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.

国内说唱歌手 lil Slower 近日放出一首单曲《假如马保国是个rapper》，以近期网络热门人物马保国为主题。在此之前，该单曲相关的视频片段已经在抖音和微信群中传播。
lil Slower ，独立音乐人。从小学钢琴，中学开始吹小号。更加擅长词曲创作以及演唱。
此单曲的更多信息：

作为一支融合Soul、Blues以及Hip Hop并深受Sly and the Family Stone影响的另类说唱团体，Arrested Development在1992年创造了Hip Hop在主流乐坛的又一个成功典范。团体成立于80年代晚期，组成团体的两名成员Speech与DJ Headliner，受到Public Enemy的影响而将Afrocentric的思想融入音乐风格之中。团体首张专辑的名字正是来自他们从组团到取得一纸专辑和约所用的时间--3年5个月零两天。其中的单曲“Tennessee”打入了排行帮的前十，专辑也在其激励下大卖400万张，并获得了莱美最佳说唱专辑奖，同时位列滚石杂志的年度最佳团体。但正当团体发表第二张专辑并被预言将主导整个未来Hip Hop发展之时，团体解散，团体的领袖Speech做个人发展，但再也未有影响力的作品问世。

专辑《3 Years, 5 Months & 2 Days in the Life Of...》令团体在1992年间受到各界追捧，在它的影响下，听众与评论家都开始意识到了音乐性在Hip Hop中的重要，这似乎已经预示着另类饶舌风格新纪元的到来。虽然这个新纪元并未真正到来，而是Dr.Dre的匪帮风潮随着一张The Chronic的发表而走到鼎盛，而且现在回顾起来，《3 Years, 5 Months & 2 Days in the Life Of...》也不再像刚一出现时那样给人充满革命性的印象，但它仍然是一张优秀，甚至可以成为Hip Hop历史上最出色的专辑之一：专辑中所传达的积极信息--寻求的黑人世界统一与团结思想与为平等而战的斗志--令那些即使是摇滚界评论家也不得不为之折服。团体领袖Speech的南方式饶舌风格，与乡村Blues，非洲手鼓，Funk以及旋律化的R&B，都在那首经典的“Tennessee”中得到了完美的融合与展示；从歌词上说，歌曲更是一次与众不同的宣言，令专辑成为90年代初的最坚实的一张经典作品，同时也为时代提供了应有的自觉意识。即使是Goodie Mob, OutKast, and Nappy Roots这些另类南方说唱大师，也不得不承认专辑对他们产生的影响。

All Eyez on Me是美国说唱歌手2 Pac的第四张录音室专辑，1996年2月13日在死亡之列唱片上发行，并由Intercope唱片公司发行。

Phum Viphurit & Higher Brothers《Lover Boy 88》，是Higher Brothers为华语听众准备的专属礼物，改编原曲来自Phum Viphurit在YouTube上点击量过千万的《Lover Boy》。《Lover Boy 88》保留了原曲中海岛般浪漫轻松的氛围，用直白甜蜜的歌词，给歌迷们埋下一颗时间胶囊，五年后，Higher Brothers还是你的Lover Boy吗？
另外，88rising随单曲公布了另一重磅消息，“Head in the clouds”合辑确定在7月20号发布。收下这封邀请函，准时赴约这场年轻的夏日派对。

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ALLMUSIC.COM
Anyone who remembers trumpeter Toshinori Kondo's work with such thorny avant-gardists as John Zorn, Derek Bailey, Fred Frith, and Peter Brotzmann's Die Like a Dog Quartet may be a bit taken aback by the extreme accessibility of his collaboration with pioneering turntablist DJ Krush. Much of the music on Ki-Oku flirts with smooth-groove jazz — Kondo's muted trumpet line on "Mu-Getsu" sounds an awful lot like something Chris Botti would play, while the duo's instrumental take on the Bob Marley classic "Sun Is Shining" comes off just a little bit muzak-y. On the other hand, "Ki-Gen" and "Ko-Ku" both find Kondo using synthesized treatments in a way that evokes Jon Hassell's work with Brian Eno, while on the latter DJ Krush layers slightly menacing keyboard washes beneath Kondo's unassuming trumpet lines. This is one of those albums that reveals more with repeated listens; if it sounds too easy at first, listen again — there's lots of interesting stuff going on beneath what sometimes sounds like a merely pleasant surface.
Amazon.com
Pairing DJ Krush, known throughout the beat underground for his subdued, trippy soundscapes, with Japanese avant trumpeter Toshinori Kondo may seem an odd pairing. This record, however, is instantly knowable and intuitively easy to grasp. Krush's beats, while certainly up-front, don't come at the price of the composition, nor do they blast Kondo's trumpet out of the tune. DJ Krush is not only able to drive the direction and tempo, but he's also quite adept at creating mood--often mixing up somber, downtempo collages that glide with an underwater grace. His uptempo work is direct, solidly propelled by someone who knows how to handle bass and breaks. Thankfully, the canvasses Krush mixes up are large enough to include Kondo's color work. The trumpeter (who's worked with the likes of Herbie Hancock and John Zorn) takes full advantage of the opportunity. Kondo is a breathy, richly toned player, and his meshings add to the dreamy, psychedelic feel of the recording. He's effective whether he's drifting beside Krush's swirling dub coiled in a haze of effects or punctuating beats with pure blasts of horn fire. A hip-bop classic. --S. Duda
From Jazziz
Willfully dry and barely funky, this album runs the risk of embracing the double-edged racist stereotype that haunts Japanese musicians working in heavily African American-based styles: polite Asians too intellectual for gritty black music. Thankfully, enough contrary evidence exists on Kondo and Krush's other recordings to dispel this myth elsewhere (and anyone dim enough to think black music isn't cerebral needs a lot more help than a CD review can give). Krush often gets labeled jazzy by critics out of laziness as much as for his easy tempos and willingness to float the occasional horn sample through his atmospheric mixes. Really, he specializes in manipulating thick swashes of sculpted ambient sound over loping, deliberate beats. On his well-conceived hip-hop albums, instrumentals alternate with appearances by guest rappers and vocalists to excellent and varied effect. Kondo, a veteran of collaborations with Peter Brötzmann, Derek Bailey, and Herbie Hancock, deploys none of the expected avant-garde pyrotechnics here, beyond an occasional slight sharpness in tone. Clichéd, smooth-jazz trumpet musings, smothered in echo, are the disappointing fare instead - when someone says an unimaginative trumpet player has a Miles-like sense of phrasing, this is the sort of effort to which they're referring. Still, it's hardly an unpleasant album. A few bright points are the use of Middle Eastern melody and Krush's innovative, spare turntable work. Because it seems interested in little beyond simple mood-setting, ultimately it remains ineffectual and inconsequential.
--- Patrick Hughes, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.

Camp Lo is an American hip hop duo, formed in 1995, which hails from The Bronx, New York

中国说唱代表人物、Higher Brothers团队领袖马思唯于2月28日发布全新专辑《黑马王子》，这是他首次以个人solo形式发布的第一张正式专辑。 这张以母语中文创作的专辑，历时6个月，横跨成都，纽约，洛杉矶，记录了他6年说唱生涯摸爬滚打的奋斗史。不是每一个人生来就是白马王子，透过这张专辑马思唯将向世人展现一个截然不同的Prince Charming, 一个白手起家，不畏任何艰难险阻，一步一步向梦想的顶端逼近的黑马王子。黑马王子可以是热血的，可以是浪漫的， 同时也是叛逆的。在这张专辑中，马思唯回到初心，回到音乐，正是以这份真诚才能给听者最真挚的共鸣——上天或许没有赐于你白马王子的光环，但你依然可以通过自己的努力，实现梦想，成为那匹最让人惊艳的黑马。就像他在《天生我材必有用》中唱的那样，“掌声献给还在奋斗中的你”，这张专辑献给所有像马思唯一样出身平凡却奋斗不止的年轻人们，献给所有把命运掌握在自己手里的“黑马王子”们，这个世界，也必将属于你们。
接下来黑马王子会带给大家什么样的惊喜，让我们拭目以待。

KNOWKNOW 的職業生涯第一張個人正式錄音室專輯

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。

Robert Earl Davis Jr., better known by his stage name DJ Screw, was an American hip hop DJ based in Houston, Texas, and best known as the creator of the now-famous chopped and screwed DJ technique