Kim Hyun-Chul - Sunset Into The Neon Lights (Original Soundtrack) - VINYL LP

Stankonia is the fourth studio album by American hip hop duo OutKast, released October 31, 2000 on La Face Records. The group's previous , Aquemini (1998), played a significant role in introducing Southern hip-hop to other areas of the United States. In the spring of 1999, OutKast began working on Stankonia in the duo's recently purchased Atlanta recording facility, Stankonia Studios. The band's ownership of the studio allowed for fewer time constraints and subsequently, more musical experimentation. Stankonia features appearances from many local Atlanta musicians whom the group discovered while visiting clubs in the city. On Stankonia, the duo hoped to create a chaotic musical aesthetic, and incorporated a diverse array of musical genres, including drum and bass, gospel, rock, salsa, funk, and psychedelia. Recording sessions became difficult as André 3000 wished to abandon his rapping vocal style in favor of a more melodic technique, an approach to which Big Boi and other producers were unaccustomed. In order to maintain musical cohesion with Big Boi and continue his musical evolution, André 3000 incorporated both techniques on Stankonia. Lyrically, the duo touches upon topics such as politics, misogyny, and personal introspection in an irreverent manner. The album debuted at number two on the U.S. Billboard 200 chart, selling over 530, 000 copies the first week. Stankonia received universal acclaim from music critics and holds an aggregate score of 95 out of 100 at Metacritic. The album produced three singles, InchB.O.BInch, InchMs. JacksonInch, and InchSo Fresh, So CleanInch; InchMs. JacksonInch became the group's first single to reach number one on the Billboard Hot 100. At the 2002 Grammy Awards, OutKast won Best Rap Album for Stankonia and Best Rap Performance by a Duo or Group for InchMs. JacksonInch. In 2003, the album was ranked number 359 on Rolling Stone m

Kim Hyun-Chul DONG-A RECORDS YEARS. The psychedelic-tinged pop / rock sounds masterminded by Shin Joong-hyun, and the college folk scene spearheaded by Kim Min-ki formed the very heart of Korean pop music throughout the 1970s. However, this beating heart would be stifled, intentionally, as the dictatorship ramped up it's repressive practices in the mid-1970s. Countless rock and folk acts were censored on charges of 'indecency'. The leading artists of the time, such as Shin Joong-hyun and Kim Min-ki, found themselves in a situation where they could neither play concerts nor new music. While great bands like Sanullim managed to emerge even amid such dark times, radio and TV broadcasts remained subject to government and censorship. Thus, music broadcasts that reached the masses consisted of little more than romantic ballads, gayo for older generations, and sanitized 'decent' dance music. Although the new regime that took power in the 1980s made some conciliatory gestures, censorship remained firmly in place. Musicians who were forced into a long hiatus eventually gave up on music entirely or faced difficulties adjusting to newer trends. Around the mid-1980s, during which school bands began playing heavy metal, breaths of fresh new air were emerging in Korea's music scene. Independent tag Dong-a Records was one of the central forces in this new wave. For singer / songwriters looking to create something new and different, Dong-a provided not only the top session musicians of the time but also free rein throughout the recording process. As musicians gained the ability to rise to success without having to make TV appearances, new talent began flocking to Dong-a. Perhaps as a consequence of Korea's hosting of the Olympic Games in 1988, radio broadcasters began playing a somewhat broader range of music than they previously had, despite remaining beholden to government infl

Double vinyl LP pressing. Killer Mike's Michael marks the celebrated MC's first solo project since 2012's critically lauded R.A.P. Music; and serves as an introduction to the totality of Michael Render, a lifelong rap fiend whose consciousness is steeped in the sounds of community that raised him - multiple eras of southern rap flows, Sunday church service, and barbershop discourse. LP Packaging Standard black vinyl in widespine jacket with obi stripe and a 24Inch x 12Inch pull-out insert.