Search Results for:

FAT BEATS

Black Milk

Album Of The Year

    As the buzz of many of hip hop's young leaders-to-be evolves from loud commotion into hushed whispers, Black Milk has stayed relevant by remaining focused on creating music that endures. He's achieved recognition from fans, critics, and his peers as one of the best producers around, and when coupling that talent with his sharp lyricism and stylish delivery as an MC, Black has proven to be one of the most vital hip hop artists of his generation. After a difficult 2009 Black Milk announced that his new release would be audaciously titled "Album Of The Year". The set once again sees Black Milk working to break new ground in hip hop production, and to both refine and redefine his sound. While continuing to construct the skeletons of the tracks on his same trusted AKAI MPC-2000 XL that he's been using for years, he now employs a team of studio musicians and session players to add new layers of fat and muscle to his songs, with most of the players parts composed by Black himself. A broad range of influence shines through in the tracks, with tinges of rock, reggae, and Afro-beat joining his trademark hip hop bangers. Other than the heavy contributions from both members of his live band (vocalist / keyboardist AB and drummer Daru Jones), the album exclusively features players and vocalists from his hometown of Detroit, including vocalist Melanie Rutherford, bassist Tim Shellaberger, and the versatile horn player and string arranger Sam Beaubien (who arranged horns and strings on Mayer Hawthorne's "A Strange Arrangement").

    Union Analogtronics & Blu

    Cheetah In The City

    Hot off collaborations with Nottz ("Titans in the Flesh EP") and Madlib ("Bad Neighbor LP"), SoCal ambassador Blu has teamed up with the Paris-based production team Union Analogtronics (OJ & Gold) to unleash a new full length album: "Cheetah in the City". Featuring Dam-Funk, Phat Kat, Frank N Dank, and more, the album signifies a stylistic sea change for Blu, best known for his dusty, soul sampling collaborations with Exile (Below the Heavens) and his own introspective opuses ("Her Favorite Colour", "Good to be Home", "York!"). Rippling with 808s and cinematic strings, "Cheetah in the City" is an organic evolution from the synth-soaked, futuristic sound of "Analogtronics", Union’s 2012 Fat Beats Records debut album featuring Talib Kweli, MF DOOM, Elzhi, Guilty Simpson, and more. After mutual friends put them in touch at a Parisian post-show after-party, Blu and Union began a musical exchange that spanned continents. Blu returned to LA with Union’s best beats, and after months of exchanging lyrical ideas, the trio regrouped for marathon recording sessions in Union’s Paris-based studio. Cloistered for weeks with nothing but drum machines, instruments, keyboards, records, and France’s best bud, Blu became obsessed with infusing his kicked back Southern California sensibilities into Union’s penchant for pushing the possibilities of technicality into multilayered, densely packed productions. A cohesive story emerged in the songwriting: a young man, raised amongst deadbeats, killers, and hard drugs, metamorphoses into the Cheetah, a money-making predator whose quick talk and cold hustle make him the king of a city that will eventually consume him, heart and soul. We’ve never heard Blu like this.

    Twenty-eight years ago, pissed-off twelve-year-olds around the universe discovered a new planet, a Black Planet. Public Enemy’s aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even in the border town of Laredo, Texas, home of the future founders of the Latin-Funk-Soul-Breaks super group, Brownout. The band’s sixth full-length album "Fear of a Brown Planet" is a musical manifesto inspired by Public Enemy’s music and revolutionary spirit. Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn’t possibly have expected that their golden-era hip hop albums would sow the seeds for countless Public Enemy sleeper cells, one that would emerge nearly three decades later in Austin, Texas.

    Greg Gonzalez (bass) remembers a kid back in junior high hipped him to the fact that Public Enemy’s “Bring the Noise” is built on James Brown samples, while a teenaged Beto Martinez (guitar) alternated between metal and hip-hop in his walk-man, and Adrian Quesada (guitar/keys) remembers falling in love with Public Enemy’s sound at an early age. 'When I got into Hip hop, I was looking for this aggressive outlet . . . and I didn’t even understand what they were pissed off about, because I was twelve and lived in Laredo . . . but I loved it and I felt angry along with them.' Joseph Abajian (Fat Beats’ owner) must have sensed the deep hip-hop well lying beneath the versatile band’s Latin-Funk veneer. 'I thought their sound would work covering Public Enemy songs,' Abajian says, and, 'it was good to know they were P.E. fans . . . We came up with a track listing and they went to work.' Despite the band’s eagerness to work on new original material (an album of original songs is slated for next year), they couldn’t pass up the opportunity to pay homage to this iconic and influential posse.

    Translating sample-based music to a live band turned out to be more of a challenge than they anticipated. Adrian tried to get inside the Bomb Squad’s [Public Enemy’s producers/beat-making team] head in order to find the inspiration to reinterpret P.E.’s songs: 'imagine the Bomb Squad going back in time and getting the J.B.s [James Brown’s funky backing band] in the studio and setting up a couple analog synths and then playing those songs.' While some songs closely follow the original musical blueprint, others use the source breakbeats as jumping-off points later sweetened by Trombonist Mark 'Speedy' Gonzales’ horn arrangements, synth wizardry courtesy of friend-of-the-band Peter Stopschinski, and DJ Trackstar’s turntable scratches.


    Baker’s Dozen, brand new from Beat Records is an instrumental hip-hop mix of ambient, electronic and soul music. Baker’s Dozen is an exclusive series to showcase the best minds of these genres. Each installment gives one artist carte blanche to capture their signature sound. Exile is featured on the series, a true believer of making music from nothing, pre-internet a more hands on approach of growing his style and making music. “It doesn’t matter if you use a Roland MS1 or MPC 2000XL, sampling records or sampling yourself playing the keys… get lost in the music, stay thankful, and remember the feeling of why you do this. That is my process.” Visually cohesive and packaged with the utmost attention to detail, Baker’s Dozen is a series that speaks up for artists whose craft renders voices superfluous, whose instrumentals alone suffice to make a statement.

    STAFF COMMENTS

    Millie says: Say no more than ‘Instrumental Hip Hop’ and I am on board. With a mixture of samples and. Some J Dilla vibes on ‘Heaven’s Gate’ and the track ‘Do You Know?’ is one of the best off the album.

    Baker’s Dozen heads back to the East Coast where veteran producer Marco Polo brings a welcomed boom bap flavor to the series. New York City is the birthplace of Fat Beats (and as many would say, hip-hop in general) and current NYC resident Marco Polo is true to form in representing our roots. As always, every volume of BDZ features one artist and twelve tracks (with limited random copies including the Baker’s Dozen bonus track on a flexidisc) and comes equipped with a 5x7” postcard insert that features a photo of the artist’s workspace along with the equipment used in their music making process.

    A personal narrative of how they got into beat making in the first place is featured on the back of the jacket. Visually cohesive and packaged with the utmost attention to detail, Baker’s Dozen is a series that speaks up for artists whose craft renders voices superfluous, and whose instrumentals alone suffice to make a statement. “Another nerdy thing I dig about these versions is most of them are the OG raw MPC versions before they got all mixed down and separated. My fellow producers can relate to the agonizing process of “chasing the demo sound” in the final mix…we wanted to keep it 100% rare and unreleased.” – Marco Polo 

    After seemingly coming out of nowhere, Your Old set the internet aflame in 2014 with his self-titled debut EP, catching the attention of bloggers all over the web from New York Magazine’s Vulture to NahRight.com. Before long, conspiracy theories started and people began to posit that Droog was another older, legendary New York rapper in disguise. Profiled in The New Yorker, Droog (meaning “friend” in Russian) set the record straight about who he was: a twenty-something Ukrainian immigrant who fell in love with hip-hop when he arrived in South Brooklyn as a small child.

    The timbre of his voice resembled that of a hip-hop legend but Droog’s content had more to it than street dreams or observations from a project window. His music reflected his own unique life experience as he referenced everything from sports, to crime, to Seinfeld and C-Span in his rhymes. He was an intelligent hoodlum with a stand-up comedian’s sense of humor—unafraid to be as self-deprecating as he was self-aggrandizing. On his critically-acclaimed debut, the Your Old Droog LP, he vowed to “bring back storytelling” and now on his sophomore album, PACKS, Droog delivers on that promise. In addition to the raw rhyme displays on songs like the Alchemist-produced, “Winston Red” Droog flexes his narrative muscles both comically (“My Girl Is A Boy”) and dramatically (“G.K.A.C”) on this new album.


    STAFF COMMENTS

    Matt says: One of rap music's most charismatic newcomers, Your Old Droog follows up his Nas-indebted rise to fame with fourteen punchy sagas from the streets. Cloaked in understated demeanour and garb, Droog delivers a flow so fierce, quick-fired and inventive it could have only come from life in New York. Alongside Ratking's Wiki, Droog is keeping the OG hip-hop spirit alive in NYC.

    FORMAT INFORMATION

    Coloured LP Info: Smoke coloured vinyl.

    Respected hip hop DJ / producer DJ Premier brings us his FIRST EVER official mix CD. Even his most die hard fans couldn't possibly own all of the tracks produced under his Works Of Mart banner. With this in mind, Premier has selected 17 of his favourite, but more underground, lesser-known works and crafted the first volume of his new mix series: "Rare Play". The music on this mix will remind people how hip hop used to be before the current slump in the scene. The tracks on here are ruff, rugged and raw!


    Latest Pre-Sales

    220 NEW ITEMS

    RT @Johnny_Marr: Hi Hello from Picaddily Records. https://t.co/Cg18qvS0nV
    Mon 18th - 8:54
    A massive thank you to everyone who came down today and waited patiently to have their records and items signed by… https://t.co/ie8646sGTq
    Mon 18th - 4:55
    The current queue situation outside the shop, for the @Johnny_Marr event. It does continue inside to the counter bt… https://t.co/QH7pjSO0RR
    Mon 18th - 11:48
    ‘The first victim’ as @johnnymarrgram said at the signing we have today for his new album ‘Call The Comet’.… https://t.co/RVVmVZDKoV
    Mon 18th - 11:29
    Good morning. We are open and ready for @Johnny_Marr who’ll be signing copies of his new album ‘Call The Comet’ fro… https://t.co/0chLNMIl4r
    Mon 18th - 9:09
    E-newsletter —
    Sign up
    Back to top