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March 15, 2010

BARCODE 884385877552
LABEL k7/RJ’s electrical connections

RJD2 returns with the highly anticipated 4th solo album “The
Colossus”. Making the 10th year of his career, the album showcases the
myriad of styles RJD2 has spanned as a maverick, respected producer for
himself, and others.
Collaborating with MC’s, vocalists, and various
instrumentalists, it displays an urgency and sophistication rarely seen.
Weaving together his trademark rock solid drums, soulful vibes and
horns,samples and anything else available, the album is a kaleidoscopic
look both forward and back.
Part Impressions, part Daft Punk, part Thin Lizzy. He is helped along by
vocalists Kenna (Star Trak), Phonte Coleman (Little brother), Aaron
Livingston (The Roots “ Guns Are Drawn”), as well as several underground
MC’s and horns, woodwinds, and strings.
A sound to behold.

1. Let There Be Horns
2. Games You Can Win
3. Giant Squid
4. Salud 2
5. The Glow
6. A Spaceship For Now
7. The Shining Path
8. Crumbs Off The Table
9. A Son’s Cycle
10. Tin Flower
11. Small Plans
12. Gypsy Caravan
13. The Stranger
14. Walk With me

Ghostly International Presents: MOODGADGET

March 10, 2010

BARCODE: 804297909325
Cat NO: GI-93

Like its predecessors, the Moodgadget-curated Rorschach Suite and Synchronicity
Suite, the Nocturnal Suite plays like a lovingly assembled mixtape, compiling brief, catchy,
electronicminded pop songs built for obsessive repeat listening.
The Nocturnal Suite encompasses dance music,
indie rock, synth-pop, experimental instrumentals—and, yes, electronic music—
but its emotional core is its biggest asset

CD1 – Nocturnal Suite
1. New Villager – Rich Doors
2. Mux Mool – Ballad of Gloria Featherbottom
3. City Center – Summer School
4. Bluejay – Blurry
5. Shigeto – Is This All For Real
6. Christine – Good Ideas
7. Body Language – Work This City
8. Wisp – Arpeggiating Edgar
9. Machinedrum – FRESHKIDS (FRESH EDIT)
10. Mogi Grumbles – Supreme
11. Faux Pas – Rose Lament (Gadget Edit)
12. Wild Yaks – Crazy But Not Afraid
13. 800beloved – Galaxies
14. The Landau Orchestra – Wheel of Fortune
15. Charles Trees – Col Ak Ill
16. Addled – Heartbreachno (Radio Edit)
17. JDSY – Lighter
18. Praveen & Benoît Pioulard – Chiaroscuro (Deadelus
19. Daniel Johnson – Damn (I Wish I Was Your Lover)

CD2 – Synchronicity Suite
1. Worst Friends – I Wish I Donʼt Drop Dead
2. Mux Mool – 10
3. D. Gookin – Glad I Met You
4. The Reflecting Skin – Cavedweller (Instrumental Version)
5. Scott Brandon – Voyage Into The Dark
6. André Obin – Angel Dust
7. Tonight – When Galaxies Form
8. Matters & Dunaway – Memorial
9. Benoît Pioulard – Sparrowfield
10. Elm From Arm – Pretty Take
11. Praveen – Slip Slop
12. Shigeto – And We Gonna
13. Outlier – Visible Light Eater
14. Wisp – Across The Pale Sea
15. Touch Base – Gloveblocks
16. Tridact – Light Minute
17. Praveen & Benoît Pioulard – Death as a Man
18. Grey Electric – 696 Bandit
19. Praveen – Buddy

Choir of Young Believers – This Is For The White In Your Eyes

March 9, 2010

BARCODE: 804297908922
Catalogue Number: GI-89

Even though This Is for the Whites in Your Eyes, the full-length debut by Danish collective
Choir of Young Believers,
is teeming with instruments—voices, pianos, synthesizers, banjos, an orchestraʼs ransom in
strings and French horns—itʼs not the arrangements that dominate so much as the images they
Snow-flecked mountaintops, deserted city streets, ghost-filled churches, a final kiss between
estranged lovers—this is the emotional terrain trod by Jannis Joya Makrigiannis and his Choir of Young Believers. This Is for the Whites in Your Eyes is an album of orchestral indie-pop, but its artistic scope extends beyondmelody and harmony: Choir of Young Believers paint cinematic tableaux, with Jannis cast as the silvery voiced

1. Hollow Talk
2. Next Summer
3. These Rituals of Mine
4. Action/Reaction
5. Under The Moon
6. Wintertime Love
7. She Walks
8. Why Must It Always Be
The Same
9. Claustrophobia
10. Yamagata

1. Burn The Flag
2. Sharpen Your Knife
3. We Talk On The Phone
4. Riot

SYNTAKS – Ylajali

March 9, 2010

BARCODE: 804297909127
Cat NO: GI-91

Over a century ago, Norwegian author Knut Hamsun proposed a new creative ideal, a form of
literature that would take the intricacies of the human mind as its main object, effectively
describing “the whisper of the blood and the pleading of the bone marrow.” One hundred-plus
years later, Danish duo (and avid Hamsun devotees) Syntaks have taken up Hamsunʼs agenda
with single-minded purpose, naming their new album after a character in Hamsun novel Hunger,
recording it just blocks from where Hamsun wrote his masterpiece, and taking the authorʼs
ambitious mission statement as their own.
The album in question,Syntaksʼ luminous Ylajali, crackles with emotion and imagination, giving
form to its creatorsʼ vibrant inner lives.
In Ylajaliʼs beautifully scorched sonic landscape, acres of drones run beneath Anna Ceciliaʼs
wordless sighs; beats crunch like autumn leaves while synthesizers swell, flourish, and disappear.
Songs either tramp through hazy forests until they fade into the dark (the Boards of Canada-esque
“Love Camp 23”), or stack tone upon tone like translucent building blocks, building to forceful,
near-operatic crescendos (the epic “She Moves in Colors”). Syntaksʼ Jakob Skott is a drummer
by trade, and his percussion—-both live and programmed, but always lent an otherworldly
sheen—-plays the sinister counterpoint to Ceceliaʼs tender melodies.
“The Shape of Things to Come” typifies Syntaksʼ dreamlike musical logic, drifting through fields of
placid melody until sheets of guitar noise, metallic snares, and choir-like vocals rush in. Once the
stormpasses, all thatʼs left is the sun, glinting through the mist.
Hamsun would be proud: Syntaksʼ Ylajali is an ambient pop album as dense, emotionally complex,
and,ultimately, as mysterious as the human mind; and like any great mystery, Ylajali keeps its
audienceengrossed until the bittersweet conclusion.

1. Twentytwohundred
2. Love Camp 23
3. Phantasmogoria
4. She Moves In Colors
5. Buio Omega
6. Blue Sunshine
7. Mistral Moon
8. The Shape Of Things To Come
9. Dark Night


March 9, 2010

BARCODE: 730003504129

Sometimes you have to put yourself first, no matter how difficult that notion seems; no matter how much time and effort you’ve already put into this one person—the person who’s reduced your very being to its absolute core. Just ask Peter Silberman, the string-pulling founder of The Antlers, a solo project that suddenly went widescreen on the self-released Hospice LP (now receiving a proper widespread pressing through Frenchkiss). The first Antlers effort to feature two key permanent players—powerhouse drummer Michael Lerner and the layer-lathering multi-instrumentalist Darby Cicci—it’s an album with a sound that’s actually as ambitious as its concept.

“Hospice came from the idea of caring for a terminal patient who’s mentally abusive to you,” says Silberman. “You don’t have the right to argue with them, either, because they’re the one who’s dying here; they’re the one that’s been dealt a wrong hand. So you take it, but you can only take so much. Eventually, you realize that this person is just destroying you.”

“We were going for something that’d be dense but not too complicated,” explains Silberman. “I hate the word ‘lush,’ but I guess that’s the best way of describing it. The structures are like pop songs—verse/chorus, verse/chorus—but the sound is a little more shoegaze-y or post-rocky.”

It’s about to get even more complicated, too, as The Antlers’ Technicolor-tinged trio take all of Hospice’s songs—and three previous releases—in a completely different direction, jettisoning a note-for-note rendition of the record for “a massive sound” doused in delay, reverb and unrehearsed chaos. And to think Cicci was a stage actor with a desire to drop it all for music just a few years ago.

“Hospice was the clear indication that this isn’t a singer-songwriter thing at all,” says Silberman. “Whatever we record next is going to define the three of us as a ‘band.’

He continues, “I always figured I’d be the ‘shredder’ in a group…But things somehow ended up this way.”

We wouldn’t have it any other way, either.


01: Prologue
02: Kettering
03: Sylvia
04: Atrophy
05: Bear
06: Thirteen
07: Two
08: Shiva
09: Wake
10: Epilogue



March 8, 2010

In his brief 32 years J-Dilla, otherwise known as Jay-Dee or James Yancey created and shaped a new sound for Hip-Hop that inspired beat smiths, MCs and music lovers around the globe. With an incredible line of production credits for De La Soul, Tribe Called Quest, Erykah Badu, The Pharcyde, Janet Jackson, Busta Rhymes, Common, D’Angelo, his own crew Slum Village and so many more it is little wonder that J-Dilla has been described as a visionary, a genius & the quintessential producers’ producer by some of the most respected names in the game. The fact that both Pharell Williams & Kanye West name him as their major inspiration speaks volumes to the influence of his distinctive “Dilla sound”.

His own albums “Rough Draft” & “Donuts” on Stones Throw, “Welcome 2 Detroit” & “The Shining” on BBE Records” stand out as masterpieces of modern music production and capture the imagination of producers, DJs & all music lovers across the world..

With this very special limited edition collectors box-set, we conclude the Dillanthology series, giving fans the ultimate overview of all things Dilla.


Cat, No: RR0087CD
BARCODE : 730003908729

to find out more feel free to head over to


LABEL: Rapster Records
Cat, no: RR0080CD
BARCODE: 730003908026

With Dilla, there was no such thing as a “standard beat.” Each production was a mini-masterpiece filled with curves but avoiding any sense of gimmickry. Whether it’s turning Stan Getz’s bossa-laced “Saudade Vem Correndo” into The Pharcyde’s “Drop,” or jazz pianist Ahmad Jamal’s “Swahililand” into De La Soul’s high-energy commentary on hip-hop “Stakes is High,” Dilla’s expertise made even the most ubiquitous of samples unrecognizable.

1. The Pharcyde – Runnin’
2. Slum Village – Fall In Love
3. Common – The Light
4. Erykah Badu – Didn’t Cha Know
5. De La Soul – Stakes Is High
6. Busta Rhymes – Show Me What You Got
7. The Roots – Dynamite
8. A.G. feat. Aloe Blacc – Hip Hop Quotable
9. The Pharcyde – Drop
10. Amp Fiddler – You Play Me
11. Steve Spacek – Dollar
12. Chino XL – Don’t Say A Word
13. Frank N Dank – Okay


Cat, No: RR0084CD
BARCODE: 730003908422

For the second volume of the Dillanthology series we present a collection of his uniqure remixes for artists including Busta Rhymes, The Pharcyde, De La Soul, Spacek and Slum Village plus some rare versions of The Artifacts and Masta Ace.

1. De La Soul – Stakes Is High (Jay Dee Remix)
2. The Pharcyde – Y? (Be Like That) (Jay Dee Remix)
3. Masta Ace Incorporated – Sitting On Chrome (Ummah Remix)
4. Slum Village – Fall In Love (Jaydee Remix)
5. Four Tet feat. Guilty Simpson – As Serious As Your Life (Jay Dee Remix)
6. Busta Rhymes feat. Rampage The Last Boy Scout – Whoo Ha!!! Got You All In Check (Jay Dee Bounce Remix)
7. Artifacts – The Ultimate (Unreleased Jay Dee Remix)
8. Mood – Secret Of The Sand (Jay Dee Remix)
9. Spacek – Eve (Jay Dee Remix)
10. DJ Cam feat. Cameo – Love Junkie (Jay Dee Remix)
11. “Brother” Jack McDuff – Oblighetto (Jay Dee Remix)
12. The Brand New Heavies feat. Q-Tip – Sometimes (Jay Dee Remix)


Cat, No: RR0086CD
BARCODE: 730003908620

In the final part of the Dillanthology trilogy, we present a collections of tracks from his classic solo albums and the Jaylib album with Madlib, the album features guest spots from Guilty Simpson, Black Thought (The Roots), Phat Kat, Commom and D’Angelo.

1. J Dilla – WorkinOnIt
2. Jay Dee – Pause
3. Jaylib – Raw Sh*t
4. J Dilla – Nothin Like This
5. J Dilla – Anti-American Graffiti
6. J Dilla – Glamour Sho75 (09)
7. J Dilla – Won’t Do
8. J Dilla – Baby feat. Madlib & Guilty Simpson
9. Jaylib – The Red (Inst.)
10. Jay Dee – It’s Like That
11. J Dilla – Crushin’ (Yeeeeaah!)
12. J Dilla – Reality Check feat. Black Thought
13. Jay Dee – Featuring Phat Kat
14. J Dilla – So Far To Go fea.t Common & D’Angelo<a


March 7, 2010

At the core of every contented family is a sense of balance, an emotional push-and-pull that helps stabilize the entire unit. A similar equilibrium anchors Le Loup’s second album, FAMILY. Recorded in a remote cabin and a Maryland basement, the record finds the middle ground between tribal rock, freak folk, and sonic experimentation.

Like most families, Le Loup has grown since its inception. What began as the bedroom project of Sam Simkoff is now a full-sized band, with all five members contributing vocals and songwriting credits. The band’s music – originally a blend of keyboard loops, banjo, and computer wizardry – has grown as well, encompassing everything from shape note harmonies to polyphonic percussion.

Simkoff and band-mate Christian Ervin produced Family themselves, having previously worked together on the band’s debut, The Throne of the Third Heaven of the Nations’ Millennium General Assembly (2007). Unlike that first album, Family doesn’t rely on synthesizers or electronic support. Instead, the musicians took a more elemental approach, capturing the organic sounds of their instruments before treating them with various effects.

“Christian and I would chop up all of those organic sounds and re-process them as samples through a computer,” Simkoff explains. “Then we would either add heavy effects or just throw them back together in different ways, which helped us get a very inorganic, synthesized sound from natural instruments.” Certain melodic themes were added to multiple songs, linking the album together with their recurring motifs.

After months of recording sessions in drummer Robby Sahm’s basement, the band traveled to North Carolina, where they settled into a cabin and removed themselves from the distractions of everyday life. There was no internet, no TV, and little communication with the outside world. Using that isolation to their advantage, five songs were recorded in two weeks, effectively finishing the record.

Sophomore albums are tricky things to create, but Family is a different beast altogether. It’s an expansion of Le Loup’s sound, an introduction to the completed lineup, and – above all else – a showcase for Le Loup’s strength as a live band. The insular tone that Simkoff brought to The Throne… is gone, having been replaced by a collective mentality fueled by the band’s touring history.

“One of the best parts about playing live is the primal experience,” he enthuses. “That feeling you get when a bunch of people are throwing a lot of energy into something, just bouncing around onstage. That was something I hadn’t considered when writing the first songs. Going into this album, we wanted to transfer some of that live energy onto the CD. We still used some studio trickery, but most of the songs have a strong basis in us playing live together. They’re based on that joy we took from the live show.”

The result is an album of experimental rock songs and campfire sing-alongs, set amidst swirling textures and murky production. Le Loup is still a young family, of course, but Family is nothing short of a musical coming-of-age, and adulthood never sounded so promising.
1. Saddle Mountain
2. Beach Town
3. Grow
4. Morning Song
5. Family
6. Forgive Me
7. Go East
8. Golden Bell
9. Sherpa
10. Neahkahnie
11. A Celebration


March 7, 2010


Frànçois came to Bristol from France in September 2003. He drew a picture and put a note in a window announcing his arrival, and asking people to make music with him. He started going to car-boot sales to find some instruments he could use. Overnight, Frànçois won the hearts out of this town. Well of course, he’s a sweet kid, but he’s also armed with an eager sense of adventure and a keen taste for pop thrills.

In January 2004 he played his first live show, taking to the stage alone, making use of keyboards (played with his foot), a guitar, live samples and a drum machine, mixing playful and experimental ideas with his natural pop-tune sensibilities and sweet bilingual vocals. The string of live performances he has since played has all been eagerly anticipated and utterly charming. Musically, you could say he is reminiscent of STEREO TOTAL, VELVET UNDERGROUND, HOOD, and FRANÇOISE HARDY and yet he is also like nothing else at all.

In 2008 Fránçois took a break and went back to live with his parents in France with the intention to stop the music side of things and to hide behind his brushes and watercolour paints. There he found support from a bunch of local friends who convinced him to do some recordings of the works he had prepared for a show in Paris at the Centre Pompidou. The recordings of “Plaine Inondable” took place partly in Charente-Maritime and partly in the Basques Country. For those sessions the musicians were the polyphonic quintet Bost Gehio and members from Unkle Jelly Fish.

1. Friends
2. Be Water (Je suis de l’eau)
3. Wonders
4. Moitiée
5. Remind
6. Do You Do
7. Otages
8. Nights = Days
9. Years Of The Rain
10. Pic – Nic


March 3, 2010

BARDCODE: 730003002724

DOOM is one of the most original and uncompromising voices in hip-hop. From his work in the 90’s with the seminal KMD to his legendary releases under a variety of aliases including MF Doom, Madvillain, King Geedorah, Viktor Vaughn, Dangerdoom & more, his prolific body of work has always valued artistic integrity and creativity over anything else. As numerous and varied as his albums are, DOOM also has a thick catalog of guest appearances, remixes, non-album tracks, & vinyl only singles. For the first time, Unexpected Guest presents many of these hard to find tracks as a mix CD, executed and overseen by the Super Villain himself.

With a list of co-conspirators which includes marquee level names such as Talib Kweli and Ghostface & GZA as well as underground heroes Vast Aire, Count Bass D & Kurius, the music on this disc highlights DOOM’s ever-present trademark wit and taste for raw and ominous beats. On “Trap Door,” he spits couplets like “No curse words / DOOM the worst church nerd verse heard” over a plucked bass and guitar line from producer Jake One that sounds like the funkiest spy movie soundtrack imaginable. “Sniper Elite” sees the emcee united with the late J Dilla, and is one of the many tracks featured that has yet to see an official CD release.

Peppered with his signature comic book dialogue and vintage sound clips, Unexpected Guests presents a treasure trove of DOOM obscurities which should shed light on material that even some hardcore fans may have missed. It’s a frenetic, virtuosic look at a true hip-hop original.

1. Rock Co. Kane Flow – De La Soul & DOOM
2. Get ‘Er Done feat. DOOM – Jake One
3. Fly That Knot feat. DOOM – Talib Kweli
4. Sniper Elite feat. DOOM – Dilla Ghostface DOOM
5. Trap Door feat. DOOM – Jake One
6. Sorcerers feat. DOOM & Invizible Handz – John Robinson
7. Da Supafriendz – Vast Aire
8. Quite Buttery – Count Bass D feat DOOM
9. ? – DOOM featuring Kurious
10. All Outta Ale – DOOM
11. E.N.Y. House – Masta Killa
12. Bells of DOOM – DOOM
13. My Favorite Ladies – DOOM
14. Street Corners (Remix) – Masta Killa, Inspectah Deck & GZA


March 2, 2010

BARCODE: 730003305122

Vibraphone and keyboard player, master arranger and
bandleader, Mulatu Astatke is one of the all-time
greats of Ethiopian music and the creator of his own
original music form, Ethio jazz.
Through the acclaimed Ethiopiques album series
and through featuring on the soundtrack to the
Jim Jarmusch film Broken Flowers, his music has
belatedly reached a global audience and a new,
younger generation of fans.
In November of last year, he recorded an inspired new album
with London psych jazz band The Heliocentrics for Strut’s ‘Inspiration Information’
studio collaboration series. Now, Strut are proud to present, for the first time
anywhere, the definitive Mulatu career retrospective covering his landmark ‘60s
and ‘70s recordings.
Mulatu is a true pioneer of African music. He was the first Ethiopian musician of
his generation to travel extensively and to record abroad – he studied in the UK in
Wales and at Trinity College Of Music in London, cutting his teeth on the buoyant
London jazz scene of the early ‘60s. He became the first African student to attend
Harvard and he lived and recorded in New York, developing a unique sound that
fused Western jazz with traditional Ethiopian melodies.
Tracing the progression of his Ethio jazz experiments with full access to all of the
labels for whom he recorded, Mulatu Astatke: New York-Addis-London is the
essential Mulatu. Covering his first recordings in the UK during 1965, his
groundbreaking fusions for the small Worthy label in New York and his key ‘70s
recordings back in Addis on Amha, Phillips and Axum, the album features
comprehensive sleeve notes by Miles Cleret, boss of the excellent Soundway
Records imprint, and rare, previously unseen photos from Mulatu’s personal

1. ASIYO BELEMA (feat. Frank Holder)
2. MASCARAM SETABA (with Ethiopian Quintet)
3. I FARAM GAMI FARAM (with Ethiopian Quintet)
4. SOUL POWER (with Ethiopian Quintet)
5. GIRL FROM ADDIS ABABA (with Ethiopian Quintet)
6. SHAGU (Mulatu Astatke Quartet)
17. LANCHI BIYE with Tilahoun Gessesse
18. FIKRATCHIN with Menelik Wossenatchew
19. EBO LALA with Seifu Yohannes
20. WUBIT with Muluken Melesse
21. KASALEFKUT HULU with Tilahoun Gessesse