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Their musical journey began back in 2002, with the release of Felt: A Tribute to Christina Ricci, which soon became one of Rhymesayers' most-cherished releases. That continued with the release of Felt 2: A Tribute to Lisa Bonet, in 2005, by which time Murs \u0026amp; Slug's creative partnership had been elevated to a cult-like status, and intensified further in 2009, with the release of Felt 3: A Tribute to Rosie Perez. While their personal relationship is fundamental to Felt's legacy, with their comradery establishing itself as a driving force for their creativity, the production on Felt albums has also been a major part of their success. The beats on the first release were provided by another member of Murs' Living Legends crew, The Grouch, while the second album was produced by Ant of Atmosphere, and the third by Aesop Rock. With notable changes in the sonic backdrops for each album, the MC's were allowed to share a unique side of themselves each release, while fine-tuning their styles and showcasing their own growth. The decision to use different producers for those albums was an integral part of the group's journey. A lot has changed since their last release in 2009, including for Murs and Slug themselves in both their personal and professional lives. Their careers have continued to elevate and their families have continued to grow, and this fourth album is something of a reflection of those changes, starting with the title of the project itself. Felt 4 U seemed the simplest, most direct way of saluting the fanbase that has made Felt what they are, a thank you to the dedicated; as well as moving away from the perhaps more male gaze-feel of the previous titles. Even amidst the changes we still find familiarities, like Ant making a return to handle full production on Felt 4 U. Sonically, the album is overflowing with the influences of funk, soul, blues and even country flavors. While Felt 3 had a wintery feel, Felt 2 sounded perfect in autumn and the first Felt captured the blossoming sounds of spring, this is a distinctly summery album, with the richness of Ant's production creating an overall warmth that envelops the whole project. From the opening chords of \"Never's Enough\", with it's funk-fueled, vaguely retro feel, to the outrageously smooth vibes of \"Underwater\", this is a rap album that demands as much attention for the music, as it does for the rappers themselves. The album is unique to the Felt catalog for it's inclusion of guest artists though, with four features making their way onto the final cut. The aforementioned \"Underwater\" features an excellent appearance from Blimes, who brings her inimitable style to the hook, and Blueprint is credited as his alter-ego, Shepard Albertson, thanks to his vocal support on \"Crimson Skies\", while The Grouch and Aesop Rock join in on \"Hologram\" making the perfect Easter egg for Felt fans, thanks to their contributions on previous projects.Overall, this album provides the perfect segue into Felt's next chapter. It reflects changing attitudes in the culture and in the world as a whole, and it reflects the changes in Murs and Slug as well. Whereas before, when some songs were delivered with perhaps a slight tone of judgement - for want of a better word - on Felt 4 U we find two artists offering us their opinions and viewpoints in the hopes of furthering discussion. 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As Slug transitioned from throwing-up-in-the-backseat-raps to holding-hands-when-you-cross-the-street-raps, Ant has grown to be a master of crate digging and unearthing the humanity of a drum loop. Thriving at the intersection of guttural and self-effacing, Atmosphere will go down as some of America’s best archivists. On Whenever, the duo continue to move in lockstep. Within the minutiae lie clues they’re still struggling with mortality and the need to protect emotional energy, as on previous releases, but there’s a quiet romanticism now, with Slug sounding—reluctantly—in love with life. And no other producer can pull truths out of a rapper like Ant fishes the blues out of Slug. Be it the twinkle of “Bde Maka Ska” leading into twanging guitars, or the anxious skitter of “Lovely,” Slug finds obvious comfort in working with Ant. “Postal Lady” recounts the simplicity of Slug’s life over warm and enveloping production, while “Romance” recalls God Loves Ugly with its undulating glitches, as if we crawled through Ant’s drum machine. It’s clear the pair’s harmony is reaching new peaks. These aren’t dad-raps, these aren’t anti-establishment-raps, and these aren’t chasing-old-fire-raps. Even at its darkest (“You’re Gonna Go”) Whenever houses blessed-to-be-alive-raps. The album breathes in the way only Slug and Ant could summon a collective breath. 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Whether you're simply sightseeing, enjoying temporary flights of fancy or considering a more permanent relocation, the all-new Spirit World Field Guide offers twenty-one insightful chapters of firsthand know-how into the terrain, wildlife, and social customs of our parallel universe. The narrator's vast expertise of multiple global entry points and various modes of interdimensional transport informs a rich tapestry of tips, tricks and tools to unfailingly aid in your ultimate survival. If you are among the countless individuals who find themselves feeling both dead and alive at the same time, the information contained within may serve as an invaluable asset to your journey. Godspeed and good luck.\" Those are the words of the album's narrator - an attempt to prepare listeners, both old and new, for a safe entry into the Spirit World. It's been a long road for Aesop Rock to get here, releasing a steady stream of impressive albums, singles, and collaborative projects that have continued to invigorate, solidify and grow his diverse fan base, but he shows no signs of slowing down or deviating from his path, constantly pushing his creative limits. Last year saw the release of Malibu Ken, a joint effort featuring the psychedelic and trippy sounds of producer Tobacco, providing a different type of intrigue for Aesop's descriptive, compelling, and often humorous, writing. Then, he kicked 2020 off with a hard-driving single, \"Rogue Wave\", followed not long after by Freedom Finger, which found Aesop immersing himself in the video game world that the music was written and produced for. And this year still has a few exciting releases on the horizon yet, including the infinite heroics of \"Long-Legged Larry\", a 20-year anniversary vinyl release of his debut album, Float, and now his brand new album, Spirit World Field Guide. Since his debut in the late nineties, Aesop Rock's writing has been of the highest caliber, but one thing that has continually evolved is his near-flawless and diverse flow, now perfectly infused with his personality and a gift for visual imagery. On Spirit World Field Guide, characters, inanimate objects, and their surrounding environments vividly come to life as Aesop describes each passing moment throughout the album's twenty-one chapters. Welcome to the Spirit World. 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However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.\u003cbr\u003e\u003cbr\u003eInitially released in 2016 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's \u003cem\u003eLice Two: Still Buggin'\u003c\/em\u003e is finally available to fans everywhere. The second in a series of EP releases, \u003cem\u003eLice Two: Still Buggin' \u003c\/em\u003efeatured production from Dan Hayden, Mondee, Aesop Rock, SoberMindedMusiC and Mono En Stereo. 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Inspired by the fascination many children have with bulldozers, front loaders, and cranes, the track delivers clever rhymes and vivid descriptions in classic Aesop fashion-this time with a whimsical twist.Over a minimal beat with bouncing bass lines that evoke the lumbering roll of oversized construction tires, Aesop celebrates the sights and sounds of work zones, bringing dump trucks and backhoes to life with vivid wordplay. The song is part educational, part imaginative storytelling, capturing the wonder of watching giant machines reshape our surroundings. What makes it shine is Aesop's wildly specific wit, packaged in a format approachable for younger listeners but still rewarding for longtime fans.With \"Roadwork Rappin',\" Aesop continues to expand his creative universe in unexpected ways, proving once again that his pen knows no bounds. 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For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter. \u003cbr\u003e\u003cbr\u003eA concept album about an organization offering \"lifestyle- and industry-specific applications designed to curate a desired multi-experience,\" Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On \"Mindful Solutionism,\" the wheel evolves seamlessly into modern agriculture-and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: \"We cannot be trusted with the stuff that we come up with.\" \u003cbr\u003e\u003cbr\u003eAppropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging \"Solutionism\"'s careening bounce against the wistful \"By the River\" or the slow creep of \"Salt and Pepper Squid.\" The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability-and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T (\"100 Feet Tall\") or quipping, on \"Pigeonome­try,\" that \"white dove is a pigeon-you motherfuckers is bigots.\" At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. \"I've been doing laps of the lost worlds,\" he raps on \"All City Nerve Map,\" sounding at once wearied and reinvigorated. \"I can draw a map to the raw nerve.\"\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe ITS Way\u003c\/li\u003e\n\u003cli\u003eMindful Solutionism\u003c\/li\u003e\n\u003cli\u003eInfinity Fill Goose Down\u003c\/li\u003e\n\u003cli\u003eLiving Curfew [feat. billy woods]\u003c\/li\u003e\n\u003cli\u003ePigeonometry\u003c\/li\u003e\n\u003cli\u003eKyanite Toothpick [feat. 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Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.\u003cbr\u003e\u003cbr\u003eInitially released in 2017 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's \u003cem\u003eTriple Fat Lice\u003c\/em\u003e is finally available to fans everywhere. The third in a series of EP releases, \u003cem\u003eTriple Fat Lice\u003c\/em\u003e features production from Cohen Beats, Oh No, Ben Boogz (of 2 Hungry Brothers), Quelle Chris and M Slago. 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Ant’s dusky production has provided the pulse for Slug’s evolving and matter-of-fact pen. As Slug transitioned from throwing-up-in-the-backseat-raps to holding-hands-when-you-cross-the-street-raps, Ant has grown to be a master of crate digging and unearthing the humanity of a drum loop. Thriving at the intersection of guttural and self-effacing, Atmosphere will go down as some of America’s best archivists. On Whenever, the duo continue to move in lockstep. Within the minutiae lie clues they’re still struggling with mortality and the need to protect emotional energy, as on previous releases, but there’s a quiet romanticism now, with Slug sounding—reluctantly—in love with life. And no other producer can pull truths out of a rapper like Ant fishes the blues out of Slug. Be it the twinkle of “Bde Maka Ska” leading into twanging guitars, or the anxious skitter of “Lovely,” Slug finds obvious comfort in working with Ant. “Postal Lady” recounts the simplicity of Slug’s life over warm and enveloping production, while “Romance” recalls God Loves Ugly with its undulating glitches, as if we crawled through Ant’s drum machine. It’s clear the pair’s harmony is reaching new peaks. These aren’t dad-raps, these aren’t anti-establishment-raps, and these aren’t chasing-old-fire-raps. Even at its darkest (“You’re Gonna Go”) Whenever houses blessed-to-be-alive-raps. The album breathes in the way only Slug and Ant could summon a collective breath. 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In that time, she has continued to cultivate and sharpen her skill sets, and now she is set to release her first album for the label.\u003c\/p\u003e\r\n\u003cp\u003e\u003cspan\u003eSpeaking on the meaning of the album's title and inspiration, Sa-Roc shares, \"The Sharecropper's Daughter speaks to my father's actual beginnings on a Virginia tobacco farm where his family sharecropped. The title is meant to signify that both my father's and my upbringing, though so different, are linked by a shared history that informs the way I move through the world. Although his formative years were spent in the Jim Crow era of the south, where he suffered through poverty and racial oppression, and mine were shaped in the heart of DC, amidst the war on drugs and the effects of it's fallout, the album finds points of connection in two very different yet tragically familiar stories of Blackness in America. It's a sonic reflection of the things we inherit. About the emotional weight that we unknowingly bestow upon the next generation; the genetic transfer of both trauma and triumph that we, both donors and beneficiaries, are tasked with reshaping into a future of our own.\" \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003eThe Sharecropper's Daughter album is entirely produced by a veteran renaissance man from the Atlanta Hip Hop scene, Sol Messiah, with the exception of \"Deliverance\" produced by Evidence. 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The two artists first linked on Aethiopes, Preservation's 2022collaboration with billy woods, where Nandez was featured alongside Boldy James onone of the album's standout tracks. \"Sauvage\" became the catalyst for Sortilège, as theNew Orleans-based producer and New York-based rapper gradually began exchangingideas-first long distance, then in February 2024, when Nandez flew to New Orleans fortwo weeks, ready to work.\"It was smooth, very synergetic,\" 'Nandez explains. \"We listened to mad music-BootCamp Clik, Scaramanga, Cuban Linx-and I was asking questions about all types of shit,trying to soak up game and history, which I did.\"The two also bonded over their shared francophone ancestry: Preservation is half Frenchand 'Nandez is half Malian. 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The two artists first linked on Aethiopes, Preservation's 2022collaboration with billy woods, where Nandez was featured alongside Boldy James onone of the album's standout tracks. \"Sauvage\" became the catalyst for Sortilège, as theNew Orleans-based producer and New York-based rapper gradually began exchangingideas-first long distance, then in February 2024, when Nandez flew to New Orleans fortwo weeks, ready to work.\"It was smooth, very synergetic,\" 'Nandez explains. \"We listened to mad music-BootCamp Clik, Scaramanga, Cuban Linx-and I was asking questions about all types of shit,trying to soak up game and history, which I did.\"The two also bonded over their shared francophone ancestry: Preservation is half Frenchand 'Nandez is half Malian. These connections made their way into the music as well,via both aesthetics and sample sources, and that sort of exchange courses throughSortilège, bridging the generational, geographical, and cultural gaps between the twoartists with a record that feels a world unto itself. Esoteric, yet blunt and uncomplicatedas a fistfight, Sortilège erases the line between urbane and urban. It's a movie in a luciddream, A Clockwork Négritude projected against the wall of a construction site. Mixed-useresidential.Tracing this arc, fellow travelers Armand Hammer, Koncept Jack$on, Ze Nkoma Mpaga NiNgoko, and billy woods all make appearances. Oh, and there are drums everywhere: drumsthat will rattle a hooptie and drums that whisper threats. Somehow, over the course of 14tracks, Preservation seems to find his way to every instrument imaginable-yet each beathas room to breathe. Amidst this breakbeat symphony, 'Nandez's unmistakable baritoneglides purposefully, ever forward, a bristling warship in troubled waters. Every time thebass thumps, 'Nandez counterpunches. This is a record for heavyweight speakers andclunky headphones.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHarmattan\u003c\/li\u003e\n\u003cli\u003eSpire\u003c\/li\u003e\n\u003cli\u003eShadowstep\u003c\/li\u003e\n\u003cli\u003eMuay Sok\u003c\/li\u003e\n\u003cli\u003eBascinet\u003c\/li\u003e\n\u003cli\u003eMorning Star\u003c\/li\u003e\n\u003cli\u003eHierophant (Feat. Koncept Jack$On)\u003c\/li\u003e\n\u003cli\u003eWar (Feat. Billy Woods)\u003c\/li\u003e\n\u003cli\u003eBall ; Chain\u003c\/li\u003e\n\u003cli\u003eNom de Guerre (Feat. Ze Nkoma Mpaga Ni Ngoko)\u003c\/li\u003e\n\u003cli\u003eRespected Calligraphy\u003c\/li\u003e\n\u003cli\u003eMondo Cane (Feat. 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In September 2015, Atmosphere began releasing a series of individual songs digitally. In the months leading up to their new album, Fishing Blues, they released a total of seven digital singles. Much to the surprise of Atmosphere fans, none of these digital singles would appear on Fishing Blues, and they remained available as digital singles only... Until now. These seven songs, now packaged together as Frida Kahlo vs. Ezra Pound, will be available for the first time on CD. All songs are produced by Atmosphere featuring guest appearances by Aesop Rock, Grieves, Prof, Blueprint, deM atlaS and Eric Mayson.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFiner Things (Feat. Dem Atlas)\u003c\/li\u003e\n\u003cli\u003eThis Lonely Rose (Feat. 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Prof)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 826257022714\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Rhymesayers\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 12.9.16\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e 7\" Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Atmosphere","offers":[{"title":"Default Title","offer_id":58293110145105,"sku":"645372","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0620\/5023\/8545\/files\/3492686.jpg?v=1760749193"}],"url":"https:\/\/apocalypsevinyl.com\/collections\/rhymesayers.oembed","provider":"Apocalypse Vinyl","version":"1.0","type":"link"}