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semiconductorlogs · 23 days ago

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UHF RFID Tags Market: Policy Impact and Regulatory, 2025–2032

Global UHF RFID Tags Market Research Report 2025(Status and Outlook)

UHF RFID Tags Market size was valued at US$ 2.73 billion in 2024 and is projected to reach US$ 4.89 billion by 2032, at a CAGR of 8.7% during the forecast period 2025-2032

Our comprehensive Market report is ready with the latest trends, growth opportunities, and strategic analysis https://semiconductorinsight.com/download-sample-report/?product_id=95767

MARKET INSIGHTS

The Global UHF RFID Tags Market size was valued at US$ 2.73 billion in 2024 and is projected to reach US$ 4.89 billion by 2032, at a CAGR of 8.7% during the forecast period 2025-2032. This growth is fueled by increasing adoption across retail, logistics, and asset management sectors, where RFID technology enhances operational efficiency and inventory visibility.

Ultra-High Frequency (UHF) RFID tags are wireless tracking devices operating at frequencies between 860-960 MHz, offering longer read ranges (up to 12 meters) and faster data transfer compared to LF/HF variants. These tags consist of three key components: an integrated circuit (IC) for data storage, an antenna for signal transmission, and a protective substrate. While passive UHF tags dominate the market due to their cost-effectiveness, battery-assisted passive (BAP) tags are gaining traction for applications requiring extended read ranges.

The market expansion is driven by several factors, including the rapid digitization of supply chains and rising demand for real-time inventory tracking. For instance, Walmart’s mandate for RFID implementation among suppliers has significantly boosted adoption. However, challenges like interference from metal/liquid materials and privacy concerns may restrain growth. Key players like Avery Dennison and SMARTRAC are addressing these limitations through innovative tag designs and advanced anti-collision algorithms, positioning UHF RFID as a critical enabler for Industry 4.0 applications.

List of Key UHF RFID Tag Companies Profiled

SMARTRAC (Netherlands)

Avery Dennison Inc. (U.S.)

Shang Yang RFID Technology (China)

Alien Technology (U.S.)

Shanghai Inlay Link (China)

Invengo (China)

XINDECO IOT (China)

D&H SMARTID (China)

Identiv (U.S.)

Junmp Technology (China)

NETHOM (China)

Sense Technology (China)

Segment Analysis:

By Type

UHF Dry Inlay RFID Tags Segment Holds Significant Market Share Due to Cost-Efficiency and Wide Application Range

The market is segmented based on type into:

UHF Dry Inlay RFID Tags

UHF Wet Inlay RFID Tags

Others

By Application

Retail Sector Emerges as Leading Application Segment for UHF RFID Tags

The market is segmented based on application into:

Retail

Asset Management/Inventory/Documents

Logistics

Others

By Frequency Range

860-960 MHz Frequency Band Dominates Due to Global Standardization

The market is segmented based on frequency range into:

860-960 MHz

Other UHF Frequency Bands

By Material

Paper-based UHF RFID Tags Gain Traction for Sustainable Packaging Solutions

The market is segmented based on material into:

Paper-based

Plastic-based

Metal-based

Others

Regional Analysis: Global UHF RFID Tags Market

North America North America dominates the UHF RFID tags market due to stringent supply chain regulations and rapid technological adoption across industries like retail, healthcare, and logistics. The region benefits from advanced infrastructure supporting RFID implementation, with major retailers like Walmart mandating RFID tagging for inventory management. The U.S. accounts for over 60% of regional demand, driven by warehouse automation initiatives and Industry 4.0 investments. However, high implementation costs and data privacy concerns pose challenges for smaller enterprises. Recent developments include increased adoption in pharmaceutical cold chain monitoring and aviation baggage tracking systems.

Europe Europe represents the second-largest UHF RFID market, characterized by strong regulatory support for supply chain digitalization and circular economy initiatives. The EU’s push for item-level retail tagging and anti-counterfeiting measures in luxury goods drives steady growth. Germany leads in industrial applications, while the UK shows strong adoption in retail logistics. Strict GDPR compliance requirements necessitate sophisticated data encryption in RFID solutions, creating opportunities for premium-priced secure tags. The region is witnessing increased mergers between RFID providers and IoT platform developers to create end-to-end tracking solutions.

Asia-Pacific Asia-Pacific is projected to be the fastest-growing UHF RFID market, expanding at a CAGR exceeding 18% through 2028. China’s domestic manufacturing capabilities and government smart city initiatives account for nearly 45% of regional demand. India shows explosive growth potential with its increased focus on digital inventory management and GST compliance tracking. Japan maintains leadership in high-memory industrial tags, while Southeast Asian nations adopt RFID for export logistics. The region faces challenges with price sensitivity and counterfeit tag proliferation, though quality standards are improving with investments from multinational RFID vendors.

South America The South American UHF RFID market remains in growth phase, concentrated in Brazil’s retail and agribusiness sectors. Pilot projects in livestock tracking and pharmaceutical authentication show promise, though economic instability delays large-scale rollouts. Infrastructure limitations in rural areas restrict read ranges, requiring customized antenna solutions. The region benefits from increasing Chinese RFID imports, though local production capabilities remain limited. Recent trade agreements are expected to boost RFID adoption in cross-border logistics, particularly for perishable goods exporters seeking enhanced traceability.

Middle East & Africa This emerging market shows uneven adoption, with Gulf nations leading in RFID implementations for smart city projects and oil/gas asset tracking. The UAE’s logistics hubs demonstrate particularly strong growth, with Dubai integrating RFID across ports and free zones. Africa presents long-term potential through retail modernization and mining sector applications, though limited IT infrastructure and power reliability issues persist. The region shows increasing preference for ruggedized tags suitable for harsh environments, with temperature-resistant variants gaining traction in pharmaceutical cold chain applications.

MARKET DYNAMICS

The global retail sector is undergoing rapid digital transformation, with retailers increasingly adopting UHF RFID tags to enhance inventory visibility and reduce operational costs. This technology enables real-time tracking of merchandise across supply chains with up to 99% inventory accuracy. Major apparel brands and department stores have reported 20-30% reductions in out-of-stock situations after implementing RFID systems, directly translating to revenue uplifts. The growing pressure to improve supply chain resilience post-pandemic is further accelerating adoption, with retail accounting for over 40% of UHF RFID tag consumption.

The logistics sector is witnessing unprecedented growth in UHF RFID deployments to address complex tracking requirements in warehousing and transportation. With global e-commerce sales projected to exceed $6 trillion annually, logistics providers are implementing RFID solutions to achieve item-level visibility from warehouse to last-mile delivery. The technology reduces manual scanning requirements by 75% while improving shipment accuracy to near-perfect levels. This operational efficiency is critical as shippers face margin pressures from rising fuel costs and labor shortages.

Regulatory compliance is emerging as another key driver, particularly in pharmaceutical logistics where governments are mandating serialization to combat counterfeiting. The healthcare logistics segment is expected to adopt UHF RFID tags at a compound annual growth rate exceeding 25% through 2028.

The market is highly fragmented, with a mix of global and regional players competing for market share. To Learn More About the Global Trends Impacting the Future of Top 10 Companies https://semiconductorinsight.com/download-sample-report/?product_id=95767

FREQUENTLY ASKED QUESTIONS:

What is the current market size of Global UHF RFID Tags Market?

Which key companies operate in Global UHF RFID Tags Market?

What are the key growth drivers?

Which region dominates the market?

What are the emerging trends?

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CONTACT US: City vista, 203A, Fountain Road, Ashoka Nagar, Kharadi, Pune, Maharashtra 411014 [+91 8087992013] [email protected]

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market-spy · 1 year ago

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The Seafood Symphony: A Light-hearted Dive into the Global Shrimp Market

Welcome, seafood enthusiasts and curious minds, to the flavorful world of the global shrimp market! Today, we embark on a journey through the depths of the ocean, where the shrimp market swims with the tides of consumer preferences, health-conscious choices, and sustainability initiatives.

Diving into the Data:

So, what’s the scoop from the underwater realm of shrimp? According to the latest findings from our seafood-savvy researchers, the global shrimp market is making waves, valued at a cool USD 64.83 billion in 2021 and projected to grow into a colossal USD 104.97 billion by 2030. That’s a growth rate of 5.5%, making even the most ambitious shrimp sprinters a little jealous.

Species Showdown:

In the shrimp world, it’s not just about who’s the fastest swimmer. We’ve got the Whiteleg Shrimp taking the lead in the largest segment, with Tilapia doing a quick hustle for the title of the fastest-growing. Move over, Black Tiger Shrimp, the competition is getting fierce!

Regional Rendezvous:

Hold your shrimp cocktails tight as we sail through the regional seas. The Asia-Pacific region is stealing the show, with countries like China, India, Vietnam, Indonesia, and Thailand flexing their shrimp muscles. Latin America, with Ecuador in the spotlight, is also making a splash in the global market. Sorry, North America, no shrimp crowns for you this time.

Market Dynamics: A Rollercoaster of Flavors and Challenges

Drivers:

First on the menu of market dynamics — the consumers! As more folks lean towards healthier eating, shrimp is becoming the superhero of low-calorie, high-protein seafood. International trade is the secret sauce, with major players like India, China, and Vietnam serving up shrimp delights to the United States, European Union, and Japan.

Restraints:

But, every seafood feast has its challenges. Shrimp farming, despite its glamour, is a bit of a drama queen when it comes to disease outbreaks. It’s like the Aquaman of the industry — powerful, but a bit susceptible. Plus, there’s the whole environmental drama of habitat degradation and water pollution, reminding us that even seafood has its eco-footprint.

Competitive Landscape: Shrimp Wars and Seafood Royalty

The shrimp market is a bustling underwater city, teeming with players from producers to processors, all fighting for their slice of the shrimp pie. Certifications like the Aquaculture Stewardship Council (ASC) and Best Aquaculture Practices (BAP) are the shiny tridents of the industry, marking the path of sustainability.

For More information: https://www.skyquestt.com/report/shrimp-market

Top Players — The Seafood Aristocracy:

Charoen Pokphand Foods PCL from Thailand, Thai Union Group PCL doing the shrimp tango, and Grupo Ibérica Congelados S.A. from Spain — these are the seafood royals making waves in the shrimp kingdom. And let’s not forget the unsung heroes like Pacific Seafood, Trident Seafoods Corp., and the bold Avanti Feeds Ltd. from India.

Market Trends: From Shrimp Swag to Sustainable Seas

Rising Consumer Awareness:

It’s not just about stuffing our faces with shrimp; it’s about doing it responsibly. Consumers are turning into eco-warriors, demanding responsibly sourced and certified shrimp. The Aquaculture Stewardship Council (ASC) and Best Aquaculture Practices (BAP) are like the Michelin stars of the seafood world.

Global Shrimp Market SkyQuest Analysis:

In the grand finale, our SkyQuest’s ABIRAW team brings you a snapshot of the dynamic marketplace. The shrimp market is growing, propelled by the hunger for protein-rich seafood. Whiteleg shrimp is leading the pack, but disease outbreaks and environmental concerns are the party poopers. Frozen shrimp is the rockstar of the market, and Asia-Pacific is the reigning champion, led by seafood powerhouses like India and China.

Conclusion:

As we bid adieu to the underwater expedition through the global shrimp market, remember — shrimp aren’t just tasty bites; they’re the stars of a complex oceanic ballet. So, whether you’re a shrimp connoisseur or a casual seafood explorer, the global shrimp market is a sea of opportunities, challenges, and flavors waiting to be explored. Dive in, shrimp lovers!

About Us-

SkyQuest Technology Group is a Global Market Intelligence, Innovation Management & Commercialization organization that connects innovation to new markets, networks & collaborators for achieving Sustainable Development Goals.

SkyQuest Technology Consulting Pvt. Ltd.

1 Apache Way,

Westford,

Massachusetts 01886

USA (+1) 617–230–0741

Email- [email protected]

Website: https://www.skyquestt.com

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whitewingsgroupindia · 2 years ago

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rhsofttech2023 · 2 years ago

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bygarchive · 7 years ago

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#b.a.p #bap trending project #bap babyz #supportbap

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dustedandsocial · 3 years ago

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Dustedandsocial Bestof 2022 part2 (rap 1)

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Dustedandsocial Bestof 2022 part3 (rap 2)

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Dustedandsocial Bestof 2022 part6 (rap 5)

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Dustedandsocial Bestof 2022 part7 (rap 6)

Pictured: Lo.Ceasar (YL & Starker)

01. Lukah, Jason Da Hater, Cities Aviv, Dame Mufasa, Suni Katz, Deener, The Derelick, J Royal & Yasin Allah - RARE FORMULAZ 02. Mach-Hommy, JuJu Gotti & Nicholas Craven - Sans Maquillage 03. Blass 89 & DøøF - Bad Day 04. Veteran! - TroubleWithTheMob 05. kemp dupri & achille - negro marx 06. amani & robalu - gunsmoke 07. Psyche Nah - BROKEN RECORD 08. Hakim - Chef's Kiss 09. Koncept Jack$on - 7 Cups of Blood 10. Rich Jones & Iceberg Theory - Have You Tried Turning It Off & Back On Again 11. Aj Suede - Monochrome 12. Ox Omni & Emilio Craig - ROTTEN APPLES 13. Defcee, Boathouse, Meyhem Lauren & Metasota - Dunk Contest [Remix] 14. Kipp Stone & Nuke Franklin - 1833 15. Camden Malik & DVNTBEATS - Direct 16. QThree - Big Dipper 17. Chris Crack - Jordan Never Did That Move 18. Argov, YL & Starker - Old School 19. Cise Greeny - ”ONWARDS” 20. Cousin Feo - Louie XVI 21. CLBRKS, Sleazy F Baby & Soweto Kinch - Tell Em! 22. Lo.Ceasar - VINTRILOQUIST 23. Medhane & JUNIE. - BET! 24. Lord Jah-Monte Ogbon, Sadhugold & Kaos the Baker - Tour Is Over 25. Sha Hef, Tony Seltzer & ABG Neal - Outside & Aktive 26. HooksArthur, Smokeintheye & Cise Greeny - Articulated Visions 27. Starker - Gangrel 28. Emilio Craig - EDDIE ROW 29. ZekeUltra - CAPTAIN HOOK 30. Pink Siifu, Real Bad Man, Peso Gordon & Chuck Strangers - Pour The Wine

Mega: https://mega.nz/file/6V90BbCJ#5hXmSN2haXakxG0UBSEPtA68E1-SkHdw3V4CQ4IUTdQ Zippyshare: https://www73.zippyshare.com/v/N66mkY8a/file.html

Dustedandsocial Bestof 2022 part8 (rap 7)

Pictured: Moor Mother

01. Obiekwe Agbu - ready to stay 02. LustSickPuppy - EGO BRUISER 03. GAWD - JOHN WALL 04. Sir EU - STAND NAME NationWidu (全国) 05. ELDER RA & Rahiem Supreme - Unorthodox Exquisiteness Taste 06. Lxdxp - The Dead 07. Akai Solo - Sun 2 Moon 08. Fil Jackson & Lord Jah-Monte Ogbon - Sunday Church For The Kids 09. proxy.exe - BREAK U OFF 10. Semiratruth, JWords, maassai & diani - ahead 11. Obijuan, YUNGMORPHEUS & Bisk - LIMBO 12. Kofi - treesap 13. DøøF - WeInHell 14. DrxQuinnx - Romper Room 14. mary sue & Tony Bontana - Moving On! 15. Jadasea - face of it 17. THE BLACKHEARTS - MONEY TALKS 18. Nappy Nina, Mavi & dane.zone - Tucked In 19. JUNIE. & AMIR BILAL - BEATRICE&RIO 20. Dylan Gray & 99PIRATE - Beetlejuice 21. yungmorpheus & THERAVADA - Vanishing Point 22. Elijah Bank$y - SMALL TALK 23. Blackchai - Chamber 24. Judah - Piece 25. SOUDIERE & WIFIGAWD - SIRIUS BLACK 26. Gam & Fatboi Sharif - Dusted Pushups 27. Moor Mother, Akai Solo & justmadnice - RAP JASM 28. NAPPYNAPPA - Source 29. Tony Bontana - Slide 30. Jaydonclover & ZekeUltra - browneyes

Mega: https://mega.nz/file/uRli3KAI#sEMmUvgCtwDBoAoaEpNVoDNVZ8arr3h7oKNv4qDuJqo Zippyshare: https://www51.zippyshare.com/v/AQzTb0Af/file.html

part1 (bestof Certified Trapper): HERE

#Best of 2022 #Mixes

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bitcoin-atm-pros · 4 years ago

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A cryptocurrency revolution is quietly taking place and most people are unaware of its future significance

An article by Peter Hengst

07/01/2021

The majority of people have heard the term Bitcoin at least one time in their life. Surprisingly, this is typically the extent in which the average individual’s knowledge of the cryptocurrency space is. The world of digital assets and blockchain technology is still in its infancy and has yet to even begin the ascent to its eventual reign. What Satoshi Nakamoto started with creating Bitcoin in 2010, has now produced a boom of alt coins that are being produced every day. To even begin to comprehend the level of growth in this industry we must take a look at the current number of alt coins available today. There are over 10,000 cryptocurrencies other than Bitcoin. Many have their obvious reasons for existing: they provide open application blockchain availability like Ethereum, they connect smart contracts with external data sources like Chainlink, or they may even just be a payment network that is processed slightly faster than Bitcoin is like Litecoin. However, many of the alt coins available on the market today are utterly useless and are referred to as “meme coins.” These include Dogecoin, Shiba Inu, and Safemoon to name a few.

What constitutes a “meme coin?” Well for starters, meme coins have absolutely no utility behind the investment. This means that the company or project behind these meme coins have no reason to exist other than to gain popularity through social media sites and therefore gain money through purchasers of their cryptocurrencies. This can make it quite difficult for someone who is not educated in the digital asset community to make the right decision when buying their first coins. An average person will see what is trending online and assume that whatever they read on Elon Musk’s twitter page will someday help them become rich like him. I assure you that this is not the way to seek out the next best cryptocurrency for your investment.

A utility backed digital asset is of the upmost importance when considering which to invest in. Would you buy Amazon or Tesla stock if they actually had no real companies to make the price grow? If Amazon wasn’t even a website to purchase things, but instead was just a few people trying to get your money by posting memes then I am positive that their stock price would not be so high. This is all leading up to the introduction of the world’s most meaningfully backed utility cryptocurrency token to ever be created: the BAP Token. The BAP token at www.baptoken.com is a way to invest directly in an already successful and established corporation Bitcoin ATM Pros. This company places digital asset automated teller service machines in locations that are underserved in this category. Communities who have a need for accessible money transmission with currencies that are accepted worldwide. Bitcoin, Bitcoin Cash, Litecoin, and Ethereum are all sold and purchased on their ATMs. Individuals that receive any of these cryptocurrencies to their digital wallets can instantly pull out these funds in the form of fiat currency with a BAP ATM. If someone in Thailand sends $100 worth of BTC to their child going to college in California and they need to convert this to cash, then they can simply find a BAP ATM near them on coinatmradar.com and use it for this process. Or if an individual with cash wants to send their money to a relative almost instantly, they can buy BTC from a BAP ATM and then use their new BTC wallet to send that same Bitcoin to whomever needs the funds. These conveniences are not as widespread yet as they certainly will be within the coming years. This puts Bitcoin ATM Pros and their plan to rapidly expand, lightyears ahead of the game.

With the idea to have up to 600 crypto ATMs placed within a year of their token launch, Bitcoin ATM Pros is leading the way in a currency revolution. The BAP token, which is currently in a pre-sale state and listed at only $0.05, has the potential to be more than 100X the current price as early as 1 year from now. The way this token is set up will perpetuate the growth of Bitcoin ATM Pros and in turn the price of the token. Every single BAP token that is purchased will impact the expansion of additional ATMs in to areas that desperately need it. Additionally, each and every BAP token holder will be rewarded quarterly with a dividend payout that comes from the fees generated by the ATMs. 10% of all profits made by BAP through their ATMs goes right back into the pockets of their investors. This is an unheard-of level of generosity and promise. Never before has there been anything even close to this type of arrangement in the cryptocurrency space. Given the nature of the BAP token, analysts believe that they have finally found a new token with the growth potential of Bitcoin itself. The next level of cryptocurrency revolution is currently taking place. Will you be on this train or watch is zoom past you as you are left at the station? BAP TOKEN www.baptoken.com

Core Team of Bitcoin ATM Pros and the BAP token-

Michael Cuillard- CEO and Owner

Peter Hengst- Executive Director of Marketing

Thomas Gray- Web Developer and Graphic Design

Links- www.baptoken.com

www.bitcoinatmpros.com

www.baptokenpresales.com

#bap bitcoin cryptocurrency digitalassests bitcoinatmpros baptoken crypto cryptoatm cryptoarticle cryptoblog

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ill-advisedrecords · 4 years ago

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Hey guys, Chris here again! Sorry it’s been so long since the last post!

one of the reasons it has been so long is because we’ve been hard at work here putting out a ton of new releases. This marks a pretty big shift in focus for the label, and I wanted to take a bit of time to go into detail about the overall “sound” of the label and what our goals are - and really always have been.

I’m sure that most of you reading this probably found this label sometime around Halloween, and it was probably either through one of our annual Halloween mixes, or the Dark Lofi Hip Hop mix, both of which feature beats by Dated (me). Those mixes blowing up the way they did was a crazy surprise that I could never have anticipated, and it really was the spark that turned this label from a quiet place to post my own beats into the beginnings of the real label that I wanted it to someday become.

The dark lofi is near and dear to me, and will always form the core of what this label does. We aren’t, however, a dark lofi hip hop label, and never really were. I myself didn’t start out by making these dark beats, and it took years of experimentation before I even thought to attempt that sort of sound. Before that, I was just making chill/oldschool boom bap type beats, and just having fun playing with dusty old samples. I was sitting at a bus depot waiting for my ride home from work one day while I jotted ideas for a new tape down in a notepad when I came up with the idea for The Weather Channel, and all the dark lofi hip hop that I’ve become known for since then has all stemmed from that moment.

Around that time however, we were still putting out other regular lofi beats, both in my own random side-beats, as well as the beats of Wayvee Tapes, who collaborated with me on the Half-Baked Beats tape. The dark lofi was one new direction of what I hoped would eventually become a wide-spanning range of different sounds as we found more talent for the label.

Fast forward to now, and you’ll find lofi hip hop, dark lofi hip hop, synthwave, experimental/industrial, darkjazz, trip hop, plunderphonics, and we have plans to branch out still to lofi house, synth house, and plenty more. With all of these different genres being released, what they have in common that makes them relevant to this label might not be immediately apparent.

If I had to describe our music on a really short tagline, I would probably just describe it as lofi and retro music. That pretty much covers all the hip hop and retrowave stuff, but it doesn’t really describe the core “essence” of what makes a release fit in here. our tagline often throws around the term “internet music” in a sort of tongue-in-cheek way, but it is probably one of the more accurate descriptors. What genres like lofi, retro, experimental, trip hop, dark jazz, all sorts of electro, etc. have in common is that there are a lot of bedroom producers out there who are experimenting with the their genre, and who are more focused on doing something creative and honest than making the cleanest, over-produced radio music. What we primarily want to release is music by underground artists who love what they do, and who either bring something totally new to the label or compliment our established sounds well.

If you’re out there thinking “man, I have some cool music, but I don’t know if I should submit it”. the short answer is: yeah, submit it! The longer answer though, is does the music fit into a trend that is already proving popular on the label? If it does, we will almost certainly want you on board if the music is solid enough. For example, the dark lofi is easily our most popular genre on the label. I can almost guarantee that anyone who submits a really strong sounding dark-lofi project (not even hip hop, necessarily) is probably going to get signed, because the appetite for it is the largest. Fitting in isn’t the only way to get signed, however, as we also don’t want to paint ourselves into a corner. Our recent release by BROOK is super far outside of our most popular dark, brooding material, and that was one of the reasons it was appealing to me. it represented a range of emotions that have a place on this label, that work with the other material to provide something for everyone to listen to, no matter their mood. First and foremost however, that project just had a real soul to it, and some incredibly catchy tunes, which made it stand out immediately.

Going forward, we’re doubling-down on this mentality. You’ll see a lot more dark lofi material, but also a lot more music that spans other genres and moods. We’re also looking for ways to make this label more of a home for our artists than just a faceless Youtube page that spam-posts songs and tapes. as you may have noticed, we’ve just put out our first LOFI LIVE set, which will be the first of many. The plan is to put out sets by as many artists on the label as possible, complete with collabs and crossovers. We’ll also be looking into putting out more collabs between artists on the label. The eventual plan is to also start putting out more production-focused videos, either process vids or vlogs, or even tutorials on specific production techniques. The plan is to make this less of a song machine, and more of a bunch of cool folks that you want to keep up with and chill with while we share our art with this awesome community.

There are a ton of new things coming, so I hope you are already to come on this ride with us!

Have a question? Is there something you’d like to see us do? Drop a comment below! You can check out our first LOFI LIVE here: https://youtu.be/hN5EzrsI5Vg

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hiphoptilinfin · 5 years ago

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UNDERGROUND HIP HOP PRODUCERS NOD FAKTOR DROP 25TH ANNIVERSARY REMIX TO GRAND PUBA 2000 ALBUM

Las Vegas, Nevada - (June 20, 2020) Nod Faktor is proud to announce the next installment of the Nod Faktor Classic Hip Hop Remix Series. Today we release a remix to celebrate the 25th anniversary of Grand Puba's song I Like It from his classic album 2000 which dropped on June 20, 1995

Grand Puba is one of the hip hop emcees that changed the hip hop game in the 1990's. Grand Puba's accomplishments with hip hop group Brand Nubian, fashion industry trends & his lyrical wordplay made him one of the dopest emcees in the hip hop game. "said Mack Life, Hip Hop Producer, Nod Faktor.“

Listen to more remixes from the Nod Faktor’s classic hip hop remix series on the digital platforms below: https://bit.ly/NodFaktorRemixSeries https://audiomack.com/nodfaktor

About Nod Faktor

Nod Faktor are underground hip hop producers Bogawd & Mack Life. They are longtime hip hop heads who love the 1990’s golden era boom bap hip hop sound. Hip Hop over the years has undergone many changes musically but Bogawd & Mack Life’s mission is to bang out beats that golden era hip hop fans love worldwide.

Follow Nod Faktor On Social Media Platforms

https://www.facebook.com/nodfaktor

https://twitter.com/nodfaktorbeats

https://www.instagram.com/nodfaktor

https://audiomack.com/nodfaktor

https://www.youtube.com/channel/UCFhcIhflUkYC6ie13IA8V5w

To work with Nod Faktor on hip hop remixes & hip hop production projects send email to [email protected]

#grandpuba #nodfaktor #hiphop #hiphoptilinfinity #boombap #goldenera #fortheculture #bufffalonystateofmind #keepgrindin #keepshinin

#grandpuba #nodfaktor #hiphop #hiphoptilinfinity #boombap #goldenera #fortheculture #buffalonystateofmind #keepgrindin #keepshinin

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aintshitbiz · 2 years ago

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Spotlight on Sleepy Loco as he releases "In Mook We Trust"

Memphis, the home of the blues has definitely contributed to the sound of the rap scene since the 90s. Most people would agree that the home of Elvis has provided a trendsetting culture that continues to have a global impact through dark melodies and jookin’. As labels continue to sign talent from one of the hottest markets, Sleepy Loco has been establishing himself as one of the city's upcoming artists from the Bluff.

In 2022, the Memphis rapper followed up his fifthteen city “No Deal” promotional tour, by dropping Blu Language 2:Out The Blue. This project garnered over a million streams along with over 500,000 listeners just on his Spotify alone. The Lifted Life Ent spokesman expanded his fan base that populated after going bar for bar with featured artists such as Premo Rice “Popcorn Playa”, Starlito “Not Like Mine”, Eddie Valero “Monopoly”, TripStar “Free The Real” along with platinum producers such as Hitkidd and Blame Swagg.

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Fast forward to 2023, Loco’s latest release is a EP titled “In Mook We Trust” dedicated to his uncle who inspired him to rap. On this project, unlike the trending music coming out the 901, this project contains the boom bap laced with soulful symphonies and samples. As Loco takes you on a deep journey capturing his thoughts revealing the pain he’s felt over the years. Check out ”Heaviest of Hearts”as he polishes this track over a jazzy feel with his mellow yet thoughtful approach, opening up about fighting depression to losing his uncle Mook early and grandmother to cancer. Although he provides us with pain symphonies, he pushes p on “Spaceships from Memphis” as he exemplifies a better version of himself expressing himself on lines like “I’m me 2.0, new and improved” followed with audio from a scene on The Mack. This is the first song released off this project as fans enjoyed his performance live, as he graced the stage prior to Premo Rice headlining the show. This song also has gained over 2 million views on Facebook alone. The Lifted Life CEO opens up more with lines such as “I can’t feel sh*t I need more affection, mama pray to God I get a spiritual connection” on the track titled “I Cant Feel”. By contrast, the East Memphian is more focused on staying real with himself and less concerned with the wave as he lyrically paints a canvas on tracks such as “Be Myself” and “Always Working”. In addition to the EP, he links with fellow Memphian, Don Trip on “100 Million Dollar Dreams” revealing his loyalty for his brothers and continuing to keep his brother Choppa G name alive, who died tragically in 2022. This project sonically has a different feel from the BLU Language series but gives you a more in depth formal invitation into Sleepy’s world as he transparently taps into another dimension. The year is looking bright for him as he pushes his pen proving he’s one of the best emcees rising out of one of rap music's hottest markets in the world.

Click Here to Stream via All Digital Outlets

Connect w/ Sleepy Loco: Twitter: https://twitter.com/ogsleepyloco Instagram: https://instagram.com/ogsleepyloco Facebook: https://www.facebook.com/OGSleepyLoco/

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polarsnet · 3 years ago

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Wiz khalifa promises sample

Two of the best exponents of boom bap show that they can do far more than dusty beats and tracks “for the heads”. But hip-hop is the thread that runs through it, with Earl Sweatshirt, Ab-Soul, Action Bronson and Danny Brown all featuring. Dancehall stars such as Vybz Kartel and Popcaan feature, as do punk rockers Wavves and TV on the Radio frontman turned actor Tunde Adebimpe. The mini-documentary about the making of the album is inadvertently hilarious – for anyone who has seen the “making of Cleaver” extra on Sopranos DVDs, it’s in that ballpark – and also reveals the bigger scale of the project. The link between the two has been well noted and already produced original tracks by Hudson Mohawke and Flying Lotus, who’ve contributed to soundtracks, but now the Alchemist and Oh No have created a whole original album for the PC release of GTA 5. Grand Theft Auto and rap go together like teenagers and ridiculously violent video games. The Alchemist and Oh No – Welcome to Los Santos Any questions on using these files contact the user who uploaded them. Read the loops section of the help area and our terms and conditions for more information on how you can use the loops. If you use any of these wiz loops please leave your comments. Wiz Khalifa Numbers Mp3 Download Audio Ever Trending Star drops this amazing song titled Wiz Khalifa - Numbers Mp3, its available for your listening pleasure and freeload to your mobile devices or computer. Arguably, he’s upstaged by Flair, who is sampled throughout and mouths off about other wrestlers not liking the fact he wears custom-made boots and how he singlehandedly helped spread the gospel of wrestling. The free wiz loops, samples and sounds listed here have been kindly uploaded by other users. It works, too, giving him room to show that he can do chill as well as hectic. Out goes the cacophonous din of RTJ’s production, and in comes the more laidback sample-driven backing. Starting with some vintage WWF promo footage from the nature boy himself, Ric Flair, it’s odd to hear Killer Mike on a more straightforward hip-hop track.

Killer Mike will be taking a break from his touring duties with Run the Jewels soon when he follows in the footsteps of Lil B and delivers a lecture at MIT, but he’s dropped a belated video for his 2011 track, Ric Flair. It’s also delivered a huge international hit off the back of a huge international film (more on that in a moment). The last month or so has seen a run of pretty odd and off-kilter releases from some of hip-hop’s most iconoclastic artists.

#Wiz khalifa promises sample

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thenewbrandmarketingreports · 3 years ago

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Biosimilars Market - Forecast(2022 - 2027)

Biosimilars are alternatives to existing biological medicines. Since biological medicines are expensive for certain sections of the population, the biosimilar vertical in the pharmaceuticals industry is gaining popularity. According to the Biosimilars Council, biosimilars are priced 10% to 35% lesser than branded biological medicines, and a sum of $250 billion could be saved through application of biosimilars in the next decade. Biosimilars will increase patient access to important life-saving medication by reducing overall costs in the pharmaceutical industry. The global biosimilars market, which was valued at $5.5 billion in 2018, is estimated to grow at a CAGR of 38.21% during the forecast period of 2019 to 2025.

Europe is currently the most lucrative region for the biosimilars market, and accounted for 74% of the global market share. However, the market is gaining traction in the North American region at a rapid pace. The U.S. Food and Drug Administration (FDA) initiated a Biosimilar Action Plan (BAP) in 2017 to promote and protect public health in all communities. The regulation is breeding a competitive marketplace through more efficient approval of lower-cost generic and biosimilar alternatives.

Biosimilars Market Outlook:

Biosimilar medication can be used for most diseases including chronic disease, cancerous diseases, cardiovascular, and others. However, the oncology disease segment is the key application for the biosimilars market. The oncology disease application in the biosimilars market is growing at a CAGR of 41.58% through the forecast period. Other diseases augmenting the demands in the global biosimilars market are autoimmune diseases such as inflammatory bowel disease, psoriasis, and arthritis. Consecutively, the high expenses to treat such chronological and autoimmune diseases is affecting a portion of population who are not economically stable. Thus, increased distribution and adoption of affordable and effective biosimilar medication is projected to contribute in generating revenues for the biosimilar manufacturing companies thereby supporting the global biosimilars market.

Biosimilars Market Growth Drivers

Growing Application of Biopharmaceuticals: Biopharmaceuticals are any pharmaceutical product extracted or manufactured from biological sources. These products are gaining popularity owing to benefits including higher efficiency and fewer side effects. According to the Pharmaceutical Research and Manufacturers of America (PhRMA), biopharmaceuticals companies based in the U.S. invested $90 billion into R&D in 2016.

Similar to pharmaceutical industry, the related biosimilar markets are also gaining traction due to the increased activities which are promoting the use of alternative medications. In line with the active funding and research into the biopharmaceuticals segment, the adjacent biosimilar market is expected to harness significant profits in the near future. This is considered as a marketing strategy to increase the prevalence of biosimilars instead of conventional biological medicines. With this move, the companies are targeting developing economies that is expected to attract significant customer base.

Growing Prevalence of Geriatrics Population: According to the U.N., there were 962 million people aged over 60 years globally in 2017. The organization projects the number to reach 2.1 billion by 2050. People of this age suffer from geriatric conditions which require regular treatment, diagnosis, and medication, thus making the geriatrics population one of the biggest consumers of pharmaceutical drugs as their requirement for medication is cyclic. Thus, the geriatrics population is potentially the largest consumer base for key players involved in the global biosimilars market.

Biosimilars Market Trend

· It is very common to see multiple key players entering the market with the same drugs at the same time which further increases the competition in the global biosimilars market. The conventional biologic drug manufacturers are looking for alternatives to grab the market. These biologic manufacturers are leveraging upon enhanced medical devices and advanced formulations to compete with the biosimilar companies. This ongoing competition among the key players to establish an economical and efficient biosimilar is leading the companies to invest in their research and development and come up with extra-ordinary and affordable drug.

· The approvals for biosimilars are considered as a trend in the market. Government bodies such as the Food and Drug Administration (FDA) is continuously issuing related mandates and protocols to increase the prevalence, approval, and acceptance of biosimilars in the market. The acceptance of such laws are increasing the demands in the biosimilars market. With this product the companies are majorly targeting the economically weak audience as biosimilars are affordable chemical compounds that can be used as an alternative for expensive biological medications. Following the FDA, global bodies that handles the regulations in the medication and the pharmaceutical sector in respective countries are gradually implementing laws in the favor of biosimilars which is abundantly supporting the global biosimilars market.

Biosimilars Market: Key Players

A strong supply chain is imperative for success in this market and therefore, companies are focusing on collaborating with local players to capitalize on their ground presence. Some of the major players in the biosimilars market are Stada Arzneimittel AG, C.H. Boehringer Ingelheim AG & Ko., Amgen Inc, Merck & Co. Inc., Allergan Plc., Eli Lilly and Company, Dr. Reddy's Laboratories, Pfizer Inc., Samsung Bioepis Co., Ltd., Celltrion Healthcare Co. Ltd., Novartis International AG, and Biogen Inc.

Biosimilars Market Research Scope:

The base year of the study is 2018, with forecast done up to 2025. The study presents a thorough analysis of the competitive landscape, taking into account the market shares of the leading companies. It also provides information on unit shipments. These provide the key market participants with the necessary business intelligence and help them understand the future of the biosimilars market. The assessment includes the forecast, an overview of the competitive structure, the market shares of the competitors, as well as the market trends, market demands, market drivers, market challenges, and product analysis. The market drivers and restraints have been assessed to fathom their impact over the forecast period. This report further identifies the key opportunities for growth while also detailing the key challenges and possible threats. The biosimilars market research report also analyses the application of biosimilars in various sectors such as real estate, small and medium-sized business, and others.

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shree-balaji-group · 3 years ago

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#Shreebalajigroup #Shreebalajiskyrise #Property #realestatedeveloper #realestateinvestors #realestategoals #entrepreneurlifestyle #residentialproperty #property #investment #propertyinvestment #vadodara #retail #returns #high #highreturnoninvestment #retailshop #showrooms

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sinceileftyoublog · 3 years ago

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32 (Technically 36) Albums We Loved That Happened To Come Out in 2022

Cake image courtesy of Oren Ambarchi’s Shebang album art

As more music is being released than ever, it can be hard to pick out trends or even commonalities among our favorites. A post-pandemic world that saw a more full-fledged return to live music and in-person collaboration certainly influenced the records released last year, but from our eyes and ears, it was the artists that ignored physical boundaries, not taking for granted their ability to create, that put out the albums that moved us most. From “solo” records that were truly synergic to songs that work towards toppling the powers that be, innovative producers to stalwarts of indie rock, here are 32 (technically 36) albums that came out last year that we truly loved.

700 Bliss - Nothing To Declare (Hyperdub) / Moor Mother - Jazz Codes (Anti-)

Prolific poet and musician Camae Ayewa, who records as Moor Mother, released two more albums in 2022 that explored genres new and old. On Nothing To Declare, the debut LP from 700 Bliss, her project with DJ Haram, the two make a formidable team. Haram combines clattering beats with Moor Mother’s forceful delivery and incomparable flow, as the duo traverse techno, noise, and sound collage worlds. You’ve never heard Moor Mother in front of instrumentals like this, spitting words that are equal parts deftly serious and humorous. She pays tribute to choreographer and anthropologist Katherine Dunham on “Anthology”, declaring that Dunham “danced America on stage” over DJ Haram’s hard techno beat, a melding of tenets of Black music. On “Candace Parker”, which features breakbeats from Palestinian producer Muqata’a, Moor Mother laments, “They rape our mothers while y’all just record.” There’s an urgency to Nothing to Declare, manifested in Special Interest’s Alli Logout screaming, “I’m a motherfucking agitator!” on “Capitol” and Moor Mother’s cinematic lines about guerilla warfare against billionaires and imperialist overloads on the trap-inflected “Discipline”. Yet, even 700 Bliss know that they can be tongue-in-cheek, hilariously on interlude “Easyjet”, a facetious conversation featuring two people making fun of Moor Mother’s vocal tendencies and DJ Haram’s penchant for percussive chaos. It’s a welcome break on an album whose main question appears in the final track: “How much more can we take?”

Jazz Codes is Moor Mother’s second solo album for Anti-, a companion piece to last year’s great Black Encyclopedia of the Air. Like Nothing to Declare, it’s chock full of collaborators, but this time, Moor Mother plays the role of ethnomusicologist, juxtaposing rap, singing, and scholarly spoken word interludes to explore the history of jazz and its descendants. “Dance through the trials of my father,” Moor Mother raps on opener “UMZANSI”, where Mary Lattimore’s harp trickles below horns and footwork-esque drums. Interpolating free jazz and quiet storm R&B and referencing boom bap and juke, Jazz Codes, like the genre it’s named after, reveals new truths after every listen. Moor Mother’s “MEDITATION RAG” is somewhat of a mission statement, her wish to embed herself in “Sun Ra halo, CHAI Congo, Mississippi to East Texas,” in efforts to reclaim the Black music referenced on both this album and Nothing to Declare. Fatboi Sharif groans, “You took the blues away from me” on “BLUES AWAY”; the album’s thematic climax, “THOMAS STANLEY JAZZCODES OUTRO”, places the academic Stanley over an instrumental from Irreversible Entanglements. Jazz should become code for sex again, he posits, rendering something that was once abstract to be again physical and tangible. - Jordan Mainzer

Bartees Strange - Farm to Table (4AD)

Bartees Strange has had an exciting few years, and Farm to Table, the follow up to his excellent debut, only adds to the thrill of his ascent. Strange bends indie rock to fit the album’s vision, from the bright horns on “Heavy Heart” to the electronic flourishes of “Cosigns” and “Wretched” and even the mingling of home audio clips and the gentle fingerpicked guitar of “Black Gold”. Lyrically, the album wrestles with duality: of celebration and grief, home and touring, the comfort of family and the unknown of charting your own path. Strange takes what worked so well on Live Forever and digs deeper, continuing to show off his ability to world-build, which really is all you could want from an innovative artist. - Lauren Lederman

Beyoncé - Renaissance (Parkwood Entertainment/Columbia)

“Renaissance, purportedly the first installment of a trilogy of albums, celebrates Black and LGBTQ+ music and the judgement-free zones they honor. Representative of Beyoncé’s state of mind during the pandemic, it exemplifies her self-love and desire to break free in a time of isolation. And of course, it’s full of braggadocio and skill with the research and credentials to back it up.”

Read the rest of our review here.

Binker & Moses - Feeding the Machine (Gearbox)

“For their new album Feeding the Machine, the saxophone and drums duo of Binker Golding and Moses Boyd brought their live partner to the studio to add tape loops and electronics to the ingredient list. The result is a major sonic shift, feeding their improvisations through machines, Luthert’s modular synthesis reordering acoustic tracks and drums in a way that’s so distorted it doesn’t even sound acoustic. From the opening moments of ‘Asynchronous Intervals', though you recognize Golding’s saxophone, echoing loops clue you into the sea change. This is different, and it’s here to stay.”

Read the rest of our review here.

Death Cab For Cutie - Asphalt Meadows (Atlantic)

It’s not that I had given up on Death Cab for Cutie. The stalwart indie rock band has been cranking out albums for years, but what was it about Asphalt Meadows that struck me more than their other recent releases? A five-minute, mostly spoken word track. “Foxglove Through the Clearcut” gives us the contemplative lyrics we come to expect from Benjamin Gibbard but packaged in a way that serves the slowly unfolding story until it reaches its guitar solo crescendo. And I realize that this is the element that’s drawn me back fully into Death Cab’s orbit. The album feels a little rougher around the edges, the guitar fuzzier in moments, not afraid to get a little sharp, which feels apt after the last few years. Asphalt Meadows captures a reflection of our recent post-lockdown history and the urgency of trying to make sense of where we go next. “Now it seems more than ever there’s no hands on lever,” Gibbard sings, a fitting statement on an album that isn’t afraid to dive into the unknown of our current moment. - LL

Florist - Florist (Double Double Whammy)

“The idea of a person who has faced heartbreak or grief retreating to solitude to create art is oft-romanticized, perhaps to a fault. Emily Sprague has certainly created masterful albums by herself, whether the ambient music released under her own name or Emily Alone, a solo album released under the Florist moniker following her mother’s death and a move out west. But in June 2019, Sprague moved back to New York and rented a house in the Hudson Valley with the band’s original lineup: Jonnie Baker, Rick Spataro, and Felix Walworth. They’d spontaneously record their instruments beside their surrounding natural woods during a hot and rainy summer, the first time they’d ever recorded this way, for this long. The result is Florist’s latest self-titled record, a reinvention of sorts, and one that perhaps shows Sprague and the music listening public that great art can come out of reflecting on troubling times with a loving community by your side, too.”

Read the rest of our review here.

Immanuel Wilkins - The 7th Hand (Blue Note)

“Wilkins’ lack of fear in not just challenging the listener but purposefully bypassing their understanding is what makes The 7th Hand a monumental album. His debut Omega was just as socially conscious, a record about the Black experience in America. But The 7th Hand breaks the rules while establishing some of its own. The first track, 'Emanation', ends in the middle of a vamp. Each track from then on out relates to the next by a triple meter, going down and then back up until the free 'Lift'; if, in Biblical terms, 6 represents man and human weakness, 7 represents divine intervention, a concept represented at first by an instrument and later by the freedom of the album’s final track.”

Read the rest of our review here.

Jeremiah Chiu & Marta Sofia Honer - Recordings from the Åland Islands (International Anthem)

“Independent of its context, the album is a pleasure to listen to, one that allows you to create your own associations with the sounds. Warbling synth harmonics, birdsong, and crunchy noises like a train in the rain pervade opener ‘In Åland Air’ (which features processing from Tortoise’s John McEntire). ‘On the Other Sea’ is reminiscent of Boards of Canada’s penchant for finding eerie atonality in otherwise beatific timbres, with its wind chimes, synths, and horns. ‘Rocky Passage’ creaks along, full of noises like hearing a woodpecker on a hike, unable to spot the bird cascading up and down its tree. The synth arpeggios on ‘By Foot By Sea’ sound, of course, like the up-and-down current of waves. But I find the album even more rewarding when you do know the stories behind the songs, the way the instruments try to emulate nature. Honer’s viola leads my favorite, ‘Snåcko’, a track named for the island next to Kumlinge, as keys circle in the background, purportedly inspired by the feeling of your eyes slowly adjusting to multi-colored moss in the forest of the island.”

Read “Press Record”, out interview with Chiu and Honer.

Kevin Morby - This Is A Photograph (Dead Oceans)

“The last few years have given us a sense of perspective, perhaps even urgency when faced with the prospect of our own mortality. Yeah, it happens when you’re surrounded, whether in person or even just on the news, with so much death. For Kevin Morby, the illumination happened before the pandemic. His father collapsed at the dinner table and had to be rushed to the hospital in early 2020. Though his dad ended up okay, that night, in order to distract himself from worrying, he flipped through old family photos. He found a picture of his father, carefree and shirtless, sitting in the front yard. But it wasn’t just a photograph: It was a moment, captured, a document of hopes, moods, dreams, and fears at a point in time. Morby decided to travel to Memphis and chase some more ghosts. What resulted from that decision is This Is a Photograph, his best album yet.”

Read the rest of our review here.

Lucrecia Dalt - ¡Ay! (RVNG Intl.)

Following incredible albums like 2018′s Anticlines and 2020′s No era sólida, Berlin-based experimental musician Lucrecia Dalt released her most thematically ambitious album to date with ¡Ay!, but you wouldn’t even know it. Recalling growing up in Colombia and, generally, the music of the Latin American diaspora, ¡Ay! is also a vague sci-fi story about an alien named Preta visiting Earth and trying to figure out humanity. Cleverly, as much as Dalt sings from Preta’s perspective, she puts us in the shoes of those traversing the unknown, and we spend most of the album simply marveling at the sounds entering our ears. Beautiful and strange, opener “No tiempo” features wind instruments in lockstep with percussion and Dalt’s singing. Lina Allemano’s muted trumpet Mickey Mouses with Edith Steyer’s clarinet on “La desmesura”. “Atemporal” sports warped, circus-like drums and horns. Independent of the album’s aims and context, ¡Ay! is an undoubtedly playful expression of Dalt’s musical language. She whispers, “No obedezco a tu verdad lineal” on “El Galatzó”, winking alongside Isabel Rößler‘s double bass, flute, synthesizers, and wooden stick bongos; “I don’t obey your linear truth,” goes the line in English, like if the aliens from Arrival learned how to play bolero. - JM

Mary Halvorson - Amaryllis / Belladonna (Nonesuch)

In May, jazz composer and guitarist (and MacArthur Grant winner) Mary Halvorson released two albums that couldn’t sound more different, yet have tying threads in personnel and spirit. The first, Amaryllis, is a six-song suite for the largest ensemble for which Halvorson has ever written. Produced by Deerhoof’s John Dieterich, it features Patricia Brennan (vibraphone), Nick Dunston (bass), Tomas Fujiwara (drums), Jacob Garchik (trombone), and Adam O’Farrill (trumpet), as well as The Mivos String Quartet on three of the songs. “Night Shift” is slinky and sneaky, Halvorson’s arpeggiated guitar bubbling beneath a bed of bass, drum, vibes, and horns, Brennan and O’Farrill taking the song out with solos. Her and Dunston’s lines tangle with the horn section on the title track, propelled by Fujiwara’s forward-marching drums and melodies and countermelodies. The Mivos Quartet introduces “Side Effect” with string harmonics, previewing Brennan’s kickstarting vibraphones that send the band into a swaying, funky jam. Equally impressive are the songs that are groove-less and strange either partially or for their entirety, like the woozy “Anesthesia” and the squeaking, atonal “Hoodwink”.

It’s those experimental tunes that mirror Belladonna, five compositions written for Halvorson and the Mivos Quartet, representing another first for Halvorson: her first music written for a string quartet. Her parts improvised, the music is abstract and expansive, filled with contrast. On “Nodding Yellow”, the pulses of Halvorson’s electric guitar represent a stark difference with the lushness and pluckiness of the strings. She creates worlds of sound on “Moonburn” and “Flying Song”, with the expressive, upward bends of her chords. And on the stunning, 10-minute “Haunted Head”, the string parts take their turn one by one, washing over each other with varying degrees of dissonance and fluttering flourishes. A microcosm for both albums, the players are given space to take their own journey, but in tandem. - JM

Matmos - Regards/Ukłony dla Bogusław Schaeffer / The Soft Pink Truth - Is It Going To Get Any Deeper Than This? (Thrill Jockey)

You can always count on Drew Daniel to be adventurous. Making an album constructed from washing machine noises? Check. Asking 99 musicians to contribute to an album with anything they wanted, but it had to be at 99 bmp? You bet. Making dance covers of black metal songs? Absolutely. This year, two albums he released, one with Matmos and one his ever-burgeoning solo project The Soft Pink Truth, were again based on very specific concepts, toeing the line between asking abstract, academic questions and answering them with twisted good times. For Regards/Ukłony dla Bogusław Schaeffer, Matmos were given access to the entire catalog of the Polish electronic artist after whom the album was named, encouraged to do whatever they wanted with it. With some trusted collaborators in hand, they bent the existing material into something entirely new, anti-ASMR anthems for the avant garde. Rubbery vocals, drippy synths, honking horns, and mousy strings allude to the work Schaeffer did for orchestras as much as his own strange worlds. Yet, Matmos don’t want us to listen for clues. “If All Things Were Turned to Smoke / Gdyby wszystko stało się dymem” takes harp and musique concrète from Schaeffer’s 1970 composition “Heraklitiana”. As electronics from Horse Lords’ Max Eilbacher and harp from Úna Monaghan layer on top of the source material, our desire to pick apart where the text ends and the composition begins leaps out the window.

The Soft Pink Truth’s Is It Going To Get Any Deeper Than This? attempts to answer a much more obtuse question that was once posed by a woman at a club to one of Daniel’s DJ friends, and does so through the peaks and valleys of compositions and musical expressions of queer sexuality. The poolside funk of “Deeper” leads into the chirpy goth club music of “La Joie Devant La Mort”, Xiu Xiu’s Jamie Stewart building off of a sentence in French by philosopher and erotica author Georges Bataille. The song, and the album in general, is fun because of, not in spite of, how unabashedly dramatic it is. Wye Oak and Flock of Dimes’ Jenn Wasner gets her diva moment on “Wanna Know”, cooing, “I just really wanna know / Is it going to get any deeper than this?” over an earworm house instrumental. Nate Wooley’s muted trumpet buoys “Moodswing”, which opens with a champagne cork pop and later falls into broken glass. It’s a reminder that with every celebration comes the potential for shards, a reminder to live fully in the moment, to go deeper when you can. - JM

MUNA - MUNA (Saddest Factory)

MUNA has always had an uncanny ability to spur deep emotions in the compact form of a pop song, and their self-titled third release only gives them more room to expand their sound. Part of the band’s power comes from their celebration of queer joy and love, to unabashedly be themselves. If it’s heartbreak, they embrace it with a welcoming sincerity. A crush is giddy and unapologetic. “There’s nothing wrong with what I want,” vocalist Katie Gavin asserts. Their broader sound brings the band to new heights. The glitchy vocals of “Runner’s High” make the break-up song feel jagged in the way it feels to be dancing under a strobe light. The country-tinged pop of “Kind of Girl'' adds a soaring optimism to finding yourself. They’re the band that can get Phoebe Bridgers to embrace her pop side on the sparkling, joy-filled ode that’s “Silk Chiffon”. - LL

Nilufer Yanya - PAINLESS (ATO)

“Until you fall, it’s painless,” sings Nilufer Yanya on “shameless”, and it’s a through-line you can find over and over again on PAINLESS. Yanya explores different dimensions of heartbreak on the album, and each song unfolds into its own sonic world. “L/R”’s marching drum beat pairs perfectly with the almost staccato delivery of her lyrics as she rearranges sentence structure, which then evolves into the more intimate lush vocal of “Shameless”. The album is filled with moments like these, and Yanya perfectly constructs an album where each song offers something engaging and unexpected. - LL

Nina Nastasia - Riderless Horse (Temporary Residence)

“Riderless Horse was produced by Nastasia, Steve Albini, and Greg Norman, recorded at a house in upstate New York. By the end, you realize it’s an empowering album for Nastasia; as much as she feels ‘sadness and guilt’ the process of writing and recording an acoustic album that features only her showed her how powerful she could be on her own.”

Read our preview of Nina Nastasia’s opening set for Mogwai at Metro.

NNAMDÏ - Please Have A Seat (Secretly Canadian)

The thrill of a NNAMDÏ album is that you never know what you’re going to get, but you know it’s going to work. A polymath and Chicago music scene hero, NNAMDÏ’s latest album shows an artist who’s consistently upping his game. Constantly surprising, NNAMDÏi’s skill as a musician and lyricist means you know he’ll pull off any left-field flourish: intricate math rock guitar, gentle falsetto, frenetic percussion, and even the untamed instrumentals he explored on his album KRAZY KARL all appear here. Fans know this, and Please Have a Seat is a perfect introduction to any newcomers. Pull up a seat, get to know the album, and you’ll find yourself also asking: What can’t Nnamdi do? - LL

Oren Ambarchi, Johan Berthling, & Andreas Werliin - Ghosted / Oren Ambarchi - Shebang (Drag City)

Prolific guitarist Oren Ambarchi released two records this year, one with bassist Johan Berthling and drummer Andreas Werliin, and a solo record. Ghosted, as we wrote when interviewing the trio earlier this year, is “comprised of four numerically titled tracks that build in different ways. ‘I’ sports a Latin groove, shaky percussion, and spindly bass, Ambarchi’s guitar adopting organ-like tones. ‘II’ is lighter in timbre and more spacious and minimal, its circular rhythms increasing in volume instead of in groove. ‘III’ is the longest track on the album at over 15 minutes, a mélange of sprawling guitar drone textures. And ‘IV’ is a spritely, to-the-point slow-paced jazz tune, with melancholy swirls of guitar and deep bass.”

Shebang, Ambarchi’s solo record, features contributions from Berthling as well as Chris Abrahams, BJ Cole, Sam Dunscombe, Jim O'Rourke, Julia Reidy, and Joe Talia. Like Quixotism and Hubris, it’s a single piece divided into movements, each person recording individually as Ambarchi fit their contributions together like a puzzle, giving each player a time to shine. Though Ambarchi himself introduces the piece with gorgeous, sparkly picking, he eventually gives way to the other constant throughout, Talia’s drumming. Making space for, in order, Dunscombe’s bass clarinet, Cole’s off-kilter pedal steel, Abrahams’ inimitable piano, Berthling’s steady upright bass, Reidy’s ping-ponging 12-string guitar, and O’Rourke’s sharp modular synths, Ambarchi’s always beneath the surface. Whether contrasting Cole’s textures with rubbery synths or Abrahams’ propulsive notes with synaptic blasts, Ambarchi reminds us of the celebratory nature of collaboration, even when you’re not in the same room. - JM

Prince & The Revolution - Prince & The Revolution: Live (Remastered) (Legacy)

“Syracuse, New York, March 30th, 1985. Jim Boeheim would go on to coach many great Syracuse Orange men’s basketball teams in the Carrier Dome, but the best thing to ever appear there was on that night. Mere months after releasing Purple Rain, Prince decided to cut that album’s tour short so he could keep working on material. (If you’ve ever heard Sign O’ the Times, you know it was the right decision, not to mention Around the World in a Day and Parade.) But what a swan song he and The Revolution gave the Purple Rain tour. The remastered version of Prince & The Revolution: Live, released last month, shows the perfected live show of one of the greatest albums of all time.”

Read the rest of our review here.

Quelle Chris - DEATHFAME (Mello Music Group)

On the surface, if albums like Everything’s Fine and Guns put Detroit rapper Quelle Chris on the map, DEATHFAME seems more casually great. That’s because it’s also his most reflective, one that considers his place with in the rap game and the pros and cons of success. Throughout the record, he mourns the music industry’s exploitative tendency to capitalize on rappers’ talents after they’ve passed away. “You can keep your feast and wine / I just want my peace of mind,” he raps on the soulful and slow “Alive Ain’t Always Living”. The atonal production mirrors Chris’ unease and mixed feelings towards a career in rap as he grows older, like the music box creepiness of the title track and the metallic drums and synth loops of “Excuse My Back”. Because Chris’ delivery is laid back and his words verbose, he’s often pigeonholed with conscious rap, something he addresses on highlight “King In Black”: “Listing me next to these Yo Gabba Gabba emcess / And these old stone age-ass ‘yabba-dabba’ emcees.” (Funny enough, with his different vocal inflections, Chris reminds me of the late, great MF Doom multiple times throughout DEATHFAME, an ironic twist considering the album’s main concerns.) Still, from his words of wisdom on “So Tired You Can’t Stop Dreaming” (“If heaven’s got a ghetto, hell’s got a resort”) to his remarkable vocal about-face on depressive piano ballad “How Could You Love Something Like Me?”, Chris proves once again that with his versatility and talent, he very well shouldn’t be taken for granted while he’s still here to bless us with his rhymes. - JM

Rosalia - MOTOMAMI (Columbia)

“‘La ambición, delirio de grandez’ sings Rosalía on a cover of Justo Betancourt’s ‘Delirio de Grandeza”’ from her incredible third album MOTOMAMI. Meaning ‘Ambition, delusions of grandeur”’ in English, the phrase is appropriate for a song on an album full of similarly wild ones. To Rosalía, delusions of grandeur and ambition are one in the same, all part of a constantly transformational aesthetic. The Spanish folkloric singer-songwriter turned pop star, a woman who has been charged with appropriating Romani culture with her remixed flamenco, has actually done her research and then some. On MOTOMAMI, she fully delves into a further cultural melting pot. Jazz rubs elbows with reggaetón. Bachata, propulsive champeta, and dembow songs are triple decker sandwiched between Burial-sampling electronica, piano ballads, and deconstructed club music. When she throws in a sample of ‘Delirious’ by Vistoso Bosses and Soulja Boy at the end of ‘DELIRIO DE GRANDEZA’, you can’t imagine the original tune without it.”

Read the rest of our review here.

Sarathy Korwar - Kalak (The Leaf Label)

London-based drummer, composer, and producer Sarathy Korwar, the mind behind such inspired jazz fusion records like Day To Day and More Arriving, has released his self-described Indo-futurist manifesto, and perhaps his magnum opus. Based on a rhythm and symbol he projected on the walls during recording that was the basis for improvisation, Kalak is a percussive, circular album that puts you in a trance. With often-wordless vocals, rhythmic woodwinds, deep bass drums, and zippy synths, Korwar and his band bridge the gap between Indian classical music and Western dance. “Utopia Is A Colonial Project” is a skittering rave-up. “Back In The Day, Things Were Not Always Simpler” loops vocals from Noni-Mouse with wobbly instrumentals and shruti boxes, like an acid house drum raga. “Remember Begum Rokheya”, dedicated to the Bengali feminist author, sides Magnus Mehta’s hand-claps with saxophone lines and chanted vocals in polyrhythmic harmony, complex in structure but clear in feeling. As Kalak thumps and shuffles along, Korwar’s tablas and drumming in general constantly remind us where the music comes from. - JM

S.G. Goodman - Teeth Marks (Verve Forecast)

S.G. Goodman continues to explore the intersections of love, life, and survival in southern small towns, and does so on Teeth Marks in such vivid detail. The intimacy of her storytelling brings each track into a clear picture, the specificity working in tandem with universal feelings. It surfaces immediately in the title track through the lasting mark of a bite, sweet or sinister. One of my favorite moments of the album is around the midpoint, when the ghostly acapella of “You Were Someone I Loved” rolls seamlessly into the slinky fire of “Work Until I Die”. The latter simmers, providing a beat to groove to while damning the culture of work that only feeds a “company’s holy name”. - LL

Soul Glo - Diaspora Problems (Epitaph)

“The album is chock full of existential weight; as a Black person suffering from sometimes debilitating mental illness, Jordan thinks about death a lot, referencing both state-sanctioned violence and suicidal ideation. The idea that his music might never come out, or come out posthumously in a way that the white hegemonic music industry can profit off of it, is a frighteningly real one. It makes Diaspora Problems a difficult, but ultimately essential and especially urgent listen.”

Read the rest of our review here.

Special Interest - Endure (Rough Trade)

Shedding some of the musical ferocity of their last album, Special Interest’s Endure captures the same energy and push against capitalism and corruption with pop, disco, and house flourishes. Endure’s songs make you want to both strut and smash something, harnessing the power in both actions. Vocalist Alli Logout makes it clear on the stunning “(Herman’s) House”: “No question, the solution / Always the same conclusion / Burn it down to build it again”. - LL

Sudan Archives - Natural Brown Prom Queen (Stones Throw)

“Natural Brown Prom Queen, the incredible second album from R&B singer-songwriter and violinist Sudan Archives, is a remarkably loose affair. Brittney Denise Parks is able to achieve the same level of academic thoughtfulness she did on her stunning debut Athena while expanding her sonic personality and avoiding definition. The songs on Natural Brown Prom Queen are often brief, dense layers of sound and feeling.”

Read the rest of our review of Sudan Archives’ live stream from earlier this year.

SZA - SOS (Top Dawg Entertainment/RCA)

“Sure, there are moments of bleakness on SOS, like on ‘Used’, where SZA shares she’s essentially used to feeling used, the amount of death she’s experienced in her personal life and witnessed along with the world making her numb to exploitation. When she sings, ‘My pussy precedes me,’ on ‘Blind’, it’s a flex, but it’s also delivered with a sigh, as if this is all that there is. But the more she lets her voice soar, the closer she gets to self-acceptance, if not self-actualization. She bends around the skitter of the hi hats and the whirring synths on the subtly thrilling ‘Notice Me’. Her flow is better than it’s ever been on ‘Blind’; the pitch-shifted melisma of the title in the chorus sounds like she’s traversing the page as well as the scales, showing what she can be in one fell swoop. Most impressive is how effortlessly SZA fronts rock instrumentals, whether the pop punk bursts of ‘F2F’ or the ‘Fade Into You’-esque strumming of ‘Nobody Gets Me’.”

Read the rest of our review here.

Tanya Tagaq - Tongues (Six Shooter)

“You can’t have our tongues,” declares Canadian Inuk throat singer Tanya Tagaq on the title track to Tongues, her most fully realized album to date. Produced by Saul Williams and mixed by Gonjasufi, its uncomfortable atonal instrumentals--synth hues, pummeling drums, pulsating bass, unraveling strings--match the ferocity and intensity of Tagaq’s words. The record centers around the legacy of residential schools and the violence of colonialism in the past and the present; in context of Canadian authorities’ repeated discoveries of unmarked graves of Indigenous children at the site of these schools, Tongues is sadly prescient and ever-relevant. When Tagaq sings, “You can’t have our tongues,” she’s talking about bodily autonomy and her desire to reclaim the Inuktitut language for herself and her community. As someone who attended a residential school and was the victim of abuse, Tagaq uses Tongues as both a personal journey, touching on themes of trauma, self-love, and self-forgiveness, and a paean to the strength of the Inuk people. “Eat your morals,” she directs at white vegans who call out Indigenous people for eating meat on “In Me”. On “Colonizer”, her vocal intonations are looped as if they’re all-encompassing; “Oh, you’re guilty,” she sings sweetly, lulling the listener in before making you realize she’s talking about present-day Canadians, too. “Touch my children / And my teeth welcome your windpipe,” she shudders on industrial techno jam “Teeth Agape”, a rebuke of the contemporary day foster care system that’s essentially an extension of residential schools. And the emotional climax of Tongues is also its sweetest song, “Earth Monster”, written for her daughter Naia over 10 years ago but not recorded till now. The song reclaims the idea of monstrosity as both loving tenderly while remaining ready to fight, a concise encapsulation of Tagaq’s essential ethos. - JM

The Wonder Years - The Hum Goes On Forever (Hopeless)

There’s a reason The Wonder Years have endured and built such a devoted audience, and part of that is due to the lyrics of Dan Campbell. The Hum Goes on Forever is what happens when the pop punk genre grows with its band. Tackling new fatherhood and the world shift that is your thirties, Hum provides the familiarity of massive choruses with lyrics that continue to explore the depths of depression, love, and ultimately hope. “I’ve never been so afraid of failing at anything,” Campbell sings on “Wyatt’s Song”, a song for his son. “Well, I’m gonna go, start to dig, plant the seed, keep the birds away / Gonna grow you a place safer than this.” This theme of not just being a first-time parent but of looking towards the light in the dark runs through the entire album. It surfaces again in a lovely parallel on “Laura & the Beehive”, an ode to his grandmother and parental figures everywhere, perfectly capturing an image of unconditional love in only a few minutes. Pop punk can be a tricky genre, but there’s a reason The Wonder Years have continued to succeed. - LL

Tomberlin - i don't know who needs to hear this... (Saddle Creek)

Tomberlin’s latest album encapsulates the sound of change, of new beginnings and the constant questions that come with finding yourself. “I don’t know who needs to hear this,” she sings on the title track, “Sometimes it’s good to sing your feelings.” She displays the joy and hope that comes with self-discovery, and the delicate nature of the album’s sound reflects that. There is both a fragility and power in those moments, a gentleness we should allow ourselves, it seems to say. Tomberlin still beautifully tackles questions of the self, wrestling with relationships and the tenets of religion, but it feels lighter on IDKWNTHT, both in her voice and music. It’s less of a wrestle, perhaps, and more of a gentle contemplation. - LL

Various Artists - Summer of Soul (...Or When The Revolution Could Not Be Televised) [OST] (Legacy)

“If Questlove’s documentary is one of the best and arguably the most important concert film ever made, you could argue that its soundtrack is a worthwhile bonus. But as an accessible introduction to a once forgotten moment in cultural history, its widespread potential is nothing short of powerful, its aura nothing short of awe-inducing.”

Read the rest of our review here.

Wet Leg - Wet Leg (Domino)

“In fact, most of the songs on Wet Leg are more interesting than ‘Chaise Lounge’, as cheeky as it is. ‘Wet Dream’ is an immediate highlight, a tune based on Teasdale’s experiences of her ex texting her post-breakup telling her he was dreaming of her. Call-and-response cheerleader chants and limber, four-on-the-floor drums turn into a hilarious scene poking fun at softbois. ‘You climb onto the bonnet and you’re licking the windscreen / I’ve never seen anything so obscene,’ deadpans Teasdale. Drummer Henry Holmes’ backing vocals effectively make him the male character in this absurd nightmare. ‘Piece Of Shit’ is another aesthetic outlier, relatively speaking, a scraping loud-quiet-loud jam that sees Teasdale gnash her teeth at her ex. ‘You’re like a piece of shit,’ she states, before being unexpectedly literal: ‘You either sink or float.’ And then there’s closer ‘Too Late Now’, which perhaps hints at a new direction for the band, a dream pop beauty with echoing drums and tremolo hazy guitars.”

Read the rest of our review here.

Whatever the Weather - Whatever the Weather (Ghostly International)

With albums like For You And I and Reflection, British producer Loraine James has proven to be one of the most exciting new IDM-adjacent artists of the past few years. In the spring of 2022, just in time with sudden shifts in temperature, James decided to debut her side project Whatever the Weather, emphasizing keyboard improvisation, vocal experimentation, and ambient textures over the club music she had mastered prior. Similar to the fickle nature of weather, the songs on Whatever the Weather--each titled to mirror a different literal temperature--abruptly change moods and approaches while reflecting on divergent influences. A lonely synth line and glacial techno beats comprise “0°C”, while “10°C” juxtaposes cold electric piano, layered on top of itself, with chirpy synths, almost like the sound of birds hatching after a long winter. “6°C” and “30°C” sport James’ clever emo inspiration, the twinkles on the former recalling cascading guitars on an American Football song, her vocals on the latter channeling the breathiness of Deftones’ Chino Moreno. And when the synths on “36°C” become wrapped in an overarching sense of melancholic summertime sadness, you can’t help but look back at the entirety of Whatever the Weather and remember that the outside world, like yourself, is ever-changing. -JM

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