Rob Araujo / Tamuz - Moonrock

"People are moved by things that aren’t perfect".

J Dilla - Sunbeams (Instrumental)

Happy birthday J Dilla

ECHT! - Sink-Along - out today on Sdban Records, bass-heavy jazz fusion haunted by the ghost of dubstep

Futuristic Brussels based four-piece ECHT! are set to release their sophomore album ‘Sink-Along’ on the 5th May via the groove-obsessed Sdban Ultra label. Receiving critical acclaim from the likes of Gilles Peterson (BBC Radio 6 Music) and Mixmag for their debut release ‘INWANE’ (2021), ECHT! takes the best of Jonwayne, DJ Rashad, J Dilla, Ivy Lab, Tsuruda and Aphex Twin, resulting in an unrivalled sound. In a society geared almost exclusively toward the technological, ECHT! forges a different path, one that instead replaces the mechanical with the human. At the heart of their creative process made up of actual skin and bone, the influences of trap, bass music, jazz and hip-hop burst forth through their expert playing of instruments. Echt means ‘vrai de vrai’ - ‘true’ or ‘real’ in brusseleir (Brabantian dialect of Brussels). The name is a direct reference to the fact that their sound transmission is ‘real’, performed with conventional musical instruments as opposed to computer music which the production might suggest. It also relates to the fact that none of the members of the band are originally from Brussels – bassist Federico Pecoraro is from Italy, keyboardist Dorian Dumont is from France and drummer Martin Méreau and guitarist Florent Jeunieaux are both from the Mons region on Belgium.

Unreleased Japan exclusive Mixtape for:

West Maps 7 Chome-18-10 Minamisenju, Arakawa City, Tokyo 116-0003, Japan https://westmaps-vtg.com/ https://www.instagram.com/west_maps/

West Maps vol. 1 by DJ ANT-ONE (Mixtape)

Side A

Sunshine - Young Dolph

Hot Water Tank - Boldy James & The Alchemist

What’s Hannin - Premo Rice

Word on the Streets - Key Glock

CHAIN HANG LOW - Eem Triplin

Phenomenal - Money Man

200 Pies (feat. 2 Chainz) - Conway the Machine

Arc’teryx - YT

Shout Out (feat. Larry June) - Curren$y

Corte Madera, CA - Larry June

6 Five Heartbeats (feat. Vince Staples) - The Alchemist

RIGHT NOW (feat. Jadakiss & Stove God Cooks) - Westside Gunn

Two for 2 (For Dilla) - Madlib (cuts by GELSON & ANT-ONE)

Side B

In My Pockets - Larry June

Late Night Hype - Compton’s Most Wanted

Never Seen Before - EPMD

H-Nigga Groove (feat. DJ-X1) - Hugh E.M.C.

Regular - 22nd Jim

Up - OhGeesy

If I Part 2 - 03 Greedo

We Straight - ALLBLACK & Cal-A

Darkest Before Dawn - Bashfortheworld

Flyest Highest Coolest Smoothest - Key Glock

Starts with a Text - Bawo

Champagne Shots - SainteYSM

Rainy Night in SF - Jay Worthy, Larry June & The Alchemist

April 2023.

Who Is The Living Queen Of Soul?

You can vote on the Queen on the R&B subreddit here

In particular, the death of singer Aretha Franklin in August 2018 left a gash in the collective cultural psyche of America, a deepening crevice that I believe worsens the longer the title of Queen of Soul music is left uninhabited.

Upon reflection, it becomes apparent that what Aretha’s reign of Soul music most importantly did was to codify the musical textures, vocal phrasing and techniques of presentation comprise Soul music and R&B in general.  Since her death, R&B music has given me a curious, rudderless impression, as if waiting for a style to settle upon, or for an emotion clear enough to spin into a groove of sentiment.  What the genre needs, is a refocusing of its strengths, that broad-chested arrogance that imagination brings and the polestar of excellence that only a queen can bring. Therefore, it begs the question: who is the living Queen of Soul?

Four candidates come to my mind when thinking of living embodiments of the genre of Soul music: Gladys Knight, Patti LaBelle, Chaka Khan and Mary J. Blige.  These women have each created multiple classic Soul, R&B and Disco records, spanning multiple generations, each one with enough lasting resonance to be sampled in prominent Hip-Hop records.  They exemplify the genre, but with their own idiosyncratic strong points, and would chart a disparate course for the future of R&B if one was chosen as Queen of Soul over the other.

To many, especially in the American South, Gladys Knight would be their reflexive choice, the Southern Georgia bred voice that, between 1957 and 1987 powered her group The Pips 19 top 20 R&B hits with 16 of those becoming top 20 Pop hits. She imbued a deep pathos of longing on songs “Help Me Get Through The Night,” “If I Was Your Woman” and the classic “Midnight Train To Georgia.”  Her church-taut control of her alto voice is the engine of the group's biggest hits, that reign brightest during her Motown years of 1966 to 1973, her languished phrasing falling out of favour by the late Seventies, over-shadowed by Disco and Pop hits, the Eighties only yielding one minor hit for the group with “Love Overboard.”

While her Sixties masterpieces have been sampled by the late J Dilla to 2000s rapper Freeway, I’m not sure that her vocal phrasing or songcraft has influence on the current generation of singers, and a choice for her would signal a traditionalist desire to return to the classic sound of Soul music, which might not be such a bad thing all things considered.

Ms. Patti LaBelle has been around just as long as Gladys, and, truth be told, is the voice I am slightly biased towards when I think of R&B.  her voice contains a range of voices, from the high-pitched screams of adoration of “My Love, Sweet Love” to the hot scat at the end of “You Are My Friend.”  Her voice is a sweet glue that powered her group The Bluebelle to early Sixties hits like “I Gave My Heart To The Junkman” and “The Wedding Song,” which helped to standardise the Rhythm & Blues genre in the process.

What she is missing is notable songs between 1966 and 1974, when Soul music was in heyday, with hits by Aretha, Stevie Wonder and Marvin Gaye.  As a Pop culture figure though, she has endured, her songs covered by Christina Aguilera and sampled on classic Rap songs by Outkast and Nelly.  Her voice is instantly recognizable, still a mainstay on quiet storm radio, an elemental thread in the perception of Soul music today.  Her ad libs at the end of her hit “If Only You Knew” are legendary, each syllable coming hot and incandescent from her throat into our ears.

If you were looking for a queen that can bridge the old and new idioms of Soul then you would be looking for Chaka Khan.  Rising to prominence with funk band Rufus with the number one hit “Tell Me Something Good” from 1974, producing 12 top 20 R&B hits with the band.

As a solo artist she was on the cutting edge of R&B, utilising the latest drum machines and synths, like on number one Pop hit “I Feel For You,” and on “Through The Fire,” famously sampled by Kanye West.  Khan’s voice is an electric and druggy funk, perfect for the weird 70s and the messed-up party of the 80s.  I love how she phrases sorrow and wonder, with yelps and deep layered harmonies, her wild voice writhing like the untamed want underneath Soul music itself.  While she isn’t as big of a household name as others on this list, none of them were as adventurous with their sexiness as Chaka.

From her debut “What’s The 411?” Mary J Blige was a generational talent.  The rough-hewn vocals expressed a working class anguish and joy that connected with young Gen X Black women looking for an alternative to Whitney Houston and Anita Baker.  With her 1992 number one hit “Real Love and her hit “Be Happy” from her sophomore album, she fit in the pocket of those Hip-Hop drums, threading her runs around them.

Of the women mentioned here, Mary J Blige has consistently been on the charts the longest, a presence though the 90s, 2000s, 2010s and the 2020s with her latest album “Good Morning Gorgeous.” She had early 90s rap trendsetter Grand Puba on her debut album and buzzed-about rappers from the Griselda label on her latest.  While she was not active during the 70s zenith of Soul music, Blige knows where her voice is most effective, and always has her finger on the pulse of current music.  Could it be she is the queen our 21st century needs?

Aretha’s death hit me harder than I thought it would, for reasons I outlined here, but the vacuum she left has been felt as well when it comes to the state of R&B.  Does it return to conservative roots with a play to its true strengths of musicianship and gospel-esque ad libs, or does it embrace the brave new world of technological improvements, production and vocals that create a ‘vibe’ to be mixed into streaming playlists? Well, only a queen can answer that.

Slum Village Release Just Like You Feat. Larry June & The Dramatics

Slum Village announce their first new album in seven years with "Just Like You" featuring Larry June and The Dramatics. Young RJ and T3 have kept busy since Vol. 0 with solo projects and features but they have now returned to their SV home. In 2022, Young RJ released his World Tour album. "Just Like You" is a flirting session with a potential date and the added enticement from The Dramatics' vintage soul. Young RJ produced "Just Like You" which straddles both an R&B and hip-hop groove. The new song and album announcement comes not long after the premiere of the New York Times J. Dilla documentary. "Just Like You" is another chapter in the legacy of the group he co-founded with Baatin and T3 years ago.  The Great Escape is scheduled for an August release.  

The Roots - Things Fall Apart

The early 00s would see lightning quick evolution in hip hop and this album represents both the foundation on which those changes would take place and the last hurrah of 90s alt hip hop scene. And what a cast of features! Common, Most Def, Erykah Badu, J Dilla, and what I believe is Beanie Sigel's first appearance ever. Almost all up and comers who were hitting the turning point in their career and are now legends. All of this glosses over how well constructed Questlove's beats are and how well Black Thought and Malik B interact with them.

The Meters - Look-Ka Py Py

A great collection of funk grooves from the inventors of the groove. The influence on 70s funk is obvious but I tend to think of The Meters as the sample pack from which the golden age of hip hop is crafted. Taking these songs on their own merit isn't difficult though. Smooth organs, extremely tight punchy drums, and crisp choppy guitar. This album is the essence of funk. The platonic ideal of funkiness.

CHIC - Risqué

Disco is an unfairly maligned genre. The hate was manufactured by racist homophobes who had too much stock tied up in both rock radio as an industry and as an outlet for toxic masculinity. But the meme lives on. Twisted and malformed as only a meme can be. Leave your preconceptions behind and listen with an open mind. You may find that the link between this album and hip hop run deeper than just the bassline from Good Times. You might find that even disregarding the influence on future 'cooler' genres this is just extraordinarily good music. Risqué in particular finds just the right balance of bass and string swells to make the songs engaging to at home listeners and club goers alike.

Credence Clearwater Revival - Cosmo's Factory

A little bit country, a little bit rock and roll, a dash of psychedelia, and various other herbs and spices and you've got CCR brewing. Fogerty's raspy voice is the perfect compliment to the down home bayou vibe. Although this album is the most polished of their output the production values don't get in the way of the raw soul and heart. In fact it might be one of the best production jobs in rock music. And of course, it must be said, if you have not heard their epic 11 minute cover of I Heard It Through The Grapevine then you haven't heard one of the best songs ever recorded.

Smokey Robinson & The Miracles - Going To A Go-Go

Have I mentioned that I really love Motown yet? This is a really solid collection of Smokey Robinson's soulful songwriting. Really anything I've said about the Motown sound goes here as well so I won't be repetitive. This album is made up of song after song that could have been another artist's biggest hit.

Bob Dylan - Love and Theft

Y'know 500 isn't actually that many albums. And Bob Dylan has, like other albums. Better and more important ones. I'm not saying Love and Theft is bad, but is it really one of the 500 greatest albums of all time? How uh many Dylan albums did you put on here guys? Didya get Nashville Skyline, Desire, Before the Flood, John Wesley Harding, Planet Waves, Another Side? All better albums from the deeper recesses of his discography.

The Beach Boys - Wild Honey

W-what? really? I don't... Uh... I mean it's not a bad album at all. It's just. It's like. If there's a Beach Boys album that I forget exists it's this one. Um okay I'll review it for real though. So after the collapse of the Smile project the Beach Boys were left in a weird place. Brian Wilson had become even more reclusive and tension was high. The end result was Wild Honey, an album that clocks in at only 24 minutes and sounds more like bedroom pop than any Beach Boys record before it. It kinda works though, it feels hazy and tired and constricted. It feels warm but unlike previous records this isn't the warmth of the sun on a beach, it's the stuffy heat of a too small apartment with only one window in the summer.

The Grateful Dead - Workingman's Dead

In under a year The Grateful Dead went from twenty minutes psychedelic jam sessions to three minutes country rock songs. This was their first album in that country style and it's unbelievable how natural they sound. You would never guess that 69s Live/Dead and 70s Workingman's Dead could ever be the same band. Although I think it's overshadowed by American Beauty which they released only five months later this still marks the biggest turning point in their career.

🎹 'Soulful Sessions' - J Dilla Inspired Beat - Smooth Hip Hop Instrumentals

Immerse yourself in the timeless allure of "Soulful Sessions" – a J Dilla inspired beat tape that captures the essence of smooth hip-hop instrumentals. Crafted with soulful melodies, intricate rhythms, and a touch of vintage flair, these beats pay homage to the legendary producer's iconic style. From the crackle of vinyl to the warmth of analog synths, "Soulful Sessions" invites listeners on a journey through the golden era of hip-hop, where authenticity and innovation reigned supreme. Each track is a testament to the power of music to evoke emotions, spark creativity, and unite communities. Whether you're vibing in the studio, cruising through the city streets, or simply unwinding after a long day, 

"Soulful Sessions" provides the perfect soundtrack for every moment. Let the smooth grooves and laid-back vibes transport you to a place of tranquility and inspiration. But "Soulful Sessions" is more than just a beat tape – it's a celebration of hip-hop culture, a tribute to the pioneers who paved the way, and a testament to the enduring legacy of J Dilla's influence on the genre. So download this instrumental masterpiece now and let the soulful sessions begin. Join us as we pay homage to the past while pushing the boundaries of the future. "Soulful Sessions" awaits, ready to elevate your mind, body, and soul with its enchanting melodies and infectious rhythms. Don't miss out on your chance to experience the magic – press play and let the journey unfold. 🎹✨

Four Tet presents: Three

Four Tet has always been known for a truly dynamic experimental approach, and the artist's most recent album "Three," is no different in terms of breaking new sonic grounds and exploring new creative possibilities. While still diverse and edgy, this album is consistent with Four Tet's signature aesthetic's, showcasing the producer's talent for creating shuffling UK garage rhythms, ambient soundscapes, and floor-filling rave-ups. The album is smartly sequenced and nicely varied, taking in virtually every style of music that Four Tet has incorporated into his discography over the past few years.

The opening track, "Loved," embodies a beat-making style reminiscent of J Dilla's iconic 90s instrumentals, blending funk grooves with fractal electronics to create a punchy, yet atmospheric tone. "Gliding Through Everything" is another outstanding tune, which feels like a great indication of Four Tet's state of mind in this day and age.

While "Three" could be considered as a less experimental album compared to some of Four Tet's previous works, it still manages to surprise listeners with unexpected details and creative solutions. Overall, Three is a well-crafted album that showcases Hebden's talent for creating intricate and emotive electronic music. The album doesn't stray too far from the soundscapes that fans are already familiar with, but rather emphasizes Four Tet's gradual evolution. For those seeking electronic music that is both atmospheric and engaging, few albums can match this one this year.

Check out this album:

Listen to our playlist for more musical recommendations:

Block Barley - Ether Ghost (The Content Label)

8DPromo · Block Barley - Ether Ghost (The Content Label)

The Content Label presents Ether Ghost, the sophomore album from Hamburg-based producer and artist Block Barley. Block Barley is recognized for his innovative contributions to the music scene, like the notable full-length album Dead At The Control and a collaboration with Guilty Simpson, known for his work with the late producer J Dilla. Ether Ghost is a sonic journey through thirteen psyche-out tracks that seamlessly fuse classic production methods with a contemporary edge. Drawing inspiration from Italian Giallo soundtracks, library records, darkwave, progressive rock, and the Memphis rap-tape culture, Ether Ghost is a pitch-shifted exploration of gritty soundscapes. From the cinematic tone set by the opening track, "You Better Sleep," with its mighty drums reflecting the urgency of modernity, to the post-industrial pulse of "Iron Gate Sanctuary," providing a path to break free from constraints, each piece contributes to the album's distinct and hypnotic vibe. "The Coffin" unfolds with a codeine-laced bounce, serving as a poignant eulogy for our times. Throughout the album, Block Barley manipulates cinematic themes, creating tension and anticipation through repetitive motifs, leading towards the final track, "Ether's Whisper" — an ethereal infusion of ambient hope that resolves the prevailing dark atmosphere, leaving listeners with a profound and emotive experience. Enter the realm of the Ether Ghost. This project is available on a limited vinyl edition, a collaborative effort between Hafenschlamm Records and Votava Records, while the digital release is managed by The Content Label from Los Angeles. Ether Ghost pays homage to the global community spirit of the underground beat scene, celebrating music as a collective experience.

DJ Clairvo (Tilos Radio, Budapest) – “This is top-notch downbeat material. Enjoying the several moods and tones the tunes have. Well done!” Marcelo Taveres (Deep Space Podcast) – “I love the very dark and shadowy sonic soundscapes.” Dogu (Ancient Astronauts) – “I like ‘You Better Sleep’ and ‘Purple Dawn’. Will play on air.” Lotek (The Shake) – “Iron Gate Sanctuary is such a groove.” Jeannie Hopper (WBAI FM New York) – “Spooky, dreamy, ethereal grooves. Diggin’ it.” Jon Fugler (XLNT Radio Show) – “A strangely compelling selections. Swampy, wonky, and definitely cinematic. Some real standouts here, a great album.”

Available Now From: Bandcamp, Juno Download, Apple Music, And Spotify.

Jacob Collier / Lindsey Lomis - Cinnamon Crush

Blog post and linked up tracklists [HERE]

Part 1 Tracklist

01. Liquid Crystal Project - Tribute To T.R.O.Y (Turntable Jazz) 02. Cee Lo Green - The One (dL Remix) (Not On Label / Self Released) 03. Milton Wright - Keep It Up (Alston/Jazzman) 04. Fred Wesley & The Horny Horns - Fourplay (Atlantic) 05. Mary J Blige - Family Affair (Pete Rock Remix) (White Label) 06. Platinum Pied Pipers - Stay With Me (DJ Mitsu Remix) (Ubiquity) 07. Dj Mitsu - Yeah Y'all (Ft. Kev Brown & Roddy Rod) (Jazzy Sport) 08. Freddie Joachim - Waves (Word Is Bond) 09. J Dilla feat. Dwele - Dime Piece (BBE) 10. Count Basie & Sammy Davis Jr. - The Work Song (dL Edit) (Not On Label / Self Released) 11. Doug Hammond - Wake Up Brothers (Tribe / P Vine) 12. Jazz Liberatorz - Music In My Mind (Kif Recordings) 13. The Jazz Jousters Bring it to you Live (Unknown Label) 14. Mary J Blige - Ooh (Dilla Remix) (Donut Cuts) 15. Bahamadia - Uknowhowwedu (dL Remix) (Not On Label / Self Released) 16. Jimmy Mcgriff - The Bird (Edit) (Unknown Label) 17. The Visioneers - Funk Box (BBE) 18. Raheem DeVaughn feat Damian Marley - Revelations (Jive) 19. Gwen McCrae - 90% Of Me Is You (dL Edit) (Not On Label / Self Released) 20. Robert Glasper Experiment - Letter To Hermione (Blue Note) 21. Marc Moulin - Dag Madame Merci (Counterpoint Records) 22. Jazz Liberatorz - What's Real (Kif Recordings) 23. Pete Rock feat. Grap Luva - Collector's Item (Up Above Records) 24. Nujabes - Lady Brown (Hyde Out Productions)

Part 2 Tracklist

01. The Blaxploited Orchestra - The Pursuit (Good Guy Mikesh & Filburt Remix) (Late Night Tales) 02. DJ Steef - Music Of The Hot (Gazeebo International Recordings) 03. Laura Lee - Crumbs (Fingerman's Disco Beatdown) (Self Released) 04. Jad & The Ladyboy - Stroke You Down (Sonar Kollektiv) 05. Jona Saucedo - Beverly (Paraiso Musique) 06. Rusty Patter & London Colin - Phatter Chatter (Roar Groove) 07. Blondie - Rapture (Luxxury Edit) (Self Released) 08. Good Guy Mikesh & Filburt - Gold Snake (O'rs) 09. Moustache Love - Knitted 3 (Stereopor) 10. 78 Edits - Slick (Editorial) 11. Psol - Keep On Truckin' (FKR) 12. Diana Ross - The Boss (Pyxis Edit) (Not On Label) 13. Robjamweb - Bionic Love (Editorial) 14. DJ Moar - Funky Cat (Diggin' Deeper) 15. Joseph Terruel - Trying To Be Me (Apersonal Music) 16. Dr Packer - Contemplating (Discodat) 17. The Starkiller - Little Fluffy Contrails(Self Released)

Download available via Hearthis - [PART 1] // [PART 2]

233: Freddie Gibbs & Madlib // Piñata

Piñata Freddie Gibbs & Madlib 2014, Madlib Invazion

As of 2023, Freddie Gibbs & Madlib’s Piñata sits at #18 on RateYourMusic.com’s user-generated all-time hip-hop chart, and #113 for all albums. RYM, for the unfamiliar, is sort of an IMDb for music, and if its rankings aren’t as aggressively gauche as IMDb’s (I just looked at their top 250 films for the first time in years and guffawed), they’re still pretty slanted towards the tastes of the mostly white collegiate dudes and divorce dads who feel compelled to, well, rate their music. Though I wouldn’t accuse either Gibbs or ‘lib of trying to curry the white vote or anything, Piñata is perfectly calibrated to pleasure the sort of guy whose hip-hop canon is rooted in AllMusic Picks—and speaking as one of them, allow me to say it’s pretty good for that! But at the same time, there is a consistency to both beat and rhyme that makes it kind of like elite-tier background music, stuff that sounds great when it’s on that I nonetheless have difficulty paying deep attention to.

Madlib, like his friend Dilla, has always been sort of the avant-garde within the traditional. No matter how out there he gets, the beats he makes are still very clearly rooted in ‘90s boom-bap, and the tracks that Gibbs selected for Piñata are among the most conventional ‘lib’s ever done. When you throw the record on, you’re hit with pure soul-sampling nostalgia from the moment the needle drops, and there isn’t really a beat where the energy slacks or loses the groove. The mostly hook-free tracks do that classically Madlib thing (a la his Beat Konducta tapes and Madvillainy) of blending one into the next like you’re listening to a DJ set. As a result, you might have trouble remembering which songs stood out unless they’ve got a particularly memorable guest appearance or sample (a la “Higher” and “Harold’s”).

I have it on good authority that Freddie Gibbs says a lot of very cool shit on this record, but if you searched me for quotes, you’d just find three lighters, a dry pen, two metro cards and some illegible receipts. At no point does he sound like anything less than a stud on the mic, and his flow is faultless. But he has a way of munching his way through his bars with such metronomic efficiency my attention is lulled. Even on the more off-kilter beats like “Bomb,” he just calmly assesses the challenge ahead, nods to himself, and then attacks it with his usual casual, high PER athleticism. I was surprised to find myself perking up when a jabroni like Domo Genesis showed up, but honestly the occasional cameos from rappers both great (Raekwon and Danny Brown) and corny (Mac Miller and Ab-Soul, who uncharacteristically kills it on “Lakers”) inject life where Freddie’s shark-eyed flow just stacks bodies.

This review sounds a lot more negative than I really feel about this record (I bought it! I don’t plan on selling it!), but in the face of the intensity of praise this one has garnered in some quarters, I can’t help but compare it to the records that really seeded my love for rap. Despite its masterly technique, this lacks the flair and personality I’d need to put it on that classic level. (Freddie and Madlib are absolutely crushed, I’m sure.)

233/365