Vinyl - Hip Hop

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

Some Old Bullshit is a compilation album by the Beastie Boys released in 1994. It compiles several of their early EPs, recorded in the early 1980s. These recordings present a sound radically different from that of the hip-hop sound generally associated with the band. Instead, these songs represent the band's part in the early New York hardcore scene. The album also features taped segments originally heard on Noise the Show, a popular hardcore radio show on WNYU in New York that played early recordings from the Beastie Boys. These segments feature the hyperbolic introductions of Noise the Show's host, Tim Sommer, an early supporter of the band. – Record Store Day

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.

Funky, groovy & packed with important lyrics! Fresh hip hop from Ghana!

Brooklyn-based, Ghanaian-born Blitz the Ambassador, aka Samuel Bazawule, takes listeners to school with his particular brand of pan-African hip hop, simultaneously directing attention to key political moments and injustices, and throwing a contagious sonic dance party. His latest release, Diasporadical, is a work of prolific collaboration with artists from several metropolitan areas of the African diaspora: Blitz has sought out the younger generation of jazz musicians in New York (Igmar Thomas, Asante Amin, Christian Mendoza), producers (Optiks), and MCs hailing from his native country (M.anifest), South Africa (Tumi), Germany (Patrice), Brazil (Kamau), and even New Haven, Connecticut (Akua Naru). The unique perspectives of each performer at once shine through and contribute to the complex whole, a singular vision of Black energy and excellence. - Rootz World

“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

“Cigarette Boats is an EP by American rapper Curren$y and producer Harry Fraud. It was released for online download on July 10, 2012. XXL named it the "2012 EP of the Year.” – Wiki

“Curren$y is back at it again. Following the release of his recent album The Stoned Immaculate, he teams up with producer Harry Fraud for the brief new EP, Cigarette Boats. Despite its short length, the project allows Spitta and Harry Fraud to pack plently of punch with each track, as one of the hottest producers in rap and a grizzled vet link for a tape fans are sure to remember.” – XXL Mag

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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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 "Vignettes is a true example of 'art imitating life.'  All the commentary/music is a collection of my personal experiences and those reflections applied to music to document an honest depiction of my current perspective on life and the world we share." - Damu The Fudgemunk / Redefinition Records 

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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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Welcome to the weird and wonderful world of library music. For avid aficionados of the beatmaking and sampling scene, it’s no news that library records have always been a reliable source of obscure sample fodder.

Over the years, there’ve been compilations of library labels such as KPM and Bruton, but no one ever took on the extensive catalogue of German library company, Sonoton. DJ, producer and record collector DJ Friction (Freundeskreis / Four Music) got in touch with Sonoton to discuss a possible collaboration. Once they agreed, he asked Dexter (Jazz Files, The Trip) – one of the most in-demand hip-hop producers and beatmakers working right now – to join him on this journey into sound. The idea was to not only compile a number of standout tracks from the Sonoton catalogue, but to sample these old recordings and transform them into a brand new collection of beats. Luckily, Sonoton was game and allowed Frico & Dexter to dive deep into the basement of the company's HQ in Munich. Out of those 200+ LP releases from the early 80s the two producers picked their favourites and went back to the drawing board. The iconic artwork of Sonoton’s 80s releases also inspired the cover sleeve of their new collabo LP.

Dexter and DJ Friction each produced one half of Diggin’ Sonoton. The result is an eclectic, exciting, and well-rounded instrumental album that clearly displays their respective individual styles, while at the same time transferring the distinctive vibe of the original recordings into 2020. All these tracks are digitally distributed via Sonoton as well, making this ambitious beat album a new addition to the rich history of library music. - Bandcamp

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

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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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A TAV Essential Listening Album.

Endtroducing..... is the debut studio album of American music producer DJ Shadow, released on November 19, 1996 on the record label Mo' Wax. The album is renowned for being composed almost entirely of sampled content, most of which originated from various vinyl records obtained by DJ Shadow during trips to record shops.

Endtroducing..... was produced by Shadow in the span of two years using minimal equipment, most notably the Akai MPC60 sampler. In creating the album's overall atmosphere, he strived to capture the downbeat nature of his previous releases for the Mo' Wax label. The album's content features both moody, slow-paced tracks and upbeat jams reminiscent of DJ Shadow's early hip hop influences.

Endtroducing..... received universal acclaim from critics, who praised DJ Shadow's approach to sampling and the beats he created from samples. It ranked highly on various year-end lists of the best albums of 1996.

The album is considered to be a landmark work in the instrumental hip hop movement, with DJ Shadow's innovative sampling techniques and arrangements influencing other producers to create similar sample-based works. Endtroducing..... has since appeared in several publications' lists of the decade's greatest albums. – Wiki

“DJ Shadow, a.k.a. Josh Davis, could be credited with bringing newfound introspection to the gloating sounds of hip-hop. Condensed with urban oscillations and scatological beats, Endtroducing shutters with eclectic samples and aural montages that reach beyond the constraints of hip-hop style. Enhancing the mix with fundamentals of rock, soul, funk, ambient, and jazz, the modern fusions fail to go unnoticed, even by the casual listener.

While most of the tracks are compiled by layering samples from vinyl treasures found in used-record bins, the production quality of the mosaic is unmatched. Darkened melodies carry throughout the album with its eye on the end of the tunnel. The narration samples come from numerous sources and keep the listener involved and waiting for resolution. With a message as fragmentary as an overheard conversation, Endtroducing conveys no apparent conclusion, but begs the mind, body, and soul for some rewind.” --Lucas Hilbert

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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

“DJ Vadim is a prolific DJ and producer, born in Leningrad, USSR (now Saint Petersburg, Russia), raised in London and currently residing in both New York and Berlin, whose music combines hip hop, soul, reggae and electronica. He has been described as "one of the few artists creating genuinely new work in the Hip-Hop field" and an artist who "cannot be ignored”.” - Wiki

“Is it possible to create something entirely new? What does one of the fathers of the new beat scene do in a time of such huge tectonic plate movements? 'Don't Be Scared' is an album about change, about progress, about moulting the old, cutting the dead wood away and bringing in the new. Part hip hop in mind-set, part electronic in sound, and part soulful in spirit with undertones of tribalism and some very ethnic and hypnotic elements, this album is rooted to bass culture, connecting dots along the way. Abstract dark sounds from previous albums such as USSR Repertoire (96) get rediscovered. Twisted dancehall crunked bass lines meet traditional African rhythms in a Bollywood cinema, whilst lush strings and grand pianos sit next to haunting morphed keyboards; afro beat licks and smoked out grooves.

This album focuses on the instrumental and brings the beat to the foreground, but look forward to vocals from long-time collaborator and fellow 'Oneselfer' Yarah Bravo, Sabira Jade (The Electric) gets political, and new sounds resonate from upcoming singers D'Angelo'esque Jazz Bailey, Hawaiian soulstress Karen Be and gruff funkman Greg Blackman. More pensive than recent albums, melancholy meets tropical vibes meets a strange BBC reporter high on eboga root. Even Jamie Fox makes a guest appearance talking dance moves.” - UndergroundHipHop.com

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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

“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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Guilty Simpson's third full length album, produced entirely by Quakers producer Katalyst.

2/LP gatefold with metallic copper/silver sleeve, includes 1 bonus track ("Liquor") and digital download card.



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"First of a Living Breed is the fourth studio album by American rapper Homeboy Sandman. It was released through Stones Throw Records on September 18, 2012. 

was listed by NPR Music as one of their "50 Favorite Albums of 2012". It was ranked at number 5 on The Village Voice's "Ten Best New York City Rap Albums of 2012" list." - Wikipedia



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A TAV Curator’s Pick.

“Kindness For Weakness is Homeboy Sandman's third full-length album on Stones Throw Records. The album's title comes from Sandman's internal insight saying “mistaking kindness for weakness is a weakness I need to have more kindness for.” One of Sandman's most poignantly lyrical releases to date, the album centers on the MCs discomfort in his comfort zone and addresses themes such as his personal insecurities, rapper stereotypes and morality.

Since signing with Stones Throw Records in 2011, Homeboy Sandman has made himself at home releasing 3 full-lengths – First of a Living Breed, Hallways, and now Kindness for Weakness – along with a series of 5 short records and most recently, releasing a free EP with collaborator Aesop Rock named Lice. Sandman has once again established himself as one of the most productive and creative lyricists of this generation.” – Stones Throw Records

“Homeboy Sandman tapped into a unique energy, and parlayed the vibe into a rap career. The Stones Throw MC, with his penchant for haphazard deliveries and a strong command of rhythm, continues making headway in the indie and underground circles with his latest effort, Kindness for Weakness. Running just over 36 minutes, it’s a quick, concise listen, with everything the Alternative Hip Hop-listening crowd could ask for. …

Kindness for Weakness is a strong album with a permeating message. The whole vibe is original, and exquisite minimalist production tips the scales, in tow with strong lyricism. Homeboy Sandman’s abilities as a MC, paired with a strong supporting cast of guest MCs and producers, execute accordingly without being repetitive. Best of all, he offers up a valuable life lesson: be kind always. The album’s biggest strength is the number of wells from which it draws inspiration. Kindness is more than just good manners; it’s a modus operandi.” – HipHopDX

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