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The first "official" record by the entire crew. By "official" we mean that this is what we mean—and have meant all along. After years of burying songs in the back yard or putting out False Hopeses that we could brush off as experiments, this is pretty much exactly what we've been trying to do. And we're owning up to it, son. Hate on it. Love on it. We certainly do both, and couldn't be more excited for you to feel feelings with and all over us. Yikes.

The first DVD from Doomtree Records. Over 2 hours of content including live performance footage, music videos, documentary, promo videos, etc. Also includes a full new length False Hopes album from Doomtree featuring unreleased trackes from every member. This is a big one, everybody.

Dang! 14, There are 14 false hopes now. That feels good to say. And really 14 is no joke, when I was 14 things were really real. I was in a skateboard gang, I had crushes on girls, and developed an overwhelming phobia that I would soon have major memory loss. Anyway, this is Sims, and yeah he is currently killing it. He told me he made this entire CD while working the night shift for UPS, if fact almost all of the beats were made in the back of Sims' UPS truck while driving around delivering packages. That was a fun week, but now its over, and Sims has since left UPS due to a conflict with the general manager.

Most of P.O.S’ new album was written in a moving car. On it, he raps at full-clip to ride rolling drums and revving distortion. There’s an urgency that he keeps in careful check, and then unleashes for spring-loaded verses that represent his best work. Never Better enters a room like bombshell with a black eye—badass, noisy, and impossible to ignore. Feedback and relentless drum rolls are tempered by sung choruses and clean, chiming guitar lines. He conjures get-away cars, racing chariots, the pursuit of sirens, and the occasional rueful nighttime drive. Some critics will be eager to categorize the album as a hybrid—some kind of crossover project. But it’s probably not. P.O.S is a rapper with range, he’s a real musician and an unstoppable performer. For him, genres are as they ever were: permeable.

Spiral Bound is a short collection of essays and poetry by Dessa. Eighty pages of snarky existentialism on life, death, sex, love, and vertigo.

Welcome to Hand Over Fist, the newest full-length project from the DOOMTREE camp. It’s an album of trial and triumph, a street affidavit on the human condition. In a pageant of epic imagery, emcee Mike Mictlan confronts the central and confounding question—reconciling our great passions with our short lives—employing an understated poetry to convey his themes: fire, redemption, flight, and resistance. The production bears Lazerbeak’s signature; propulsive drums and bold guitar-driven melodies make every song a contagion.

In his music and his manner something about Cecil belongs to a different era of American history. In the shadow of a fedora, he’s got a five o’clock shadow by midmorning. He takes only one meal a day, reluctantly closing a notebook full of lyrics and calligraphy. The effect is part Doc Holiday, part Woody Guthrey. "Rebel Yellow," his debut full-length album is a work of nostalgia and intrigue. As a storyteller, Cecil conjures sepia images that spin by on 8 millimeter. In his production, bittersweet guitar lines surface and submerge, vinyl crackles like dying embers, and the snare drum sneaks a little a flourish but keeps simple time when the audience turns to see what it has missed. In the end, Cecil Otter is a compelling musician for the same reasons he’s good with cards. The technique runs on charm, patience, intuition, and precision; delivering verses with the self-assured, unhurried cadence of a man walking to the goldrush.