Vinyl - Hip Hop

A TAV Essential Listening Album.

Midnight Marauders is the third album by hip hop group A Tribe Called Quest, originally released in 1993 on Jive Records. It was released two years after A Tribe Called Quest's second album, The Low End Theory.

Midnight Marauders is also seen by many fans and critics as a classic jazz rap album along with The Low End Theory.

“Though the abstract rappers finally betrayed a few commercial ambitions for Midnight Marauders, the happy result was a smart, hooky record that may not have furthered the jazz-rap fusions of The Low End Theory, but did merge Tribe-style intelligence and reflection with some of the most inviting grooves heard on any early-'90s rap record.

The productions, more funky than jazzy, were tighter overall -- but the big improvement, four years after their debut, came with Q-Tip's and Phife Dawg's raps. Focused yet funky, polished but raw, the duo was practically telepathic on "Steve Biko (Stir It Up)" and "The Chase, Pt. 2," though the mammoth track here was the pop hit "Award Tour." A worldwide call-out record with a killer riff and a great pair of individual raps from the pair, it assured that Midnight Marauders would become A Tribe Called Quest's biggest seller.  …

A Tribe Called Quest's Midnight Marauders was commercially successful, artistically adept, and lyrically inventive; the album cemented their status as alternative rap's prime sound merchants, authors of the most original style since the Bomb Squad first exploded on wax.” – AllMusic

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A-F-R-O is a breakthrough artist born and raised in Los Angeles, CA, who was first discovered by legendary rapper, R.A. The Rugged Man. Marco Polo is a Brooklyn based producer, raised in Toronto, Canada, who has produced music for artists such as Talib Kweli, Pharoahe Monch, Boot Camp Clik, Royce Da 5’9 & more.

Classic Boombap - Lovers of Pete Rock right up to Jay Dee, this album is for you. True to the style and a homage to that classic sampling vibe we all love about the 90s boom-bap. Do yourself a favour and check this out!

1997 was a tragic year for hip-hop. The loss of legend Biggie Smalls, only seven months after fellow legend Tupac Shakur in 1996, sent shockwaves throughout the nation, bringing the East Coast-West Coast rivalry to a head. But, as all this occurred, a three-man group made up of lyricists Sean "Slug" Daley and Derek "Spawn" Turner, along with producer Anthony "Ant" Davis formed in the frigid twin cities of Minnesota. They called themselves "Atmosphere"

The result of this formation would be one of the most important EP's in the underground hip-hop scene. It really helped spark Rhymesayers Entertainment, which would grow to be one of the biggest underground hip-hop labels of all time. Also, it helped launch Atmosphere to new heights. While Spawn would eventually leave the group, the duo of Slug and Ant became a pillar in the underground, and remain so today. – Sputnik Music

Big Grams is the self-titled debut EP by American hip hop trio Big Grams, which consists of rapper Big Boi and electronic rock duo Phantogram., featuring guest appearances by Run the Jewels and Skrillex.

In December 2010, Big Boi, one half of famed hip hop duo Outkast, accidentally discovered Phantogram, an electronic rock duo consisting of Josh Carter and Sarah Barthel, when hearing their single "Mouthful of Diamonds" in a pop-up ad. Big Boi shared the song on his website as the "Jam of the Week". Barthel saw the post and contacted Big Boi, which led to future collaborations. Big Boi's 2012 studio album Vicious Lies and Dangerous Rumors, included three tracks featuring Phantogram: "Objectum Sexuality", "CPU" and "Lines", and in a interview days before its December 11 release, Big Boi revealed that he and Phantogram were planning to record a "one-off EP type of thing" titled Big Grams.

Carter described the project's sound as "sort of" "psyched-out hip-hop". Barthel and Big Boi provided sung vocals and rapped vocals respectively, while Carter only occasionally provided vocals and was the project's primary producer. – Wiki

“Since the dissolution of OutKast, Big Boi has proven himself to be a restless worker, creating Southern rap epics like 2010's Sir Lucius Left Foot: The Son of Chico Dusty as well as experimenting with other genres and collaborating with a bevy of often surprising artists. Primary among them is the indie electro-pop group Phantogram, who appeared a couple times on Big Boi's last record, Vicious Lies and Dangerous Rumors. During the sessions for that album, Big Boi revealed that he was pursuing a continued project with the band, and now we have the BIG GRAMS EP. It's been a few years, and despite the curiosity about the success of such a collaboration, the EP works surprisingly well.

If you thought that Big Boi's funky Southern rap wouldn't quite mesh with the smooth, woozy electronic pop of Phantogram, you're not alone. And while the EP really sounds like an exact collision of the two sounds, Big Grams, as the group calls themselves, nail a lot of the hooks and psyched-out verses.”  - Under the Radar

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As somewhat of a follow up to the “Os Afro Sambas Reworks” project, “Bruxo” is another release inspired by Hoyle’s deep love for Brazilian music. Sampling rich sounds from flutes, Fender Rhodes, guitar and melodica, it fluctuated between being a completely vocal or instrumental-only album throughout the creative process, eventually leading to a mix of the two with contributions from Tom Scott, Cazeaux O.S.L.O & N’fa Jones. The backbone of these pieces is formed by the world-class Myele Manzanza, who played drums on every track, shifting between boom-bap grooves and also flexing his incredible chops. Damian Smith also adds life to this project with various solos and keyboard parts that colour in the instrumental pieces.

Mixing emotive & unusual progressions with hard edged beats and some evocative lyrics, “Bruxo” feels like a journey somewhere through South America where paths cross between hiphop, jazz, and instrumental music.

“In recent years, Los Angeles rapper Blu has become one of hip-hop’s most prolific artists, releasing more than a dozen acclaimed projects and building a worldwide fanbase. The gifted lyricist often joins forces with a single producer for an entire collection, leading to classic collaborative releases with Exile, Nottz, Madlib, and more. Now, Blu is back with The Blueprint, a new mixtape produced by Shafiq Husayn. Known as one third of visionary production team Sa-Ra Creative Partners, Shafiq has produced for the likes of Erykah Badu, Kanye West, Andre 3000, John Legend, Anderson .Paak, Thundercat, Bilal, Ty Dolla $ign, Ice T, and many more. Dedicated to the gang culture that permeates the city they both call home, The Blueprint reflects Blu’s eternal L.A. state of mind, with Shafiq’s eclectic soundscapes providing the perfect backdrop.” – Fat Beats

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“BROOKZILL!'s debut album, Throwback to the Future, is an exuberant mash-up of old-school hip-hop, funky jazz, and Brazilian funk and pop that captures the best aspects of all the separate ingredients and revels in the combination they make. Created by legendary producer Prince Paul, Digable Planets' Ladybug Mecca, keyboardist Don Newkirk (who trainspotters might remember from his voice-overs on De La Soul's Three Feet High and Rising), and Brazilian hip-hop icon Rodrigo Brandão, the project is good-time grooves and grin-inducing fun from beginning to end. With guests on board who range from Gil Scott-Heron collaborator Brian Jackson to Del the Funky Homosapien and a raft of Brazilian artists, Throwback plays out like a street party where the alcohol flows and people are dancing like the weekend will never end. Prince Paul holds down the turntables, dropping in samples and locking down rock-solid hip-hop beats and rollicking Brazilian grooves while Ladybug lays down rhymes like it was 1993, and her sweet vocals add some honey to the mix.” – All Music

“About half of the lyrics on BROOKZILL!’s debut, Throwback to the Future, are in Portuguese, but this doesn’t obscure the album’s overarching themes of unity, tribute, and spirituality for non-native speakers. While they possess more polemical meanings, certain words and phrases, like “macumba,” a Brazilian religious practice, will ostensibly be accepted at face value for its celebratory invocation on “Macumba 3000.” Macumba is an encapsulation of BROOKZILL!’S syncretic purpose: bringing people together under the banner of music.

BROOKZILL’s cultural synthesis wouldn’t be possible without the skillfully realized instrumentation: 808-style breakbeats are masterfully mixed with samba percussion on “Raise the Flag,” “Mysterious,” and “S. Bento MC5,” creating unexpected rhythms, but ones which still make sense within a traditional hip-hop framework. On “Nascido No Céu,” bossa-nova horns and woodwind instruments align with synthesizers and turntablism to lay slow-jam groundwork for Ladybug Mecca and Gorila Urban’s rhymes. Though the beats never threaten to become generic like on “Mad Dog in Yoruba” and “BROOKZILL Suite,” which lean more on the album’s Brazilian musical influences, they emphasize Throwback to the Future’s individuality and cross-cultural appreciation in a way a more streamlined mash-up would not.” – Slant Magazine

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Australian Hip Hop / Jazz Inspired/rhymes to flow with 

Since the debut of Chicken Wishbone in late 2016, the community of Melbourne has always supported the diversity of music we represent. Dee Dah Doo Dee Dah represents the outgoing nature of Hip-Hop in Melbourne, it shall never be contained.

Guitar - Flynn Sky-McCormick
Bass - Jack Eden
Synths/FX - James Latham
Piano/Rhodes - Spencer Hughes
Drumkit - Nick Thom
T. Sax - Ben Singh
A. Sax/Flute - Nikodimos N Millman
Trumpet - Marley Del Prete
Bagpipe - Bradley Guy
Singing - Brenna
Rapping - Patrice Lumumba
Rapping - Pascal

CZARFACE (Wu-Tang Clan's Inspectah Deck & 7L & Esoteric) is back! Fresh off the heels of their collaboration with Marvel Comics the trio continues to combine music and art with their latest release "A Fistful of Peril."

The back story of this album begins in the summer while Deck and Esoteric were in the studio recording some new Czarface material. During this time Marvel Comics had reached out to Czarface wanting some music to soundtrack their Black Panther web series, promoting their breakout comic of the same name. This Marvel meeting spawned the lead track "All in Together Now" and served as the primary inspiration for a fleshed-out album that nobody saw coming. The group camped out in the studio playing beats, talking comics, video games, and pop culture....what came about was "A Fistful of Peril."

Starting the album off with the ARP keyboard odyssey of "Electric Level 1" is like entering the vortex of color and light in Kubrick's 2001. The aptly titled "Two in the Chest" showcases Deck & Eso's ability to deliver punchlines and pop culture references with ease over an exceptional bass and guitar combo. "Czar Wars" has the two sparring back and forth bringing that 'X-Men/Danger Room' mentality that Deck often to refers to when in Czar-mode. Psycho Les of The Beatnuts steps in on "Dust" while "Lizard City" introduces 'Czarface Pajamas'. Yes you read that correctly. The off-kilter "Steranko" has Meyhem Lauren and Rast join forces with Czarface as they weave their way through a mind-bending array of varying beats. Other features on the album are Conway on "Machine, Man & Monster" and AOTP's Blacastan on "Tarantulas." Another one of the album's highlights is "Dare Iz A Darkseid" which along with "Talk That Talk" is the perfect balance of wit and humor that make up the core of Czarface.

Building on an already rock solid foundation with two critically acclaimed albums, "A Fistful of Peril" features some of the groups most cohesive material. The chemistry between the hungry-as-ever Deck and Eso overflows as the two mc's trade lines, humor and plenty of razor sharp lyrics over the backbone of 7L and Todd Spadafore's production.

"A Fistful of Peril" in a word? "Excelsior!" – Press Release

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 One of the most popular instrumental series of all time continues to expand with HISS Foundations. This project is truly one of those records produced solely for the diehard fans of Damu's How it Should Sound (HISS) Volumes 1 & 2, but might also be a great introduction for newcomers. This 2XLP collection contains more than beats, but seeds of ambition long before the (original) harvest. Straight from the archives, literally salvaged from the original recordings and unedited, never before have these demos been publicly available. – On Bandcamp

“Due to popular demand, Damu The Fudgemunk's "Supply For Demand" LP (2010) is back in stock. This time redef's go-to visual artist Joseph Buckingham, who recently contributed to De La Soul's mega successful Kickstarter campaign, decided to completely redesign the album packaging from the ground up. Besides the updated artwork, the music remains the same as heard on last year's remastered pressing, featuring a potent mix of instrumental and vocal tracks featuring Damu himself as well as a Y Society collabo in the form of "Don't Do It."

We here at Redefinition Records appreciate the simplicity of this arrangement and are certainly not of the mind to buck fundamental economics. We're also in the enviable position of having a loyal fan base that keep pushing us to put out quality product (that's the supply bit in case you weren't paying attention).

Supply For Demand is therefore what you've come to expect from Damu: Gimmick-free head nodders that wrap themselves around you like sheets of sonic velvet. Keep askin' and we'll keep givin'. The pleasure is all ours.” - UndergroundHipHop.com

About Damu The Fudgemunk:

“Damu the Fudgemunk (born Earl Davis on June 8, 1984, in Washington, DC) is an American hip hop music artist and producer from Washington, DC. In addition to his career as a solo artist, music producer, and DJ, he is a member of the groups Y Society and Panacea.

Damu released his official debut album as a member of Y Society, Travel at Your Own Pace, on October 10, 2007, to positive reviews. The album is reminiscent of true-school hip-hop with its liberal use of jazz and soul samples and scratching throughout. In 2008, Damu released two free albums primarily composed of instrumental music, titled Spare Time and Overtime. He built himself a respectable and loyal fan base through his unique YouTube videos and live street performances around Washington, DC, and New York City, which require him to use a portable electricity generator to power his sampler and speakers.

Damu the Fudgemunk releases the bulk of his music through Redefinition Records, a label that he co-owns and operates. The label focuses on releasing vinyl records and cassettes even if the records are also released on CDs.” - Wiki

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The Grind Date is the seventh album from hip-hop group De La Soul, released on October 5, 2004. The album was originally intended to be the final album of the Art Official Intelligence (AOI) trilogy, but as the album quickly changed focus, the group decided to put AOI III on hold and finish The Grind Date as a stand-alone work.

The Grind Date is a notably brisker, and leaner work than the group's previous albums, and features a top of the line array of production talents including the late J Dilla (who was part of A Tribe Called Quest's production unit, The Ummah), Madlib ("Shopping Bags (She Got From You)"), and 9th Wonder ("Church"). Producer Supa Dave West, who handled the majority of the AOI albums, also contributes five tracks to the album. "Rock Co.Kane Flow" featuring MF DOOM, was produced by Jake One, and sees Posdnuos addressing some recent trends in Hip hop with the line "Unlike them, we craft gems / so systematically inclined to pen lines / without sayin a producer's name, all over the track". The well-received collaboration also brought attention to the then-unknown Jake One.

The album is light on guest appearances and features a total of four guest MCs, including Common. Unlike every De La Soul album before it, The Grind Date contains no skits at all, although a short musical prelude does precede the first song "The Future". – Wiki

“The Grind Date has an economy to it that suits De La Soul’s new workmanlike perspective; at 12 songs it’s the most concise album they’ve made yet. Every song seems carefully put together, both by De La and their impressive collection of producers and guest MCs. If The Grind Date is meant as a showcase of the tools De La have at their disposal, it’s also a similar showcase for a handful of today’s stars. The trio is boosted greatly by how solid the musical tracks are, due to the hard work and creativity of the album’s five producers: Supa Dave West, J. Dilla, Madlib, 9th Wonder and Jake One. Hip-hop today is a producer’s world, and De La Soul knows it. They’ve selected some of the hottest producers around, and each came up with tracks that suit De La well, keeping things simple while using sweet soul sounds to hook the ear and fresh beats to move heads and feet. This is the first De La Soul album where an instrumental version would be something worth listening to for non-DJs.” – Popmatters

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“On Dela's second album Changes of Atmosphere, there is a trace of unadorned irony and coincidence that does a lot to explain the nuance of Dela's sound.

On the song "The Plan," guest rappers Dynas and Lycian rap about America's cavalier foreign policy as a way to contrast the domestic failure surrounding Hurricane Katrina and New Orleans. It's certainly not an original poetic construct but to hear the following lines, "Eight days in the Superdome / Most was losin' their homes / For your deeds, New Orleans / Is knee deep in corpses / Five days behind you wouldn't leave your fortress," rapped over faux-jazz and faux-hip hop has its own strange logic to diplomacy versus domesticity.

Dela, a white French producer writes jazz-infused hip hop, which means taking two musical traditions borne from African-American culture and creating his own armchair interpretation. Dynas and Lucian, two black American rappers, criticize white America's mishandling of non-white peoples both abroad and in New Orleans, a predominantly black area of the country that was originally a French colony. Furthermore, the existence of blacks in the United States in the first place is a product of slavery, which itself is a product of European colonization. Despite all of these twisting strands of causality and musical reappropriation that point to Dela's music being blaxsploitation, there is a tremendous harmony because Dela's jazzy hip hop and his guest rappers' protest lyrics. Simply put, it works.

 It's as if Dela's music is its own special form of diplomacy that dispels the lamentable history of white expansion and black subjugation by embracing the silver lining: black culture's positive contributions to American, and at this point, global culture, namely musical the musical developments, hip hop and jazz. Dela's music is an homage, a peace pipe, and a humble offering. Changes of Atmosphere is his hopeful contribution.” – Sputnik Music

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After the success of their collaborations on Bentley Bass Music and Trad Vibe compilations, as well as several DJ gigs in Europe, longtime friends DJ Cam and Moar team up for Beats. It's a special instrumental album, influenced by the great J Dilla, Pete Rock, New York in the '90s . . . and looking also into the future of beats in 2016. Limited blue vinyl. Includes download code. – Forced Exposure

“Legendary DJ and GRAMMY award-winning producer releases the long-awaited final installment of his “Magnificent” series…

…DJ Jazzy Jeff brings extraordinary artists together to present a multigenerational perspective on life, love, the current state of society, and the music industry. The Trinity, comprised of Grammy and Oscar award-winning MC Rhymefest, Philadelphia MC Dayne Jordan and multitalented artist Uhmeer, serves as M3’s primary storytellers. With three distinct styles, the trio is a recipe for an unprecedented flow and a magical delivery. The Trinity lays the foundation of real hip-hop with tracks including The Beginning, Scars, and Where You At. Things lighten up with feel good tune Skater’s Paradise, and a tribute to the ladies, Stronger Than Me. And M3 wouldn’t be complete without a few soulful voices. Singer/Songwriter Aaron Camper provides his sultry sound to Midnight Escapade and The Way We Cool. Maimouna Youssef lends her soulful harmony to Child of God, and Masego adds his signature trap-jazz flair to 2Step.” – Bandcamp

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Krush's The Message at the Depth ignores much of his previous jazz and trip-hop work. Instead, he utilizes the musical platform to question the nature of truth and conflict in the world, as we teeter on the brink of war. The (album) feels more electronic than his previous work, leaning on his sampler for much of the sound manipulation to get his point across. The layered fragments are sharp, like freshly cut aluminum. Their resonating tones leave a metallic taste in your mouth as you struggle to make sense of Krush's new message. In a way, the irritated quality that Krush produces seem like a person who's drunk way too many cups of coffee, or maybe something even stronger. But all the while you'll notice that your head is bobbing and your foot is tapping. - Pop Matters

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Widely hailed as the Japanese incarnation of Pete Rock, DJ Premier and J-Dilla,  DJ Mitsu the Beats has earned a notorious reputation amongst the underground Hip-Hip community as a masterful turntablist and serial beatmaker with a career spanning over 20 years.

Check out this stylish and emotional LP from the man himself. Limited edition Jazzy Sport release on 180g vinyl. 

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Over the course of nine albums in the 2000s for their producer-led Beat Generation series, BBE adopted an unusual stance. “Do what you want,” their artists were told for probably the first time in their careers. The label’s enormously liberal approach was the antithesis of stiff major record label A&R practices, their forward thinking rewarded handsomely by a truly diverse set of albums from some of the world’s most capable hip-hop architects. Among those picked to contribute were Golden Era greats (Marley Marl; Jazzy Jeff); acclaimed DJ/producers whose work habitually blurred genre lines (King Britt; DJ Spinna; Madlib); and those whose regular gigs didn’t afford them the creative freedom they craved (Will.i.am).

No-one made better use of the brief than Jay Dee, whose inspired Welcome 2 Detroit showed that despite all the techno and soul that seeped into and out of the Motor City there was still room to be influenced by the Carpenters and Sergio Mendes. Pete Rock, the hip-hop producer’s producer, filled his rapturously received PeteStrumentals disc with classic sample-led tracks packed with drama and finesse. DJ Jazzy Jeff’s The Magnificent celebrated the slew of Philly talent at his A Touch Of Jazz studios, Jill Scott guesting on an exalted Roy Ayers cover in finale. Then there was veteran cellist and arranger Larry Gold, on hiatus from adding strings to hits like Brandy and Monica’s ‘The Boy Is Mine’, who called upon fellow seasoned pros McFadden and Whitehead and Bunny Sigler for his piece of the puzzle. - Bandcamp

At a time when more Hip Hop artists than ever before can be heard on the radio and seen on television, and everyday new artists spring to life in the bedroom of their parents house, huddled next to their brand new laptop and Mp3 components, DRUMAT!C and LLINGO APT - the duo affectionately called DRUMZ & LLINGO - provide a sound remarkably distinct, immediately separating them from the most recent of both underground and commercial Hip Hop album releases.

'BlakMarket', the duo's first full length LP, mixes the gritty sounds of the North East corridor (ala DITC) with the melodic, heavy bass laden sound reminiscent of the Dirty South's Organized Noize, all while supplied by their "weapon of choice" the E-MU SP1200.

LLINGO APT - the duo's emcee and front man - provides a style quite versatile and unique as he paints the brains of listeners with images from topics as complex as imperialism and colonialization of the mind, to stories detailing after school "Friday Night" escapades; all the way to a step-by-step instructional about "making a beat." Flow as well as production is woven seamlessly as LLINGO spins from topic to topic, keeping your brain as well as your feet moving.

The supporting cast of exquisite emcees hailing from New York, Rhode Island and Philadelphia peppered throughout the album, act as palate cleansers, preparing the listener for each new dish cooked and served by the beat smith duo - sure to be feeding fans ear holes with organic analog meals for years to come. – KicDrumProducts Bandcamp

 Limited edition of 300 copies worldwide.

Tracklist

A1        Never Separate 

A2        Mc1two           

A3        Tipitback / Featuring – Need Not Worry

B1        Dfacen Property / Featuring – Dface DXA

B2        Thats Not My Style       

B3        Bamboozled     

B4        Checkit Out Yawl Act 1

C1        Another Calamity / Featuring – Calamity Chris

C2        Friday Night Light        

C3        Doampeasin    

C4        Checkit Out Yawl Act 2

D1       That Og Sound

D2       Well Done       

D3       Blakmarket / Featuring – Lord Dio

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L.A-based Emanon (aka Exile and Aloe Blacc) began experimenting with Hip Hop when Aloe was only 16 and Exile 17, with no more than a four-track tape recorder, turntable and a microphone. They built a fan base pre-internet by selling tapes on the streets all over the CA southland, eventually reaching the world. The duo have released many underground tapes and vinyl throughout the years and to the ears of many.

Both artists also saw plenty of success in their solo careers. Blacc launched his career as a solo artist in 2003, releasing two EPs, and signing to Stones Throw Records in 2006, after label head Chris Manak (known as Peanut Butter Wolf) heard Blacc and immediately offered him a contract for the 2006 full-length album Shine Through. He is best known for his singles "I Need a Dollar", "The Man", which topped the charts in the United Kingdom, and for writing and performing vocals on Avicii's "Wake Me Up", which topped the charts in 22 countries, including Australia and the United Kingdom.

Meanwhile, Exile laid the foundation for new West Coast classics with Dirty Science crew-mates: collaborating with rapper Blu on 2007 studio album Below the Heavens, producing rapper Fashawn's debut solo album Boy Meets World, as well as racking up countless production credits with Snoop Dogg, Whiz Khalifa and Big Sean.

Blacc and Exile have remained friends and continued to collaborate over the years, but it wasn’t until 2017 that the combination bore fruit—dipping into Blacc’s poetic, lyrical mind, with Exile at the production helm, to bring fans a modern classic Dystopia. – Wiki & Dirty Science

“The pounding, marching rhythm of “Death Is Fair” and the heavy groove of “Night Stalker” are two standouts that underscore the pair’s wealth of experience. Impressively, the whole album sounds fresh and free of the standard, clichéd hip-hop staples…

Free of any posing or posturing, this is an intelligent hip-hop album that shines a light on the times in which we live. It offers a resilient but often bleak outlook for African-Americans residing in the U.S. today. However, like the best political rap albums there are plenty of memorable melodies and hooks—these are songs not diatribes. At times it can be a dark and uncomfortable listen but the skilful backing and Blacc’s lean, fat-free flow make this a powerful statement. In a year of political hip-hop albums from the likes of Common and A Tribe Called Quest, this is up there with the best.” – PopMatters

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“Weather or Not is the third solo studio album by American rapper and producer Evidence. It was released on January 26, 2018 via Rhymesayers Entertainment. Production was handled by several record producers, including Alchemist, Budgie, DJ Babu, DJ Premier, Nottz, Samiyam, Twiz the Beat Pro, and Evidence himself. It also features guest appearances from Catero, Defari, Jonwayne, Khrysis, Krondon, Mach-Hommy, Rakaa, Rapsody, Slug, Styles P, and The Alchemist. This album is a follow-up to his 2011 album, Cats & Dogs, and is final on his "Weatherman" series.” – Wiki

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FloFilz is one of the most promising newcomers on the German beatmaker scene. His sound is deeply rooted in the Low End Theory (Tribe not LA) school of beats and his tracks regularly hit the six-digit plays mark on Soundcloud. FloFilz grew up in Belgium and lives currently in Aachen where he studies violin. When it comes to his own beats, jazz reigns supreme over nearly any other music. „Metronom“ is his first official album and we are delighted to release it on Melting Pot Music. – Bandcamp

View more from FloFilz here

 Re:verse is the instrumental album of the two remix EP's by FloFilz released years ago by Newtold - Keineideeistneu and Some More Remixes. In true Flofilz style, this is perfect for all beatheadz out there, looking to find that smooth touch to sample-based hip hop.

View Flofilz – Transit

View Flofilz - Metronom

Sample based hip-hop treats by Belgium producer Flofilz. Released on Jarkta records – Speakthru is a perfect cross of Jazz and tasteful beats for head nodders and chill takers. Highly recommended for you’re a premium listening experience.

View Flofilz – Transit

View Flofilz - Metronom

"From Paris to Lisbon, “Cenário” is the follow-up to “Metronom” – FloFilz’ first album on Melting Pot Music which we put out two years ago."

"Since then, FloFilz has been to many places and spaces. He finished his Master’s Degree in music, released the album “Speakthru” on Jakarta Records, and travelled the world with his music. From Germany’s premier hip-hop festival “Splash” to “Le Mellotron” in Paris to “The Boiler Room” in London, his beats are cherished by hip-hop and jazz aficionados worldwide."

“Cenário is Portuguese for scenario but also means backdrop or situation. It’s a perfect fit as we have chosen the beautiful city of Lisbon as the visual backdrop for this album. In March we hopped on a plane to Lisbon with photographer Robert Winter and spent some quality time in Europe’s oldest city. We enjoyed the ambiance, food, and visiting the local record stores on our hunt for rare bossa and MFB gems. Each of these factors are equally reflected in the music and the artwork ofCenário. We hope you enjoy it as much as we do. Boa viagem!" - Melting Pot Music

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Freddie Gibbs and Madlib confirm one of the eternal truths of cocaine rap: that cinematic gangsters are as much an influence as real-life villains. These two old souls combined five years ago on Piñata, a coke rap classic that cracked and hissed like a grainy 70s blaxploitation flick. Bandana sees the gruff Indiana rapper and beatnik LA producer again form rich drug-slinging narratives devoid of all glamour or posturing. It’s more cinéma vérité than Brian De Palma, but it comes through in clear Technicolor. 

Much of the grimy realism is down to Gibbs’ performance. Bandana follows him on the day-to-day grind as he slips into the role of iron-willed street soldier, hand-cannon stuffed into his Adidas sweatpants, aiming to get rich or die tryin’. His growled flow can evoke memories of Tupac, but where the latter’s artistry was often fuelled by raw passion, Gibbs, 37, is more cerebral. His writing is full of uncompromising details and he has a flair for building a scene through minutiae. Whether describing using a bandana to wipe fingerprints off a murder weapon on the title track or revealing that the faces of the dead haunt his dreams on Fake Names, Gibbs’ voice carries the hard-lived authenticity of a man who has seen too much.

The beats that form the backdrop to the storytelling set the scene. A producer whose instinct for a sample surely qualifies as a superpower, Madlib plays with old records like a music fan enthralled by dust-caked 45s. Bandana is full of grubby basslines, hard-knocking percussion and decaying vocal loops. Unflashy in his approach, Madlib adds very little dressing to the carved-off soul that forms tracks such as Freestyle, Crime Pays or the dreamy Education, on which guests Yasiin Bey and Black Thought kick enlightened rhymes.

The supporting cast also includes Anderson .Paak, Pusha T and Killer Mike, all of whom give impressive turns. But Gibbs is the star and, behind the boards, Madlib guides him like a skilled director. The result is an album of unvarnished realities transmuting into cinematic excellence – The Guardian

“Lord Giveth, Lord Taketh Away is a collaborative EP by American rapper Freddie Gibbs and producer Statik Selektah. It was released on June 24, 2011, by Showoff Records and CTE World” – Wiki

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Shadow of a Doubt is the second studio album by American rapper Freddie Gibbs. The album was released in 2015 by ESGN and Empire Distribution.

“After dropping last year’s Piñata with Madlib and two subsequent EPs, Freddie Gibbs is back with his third full-length studio album. Shadow of a Doubt features over a dozen wide-ranging names contributing beats, from Canadian hitmaker Boi-1da to 808 Mafia’s Tarentino, and his roots and aspirations have never been clearer.” - Pitchfork

“Gary, Indiana rapper Freddie Gibbs is a tough, urban storyteller who can rifle off a steady stream of greatness before he lands on the hook, and with his 2015 release, Shadow of a Doubt, the hooks, plus production, are on the same level as his rhymes.” - AllMusic

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“Acclaimed west coast singer, songwriter, and producer Georgia Anne Muldrow releases a collection of astral instrumentals. VWETO, which means gravity in Ki-Kongo, has just that: a significance that rings true on a deep and profound level, a mixture of dreamscape and fOnk. Each instrumental journeys through sonic realms that wash over the listener with ease, taking them out of their body and into the spirit plane. The vibrations knock hard enough for any Hiphop head, yet bend and curve through the recesses of mind in a much more esoteric way, bringing a fOnk unique to Georgia that hits hard enough to turn Dre's head. Distinctly west coast, yet like nothing released before, Georgia Anne Muldrow's VWETO is a layered album that explores the instrumental depths of fOnkrock, Hiphop, PianoSpace, and Soul.” – Wiki

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Everybody Looking is the ninth studio album by American rapper Gucci Mane. It was released on July 22, 2016, by 1017 Records and Atlantic Records,[1] serving as Gucci's first studio release since The Return of Mr. Zone 6 (2011). Recording sessions on the album took place in under six days. The album features three guest appearances from Drake, Kanye West and Young Thug, while the majority of production was provided by Gucci Mane's longtime collaborators such as Mike Will Made It and Zaytoven, among others.

Everybody Looking was met with positive reviews from critics, with the album peaking at number 2 on the US Billboard 200 and becoming Gucci Mane's highest-charting album. – Wiki

“Executive produced by Mike WiLL Made-It, Everybody Looking features a spacey, brooding backdrop that’s custom built to help Guwop find his footing once again. As an integral part of his original sound, Zaytoven also does a majority of the heavy-lifting, providing an occasionally lively contrast to Mike WiLL’s typically murky aesthetics. Their collaboration on “Waybach” perfectly matches Gucci’s air of nostalgia, while their work on the sunny instrumentation for “At Least a M” makes it an instant contender for summer anthem. Despite only making brief appearances, Murda Beatz (“Back on Road” w/ Drake) and Drumma Boy (“All My Children”) also fit comfortably into Zay and Mike Will’s newfound dynamic. Everything is methodical, from the thunderous “No Sleep” intro to the way the “Waybach” hook comes back around for an encore towards the end of “Richest Nigga In The Room.”” – HipHopDX

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