2008 release, The Wave Pictures first official album, featuring songs that have the naivety of Jonathan Richman, and the music has the DIY immediacy of early Hefner or Herman Dune. With a single out on Moshi Moshi last year the band have been chased by just about every decent British Indie label. David-Ivar Herman Dune has said "they are probably one of the best bands nowadays performing on this planet" and that the songs are "really accessible and uplifting". Sophie is full of beautiful songs with interesting and playful lyrics; the music is striped down to the bare essentials of drums, bass and ace guitar solos. Its only time before there talents are noticed. Smoking Gun.

这张《Breakin Combs》的人员结构异常简单，Dred Scott一人包办了整张专辑的说唱、制作和后期，这对于Dred Scott来说并非什么难事，贯穿专辑始终的真乐器营造出了funky的气氛，Dred Scott一个人就是一个乐队，掌控着整张专辑的音乐基调，丰富的层次感更是让他的专辑。
1994年是Hip-Hop历史上最值得铭记的一年，西海岸继续繁荣昌盛，东岸也迎头赶上，重现辉煌，在这一年里有一张叫《Breakin' Combs》的唱片，因为唱片公司A&M并非专攻Hip-Hop而很快被遗忘，但是金子总会发光，《Breakin' Combs》和它的主人Dred Scott永远不曾被铁杆的Hip-Hop迷们忘记。
作为两位资深黑人歌舞剧演员（母亲还是第一个登上Ed Sullivan Show的黑人演员）的孩子，Dred Scott从小接受爵士乐器的训练，但真正让他下决心走上音乐之路的还是1980年代风靡全美的Run-DMC，于是Hip-Hop界又多了一位让我们拍掌击节的天才。
同时Dred Scott还是一个杰出的说唱歌手，首先这要从他的艺名说起，他的本名并不是Dred而是Jonathan，改名‘Dred’ Scott是因为向美国19世纪同名的一位非常著名的追求自由、反抗奴隶制度的黑奴致敬的。在《Breakin' Combs》中Dred Scott除了以流畅的flow和颇具深度的歌词给人留下了深刻印象之外，还多次流露出了难得一见的人文情怀，这一点跟Common很是相似。比起那些 街头化的说唱歌手，他显得更博大，更有爱。“Check The Vibe”就是他与他的女性朋友（非女友 囧）、第一代Neo-Soul女伶Adriana Evans的一首温情小品，当然Dred Scott在他这类所谓conscious rapper惯用的“鞭笞今日商业Hip-Hop，怀念纯净Hip-Hop”主题里也有建树，在这一主题里他完全收起了他的温柔，显得锋芒毕露，怀念过去的好时光的“Back In The Day”、炫技曲“Can't Hold It Back”、内心自白“Nuthin Ta Lose”等等都是很好的例子。
作为一个成功的MC，必须得有幽默感，Dred Scott在这一点上也毫不逊色。像“Check The Vibe”中那句“I'm real like my man Michael Jackson's first nose”就让人莞尔，和同门师兄Tragedy合作完成的“To Da Old School”更是以一个“兄弟，我们的鼓机坏了，怎么办？我给你打个beatbox吧”的小过门开头，Dred Scott的beatbox配以Tragedy Khadafi的freestyle，即到位又有趣。
可惜的是，因为销量不佳等原因，《Breakin' Combs》推出后Dred Scott很快就离开了Hip-Hop界，从此销声匿迹，仅有一张1995年的EP《Small Clubs Are Dead》，但他这张《Breakin Combs》却得以因高质量的制作和说唱而不朽，哪怕只是一次玩票，Dred Scott也如此出色，不得不让我们感到遗憾。专辑内页里引用的Funk/Soul大师Curtis Mayfield的那句话“Underground is whatever you want it to be as long as you're real”，正是Dred的心声。

Below the Heavens is the debut studio album by American hip hop duo Blu & Exile. It was released by Sound in Color on July 17, 2007. It serves as Blu's debut album, while Exile had previously released his solo album Dirty Science and two albums as a member of the duo Emanon.

Headie One 与 Fred again.. 分享新作 "GANG (Mixtape)", 合作者包括 FKA twigs, Sampha, 以及 The xx 成员 Jamie xx.

Iridescence is the fourth studio album by American band Brockhampton, released on September 21, 2018 through RCA and Question Everything, as the first installment of the The Best Years of Our Lives trilogy. It was produced by the group themselves. It is their first release under RCA, following a trilogy of singles throughout 2018, as well as their first album since Ameer Vann departed the group following sexual misconduct allegations.

Genre: R&B
Sub Genre: Underground / Alt Rap
Engineer: Mark \"Spliffler\" Pistel
Studio / Live: Studio
Stereo: Stereo
Format: Performer

Sampa The Great creates a sense of home on her debut album The Return. Its reference points range from classic hip-hop to ancient Southern African sounds. Built on four years of personal and musical soul-searching, it’s an assured statement, the product of meaningful musical connections and of Sampa having to redefine her self-identity away from the comforts of family and old friends.
OnThe Return Sampa has enlisted a string of collaborators and peers to create the album. Mixed by Jonwayne (of Stones Throw notoriety), MsM (Skepta/Boy Better Know) and Andrei Eremin (GRAMMY-nominated engineer for Hiatus Kaiyote and Chet Faker), productions are by Silentjay, Slowthai producer Kwes Darko, Clever Austin (Perrin Moss of Hiatus Kiayote), Blue Lab Beats and Syreniscreamy. The album also features collaborations with Ecca Vandal and London jazz collective Steam Down.
Building on her formative works, The Return sees Sampa tackle bigger questions, exploring what it means to feel at home, to feel excluded, and to see someone as an outsider. The themes behind the album are addressed head on in title track ‘The Return’. At the close of the track, Whosane’s lyrics refer to “returning to the self of my self”. This, for Sampa, is what she’s been trying to do for the past six years: to find new ways of feeling at home and rediscover an emboldened idea of herself. "Home is described in a lot of ways and means a lot of different things to different people,” she says. “I had to redefine in my mind and in my spirit what home means.” The album is both a re-telling of that journey, and the realisation of her aim; the album walks us through that return to home, while the accomplished sound and lyricism underscores the steps she’s made as a person and artist.

Chance the Rapper has released Coloring Book, his third mixtape. You can download and listen to it here via Apple Music. Coloring Book follows 2012's 10 Day and 2013's Acid Rap. It includes "No Problem," his collaboration with Lil Wayne and 2 Chainz, and "Blessings." Coloring Book also has features from Kanye West, Jeremih, Young Thug, Justin Bieber, Jay Electronica, Future, T-Pain, and more. Last year, Chance appeared alongside Donnie Trumpet & the Social Experiment on Surf and freestyled with Lil B on Free.

Simbi Ajikawo, crowned Little Simz, let's her work do the talking - and her prolific releases and boundary-breaking achievements clearly tell a story of a pioneering Hip Hop artist who leads the way on her own terms. Giving lauded, energetic performances, critically acclaimed albums, sold-out headline shows around the world, and international tours with the likes of Gorillaz, Anderson.Paak and Ab-Soul, this visionary 24 year old woman from North London is living out her childhood dreams to heights of excellence - and inspiring her generation to do the same.

Semi Hendrix is the acid inside the headband and the fork inside the electric socket. It’s hard-core hip-hop, furious voltage spiked with funk and soul. It’s political and street, cerebral and reckless. It’s Jack Splash and Ras Kass running roughshod over everything from economic inequality to racist government policy to your girl. The album title is Breakfast at Banksy’s. Consider it the rare soundtrack for the revolution and the party.
The duo formed following Splash’s world tour with his underground cult funk band, Plantlife. Upon its conclusion, the 10-time Grammy-nominated producer and three-time winner decided to leave Miami in favor of Los Angeles. For the native Angeleno, this was where it all began. He’d seen incredible success over the previous decade, producing for Cee-Lo, Alicia Keys, Kendrick Lamar, and a slew of others. But he wanted to return to his roots and make a pure hip-hop album, a passion project with no input from industry types.
“I decided that if I was going to make true art, then I needed to work with the best of the best…the Picasso of the West Coast,” says Splash. “And everyone who comes from LA knows that it doesn't get any better than Ras Kass.”
If you’re unfamiliar with the Waterproof MC, you need to stop reading this and listen to Soul on Ice, Rasassination, and any of the tracks bodied by the Golden State Warriors (Ras, Saafir and Xzibit). Once you’ve done that, you understand why the Carson-bred rap beast is one of the coldest MCs to ever hypnotize an audience.
But neither Splash nor Ras has even done anything quite like Semi Hendrix—probably because no one has ever done anything quite like Semi-Hendrix. It’s a warped psychedelic odyssey glimpsed via two brilliant minds in a crooked world.
Produced entirely by Splash, the instrumentals recall classic genre-liquefying experiments like DJ Shadow’s Endtroducing and Bizarre Ride II The Pharcyde. You can file Semi Hendrix somewhere between Gnarls Barkley and Run the Jewels.
Faded acid-washed freak-outs fade out from raunchy comedy clips. There are shredding guitar solos and nimble funk lines.
Meanwhile, Ras Kass spits flames about Brooklyn hipsters, greedy record labels, and Capitalist inequality. He interweaves Thomas Paine’s anti-Colonial tract, Common Sense with the rapper born Lonnie Lynn. In the course of four bars, he’ll slip in references to Biz Markie, Star Trek, Duke Ellington, and Cab Calloway.
The intellect is staggering, but never self-serious. He’ll go from talking about squirters to indicting “Stop and Frisk” policy. The sound is kaleidoscopic. Nothing is sacred. Guest spots include Brothers Voodoo, Cee-Lo and Raheem DeVaughn, Teedra Moses, Kurupt, Montego Meli, Alice Russell, Wrekonize, and Jessica. But for all its virtuosity, this is 100 percent raw. If you wanted to know who Semi Hendrix are, the answer is simple: they’re the wildest style.

霎眼封面，令我想起NINJA TUNE的黑金美学。光是Gaphic的概念，便知一定是型格之作。

来自伦敦的Underground hip-hop健将MF Doom与美国西海岸Rap producer“Madlib”，04年共组的Madvillain，可说是MF DOOM的变种化身。顺便一提，MF DOOM当年曾帮Damon Albarn做过“Gorillaz”的献声。

46分钟的专集居然有22首歌，歌虽不长（平均每首只有1分多钟），但所包容的元素却如此之丰富。各种型格声响交缠争鸣，趣味无穷。冷艳的Jazz抹在HIP HOP节奏上，剪辑出高贵冷傲的一幕幕Jazz Rap优趣景象。

以金属面具做扮相的MF Doom实在是型到爆炸！



推荐:Track 12:shadows of tomorrow
为之侧目,竟然以国语“谁砍倒了樱桃树”开篇。

The Minstrel Show2005年于北美发行，收录了十六首歌。歌手是另类说唱团体"Little Brother"，于2001年成立于北卡罗来纳。其成员为"Phonte Coleman"和"Big Pooh"以及歌手兼制作人"9th Wonder"。专辑中的歌曲都非常的好听，喜欢的朋友不要错过。收起