Review: Stones Throw has tapped up the brilliant psychedelic jazz group Apifera for a second album to follow on from the greatness of their debut. That once came back in 2021 in the form of Overstand, which was a widescreen and cultural mix of all manner of weird and wonderful sounds. Now, Keep Teh Outside Open builds on that and finds keyboardist Yuval Havkin and Nitai Hershkovits, drummer Amir Bresler and bassist Yonatan Albalak all colliding Israeli folk, Afrobeat, post-rock and jazz into richly colourful and absorbing sound worlds full of lush broken beat grooves.
Review: This new album from Benny Sings comes in various different formats - a blue vinyl included, while this version is a straight back wax copy. It features Amsterdam-based artist Benny Sings - who recently had his ART album reissued on Sings - returning with an all new and new eighth solo studio album. For the first time, it is one that finds him working with a single producer throughout - and that producer is the well known beatmaker Mr Kenny Beats. It was a partnership that came together after a chat over social media and the pair immediately felt comfortable with each other. Benny instructed Kenny that he wanted to make the biggest record he has to date and that's what they have done.
Review: Amsterdam-based artist Benny Sings recently had his cult classic ART album reissued on Sings and now he is back with an all new eighth album. It sees him for the first time ever working with a single producer throughout - and that is beatmaker-to-the-stars Mr Kenny Beats. It was a partnership that came together after a chat over social media and the pair immediately felt comfortable with each other. Benny instructed Kenny that he wanted to make the biggest record he has to date, Kenny obliged and that what we have here from the acclaimed singer songwriter.
Review: Campus Christy is a new collaboration between Stones Throw Records founder Chris Manak (aka Peanut Butter Wolf) and musician Brian Ellis. Nearly 25 years after his 1999 debut My Vinyl Weighs a Ton, Manak revisits his high school garage band roots by forming this project to reinterpret lesser-known tracks from the late 60s to early 80s. With Manak on vocals and Ellis providing instruments, Campus Christy is a nostalgic nod to the past that blends influences from an era that shaped Manak's musical journey. It's both a personal tribute and a fresh exploration of forgotten gems.
Review: Eddie Chacon's 2023 album 'Sundown' cemented his status as a "low-key r&b legend", three decades after his breakthrough as half of Charles and Eddie. Now, he returns with 'Lay Low,' a collection of hazy, hypnotic tracks produced by Nick Hakim that ooze soulful charm and sophistication. Praised by The Guardian, Uncut, MOJO, and Record Collector, Chacon's music resonates with a timeless appeal. Smooth, seductive and unforgettable, 'Lay Low' further solidifies Chacon's unique place in the genre.
Review: Eddie Chacon returns with Lay Low, following his critically acclaimed 2023 album Sundown, which solidified his status as a "low-key r&b legend." Best known for his chart-topping success as part of Charles and Eddie in the 90s, Chacon has reemerged with an album of hazy, seductive tracks produced by Nick Hakim. Lay Low showcases Chacon's signature soulful sound, with its atmospheric production and warm, understated delivery. This album reaffirms Eddie Chacon's place as a master of subtle, emotive r&b, bringing a timeless yet fresh feel to the genre.
Review: Big Shots"by Charizma & Peanut Butter Wolf, released posthumously in 2003, encapsulates the fleeting brilliance of a partnership tragically cut short. The album showcases Charizma's incredible lyrical work and Peanut Butter Wolf's precise, innovative beats, marking a poignant chapter in hip-hop. Their music, recorded between 1989 and 1993, before Charizma's untimely death, is a fusion of playful and profound, mirroring themes reminiscent of classic friendships in novels. The album combines the sunny disposition of West Coast rap with the intricate, thoughtful production styles akin to East Coast hip-hop, making it a unique hybrid that respects both traditions. Charizma's flow is agile and confident, navigating through beats with an old-school flair that still feels fresh and relevant. Tracks like 'Here's a Smirk' and 'My World Premier' exemplify this dynamic and his rise as a leading voice in the 90s rap scene. Big Shots is a celebration of what was and a poignant reminder of what could have been. The chemistry between Charizma and PB Wolf is palpable. This album not only highlights Charizma's talent but also solidifies Peanut Butter Wolf's legacy as a pivotal figure in the underground hip-hop community.
Review: After his debut album E o que a casa oferece from 2023, Gabriel da Rosa is back with another silken bossa nova record, in homage to the musical style that raised him. 'Cafune' was first released digitally a follow-up single to the alnbum, one which rounded out the year that said debut was released, and which was written for the soundtrack to the film film All Happy Families (Haroula Rose). Now an authentic 12" version, the song is here backed by the B-side 'Sort Of', an impressive desert passage through refractive, rainbow dream pop.
I'm Just Tryna Survive (In The Big City) (feat Q-Tip - bonus track) (4:40)
Kaint Let 'Em Change Me (bonus track) (3:56)
The Acceptance (bonus track) (9:20)
Review: Dam-Funk recently took to Twitter to bemoan the disparity between the positive feedback he gets from listeners, and the largely disappointing reviews from music critics. It's certainly odd that critics have been sniffy about Invite The Light, his fourth solo full-length for Stones Throw, because it's arguably his most varied, accessible and attractive album to date. Packed full of proper songs, cheeky dancefloor workouts, and high profile collaborations - pals Q-Tip, Snoop Dogg, Computer Jay, Jody Whatley and Nite Jewel all lend a hand - it's an album that still sounds hugely futuristic, despite Dam-Funk's reliance on vintage synthesizers, drum machines, and '80s soul, funk and boogie influences.
Review: Richmond beatmaker DJ Harrison is back with his second full length, Tales from the Old Dominion. This album finds the multi-talented artist play every single instrument on it after three heard years of graft. It swallows up a myriad of influences from across the ages such as soul, funk, rock, R&B, hip-hop, all with his own unique collage yet cohesive style. There are forward looking disco cuts, rubbery basslines, heart meltingly smooth neo-soul sounds and spaced-out hip-hop joints for the late night hours. This is a fresh record desire its nod to classic black music.
Review: Stone's Throw has never really made any wrong moves in our opinion, and here the label puts its full force behind a deceptively powerful album. Taking us to places that are deeper than perhaps what the imprint is best known for, this is immersive, hypnotic, otherworldly stuff made from a variety of plugged in machines, analogue and otherwise, including a semi-modular synth. The result is a journey-style collection packed with atmosphere but one that's also painstakingly detailed and textured. Sound waves are rendered almost visible by the movements, drones, tracks and other pieces here, drum and effects machines producing the kind of noises that mesmerise and suck you in further as time passes. Tunes to get lost in, the only remaining question is whether anyone will ever want to return.
Review: Mayer Hawthorne's debut release hears a faithful reissue via Stones Throw. 'Just Ain't Gonna Work Out' was first released in 2008 as the first forerunner to the LP A Strange Arrangement, which was released the following year. Housed on a distinctively oblong, heart-shaped, red 7", the star track hears Hawthorne segue uncertainly from serenade to breakup song, and we're treated to his trademark croaky falsetto too; too nice to pass up. B-sider 'When I Said Goodbye' is a haunting soul reminiscence, giving barbershop harmonies laid down by a ghostly troupe, amid talk of shattered wills and wistful post-breakup apologies.
Mei Ehara - "Jusho Futei Mushoku Tei Shunyu" (3:23)
Rei Harakami - "Owari No Kisetsu" (3:13)
John Carroll Kirby - "Fuku Wa Uchi Oni Wa Soto" (feat The Mizuhara Sisters) (2:29)
Jerry Paper - "Bara To Yaju" (4:33)
Se So Neon - "Party" (2:39)
Yuma Abe - "Fuyu Goe" (4:01)
Mac DeMarco - "Boku Wa Chotto" (2:52)
Kukuku - "CHOO CHOO Gatagoto" (4:08)
Akiko Yano - "Rock-A-Bye My Baby" (4:00)
Sam Gendel - "Koi Wa Momoiro" (4:59)
Cornelius - "Bara To Yaju" (4:19)
Towa Tei - "Ai Ai Gasa" (1:01)
Review: Haruomi Hosono of Yellow Magic Orchestra infamy gets a Stones Throw "reworks-reissue" of his landmark debut solo record Hosono House, this time under the name Hosono House Revisited. Not a reissue per se but rather an exemplary case of an "interpretations" LP - in which favourite adjacent artists and contemporaries choose their favourite track from a given artist's discography, and do their best to capture their own subjective recorded responses to the song as they know it best - this version sees several musicians from the Stones Throw roster and beyond offer up their own interpretations of Hosono's songs. Leading the charge is John Carroll Kirby's 'Fuku Wa Uchi Oni Wa Soto', a mixable, much funkier and bubblegum-gobbed version of the originally kalimba-led, totally live-recorded track.
Review: "Ruff Draft", originally released in 2003, is a sought-after album that remains the elusive key release in J Dilla's catalogue. This has freewheeling, in-your-face synthesizers, and an uncharacteristically sample-heavy approach that is as banging as it is experimental.
Review: "Donuts" is J Dilla's instrumental masterpiece and perhaps the finest record he ever made. This is half soul mixtape, half beat CD and 100% genius from the sorely missed hip-hop legend.
Review: Beatitudes is an album of ten instrumental hip-hop tracks inspired by 20th century gospel recordings. Produced by one J Rocc (known as the acclaimed DJ and turntablist for Madlib's many shows), the album is a departure from the artist's smudgier, beatsmith affairs. Each track is as smooth as a baby's forehead, and/or as pleasing as a wild fig dropped into one's mouth by an attentive servant on a hot Verona day. Gospel samples whirl around like ghosts, haunting each beat, which in turn sound wonkier than an array of unoiled see-saws. The album's cover is an homage to the mysterious cult artist known only as Harvey, known for designing many surrealist-religious gospel album covers from the 1960s onwards.
The Changing World (feat The Koreatown Oddity) (3:37)
Keep On (Yeah) (2:07)
Flawless (Smoothed Out) (feat Frank Nitt) (2:47)
Flawless (Smoothed Out) (feat Budgie) (2:07)
All I Wanna Do (feat Steve Arrington - remix) (5:10)
Pajama Party (FeatThe Egyptian Lover) (3:36)
Go! (5:48)
Dancing With The Best (4:06)
The End (NTP) (3:20)
Review: As the lynchpin of The Beat Junkies and a staple part of the Stones Throw legacy, J.Rocc has been diligently digging since his youth in the early 80s. While his long and winding career has taken in ample mixtapes, production stints, breaks collections and more besides, he hasn't released so many of his own standalone beats. That makes A Wonderful Letter a cause for celebration, as Rocc pens a love letter to Los Angeles through a tapestry of tracks which show off his skills as a studio wizard as well as a deck technician. Just listen to lead single 'L.A. Anthem' featuring LMNO and Key Kool and you'll understand all you need to about the angle Rocc is working on this, his second full-length album.
The Changing World (feat The Koreatown Oddity) (3:33)
Keep On (Yeah) (2:07)
Flawless (feat Frank Nitt - Raw) (2:47)
Flawless (feat Budgie - Smoothed Out) (2:09)
All I Wanna Do (feat Steve Arrington - remix) (5:10)
Pajama Party (feat The Egyptian Lover) (3:36)
Go! (5:45)
Dancing With The Best (4:07)
The End (NTP) (3:18)
Review: DJ and producer J. Rocc debuts a new trip down memory lane in LP form, reminiscing on his comeup in the LA underground music scene. 'A Wonderful Letter' is quite literally a love letter to the City of Angels, expressing his thanks for the community found there - not to mention the machinations that led to his signing with Stones Throw, as well as various collabs with J Dilla and Madlib.
Review: Kiefer Shackleford is back on Stones Throw with more of his elevated beatdowns and dextrous piano flex. The LA-based artist first cropped up on Leaving Records back in 2017 and now he comfortably slides into his fifth album in a lean, sun-soaked dream of drums slung way down low and right to the back, leaving more room for his illustrious keys and synths to pirouette over the top. It's a simple recipe, but the secret is in the ingredients. The drums shuffle and slide with crooked flair, and the melodies burst skywards whether it's classic piano, woozy Rhodes or fluttering modulations Shackleford chooses to sing through.
Review: Kiefer's first live album captures the brilliant energy of his trio which features longtime collaborators Luke Titus and Pera Krstajic. This record was recorded at an intimate, secret Los Angeles show in April 2023 and includes a brand-new title track alongside selections from Kiefer's catalogue and a moving rendition of Bobby Hutcherson's 'Montara'. A GRAMMY-winning artist, Kiefer has worked with Anderson .Paak and Drake and recently performed an NPR Tiny Desk concert with Nate Smith, Carrtoons, Theo Croker and Charlie Hunter which have helped establish him on the world stage. This album is one that will resonate with fans of acts like Theo Croker, Mndsgn and Dinner Party.
Review: King Pari is an LA-via-Minneapolis duo who creatively blend influences from Prince and psychedelic dub into a new sound they have described as "bedroom funk." Their infectious lo-fi tracks are rich in emotion and brimming with funky grooves so make for a catchy listen. This group actually picked up props from Prince himself before the late Purple genius passed in 2016 and since then jazz innovator Kamasi Washington has also annoyed himself as a fan. This full length is only sure to win the pair ever more accolades for this new take on classic funk.
Review: Following his last album for Stone's Throw, and a well received ambient record, John Carroll Kirby's Septet album was recorded live in the studio with a range of talents playing keys, vibes, bass, percussion and drums. The composer and keyboardist leads the charge and approached the album wanting to play "with the chaos of jazz fashion in the 70's/80's, bands like Weather Report and Miles Davis." He sure does that but there is beauty in the madness, with plenty of lush and golden keys dancing above lithe and ad hoc rhythms. A new school classic, for sure.
Review: John Carroll Kirby has worked with the likes of Solange, Frank Ocean, Sebastian Tellier and many more, but he's equally celebrated as a solo artist who returns to Stones Throw for his fifth LP. This time around, the album has been made in tandem with incredible Canadian artist Yu Su, who lends her touch to the production around Kirby's infectious keys. The album is largely instrumental save for an uplifting guest spot from Laraaji on opening track 'Dawn of New Day', but as with previous Kirby albums he has more than enough to say in the conviction of his playing. Ever chameleonic, his sound on Dance Ancestral is removed from the solo piano ambience of Conflict, but as ever Kirby's deep-rooted musicality soars, buffeted by Yu Su's fantasy confections. If you're in search of something to make you feel good, this record has positive energy for days.
Review: The ever-prolific John Carroll Kirby is back on Stones Throw barely a minute after releasing no less than two albums last year. Of course, no one is complaining when the quantity is matched with the quality Kirby brings, and Blowout is bursting with the laid back musicality and inherent joy Kirby is so well-loved for. The album was recorded during a recent stay in Puerto Viejo, Costa Rica, and you can sense the surroundings feeding into the music, from the 5am wake up call from the oropendola birds to the blissful sunsets. This is smooth as silk jazz funk with a mission: to help you enjoy life. Consider this mission accomplished.
Review: It's taken a while, but finally Knxwledge has delivered the follow-up to his "official" debut album, 2015's "Hud Dreems". A concept album of sorts - the tall tale behind it being that the beats were created in 1988 by an infant version of our musical hero after he climbed inside an SP-12 sampler and mastered the machine - the set sees Knxwledge sprint through a beat-tape style assortment of short, sweet and often sublime instrumentals that make use of a variety of period samples. Given his track record, it's an impressive album, regardless whether the beats were genuinely made when he was in "Nike diapers" (as the press release amusingly claims) or not.
Review: Gold standard hip-hop label Stones Throw serve up this fine ISTHISFORREAL? record which is a concept album as well as being in part a sketch show and mockumentary. The long player unfolds like a spiritual baptism. It asks questions about what we take in through news channels and social media and how we process it all and work out what is real, what is fake, what is hype and what is phoney. All this over 11 well-designed tunes that bring classic era boom bap into the modern age.
One False Move ("Great Day" demo instrumental) (4:52)
Review: A fascinating piece of hip-hop history, offering a glimpse into the creative process behind one of the genre's most celebrated albums. These demos, originally leaked in 2002, capture the raw energy and unfiltered brilliance of Madvillain's early sessions. MF DOOM's vocals, recorded and mixed at Madlib's Bomb Shelter studio, showcase his signature wordplay and off-kilter flow, while Madlib's beats provide a captivating backdrop of dusty samples and head-nodding grooves. Tracks like 'Do Not Fire!', 'Bistro', and 'America's Most Blunted' offer a fascinating glimpse into the album's evolution, with alternate versions and early arrangements showcasing the duo's creative process. While these demos may be unfinished, they still possess an undeniable magic, capturing the raw energy and unbridled creativity that would eventually make Madvillainy a hip-hop masterpiece.
Review: Madvillain is the collaboration of the most dynamic duo from today's hip-hop underground, MF Doom and Madlib. "Madvillainy" has witty, mental lyrics combined with rugged beats fashioned from every possible source material, resulting in a truly unique album pointing the way to hip-hop's future.
Review: Michi Guerrero aka Michi sets upon unleashing her debut album Dirty Talk unto the world. The LA-based singer-songwriter begun in pop before finding her truer feet in making warm neo-soul, in which discipline she has remained. Backing up a recent throng of exquisite Knxwledge flips of her earliest singles, the new record documents productions of a near-equal calibre from Blake Rhein (Durand Jones & The Indications) and Paul Cherry. Retroistic, channelling a Motown-reminiscent sound, the lyrics deal in interpersonal dilemmas unique to the modern day; hear the a-romantic de-subjectvations of 'If You Want Me' and the existentialisms of 'There's No Heaven', the latter being a prize house music cut, not to be missed by DJs.
Review: This debut release marks a reflective and deeply personal chapter for a 22-year-old Los Angeles artist. Drawing from her diverse musical upbringingiranging from The Doors and 2Pac to Salsa and Sambaishe brings a unique blend of influences into her sound. Growing up in Highland Park, her mixed heritage plays a key role in her music, infusing each track with a sense of place and memory. The EP delves into themes of love, loss and growth, capturing the complexity of emotions with both vulnerability and strength. Written in collaboration with her brother, the six songs explore the artist's journey, offering a comforting space to process experiences and emotions. The project's title, meaning "to rest" in Spanish, reflects the artist's belief in the necessity of reflection for personal growth. The albums introspective lyrics and soulful melodies offer a soothing balance of vulnerability and resilience, making it a poignant exploration of love in its many forms, while providing comfort to both the artist and her listeners.
Review: The implied sequel to their first and only album Yes Lawd!, the ingenious production and vocal duo of wonky hip-hop producer Knxwledge, and esteemed multi-talent Anderson .Paak - together known as NxWorries - comes in full force, a full eight years after said debut. A seeming reversal of the mood of the first record, Why Lawd? submits a plea of desperation rather than confidence to the heavens, though nonetheless sports features from the likes of Dave Chappelle, Thundercat, H.E.R., Snoop Dogg and Earl Sweatshirt, in what still amounts to an endlessly enjoyable, bumpy ride in the modes of smoked-out neo-soul and challenging lo-fi.
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