interspersed with new spins on classics by Blu & Exile, Biz Markie and Madlib, whose remix of Bobby Hutcherson’s “Montara,” from Shades of Blue, inspires the tape’s longest cut and album cover. The Blue Note vibe is prevalent throughout, as the band’s close listening reveals its jazz roots: keyboardist Alexis Marcelo goes all-in at their first recording session with a grand piano, and drummer Will Glass bends Purdie- and Mason-style breaks into new and different shapes. The blues makes a fresh appearance, as necessitated by the historical moment.

Deluxe edition includes exclusive cassette-only tracks Confusion. These are but a few of the emotional states absorbed when encountering LIF, the new ambient and minimal album from the Bay Area's Odd Nosdam. As an artist that's presented sonic portraits coalesced in the legacy he's carried with the co-founding of Anticon, LIF finds connectivity to new roads and ethos within the body of electronic. A bridge to universal emotions and boldness, displayed in a state of duality with the tenderness and delicacy of a dandelion and the power and magnetism of solar winds. Creating some of the world's most respected experimental music of the 21st century, Odd Nosdam is still climbing mountains through this phase of his career, adding to the spiritual body of the electronic genre and keeping the sound of the Bay embedded at the core. This is an ascension that initiated with his last LP Music For Raising, drawing together raw tones, complex shapes, and vivid color schemes into interwoven auditory bliss. A medium where drums are removed from the canvas and the imagination stretches to the infinite.

Sourcing a bulk of his most well known releases through groups cLOUDDEAD, Reaching Quiet, and the various Anticon compilations and solo releases, LIF was created in a state of foundation pouring. The sound of LIF can be described as the continuation and expansion of Music For Raising, blistering with analog loop chains that soak in the resonance of tremolo, tape-delay, space echo, distressors, and many other trusted devices in Odd Nosdam's toolkit. Very little computer processing occurred during the making of LIF, relying heavily on hand triggered elements that cycle into an endless bridge between pulsing loops and shape shifting overtones. Imagine a horizon where sunrays find traces of openness around gloomy backdrops of clouds, organically centered as a jump off point into another realm of existence. LIF was recorded during a unique stretch of time, put together between January and March 2017 when the Bay Area was experiencing a stretch of nonstop rain fall. The earth's cleansing process compelled Odd Nosdam to create sound that would mirror the emotional states his environment was providing.

Each loop pulls the listener into that atmosphere, drenched by the rains and winds of the west coast as the album cycles through multiple repeated listens. Another important source of influence is the works of sound sculpting master William Basinski, and particularly, the breathtaking forty minute experience known as 'DLP 6' (from The Disintegration Loops IV). Building loops on LIF that reflects the raw, rustic and atonal landscapes Basinski cleverly devised by capturing old tape loops degrading live, Odd Nosdam finds the same sonic territory by his own means and vision. A musical road map that the adventurous and creative souls of this era are paving with a sense of oneness.

Since his 2012 debut as Heathered Pearls, Jakub Alexander has constructed art — music, objects, installations, performances — as a way of re-imagining fragments of his past and mapping ideas for his future. With Detroit, MI 1997 – 2001, the Polish-born, Detroit-raised producer reflects on a formative era through ephemeral dance music. The EP is a tribute, not a replica. Alexander is quick to assert that while he appreciates traditional hardware he’s never been eager to collect it; he opts for a short list of soft synths, free of sampling, run through a precise process of decay. “My many attempts at techno,” he’ll humbly joke. The music pulses like a memory resurfacing, vivid but inexact: a form both familiar and new. Cool, cavernous opener “Under The Bridge” reverberates back to the shipping container raves once held under the Ambassador Bridge, on the banks of the Detroit River en route to Canada.

“The Chop Shop” retrofits tension into bliss, recalling the sprawling West Side warehouse that handled illegal cars by day and hosted legendary parties by night. “Mack & Bellevue” relives the underground grit of its beloved namesake, the low-lit, decayed East Side space, throbbing dust from the rafters after dusk. The final track is an exuberant, sidewinding wink towards “The Packard Plant,” the abandoned automotive manufacturing center which served as ground zero for Midwest rave culture. Alexander takes the reference points one step further: the EP’s artwork contains four cement bricks hand-picked from the actual sites.

Princess Nokia – aka New York rapper Destiny Frasqueri – has been releasing music via Youtube and Soundcloud since she was in High School, and slowly bubbling up on the internet, garnering a rabid fanbase. Last year, with the self-release of her 1992 mixtape, she catapulted herself to the next level, solidifying her position as one to watch. Since its release, she’s toured the world over, selling out various venues across the globe in mere days, and racked up literally millions of views/listens on her tracks.

She is not only a brilliant rapper & lyricist but a feminist icon who is unapologetically herself, and aligns equally with the values of punk rock and riot grrl, ‘90s R&B, and the best of forward-thinking hip-hop. This is powerful, passionate, outspoken, vibrant modern music with deep roots in both NYC and rap history. 1992 Deluxe will be released via Rough Trade and is her first ever physical album; boasting 8 additional brand new songs - her first music since 2016.

: I'm going through Joe's Garage a lot this weekend, mainly because I can't find Strictly Commercial. The first time I listened to it I didn't really like it, but now I am in the groove. The first disc is great, but the second gets into too many long guitar solos, which are not my favorite thing. Watermelon in Easter Hay, however, is a beautiful song which I can pay attention to despite the fact that it's nine minutes of guitar solo.

School starts tomorrow. I better get a schedule page up so I don't miss classes. : I got a tamale at the Vons deli for a dollar, as I miss the homemade tamales made by my friends' mothers back in Arvin. 'That's a hot tamale!' Um, anyway, the tamale comes, as tamales do, in a corn husk, but it was also wrapped in plastic, and when I got it the deli lady wrapped it in a plastic bag. The Rafael Mendez Collection Pdf.

Too much packaging for one poor tamale! The tamale is in the microwave right now, and I'm about to go get it and bring it in here and eat it. It's not too bad, although I prefer the ones with olives and stuff in them. Who am I fooling? Nobody cares about my tamale. And now my tamale is eaten, and its sad tale is over. : I have Bio with LJ and CS131 with Adam (and lots of other people I only kind of know right now), both pleasant surprises.

I also got a very nice new years card from Darren McGraw. Thanks, Darren! I'm working on the notes for my CGI class. I did my first two real GIMP graphics today, making much use of the screen shot and the copy/paste named buffers. They live and are slightly too big for a normal-sized screen (gogol's screen is huge).

Exchange of the day (in CS131): Prof. Izadpanah: You were in my other class, weren't you? Me: Yeah, I was in your [CS]31. Izadpanah: How did you skip ahead? Me: It was a couple of years ago. Oh yeah, Andy's not going to be back for a week. I'm going to have to mave all my stuff over to fire, as I just can't deal with this kind of downtime.

It was okay last year when all I had was just self-aggrandizing Web pages, but now that I actually use Web tools to do work with, this not having them business has got to stop.