yo i neeeed this mp3 can anyone help me out?

Ugh....this songn is a blessing. #Ratkingiseternal

why does this still not have an official release, after all these years later?!

Need more!! Give me more!!! 🔥🔥🔥🔥

Humpday work music pt2

Toro y Moi - My touch

Yellow Kidney

Video out now via @massappeal : http://massappeal.com/premiere-show-me-the-body-one-train-video/

One Train - Show Me The Body

King Krule - Alisha

As promised, S.T.S. is back again this week.  He plans to keep delivering new material, while he preps for his upcoming project. This time he brings you another Khari Mateen produced track, "Heart On My Sleeve". The song speaks on his shopping habits and how recent events made him re-evaluate one of his favorite stores.
 
"The meaning behind the song is that
I love shopping so much it's like a
disease (oniomania) that I ended up
shopping when I didn't need to. And
to top it off, we ass black folks still
gotta deal with racism as if we can't
afford stuff at Barney's. It breaks my
heart, cause I was a big Barney's
shopper." - S.T.S.

Produced by @khari-mateen
Artwork by @UProdigyDesign



Buy the EP for only $1

S.T.S. (Sugar Tongue Slim) - "Heart On My Sleeve" (Prod. by Khari Mateen)

Princess Nokia's "Dragons"

With recent news buzzing between Strange Music lyrical titan and Yelawolf protege Rittz and Slaughterhouses' own Crooked I, the pair teams up with Toledo, OH's own A-Laz for the debut single, "Don't Know," from A-Laz’s forthcoming LP Eastie Boy.  Alongside Crooked I and Rittz, Eastie Boy will also include features from Royce the 5'9", Bizarre of D-12 and more.

A-Laz’s Eastie Boy LP will be released on 7-1-14.  

For More Information:

https://twitter.com/alaz419
https://twitter.com/CrookedIntriago
https://twitter.com/therealRITTZ


A-Laz f/ Crooked I & Rittz 'Don't Know' (produced by Fif Element)

Brick Records is proud to present the REKS & Hazardis Soundz collaborative album Eyes Watching God. The concept album has the duo showcasing a contrast between “good and evil” beginning with a “God Side” and finishing with a “Devil Side.”  The CD artwork features a dual-image album cover showing both the 'Good' and 'Evil' sides, depending on what angle you view it from.   The Massachusetts lyricist linked up with the Queens native in South Florida to complete the album during the past year, and they enlisted N.O.R.E, Saigon, Fredro Starr, Termanology, Ruste Juxx, Dutch Rebelle and others to add to their cause.  The result is a highly conscious and fiercely political album.

 

"Working with REKS on this project has been a great experience. The creative process was organic and effortless. We were in the studio together for every song on the album and it was as simple as me showing Reks a beat and him picking up the pen and writing. Nothing was ever forced. I am really proud of this body of work and I'm very excited for the world to hear it." says Haz. 

 

REKS adds, "It felt natural working with Haz.  He has a great ear for music and was interested in me trying beats I am not accustomed to spitting on. It helped me diversify myself a bit".   The chemistry between the two is evident throughout Eyes Watching God, which drops on CD and digitally on 7-15-14.

(All songs produced, mixed and mastered by Hazardis Soundz)

For More Information:

https://twitter.com/therealreks
http://www.rekshiphop.com/
https://www.youtube.com/user/therealreks
https://www.facebook.com/therealreks
Instagram: @reksflicks
https://twitter.com/HazardisSoundz
http://hazardissoundz.com/
https://www.youtube.com/user/HazardisSoundz
https://www.facebook.com/pages/Hazardis-Soundz/111580015593107
Instagram: @hazardissoundz
https://twitter.com/BrickRecords96
http://brickrecords.com/
https://www.facebook.com/BrickRecords



Unholy f/ Fredro Starr & Ruste Juxx

Garvey f/ N.O.R.E & Saigon

Fall in Love (RATKING Falling Off Remix)

Devonté Hynes - Vocals, Yamaha DX7, Cello

Written, recorded & produced by Devonté Hynes on 2nd March 2015.

"Delancey" Edit 3 03:02:15

This is not from my forthcoming album, just some things on my mind.
Photo by Robert Mapplethorpe.

Lyrics.
frustration and depression breaks me down
descending like they wanted underground
the further our journey the less you care
that's why you laugh at Kanye when he's talking in a chair
but the same conversation but replaced,
is good enough for laughs or a smile on your face,
happy to be singing all our songs to survive,
but when we need help, you don't get off til 5. 
it's powerful to feel so alone in a group

let me break this down for you and tell you how we feel again,
your fear is all you hold on to, so when you see me it's not fair
i have nothing left to give when you don't notice what is wrong,
Charleston left me broken down but it's just another day to you

i ain't got nothing left to give you
and i'm too tired, to even talk about it
while watching the fire,

tasting pain coming from a place of truth 

to be another in a messy world
to feel like giving in another turn?
you wouldn't listen if i told you

so how can i become anyone?

Written, arranged & produced by Devonté Hynes.

Devonté Hynes - Piano, Voice, Wurlitzer, Synths, Bass, Percussion, Drums.
Voicemail from Talwst (http://talwst.com)
Chris Egan - Drums from 6:13 onwards
Ava Raiin - Vocals
Samantha Urbani - Vocals

Do You See My Skin Through The Flames?

Out now: http://www43.zippyshare.com/v/7huU6v6P/file.html

Real Love Ft. Kool AD

So Many Details

babydollbibonoshakeitoff.wav

The OOZ

King Krule - Dum Surfer Live On The Moon

"Until The End" is the 2nd single off of AWAR's upcoming album, "The Laws Of Nature" available on CD and digitally August 7th. This rare gem is a multi regional unstoppable team affair that includes AWAR (NY) x Grammy Winning producer/emcee Nottz Raw (Norfolk, VA) x Chicago's singing talent P. Jericho x Living Legend emcee MURS (LA, California). This vintage soul banger canvas via Nottz allows each artist to paint visuals (including Nottz himself) and deliver a meaningful message. AWAR "The Laws Of Nature" album available August 7th! Lions Pride/ Raw Koncept

iTUNES preorder

AWAR - Until The End feat. Nottz Raw, P. Jericho & MURS (Produced by Nottz)

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

Fall in Love (RATKING Falling Off Remix)

PHANTOGRAM

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