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Tre Mission


    The first full album from Toronto’s Tre Mission, “Stigmata” achieves something remarkable. He takes a genre which we think we know and which, in all honesty, he should have no right interfering with. Then he re-shapes it into something entirely new. Coming over as the missing link between Wiley and Outkast, Mission elaborates the connections (via his own roots in the Caribbean) between UK grime and North American rap and makes the whole thing sound as natural, as soulful, as hard and heavy as you like.

    From the woozy atmospherics of the title track onward, you know you’re in for something special. Tre hits the beat with his precise, complex flow, managing to express the kind of fragility which distinguishes the very best grime MCs. Wiley - Tre’s earliest supporter and champion in the UK - features on “Real Grind,” while Canadian hip hop legend Saukrates joins him on “Get Doe,” the pair serving to signal the range of his work. Mission trades verses with JME on “Rally,” something like a sequel to “If You Don’t Know.” “On Road” combines an old skool twostep feel with uneasy, bleary tension for one of the stand-outs of the record. “In The Hallway” is epic, widescreen bounce with the added bonus of a verse from Skepta. “Jack Pot” is sparse, harsh, bass-heavy grime, Tre's flow matched by Merky Ace. Another stand-out is “Boy In The Corner,” a story rhyme that also acts as a tribute to Dizzee Rascal and a genre classic. When you allow for the fact that Tre also produced most of “Stigmata,” you know you’re dealing with a serious proposition.


    Stigmata (ft Thes)
    Real Grind (ft Wiley & Andreena)
    Jessica (ft K-OS)
    Rally (ft JME)
    On Road
    In The Hallway (ft Skepta)
    Money Make (Her) (ft Andreena)
    Jack Pot (ft Merky Ace)
    Get Doe (ft Saukrates)
    Boy In The Corner *
    Cold Summers (Outro)
    * = CD Only Track

    Yaya Bey

    Ten Fold

      Yaya Bey unveils her latest studio album Ten Fold via Big Dada, available on standard black LP and translucent red indie LP.

      New York-bred R&B vocalist Yaya Bey conjures a comprehensive self-portrait on her new studio album, Ten Fold.

      Where her previous works were earnest and mindful, Yaya’s new LP is definitive, harkening back to aspects of her past while examining the future of the world that surrounds her with a stream-of-conscious intentionality.

      Over rapturous production from Corey Fonville of jazz group Butcher Brown, Karriem Riggins, Jay Daniel, Exaktly and Boston Chery, Yaya delivers a free-spoken masterpiece that speaks to the intricacies of persevering through a year punctuated by grief and loss, life-altering milestones and everything in between.


      Barry says: A biographical tale, told through the words of poet and vocalist Yaya Bey. Richly rendered R&B grooves and flickering electronic shards all work beautifully beneath Bey's often spoken-word storytelling. 'Ten Fold' takes the classics of disco, house and hip-hop and filters them through Yaya Bey's distinctive modern filter.


      1. Crying Through My Teeth
      2. The Evidence
      3. Chrysanthemums
      4. Sir Princess Bad Bitch
      5. East Coast Mami
      6. Chasing The Bus
      7. All Around Los Angeles
      8. Slow Dancing In The Kitchen
      9. So Fantastic (feat. Grand Daddy I.U.)
      10. Eric Adams In The Club (feat. Exaktly)
      11. Me And All My Niggas
      12. Iloveyoufrankiebeverly
      13. Career Day
      14. Carl Thomas Sliding Down The Wall
      15. Yvette's Cooking Show
      16. Let Go

      Young Fathers




        Congo Natty

        Jungle Revolution - 10th Anniversary Edition

          Congo Natty aka Rebel MC has a career dating back to his early hit with Double Trouble, 'Street Tuff', but is probably most respected as one of the pioneers of Jungle.

          'Jungle Revolution' features Benny Page (on the straight up
          ragga-jungle of 'UK Allstars'), Vital Elements (the 150bpm anthem 'Jah Warriors' and 'Jungle Is I and I'), Serial Killaz (the pure roots bounce and rinse out of 'Get Ready') and Boyson & Crooks (creeping technoid
          paranoia on 'London Dungeons') and was mixed with Adrian Sherwood.

          The LP clearly lays out the way in which Congo Natty sees Jungle as a re-boot of roots reggae for a new century. Full of blood and fire, the sternum-buzz of sub-bass, rapid fire drum breaks, sweet hooks, righteous anger and
          professions of love, it’s the kind of passionate, committed, raw and spiritual, beautiful record that doesn’t come along that often.

          Originally released in June 2013, the 10th anniversary edition comprises 2LP yellow and green vinyl cased in a reflective gold sleeve with the same artwork as the original. Download code included. 


          Matt says: 10 years since its original release and I have to say this is sounding as fresh and fiery as ever. Combining the gamut of Jamaican influences with a jungle-centric aesthetic, its a near perfect example of the ragga-jungle style. A classic!


          1. Jungle Souljah
          2. UK Allstars
          3. Revolution
          4. Get Ready
          5. Jah Warriors
          6. Nu Beginingz
          7. Jungle Is I And I
          8. London Dungeons
          9. Rebel
          10. Micro Chip (Say No)



            Drift is non-conforming and genre blending. Whilst hard to neatly fit in a box, the record feels like an avant garde blend of Electronic, Hip-Hop, Punk and Grunge music featuring soundscapes recorded from GAIKA's travels abroad. Shapeshifting and cinematic in style, GAIKA draws inspiration from musical greats; Prince, Wu Tang Clan, Massive Attack, and John Coltrane, with his approach akin to the Pink Siifus, A$AP Rockys, and Dean Blunts of this world.

            GAIKA’s sound spans from grime, dancehall, R&B, electronic, and beyond, often weaving in political commentary through his lyricism. New album Drift is an ensemble record with GAIKA as the central writer working with collaborators BbyMutha, KIDÄ, Azekel, Charlie Stacey, Chamber 45, Brbko, The Narrator (Amber Joy), SAMANTHA, and more. 

            TRACK LISTING

            1. Drift On
            2. Piñata
            3. Gunz
            4. First Among Misfits (Ft The Narrator)
            5. La Vacanza (Ft Kidä)
            6. Sublime
            7. Exit To Cisco
            8. Lady (Ft Bbymutha)
            9. O Vampiro
            10. Bonehead Behavior
            11. Vicious Chambers
            12. Ultra Scuro
            13. And There Goes The Challenger
            14. Less Burners Bigger Hearts (Ft The Narrator, Azekel)


            Flowers At Your Feet

              Based in upstate New York, Rahill Jamalifard is a multidisciplinary artist working within numerous overlapping musico-poetic traditions. Her creative practice includes songwriting, as well as portraiture, DJing (both radio and live), and a more private pursuit of literature.

              Informed by her upbringing in a diasporic Iranian-American household, as well as her lifelong, genre-spanning musical explorations, Rahill’s forthcoming solo releases constitute, at once, a natural progression of—and departure from—her work with the seminal NYC psych-rock outfit, Habibi, which she co-founded in early twenty-teens.

              Rahill’s songs occupy a familiar, contemplative mode - blending jazz, trip-hop / hip-hop and folk traditions spanning East and West.

              TRACK LISTING

              1. Healing
              2. I Smile For E
              3. Tell Me
              4. From A Sandbox
              5. Fables (feat. Beck)
              6. Hesitations
              7. Gone Astray
              8. Bended Light
              9. Ode To Dad
              10. Rise So I Rose
              11. Futbol
              12. Nazila
              13. Libra Sun
              14. Note To Self

              Amsterdam based, Brazilian-born producer and vocalist LYZZA is Big Dada’s latest signing since re-launching as a label run by Black, POC & Minority Ethnic people for Black, POC & Minority Ethnic artists. Making waves in the contemporary electronic scene since the age of 17, Lyzza is a force to be reckoned with and has been described by Beatport as 'one of electronic music’s most promising young avant-pop producers.'

              With three EPs under her belt, her fourth project “Mosquito” strives to show her range of abilities within sound and interdisciplinary art. The 10 track mixtape draws inspiration from mosquitoes and the psychological associations we have with them. Characteristically, mosquitoes are invasive and take up space, and this is something that Lyzza strives to be as an artist of colour.

              The mixtape boasts a catalogue of alt-pop tracks that mingle English, Spanish and Portuguese lyrics, and are set to be accompanied by several music videos, a series of vlogs and a short film.

              Lyzza's mixtape features trap artist La Zowi from Madrid and Zambian-Canadian rapper Backxwash who were handpicked due to their physical locations and pre-established listeners in order to imitate how mosquitoes spread themselves over territories.

              Lyzza has played across Europe, where she has played high-profile festivals such as Sonar, Melt!, Pukkelpop, Montreux Jazz Festival and Primavera Sound, the last performance resulting in Pitchfork recognising her as one of the Best of Primavera Sound 2018.

              Most recent live performances include a set at Komedia Studio, The Great Escape Festival in Brighton, UK, Zoom Festival in Frankfurt, Germany. Recommended if you like… Shygirl, LSDXOXO, Rosalia, Arca, Sophie, Mykki Blanco, Grimes, Kali Uchis, Kelela, Tomasa Del Real, Tinashe

              TRACK LISTING

              Side A
              1. Blush Me Out!
              2. Lucky You
              3. For When I Fall Again
              4. Deserve It (feat. La Zowi)
              5. Cheat Code

              Side B
              1. Eraser
              2. Mind 2 Lips
              3. Hold Me
              4. Heathens Call (feat.Backxwash)
              5. Ressaca

              Sampa The Great

              Birds And The BEE9 (RSD22 EDITION)


                Before her critically acclaimed album The Return (Ninja Tune), equal parts songwriter, poet, singer and lyricist Sampa The Great made her mixtape debut on Big Dada with Birds And The BEE9. The mixtape won the Australian equivalent of The Mercury Prize (The Australian Music Prize) and features production from Slowthai producer Kwes Darko and Silentjay (who produced the lionís share of The Return).

                5 years on it's been repressed on yellow and orange splatter vinyl and a liner note from Sampa The Great.

                Yaya Bey

                Remember Your North Star

                  Yaya Bey is one of R&B’s most exciting storytellers. Using a combination of ancestral forces and her own self-actualization, the singer/songwriter seamlessly navigates life’s hardships and joyful moments through music. Bey’s new album, ‘Remember Your North Star’ (out June 17), captures this emotional rollercoaster with a fusion of soul, jazz, reggae, afrobeat and hip-hop that feeds the soul. The artist’s knack for storytelling is best displayed in the album’s lead single, “keisha”. It’s an anthemic embodiment of fed-up women everywhere who have given their all in a relationship, yet their physical body nor spiritual mind could never be enough.

                  Bey’s ability to tap into the emotionally kaleidoscopic nature of women, specifically Black women, is the essence of the entire album. With themes of misogynoir, unpacking generational trauma, carefree romance, parental relationships, women empowerment and self-love, Remember Your North Star proves that the road to healing isn’t a linear one – there are many lessons to gather along the journey.

                  “I saw a tweet that said, ‘Black women have never seen healthy love or have been loved in a healthy way.’ That's a deep wound for us. Then I started to think about our responses to that as Black women,” Bey says of ‘Remember Your North Star’s title inspiration, an entirely self-written project featuring key production from Bey herself, with assists from Phony Ppl’s Aja Grant and DJ Nativesun. “So this album is kind of my thesis. Even though we need to be all these different types of women, ultimately we do want love: love of self and love from our community. The album is a reminder of that goal.”

                  The artist’s raw, unfiltered approach threads ‘Remember Your North Star’. “big daddy ya” finds the artist tapping into her inner rapper, channeling the too-cool and confident factor that artists like Megan Thee Stallion and City Girls are well-known for. “reprise” captures women’s exhaustion everywhere, with its lyrical tug-of-war of bettering oneself while trying to cut yourself off from toxic relationships. There’s also “alright” (co-produced by Aja Grant), a soothing, jazz-inspired ditty that showcases Bey’s love for the genre’s icons like Billie Holiday, while the carefree “pour up” highlights the artist’s friendship with DJ Nativesun (the song’s producer) and will immediately rush hips to the dancefloor.

                  There is no fakeness when it comes to Bey’s music, and her authenticity can be partly attributed to her upbringing in Jamaica, Queens. Early childhood memories included watching her father (pioneering ‘90s rapper Grand Daddy I.U) record in his studio – which also doubled as Bey’s bedroom – and listening to records by soul legends Donny Hathaway and Ohio Players around the house. Beginning at age nine, the artist’s father would leave space for her to write hooks to his beats, using her favorite artists like Mary J. Blige and JAY-Z as inspirations.

                  Bey quickly grew out of New York City and moved to D.C. at age 18. Calling it her second home, the city further ignited the artist’s creativity as she worked at museums and libraries, as well as tapping into poetry and attending protests. Her first release ‘The Many Alter - Egos of Trill’eta Brown’ in 2016 that incorporated a digital collage and a book, was praised by Solange’s Saint Heron agency, FADER, Essence, and many more. Bey followed up with fellow critically acclaimed projects like 2020’s ‘Madison Tapes’ album and 2021’s ‘The Things I Can’t Take With Me’ EP – the first release on Big Dada’s relaunch as a label run by Black, POC and minority ethnic people for Black, POC and minority ethnic artists – that received support from Pitchfork, Rolling Stone, NPR, Harper’s Bazaar, FADER, HotNewHipHop, Dazed, Clash, FACT, Crack Magazine, The Line of Best Fit and Mixmag.

                  In 2021, Bey was also profiled by Rolling Stone for their print magazine, contributed to the publication’s The 500 Greatest Songs of All Time list, and curated a playlist for Document Journal. The artist’s “september 13th (DJ Nativesun Remix)” and “made this on the spot” singles received strong radio support from BBC Radio 6 Music and BBC 1 Xtra’s Jamz Supernova. Last May, Bey was interviewed on BBC 1Xtra and performed three tracks for Jamz Supernova’s “Festival Jamz” including The Things I Can’t Take With Me’s “fxck it then” and “september 13th” that December.

                  Bey is also a critically acclaimed multidisciplinary artist and art curator, creating the artwork for her music through collages of intimate photos and self-portraits. In 2019, her work was featured in the District of Columbia Arts Center’s “Reparations Realized” exhibit and Brooklyn’s Museum of Contemporary African Diasporan Arts (MoCADA)’s “Let the Circle Be Unbroken” exhibit. She also completed multiple fine art residencies with MoCADA, curating programs that reflect the same theme that drives her music: the Black woman's experience.

                  ‘Remember Your North Star’ continues Bey’s personal and artistic evolution as she strives to be a soundboard for Black women everywhere. “I feel empowered in music because I can transform anything that happens to me into something that is valuable. Music helps me to see the value in what's going on in my life,” she explains. “There’s a spirit in music. It’s a culture and I'm in that community, contributing my story which keeps us connected.”

                  STAFF COMMENTS

                  Matt says: Seriously, get on this! Landing somewhere between Green Tea Peng, Amy Winehouse and Erykah Badu (!!) with that adoration for retroistic jazz and soul influences showered in sunshine and delivered with her own highly individualistic, localized vocal flow. She's also provocative, stylish and outspoken, making her a perfect star for 2022. Gonna blow up!

                  TRACK LISTING

                  Side A
                  1. Intro
                  2. Libation
                  3. Big Daddy Ya
                  4. Keisha
                  5. Nobody Knows
                  6. Alright
                  7. Meet Me In Brooklyn
                  8. It Was Just A Dance
                  9. Pour Up (feat. DJ
                  10. Uh Uh Nxgga

                   Side B
                  1. Reprise
                  2. Rolling Stoner
                  3. Don't Fucking Call Me
                  4. I'm Certain She's There
                  5. Street Fighter Blues
                  6. Mama Loves Her Son
                  7. Either Way
                  8. Blessings

                  King Geedorah (MF DOOM)

                  Take Me To Your Leader

                    King Geedorah aka MF DOOM is perhaps the most legendary and revered living figure in underground hip hop today. On the conceptual classic ‘Take Me To Your Leader’ he takes the form of a giant three-headed lizard from outer space to give you “Geedorah’s alien perspective on humans.” 13 tracks all produced, written, recorded, arranged, mixed and mastered by the Metal Fingered Villain himself, MF DOOM. A generation of musicians have grown up in awe of DOOM - he’s influenced and worked with Flying Lotus, Earl Sweatshirt, Madlib, Clams Casino, Danger Mouse, RZA, Ghostface Killah, De La Soul and more. Originally released in 2003 - a year before Madvillain ‘Madvillainy’, the collaborative opus with Madlib (Stones Throw / Jaylib / Quasimoto) - ‘Take Me To Your Leader’ was a critical success. Alongside the classic ‘Operation: Doomsday (Fondle ‘Em)’, ‘Take Me To Your Leader’ is a criminally rare full length studio production project from MF DOOM - off-centre beats that owe much to his love of jazz, fantastically skilled, charismatic MCing and ideas galore. Features a variety of vocal guests (some under alias) including MF DOOM, Kurious, MF GRIMM (as Jet Jaguar) and other members of NYC’s Monsta Island Czars. For fans of MF DOOM, Madvillain, Earl Sweatshirt, Run The Jewels, J Dilla, Ghostface Killah.

                    TRACK LISTING

                    Fastlane Ft Biolante
                    Krazy World Ft Gigan
                    The Final Hour Ft MF DOOM
                    Monster Zero
                    Next Levels Ft Lil’ Sci, ID 4 Winds & Stahhr
                    No Snakes Alive Ft JetJaguar & Rodan
                    Anti-Matter Ft MF DOOM & Mr Fantastik
                    Take Me To Your Leader
                    Lockjaw Ft Trunks
                    I Wonder Ft Hassan Chop
                    One Smart Nigger
                    The Fine Print

                    Farai’s debut album (a collaborative project between London based vocalist Farai and artist, musician & producer TONE) documents a process of recovery. For the eponymous vocalist of the project, Farai, music has always been personal. Born in Zimbabwe and raised in London, her lyrics are coloured by the different cities she’s lived in, and how that series of different homes has shaped her perspective. ‘Rebirth’ weaves together South East London landmarks, the bare-bones ethos of post-punk, and the experience of being part of the African diaspora. The record is the biggest stepping stone yet in a journey which Farai started in 2012. She hit a period of feeling burnt out, and started attending weekly music therapy classes, where she started writing poetry and music for the first time. It charted a new direction, one that’s brought her to the exciting point where she now stands.

                    The album follows their debut EP, ‘Kisswell’, released through NON Worldwide in 2017, the label-cum-collective co-founded by Chino Amobi, Angel-Ho and Nkisi. It attracted support from Dazed, CRACK, The Fader and Pitchfork, the latter praising their “rethinking of post-punk and new wave.” Additional support has come from Annie Mac on Radio 1 and a variety of shows on NTS. They’ve performed on Boiler Room and at the Tate, the latter as part of a special one-off connected to their 2017 Soul of a Nation exhibition.

                    Farai’s partner in creating both ‘Kisswell’ and ‘Rebirth’ has been TONE, a producer she’s worked with from the early on. They’ve carved out an alternative vision of pop together, distinctive and many-sided at once, poised between punk directness and flourishes of soulful warmth. TONE’s heritage is Afro-Guyanese and Welsh, and their shared pan-African heritage was one of the things which drew them together. He spent part of his childhood in Germany before moving to the UK when he was nine. He visited the Caribbean growing up, where he was introduced to his grandmother’s roots as a performer, hearing soca, dancehall and dub.

                    The album’s opener sets the tone with a short news snippet, situating the album in London: the pair’s common ground and the city where the album was born. ‘Punk Champagne’ nods to a homemade cocktail TONE mentioned to Farai, made of buckfast and prosecco, and is characteristically stripped back, composed of simply drums, vocals and synths. On ‘This Is England’, they adopt a looser structure still, an ominous synth line framing Farai’s reflections on work and hardship in contemporary Britain.

                    Farai was born in Zimbabwe’s capital city, Harare, where she lived until she was 12. (Her name means “joy” in Shona, the most widely spoken of Zimbabwe’s 16 official languages.) She grew up listening to TLC, Mase and Notorious B.I.G., and at one time aspired to enter into Zimbabwe’s version of The X Factor. Her mother moved to the UK to work as a nurse, and when political unrest struck Zimbabwe around 2002, Farai followed, moving to live with her in Bermondsey. At school she studied art, including a three year stint at a college in Kentish Town, where one of her teachers had worked for John Galliano. She moved to Manchester to study fashion at university, but dropped out, finding the course overly business-focused. Instead, she moved to China for a year, and when she returned to London, became immersed in fashion and art circles, spending a lot of her time at socialite-heavy parties.

                    After a couple of years, this lifestyle caught up with her and she hit a wall. Feeling exhausted and with her mental health in a bad state, she started attending music therapy classes, where she began writing lyrics and ideas. She took a new direction: she moved to Lewisham, in South East London, and started promoting music shows. She became a regular at the Shop Floor Sessions, a series of open jam nights in Elephant & Castle, started in a shop that had been squatted, and which grew into a collective of like-minded musicians.

                    It was those sessions that led to her connection with TONE, who discovered a video Farai had posted of one of her appearances there. He got in touch, and they met in Gillett Square, in Dalston, where TONE found Farai dressed in a fur coat and sunglasses, playing a game of giant chess with the locals. They quickly struck up a creative dynamic, where Farai would read a poem, and TONE would work out hip-hop drum chops to accompany it. The first track they recorded, that same day five years ago, was ‘Love Disease,’ where police sirens can be heard outside TONE’s house. “I set the mic up and a guitar,” TONE recalls, “and we did it first go with the windows open.”

                    It was a shared learning experience: for Farai, learning how to adapt her spoken word poems into verse-and-chorus structures, and for TONE, learning how to arrange her poetry into song structures from a new vantage point. Later on, TONE having learnt his production skills from years of playing in bands, session playing for numerous artists and working on his own productions eventually took the raw sessions which were recorded with just guitar and drum loops and re-recorded all the drum parts for ‘Rebirth’ with Marc Pell from Micachu & The Shapes, who is currently Mount Kimbie's live drummer and performs under the alias Suitman Jungle. He also applied his love of electronic instruments into the recordings with his collection of 80s and early 90s analogue synthesisers in a studio he shares with Mica Levi aka Micachu. Much of the album was made with a sense of urgency, like ‘National Gangsters’, which was recorded in TONE's DIY studio, with neighbours in close vicinity, where they were conscious of the noise. They finished it after the second take, receiving angry complaints right afterwards. The track has a raw feel, where Farai reflects on heroin in London’s streets, and drums crash into tinny arpeggios, undergirded by a bloated synth bassline. It’s in the spirit of the album as a whole; for Farai, it’s about the act of musical expression as much as it’s about the music itself.

                    TRACK LISTING

                    A1. Cray Cray
                    A2. Lizzy
                    A3. Punk Champagne (feat. TONE)
                    A4. Social Butterflies
                    A5. Talula
                    A6. This Is England
                    A7. National Gangsters
                    B1. Love Disease
                    B2. Secret Gardens
                    B3. Space Is A Place (feat. Chris Calderwood)
                    B4. Radiant Child

                    1. Cray Cray
                    2. Lizzy
                    3. Punk Champagne (feat. TONE)
                    4. Social Butterflies
                    5. Talula
                    6. This Is England
                    7. National Gangsters
                    8. Love Disease
                    9. Secret Gardens
                    10. Space Is A Place (feat. Chris Calderwood)
                    11. Radiant Child



                      WEN (aka Owen Darby) releases his new album ‘EPHEM:ERA’ with Big Dada, following 2017’s ‘CARVE + GAZE’ EP. His first full length since his 2014 debut ‘Signals’ (Keysound), Darby describes the new record as “electronic studies - a sequence mapped out across the fringes of experimental club music.” The album is a further step outward, rendering the changing currents of UK-born ‘weightless’ iterations of grime across 12 tracks. For fans of Mumdance, Call Super, Pearson Sound, Actress.

                      STAFF COMMENTS

                      Millie says: Electronic house beats laced with distorted synths makes this album sound out of this world. Silhouette is my personal favourite as the electronic plucks and violin-esque style adds a delicate touch while remaining the specific style element of experimental club music.

                      TRACK LISTING

                      Time II Think
                      Sun Thru Blinds

                      Onyx Collective

                      Lower East Suite Part Three

                        New York Jazz ensemble Onyx Collective release their debut album ‘Lower East Suite Part Three’ via Big Dada. It has been included in The Guardian’s Ones To Watch For 2018, the new album follows two acclaimed EPs released on Big Dada in 2017. Isaiah Barr, leader of Onyx Collective, has frequently collaborated with other New York musicians such as Dev Hynes (Blood Orange), Nick Hakim, Julian Soto and Wiki (Ratking). Onyx Collective were also featured in Gilles Peterson’s Best Of 2017 list at Number 16. They will be supporting Kamasi Washington on his UK tour this May including London’s Roundhouse. For fans of Nick Hakim, Ezra Collective, Yussef Kamaal, BadBadNotGood, Shabaka Hutchings, Moses Boyd. Isaiah accompanied Ibeyi for their debut performance on The Late Show with Stephen Colbert in March. He also features on David Byrne’s 2018 album ‘American Utopia’.

                        STAFF COMMENTS

                        Millie says: Big loud jazz, this hits the spot for any keen jazz-listener. With the list of names associated with supporting Onyx Collective like Dev Hynes, Giles Peterson and Kamasi Washingston you know you’re in save hands.

                        TRACK LISTING

                        ONYX Court
                        Don't Get Caught Under The Manhattan Bridge
                        Battle Of The Bowery
                        There Goes The Neighborhood
                        2AM At Veselka
                        Delancey Dilemma
                        Rumble In Chatham Square
                        Eviction Notice
                        Magic Gallery
                        FDR Drive


                        Reflection Of Youth

                          Reflection Of Youth - which was recorded in a studio on a working dairy farm deep in the wilds of West Wales as well as in the producer’s home studio in Cork, Ireland - is an album of visceral beauty and blistering honesty. It is a brave, candid and uncompromising record about finding purpose from confusion and strength in your weaknesses. It’s about learning how to work through your problems and take charge of your own life, instead of relying on others to do it for you. Its ten songs were largely composed in the small hours of the night and are arguably best experienced in that context, when soul-searching and introspection come naturally.

                          For Anna Lena, the album is a document of a tumultuous chapter in her life. It’s very much about living through your twenties, which in Norwegian society are “the years when you’re supposed to figure everything out.”

                          On Reflection Of Youth, EERA’s sound has already evolved into something rawer, rockier and noticeably angrier. "It was a really odd experience to listen back to the record and realise what I'd made," says Anna Lena. "I was surprised by how different, how much more powerful it felt from the EP. Those songs sounded like I was quietly knocking on the door, trying to get in, whereas the album feels like I'm stepping through it." If Anna Lena set out to achieve anything, she says, “it was to make an incredibly honest record that would give people a real sense of who I am. I think it’s important to be vulnerable, to not be afraid of showing emotion and be open about it with the people around you. We all face problems in our lives, so why not meet them head-on?”

                          TRACK LISTING

                          I Wanna Dance
                          10 000 Voices
                          Watching You
                          Wise Man
                          Reflection Of Youth

                          Visionist AKA Louis Carnell returns with his second album, ‘Value’, a precise body of work which builds across its 10 tracks on his conceptual, thematic process, finding assertion in the values of self-discipline and self-education through meticulous composition. The sounds are crushingly epic, with pneumatic bursts of white noise mixed with torn apart beat reduction and angelic, reverb-drenched vocals meeting a modern symphony of strings, synths and glistening keys - all working to elevate the album into the heavens. 

                          The album features collaborative artwork from influential artist Peter De Potter (Kanye West ‘The Life Of Pablo’).

                          TRACK LISTING

                          New Obsession
                          Your Approval
                          No Idols
                          Made In Hope
                          High Life

                          ZOMBY, one of the UK’s most enigmatic electronic producers, underscores his already illustrious succession of releases with his latest EP “GASP!" ZOMBY’s ability to effortlessly shift aesthetics across his career has firmly stationed him as a producer that can’t be boxed, and “GASP!" sees him altering his often jungle-driven sound yet again, furthering him as a sonic chameleon among an ever-increasing landscape of musical similitude.  In his signature spirit of cryptic variety, “GASP!" explores another tectonic revision in ZOMBY’s style. A shift forward indeed, the compact, 3-track EP is a relentless, hardware-driven behemoth of beats and breaks that fit somewhere between a chugging steel factory and a darkened dancefloor.

                          TRACK LISTING

                          A1. GASP!
                          A2. ZKITTLEZ
                          B1. ZPRITE

                          Hype Williams

                          Rainbow Edition

                            The first Hype Williams recordings since "Hippos In Tanks" and therefore surrounded with unfathomable levels of hype and excitement. Both Dean Blunt and Inga Copeland have enjoyed untold levels of career success since their emboldened entry to the record world and rightfully so; no one epitomizes the now and yet-to-come more than this pair of audio mavericks. With twenty tracks decorating the new album, from emotional sonic missives to spiraling downbeat epics back through fractured and skewed pop lullabies and occasionally bursts of mesmerizing hypnagogia, it's at once erratic & haywire, chaotically broken and yet heavily opiated, like the whole album is some ode to a lost junkie film set in a Charlie Brooker-predicted dystopia. It's excellent!

                            STAFF COMMENTS

                            Patrick says: Offering emotional sonic missives and spiralling downbeat epics back, fractured and skewed pop lullabies and occasional bursts of mesmerizing hypnagogia, this is an excellent and unclassifiable listen.

                            TRACK LISTING

                            1. Madting
                            2. Loud Challenge
                            3. The Whole Lay
                            4. Baby Blu
                            5. Smokebox
                            6. Rumor Report
                            7. Puredamage
                            8. Leimert
                            9. #Blackcardsmatter
                            10. Sadting
                            11. Ask Yee
                            12. This Is Mister Bigg. How You Doing Mister Bigg
                            13. The Den
                            14. Cockblocker Blues
                            15. Sweet Chin Musik
                            16. Pretty Young Ting
                            17. Percy
                            18. Spinderella’s Dream
                            19. Situations
                            20. Kandy



                              Kutmah (pronounced koot/mah) releases his long overdue debut album “The Revenge Of Black Belly Button!” (or TROBBB!) via Big Dada. The record features an incredible cast of guests - Gonjasufi, Jonwayne, Natureboy Flako, Ta’Raach, Jeremiah Jae, Zeroh, Zackey Force Funk, N8NOFACE, Sach, Akello G Light and DJ Chris P Cuts - spanning experimental meditative, Zennist loops; crackly oddball beats and abstract raps; as far as outright punk/noise and even folk/blues. At its heart it’s an incredibly sentimental record, heavily referential to his past but also future-facing, and not just in its sonics. 'I wanted to make a record for loners. You know some records have that ‘Hey! I'm at a festival!’ sound? Well I wanted to do the opposite of that,' he laughs.
                              The album was recorded in Berlin in Winter. Being in a foreign country around the holidays when one is supposed to be with family… that emotion of isolation weighed heavy on Justin: “For three weeks during this time I didn't speak to a single person… I had no internet and no phone.” Accordingly, half of the record fits this season and these emotions. In Spring the sun came out and the flowers were blooming: “I started to cheer up a bit and so did the beats,” says Justin. “I like that there are polar opposite vibes on the record. Hopefully I'll hear from some punk kid that they only like Part One, or from some hip-hop head that they only like Part Two… or some beat head saying they only like the instrumentals,” he laughs. Close friend Dario Rojo Guerra (aka Natureboy Flako) played a key role in piecing the album together with Justin, acting as engineer and occasionally producer, in addition to providing a set of trusted ears. “Flako is the real MVP of the album,” affirms Justin. “I couldn't imagine what the record would have sounded like without his input.” The album was mastered by Kelly Hibbert (AlmaChrome) who counts J Dilla’s “Ruff Draft” and Madlib’s "WLIB AM: King Of The Wigflip” in his discography - two massively influential and inspirational records in Kutmah’s musical DNA.


                              Carve + Gaze

                                Wen makes his debut on Big Dada with "Carve + Gaze" following evocative and brooding productions for Tectonic, Keysound, and Soundman Chronicles. Inspired in part by "Gaze Theory", "Carve + Gaze" began as the soundtrack to rainy late night drives through his town of Margate, Kent. These nightly downpours became a kind of opaque sealant across the four tracks that eventually became the new EP. Future proof as a Swiss army knife with a dystopian, apocalyptic disjointedness, the EP should be easily digested by our fractured and disenfranchised society in 2017. Exuding the same kind of dramatic tension as a phone call between Donald Trump and Kim Jong-un, it's an uneasy, challenging listen which is, in turn, highly engrossing and edge-of-your-seat stuff. Recommended!

                                Darq E Freaker


                                  Hot on the heels of his '#DontFreakOut' mixtape, South London producer Darq E Freaker further blazes his trademark trail through classic dance music, contemporary hip-hop and peripheral grime in a new instrumental EP for Big Dada, entitled 'ADHD'. Having first burst into international underground consciousness with Danny Brown’s ubiquitous “Blueberry (Pills & Cocaine),” the borderless, hybridized music he’s known for sounds no less fresh; other production credits (Tempa T, London Grammar, D Double E) and single releases (for Numbers. among others) are testament to a genre collagist at his technical prime.

                                  Speaking on the release, Darq says: ”The timeliness of this music isn't so important, the main thing is that it’s RAVE music. I’m trying to fuse RAVE… with grime/hip-hop groovers, drops, drum patterns & basslines. I’ve always been listening to music, but this is actually stuff that I watched on ‘Top Of The Pops.’ What I grew up to. It was just a thing of me thinking how I’d ever make it into this sound, as I was quite young and didn't fathom making tunes. So this project is in reference to that but is also an extension of fusing different types of music together. Fusing genres into something technicolorful is something I’ve always been passionate about and pursued, both in this project and beyond. This project isn’t solely me, its me pushing some of the musical influence of my adolescence into my adulthood. It’s nostalgic in the most progressive way.”

                                  Lead track “2C-I” exemplifies the mish-mash, serene synths falling away to a hyperactive barrage of percussion, squelches, ’80s video game motifs, and yes, bells and whistles. Each track is as white-knuckled and hedonistic as the next - this is not bedtime music - but markedly varied, even given the wide sonic palette with which he works.



                                    Marrying stories about modern life both rubbish and wondrous to bold, chiming, futuristic pop, ‘Salt’ is a stunning record. Roseau’s talent for writing, her purposeful experiments and her mastery of several instruments as well as electronic production techniques, add up to a powerful arsenal.

                                    Written and recorded in the space and quiet of the Essex countryside, ‘Salt’ contains music both elemental and intimate. Its sonics were inspired by a chance exploration of a giant abandoned warehouse beside a walk Roseau loves. Finding herself in a vast space with only an old car tire, an extinguished bonfire and some bottles and sticks, she screamed, threw bottles, sang, stomped, hit the tire with the sticks, and made as many sounds as possible - then she came back, day after day, to record them.

                                    These sounds form the backbone of ‘Salt’’s bewitching sonics, colouring the album with a powerful atmosphere, and providing the perfect backdrop for Roseau’s unique voice and lyrics. The album’s songs contain powerful themes; about the devastation of first heartbreak, the aftermath and numbness; about belonging, or not; and about self-confidence and its absence.

                                    Roseau’s love of stories goes back to the song-tales her grandfather sang her when she was a child. Salt is full of stories, whether about broken hearts and yearning ("Salt",) troubled nights out ("New Glass",) or the wired compulsion of a road trip ("Florida",) Roseau enhances the natural beauty of her voice with her experimental harmonies and pitch shifts, adding texture to an album that’s casually littered with infectious hooks.

                                    After starting work on the album at her parents’ house, she brought in Doganion, her friend and former Tape Club labelmate, for a fresh set of ears. The pair set about writing and recording in Red Bull’s studios, and Roseau soon roped in Jacob Welsh from The Hics and Mark Rainbow from Laurel Collective to help. After the bulk of the writing and recording was complete, she returned to her family home to tailor and tweak, putting the final touches to her astonishing debut.

                                    ‘Salt’ is British music from the leftfield at its best: experimental but welcoming, deep but utterly addictive.

                                    TRACK LISTING

                                    Kids And Drunks
                                    New Glass
                                    See You Soon
                                    Hot Box
                                    You Don’t Know

                                    Two and a half years on from the sad and untimely passing of Ewan Robertson aka Offshore, his label Big Dada can announce the release of a last album from the Aberdonian musician and designer. The tracks for the new record, 'Offshore' were all more or less completed before his death in 2012. His family, his partner and the label have pieced the album together as close to his original intentions as they could manage, to create a suite of music which in its openness, beauty, humour and joyfulness, both hints at what Ewan could have gone on to achieve, and celebrates what a unique and lovely human being and musician he was.

                                    In addition, artists including Ikonika, Amon Tobin, Blue Daisy, Slugabed, Mamiko Moto, Lockah and Enchanté have all contributed remixes and expect videos and photographs from long time collaborators.

                                    All profits from the record are to go to the Marfan Trust at his family's choosing, it was the condition that affected Ewan.

                                    The sadness felt by those who knew and loved Ewan is still very real, but this record is a chance to celebrate what a unique and talented individual he was.

                                    TRACK LISTING

                                    J Bouncey
                                    Make It Up
                                    Barden’s Burden
                                    Church Rhythm
                                    NY In A Minute
                                    Torry Tash
                                    Step Forward
                                    Turn That Down Upside Frown
                                    Off Peak

                                    Young Fathers

                                    White Men Are Black Men Too

                                    When everything is post-post-post-post something older and better where do the exceptions go? When the sci-fi 20’s ‘Urban’ might as well be the atomic 50’s ‘Race’, when R&B has no blues and hiphop is a boom bip with a shorty, a hoe, it’s off to the street corner we go… where does a group like Young Fathers, who ‘pick'n'mix from the popular music sweety shop and fly no flags and swear allegiance to no country’ (© - 100 interviews with the group in 2014) - where do they go?

                                    They have to go to the place where Beck makes a sandwich with The Beach Boys and Captain Beefheart, where Faust and The Fall tango. In Rock and Pop you are allowed to pretty much be yourself. If you are a blue and green eyed boy from Brixton with the sallowest of white skin you can become the epitome of crystalised soul, itself. It swings both ways. So… Young Fathers are breaking out of the ghetto. Fuck these constrictive selling boxes.

                                    For the purposes of this mission, this album, this 'White Men Are Black Men Too', is rock and pop. And hip hop, too No, you don’t box in the R&B Hits 2003 generation that easily. This sticker is only for the business. The listeners can decide for themselves.

                                    The sounds are closer on this album, closer to your ears. It sounds as if you are in the room during the recording, possibly experiencing a little existential trauma, but not enough that you don’t notice an earworm hook when you hear one. These hooks, they stay with you. ‘Is that what they mean by pop’? you ask yourself. Could be, Madonna, could be. There are less words than before. Why, for fuck’s sake? Where is the hip hop? It slides in, like a reverse version, a negative, of the hip hop blueprint of eight verses and a sweet, female wail of a hook (while comedy rapper number 6 mutters ‘uh huh, uh huh’, you know, keeping it real). But YFs lob raps into songs that morph into sung verses then back into the tune, with no respect, none! for the law.

                                    These are grown men, battle fit and in their prime. There are no celebrations of dole queue theatre, no fake politics - there’s no need. YFs are right there in the middle of the question: what is your ID? Why claim to speak for a dispossessed white or black class or group or generation? When you can only ever speak for yourself.

                                    When they chant ‘nigger nigger nigger’ the group are singing their enemy’s song (and you can all sing along) - it’s not a war cry, it’s the off switch, the left hand turn in the ignition, the pop-hiss of deflation. No more war, motherfucker. The tension is sexual, tuneful, it’s only fun about to kick off.

                                    TRACK LISTING

                                    Still Running
                                    Rain Or Shine
                                    Old Rock N Roll
                                    John Doe
                                    Dare Me
                                    Get Started

                                    A1. Still Running
                                    A2. Shame
                                    A3. Feasting
                                    A4. 27
                                    A5. Rain Or Shine
                                    A6. Sirens

                                    B1. Old Rock N Roll
                                    B2. Nest
                                    B3. Liberated
                                    B4. John Doe
                                    B5. Dare Me
                                    B6. Get Started



                                      10 years since Diplo's breakthrough debut album, 'Florida', Big Dada drop this expanded reissue edition, the newly reconfigured 'F10RIDA'.

                                      “I made Florida between a small apartment in Philadelphia and my mother’s house in Florida. I was working late nights and taking a bus through the city every night, smoking weed, putting on headphones and just making things I never heard before and could just imagine. Making this record created an entirely new it sworld for me. Now that I think back it’s a very strange beginning and it’s crazy it’s been 10 years since its first release, but really, this record represents my first 23 years of life - what I had inside of me and where I came from so I’m excited to revisit it.” - Diplo

                                      Back in 2000, Big Dada received a package from a Wesley Pentz. Wesley was an American living in Japan and had read in a magazine that Big Dada were looking for “avant garde dancehall.” Along with the scribbled note was a CDR with FORMDIPLO. The CDR contained a series of musical sketches which would eventually form the basis of the debut Diplo album, ‘Florida’. Truth be told, this young guy in Japan seemed almost too good to be true - a beat-making cross between a young Jack Kerouac and an old Tom Sawyer flitting about the globe, telling tales of shrimp boats and Nepali chicks and making the freshest instrumentals around.

                                      Much of the Diplo genius was already in evidence and Big Dada signed him to make a record. This was, of course, just the start of Pentz’s rapid rise, whether through his label Mad Decent; his work as a Grammy-nominated producer for artists such as Beyonce, Snoop Dog and Madonna and the associated 13 million track sales; his show on BBC Radio 1 / 1Xtra or his forthcoming TV projects.

                                      The reissued ‘F10RIDA’ includes the stunning ‘Epistomology Suite’, released around the time of the original album plus 5 unreleased tracks / versions recorded by Wes during the Florida album sessions - all packaged in high quality print with artwork based on the original design for the Florida album and an iconic photo of Wes. The 3LP vinyl comes with a 1.5m pull out scroll of brilliant and surreal emails between Diplo and Big Dada from back in the day - an insight into how the 'Florida' album came to be.

                                      In some ways, ‘Florida’ represents Diplo’s most personal work, with less thought for the dancefloor than for atmosphere (not least because it was mainly mixed on headphones, with no money for monitors or smart studios). To understand Wes Pentz, where he comes from and where he’s going, you have to go all the way back home - back to ‘Florida.’


                                      Perfect Hair

                                        What would 'Gravity’s Rainbow' sound like as a rap album? Here is an album which, if we may, reminds the listener of their whispered allegiances to fundamental realities. The brushstrokes are delicate, stabbing, pointed. The overwhelming crescendo they whirl towards may be one of bitterness, and rightfully so. There is also lightness. A black man is giggling and pointing at you. It may have everything and nothing to do with rap and one’s place in it. Humiliation, no longer a threat - but a reality, has been exhausted. 'Perfect Hair' is what remains.

                                        The album vibrates, oscillating between journalistic extremes du jour, occupying a space few have let rap extend to. It is neither cheerful nor depressing, beyond those qualifiers. The rapper, having moved past the limited authority of rejection or ostracization, has arrived at a truth. A Whole Sick Crew of characters weave their way across the shifting stage. Aesop Rock, Danny Brown, Open Mike Eagle and Pegasus Warning all spit directly earwards. Additional production by Jeremiah Jae, Mono/Poly and many more. Album artwork is brought to you by the legendary and talented John Lurie.

                                        Here is an album with the referential delicacy of a snowflake, and the nourishing qualities of that little drop of frozen water. It’s ending leaves the listener at a loss, stupefied by the risk taken. And at that moment of recognition, it seems to blink itself out of existence. The loss is yours. And that loss is the motivating factor for what exists on this album beneath thick layers of discarded dreadlocks: a truth. That humiliating losses, communicated unflinchingly, lead one to an insatiable, bubbling hunger: to expand one’s space, to grow.

                                        The refreshing, restorative value of an a posteriori vantage is reaffirmed - experience being the most vivacious source of wisdom and creation. There is an ineffable cool present coaxing your attention and rewarding your insights.

                                        On 'Perfect Hair', Busdriver defies the betted ante. The pieces, parts, sinews, synapses, synopses, passions, thrusts, and bits burst outward and realign of their own tremendous gravity. It is on this album that an OG announces his presence.

                                        Taylor McFerrin

                                        Early Riser

                                          Brooklyn-based producer, composer, pianist, DJ and live musician Taylor McFerrin drops his first full length LP, 'Early Riser', on Flying Lotus's Brainfeeder record label. Taylor's musical style is equally influenced by the legends of 60s / 70s soul, the kings of the modern beat generation, golden era hip hop, free form jazz and electronic music. By playing all of the instruments on his productions, while also relying heavily on sampling and chopping up his live takes, he has found a sound that seamlessly bridges myriad musical worlds and draws the listener into a constantly shifting audio soundscape.

                                          From the opening build of “Postpartum” onwards, you know you’re in for something pretty special with “Early Riser”. It’s a smouldering, woozy and intensely beautiful record. Tracks like “Degrees of Light” and “Stepps” establish a sun-up mood in their opening few bars and then develop it, the organic live feel perfectly balanced by the the snap of their programming. If McFerrin’s own voice on a track like “Florasia” adds a genuine neo-soul emotion, his guests are sensational. From Nai Palm of Melbourne's Hiatus Kaiyote on “The Antidote”, through Emily King on “Decisions” (“one of the best singers alive in my opinion” - McFerrin) and on to labelmate RYAT’s collaboration on “A Place In My Heart”, each adds a different mood and lift to the music they’re involved with. Taylor’s father, the legendary Bobby McFerrin, teams up with Brazilian master Cesar Mariano on “Invisible / Visible” for one of the jazziest moments on the record. Robert Glasper, Thundercat and Marcus Gilmore also provide their substantial jazz chops to “Already There”. But the key to the whole record is the balance which McFerrin keeps throughout - between his guest's individuality and his own vision, between the styles of music he loves, between a feeling of intense, sunlit joy and a deep aching sadness, which, it could be argued, is a definition of soul.

                                          Taylor's ability to create and evolve musically by drawing inspiration from all corners of his life translates into a music of exceptional honesty and emotional directness, deep sophistication and effortless style.



                                            Kieren Dickins aka DELS is a new type of rapper (which is another way of saying that he’s more than just a rapper). Applying the kind of attention to detail, micro-management and macro-vision which Jay-Z used to build a business empire, DELS makes art. Popular art mind you, but art all the same, an album of emotional peaks, musical innovation and surreal, brilliant lyrics, held together by such a unique, such a strong vision that it sounds almost silly to suggest it’s just a debut. Already causing a stir with the tasters Shapeshift and Trumpalump (and the videos he masterminded for them), everything is now ready to show how these pieces fit into the bigger picture…

                                            Various Artists

                                            Diplo - Decent Work For Decent Pay

                                              Diplo arrived on the scene with his acclaimed DJ Shadowesque album "Florida" in 2004, but has since become more well known for a series of remixes pinning his colours to the mast of baile funk, Bmore and dancehall styles. "Decent Work For Decent Pay" brings together some of these reworks (MIA, Hot Chip, Bloc Party, Kano, CSS and Spank Rock, amongst others), plus features a previously unreleased, exclusive Diplo song as well. Jumped-up, cut-up, breaks-heavy electroid slammers for the dancefloor!

                                              Roots Manuva

                                              Alternately Deep

                                                Released as a sister package to 2005's "Awfully Deep", "Alternately Deep" (can you see what they've done there?) includes exclusive and unreleased tracks, rare remixes, B-sides and cuts only previously available as downloads. It features contributions from the cream of the UK scene, including vocals by Hazel Sims and Banana Klan member Ricky Ranking, plus remixes by Plan B, Steve Dub, Colossus and Jammer.

                                                Roots Manuva

                                                Run Come Save Me

                                                  Fantastic second album from one of the UK's finest exponent of the hip hop arts. Its deep, its fat, its soulful, with reggae and blues influences. Includes the monster single "Witness" - this album really raises the stakes for UK hip hop, its going to be interesting to see if anybody will be able to top it (unlikely for a long time!!).

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