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Born and raised in the infamous Coney Island section of Brooklyn, Nems started writing at the age of 15, when he hit the gas and never slowed down, winning almost every notable freestyle battle and performance based competition in NYC. At age 17 Nems participated in the MTV series “Fight Klub”, during which Nems battled fellow MCs to a 20-3 record and became a stand-out on the show, garnering him attention from Def Jam, Shady Records and countless labels of all sizes. Nems inked a deal with Psycho+Logical / Koch Records and began touring throughout the United States, dropping his first album in 2010, the critically acclaimed Prezident’s Day. Since dropping Prezident’s Day, Nems has released numerous albums and mixtapes (including Coney Soprano, the Skinny Nems series and Planet of the Apes series) and has collaborated with legends and up-and-comers in the rap game alike, including Ghostface Killah, Kool G Rap and Benny the Butcher.
Nems’ hard work over the years has paid off, amassing a cult like following with no major-label backing or support. His loyal fan base continued to grow as he established
the “FYL” clothing and apparel brand, selling out a new piece of merch every week to die-hard fans all over the world, including those who expressed their dedication with Nems and FYL tattoos. Now, in 2019, fans of Nems can get their fix with GORILLA MONSOON, his new 13 track LP ft Conway, Spit Gemz and more, and entirely produced by Jazzsoon.

At long last we’re happy to bring you the release of Tulu & Wimpy Fly Like A Cucumber. This full-length record was recorded in 2014 at Electric Cave Studio in Portsmouth, NH by Scott Gildersleeve (aka Tulu) Jack Hayes (aka Wimpy), and Marc McElroy. Gildersleeve and Hayes, along with Joe King, were the original members of the infamous punk rock band The Queers who formed in the early 1980’s. Gildersleeve and Hayes also played together in the Boston-based band The Monsignors in the late 1980’s. Tulu and Wimpy Fly Like a Cucumber contains new songs written by Scott Gildersleeve, and recorded in 2014 by Gildersleeve, Hayes and McElroy, as well as some unreleased and remixed songs by the Monsignors. Tragically, in early 2015, within a few weeks of the completion of these recordings, Scott Gildersleeve aka Tulu... left us... hopefully to a better place than this world. “But finally, I am able to release this truly outstanding record, that I had the pleasure of being able to create with my best friend. I feel it is by far the best record I have ever been involved with in my 40 some years of recording. Tulu, may you stay...Forever Young.” -Wimpy Rutherford

Brand new album

All songs written by Oddisee.
Appearances written by respective feature guests.

All songs produced by Oddisee.
"Bartenders" co-produced by Dunc.
Additional instrumentation by
Ralph Real (keys), Dennis Turner (bass),
Olivier St. Louis & Saint Ezekiel (guitar)
Jon Laine (drums)
Fredeka, Felix Herbst, Johan Lenox & Don Carn (strings)

Mixed by Oddisee
Mastered by Hans-Philipp Graf, HP Mastering

Artwork & Design by Arthur Banach

Outer Note Label 2023

Reverse board tip on with silver pantone print. The first ever reissue of Dorothy Carter's 1978 folk/psych/drone masterpiece. A truly unique album in Dorothy's catalog of otherwise traditional psaltery folk music, Waillee Waillee's essence sits in the confluence of Dorothy's mastery of the dulcimer; its shimmering notes fully enmeshed with the tremulous, cavernous drones of Bob Rutman's bowed steel cello. The core of this album, Dorothy's only with a full band, lies in the contradiction of traditional psych-folk idioms and the minimal avant-garde, referencing Henry Flynt and Laraaji as much as Karen Dalton. This LP version includes 12 page booklet with unpublished manuscripts, drawings, photographs, and songbooks of the songs from the album, as well as extended liner notes from friends and family of Dorothy Carter, including notable musicians such as Laraaji, Bob Rutman, and Alexander Hacke (of Einstürzende Neubauten). Drops soon - a joint release between Palto Flats & Putojefe Records.

Dorothy Carter was many things - a virtuoso player, storyteller, historian of Celtic and Appalachian folk music, avid lifelong busker, avant-garde musician, and itinerant troubadour, laying a framework for music that existed both within and outside of standard folk idioms - never better represented than on her 1978 masterwork, Waillee Waillee. Underscored by Bob Rutman’s cavernous bowing of the steel cello, the richness of Waillee Waillee’s sound produces an album unlike any other in her discography. In particular, its two side-ending pieces, “Summer Rhapsody” and “Tree of Life,’’ glide with the shimmering filigree of hammered dulcimer and Dorothy Carter’s ephemeral voice floating over Rutman’s droning buzz of the steel cello. The elements of these two tracks suggest something akin to a transcendental Appalachian raga or whirling cosmic folk music, an effortless combination that serves to add additional substance to the remaining tracks on the album.

The title track is one of her most enduring compositions, often performed in stripped down versions throughout her career, and one of her sole recordings featuring a full band, with the contrapuntal interplay of tremulous flute, vibrating steel cello, bass and drums. Lyrically and tonally, her voice would never sound as stirring and refi ned as on this, her most outwardly accessible song.

She counted musical colleagues as diverse as Constance Demby, Einstürzende Neubauten and Laraaji, as well as her lifelong artistic partner and friend Bob Rutman, whose imprint is felt throughout the grooves of this record. The master tapes for this recording were fortuitously discovered in Rutman’s Berlin studio, many, many years later. As recounted in Laraaji’s contribution to the liner notes, Dorothy was “someone who really influenced my early zither exploration and vocabulary and inspired my shift toward hammered zither performance and recording,” after encountering him busking on the sidewalk one day in the 1970s. Later, when living in Berlin in the early 1990s, Dorothy would begin work on manuscripts detailing the history of the dulcimer family and providing extensive sheet music, selected material of which is reproduced in the twelve page booklet included with this release. Dorothy would find later success touring and performing in the late 90s with the ensemble Mediæval Bæbes, which she led with British musician Katherine Blake, playing a prominent role on their first four albums.