JimKongILL

Autumn In New York

Buy on iTunes: http://bit.ly/AWGitunes
Buy at Fifth Element: http://bit.ly/AWG_FE
Watch the video: http://bit.ly/DemAWG

Written & Produced by: deM atlaS
co-produced by Soundsmith the Programmer | http://www.soundsmithbeats.com/

Check out the music video here: http://bit.ly/DemAWG

https://twitter.com/dematlas
https://facebook.com/dematlas
https://instagram.com/dematlas
https://rhymesayers.com/dematlas

#AllWeGot

deM atlaS - All We Got

Takeo Moriyama "Watarase" (1980)

14 - Cherokee

SIKE
Produced by: Adam Pickrell
Sequenced & Arranged by: John Congleton
Additional Drum Programming: Bird Peterson 
Horns: Reggie Pace

 I've been on some burn it down, leave this town, never look back shit 
Passing out on your couch, sneaking out the back tip
 Ripping credit cards out your mailbox snatch it
 Charge it to the game playboy, it's practice
  They been on some got this, squat this, reroute the power grid
 Cops can't stop this, over our dead body bitch
 Eat this, drop this, turn it up louder kid 
Put it down in our path? Million ways around that shit  
We backstage sterilizing tattoos with beer 
You cats stay paralyzed by bad news and fear 
You underage and they ain't fucking let you in here 
Fake ID G, and buy us all beer  
I’m sick of kids who sit and bitch about how they can't get into shit 
Ya "woe is me" steez, just getting bit ridiculous
 Fucking A, you're underage, that means they just slap your wrist
 If not, you're young and fit, “Yeah Bitch! Out run the pigs!”  
Ha! And give em all trophies
And some orange slices 
Yeah, y'all already know me 
One of the only that's really grindin’
  Lazy motherfuckers wanna call it luck 
Be real motherfuckers know there ain't no such
 Thing cause i mean there ain't no free lunch
 You better fix your own plate or serve one to us
  Go on pray to your God, or complain on facebook 
Stay waiting for your Dad, to come save the day dork
 Voted for Obama, and expecting changes It’s just one big party all giving the same gifts  "SIKE!"  Like a P.O.S T-shirt! 
YIKES!  It’s only gonna get worse! 
RIGHT?  This beat Is kinda bzerk 
Turn it up louder till my fucking teeth hurt!
  Yeah girl, I own some gold teeth
I’m southern, I was taught to hold heat
Ain’t no gangster, I’ll tell that true
Rick Ross just a cop with some bad tattoos

Florida baby, yeah my neck stay real red
While you make believe pushing that white shit
You dress up gangsters can play pretend
I stay slangin that white girl round my bed

Young Steve McQueen spit that dick game
You tweet real bossy for a bitch with a tin chain
I don’t need no Maybach just to sharpen my pimp girl
Pull girls on my bike they ride my handlebars home, man!

Ooh!  Put my word on that chief
Rihanna gonna haller, the way I murdered that beat
A condom like an umbrella, King Kong in the bed sheets
Just haller at a fella when you’re done with that dead beat!

CHORUS

 See, I can write your dumb raps 
Pay me, and go buy some hubcaps
 Fake G’s talkin bout gun claps
 Ain't gonna happen, like A-Rod's come back
  Talent is cheap, money's all made up
 Gallons of beam, and the speakers based up
Fuck it!  I got nothing left to say son 
Y'all get Cryphy!  Thank you Based God! 

CHORUS 

"The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion."
-Albert Camus


Side One Dummy Records: Worldwide
Cargo Records: Europe

Sike!

The Blue Yusef Lateef

Like It Is (Remastered)

Get the full album here: https://guante.bandcamp.com/album/post-post-race

"One Bad Cop" is the second single from “Post-Post-Race,” the debut collaboration from Twin Cities MC/poet Guante and producer Katrah-Quey. Featuring quotable guest verses from G.P. Jacob and Tish Jones, the song tackles not just police brutality in general, but one very specific element of it: how so much of the conversation in media focuses on the specific details of each individual case, while failing to make connections to the broader trends of police violence, institutional racism, and mass incarceration. Like the duo's first single, "White People on Twitter," this song is about digging deeper and striving to think critically-- especially important considering the current #justice4jamar protests growing in the artists' backyard, Minneapolis.

Music: Katrah-Quey: @katrah-quey
Words: G.P. Jacob, Guante, Tish Jones
Mixing: Katrah-Quey and Graham O'Brien

This is the radio edit; the unedited version will be on the album. More thoughts and commentary here: http://www.guante.info/2015/12/new-song-one-bad-cop-by-guante-katrah.html

Buy on Bandcamp

One Bad Cop (prod. Katrah-Quey) featuring G.P. Jacob, Tish Jones

"sleepdrone/superposition" by P.O.S off of Chill, dummy out now on Doomtree Records.


Doomtree Webstore: http://store.doomtree.net/artist/p-o-s
iTunes: bit.ly/POSChilldummyiTunes
Bandcamp: bit.ly/POSChilldummyBandcamp

featuring Allan Kingdom, Astronautalis, Eric Mayson, Kathleen Hanna, Hard_R, Lydia Liza, Lizzo, Nicholas L. Perez

Chill, dummy

sleepdrone/superposition

P.O.S "sleepdrone/superposition"

Buy the single in all formats here:
BIG CROWN WEBSTORE: https://bigcrownrecords.com/store/lady-wray-do-it-again-45/

Taken from the Lady Wray album "Queen Alone" available here:

BIG CROWN WEBSTORE: https://bigcrownrecords.com/store/lady-wray-queen-alone/
BUY / STREAM: 
http://geni.us/ladywrayqueenalone


Follow Lady Wray:
https://www.facebook.com/Ladynicolewray
https://www.instagram.com/ladynicolewray/
https://twitter.com/Ladynicolewray
https://open.spotify.com/artist/1plioVQ0mcgAO7uhvWkJJy

Visit us at:
www.bigcrownrecords.com

Follow Big Crown Records:
https://open.spotify.com/user/bigcrownrecords
https://www.instagram.com/bigcrownrecords
https://www.facebook.com/bigcrownrecords
https://twitter.com/bigcrownrecords?lang=en
https://soundcloud.com/bigcrownrecords
https://www.mixcloud.com/BigCrownRecords

Buy at BCR

Lady Wray - Do It Again - BC009-45 - Side A

No April Fools joke here. After dropping the out-of-nowhere “Cross Countries” single earlier this week, Cecil Otter announces the immediate release of his new EP Dear Echo, available digitally through Doomtree Records.  Longtime Doomtree crew member and behind-the-scenes production wizard, Cecil has spent years developing his unique and signature sound, and Dear Echo pushes the genre boundaries even further for his most modern, lush, and experimental offering yet.  Recorded in Fall Creek, WI at Justin Vernon’s renowned April Base Studios, the six-track EP includes three brand new songs alongside their accompanying instrumentals, with production, songwriting, and vocals masterfully handled by Cecil himself.  Available now for download, Dear Echo will also see a vinyl release later this year.  Standard and deluxe LP packages are now available for pre-order from the Doomtree webstore, and include limited-edition white vinyl and an extremely rare signed-and-numbered screen-print series featuring the artwork Cecil created during the Dear Echo recording sessions.

After self-producing several of his own solo albums throughout the 2000’s, Cecil Otter rose to fame as one half of the mashup duo Wugazi, a remix project that overlapped the gritty raps of Wu-Tang Clan with the sounds of post-rock vets Fugazi.  The project went instantly viral and garnered high praise from the likes of NBC, Rolling Stone, MTV, and even Jay-Z’s own site, Life + Times.  Dear Echo marks Cecil’s first new collection of solo material since 2008’s Rebel Yellow.

Dear Echo

Cross Countries

Cecil Otter "Cross Countries"

1. Villa Mariana (De Tarde) (I. Conti / A. Malheiros / K. Continentino)
Ivan Conti : Drums & Vocals
Alex Malheiros : Bass & Vocals
Kiko Continentinho : Rhodes, Keyboards
Robertinho Silva : Percussion

Fênix

Villa Mariana (De Tarde) (I. Conti / A. Malheiros / K. Continentino)

Predictions

Sisters Unarmed

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.
But before they became Azymuth, Jose Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil.

Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward.Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.
When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).

Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Vinyl / CD / Digi

Azymuth - Castelo (Version 1)

Late Night Tales: Floating Points

Sea Fluorescent

Yeti Season

Ala Vida

Just Wrong

Management:  Amlak Music
banch@amlakmusic.com

Agent:  ICM Partners
MBlackman@icmpartners.com

14 - Cherokee

Kamasi Washington

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