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Zapp IZapp (also known as the Zapp Band or Zapp and Roger) is undoubtedly the most influential group in the Electro sub-genre of Funk. The group received attention in the early 1980s for implementing heavy use of the talk-box, which became one of their most well known characteristics. Zapp served as partial inspiration toward the creation of the G-Funk sound of Hip Hop popular on the West Coast of the United States in the early to mid 1990s, with many of their songs sampled by numerous Hip Hop artists, most notably Dr. Dre.
The original line-up consisted of four brothers-Roger Troutman, Larry Troutman, Lester Troutman and Terry Troutman-and non-Troutman family members Bobby Glover and Gregory Jackson. During their early stages, they worked closely with members George Clinton and Bootsy Collins of the seminal Funkateers of Parliament-Funkadelic. Their debut album I was released in 1980, having a P-funk reminiscent sound as a result of Clinton's and Collin's input on the production.
Zapp achieved most of its mainstream recognition from the single More Bounce To The Ounce from the same album, now widely regarded as a classic example of early 1980s electronic Funk. The single propelled the album to Gold status almost overnight.1. More Bounce To The Ounce
3. Brand New Pplayer
4. Funky Bounce
5. Be Alright
6. Coming Home$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
UNIM-GLA-2336xTwo Door Cinema Club
Tourist HistoryNorthern Irelands Two Door Cinema is a music-mad trio whose debut album fizzes with invention and sparkling tunes. Rooted in rock and pop, with elements of electronica/electro, and Afro-beats, the sum is greater than any indie electro pop parts
Recorded in London at Eastcote Studios and produced by Elliott James (Bloc Party, Noah And The Whale) with a number of tracks mixed by Phillipe Zdar (Phoenix, Justice, Cassius), the album simply multiplies the singles surfeit of ideas and sounds. The opening track, Cigarettes In The Theatre, perfectly displays the bands light-footed yet hard-driving energy, highlighted by Alexs vocal melody, with its almost dreamy brand of urgency. Its followed by Come Back Home, a sequel of sorts; introducing a bed of woozy synths that build and act as a launching pad for a digi-funk backdrop that bounces, swings and rocks behind Alexs confessions of relationships-past.1. Cigarettes In the Theatre
2. Come Back Home
3. Undercover Martyn
4. Do You Want It All?
5. This Is the Life
6. Something Good Can Work
7. I Can Talk
8. What You Know
9. Eat That Up, It's Good for You
10. You're Not Stubborn
11. Undercover Martyn Flexin' It$19.99Vinyl LP - Sealed Buy Now
REDI-YEP-3615xFujiya & Miyagi
VentriloquizzingAfter two years experimenting in the shadows, cutting edge minimalist-funk heroes Fujiya & Miyagi are back with their darkest and most propulsive set yet. The band's fourth full-length, Ventriloquizzing has a dark heart, via its throbbing electro-glam beat and menacing lyrics. I think there's an underlying anger, or perhaps just annoyance, at institutions and people in general, and probably ourselves too, says singer/guitarist David Best. And it also seemed like the right time to work with someone else to help us avoid going to our default setting, which the band combated by bringing in a co-producer for the first time in the form of famed producer Thom Monahan (Devendra Banhart, Vetiver, Pernice Brothers), their first time not self-producing. Written in Brighton, UK and recorded in Sacramento, CA; Ventriloquizzing is likely the first (and last) black comedy you can dance to.1. Ventriloquizzing
2. Sixteen Shades of Black & Blue
3. Cat Got Your Tongue
4. Taiwanese Boots
9. Spilt Milk
10. Tinsel & Glitter
11. Universe$19.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Vega Intl. Night SchoolWhile making Neon Indian's third album, Alan Palomo turned a crisis into an opportunity: When his laptop -- which contained demos of his new songs -- was stolen at the end of the Era Extraña tour, he started anew by drawing inspiration from his past. Vega Intl. Night School takes its name and sound from his previous electronic project VEGA and his pet name for his after-dark adventures, conveying the dazzling, fleeting allure of a night out. Era Extraña's crisper beats and textures hinted that Palomo might be headed in a more danceable direction, but on his third album, he finds ways to subvert expectations while remaining true to Neon Indian's essence.
He applies his flair for mood-crafting to a palette of electro, funk, disco, new wave, and reggae, transforming his synth-heavy sound into a love letter to the fabulous keyboard tones of the '70s and '80s: Note the Baroque embellishments to Slumlord's filter-disco and the squiggles that make Street Level sound even more like forgotten Paisley Park brilliance. Prince and Daft Punk are two of the album's biggest influences, not just in sound but in spirit. The way these tracks flow into each other recalls the uninhibited, possibly inebriated way Homework's first few cuts blended into an atmospheric portrait of nightlife, a concept Palomo runs with on Vega Intl. Night School. Sounding like a field recording from an '80s nightclub, Smut! captures the disorienting, intoxicating feel of entering a party that's already in full swing; Techno Clique expresses the anonymity and intimacy of dancing with a stranger, and the luminous synths that close The Glitzy Hive might as well be sunrise peeking through the club's doors. Vega Intl. Night School's more structured songs are so good that it's easy to wish there were more of them1. Hit Parade
3. Street Level
6. The Glitzy Hive
7. Dear Skorpio Magazine
9. Slumlord Re-Release
10. Techno Clique
11. Baby's Eyes
12. C'est La Vie (Say the Casualties!)
13. 61 Cygni Ave
14. News From The Sun (Live Bootleg)$19.99Vinyl LP - 2 LPs Sealed Buy Now
Micro-PhoniesFollowing neatly after The Crackdown's aggressive art/funk/electro combination, Micro-Phonies shows the duo taking that combination to a stronger level. Having invented the shadowy, murkier side of industrial/noise experimentation, here Cabaret Voltaire make their equally justified claim at fully kickstarting the beat-heavy crunch such labels as Wax Trax! would pursue shortly thereafter. DAF and the On-U Sound collective deserve as much notice for this, but the Cabs' relatively higher profile in the English/American cultural scheme made them the harbingers as much as anyone. Flood's sympathetic co-production with the band is another feather in his cap, and the album sounds just as strong today as it did upon its release. Micro-Phonies' most noted tracks are the appropriately funky, horn-heavy James Brown, and the gripping Sensoria, which makes for a brilliant album closer, with nervous-tension synth signals and a spare but compelling guitar line over another strong beat combination. Subtler moments abound as well -- there's a nice combination of the Cabs' initially understated approach and the greater opportunities available to them in the album's recording. The Operative is an unheralded highlight of the release, Mallinder's low-key speak/singing sidling alongside the crisp but not overpowering rhythm, controlled funk bass and guitar and touches of dub melodica sneaking through the mix. Other hints of the dub influences that the band has always embraced crop up on songs like (unsurprisingly) Digital Rasta. Throughout the album, Mallinder submerges his vocals into the music rather than calling overt attention to them, the reverse of what a lot of later industrial acts would do (often to their detriment). It's a sharp continuation of the Cabs' similar practice from many earlier numbers, here used in a newer musical style.
- Ned Raggett (All Music Guide)1. Do Right
2. The Operative
3. Digital Rasta
4. Spies in the Wires
5. Theme From Earthshaker
6. James Brown
8. Blue Heat
9. Sensoria$20.99Vinyl LP - Sealed Buy Now
Def LeppardFirst-rate melodic pop-metal. Def Leppard tracks like Let's Go,...All Time High and Broke 'n' Brokenhearted exude the band's classic mix of Seventies pomp-glam riffing, Eighties electro-shock rhythms and patented, tremendously stacked chorus vocal harmonies in a manner that's strikingly redolent of their past. But the album also finds the band moving beyond well-trod territory, as evidenced by the slinky pop-funk strut of Man Enough, the downtuned, acoustic psych-blues of Battle of My Own and the sleek New Wave isms of Invincible. - Rolling Stone
We'd never done an album when we weren't contracted to do one," explains Joe Elliott (vocals) . "We've been independent for seven years, we've loved every minute of it, but we haven't made an album as such. There were still expectations even when we did our first record On Through The Night. This time, there were none. We personally didn't even expect to do an album when we first went into the studio! We just wanted to embrace our influences and write a few songs we could be proud of. I don't think I've enjoyed making a record as much as I enjoyed making this one."1. Let's Go
3. Man Enough
4. We Belong
6. Sea of Love
8. All Time High
9. Battle of My Own
10. Broke 'N' Brokenhearted
11. Forever Young
12. Last Dance
13. Wings of an Angel
14. Blind Faith$42.99Vinyl LP - 2 LPs Sealed Buy Now
Def LeppardDef Leppard is the 11th studio album by British rock band Def Leppard. It's the band's first release since Songs from the Sparkle Lounge (2008), marking the longest gap between studio albums in their career. The 14-track album not only nods to their history, but it hints at their future. According to vocalist Joe Elliott, ''The name itself sums everything up. It's a misspelled nonsensical mad-looking two words.'' This is Def Leppard in 2015. This is rock 'n' roll. Let's go.
First-rate melodic pop-metal. Def Leppard tracks like Let's Go,...All Time High and Broke 'n' Brokenhearted exude the band's classic mix of Seventies pomp-glam riffing, Eighties electro-shock rhythms and patented, tremendously stacked chorus vocal harmonies in a manner that's strikingly redolent of their past. But the album also finds the band moving beyond well-trod territory, as evidenced by the slinky pop-funk strut of Man Enough, the downtuned, acoustic psych-blues of Battle of My Own and the sleek New Wave isms of Invincible. - Rolling Stone1. Let's Go
3. Man Enough
4. We Belong
6. Sea of Love
8. All Time High
9. Battle of My Own
10. Broke 'N' Brokenhearted
11. Forever Young
12. Last Dance
13. Wings of an Angel
14. Blind Faith$23.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
The WorksThe Works is the eleventh studio album by the British rock band Queen. After the synth-heavy Hot Space, the album saw the re-emergence of Brian May and Roger Taylor's rock sound, while still incorporating the early 80s retro futuristic electro pop of the German electronic underground (Freddie Mercury) and New York funk scenes (John Deacon).1. Radio Ga Ga
2. Tear It Up
3. It's A Hard Life
4. Man On The Prowl
5. Machines (Or Back To Humans)
6. I Want To Break Free
7. Keep Passing The Open Windows
8. Hammer To Fall
9. Is This The World We Created...?$29.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
I'm Just Like You: Sly's Stone Flower 1969-70Compilation And Notes By Alec Palao
An Exclusive New Interview With Sly Stone Himself
In-depth Liner Notes With First-hand Reminiscences Of The Stone Flower Era From Many Of The Participants
Features All Five Stone Flower Produced Singles Plus Ten Previously Unissued Cuts From The Label Archives
All Tracks Newly Remastered From The Original Tapes
In 1970, The Family Stone were at the peak of their popularity, but the maestro Sly Stone had already moved his head to a completely different space. The first evidence of Sly's musical about-turn was revealed by the small catalog of his new label, Stone Flower: a pioneering, peculiar, minimal electro-funk sound that unfolded over just four seven-inch singles. Stone Flower's releases were credited to their individual artists, but each had Sly's design and musicianship stamped into the grooves-and the words "Written by Sylvester Stewart/Produced and arranged by Sly Stone" on the sticker.
Set up by Stone's manager David Kapralik with distribution by Atlantic Records, Stone Flower was, predictably, a family affair: the first release was by Little Sister, fronted by Stone's little sister Vaetta Stewart. It was short lived too-the imprint folded in 1971-but its influence was longer lasting. The sound Stone formulated while working on Stone Flower's output would shape the next phase in his own career as a recording artist: it was here he began experimenting with the brand new Maestro Rhythm King drum machine. In conjunction with languid, effected organ and guitar sounds and a distinctly lo-fi soundscape, Sly's productions for Stone Flower would inform the basis of his masterwork There's A Riot Goin' On.
The first 45 came in February 1970: Little Sister's dancefloor-ready "You're The One" hit Number 22 in the charts-the label's highest showing. The follow-up, "Stanga, also by Little Sister, made the wah pedal the star. The third release came from 6IX, a six-piece multi-racial rock group whose sole release, a super-slow version of The Family Stone's "Dynamite, featured only the lead singer and harmonica player from the group. Joe Hicks was the final Stone Flower stablemate; his pulsing, electronic Life And Death In G&A" is one of the bleakest moments Sly Stone ever created on disc (Hicks' prior single for Scepter, "Home Sweet Home," the first released Stone Flower production, is also included).
This long overdue compilation of Sly's Stone Flower era gathers each side of the five 45s plus ten previously unissued cuts from the label archives, all newly remastered from the original tapes. In these grooves you'll find the missing link between the rocky, soulful Sly Stone of Stand! and the dark, drum machine-punctuated, overdubbed sound of There's A Riot Going On. I'm Just Like You: Sly's Stone Flower 1969-70 opens up the mysteries of an obscure but monumental phase in Stone's career.1. You're The One (Parts 1 & 2) - Little Sister
2. Just Like A Baby - Sly
3. Home Sweet Home (Part 2) - Joe Hicks
4. I'm Just Like You
5. Somebody's Watching You (full band version) - Little Sister
6. Life & Death In G & A (Parts 1 & 2) - Joe Hicks
7. Trying To Make You Feel Good
8. Stanga - Little Sister
10. You're The One (early version) - Little Sister
11. Africa - Sly
12. I'm Goin' Home (Part 1) - Joe Hicks
13. Somebody's Watching You - Little Sister
14. You Can, We Can
15. Spirit - Sly
16. I'm Just Like You (full band version)
17. Scared - Sly
18. Dynamite (alternate version)$26.99Vinyl LP - 2 LPs Sealed Buy Now
Junk"On the last album, there was too much of me." That's how Anthony
Gonzalez - the sonic auteur behind that most sublime purveyor of
symphonic-indie-electronic-dream pop, M83, describes the primary
inspiration behind his forthcoming album Junk, released on April 8 by Mute.
Highly anticipated, Junk is not just M83's first studio artist album in half
a decade; it's also the follow-up to Hurry Up, We're Dreaming - which
upon release in 2011 put M83 in the direct current of the mainstream. So
why would Gonzalez try to remove himself from its follow-up and supplant
himself with the surprising likes of Beck and Steve Vai. Wait, Steve Vai?
The legendary virtuoso guitar hero who defined an era? On a M83 album in
In trying to "remove" his identifiable musical presence, ironically Gonzalez
may have made one of his most personal efforts yet in Junk and with no
compromise. With Junk, M83 has succeeded in making what Gonzalez
called "an organized mess - a collection of songs that aren't made to live
with each other, yet somehow work together. From album opener "Do It
Try It", a fractured yet catchy mÉlange of old-school house music pianos
and pop-art bubblegum hooks worthy of ABBA, to "Moon Crystal," an
instrumental whose mutant retro-futurist grooves evoke Genesis doing a
prog-disco remix of the Love Boat theme, to the smooth new wave-meets-electro-funk
workout "Time Wind" (featuring vocals by Beck) to "Go!", an
exultant synth-pop charmer featuring vocals from new M83 collaborator
Mai Lan and guitar solo from legendary shredder, Steve Vai, one thing is
perfectly clear: "Every time I make a M83 album, I'm trying to do it on my
own terms - and it's the same for this one," Gonzalez says. "Whatever I do,
whatever influences I have, it ends up sounding like me. As a musician, I'm
just trying to take you somewhere else, beyond your world."1. Do It, Try It
3. Walkway Blues
4. Bibi The Dog
5. Moon Crystal
6. For The Kids
8. The Wizard
9. Laser Gun
10. Road Blaster
12. Atlantique Sud
13. Time Wind
15. Sunday Night 1987$25.99Vinyl LP - 2 LPs Sealed Buy Now
Rhythm And StealthImport
After Leftfield's debut album Leftism, which was released in 1995, it took 4 years for the London-based producers duo to release the sequel.
Sounding completely different than the first album, Rhythm and Stealth was worth waiting for. It sounds more diverse and solid than its predecessor and contains exciting collaborations with Roots Manuva on the track Dusted and Hip Hop pioneer Afrika Bambaataa on the dance floor killer Afrika Shox, which was accompanied by a state-of-the-art and shocking video. Rhythm and Stealth is a great excursion into many different styles; it moves from funk to hip hop to techno to electro, to ambient and dub, but still sounds cohesive.
You might even recognize some of the tracks from the movies. Swords was featured in the 1999 movie Go and Afrika Shox can be heard in the box office success movie Vanilla Sky, starring Tom Cruise and Penelope Cruz.1. Dusted
2. Phat Planet
3. Chant of a Poor Man
4. Double Flash
5. El Cid
6. Afrika Shox
7. Dub Gussett
9. 6/8 War
10. Rino's Prayer$39.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
HomeworkOriginally released in 1997, Homework is the landmark debut album from the French house duo Daft Punk consisting of Guy-Manuel de Homem-Christo and Thomas Bangalter.
Generally regarded as one of the most influential dance music albums of the '90s, Homework features an innovative synthesis of techno, house, acid house and electro styles amidst tracks that consistently engage the listener with rhythmically ambitious peaks and valleys.
Includes the acclaimed hit singles Around the World and Da Funk which were both nominated for Grammy Awards for 'Best Dance Recording.' A rewarding and impressive early glimpse at a group who has subsequently become the biggest electronic act in the world!LP1
2. WDPK 83.7 FM
3. Revolution 909
4. Da Funk
7. Around the World
8. Rollin' & Scratchin'
2. High Fidelity
3. Rock 'n' Roll
4. Oh Yeah
6. Indo Silver Club
8. Funk Ad$24.99Vinyl LP - 2 LPs Sealed Buy Now
Old FearsThe new School Of Language album is called Old Fears and it's set for release on Memphis Industries on 7 April 2014. Old Fears. It's a pop record. A place of clipped falsetto, melancholic funk, iridescent electro, shimmering post-punk, futurist prog. A self-contained sphere of strange sensations. Beguiling textures. Lengthening shadows. At times it is both liminal and minimal, at others emotive and external. Ambiguous and ambient. Tantalising and tempered. Modern. Unique. And funny too. "I wrote a lot of notes and they seemed to distinctly split into things to do with love and things to do with fear," says David Brewis. "A lot of it has ended up with me looking back at when I was 19, 20 - my formative years. So though I wouldn't want to call it a concept album it's definitely themed." Old Fears. Here each song has been honed and polished into something pure, like a vast block of marble chiselled down into a perfectly tiny delicate egg of FabergÉ-esque perfection. Recorded throughout 2013 in Field Music's studio on the banks of the River Wear in Sunderland, synth flourishes sit alongside the staccato jarring guitars of 'A Smile Cracks' and the metronomic rhythms of 'Dress Up'. Like a Ballard novel or a George Shaw painting, 'Between The Suburbs' offers perhaps the most lyrical and poetic moment, where "Dogs chase patterns, play to attention / Bulbs glare on greasy roads...". The title track meanwhile is reminiscent of the haunting giallo film scores of Goblin or kosmische music at its most moving while 'Moment Of Doubt' displays shades of Brian Eno and Robert Wyatt. Other oblique influences come in the form of early Justin Timberlake and N*E*R*D albums, "a bunch of disco records", Canadian experimentalist Sandro Perri, Dr John, Fela Kuti and Shalamar. Old Fears. A haunted collection that occupies a strange, hazy hinterland of permanent gloaming. One where snatched melodies pass each one another like cars gliding by at night on their way back to the silent suburbs. These are polished pieces composed without contrivance. Old Fears. An album that is neither retrogressive or futurist, but simply anchored in the moment. Pure. By beautiful album closer 'You Kept Yourself' one is left with the sensation of seeing, smelling and tasting the world anew.1. Distance Between
2. A Smile Cracks
3. Suits Us Better
4. Between The Suburbs
5. Old Fears
6. Dress Up
7. Moment Of Doubt
8. Small Words
9. So Much Time
10. You Kept Yourself$17.99Vinyl LP - Sealed Buy Now
Quality ControlJurassic 5 flexed serious old-to-the-new muscles in the '90s,
beginning with their independently released single
"Unified Rebelution" in 1994, and book-ending with their stellar debut
full-length: 2000's Quality Control. They walked a tightrope between
underground and mainstream hip-hop, and toured alongside rap peers
as well as punk rockers on the Vans Warped Tour.
With double the pleasure of your average hip-hop group - two DJs and
producers (Cut Chemist and DJ Nu-Mark); and four MCs (Chali 2na,
Akil, Marc 7 and Zaakir aka Soup) - they brought the late 1970s
"unison MC" style of pioneering groups like the Fantastic 5 and the
Force MCs to a new generation. Even more surprisingly, they did so out
of Los Angeles, whose hip-hop flavors generally leaned towards
Gangsta, G-Funk or Electro lines. Musically inventive and lyrically
forward-thinking, each song on Quality Control is a new adventure,
exploring engaging territory, delivered via one of the best live hip-hop
shows fans had seen in years.
From singles like the strutting groove of the title track to the throwback
doo-wop samples on "The Influence" and the catchy, keyboard
groove-driven "World of Entertainment (WOE Is Me)," to deeper album
tracks like the lyrical gymnastics of "Jurass Finish First" and the
thought-provoking "Lausd," Jurassic 5 consistently stepped to the
plate and their fans responded in kind, nearly pushing the album to
Gold status. Add the innovative DJ-and-sample workout which closes
out the album, "Swing Set," and you have one of the 2000s' most
unique and solid full-length platters.1. How We Get Along
2. The Influence
3. Great Expectations
4. Quality Control Intro
5. Quality Control
8. World Of Entertainment (WOE Is Me)
9. Monkey Bars
10. Jurass Finish First
13. The Game
15. Swing Set$27.99Vinyl LP - 2 LPs Sealed Buy Now
PoliticoNacional Records is excited to announce the vinyl release of Mexican Institute of Sound's (M.I.S.) critically acclaimed,
DJ-favorite albums 'Politico,' 'Pinata,' 'Mejico Maxico and 'Soy Sauce.'
Politico, the fifth full-length album by Mexican Institute of Sound (producer and songwriter Camilo Lara) is an album that almost wasn't. In 2011, an enormous amount of the explosive C4 was discovered next door to Lara's residence -- it was set to be detonated; by whom and for what purpose was never determined. In a recent interview, Lara said that he didn't deliberately set out to go into politics, but that politics had come to his house. These 13 songs, composed and assembled by Lara, address the chaos, destruction, tragedy, and violence that have become all-too-familiar elements in Mexican lives. Politico is a statement in the same way that the Clash's Sandinista! or the Sex Pistols' Never Mind the Bollocks were, but it isn't nostalgic. Nor is it sonically similar to either. Longtime fans of MIS may have some initial issues because there are vocals on almost every tune. But not only do they not they detract from the set's appeal, their urgent expressions add to it. While the topical nature of these songs is undeniable, it doesn't mean this isn't a fun record. Quite the opposite. Lara isn't didactic in his lyrics; these are personal observations, and in that way, carry more weight than slogans. His unique compositional style makes them musically irresistible, and compelling. He uses Mexico's and Latin America's folk forms -- cumbias, descargas, sons, corridos, mariachis, bandas, rancheras, cha-chas, rhumbas, pachangas, and more -- and hard welds them to slamming beats, layered melodies, and infectious keyboard grooves, all via a staggering yet organic-sounding mÉlange of samples from rock & roll, hip-hop, funk, house, disco, techno, etc. Check the wild marimba samples that introduce the melody to Tipo Raro, which originally appeared in the film Made in Mexico. Lara retains the melody throughout, but busts it from its context; he runs head-on into multi-tracked Farfisa organs, a deeply distressed beat, four-on-the-floor loops, rapping, and a brittle bassline that fires directly from the center. Especulando is a driving, funky electro jam. Es-Toy uses accordion and darkly tinged double trombones (à la Willie Colón), a pulsing organ, and chanted vocals. Despite its skittering dance beat and its mariachi horns, Más is pure, frenetic punk rock. Politico is easily the most sophisticated record in the MIS catalog. This is political music without apology; it's also frenzied dance party music that's virtually peerless. - Thom Jurek (All Music Guide)
M.I.S. tours the world performing at major festivals like Coachella and Lollapalooza, with a wide range of
high-profile television and videogame uses, including HBO 'Entourage' & 'East Bound & Down,' as well as
'Californication' and videogames like EA Sports' 'FIFA' and the new 'Grand Theft Auto V', for which he curated
one of the radio stations 'East Los FM.'
The sound of old Mexican cumbias, boleros and mariachi tunes scrambled with samples, effects and beats.
- NEW YORK TIMES
Camilo Lara works the electro-dance scene like the James Murphy [LCD Soundsystem] of Latin America.
Think Hot Chip visiting the Buena Vista Social Club; think traditional samples with bells and beats; think a
sweaty indie-dance party. - CMJ1. Politico
7. Ceci n est Pas Une Automate
8. Se Baila Así
9. My Buddy @julps
10. Tipo Raro
11. Ritmo Internacional
12. Cumbia Meguro
13. El Jefe$21.99Vinyl LP - Sealed Buy Now
Eazy Duz It (25th Anniversary Edition)Remastered 25th Anniversary Edition
Released only a month after Straight Outta Compton (1988), Eazy-Duz-It was the first N.W.A spin-off album. Years before Ice Cube went solo with Amerikkka's Most Wanted (1990), before Dr. Dre changed the rap game with The Chronic (1992), before MC Ren struggled to establish himself with Shock of the Hour (1993), and before Yella simply fell into obscurity, Eazy-E rose to immediate superstar status with this solo debut. It's no wonder why, for the album plays like a humorous, self-centered twist on Straight Outta Compton with Eazy-E, the most charismatic member of N.W.A, front and center while his associates are busy behind the scenes, producing the beats and writing the songs.
In terms of production, Dr. Dre and Yella meld together P-Funk, Def Jam-style hip-hop, and the leftover electro sounds of mid-'80s Los Angeles, creating a dense, funky, and thoroughly unique style of their own. In terms of songwriting, the D.O.C., Ice Cube, and MC Ren are each credited; plus, Ren performs raps of his own on five of the 12 songs.
The collaborative nature of the music -- with Dre and Yella producing; the D.O.C., Ice Cube, and MC Ren writing the songs; MC Ren featured as a guest on half of them; and Eazy-E performing -- fortunately makes Eazy-Duz-It more of an N.W.A effort than a true solo album. This is fortunate because as charismatic as he may be, Eazy-E isn't an especially gifted MC. He's at his best here when he's cracking wise and also when he's overshadowed by Dr. Dre's productions, particularly on the four-song sequence of Eazy Duz It, We Want Eazy, Eazy-er Said Than Dunn, and Radio -- all heavily produced songs with layers upon layers of samples and beats competing with Eazy-E's rhymes for attention.
Straight Outta Compton is no doubt the more revolutionary album, yet Eazy-Duz-It is a great companion, showcasing N.W.A's sense of humor and, despite the often violent subject matter, casting them in a lighter, more humorous mood. When Eazy-E would return with a second solo release, 5150 Home 4 tha Sick, his N.W.A associates would be M.I.A. and the difference would be stark.
- Jason Birchmeier (All Music Guide)1. Still Talkin'
2. Nobody Move
3. Ruthless Villain
4. 2 Hard Mutha's
5. Boyz-N-The-Hood (remix)
7. We Want Eazy
8. Eazy-er Said Than Dunn
10. No More ?'s
11. I'mma Break It Down
12. Eazy - Chapter 8 Verse 10$24.99Vinyl LP Reissue - Sealed Buy Now
FolilaAmadou & Mariam have long cultivated a spirit of openness that they often put into practice with musicians from all backgrounds and styles. Their journeys have allowed the couple to forge lasting friendships. M. and Vincent Segal were their guests, Keziah Jones and K'naan also interacted, the Lebanese trumpeter Ibrahim Maalouf and British guitarist Johnny Marr were invited to jam while Manu Chao and Damon Albarn produced them with skill. No doubt, the Malian couple's history is written in the plural suggestive of their affinities.
Their land, Mali, is currently one of the most attractive centers of globalized music. The couple still draws from their region's inspiration, a living spring they draw from beyond their region. Such is the strength of Folila, reflecting a growing openness to the world of music. The idea was to produce two albums: a crossover in New York, centered around meetings, and the other more roots in Bamako, with guests mainly African, says Marc-Antoine Moreau, their loyal manager and artistic director, with sound engineer Antoine Halet.
Stage one was recorded in three weeks at the Cooper Square Hotel, which accommodated multiple guests, including Santigold, who puts her voice on Dougou Badia. Tunde and Kyp, the two poets of the combo TV On The Radio, slide naturally on Wally Katasso, a ballad mixed by Keni Takamoto, the sound engineer for Danger Mouse. As for Theophilus London, the young poet prints a subtle flow of soul-jazz onto Nebe Meri, perfectly fitting with Amadou's blues accents.
Other esthete of great black music, Amp Fiddler brings some Detroit soul on Wari, before lending his keyboard lines onto Africa My Africa, boosted by Antibalas' section, the Afro-funk combo from Brooklyn, whose brass gleam here and there. As for Jake Shears, the soul of Scissor Sisters and a fan of the couple since a tour together in England, he served his high-pitched voice on the haunting disco blues of Metemya. Last but not least, Ebony Bones puts fire on C'est Pas Facile, a track that flirts with Congolese rumba and electro sounds.
During stage two of the process, it was back to Bamako, for another three-week session, this time in the studios of Manjul, a prominent rastaman installed in Mali. He has a clear idea: to use the same basic track, the same tempo, the same tones, but putting it into perspective with long-time friends, like the percussionist Boubacar DembelÉ and Yaho the totemic bassist, and guests.
Judge for yourself: Bassekou KouyatÉ and his ngoni, Idrissa Soumaoro on kamele ngoni, Toumani DiabatÉ on kora, Zu Tereta on monochord fiddle, Tuareg guitarist Abdallah Oumbadougou: all the best subtle strings of the universe are on this record. This album sounds at once organic and electronic, both roots and rock, both retro and futuristic, and totally unlike anything else.1. Dougou Badia (feat. Santigold)
2. Wily Kataso (feat. Tunde & Kyp of TV On The Radio)
3. Oh Amadou (feat. Bertrand Cantat)
4. Metemya (feat. Jake Shears of Scissor Sisters)
5. Africa Mon Afrique (feat. Bertrand Cantat)
6. C'est Pas Facile Pour Les Aigles (feat. Ebony Bones)
7. Wari (feat. Amp Fiddler)
8. Nebe Miri (feat. Theophilus London)
9. Another Way (feat. Bertrand Cantat)
10. Bagnale (feat. Abdallah Oumbadougou)
11. Mogo (feat. Bertrand Cantat)
12. Sans Toi
13. ChÉrie$32.99Vinyl LP w/ CD - Sealed Buy Now
Ultima II MassageTOBACCO can't have nice things.
On his third album, the Pennsylvania snake-synth-charmer deepens his approach
to aural depravity. Ultima II Massage widens a jagged swath through the dude's
own weird catalog, each disparate track damaged to the point of contributing to
some sort of greater, lurching Frankenstein-like state. "I spent a lot of time
breaking it in all the right places," says TOBACCO. "It ends up making the whole
thing breathe - sometimes gasp for air. It feels more alive." Immediately after
nishing 2010's Maniac Meat, he went to work on the beat-addled series begun
with Fucked Up Friends in 2008. There were notable breaks en route to now - a
surprising commission to remix White Zombie's "Thunder Kiss '65," a new BMSR
record (Cobra Juicy), and producing Demon Queen's Exorcise Tape with vocalist
Zackey Force Funk - but he saved the worst for last, amassing the most
misanthropic material for Ultima. To wit, SPIN dubbed early share "Lipstick
Destroyer" a "junkyard takedown of Daft Punk's beloved, pristine electro."
TOBACCO explains his modied approach: "I wanted to push each song just
enough, so that even when the album's at its wildest, it's something you can zone
out to. It feels like a denitive end to a concept I've been trying to perfect forever.
Maniac Meat was linear. This time I wanted to do a lot of di!erent things and have
them come together as one meditative piece. At least for myself."
Which, oddly enough, makes sense. This is easily TOBACCO's most diverse set to
date - his own Stereopathetic Soulmanure, but about that 1-900 hotline life:
massage parlors, plasticized sleaze, fake tans, old dial-ups to the fan clubs of
dead B-actors. Fittingly, the album's only contributor is Beck music director Brian
LeBarton who shrieks as Notrabel on the grimy freak-out "Streaker." At 17 tracks,
Ultima is stacked with beautifully perverse hits - from the sickly sticky "Eruption,"
to the wobbly demon swaggerer "Face Breakout," to the distorted punk spazz of
"Dipsmack," to the apocalyptic sepia ambience of "Spitlord." You may hear
disembodied bits of Boards of Canada, early Def Jam records, and Gary Numan,
or maybe just public-access TV and bad VHS dubs of '80s horror icks. Or the sun
exploding and everything you've ever loved melting. Again, TOBACCO was just
trying to make meditation music.
But to nd that rotted sweet spot, as always, he had to subvert his pop urges.
TOBACCO went back to the cassette decks he started o! with - analog weapons
of distortion to compliment his hissing vocoder and blown rhythms. Any moment
that felt "just right" was brutally assaulted until ugly again. All to accomplish one
end: "This might be my most purposely difcult album yet, but I promise if you let
it in, it can fuck you up."
Ultima II Massage. No happy ending.1. Streaker (ft. Notrabel)
2. Good Complexion
3. Video Warning Attempts
5. Lipstick Destroyer
6. Self Tanner
7. Face Breakout
8. Blow Your Heart
9. Beast Sting
11. Creaming for Beginners
12. Omen Classic
13. Pool City, McKnight Road
15. Father Sister Berzerker
16. The Touch from Within$22.99Colored Vinyl LP - Sealed Buy Now
Everywhere At OnceLyrics Born (a.k.a. Tom Shimura) has long been known for his innovative beats, creative collaborations and soulful vocals. Here he takes a giant leap forward in song craft, incorporating elements such as pop, reggaeton and R&B. It's the rare MC who can bridge the gap between hip-hop and alternative rock, owning the crowd at Bonnaroo and Bumbershoot as easily as he trades rhymes with Charlie 2na.
With beats courtesy of Jake One, Amp Live, Trackademics and Lyrics Born himself, Everywhere At Once dabbles in everything from old-school rap, electro, 1970s soul, and G-Funk to contemporary R&B, pop, and jazz. By refusing to assign himself to any specific style within the hip-hop genre, Lyrics Born is able to transcend it. The end result is a well-rounded effort that succeeds in its many endeavors, appealing to all kinds of music fans while never sounding derivative. Honest, introspective and eclectic, Everywhere At Once is among the best hip-hop albums of 2008.1. Intro Tag
2. Don't Change
3. Hott 2 Deff
6. Shoe Hoes Anonymous
7. I'm A Phreak
8. I Like It, I Love it v
9. The World Is Calling
10. Top Shelf
11. Is It The Skin I'm In?
12. Homeland Security
13. Do U Buy It?
14. Rules Were Meant To Be Broken (Remix)
16. I Can't Decide(Everywhere At Once)
18. Let Me In, Let Me Out (Remix)$19.99Vinyl LP - 2 LPs Sealed Buy Now