Hip Hop

Дебютный микстейп австралийского рэпера и певца Чарльтона Кеннета Джеффри Ховарда, более известного как The Kid Laroi Издание на виниле

21 SAVAGE И METRO BOOMIN ВЫПУСКАЮТ ДОЛГОЖДАННЫЙ АЛЬБОМ SAVAGE MODE II Новая работа двух знаменитых хип-хоп музыкантов увидит свет 18 декабря

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21 SAVAGE И METRO BOOMIN ВЫПУСКАЮТ ДОЛГОЖДАННЫЙ АЛЬБОМ SAVAGE MODE II Новая работа двух знаменитых хип-хоп музыкантов увидит свет 18 декабря Издание на виниле

GRANDSON ВЫПУСКАЕТ СВОЙ ПЕВЫЙ ОФИЦИАЛЬНЫЙ АЛЬБОМ DEATH OF AN OPTIMIST Издание на белом виниле

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

Touching Bass continue to prise open a distinct, exciting lane for themselves as a label home for forward-thinking, soulful music with the incredible debut project from London's Demae (aka Bubblerap and ? of Hawk House) entitled "Life Works Out...Usually" - "Life Works Out...Usually" is a soothing antidote to these turbulent times; a soulful coming-of-age story celebrating black joy, self-empowerment and life learnings centred around an integral two year period of growth and featuring appearances from Fatima (Eglo Records), Joe Armon-Jones, Ego Ella May and Nala Sinephro - all part of our close-knit, London-based musical community. Sonically, it draws a unique line between the grit of inner-city London soul, interstellar Flying Lotus electronic rushes and new-age Dilla-isms mixed with flecks of London's exciting jazz-influenced sounds. Production comes from rising producers like Eun (Ego Ella May, Denzel Himself), Jake Milliner (Slum Village, Yazmin Lacey, Lord Apex), 104.ROG (Liv.e, THEESatisfaction) and Wu-Lu (Ego Ella May). For those not yet accustomed, Demae's work stretches beyond her solo project. She has been a fundamental part of Fatima's touring band as a backing vocalist since the release of her much loved second album And Yet It's All Love. Prior to that, she was one-third of hip-hop adventurists, Hawk House, whose introspective, eclectic style was reshuffling the rule book for UK-based rap, quickly making them one of the UK's most exciting emerging sounds and earning fans from Mac Miller and Ghostpoet to Wretch 32 and Jill Scott.

For over two decades, Atmosphere has maintained a course of rigorous output, releasing over two dozen studio albums, EP's and collaborative side projects in as many years. In that time, the venerated duo have built a legacy out of bringing honesty, humility and vulnerability to the forefront of their music, continually challenging themselves to evolve without straying too far from their roots. Slug has proven masterful at storytelling and writing compelling narratives, leaving a trail of his own influence while paying homage to the rappers and songwriters that shaped him. Ant has skillfully molded the soundtracks with inspiration from soul, funk, rock, reggae, and the wizardry of hip-hop's pioneering producers, creating his own trademark sounds while providing the pulse for songs about life, love, stress and setbacks. At its essence, Atmosphere has been a musical shepherd, and with each new album comes a new journey as they guide generations of listeners through this thing called life. Much like everything else in 2020 though, Atmosphere's new album, The Day Before Halloween, is something of a detour from the anticipated path. Cutting loose and eschewing their established norms, Slug and Ant have delivered the anti-pop answer to the content and compositions of previous albums. Over razor-sharp drums and distorted synths, The Day Before Halloween explores the life of a visual artist living in an antiquated surveillance state. It's menacing. It's murky. It's George Orwell meets Keith Haring at a video arcade, on New Year's Day, 1985. If you've entertained any theories that we've slipped into an alternate reality, you may find further evidence in this dark and brooding release of future's past

Storytelling isn’t merely a vehicle for self-expression, it’s a mode of transportation. A two-way mirror in which we process gilded dreams and grotesque nightmares, the transgression of cultural taboos and the upholding of ancient tradition. It’s also the animating idea behind much of the greatest popular music ever made. Consider Exotica, the new album from Houston iconoclast, Fat Tony, the latest brilliant entry in that fabled tradition, what Outkast once described as “shooting game in the form of story rapping.” While hip-hop supplies the foundation of the Third Ward native’s assault on genre, his futuristic soundclash encompasses seductive velour soul, lecherous French chansons, fluorescent new wave, and even splashes of African pop and reggae; the latter two being the residual effect of Tony’s Nigerian heritage and a sojourn to Jamaica to record the Carpark Records-released album with engineer, Abijah Livingston, son of Bunny Wailer. “This album is an ode to the art of storytelling through music,” the polymath born Anthony Lawson Jude Ifeanyichukwu Obiawunaotu says, distilling Exotica’s essence. “Picture records like The Great Adventures of Slick Rick. Artists like Neil Young, Bob Dylan, or Bob Marley. Every lyric was carefully considered to make sure we properly conveyed each character’s narrative and motivations. I wanted to create a world of unique stories with room for each to be interpreted in distinct ways.” Assembling a Manhattan Project-style team of experts, the atom-splitting production came via Tony and his longtime collaborator, GLDNEYE (aka Tom Cruz), and engineering via Livingston and Brooklyn’s Steel Tipped Dove. To make the Third Coast cypher complete, Bun B pops up on What Wake You Up, courtesy of a cross-island dash where Tony paid visit to the legendary underground king, then vacationing in Montego Bay. Each song is a rich and compact iteration of rap short fiction: Biggie’s I Got a Story to Tell channeled through John Cheever. Take lead single Feeling Groovy, a frantic meditation on lust, desire, and the notion of throwing it all away while puffing on a Black and Mild. Picture something like if Fat Pat fronted Scritti Politti. Or Gambling Man, where Tony one-ups the late great Kenny Rogers to tell the story of a ne’er-do-well schemer named Johnny, obsessed with the thrill of the roller coaster emotions before he discovers whether he’ll win or lose. If the Tom Tom Club knew every word to DJ Screw’s Wineberry Over Gold, it would probably sound like this. Bob Dylan once famously said that an artist should “always be in the state of becoming.” And in the case of Fat Tony, Exotica is the latest stage in an evolution that has included everything from a bravura turn on the first A$AP Rocky mixtape to co-hosting a TV show on Viceland, founding a DIY Houston culture magazine to subversively expanding the parameters of experimentally-minded rap. Here is Exotica, nine new stories, more untrodden ground on the left hand path, a novel strain ready to be unpacked

In 2018, Meyhem Lauren teamed up with Brooklyn-based producer Harry Fraud to bring you GLASS. The original 9-track project featured Action Bronson, Westside Gunn, Conway the Machine, Big Body Bes and more. For GLASS 2.0, the duo went back to the archives and as the quarantine started, they began to revisit all of the music they recorded together while recording the original GLASS. “Meyhem and I had some new records and a bunch of demos and that we hadn't done post-production on yet. Over the course of about a week in May, I locked in and pretty much tore the songs apart production wise. Then rebuilt them into what would become GLASS 2.0” – Harry Fraud “Me and Fraud had a bunch of unfinished music in the stash that was recorded during the time that we made the original GLASS project. During quarantine extra spices were added and a new dish was born. To make a long story short, sometimes the leftovers taste better than the initial meal.” – Meyhem Lauren While the majority of Meyhem’s vocals were recorded in 2017-2018, Harry Fraud’s tailor-made production of each song gives GLASS 2.0 a sound and style unique from its predecessor. While the second installment of GLASS only features Big Body Bes and Bags, this leaves plenty of time for Meyhem to showcase his lyrical ability, which is especially sharp on “Poseidon’s Wrath”, “Root of Evil” and “Yucca” (all previously unreleased in any format). A respected staple of the modern underground hip-hop scene, Meyhem Lauren is no stranger to the game. Having been on the scene since the mid-2000s, Meyhem is best known for blending his “luxury rap” flows over production reminiscent of 90s east coast hip-hop. Throughout his career, he has worked closely alongside DJ Muggs of Cypress Hill, Madlib, Freddie Gibbs, Czarface, Sean Price, Roc Marciano, J-Love, and his childhood friend, Action Bronson. Their friendship is evident in the VICELAND television show F*ck, That’s Delicious, in which Meyhem is featured alongside Action in each of the episodes. Harry Fraud’s production first popped off on “New York Minute” for French Montana before the two delivered the breakout “Shot Caller” in 2011. A string of influential Harry Fraud-produced songs and records followed, including tracks for The Weeknd, Sam Smith, A$AP Rocky, Wiz Khalifa, Lil Peep, Action Bronson, Benny the Butcher and more. Meyhem and Harry have proven to be a perfect match and GLASS 2.0 is sure to be an instant fan favorite.

Storytelling isn’t merely a vehicle for self-expression, it’s a mode of transportation. A two-way mirror in which we process gilded dreams and grotesque nightmares, the transgression of cultural taboos and the upholding of ancient tradition. It’s also the animating idea behind much of the greatest popular music ever made. Consider Exotica, the new album from Houston iconoclast, Fat Tony, the latest brilliant entry in that fabled tradition, what Outkast once described as “shooting game in the form of story rapping.” While hip-hop supplies the foundation of the Third Ward native’s assault on genre, his futuristic soundclash encompasses seductive velour soul, lecherous French chansons, fluorescent new wave, and even splashes of African pop and reggae; the latter two being the residual effect of Tony’s Nigerian heritage and a sojourn to Jamaica to record the Carpark Records-released album with engineer, Abijah Livingston, son of Bunny Wailer. “This album is an ode to the art of storytelling through music,” the polymath born Anthony Lawson Jude Ifeanyichukwu Obiawunaotu says, distilling Exotica’s essence. “Picture records like The Great Adventures of Slick Rick. Artists like Neil Young, Bob Dylan, or Bob Marley. Every lyric was carefully considered to make sure we properly conveyed each character’s narrative and motivations. I wanted to create a world of unique stories with room for each to be interpreted in distinct ways.” Assembling a Manhattan Project-style team of experts, the atom-splitting production came via Tony and his longtime collaborator, GLDNEYE (aka Tom Cruz), and engineering via Livingston and Brooklyn’s Steel Tipped Dove. To make the Third Coast cypher complete, Bun B pops up on What Wake You Up, courtesy of a cross-island dash where Tony paid visit to the legendary underground king, then vacationing in Montego Bay. Each song is a rich and compact iteration of rap short fiction: Biggie’s I Got a Story to Tell channeled through John Cheever. Take lead single Feeling Groovy, a frantic meditation on lust, desire, and the notion of throwing it all away while puffing on a Black and Mild. Picture something like if Fat Pat fronted Scritti Politti. Or Gambling Man, where Tony one-ups the late great Kenny Rogers to tell the story of a ne’er-do-well schemer named Johnny, obsessed with the thrill of the roller coaster emotions before he discovers whether he’ll win or lose. If the Tom Tom Club knew every word to DJ Screw’s Wineberry Over Gold, it would probably sound like this. Bob Dylan once famously said that an artist should “always be in the state of becoming.” And in the case of Fat Tony, Exotica is the latest stage in an evolution that has included everything from a bravura turn on the first A$AP Rocky mixtape to co-hosting a TV show on Viceland, founding a DIY Houston culture magazine to subversively expanding the parameters of experimentally-minded rap. Here is Exotica, nine new stories, more untrodden ground on the left hand path, a novel strain ready to be unpacked

In celebration of the 5th anniversary, we are proud to present the 2015 Da$H 17 More Minutes album for first time commercially available on CD. The 12-track album showcases his gritty underground sound over production from Thelonious Martin, H.N.I.C., Earl Sweatshirt and Tabu. The project also features $ha Hef, A$ton Matthews and Marz Lovejoy, with each artist contributing on a track. Darien Dash, better known by his stage name Da$H, originally hails from Hackensack, New Jersey. Da$H started rapping around the age of sixteen and began uploading his music to MySpace to share with his friends. After receiving acclaim for his efforts, Da$H began taking things more seriously and found himself aligned with the infamous A$AP Mob. As a result of his newfound affiliation, Da$H made his commercial debut on the A$AP Mob Lords Never Worry album in 2012. Da$H has since gone on to collaborate with several other prominent artists including Ab-Soul, Action Bronson, Earl Sweatshirt, Vince Staples, Mac Miller and more. As a primary artist, Da$H has released three studio albums and at least 12 official EPs. Da$H continues to keep up his momentum after just releasing his highly anticipated Walk the Plank album in March, 2020.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

Новый микстейп популярной американской певицы Ashnikko Лимитированное издание на синем виниле

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GORILLAZ ВЫПУСКАЮТ АЛЬБОМ «SONG MACHINE: Season One — Strange Timez» РЕЛИЗ — 23 ОКТЯБРЯ АЛЬБОМ НА ФИЗИКЕ ВЫХОДИТ В СТАНДАРТНОМ И ДЕЛЮКСОВОМ ВАРИНТАХ Лимитированный делюксовый бокс-сет

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