Ascension (Ft. Vince Staples)
Strobelite (Ft. Peven Everett)
Saturnz Barz (Ft. Popcaan)
Momentz (Ft. De La Soul)
Submission (Ft. Danny Brown & Kelela)
Charger (Ft. Grace Jones)
Andromeda (Ft. D.R.A.M.)
Busted and Blue
Carnival (Ft. Anthony Hamilton)
Let Me Out (Ft. Mavis Staples & Pusha T)
Sex Murder Party (Ft. Jamie Principle & Zebra Katz)
She’s My Collar (Ft. Kali Uchis)
Hallelujah Money (Ft. Benjamin Clementine)
We Got The Power (Ft. Jehnny Beth)
Do you want me to introduce this record to you? Really? Because if you don’t yet know what happens when you Enter The Wu Tang, you should probably just buy this on sight. For existing Wu-Tang Clan fans, this is the classic debut reissued on thick, 180g vinyl: pretty crucial for your collection.
Mala’s first new album in four years, Mirrors, is effectively the Mala In Peru to his previous LP’s Mala In Cuba session, and again enabled by Gilles Peterson’s Brownswood Recordings.
Working with native musicians in Lima, including Asociacion Juvenil Puno, Danitse, Colectivo Palenke and Sylvia Falcón, the DMZ don gorgon traces rhiozomatic binds and faultlines between South London and South America via seismic bass and plasmic dub contrails, shaping up as a much darker, spirit-haunted sound than its predecessor.
It’s identifiably Mala music, at once rooted and forward-leaning; trampling zones close to his ground-breaking early DMZ emissions and yet keenly compatible with the sci fi-esque Afro-Latin styles currently sprouting up across a diaspora located between London, NYC and South America.
Effectively, Mala is your spirit guide, acting as an interlocutor between those dimensions, navigating a trip that comes on in waves between the stoned pipe rituals and skeletal drums of Kotos thru the queasy ayahuasca synth visions of Dedication 365 and brilliantly cinematic set-pieces like the dread couplet of They’re Coming and Shadows, or the spellbinding dark drum arts of Inga Gani and the grimy stepper, Looney.
Mirrors strengths lie in a spirited, fertile ground that’s outta time and place, forming a personalised work of sonic fiction that couldn’t have come from anyone else.
The indomitable Wiley has just dropped arguably his finest album to date. The gestalt '100% Publishing' is completely Wiley's: produced, vocalled and recorded by the godfather of Grime, and surely his most confidently varied set to date, too. Much of the lyrics and humour may only be decipherable to Londoners or Grime heads, but the fact that the production is pretty much solid and endearing throughout (unlike some other Wiley albums) means that they'll sink in over time due to the play-it-again factor. Like any great or unique art, its surreal nuances and introspective quirks will be revealed in due course.
We're instantly drawn to his more avant Grime beats, like the soured-synth bounce of the title track, the clownish 'Boom Boom Da Da', most definitely the nutty drum-rolling 'I Just Woke Up' and the piano-lead slowfast sophistication of 'Wise Man and his Words', but equally the slower, R&B-juiced joints like 'Talk About Life' and the breathlessly delivered 'Yonge Street (1,178 miles long)' prove his production chops are as dextrous as his syntax.
Without compromising his individual stance, the balance of pop-worthy, road-ready beats and scintillating lyricism may prove to be his most subversive and successful to date. But, judging from the cover, he couldn't give a f*ck, and you've got to applaud that.
A friend of Flying Lotus, a practising Sufi and a cryptic psyche-hop prophet, not the usual credentials for admission to the Warp sect these days? From almost any perspective, Gonja Sufi is one of the most interesting acts to arrive on the esteemed imprint in a long time.
His debut album 'A Sufi And A Killer' is largely co-produced with the immeasurably talented Gaslamp Killer, also featuring guest beats from Fly Lo and Mainframe. Evidently all involved have tapped into their finest rhythm reserves, with The GLK splicing obscure psyche samples into swirling beat collages befitting of Sufi's off-the-dome idiosyncracies, while FlyLo gives one of his very best on 'Ancestors', wading into a deeply tripped sitar and burnt bump-beat headspace making reverant nods to Alice Coltrane.
Mainframe's contributions include a tidy electro-soul edit on 'Candylane' and a sparse electro build for the Zomby-meets-Dâm-Funk vibe of 'Holidays', but the success of this album can be mainly attributed to the cerebral kinship of GLK and Gonja Sufi, a marvelously symbiotic relationship that connects the two on a plane way above.
GLK seems to innately understand the range of Gonja's vocals, whether complementing his earthly rasp with laidback hashish grooves on 'Klowds' or entrancing psyche-rock chants and swampy bass on the outstanding 'Kowboys&Indians'. This all results in the kind of album you'll return to time and again, revealing the intricate artifices of GLK's byzantine sampledelics and Gonja's oracular lyrics. Well recommended!
The ten pieces of this new album follow on the direction taken for the “ADN” album in 2002 and on the road. This new album has a more electronic sound: definitely indus (“Headline”), anxious hip-hop (“Larsen” with the excellent Real Fake MC), more funky (“Spacedunk” feat. 2TT), much more radical and fucked up jungle (“9 Bass Channels”, “Hangar 94/05”), or a really crazy and fluid dub (“On the Roof”).
Nevertheless, this album keeps a down tempo spirit on “Sushit” and “Musical Bonzeye”, true to High Tone’s universe with ingredients that were present in High Tone’s previous albums, subtle melodies and samples from out of space.
The twelve minutes long “Afraid of nothing”, is a truly tripping and lyrical musical journey. This
melancholic track really illustrates its opening sample “Here is a story about being free”… A journey that concludes this “Wave Digger” reminding us of a DJ Cam on “Substances”.
Hip-hop’s links with jazz reach back to Gil Scott-Heron and The Last Poets, but does jazz love hip-hop back? Badbadnotgood certainly do: the instrumental trio scored work with Frank Ocean, Tyler, The Creator and RZA after their Odd Future cover during a performance exam at jazz college failed to wow the assembled panel of judges but succeeded in wowing the internet. Sounds like the plot to every bad ‘street dancing’ film ever, but new album ‘III’ is a fluid, inventive affair. Shades of post-rock make the whole feel oddly conservative in parts, but ‘Can’t Leave The Night’ sounds like a trap DJ Shadow, and ‘Hedron’ boasts imagination to match the band’s spectacular musicianship.
Mr. Wonderful is the upcoming second studio album by American hip hop recording artist Action Bronson, scheduled to be released on March 24, 2015, by Atlantic Records and Vice Records. The album is Bronson's first for a major label after signing to Atlantic and Vice in August 2012. It was preceded by several mixtapes and EPs, including the Blue Chips series and Saaab Stories (2013).
The album, recorded throughout 2014, was produced by several high-profile record producers, such as The Alchemist, Mark Ronson and Noah "40" Shebib. The album has guest appearances by Big Body Bes, Meyhem Lauren, Chauncy Sherod, Chance the Rapper and Party Supplies. It was supported by three singles, "Easy Rider", "Actin Crazy", and "Terry".
"Ordene Først" er en EP fra Mund de Carlo. Det legende flow, de sproglige skævheder og det billedskabende tekstunivers er omdrejningspunkterne i en minimalistisk boombappet lydside af støvede samples og opløftende percussion elementer, der bakker dynamisk op om lyrikken og sætter ordene først.