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It is an intriguing pairing; Haram is one-half ofthe duo 700 Bliss with rapper and poet Moor Mother and has several solo records underher belt-including 2025's critically acclaimed Beside Myself (Hyperdub)-and highprofile collaborations with BbyMutha, Fever Ray, Ghais Guevara, and Armand Hammer.Meanwhile, although Critical Thot is Sha Ray's official debut album, her reputation as anext-wave talent precedes her. Haram got wise in 2022 when she saw Sha Ray performat a show in Brooklyn.\"We spoke at the venue and after that I followed her on social media. She gave anincredible performance, so later on when she slid in my DMs asking for beats, I wasalready on board,\" Haram explains.An Armand Hammer\/DJ Haram show in LA was the nexus for these connections toyield fruit. Sha Ray flew down from the Bay to link with Haram, and although the twodidn't end up recording anything that day, it was the springboard for the cross-countrycollaboration that culminated in Critical Thot. The whole album was made remotely:Haram cooking up beats in Brooklyn and sending them to Sha Ray, who would sendback demos and notes. They got to know each other as artists, and as people, while theyworked on this project.\"Haram and I have had so many overlapping experiences working as women in themusic industry, which really enriched our bond. That, and her very striking approach toproduction, really inspired a lot of the writing on this record,\" Sha Ray says.That writing is razor sharp and refreshingly direct. Sha Ray quickly proves herself to bein a class of her own, navigating even the knottiest of DJ Haram productions withouttaking her foot off the gas. Haram digs deep into her bag with beats that run the gamutfrom experimental and abrasive to slinky fun to darkly foreboding. Percussive thuds andshots are layered with intricate details and soft linings. A trappy banger dissolves intoa flood of strings. A sparse industrial soundscape slowly coheres into a cacophonousuppercut of a rap record. Sha Ray bobs and weaves her way through every drum breakand synth with a defiant ease.\"As a rapper I'm pretty exclusively interested in interrogating misogyny and sexuality inmy work. Critical Thot is a deliberation on unapologetic feminine authority, while beingvery honest about the complicated truth of being a participant in self-objectification,and sexuality as a social currency,\" Sha Ray elaborates. \"This record focuses a lot ondefining power in feminine sexuality as relational and ever-shifting, and thus inherentlyimperfect. 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Entirely self-produced, the album continues the sophisticated R\u0026amp;B and Modern Soul direction explored since his 2010 classic Long Distance and 2018's accomplished Nobody Has To Know, focusing on late 80's \/ early 90's inspirations.\u003c\/p\u003e\u003cp\u003eStructured like a film unfolding between dusk and dawn, After Dark moves through themes of intimacy, urban solitude, distance, and quiet indulgence. Analog synthesizers, tight drum programming, understated basslines, and selective live saxophone textures shape a cohesive body of work that favors mood and narrative over excess. The sequencing reinforces its cinematic intent, opening and closing with intro and outro pieces that frame the record as a cohesive night-time narrative album.\u003c\/p\u003e\u003cp\u003eOver 20 years since emerging in the mid-2000s from the beat scene, Onra has steadily evolved from sample-based Hip-Hop production toward polished, song-oriented projects rooted in contemporary R\u0026amp;B and Funk. With After Dark, he delivers one of his most focused and refined statements to date: a mature, immersive album built for late hours, and attentive listening.\u003c\/p\u003e\u003cp\u003eThe first taster of the album to drop is the slick nostalgic ’Lap of Luxury’, sets the tone for the project, a blend between Instrumental Hip-Hop, late 80s R\u0026amp;B and 90''s Smooth Jazz.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAfter Dark (Intro)\u003c\/li\u003e\n\u003cli\u003eLap Of Luxury\u003c\/li\u003e\n\u003cli\u003eThat Kind Of Girl\u003c\/li\u003e\n\u003cli\u003eNeedless to Say\u003c\/li\u003e\n\u003cli\u003eWay Back When\u003c\/li\u003e\n\u003cli\u003eIn the City Of L.A\u003c\/li\u003e\n\u003cli\u003eEcstasy\u003c\/li\u003e\n\u003cli\u003eRide It Out\u003c\/li\u003e\n\u003cli\u003eWhat It's Like (Outro)\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 6554712342414\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e All City Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 7.17.26\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e Cassette\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Onra","offers":[{"title":"Default Title","offer_id":48672021184727,"sku":"6554712342414","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0568\/6929\/0168\/files\/4517157-3602843.jpg?v=1779821416"},{"product_id":"pre-order-mask-porches-cassette-indie-exclusive-indie-exclusive","title":"Mask - Porches (Cassette) (Indie Exclusive) (Indie Exclusive)","description":"\u003cp\u003eWhite Cassette (Indie Retail Exclusive). Porches recorded MASK on his four track last spring (2025) in the basement on Wooster street (in New York City). He mixed it straight off the tape machine. He was inspired by how impossible it is to really edit anything on the four track, and he feels like a special spirit was captured in these recordings by embracing their imperfections. 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From her Grammy-winning songwriting roots on Eminem's \"The Monster\" to global chart-toppers with David Guetta and Florida Georgia Line, Rexha has established herself as a premier musical chameleon. With her latest project, Dirty Blonde, she officially enters a new era as an independent powerhouse. Now signed to EMPIRE, the Brooklyn-born star has crafted a 13-song \"genre kaleidoscope\" that serves as her first-ever visual album, representing a total creative rebirth and a departure from the major-label system she's known since she was a teenager.Recorded across London, Tokyo, and Europe, Dirty Blonde captures the energy of Rexha's global travels. The project seamlessly blends heavy-hitting dance floor anthems with deep, personal storytelling. With the lead single \"New Religion\" she takes us straight to the club by reimagining the iconic dance record \"Insomnia\" by Faithless. On \"Tokyo,\" she explores a drum \u0026amp; bass pulse inspired by a late-night rendezvous in Japan, while \"Cike Cike\" (produced by long-time collaborator DJ Snake) sees Rexha embracing her Albanian heritage by mixing traditional linguistic roots with modern 808 basslines. At the emotional core of the album is the lead single, \"I Like You Better Than Me.\" The track strips away the pop-star veneer to tackle themes of insecurity and self-scrutiny, blending raw lyrics with a pop-rock edge. From the Jersey-bounce-meets-country vibes of \"Drink and a Little Love\" to her vulnerable reflections on fame, Dirty Blonde is a celebration of an artist who is finally playing by her own rules. 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On Beauty Land, his new album and debut LP for Dead Oceans, we're guided by a wry but forgiving narrator, an underdog who has learned to balance cynicism and faith. These songs are self-effacing without self-pity, carefully constructed altars of imperfection channeled through pop melodies, shimmering but urgent guitars, and a voice that reaches for choir boy innocence.The bulk of Beauty Land was recorded directly to tape, almost entirely alone in Mendez's makeshift home studio in Philadelphia - a small room with no natural light. It's his first full length since his unexpected self-titled breakthrough in 2023, which was a slow burn success following 15 years of writing and recording music in relative obscurity between Philly and New York. Beauty Land picks up where we left off three years ago - plumbing the depths of grief, love, and addiction - but it's intense, quiet clarity shows Mendez at his songwriting best.Parts of Beauty Land feel like a lucid dream, dented characters carve their way through a world that's cartoonish and warped - the broken-clock march of \"I Wanna Feel Pretty,\" the chiming toy piano on \"Gentle Love.\" \"Mary \/ Dreaming\" begins as a sparse, finger-picked lament before cutting abruptly to a deflated, Beach-Boys-but-make-it-fucked-up resolution that brings both melancholy and joy; a sense that all things can be true at once. None of the 14 tracks here break three minutes, but they tell stories that span lifetimes.Death floats through the record, whether it appears as a memory or a threat. Everything feels precarious. There's a fragility to how these songs are built: the way the funeral organ hits alongside the morphine on \"Looking Out Your Window,\" the devastating simplicity of \"Frog,\" with it's slowed-down keyboard and bare refrain: \"Please forgive me for my faults.\" Beauty Land feels, at times, impossibly lonely. 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The follow up to their much-acclaimed Self-Titled album, the Twisted Teens are back with 12 more songs. The Band pulls from early American rock traditions without turning them into nostalgia pieces. Pedal steel sits comfortably alongside electric grit, expanding the emotional range without softening the bite. Melody is always present, but the rhythms favor momentum over precision. The result feels grounded and restless at the same time, rooted in familiar forms while refusing to stay put.Compared to the debut,Â Blame the ClownÂ feels more focused in how it balances it's influences. Where the earlier record scattered ideas across genres, this one tightens the link between structure and feeling. The steel guitar feels woven into the songs rather than layered on top, and the album arrives with a clearer sense of direction. It plays like a natural next step, showing confidence built through constant movement.Blame the ClownÂ finds Twisted Teens right where momentum meets confidence and craft. They may still be flying under the radar, but now's the perfect time to dig into both of their full lengths. This record is rough by choice, never sloppy, balancing grit with melody and tradition with forward motion. It sounds lived in and earned, the kind of album that only gets better the longer it spins. 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By fifteen they were running a local studio and radio station. There was no industry support, no infrastructure, no template for what they were trying to do, only the work itself and the conviction that it was worth doing.At seventeen they relocated to Montreal, joined by Chris Clegg and Thomas Hart, assembled from different corners of the country, and began building Truck Violence from the ground up. The weathervane is my body, the band's second full-length record and first with San Francisco's The Flenser, is the product of that process. Every element reflects this. The group composition, the recording, the mixing and the visual media were all produced in house without outside intervention. DIY here is not an aesthetic choice or a marketing angle, it is the only honest option available.The album cover was shot on film by the band on Avenue du Parc in Montreal. A figure perches atop a small Quebecois-style house, handbuilt from reclaimed materials, spine curved, legs pulled in, bare-backed against a skyline that dwarfs everything beneath it. A rural thing dropped into the grit of the city, small and out of place and refusing to disappear. The body is naked and defenseless, open to every stimulus the world cares to deliver. This is the album in a single image.The weathervane is my body is a continuation, an expansion, a further scribbling together of that angry statement of purpose that is their debut album, aptly titled Violence. 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