WILL's mix

The Frightnrs escort Daptone into the world of long-playing reggae with both the sweetest and the roughest record of the decade. Crafted under the meticulous eye of black-belt reggae mastermind/producer Victor Axelrod (AKA Ticklah), Nothing More to Say is a rocksteady masterpiece the likes of which has not reared it's head since the golden era of Studio One. However, you'll find no imitation here - none of the faux-jamaican cliches of lesser reggae bands. Like all things Daptone, this record is above all soulful and honest.

HIVE MIND is the new album from THE INTERNET, and is the follow up to 2015's critically acclaimed and Grammy nominated album Ego Death. With this new album, THE INTERNET present enormous growth in their creative chemistry and prove they are a five-person force whose singular talents created one phenomenal whole. The album is written and produced entirely by THE INTERNET - Syd (vocalist/songwriter), Matt Martians (producer), Steve Lacy (guitarist/vocalist/songwriter), Patrick Paige II (songwriter/bassist), and Christopher Smith (songwriter/drummer). And it is with a sense of togetherness - not just for them, but for everyone - that the band chose to highlight as a major theme for Hive Mind. "After making a few songs we realized that we really want to use this album to live by example and promote camaraderie amongst young black people," Syd reveals. "We realized that we're the only band of our kind. And we want to really solidify ourselves as that, as the best." With the chaos of the current world considered, all of THE INTERNET wanted to champion good feelings and the joy of following your heart and passions, in addition to using their own positive relationships and experiences to inspire their community. The band unearthed an even deeper purpose as they collaborated on HIVE MIND. The result is not just one of the greatest records in the band s already phenomenal catalogue, but is easily one of the best albums of 2018, from five amazing people already leaving an indelible mark on pop music.

Remastered from the rare analog tape the special edition vinyl will be on 2LP for the first time. Limited double vinyl LP repressing of this 1988 debut album from the Rap kingpin. The Great Adventures Of Slick Rick topped Billboard's R&B/Hip Hop albums chart for five weeks and peaked at #31 on the Billboard 200 chart.

Stimulator Jones’s music never draws on just one place or time, instead dipping in and out of classic styles from the 1970s and ’80s to the present day. On his debut album Exotic Worlds and Masterful Treasures, his elastic voice and instrumental grooves effortlessly evoke the heady feel of R&B favorites like Rick James, K-Ci & Jo Jo, Aaron Hall and The Gap Band

Double 180gm audiophile vinyl LP pressing. 2Pacalypse Now is the 1991 debut studio album by 2Pac. The album is 2Pac's commentary on contemporary social issues facing American society such as racism, police brutality, poverty, black on black crime, and teenage pregnancy. It featured three singles; "Brenda's Got a Baby", "Trapped", and "If My Homie Calls". The album was initially released on T.N.T. Recordings and Interscope Records, which at the time was distributed through Eastwest Records America and Atlantic Records. Following Shakur's death, Amaru Entertainment (established by his mother Afeni Shakur) obtained the rights to this album. The album generated significant controversy stemming from then-U.S. Vice President Dan Quayle's public criticism after Ronald Ray Howard murdered a Texas state trooper and his defense attorney claimed he was influenced by 2Pacalypse Now and it's strong theme of police brutality. Quayle made the statement, "There's no reason for a record like this to be released. It has no place in our society."

Eno's landmark Ambient album from 1978 has been Half Speed Mastered by Miles Showell at Abbey Road Studios, London and is now presented in a gatefold sleeve on 2 180 gram discs which have been cut at 45rpm for a superior listening experience. Complete with an Obi and Abbey Road Certificate of Authenticity and contains a Download Voucher.

Limited 180gm blue and silver marbled vinyl LP pressing. Includes insert. British shoegazing/alternative rock band Chapterhouse released two albums during their existence, Whirlpool (1991) and Blood Music (1993). Their debut album is a fantastic example of shoegaze at it's best. The wall of sound approach is built around dance music structures and they're creating some heavy grooves. Whirlpool spent three weeks in the UK Album chart in 1991, peaking at #23. This classic is definitely set in the nineties but has stood the test of time.

Enter Flamagra - a work that sweeps up every quantum advance and creative leap of the last dozen years of Lotus career and takes them even further; the Warp release encompasses hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM, the L.A. Beat scene, but it soars above a specific vortex whose coordinates can t be accurately charted. Other than to say that it is a Flying Lotus record, perhaps the definitive one. An astral afro-futurist masterpiece of deep soul, cosmic dust, and startling originality. He s aided by a dream cast of collaborators: Anderson Paak, George Clinton, Yukimi Nagano of Little Dragon, Tierra Whack, Denzel Curry, Ishmael Butler of Shabazz Palaces, Toro y Moi, and his telepathic kinsman, Thundercat. David Lynch even pops up for an eerie narration wherein he somberly warns that, 'Fire is coming.' But they all naturally bend to the magnetic warp of Lotus spells -- a transfixing hex unto themselves. Limited Edition double vinyl with mirrorboard pop-up gatefold sleeve.

2005 reissue LP on green vinyl. Jazz influences took their effect on the shortly lived emo band American Football. All through their self-titled 1999 debut album, you can hear jazz rhythm and timing while the instruments trade off solos like they are talking to each other. Yet, blended with true emo lyrics and musical stylings, the jazz flavoring makes for a one-of-a-kind experience. All of it is due to the understated creative genius of drummer and trumpeter Steve Lamos, guitarish and organ player Steve Holmes and guitarist, bassist and vocalist Mike Kinsella. As a band, American Football disolved into the history books almost as soon as their album was released, but its success continues to grow in their absence. Fan requests for vinyl pressings were eventually acted upon, and several early editions sold out almost instantly. The now standard nationwide reissue on green vinyl remains in print.

A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a "silver tongue." It's apt, then, that Mackenzie Scott-who has spent the 2010s making boundary-pushing pop music under her Torres moniker-has chosen to call her fourth album, and first on Merge, just that. Recorded at O'Deer in Brooklyn, New York, Silver Tongue is a full-scale realization of the world Scott has created over Torres' last few albums. Even when singing in more subdued tones, Scott's voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday

Nick Hakim is a DC-raised and NYC-based singer and multi-instrumentalist whose music experiments with soul, psychedelia, and R&B. He cites artists as diverse as Marvin Gaye, Portishead, Shuggie Otis, Bilal, and My Bloody Valentine as influences. His debut album Green Twins is a lush, ambitiously expansive project recorded over the last three years. Its production layers analog demos with more polished studio recordings, and it features NYC jazz experimentalists Onyx Collective and Jesse & Forever, artists Nick frequently performs with in the close-knit Brooklyn DIY circuit.

Devour marks the fourth full-length record from Margaret Chardiet's project Pharmakon and her most intense output to date. Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game. Artist Statement: "Devour" uses self-cannibalization as allegory for the self-destructive nature of humans; on cellular, individual, societal and species-wide scales. In our cells, our minds, our politics and our species, humans are self-destructing. But this behavior does not happen in a vacuum. It is an instinctive inward response to a world of increasing outward violence, greed, and oppression. Turning these wounds toward ourselves can be seen as an attempt at "balancing feedback", within a never-ending positive feedback loop of cause and effect. With this view, the blame is placed not within the individual, but with the world they must contend with, and a society that is designed to fail them - to keep them gnashing and wailing, inflicted with an all-devouring hunger that inevitably turns in on the self. Those that pit them against each other grin from the sidelines, bellies full. Those who see beyond the veil need to obscure the horrid sight by any means necessary, but respite is always brief - nothing can dampen the glare from behind the veil. This album is dedicated to all who were lost to their own demise, all who have been institutionalized; whether in prison, psychiatric facilities, or drug rehabilitation. It is for all those ostracized by and isolated from a totality which chews them up alive in a self-cannibalizing caste system. Here, where martyrs, slaves, and pharmakos are not eradicated, but simply called by another name. "ABOUT THE SHALLOWNESS OF SANITY"... To be well adjusted in this system is to be oblivious and unfeeling. This is for the rest of us, who understand that chaos, madness, pain and even self destruction are natural and inevitable responses to an unjust and disgusting world of our own making.

Extremely limited double 180gm colored vinyl LP repressing of this long out of print album in gatefold sleeve. On this album, we have rare alternative mixes of songs by Manchester post-punk legends Joy Division that were producer Martin Hannett's personal favorites. Thankfully, Martin kept his mixes of these tracks and he had the forethought to get the band members to give him control of these recordings. Joe Division were poised to take over America until singer Ian Curtis committed suicide on the eve of their American tour. His death cemented their legacy in stone. The rest of the band renamed themselves New Order and after a few dark Joy Division-like recordings, slowly transformed into one of the most successful bands of the `80s.

To mark the tenth anniversary of the release of I'm New Here , the thirteenth - and last - studio album from the legendary US musician, poet and author Gil Scott-Heron, XL Recordings will release a unique reinterpretation of the album by acclaimed US jazz musician Makaya McCraven. Titled We're New Again, the album will be released on 7th February 2020; exactly a decade after the release of Scott-Heron's original Richard Russell-produced recording. It's set to follow in the footsteps of Jamie xx's highly acclaimed 2011 remix album We're New Here and will be McCraven's first release of 2020, following the huge global acclaim heaped upon his 2018 album Universal Beings. One of the most vital new voices in modern jazz, McCraven is described by the New York Times as a Chicago-based drummer, producer and beat maker, [who] has quietly become one of the best arguments for jazz's vitality.

Legacy of Brutality is a compilation album of early songs by the New Jersey punk rock band Misfits. The album contains overdubbed mixes of previously unreleased tracks, mainly from the January-February 1978 Static Age sessions. Besides the Box Set, this is the only album to contain the songs "American Nightmare" and "Who Killed Marilyn?". This compilation was one of the first (aside from bootlegs) to release many of the Static Age tracks to the common public. Glenn Danzig, having mixed and produced it, overdubbed much of the album's material without consulting any former band members.

The classic 1969 recording, originally released on the poppy label, was Texas country blues and folk singer Townes Van Zandt's third full-length release. Influenced by Hank Williams, Bob Dylan and Lightnin' Hopkins, Van Zandt's unique style - at times brooding and introspective, at times relentlessly forceful and dynamic - spoke to the dark corners of the human soul, and has been claimed as an influence by everyone from Sonic Youth to Willie Nelson.

Townes Van Zandt's music doesn't jump up and down, wear fancy clothes, or beat around the bush. Whether he was singing a quiet, introspective country-folk song or a driving, hungry blues, Van Zandt's lyrics and melodies were filled with the kind of haunting truth and beauty that you knew instinctively. His music came straight from his soul by way of a kind heart, an honest mind, and a keen ear for the gentle blend of words and melody. He could bring you down to a place so sad that you felt like you were scraping bottom, but just as quickly he could lift your spirits and make you smile at the sparkle of a summer morning or a loved one's eyes - or raise a chuckle with a quick and funny talking blues. The magic of his songs is that they never leave you alone.

Despite his warm, dusty-sweet voice, as a singer Van Zandt never had anything resembling a hit in his nearly 30-year recording career - he had a hard enough time simply keeping his records in print. Nonetheless, he was widely respected and admired as one of the greatest country and folk artists of his generation. The long list of singers who've covered his songs includes Merle Haggard and Willie Nelson (who had a number one country hit with "Pancho and Lefty" in 1983), Emmylou Harris, Jimmie Dale Gilmore, Nanci Griffith, Hoyt Axton, Bobby Bare, the Tindersticks, and the Cowboy Junkies.

Van Zandt was a Texan by birth and a traveler by nature. His father was in the oil business, and the family moved around a lot - Montana, Colorado, Minnesota, Illinois, among other places - which accounted for his sometimes vague answers to questions of where he "came from." Van Zandt spent a couple years in a military academy and a bit more time in college in Colorado before dropping out to become a folksinger. (Van Zandt often returned to Colorado in subsequent years, spending entire summers, he said, alone in the mountains on horseback.)

Van Zandt moved to Houston and got his first paying gigs on the folk music circuit there in the mid-'60s. He played clubs like Sand Mountain and the Old Quarter (where in 1973 he recorded one of his finest albums, Live at the Old Quarter, released four years later), and he met singers such as Guy Clark (who became a lifelong friend and frequent road partner), Jerry Jeff Walker, and blues legend Lightnin' Hopkins, who had a large influence on Van Zandt's guitar playing in particular.

Another Texas songwriter, Mickey Newbury, saw Van Zandt in Houston one night and soon had him set up with a recording gig in Nashville (with Jack Clement producing). The sessions became Van Zandt's debut album, For the Sake of the Song, released in 1968 by Poppy Records. The next five years were the most prolific of Van Zandt's career, as Poppy released the albums Our Mother the Mountain, Townes Van Zandt, Delta Momma Blues, High, Low and in Between, and The Late Great Townes Van Zandt. These included such gems as "For the Sake of the Song," "To Live's to Fly," "Tecumseh Valley," "Pancho and Lefty," and many more that have made him a legend in American and European songwriting circles.

Van Zandt moved to Nashville in 1976 at the urging of his new manager, John Lomax III. He signed a new deal with Tomato Records and in 1977 released Live at the Old Quarter, a double album - and the first of several live recordings - that contained many of his finest songs. In 1978 Tomato released Flyin' Shoes; the long list of players on that album included Chips Moman and Spooner Oldham.

Van Zandt didn't record again for nearly a decade, but he continued to tour. He moved back to Texas briefly, returning again to Nashville in the mid-'80s. During the early '80s, both "If I Needed You" and "Pancho and Lefty" became country radio hits. In 1987, Van Zandt was back in business with his eighth studio album, At My Window, which came out on his new label, Sugar Hill. By this time, Van Zandt's voice had dropped to a lower register, but the weathered, somewhat road-weary edge to it was as pure and expressive as ever. Two years later, Sugar Hill released Live & Obscure(recorded in a Nashville club in 1985), and two more live albums (Rain on a Conga Drum and Rear View Mirror) appeared on European labels in the early '90s. In 1990, Van Zandt toured with the Cowboy Junkies, and he wrote a song for them, "Cowboy Junkies Lament," which appeared on the group's Black Eyed Man album (along with a song the Junkies wrote for him, "Townes Blues").

Sugar Hill released Roadsongs in 1994, on which Van Zandtcovered songs by Lightnin' Hopkins, Bruce Springsteen, the Rolling Stones, and others, all recorded off the soundboard during recent concerts. At the end of that same year, Sugar Hill released No Deeper Blue, Van Zandt's first studio album since 1987. Van Zandt recorded it in Ireland with a group of Irish musicians. Van Zandt sang every song but only played guitar on one.

A year and a half after the release of No Deeper Blue, Van Zandt died unexpectedly on January 1, 1997; he was 52 years old. Posthumous releases included collections like Last Rights: The Life & Times of Townes Van Zandt and Anthology: 1968-1979, as well as albums like 1998's Abnormal and the following year's Far Cry From Dead, which featured previously unreleased songs.

The early 2000s saw a resurgence of interest in Van Zandt's music and enigmatic life; three book projects and two films entered production, and features on the musician appeared in such tastemaking rags as Mojo. But perhaps the greatest gem was the discovery of a collection of Van Zandt demos dating from 1966, a full two years before his proper debut. The ten previously unreleased recordings were issued by the Houston imprint Compadre in April 2003 as In the Beginning.. Included in the release were liner notes written by John Lomax III.

Townes Van Zandt - 50th Anniversary

Introducing... 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. Introducing... 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. Introducing... 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. Introducing... has since appeared in several publications' lists of the decade's greatest albums.

Like his mythological namesake, Daedelus - otherwise known as Alfred Darlington - is an inventor, a creator of sonic labyrinths combining sounds from an eclectic palette into an innovative genre all his own. To celebrate its 15th anniversary, Daedelus is repackaging his seminal debut Invention in a 2LP package with the complimentary EP The Quiet Party (including appearances from Madlib, Yesterday's New Quintet and Busdriver) in a color vinyl masterpiece. Containing the track "Experience", known in part as a sample in Madvillain's accordion, Invention is a genre-spanning opus that marks the start of what has become an illustrious career.

1. Playing Parties 2. Pursed Lips Reply 3. Astroboy 4. Adventress 5. Elegy (At Last) 6. Muggle Born 7. Aplomb 8. Experience 9. Loded 10. Quiet Now 11. Minor Detour 12. Perchance A Bit 13. Soulful Of Child 14. Thus The Whirligig 15. Quiet Now (with Busdriver) 16. Pursed Lips Reply (with Sach) 17. Playing Parties (YNQ – The Stars Remix) 18. Madlib Bonus Beats 19. Muggle Born (High Priest ESP Remix) 20. Girls (feat. Abstract Rude and Busdriver) 21. Girls (Instrumental) 22. A Touch Of Spring

Vinyl LP pressing. 1968 album from the jazz harpist. From the opening funky groove with Theremin to the reverb heavy harp solos Dorothy Ashby proved that the harp is more than just an exotic orchestral color. Her solos stretch the capabilities of the instrument with her unique ability to bend notes with her distinct pedal technique and unique harp ability. Freddy Hubbard's "Sunflower" becomes a mind-blowing mix of jazz, percussion and rock. Ashby's harmonic selections are as up to date now as they were then.

Thundercat is set to release his new album It Is What It Is on Brainfeeder Records on April 3, 2020, and shares the first music; 'Black Qualls (featuring Steve Lacy and Steve Arrington). The album, produced by Flying Lotus and Thundercat, features musical contributions from Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox. It Is What It Is follows his game-changing third album Drunk (2017). That record completed his transition from virtuoso bassist to bonafide star and cemented his reputation as a unique voice that transcends genre. 'This album is about love, loss, life and the ups and downs that come with that,' Bruner says. 'It's a bit tongue-in-cheek, but at different points in life you come across places that you don't necessarily understand' some things just aren't meant to be understood.'

Madvillain: Madlib, MF Doom. Additional personnel includes: Lord Quas, M. E. D. , Wildchild, Viktor Vaughn, Stacy Epps. Two years in the making, and combining two of the best underground hip-hop artists of the early 2000s, this collaboration between MF Doom and Madlib has been appropriately dubbed MADVILLAINY. With both men known for their stunning soundscapes, rhyming skills, and schizophrenic personalities, the duo decided to have Madlib concentrate on the beats and let Doom handle the lyrics. In mixing their comic-book-like personas, Madlib and Doom play to their nearly superhuman strengths; while some other collaborations of this caliber seems forced and lop-sided, there is absolutely no filler here-just undiluted beats and rhymes, best exemplified by the singles "America's Most Blunted" and "All Caps. " Lib's inventive production leans towards the jazzy side of his repertoire, and Doom unleashes outrageous lyrics on par with his solo efforts (and even his work as Zevlove X in his stint with K. M. D. ). Never flashy or glamorous, MADVILLAINY is served straight up, the way hip-hop was meant to be.