Bonobo, the British producer and DJ, has flown somewhat under the radar, even though he’s been recording for over ten years. Hopefully, Black Sands will develop his popularity. It’s a wonderful down tempo album that feels warm and familiar upon first listen. It opens with a quiet piece featuring strings and piano and minimal percussion. Then, the drums and bass kick in as a gentle yet driving beat takes over and sets the tone.

The second installment in the new Medicine Show series, where we learn that the rules are odd numbered entries are original material, and the even numbered offerings are mixtapes. This particular mixtape is a blend of Brazilian music, from samba to psychedelic. I’m not particularly well-versed in this music, so I can’t break it down for you with each track and artist, but I can tell you it’s a good mix of familiar and unfamiliar, and a good blend of genres.

The first volume in Madlib’s newest series of releases is something of a preview of the O.J. Simpson (Madlib + Guilty Simpson) album coming out later this year. Unfortunately, this mix quickly falls into my least favorite combination in hip hop = good producer with lackluster emcee. Guilty Simpson is something of a trite gangsta rapper, but doesn’t even have much in the way of delivery to make it interesting. His delivery is slow and clumsy, and he often says things that makes me cringe.

It’s been a while since we’ve heard from Gil Scott-Heron, as he’s spent the past few years sorting out personal and legal issues. When you’re dealing with a unique talent like Scott-Heron, though, it’s always worth the wait. The musician’s forays into jazz, blues, r&b, funk, and spoken-word poetry made him one of the most influential pre-hip hop artists. He’s come back with a moving and personal album. Working with Richard Russell, he’s concocted a type of minimal elctro-blues that allows the weight of his words to really come across.

I’ve always felt good that I got into Galactic at the ground floor, because they’ve had such a rich and rewarding musical career so far. The New Orleans-based funk group have built up a fan base throughout the years and have grown musically the longer they’ve been together, bringing in elements of jazz, R&B, funk, hip hop, blues, New Orleans brass bands, and basically anything else they might get their hands on.

First things first, this album has some of the sweetest packaging I’ve ever seen. It comes in a freakin’ billfold, people! Seriously, it’s tight. Now, onto the music. Jake One’s reputation a producer from the Seattle scene precedes itself. He’s hooked up with everyone from De La Soul to G-Unit. Freeway has had an interesting career path, starting out as a Roc-a-Fella protégé. I heard a song or two, and had somewhat written him off.

Strong Arm Steady have been around the L.A. scene for a while, and are mostly known for their association with X-Zibit. Frankly, after listening to this album, all I can help think is that they are very lucky they have successful and talented friends. The entire album is produced by Madlib, who has one of the strongest track records in hip hop, and doesn’t disappoint here. The beats are interesting, soulful, laid back and sound great pounding through your car speakers.

Over the years, k-os has won me over with his unique blend of hip-hop, reggae, rock, and R&B. While I haven’t loved everything he’s done, I’ve always appreciated his unique voice. I never listen to k-os and think he’s anyone else but himself. And when he does find a perfect blend in his music, it can really be something. Anybody who’s listened to “B-Boy Stance,” “Superstar Part Zero,” or “Sunday Morning” can attest to this.

I was first made aware of Dessa last year when P.O.S. dropped Never Better on us, and Dessa killed a verse on the song, “Low Light Low Life.” I knew of Doomtree, but like most people I hadn’t listened to any of the other artists outside of P.O.S. Well, I was certainly curious about Dessa now, and thankfully, she happened to be putting out her first full-length album this year. Even better, the album is amazing.

There’s something very exciting about the first time you put on album by an artist you haven’t heard before. Sure, it could suck and you just throw it in the discard pile. But every once in a while, you’ll come across an album that totally moves you and finds a way into your permanent rotation. That’s definitely the case with Wide Eyes. I knew nothing about what to expect going into the album, but I’m a fan now.