You should press play off the names alone.

Part 1

Teebs – “Why Like This?”
Jeremiah Jae – “Seasons”
Lapalux – “Without You” Feat. Kerry Leatham
Iglooghost – “Bug Thief”
TOKiMONSTA – “Fallen Arches”
Miguel Baptista Benedict – “Phemy”
Matthewdavid – “Group Tea” Feat. Flying Lotus
Martyn – “Masks”
Mr. Oizo – “Ham”
Daedelus – “Order Of The Golden Dawn”
Jameszoo – “Flake”
Taylor McFerrin – “Place In My Heart” Feat. RYAT
MONO/POLY – “Needs Deodorant”
Thundercat – “Them Changes”
DJ Paypal – “Slim Trak VIP”
Thundercat – “Friend Zone (Ross From Friends Remix)”
Brandon Coleman – “Walk Free (Flying Lotus Remix)”

Part 2

Thundercat – “King of the Hill” Feat. BBNG & Flying Lotus
Lapalux – “Opilio”
Ross From Friends – “Squaz”
Georgia Anne Muldrow – “Myrrh Song”
Dorian Concept – “Eigendynamik”
Louis Cole – “Thinking”
Iglooghost – “Yellow Gum”
WOKE – “The Lavishments of Light Looking” Feat. George Clinton
PBDY – “Bring Me Down” Feat. Salami Rose Joe Louis
Jeremiah Jae – “Black Salt”
Flying Lotus – “Ain’t No Coming Back” Feat. Busdriver
Miguel Atwood-Ferguson – “Kazaru”
Taylor Graves – “Goku”
Little Snake – “Delusions”
Strangeloop – “Beautiful Undertow”
MONO/POLY – “Funkzilla” Feat. Seven Davis Jr.
Teebs – “Birthday Beat”
Moiré – “Lisbon”
Locust Toybox – “Otravine”

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The post WHOA: Thundercat, BADBADNOTGOOD and Flying Lotus Join Forces on “King Of The Hill” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Snoop Dogg, alongside “Mr. Clown” Michael Rapaport, live in a world filled with clowns for politically driven video “Lavender (Nightfall Remix),” directed by Youtube sensation Jesse Wellens and cinematographer James DeFina.

“Lavender” is originally a track from Toronto’s hip-hop and jazz infused group BADBADNOTGOOD off of their 2016 album IV, which featured Haitian-Canadian powerhouse Kaytranada. Many of the group’s listeners would regard the jazz filled track as a true stand from the album.

Hip-hop legend Snoop Dogg added his world renowned California flow to the stand out track while speaking out about police brutality. His lyrics on “Lavender” don’t miss a beat and are hard hitting, while the visual is almost like a film enforcing a satirical spin on some touchy political current events. With that said, have a look as Snoop Dogg faces off against Ronald Klump.

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The post Ronald Klump Gets Shot Up in “Lavender Nightfall Remix” [WATCH] appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

BADBADNOTGOOD actually have some great great news for us, announcing they will be releasing a full collaborative album with Ghostface Killah this February entitled Sour Soul. Our first taste of the project is anything but sour, as we get Tony Starks and Elzhi going in over a 70s soul-inspired cut, with some guitar riffs.

The post New Music: BADBADNOTGOOD & Ghostface Killah Feat. Elzhi – “Gunshowers” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Wu-Tang’s Ghostface Killah teams up with Toronto jazz band BADBADNOTGOOD and Danny Brown for a special collaboration which will be available via limited edition vinyl courtesy of  Lex Records. The sinister beat courtesy of BBNG and Frank Dukes, is the perfect platform for both of the emcees to go off, which is exactly what they do. Check out the track below.

The post New Music: Ghostface Killah feat. BADBADNOTGOOD & Danny Brown – “Six Degrees” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Don’t look at this as a “best of” list. This is simply an impromptu assembly of dope beats, as experienced by people who think of instrumentals as more than blank, dead canvasses for rhymes. Instrumentals are alive. Read some accounts below.

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“I’m In It” – Kanye West. Produced by Kanye West, Evian Christ, Dom Solo, Noah Goldstein, Arca and Mike Dean.

The alternating piercing moans coupled with deep, vibrating synths create one of the most unconventional beats out there, and the thumping vocals of Assassin complement everything for an electrifying, jarring track. There’s no telling how many babies will be made to this song. Or how many abortions will occur to it.

“Suicide” – Pusha-T. Produced by Pharrell Williams.

Pharrell‘s beat sounds like something out of a video game, a mishmash of dissonant tones and otherworldly drums, not to mention the occasional single syllable uttered from an unrecognizable vocal sample.It’s a true exercise in sonic A.D.D. We know that Pusha plus Skateboard P has always been a solid combination, but this genuinely sounds like “something the world has never felt before.” [Editor’s note – Props to you if you get that reference. S.K.]

“Where He Get It” – Chief Keef. Produced by Sonny Digital, Southside and MetroBoomin.

This track is one of the most finely-tuned clusterfucks ever made. With more space, we could get into its nuances, its subtleties, its overwhelming atmosphere, and the seamless presence Keef finds within those elements, but for now we’ll just say that it’s basically the most fearless instrumental of this year. It’s heavy-handed in its inclusion of so many competing leading sounds and daring in its execution. There’s no telling how so many sounds can be made to actually work together, but it happened.

“MC ILLIN” by MondreMAN. Produced by Al Jieh.

Jieh creates a watery strength for Mondre on this track. Hints of G-Funk with contemporary technicality, Jieh‘s work ripples to its own propulsions. #bubbly

“Run The Jewels” – Run the Jewels. Produced by El-P.

This shit can knock down buildings. Don’t be surprised if this song starts to replace wrecking balls.

“Tom Ford” – Jay-Z. Produced by Timbaland and J-Roc.

Fuck Yeezus, this is what hip-hop from the future will really sound like. Every single component in this robo-gymnastic beat sounds hand-picked, unique, bananas. Timbaland‘s hard drive should be a national treasure.

“King Push” – Pusha-T. Produced by Kanye West and Sebastian Sartor.

Perhaps it was the rumor that Joaquin Phoenix produced “King Push” that made its initial unveiling feel like a unicorn sighting, but the fervor the beat creates is solely a byproduct of its megalomaniacal feel – like capturing bravado in a bottle. Produced by Yeezy and an unknown beatmaker named Sebastian Sartor, “King Push” is proof that you don’t need a big name behind the boards to create a certified banger. And that squeaky noise at the beginning is critical.

“Blood On The Leaves” – Kanye West. Produced by Kanye West, Hudson Mohawke, Lunice, Carlos Broady, 88-Keys, Arca and Mike Dean.

When you integrate a sample of Nina Simone‘s rendition of “Strange Fruit” with TNGHT‘s “R U Ready” you get a supernatural experience that induces a pure sonic euphoria. When you chop the aforementioned elements into an interpolation of C-Murder‘s “Down 4 My Niggas,” you get something else entirely – something completely and utterly existential. “Blood On The Leaves” is a hodgepodge of rare and strange ingredients unified to create one of the finer reinterpretations of sound in recent memory. Truly.

“Pound Cake” – Drake. Produced by Boi-1da and Jordan Evans.

The beat literally gives you goosebumps every time you hear it. You can play it a thousand times, and it feels like the first time you heard it. The Wu Tang sample is genius, and adds to the smoothness of the beat even more. Have Canadians always been this good at music?

“Palm Trees” – Flatbush Zombies. Produced by Erick Arc Elliott.

Flatbush Zombies architect, Erick, constructs a hypnotic, eerie, and incredibly catchy instrumental that is both laid back and energetic. Palm Trees is the perfect groove for Meechy and Juice to explore and the perfect replacement addition to your parent’s reggae playlist.

“My Yout” – Joey Bada$$. Produced by Chuck Strangers.

This instrumental is a prime example of West Indies meets Brooklyn. Or better yet the West Indies influence that is already infused within Brooklyn hip-hop. It’s reggae-dub with a hip-hop twang and serves as a testament to Joey Bada$$‘s Caribbean roots. Melodic and intricate, it’s a top record on the generally impressive Summer Knights mixtape.

“Flip Ya” – Action Bronson. Produced by Party Supplies.

The sample of Junior Walker’s rendition of “Wishing On A Star” is what sets this instrumental off so nicely. The wailing saxophone, heavy bassline and faint background singing are the perfect compliment to the vivid rhymes by Bronson and Retchy P. In all honesty it should’ve been a longer song. As is, it just isn’t enough. We need more backflips!

“Portlyn” – The Stuyvesants. Produced by The Stuyvesants

The beat is just so damn smooth. It almost seems like it was made for cruising the streets on a warm summer night — just riding without a care in the world. A real 70s, blaxploitation feel to it. Good shit.

“Work” – A$AP Ferg. Produced by Chinza and Fly Beats.

No matter if you hate the song at this point or still go hard for it, the instrumentals is supremely powerful and that bass will always knock. Plus, Ferg‘s chanting at the beginning of the song could probably wake the dead. And yes, that chant should be considered apart of the instrumental.

“Black Skinheads” – Kanye West. Produced by Kanye West, Daft Punk, Gesaffelstein, Brodinski, Mike Dean, Lupe Fiasco, No ID, Jack Donoghue and Noah Goldstein.

When Kanye first performed the track on Saturday Night Live, it felt like a moment. We’d heard ‘New Slaves’, and as impressive as that song is in itself, ‘Skinhead’ is a beast all in it’s own. Kanye‘s lyrics – attacking and revolting – are still overshadowed by the power of the track behind them. Again, watching Kanye perform ‘Black Skinhead’ on SNL felt like a moment, but the beat was eternal. That militant percussion genuinely makes it sound like Kanye has an army behind him.

“Contemporary Man” – Action Bronson. Produced by Party Supplies.

Rumor has it that this is the first song Action Bronson and Party Supplies ever recorded together. If the legend is true, then it was a brilliant look into the crystal ball. Bronson‘s at his best when his spitting his cartoon-lifestyle-bars over Party Supplies‘ ever-sampling beats, and hearing the self-proclaimed “young Tom Selleck” go in over an assortment of 80’s hits feels like soul mates finding their better half. This was a match-made in hip-hop heaven, and we’re so, so glad they found each other.

“Orange Juice” – Vic Mensa. Produced by Cam.

It’s hard to see a song named “Orange Soda” and not immediately think of Kel from Kenan & Kel. Like the memorable TV show, “Orange Soda” is bright and bubbly. Synths rise like the heat on a summer day while the bass moves fluidly and freely like a nice breeze. It’s a near-flawless setup for the upbeat and vibrant delivery of Vic Mensa: the rap game’s Kel. Who loves “Orange Soda”? I love “Orange Soda.” I do, I do, I do–ooo!

“Go All Night” – Kelela. Produced by Morri$.

It’s an unspoken fact: any song that includes a sampled crowd “Hey,” is bound to be great–especially if it’s an R&B/soul/whatever-exactly-it’s-supposed-to-be  song. It’s as if Morri$ knew what this song was destined to be: an after hours banger where you’re huddled up close to someone you just met at the club. Will you leave with them when the lights turn on? Will you at least get their number? Maybe, maybe not. You’re more concerned about the twilight synths leaving your knees weak, and those 808s ringing in your ears.

“Gas Pedal” – Sage the Gemini. Produced by Iamsu.

No words are needed. Hell, are words even possible? This beat is groundbreaking.

“Fuck That Nigga” – DJ Mustard. Produced by DJ Mustard.

Let’s keep it 100: Mustard soundtracked 2013. People say that he makes the same song over and over again, yet rappers keep calling him for beats. Explain that.

“Torture” – Danny Brown. Produced by Oh No.

On “Torture” Danny Brown takes some time out from being on Adderall goofball order a grim picture of his past life. Oh No provides a beat that seems more suited for Ghostface than Danny, but the Detroit spitter delivers his most in-pocket performance ever as he details a life plagued with horrors. The beat here alone is enough to give you coke-fiend nightmares.

“Hoarse” – Earl Sweatshirt. Produced by BadBadNotGood.

The beat feels like a tornado mixed with a black hole, growing in intensity, consuming everything, yet somehow pushing me away. That feeling, plus the Wild West sound effects give the song an acute loneliness that truly haunts. But it’s weird because it feels you’re haunted by an absence rather than a presence.

“Enemy” – Kelela. Produced by Nguzunguzu.

Nguzunguzu really put some work into that beat. It’s reminiscent of Portishead‘s “Machine Gun” in terms of how it demands your attention. It’s very militant and forceful, especially with the random pauses. It feels like someone’s marching toward you with a knife. Beyond how it makes you feel though, it’s amazing how so many of the elements of the instrumental are just plain unpredictable. How in the world did Kelela write lyrics to this?

The post RESPECT. Roundtable: Our Favorite Instrumentals of 2013 appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

As YouTube playlists, Soundcloud links, and Tumblr memes are becoming the dietary norm – what happens when the Internet comes of age alongside a generation of musicians who have grown up online? Red Bull Music Academy‘s new online mini series, HASHTAG$,  has taken the time to wrestle with this important question while exploring some of the most fascinating music to emerge from the digital ether. Going from the URL to the IRL, HASHTAG$  chronicle some of the most fascinating themes emerging from the web in recent times, from #cloudrap and #seapunk to #postdubstep and #trap.

The pilot episode dives into the world of #AltRnB  with a cast of alternative R&B artists like Miguel, How To Dress Well, Rochelle Jordan, KLSH, BadBadNotGood, and the former half of The Weeknd, Jeremy ‘Zodiac’ Rose. In a documentary like fashion, the musicians fill us in on their underground subculture of rhythm and blues and speak on the influence of the interweb in repurposing a genre many believed was on the verge of death. All this in under twelve minutes? Now Red Bull has got us hooked on something more than their drinks. Check the trailer and pilot after the jump, and stay tuned for the second installment. Each full episode will premier Tuesdays starting this week!

The post Video: Red Bull Music Academy Presents – “H∆SHTAG$ Episode 1 – Don’t Call It #Alt-R&B” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Some of you might be familiar with BADBADNOTGOOD (formerly the Odd Trio) from their excellent jazzified covers of songs like “Yonkers” and “Hard in the Paint.”

Some of you might be familiar with Tyler, the Creator because you own a computer that has access to the internet.

Worlds (and apparently mutual admiration) collide in this spirited (perhaps possessed?) performance of “Seven” from Tyler’s Bastard. It can be a lot of fun to hear a song you’ve listened to hundreds of times re-imagined, particularly when it’s done as it is here, with care and enthusiasm. Because sometimes re-imagining can mean a 2Pac remix album, and nobody wants that. I promise you that this performance of “Seven” (a slightly darker twist on the original, which feels like some what of a no-brainer, but is no less incredible for it) is better than Nu-Mixx Klazzics.

Click the jump for bonus material.

As a bonus, here’s the session that brought BADBADNOTGOOD to YouTube-semi prominence and probably alerted Tyler of their existence.

The post New Video: BADBADNOTGOOD x Tyler the Creator Perform “Seven” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.