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Still lots of great #RecordStoreDay2017 goodies in-stock, including:

Frank N Dank & Jay Dee, The Jay Dee Tapes

Frank Nitt and Dankery Harv - or just Frank n Dank - knew J. Dilla before you. But don't feel bad, they knew Dilla before anyone knew Dilla. When Dilla was still in Detroit, before he was known as J Dilla. Before he'd even stepped foot in LA. From their personal vault, Frank n Dank bring you these cuts from their years working with Dilla, including complete instrumentals, presented in a 10" red vinyl pressing.
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#RecordStoreDay2017 goodies still in-stock!

#AtomicBombBand, Plays The Music Of William Onyeabor.

William was a Nigerian funk master who never played a live show. This album is a collection of his infectious, relentlessly rhythmic songs played by an all-star band including Jamie Lidell, Alexis Taylor (Hot Chip), Luke Jenner (The Rapture), Charles Lloyd, Money Mark (Beastie Boys), Pat Mahoney (LCD Soundsystem), Ahmed Gallab (Sinkane), Jason Trammell, Ish Montgomery, Johnny Lamm, Jas Walton & Jordan McLean (Antibalas), Lekan Babaloa, Kofo the Wonderman, Felicia Douglas, & Ananda Kihiri.
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Gorillaz. #Humanz. Friday. ... See MoreSee Less

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There is still some fun stuff hangin' around after Record Store Day. Swing by tonight and take a look. We're here till 10. ~Katie ... See MoreSee Less

Horizon Records updated their profile picture. ... See MoreSee Less

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New Stuff
  • HAUSCHKA, master of the prepared piano, returns with "What If," an experimental, kaleidoscopic work of mad genius.
    HAUSCHKA, master of the prepared piano, returns with “What If,” an experimental, kaleidoscopic work of mad genius.
    Since 2004, Volker Bertelmann – aka HAUSCHKA– has, steadily earned a remarkable reputation as a purveyor of imaginative, distinctive, prepared piano music. On What If – which finds him adding player pianos (also known as pianolas) to his arsenal – Bertelmann expands his range even further, defying expectations and delivering what is without a doubt his most ingenious album yet. While engaging with his trademark technique of utilizing unusual objects – art erasers, for example – to treat (or ‘prepare’) the ... Read More
we have the vinyl

Tower of Song is a series of FREE CONCERTS at Horizon Records or in our adjoining Bohemian Cafe, truly a unique listening and performing experience for artists and audience.

Sponsored by:
feteion-green

  • NEW RELEASES 4/28: April is going out large as we get in new stuff from GORILLAZ, ROBERT CRAY, WILLIE NELSON, MARK LANEGAN, RON SEXSMITH, TROMBONE SHORTY & more!
    Robert Cray has been bridging the lines between blues, soul and R&B for the past four decades, with five Grammy wins and over 20 acclaimed albums. For his latest project, Robert Cray & Hi Rhythm, the Blues Hall of Famer traveled to Memphis with his friend, renowned Grammy Award winning producer Steve Jordan, to make a classic soul album with Hi Rhythm, the band that helped create that sound. Set inside an old theatre, the funky Royal Studios looks much as it did when Al Green was cutting those classics for Hi Records. Guitarist Teenie Hodges has passed away, but his brothers Rev. Charles Hodges (organ and piano) and Leroy "Flick" Hodges (bass), along with cousin Archie "Hubbie" Turner (keyboards), were still there.
  • NEW RELEASES, 4/14: YES, we do have the new KENDRICK LAMAR in-stock NOW, but that’s not all. We’ve got new STRING CHEESE INCIDENT, JOHN MAYER, and some jazz-classical love for Mr. Gene!
    Less obviously haunted by the influence of George Clinton than its predecessor, Damn still sounds rooted in early-70s soul. There are nods towards the luscious, harmony-laden mellowness of the Stylistics and the Chi-Lites (opener Blood even features a warped version of the kind of spoken-word monologue found on the latter’s single Have You Seen Her?), to the stentorian bellow that opens Curtis Mayfield’s If There’s a Hell Below We’re All Gonna Go and to the dense sound of psychedelic soul – by way of Outkast – on Pride. If it seems a more straightforward listen than To Pimp a Butterfly, there’s a cheering sense that this doesn’t equate to a lessening of musical ambition. There’s none of that album’s wilfully jarring quality – its sudden, anxious musical lurches and abrupt, short-circuiting leaps between genres – but the tracks on Damn still feel episodic and expansive: XXX alone goes from massed harmony vocals to a downbeat rap over glitching, stuttering samples, to a thrilling moment where it explodes in a mass of sirens, screeching tyres and heaving basslines, to a dramatic drop in tempo and an understated guest vocal from Bono in the space of four minutes. Rather than angsty disruptions, there’s a more subtle sense of disquiet here. The heavy-lidded drift of Yah would sound relaxed were it not for the presence of two grating bass notes that fit with the lyrics’ prickly unease, where images of contented family life rub up against “theories and suspicions”. Meanwhile, on the brilliant Pride, troubled lyrical shifts from modesty and confusion to self-belief – “I can’t fake humble because your ass is insecure” – are mirrored by a rap electronically treated so that its pitch gradually speeds up and slows down amid the woozy atmospherics and falsetto vocals. Elsewhere, there’s brilliant, dexterous storytelling on Duckworth – the saga of how Lamar’s father narrowly avoided being murdered by a criminal called Anthony, complete with an eye-popping, no-spoilers twist – and another demonstration of Lamar’s nonpareil ability to write songs about the pressures of wealth and success that somehow manage to elicit the listener’s sympathy rather than a roll of the eyes.