Big Dada 黑胶唱片和CD

Review: Welcome to the wacky world of the La-La-Land native Busdriver. 'Cosmic Cleavage' was originally conceived as a soundtrack to a film he never made. After hooking up with super producer Daddy Kev (formerly the main man at Celestial Recordings and general production giant) and D Styles (from the Skratch Piklz and Beat Junkies) comes his Frankenstein creation. 'Cosmic Cleavage' is a cross between Jimmy Hendrix, Lord Buckley Bone, Thugs N Harmony and a TV announcer. Be prepared to hear one of the most original voices in hip hop today. Busdriver grew out of the LA Underground scene that's based around Freestyle Fellowship, Pharcyde, Jurassic 5, Abstract Rude Awol and many more. He's also a frequent collaborator with many of LAs hiphop elite such as Aceyalone Abstract, Rude Mikah 9 Daddy Kev and Omid. His 2002 self released album 'Temporary Forever' made it into many underground hip hopper's records of the year. With this release on the well established Big Dada label Busdriver is ready to conquer the mainstream.

Review: Welcome to the wacky world of the La-La-Land native Busdriver. 'Cosmic Cleavage' was originally conceived as a soundtrack to a film he never made. After hooking up with super producer Daddy Kev (formerly the main man at Celestial Recordings and general production giant) and D Styles (from the Skratch Piklz and Beat Junkies) comes his Frankenstein creation. 'Cosmic Cleavage' is a cross between Jimmy Hendrix, Lord Buckley Bone, Thugs N Harmony and a TV announcer. Be prepared to hear one of the most original voices in hip hop today. Busdriver grew out of the LA Underground scene that's based around Freestyle Fellowship, Pharcyde, Jurassic 5, Abstract Rude Awol and many more. He's also a frequent collaborator with many of LAs hiphop elite such as Aceyalone Abstract, Rude Mikah 9 Daddy Kev and Omid. His 2002 self released album 'Temporary Forever' made it into many underground hip hopper's records of the year. With this release on the well established Big Dada label Busdriver is ready to conquer the mainstream.

Review: Two years after Congo Natty announced the jungle revolution on Big Dada, he's back with yet another paradigm shifting selection. Effectively this is a remix album but the artists have been hand-picked to ensure the same consistency and complete finish as the original. Dub maestros old and new lay down some serious twists; Sukh Knight fires up "Get Ready" with bellowing synths, Jinx In Dub adds an obese bulbous digidub version of "Nu Beginningz" while the hugely influential UK pioneer Adrian Sherwood unleashes his inner ragamuffin with the skank-happy junglist "UK Allstars In Dub" shakedown. Another smooth and explorative session, the revolution will be dubwised.

Review: Two years after Congo Natty announced the jungle revolution on Big Dada, he's back with yet another paradigm shifting selection. Effectively this is a remix album but the artists have been hand-picked to ensure the same consistency and complete finish as the original. Dub maestros old and new lay down some serious twists; Sukh Knight fires up "Get Ready" with bellowing synths, Jinx In Dub adds an obese bulbous digidub version of "Nu Beginningz" while the hugely influential UK pioneer Adrian Sherwood unleashes his inner ragamuffin with the skank-happy junglist "UK Allstars In Dub" shakedown. Another smooth and explorative session, the revolution will be dubwised.

Review: Congo Natty celebrates a decade of revolutionary jungle music with this anniversary reissue of a classic. Originally released in 2013, this album remains a cornerstone of the genre, blending reggae, hip-hop, and jungle influences into a powerful sonic tapestry. With timeless tracks like 'UK Allstars' and 'Jungle Souljah,' Congo Natty captures the spirit of the underground rave scene with infectious beats and socially conscious lyrics. This anniversary edition breathes new life into the record with remastered tracks and additional content, reminding listeners of the enduring legacy of jungle music and Congo Natty's vital contribution to its evolution.

Review: Fresh from his #DontFreakOut mixtape, the Darqman returns with another cavalcade of fusions. "Hallucinate" says it all; crisp layers of synths twinkling and flexing over swaggering beats and groaning reese, it's all of rave's many nuances smelted down into a smoking 140 mould. "Flabbergasted" continues the theme with evocative synth lines that rise and rise like a delicately composed horror movie score while "2CI" pays respect to the hippy massive with a deeply trippy-borderline-paranoid spike-jam. Drawing to a close the south Londoner unleashes more poison with the frenetic, hornets-nest riffage of "Mosquito Bite" and the widescreen, jungle-referencing breakbeat anthemity of "Venom". Truly unique.

Review: Given his current status as a Twitter troll, producer-to-the-stars, Blackberry advocate and occasional globetrotting DJ, it's easy to forget that Diplo once made music that was both inspired and far-sighted. Certainly, you'll find few better albums of experimental, next level beat making than Wesley Pentz's 2004 full-length debut Florida. This 10th anniversary reissue, cunningly retitled F10rida and expanded to include an extra disc of previously unheard cuts, rarities and the Epistomology Suite EP, more than adequately proves this point. Loose, atmospheric, woozy, trippy and full to the brim with good ideas, the original album remains his best work to date - a unique and inspired mix of hip-hop, distinctive samples, fuzzy vocals, intriguing dancehall influences and stoned textures. Whether you own the original LP or not, this reissue should be an essential purchase.

Review: Big Dada win the prize for most genre defying release of the week as the label coaxes the Bristol legend that is Dobie out of hiding with a stunning four track release. The name won't be familiar to younger heads, but Dobie has a far too impressive rack of production credits dating back to working on Soul II Soul's first few albums and will always have a place in the Juno Review Staff's hearts for a sublime two part remix of Bjork's "I Miss You". Last seen on Brownswood dropping an equally peerless exploration of beat patterns, Dobie returns with the Nothing To Fear EP which draws on all manner of sounds yet retains its own unique style. Lead track "Hustle With Speed" sounds akin to Aybee melding elements of Domu and Maurice Fulton together with monolithically bass heavy results, while "State Of Flux" evens out the rhythmic kinks to some sort of alien speed garage dipped with acid overtones. On the flip you might be mistaken for thinking Hieroglyphic Being had started making 24th century variants on the Diwali riddim with "Gillet Sq N16", while "E 2 Da P" plunges faint strains of vocal soul deep into the murkiest recesses of industrial beatdown.

Review: After several years of mysterious releases, it was eventually established that Dean Blunt and Inga Copeland were the driving forces behind the Hype Williams project. The duo has since claimed that they have "passed the baton on" and that Rainbow Edition, the project's first "official" full-length for some time, is the work of other producers and musicians. Whether it is or not is a moot point; the album itself explores many of Blunt's musical obsessions and its structure mirrors the producer's recent mixtape style efforts with Babyfather. Musically, it's predictably schizophrenic and eccentric, with the mystery combo's blazed beats variously touching on stadium rock, shoegaze, weirdo electronica and more pastoral, picturesque sounds.

Review: Stade are an improvised electronic music duo formed by Pierre Audetat and Christophe Calpini, who have played and recorded with singers like Wayne Paul and Nya, avant-garde musicians like Elliott Sharp, Gregoire Maret and Joy Frempong and electro-jazz players like Erik Truffaz and Nils Petter Molvaer. With "Art Brut Fe De Yoot", there are no over-dubs, no second takes, just three musicians pushing at the limits of hip hop, jazz and electronic music and not sounding much like any of them. It’s an album ruled by dream logic. "Art Brut Fe De Yoot" is an album which is often poised, sometimes beautiful, occasionally filthy, regularly funny but always weird. That’s "weird" meaning new, strange to the ear and utterly compelling.

Review: Underground hip-hop legend MF Doom passed away in 2020, leaving behind an undeniable legacy as the once-bearer of hip-hop's most-legit shadow crown. He wasn't the the king of anything by popular vote, but he certainly was sovereign over a rare kind of flow quality, especially adored by food lovers. Still few knew of Doom's King Geedorah alias, which served as one of his earliest monikers while part of the underground crew Monsta Island Czars. Geedorah's inspirations from old comic books and giant monster / slasher movies first cropped up on Take Me To Your Leader, a tone which would be set for years to come in later Doom material. The instrumentals are just as jaggedy and experimental, and form the perfect basis for the Ninja Tune reissue we have before us now.

Review: New Flesh return with the standout cut from their already-acclaimed third LP, "Universally Dirty." With violin and acoustic guitar butting up against unfeasibly squelchy sub-bass and state-of-the-art beats, it's a tune which shows the group at their most musical. Juice Aleem's and Toastie Tailor's rap styles and lyrical themes showcasing them once again as the perfect yin-yang combination. Not for nothing did Roots Manuva walk out of the Big Dada offices clutching a CD-R of the demo version of the tune a year ago, which he immediately included on his "Back To Mine" compilation. But that's not all. Producer and street artist Part 2 (currently making waves with his "Disposable Graffiti") has re-tooled the original into a fast, grime-influenced banger that snaps so hard that, once you've heard it, you'll be itching to get it on the biggest system you can. To complete the package, the vinyl release of the magnificent "Backyard", recently described in Plan B as being "as buff as any Sean Paul hit" and "A riddim worthy of Bounty Killer or Sizzla".

Review: One of Big Dada's best selling and best loved acts return with a new album amidst excellent press, radio and live activity. New Flesh's previous album - 'Understanding' - was an excellent seller and built the group a solid fanbase. Supported by DJ Greenpeace (XFM)

Review: One of Big Dada's best selling and best loved acts return with a new album amidst excellent press, radio and live activity. New Flesh's previous album - 'Understanding' - was an excellent seller and built the group a solid fanbase. Supported by DJ Greenpeace (XFM)

Review: It has been almost three years since Ewan Robertson's tragic passing, and Big Dada (with the help of his family and friends) have made sense of his final projects in the form of this awesome posthumous collection. Ranging from the jittering, organ-licking hip-hop funk of "Make It Up" to the wonky, wobblesome early Switch-style "Church Rhythm" via the madcap fuzzbox flexing of "Torry Trash" this is a fitting tribute to an artist who was only just hitting his stride before Marfan syndrome took him from us. Essential.

Review: Despite his artistic struggles in recent years, a new Roots Manuva album is always worth a look. Given that his most recent set, 2008's Slime & Reason, was a bit of a disappointment, it's a relief to report that 4everevolution signals a triumph return to form. For starters, it's rather lyrically cheery by his standards, similar in feel to his swaggering early work. That early musical inventiveness is much in evidence, too, on a set that gleefully fuses warped electronics, skewed funk and reggae-influenced hip-hop rhythms with all manner of live instruments and similarly cheerful guest stars - along with Toddla T and Skunk Anansie, various members of his Banana Klan crew all appear. Highly recommended.

Review: Roots Manuva has always been one of British music's most distinctive voices; an artist whose well-documented personal struggles manifest themselves in grumpy lyrical themes and a gruff, South London delivery. Bleeds, his seventh original studio set and first for four years, arrives at a time when the 42-year-old is relatively content. This is reflected in a handful of soulful, cheery moments, with the gospel-influenced "Don't Breathe Out" and surprisingly jaunty "Cargo" offering a glimmer of hope. He's not 100 per cent happy, of course, and it's often the album's more brooding moments, such as the thrillingly weird "Crying" and "Facety 2:11", that hit home hardest.

Review: Roots Manuva has always been one of British music's most distinctive voices; an artist whose well-documented personal struggles manifest themselves in grumpy lyrical themes and a gruff, South London delivery. Bleeds, his seventh original studio set and first for four years, arrives at a time when the 42-year-old is relatively content. This is reflected in a handful of soulful, cheery moments, with the gospel-influenced "Don't Breathe Out" and surprisingly jaunty "Cargo" offering a glimmer of hope. He's not 100 per cent happy, of course, and it's often the album's more brooding moments, such as the thrillingly weird "Crying" and "Facety 2:11", that hit home hardest.

Review: 12 months on from its' initial release, Big Dada delivers an expanded, "deluxe edition" of Roots Manuva's sixth studio set, Bleeds. The original 10-track set, which boasted esoteric, occasionally eccentric production from the likes of Crookers and Kieran Hebden, amongst others, is here joined by nine more cuts. These include two tracks previously only featured on the Japanese release of the album, a gaggle of similarly angry and bitter B-sides (check out the thrillingly odd, electro-influenced "Iron Shirt", and skittish, bass-heavy "Watch"), and some high-grade remixes. These include a brilliant, club ready re-fix from Tectonic co-founder Pinch, and a wonky hip-hop revision of "Fighting For" by RLR.

Review: Having first appeared on Fools Gold last year, Run The Jewels' acclaimed, self-titled debut album gets a swift re-release on Big Dada. With El-P at the controls and Killermike on the mic (sorry), Run The Jewels was never going to be anything less than essential. Its' blend of fuzzy electronics, booming hip-hop beats, ghetto swagger and robust rhymes seems to inhabit a space all of its own, somewhere between the high production values of commercial hip-hop, the next-level electronic experimentation of LA's MPC beatmakers, and the forceful intensity of independent rap. There are plenty of confirmed dancefloor moments, but some curious curveballs, too. In other words, it's one of the best hip-hop albums of recent times. Don't sleep.

Review: Machinedrum steps up to Big Dada to deliver four highly physical twists on Aussie Enchufada affiliates SK Simeon and Yaw Faso: fusing footwork, dancehall, Afro beats and classic ragga jungle, each cut slams in such a gully way they make Major Lazer look like the president of the My Little Pony fanclub. Highlights include the neat countering of emotional vocal soul and machinegun drum bullying on "Memories" and the insane drum rolls on "Ram Dancehall". There's a reason this has been pressed to heavyweight vinyl. Bad it up.

Review: The white hot Spank Rock release a strictly limited edition instrumentals version of their massively acclaimed debut album on the back of a mammoth tour including a Gnarls Barkley support slot. Fantastic press reactions have greeted the band. As well as being named HHC's 'Album Of The Month', other publications have said: "Spank Rock may just change the face of music" - NME; "Genius to the power of 36,186" - The Guardian. "Not since the first Dizzee album has a debut been thrilling enough to give Pharell and Timbaland some seriously sleepless nights" - The Daily Telegraph -"The most exciting rap around" - Uncut-"The first great album of the summer to come" - The Sunday Times-"Pulse Quickening... recalls the Beastie Boys before they became Beastie men, Thrilling". The Guardian-"Exhilarating, a torrent of dance, punk, funk and rock... Early Beasties and Dizzee Rascal are close to the mark. A darkly addictive pleasure" - Metro "Genuinely original... electro berserker hip-hop for the 21st Century" - The Independent "The future of hip-hop... Like nothing you've heard before" - The Times, "One of those albums that's over too soon. This is an act to watch!" - The Sun· "Spank Rock bring the joy, freshness and plain weirdness back to hip hop...great" - NME, "Hip-Hop finds its punk rock mojo" - Blues & Soul, "Spank Rock are going places. The hottest representatives of the Baltimore Club sound." - Time Out. "Spank Rock have a PhD in a little something called good old fashioned fun" - Vice Zane Lowe has supported both singles 'Rick Rubin' and 'Sweet Talk', the main radio single prior to the album's release. Spank Rock's live show is a phenomenon. 'YoYoYoYoYo' instrumentals released on strictly limited edition double vinyl.

Review: LA-based painter and beatmaker Mtendere Mandowa has previously impressed with his experimental work as Teebs on Brainfeeder, All City and Svetlana Industries. This second full length, which is being released simultaneously on Brainfeeder and Big Dada, offers a dreamy, ethereal alternative to the fiery intensity and heart aching poignancy of his 2010 debut album, Ardour. While that was recorded in the immediate aftermath of a death in the family, the warmth, lucidity and blssfulness of Estara reflects Mandowa's new-found happiness. Of course, it's still as fuzzy and eccentric as its predecessor, but puts far greater emphasis on melodic warmth, with his skittering, experimental hip-hop beats cloaked in pastel textures and watercolour sounds.

Review: LA-based painter and beatmaker Mtendere Mandowa has previously impressed with his experimental work as Teebs on Brainfeeder, All City and Svetlana Industries. This second full length, which is being released simultaneously on Brainfeeder and Big Dada, offers a dreamy, ethereal alternative to the fiery intensity and heart aching poignancy of his 2010 debut album, Ardour. While that was recorded in the immediate aftermath of a death in the family, the warmth, lucidity and blssfulness of Estara reflects Mandowa's new-found happiness. Of course, it's still as fuzzy and eccentric as its predecessor, but puts far greater emphasis on melodic warmth, with his skittering, experimental hip-hop beats cloaked in pastel textures and watercolour sounds.

Review: The most innovative, risk-taking and outrageous hip-hop act to come out of France in the last decade, TTC are back. With Cuiziner established as a heartthrob in the US and Teki Latex set to release a pop-rave album, the trio are taking things higher with their third album, "3615". With production from the group's flying helmet-wearing DJ, Orgasmic, as well as the mighty Para One, Tacteel, Modeselektor and Tido himself. This is the band's most consistent and distinctive effort.

Review: The most innovative, risk-taking and outrageous hip-hop act to come out of France in the last decade, TTC are back. With Cuiziner established as a heartthrob in the US and Teki Latex set to release a pop-rave album, the trio are taking things higher with their third album, "3615". With production from the group's flying helmet-wearing DJ, Orgasmic, as well as the mighty Para One, Tacteel, Modeselektor and Tido himself. This is the band's most consistent and distinctive effort.

Review: After the critical and commercial success of 2003's Mercury-nominated "Upwards", MC/producer Ty returns with "Closer" - his strongest, most-focused, most rewarding work to date. Lauded by everyone from Lily Allen to Robert Wyatt, Ty is an artist who likes to take giant steps with every record he makes. With "Closer" he has reached a career pinnacle, a record packed with sharp hooks, killer basslines and clever wordplay, a humorous, funky and thoughtful stroll through the mind of the man himself and the life he leads. From the opening bars of "Don't Watch That" you know you're in for something special. Lazy guitar stabs and the snap of the break lead you into Ty's dissection of the rumours that swirl around him: "Apparently I walk with a thousand grand/And love fat girls dipped in marzipan". "Everybody" utilises the sharpest proto-dancehall to get you moving, while "This Here Music" is pure pop delight. "The Idea" sees Ty joined by long-term friends and collaborators De La Soul, and "What You Want" is the next level of the kind of broken/hip hop he pioneered on "Upwards". Title track "Closer" wouldn't sound out of place on a Kanye record - a big, emotional tune over which Ty drops beautiful lyrics. "Sweating For Your Salary" sees him revisit his Nigerian roots, "Oh!" pairs machine funk with incisive words, while "Hustle" finishes the album on an emotional high, a remarkable exposition of Ty's philosophy. Ty has spent the time since the release of "Upward" building a formidable live rep and has toured all over the world. In particular, his time in the USA has allowed him to build such a reputation that he could call in guest slots from De La Soul, Speech of Arrested Development, Bahamadia, Rich Medina and Zion I. Throw in vocal contributions from UK-based singers such as Eska and Vula (best known for her work with Basement Jaxx) and you have a reputation for one of the best, most soulful, funkiest, thoughtful black music albums since a while.

Review: After the critical and commercial success of 2003's Mercury-nominated "Upwards", MC/producer Ty returns with "Closer" - his strongest, most-focused, most rewarding work to date. Lauded by everyone from Lily Allen to Robert Wyatt, Ty is an artist who likes to take giant steps with every record he makes. With "Closer" he has reached a career pinnacle, a record packed with sharp hooks, killer basslines and clever wordplay, a humorous, funky and thoughtful stroll through the mind of the man himself and the life he leads. From the opening bars of "Don't Watch That" you know you're in for something special. Lazy guitar stabs and the snap of the break lead you into Ty's dissection of the rumours that swirl around him: "Apparently I walk with a thousand grand/And love fat girls dipped in marzipan". "Everybody" utilises the sharpest proto-dancehall to get you moving, while "This Here Music" is pure pop delight. "The Idea" sees Ty joined by long-term friends and collaborators De La Soul, and "What You Want" is the next level of the kind of broken/hip hop he pioneered on "Upwards". Title track "Closer" wouldn't sound out of place on a Kanye record - a big, emotional tune over which Ty drops beautiful lyrics. "Sweating For Your Salary" sees him revisit his Nigerian roots, "Oh!" pairs machine funk with incisive words, while "Hustle" finishes the album on an emotional high, a remarkable exposition of Ty's philosophy. Ty has spent the time since the release of "Upward" building a formidable live rep and has toured all over the world. In particular, his time in the USA has allowed him to build such a reputation that he could call in guest slots from De La Soul, Speech of Arrested Development, Bahamadia, Rich Medina and Zion I. Throw in vocal contributions from UK-based singers such as Eska and Vula (best known for her work with Basement Jaxx) and you have a reputation for one of the best, most soulful, funkiest, thoughtful black music albums since a while.

Review: The simple yet brashly titled Grime 2.0 is a mammoth release from Big Dada that looks to showcase where the genre is right now. Compiled jointly by label boss Will Ashon and journalist Joe Muggs, this 4xLP set sees grime originators sit next to a new breed of artists and documents the scene's continued development over the past ten years. The track selections also demonstrate that it's still very much a vibrant and flourishing genre. Some 35 tracks deep, the compilation sees Ashon and Muggs securing exclusive, previously unheard material, with notable grime figureheads such as Youngstar, Wiley and MRK1 contributing alongside current stars in Royal T and Preditah as well as an international cast of emergent new talent, with Local Action artist and Grimetapes documenter Slackk featuring too. Essential!

Review: Keeping tabs on Wiley is almost a full-time job (and best done via Twitter). He's always been relatively productive, but his recent return to Big Dada after years chasing commercial success seems to have given him a new lease of life. This two-disc album (and ninth in total) comes just six months after his last, and continues where that left off. That means on-point lyrics covering a dizzying variety of topics, sly digs at fellow grime illuminati and genuinely funny skits. What's most impressive, though, is the music. Touching on classic grime, Soca, wonk-hop, UK house, fuzzy beat scapes, R&B and even contemporary bass music (Mark Pritchard lends a hand on two tracks), Evolve or Be Extinct is arguably Wiley's most impressive set for years.

Review: Wiley, the pioneer, the founding father, the maverick, the relentless innovator, releases his brand new (and possibly last) album, "Playtime Is Over". A blazing return to the experimental crucible of the East London music known as grime, "Playtime Is Over" offers everything that is brutal, cutting edge, funny, clever, terrifying and moving about the sound and the world which created it. Over the course of fifteen tracks, Wiley boasts of his pre-eminence, tells stories of his life and background, reveals a sensitive side that won't surprise anyone who has met him, bigs up Bow and, in general, splatters his life and thoughts and feelings over beats in a way which hasn't been bettered in the short but incident-packed history of a scene whose mainstream acceptance is barely five years old.

Review: Bang! We'd been waiting on this one for quite some time! When you have Actress - contemporary techno pioneer - and Wiley - grime futurist and street innovator - in the same room it's bound to get pretty damn interesting given their respective styles and takes on electronic music. This one-track 12" comes courtesy of Big Dada and it's a true hybrid of the artist's sounds; broken shards of pseudo future bass jitter and twist over howling, deformed vocals in a sea of post-apocalyptic dread. There you go, that's the nearest we can come to describing this devilish little cut and you should cop on sight because this is hell a' limited!

Review: YES! We'd been waiting on this collaboration from UK start vocalist Wiley and shadowy electronic pioneer Zomby for a long time now, and it's about time it's landed on our shelves. "Step 2001" is a straight-up grime piece, a clicking, twisted groove made up of darting hi-hats and pacman sounds; you know when they say "they don't make them like they used to!"? Well, this doesn't apply here, as it's a serious head-dive back into the early noughties scene. There's also an instrumental version for maximum damage.

Review: Yaya Bey's upcoming album Ten Fold, promises to continue her streak of introspective and socially conscious music. Following the impactful releases of Remember Your North Star and Exodus the North Star, her new album delves deeper into her identity and creative expression. With 'Chasing the Bus,' the latest single from the album, Yaya delivers gentle falsetto vocals and wistful lyrics, reflecting on themes of being overlooked and underestimated, both in romantic relationships and within the music industry. The song serves as a poignant reminder for self-affirmation and letting go of the need for validation and Yaya's self-directed music video complements the track's introspective tone, showcasing her artistic vision and creativity, setting up Ten Fold to look like a compelling and thought-provoking exxperience.

Review: Yaya Bey's forthcoming album Ten Fold is poised to be a continuation of her introspective and socially conscious musical journey. Drawing from the momentum of her previous releases, the album promises to delve deep into Yaya's inner world, exploring themes of identity, creativity, and societal dynamics. Her latest single, 'Chasing the Bus.' shows Yaya's trademark gentle falsetto and reflective lyricism, addressing the feeling of being overlooked and underestimated, both in personal relationships and within the music industry. Through her music, she extends an invitation for listeners to join her on a voyage of self-discovery and resilience.