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Rap/Hip-Hop - Released November 16, 2018 | Aftermath - 12 Tone Music, LLC

On Oxnard, Anderson .Paak continues his road trip along the Californian coast after Venice in 2014 and Malibu in 2016. By being at the centre of a delightful mix of Soul vocals, Funk Rap and Afro-Caribbean percussion, Anderson .Paak has taken a real step forward on each album. His versatility is a perfect symbiosis of the current Californian style (with independent teams such as TDE and SZA, Odd Future with The Internet or the ever-present label Stones Throw) kneaded together with the infectious rhythms of Tuxedo or Dâm-Funk. Going back to Oxnard, his hometown, Anderson .Paak also reconnects with the total freedom of this birthplace of erudite hippies that has already given birth to groove-lined specimens such as Madlib, Oh No, Kan Kick or Dudley Perkins. Oxnard synthesises this whole universe while simultaneously proposing a new direction. Oxnard is the rapper's first album on Dr. Dre’s label, Aftermath. Dre is also the executive producer for the project. And like he did with Kendrick Lamar’s Good Kid Maad City in 2012, Dr. Dre simplifies and polishes up Anderson Paak's already abundant formula to give it a more complete look - that of a tragicomic film about the Californian lifestyle in all its splendour. Each piece plays its role, all the details are thought out, meticulously planned so as to make Oxnard a major work in contemporary music. With a very rich instrumentation, its surprising structures and a few hand-picked guests such as Pusha T, J. Cole or the all-too rare Q-Tip, Anderson continues with his exploration of an ageless cultural gem: Funk. Oxnard is a natural evolution of the anarchic energy of George Clinton and Parliament-Funkadelic. He even allows himself the luxury of giving his gangsta version to the mixer/crooner to compress the all-powerful G-Funk of "Doggystyle" in each snare drum. Filled with symbols, Anderson Paak's words are explicitly sexual - with no filter - playing with the timeline of sticky music. It is with Anywhere, a track with Snoop Dogg, that this whole montage takes on its full meaning and takes the Californian singer to another level, enhanced by his raspy voice. © Aurélien Chapuis/Qobuz
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Soul - Released February 12, 2018 | Lava Flow Records

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Rap/Hip-Hop - Released October 4, 2018 | Aftermath - 12 Tone Music, LLC

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Rap/Hip-Hop - Released May 17, 2018 | Aftermath - 12 Tone Music, LLC

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Rap/Hip-Hop - Released November 16, 2018 | Aftermath - 12 Tone Music, LLC

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Rap/Hip-Hop - Released May 17, 2018 | Aftermath - 12 Tone Music, LLC

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Rap/Hip-Hop - Released October 26, 2018 | Aftermath - 12 Tone Music, LLC

Rap/Hip-Hop - Released July 13, 2018 | Aftermath - 12 Tone Music, LLC

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R&B - Released April 6, 2018 | 2018 OBE, LLC.

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Rap/Hip-Hop - Released May 17, 2018 | Aftermath - 12 Tone Music, LLC

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Rap/Hip-Hop - Released November 9, 2018 | Aftermath - 12 Tone Music, LLC

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R&B - Released October 28, 2014 | Steel Wool - OBE - EMPIRE

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Rap/Hip-Hop - Released July 13, 2018 | Aftermath - 12 Tone Music, LLC

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Rap/Hip-Hop - Released May 17, 2018 | Aftermath - 12 Tone Music, LLC

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R&B - Released January 15, 2016 | Steel Wool - OBE - Art Club - EMPIRE

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Rap/Hip-Hop - Released November 9, 2018 | Aftermath - 12 Tone Music, LLC

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R&B - Released January 15, 2016 | Steel Wool - OBE - Art Club - EMPIRE

Brandon Paak Anderson's route from Southern California underground obscurity was not without obstructions, but he efficiently cleared them all. The madcap's rapier sharpened with support from Shafiq Husayn of Sa-Ra, a stint as touring drummer for Haley Reinhart of American Idol, and an extensive assortment of guest appearances. In 2015, he added dimensions to Dr. Dre's Compton as a player on six cuts, then vitalized a pair of front-loaded tracks on the Game's Documentary 2. Only six weeks after Stones Throw issued a loose EP he made with Knxwledge, Anderson released the proper follow-up to his 2014 debut album Venice. As the design and title of this album indicate, Anderson's work continues to be informed by the sublime and toxic qualities of his environment and sex life. Throughout, he's a (stoned) common man making the best of his consequences, yet he has an otherworldly quality, like he has been beamed down to mine cosmic slop from the L.A. County sewer system and Pacific Ocean floor. He adapts easily to each one of the numerous twists in Malibu's sound. Over the chunkier and grittier backdrops that range from soul/funk/rock hybrids to oblique hip-hop, he tends to be rasping and animated as he alternates between singing and rapping. His smoother and lighter form of delivery, heard in top form as a secondary component of the deep dancefloor funk groove "Am I Wrong," is so underutilized that it's easy to miss. While Venice was made primarily with L0_def, Malibu was created with a broader, higher-profile range of producers, including the Hiatus Kaiyote-sampling 9th Wonder (joined by Rapsody), Hi-Tek, sticky house groove specialist Kaytranada, and Chris Dave, the last of whom brings ace rhythm section associates Robert Glasper and bassist Pino Palladino. Anderson himself produced four cuts, including the hazily radiant "Parking Lot." Even fellow Oxnard native Madlib is in on the action through "Waters," where a light-of-touch beat, bolstered by a tugging bassline, is colored by a sweetly pained background vocal from BJ the Chicago Kid. Compared to the impressive and occasionally brilliant Venice, this album's mix of high and hard times has deeper resonance. ~ Andy Kellman
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R&B - Released October 14, 2014 | Steel Wool - OBE - EMPIRE

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R&B - Released December 9, 2015 | Steel Wool - OBE - Art Club - EMPIRE

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R&B - Released November 8, 2015 | Steel Wool - OBE - Art Club - EMPIRE