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ind is 12 pieces written and performed by CTM and produced by Jakob Littauer.

The album consists of cello compositions with few exceptions - a daf enhancing the rhythm, a distant memory of the kora, a pensive flute or folly sounds. The softness of the acoustic instruments is counterplayed by concise compositions and hyperreal productions.

The music presents itself as part spirit, part form; the movement in the moment, repetition, anticipation, what happened and what is to come. It's a sensuous search into stretched out moments, captured and held in one’s hand for a little while. It finds play and devotion, love and light.

Dedicated to Jannis Noya Makrigiannis

Uniquely personal, yet gently relatable…

Istanbul-based drummer and composer Danae Palaka’s first album “Velox” is a retrospective journey into the artist’s own roots.

Born in Athens to a musical family partially hailing from Istanbul, Danae’s relocation to the city of her ancestry in 2021 became a key influence in the creation of Velox.

Produced in a collaborative effort with producer Nikos Dervisis, Velox showcases Danae’s dense and energetic drumming style, influenced by Afrobeat and Anatolian rhythms, contemporary jazz and electronic music.

Developed by Palaka’s necessity to perform solo with a drum-kit and a sampler, the album wraps you with complex rhythms, evolving textures and polyphonies that resemble some vaguely remembered childhood memories, tales told by the elders and Danae’s exploration of her family roots, as well as her own personal experiences with Istanbul’s multi-layered structure intertwining past and present throughout its 8 track course. In Danae’s own words: “This album is built on feelings and thoughts about places, memories, animas and circumstances and aspires to transmit certain feelings to the listener; a superpower I wish I had since I was little. Each song is a small universe of its own but also part of a whole. Velox is a sphere, a glowing warm star that I hold in my palms, whose energy expands when loved and supported.”

The compilation edition recovers the memory of a very important moment for Venezuelan pop music. The appearance of Pp's (the acronym for Pedro Pérez Show, an original name that highlighted the leadership of the creator of an unexpected new wave scene in Venezuela) produced an explosion whose echo later resonated with the birth of a handful of bands that also renewed the country's musical panorama, in tune with what sounded strong in the Anglo market in those effervescent 80s (punk, post-punk, ska, even the funk that had expanded in the previous decade): Sentimiento Muerto, La Seguridad Nacional, Desorden Público, Caramelos de Cianuro, Los Amigos Invisibles (who recorded a cover of “Yo soy Así”, a Pp's song, on their cover album Super Pop Venezuela from 2005). Pp's recorded three albums in the 80s: Pp's (1981), En el aire (1982) and Tercera Guerra Mundial (1984), all with a clear pattern: putting the body in motion. It is music connected to its time that invites you to dance and listen to today, it builds a bridge to the past while opening a path to the future because Pp's is still in action. This compilation contains six songs from the first album, two from the second and three from the third, is an exclusive edition of El Palmas Music. It reaffirms the vocation of Maurice Aymard's label to preserve the heritage of Venezuelan popular culture and at the same time captures all the facets of a musical project that is a stainless symbol of the country's new wave, but also exceeds that label with music in which Flows of progressive, space rock and acid jazz filtered through. A colorful, diverse new wave, far from any type of corset. At just over 20 years old, Pedro Pérez lived in a city with a powerful cultural imprint like San Francisco. In the air was the fresh, uplifting sound of bands like Talking Heads, Devo and The B-52's. Also reggae and dancehall from a large group of Jamaican artists. Pérez also shared a date with Black Uhuru and with Ub40, a British reflection (white and more pop) of Rastafarian music. “I am like this / And what does it matter to you?”, the line that is repeated insistently in “Yo Soy Así”, one of the most emblematic songs of all that Pérez wrote, is a provocation and a declaration of principles. The new always wants to destroy the old, change the channel, change the station, head towards an alternative road.

London-based keyboardist and composer Greg Foat is back with his new album, 'The Rituals of Infinity'. Greg's first memory with the piano goes all the way back to his Aunt's house at aged 3 - where he fell off the piano stool. Since then, his relationship with the piano has evolved into a fulfilling, and successful career. He began taking an interest in composing at the age of 11, and truly ignited his love for Jazz after attending a workshop with Jeff Clyne, Olaf Vas, Trevor Tomkins and Nick Weldon at the age of 15. He then studied jazz at Middlesex University, followed by 6 months in Sweden on an Erasmus grant which lead to his first professional studio session there at 21. Greg has worked as a professional musician ever since, and has moulded and wonderfully multifaceted career within the Jazz music genre. Greg is planning a debut performance of 'The Rituals of Infinity' at Worthy Earth Festival in late September, in Hampshire.

'The Rituals of Infinity' album is inspired by many of things. Some titles are named after some iconic science fiction books such as The Rituals Of Infinity, A Private Cosmos, The Dark Labyrinth and The World of the Red Sun. Minerva's Owl, on the other hand, is about the Ancient Greek Legend. "The owl of Minerva takes flight only at dusk." so wrote G. W. F. Hegel, the nineteenth century's major philosopher of history. By that he meant that any given phase of history can be understood only in retrospect — after it's over. A beautifully fitting closing of the album. The album features the legendary Art Themen on Soprano and Tenor Saxophones, Trevor Walker on Trumper and Flugel Horn in a fine supportive role harmonising with Katherine Farnden on Cor Anglais. Natcyet Wakili has such a fluid approach to the drums which really makes the album special, alongside Jasper Osbourne on Bass Guitar. Shawn Lee also stopped by the studio with his horror movie classic waterphone - adding some eery atmospheric finishing touches to the album.

Alto saxophonist and composer Immanuel Wilkins, winner of the German Jazz Prize 2024 in the “Live Act of the Year International” category, returns with his third album for Blue Note Records. His debut for the label, “Omega,” named #1 jazz album of 2020 by the New York Times, brought him worldwide attention and recognition for his playing and unusually complex compositions.

Wilkins describes his new work “Blues Blood” as being inspired by his childhood in the Philadelphia area. It was co-produced by Meshell Ndegeocello, with Micah Thomas on piano, Rick Rosato on bass, Kweku Sumbry on drums and vocalists Ganavya, June McDoom and Yaw Agyeman, as well as guest appearances by singer Cécile McLorin Salvant, guitarist Marvin Sewell and drummer Chris Dave.

“Blues Blood” is Wilkins' most ambitious album to date, as well as an accessible, spiritual work about memory, the legacy of our ancestors and the bloodlines that connect people.

After carving out his own unique path through his activities at his own pace, INO hidefumi's ninth original album is now complete.
All songs were created in his home studio, and his stripped-down compositions and extraordinary voice are now available to the whole world from his bedroom.
The simple instrumentation, the ensemble's use of gaps between notes, and the electric piano are pleasing.
The latest work by INO hidefumi, who is constantly updating his music, reflects "MEMORIES", which is fresh and unaffected, but also expresses unwavering strength and sharpness.

Joseph Omicil, Jr, a.k.a. Jowee Omicil, is a Haitian-Canadian jazz musician. He has worked in the past with artists such as Roy Hargrove, Pharoah Sanders, Tony Allen, Kenny Garrett, Jacob Desvarieux, Glen Ballard, Harold Faustin, Michel Martell, etc. He hosted Quincy Jones" 85th birthdaycelebration at Montreux Festival. He also starred in the Netflix series The Eddy, produced by Damien Chazelle, and Le temps d"aimer, directed by Katell Quillévéré (Cannes Festival2023). The Bois-Caïman ceremony was Haiti"sfirst major collective uprising against slavery. On his new album, SpiriTuaL HeaLinG: Bwa KaYimaN FreeDoM SuiTe, Jowee performs his ancestors" revolution in his own way. Joweebrought together all his inner tubes, soprano,alto, tenor, wood, clarinets, piccolo _¼éute, cornet, that blows, that winds, that rumbles. This record is an incantation, a therapy, it cleanses the world by drawing on the fantasized memory of the Haitian revolution. There are Freedom Suites by Sonny Rollins, Max Roach and others. Prayer music, music to break the chains in your head and on your wrists, music of black power and white magic. For Jowee, a kid from Montreal, son of a Haitian pastor, who sang Jesus in all the tones, and then Michael Jackson, and then 2Pac, who learned jazz from Ornette Coleman, the ceremony necessarily has the taste of free. This record is a healing hour- long improvisation.

Kokoroko, the London-based contemporary jazz collective, has released their new single ‘Three Piece Suit’ featuring Azekel.

Warm, rich and sumptuous in sound, ‘Three Piece Suit’ is a heartwarming tribute to the Nigerian immigrant experience. An initial draft of the track first began life at Kokoroko’s studio under the working title ‘Get The Message’.

Crackling through the track’s snug and patiently-arranged grooves are subtle touches of funk, adding new dimensions to the band's signature afrobeat and jazz sound in a way that recalls the work of Cymande. Further caressing the instrumentation is the incorporation of the Brazilian nose flute and woozy-sounding synth lines, effortlessly transporting the listeners back in time.

A conversation between Onome Edgeworth, the band’s percussionist and Azekel about their grandfathers who both landed in Balham from Nigeria in the 1960s would yield finishing touches that its rough sketches needed, bringing the song home to its final form.

Speaking on the track’s conception, Onome said: "We wrote the song thinking of our grandfathers arriving in London and the way they carried themselves and dressed in the 1960s. They were part of a dapper and suited generation that sowed the seeds for the worlds we’re building now. It speaks to our sentimental memories of a time that we know we can't have back”.

Parisian label Chuwanaga is proud to present their latest 12-inch series release from Jéroboam, "Brexit Funk / Peckham Night". The band, also known in the streets of Paris and Montreuil as Echoes Of, is celebrating Britfunk and the rich musical heritage of Greater London, reflecting their deep appreciation for the iconic Britfunk sound. After several successful collaborations celebrating the genre with the label at the infamous New Morning venue in Paris, Jéroboam has crafted two brilliant compositions for this EP.

"Brexit Funk" is an electrifying homage to the classic London Jazz-Funk scene of the late seventies and early eighties. It is a tremendous track, reminiscent of the early sounds of Incognito and Freeez, infused with the energy of Hot Cuisine and Hi-Tension. It features a standout brass section, amazing solo performances, and a strong rhythm section. Having played in London and now across the whole UK, the band decided to ironically name this track as a musical memory of this strange transition.

On the B-side, you’ll find "Peckham Night" and its dub version, an outstanding composition that perfectly emulates the late seventies soul-jazz vibe. Beautiful vocals by singer Agyei blend seamlessly into this perfect composition. All along, you really feel the band coming together, bringing out the best of their soul. It really is the work of passionate and experienced musicians who have built strong confidence playing together for years.

Jéroboam is a group of 10 Parisian funkateers recognized as one of the biggest funk outfits on the current French scene. They already boast extensive live experience and a solid reputation between Paris and London. In addition to their original and popular tributes to American funk cities of the 70s-80s, they have also gained attention as a formidable backing band for Howard Johnson, Junior Giscombe, and Kyoto Jazz Massive. Having also released two highly acclaimed EPs on the Space Grapes label, they continue to work on their own original compositions under the name Jéroboam, with their debut album scheduled for release in 2025.

The 180g vinyl is available in two colors: Classic Black and a Limited Burgundy Edition, with the outer cover hand-colored and numbered (100 copies) by Moo Latte himself.

Mellomaniac, the seventh full-length album by Moo Latte, is different. These 28 compositions, written and recorded in 2021/22, were initially created for Moo's personal use, serving as a life soundtrack during many weeks and months spent away from home while touring with the band. Most of the tracks were recorded in hotel rooms and even backstage areas, fully embracing the lo-fi mindset and philsophy. Comparing to his previous works, this one holds a special significance and it's the most personal of them all.

What's Mellomaniac? The wordplay combines "melomania"—defined as an excessive and abnormal attraction to music—with the "mello" vibe that reflects both Moo Latte's personality and the nature of the music itself. The album leans toward a mellow sound, designed more for an intimate, individual listening experience where each spin of the record leads to new discoveries.

Why is this album different? Each of these pieces was created without any predetermined goal, which is why the tracklist is so eclectic—much like Moo Latte's palette of inspirations. These influences stretch back to when he was just four years old, singing in front of others for the first time or listening to his sister practice the violin. These early memories and instincts are blended with more deliberate musical choices, refined over two decades of music education. Each song is dedicated to a person, place, or situation that shaped him both as a musician and as an individual, reflecting the journey he has been on so far.

After six previous albums rooted in beat-making culture, this is the first one that is 95% drumless and free from sampling of any kind. Although the stories in these songs are told without words, Moo Latte incorporates his voice alongside a wide array of instruments, using it more expressively than ever before. The album's sonic quality is both raw and lush. The grit comes from the way it was recorded, using gear and microphones that, while not top-tier, were simply what was available. Everything was mixed in Moo Latte's bedroom and mastered on analog tape, resulting in a personal, intimate, and dynamic listening experience.

The 180g vinyl is available in two colors: Classic Black and a Limited Burgundy Edition, with the outer cover hand-colored and numbered (100 copies) by Moo Latte himself.

Mellomaniac, the seventh full-length album by Moo Latte, is different. These 28 compositions, written and recorded in 2021/22, were initially created for Moo's personal use, serving as a life soundtrack during many weeks and months spent away from home while touring with the band. Most of the tracks were recorded in hotel rooms and even backstage areas, fully embracing the lo-fi mindset and philsophy. Comparing to his previous works, this one holds a special significance and it's the most personal of them all.

What's Mellomaniac? The wordplay combines "melomania"—defined as an excessive and abnormal attraction to music—with the "mello" vibe that reflects both Moo Latte's personality and the nature of the music itself. The album leans toward a mellow sound, designed more for an intimate, individual listening experience where each spin of the record leads to new discoveries.

Why is this album different? Each of these pieces was created without any predetermined goal, which is why the tracklist is so eclectic—much like Moo Latte's palette of inspirations. These influences stretch back to when he was just four years old, singing in front of others for the first time or listening to his sister practice the violin. These early memories and instincts are blended with more deliberate musical choices, refined over two decades of music education. Each song is dedicated to a person, place, or situation that shaped him both as a musician and as an individual, reflecting the journey he has been on so far.

After six previous albums rooted in beat-making culture, this is the first one that is 95% drumless and free from sampling of any kind. Although the stories in these songs are told without words, Moo Latte incorporates his voice alongside a wide array of instruments, using it more expressively than ever before. The album's sonic quality is both raw and lush. The grit comes from the way it was recorded, using gear and microphones that, while not top-tier, were simply what was available. Everything was mixed in Moo Latte's bedroom and mastered on analog tape, resulting in a personal, intimate, and dynamic listening experience.

Lovers of Italo disco music will consider Cyber People as one of the most important acts in its scene. The Space-synth sound Cyber people brought in the mid 80’s, was highlighted by their 1985 ‘Void Vision’ release, which became a hit both in Europe, as well as in South America. On top of that, Cyber People paved the road for acts like Koto, Laserdance and Hipnosis, just to name a few. Cyber People were disbanded though in 1988, but left behind a series of most important Italo Disco records.

Now, build on the ashes of the former and legendary ‘Memory Records label from Parma – Italy, Memix International is pleased to announce its return, and the return of Cyber People. In its original form, headed again by the Maestro Giorgio “Theo” Spagna himself, as leader of the pack, with a tribute to Anfrando Maiola, the founding father of Mamory Records’ most important act, Koto, who left us in 2023.

As a tribute, Anfrando’s “Dragon’s Legend” get’s a complete new overhaul by Cyber People, respecting its original structure, concept and spirit, bringing it however into the 21st century.

Besides the almost 8-and-a-half-minute tribute of Dragon’s legend on the MEM-side, on the MIX-side you will find the DJ friendly ‘DJ DUB’, bringing you the compact essential of ‘Dragon’s Legend’ for any up-to-date Italian Disco set. (And if you want to call it Italo Disco, that’s perfectly fine with us too!)

With this release, Memix International continues where it’s predecessor stopped in 1989. Paves the road into a new era, and pays with this rerelease it’s respect to Anfrando Maiola and his Koto releases , such with full support from his heir.

With this release Memix International also brings a tribute to Alessandro Porta, the great Italian designer and visual artist, whose heirs were as kind to participate also, and made one of Alessandro’s drawings available for the sleeve of this unique release. It was Porta who was, on many occasions, responsible for the characteristic artwork of various Koto releases and, all together it will for sure make this release a well sought item which comes in a strictly limited edition of 500 units, so distributed on a ‘first to come, first to serve’ basis. Expected release and shipment: end of September/begin of October 2024.

An album inspired by childhood culinary experiences, where memories and fiction mix in an explosive cocktail of cinema, rock & roll and psychedelia. The album sounds rough, as if it were played live by a band, even though it is instead a one man session. The skeleton of each track is characterized by the most classic of drums, bass and guitar combos.

Tramp Records International proudly presents: The 1975 Baltimore Colts Glenn Doughty and his All-Pro Shake & Bake Band! In 1975 Glenn "Shake & Bake" Doughty Wide Receiver for the Baltimore Colts formed the Shake & Bake Band. Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!

Doughty is a Detroit 'Motown' native and All-American from the University of Michigan, that was recently crowned national champion and the winningest college football program in Ncaa History. Doughty and his four world-class athletic teammates formed the heart of the band. The Shake & Bake Band in the mid 70s played live at Baltimore's hottest Clubs with teammates in attendance on Monday nights after Shakin' & Bakin' their opponents on Sunday at Memorial Stadium. Doughty's sports hero was Muhammad Ali. He originated the popular Shake & Bake athletic movement scoring touchdowns. He recited Shake & Bake poetry like Ali to make predictions after games on local and national TV to celebrate Colts victories. His lyrics in his music were used to fire up thousands of his Colts fans and his teammates. Many fans felt the group sounded like WAR the popular funk group from California. Members of the Shake & Bake Band were: Glenn "Dr. Shake" Doughty #7, All-Time Colts leading Wide Receiver, producer, lead singer, congas and lyrics, Ray "RC Cola" Chester, All-Pro Tight End, Super Bowl Champion, Bass, Baltimore, Maryland, David "dt" White, Wide Receiver Lead Guitar, producer, sound technician. Buffalo N.Y., Lloyd "The Bullet" Mumford, Defensive Back Harmonica, Miami Florida, Freddie "Bones" Scott, All-Pro Wide Receiver on percussion, Grady Arkansas, and Bruce "Turn it Loose" Barnett, Drummer and shoe salesman. Randallstown, Maryland. This group of talented stars lead the Colts to its first ever three consecutive Eastern Division Championships.

Between 1975 and 1977 they also became the first group of pro athletes to create two records while playing football together for a NFL team. Their debut 7-inch single from 1976 was cut at 33 1/3 RPM due to the length of the songs. "Shake and Bake Pt.1" lasts for 4:30 minutes while Part 2 stretches out to an incredible 7:00 minutes!

Additionally, "Shake and Bake Pt.1&2" will be featured on the forthcoming "Movements Vol.12" compilation album, due September this year.

Key selling points:
- limited to 500 copies!
- deluxe picture sleeve edition!
- official re-issue, done in cooperation with Glenn Doughty!
- Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!

Los Angeles-based vocalist, composer, and producer Sharada Shashidhar has a deep awareness of the cosmos. There’s a distinct tug-of-war in her music, an understanding that scanning the heavens to answer existential queries isn’t quite enough; there are internal depths to plumb as well. Shashidhar’s first album, 2020’s Rahu, found her voice billowing out of smoky, post-beat-scene soundscapes, meditating on the collective unconscious and the energy exchange between all living things. Her newest work, Soft Echoes (out September 27th on Leaving Records), is a bold step forward, eschewing her previous work’s hip-hop tilt for expansive compositions that blend jazz and Indian classical influences into a swirling, spiritual whole.

Though she has an extensive resume as a collaborator in LA’s experimental jazz scene, notching work with the likes of Carlos Niño, Zeroh, and the Pan Afrikan Peoples Arkestra, Soft Echoes marks Shashidhar’s first outing as a bandleader.

Gathering an ensemble thatincludes Anna Butterson bass, Julian Rodriguezon keys, Devin Danielson saxophone, and Timothy Anguloon drums, Shashidhar sought to create a band that ostensibly functioned asan extension of herself. Her primary goals in writing these songs were to “let [her] body do whatit wanted to do,” to trust her intuition, and “play without judgment.” Through that process, making Soft Echoes became a practice of presence and exploration, a chance to unlearn rigidstructures and rediscover the joy of creating for oneself. Recording took place over three brief, distinct sessions at Altamira Soundin Alhambra, California.

She describesthe album as having “two poles,” illustrated by the whimsical, buoyant opener “Soft Echoes” and the darker, more anxiety-ridden closer, “New Echoes.” The songs in betweenmay come from different emotional spaces, but “it’s all really reflective,” she explains. The album can play like a loop, with Shashidhar entering a portal “into the endlessness” during “NewEchoes,” only to be transported back to the beginning, full of gratitude and pondering “howstrange it is to be alive.” ”

She describesthe album as having “two poles,” illustrated by the whimsical, buoyant opener “Soft Echoes” and the darker, more anxiety-ridden closer, “New Echoes.” The songs in betweenmay come from different emotional spaces, but “it’s all really reflective,” she explains. The album can play like a loop, with Shashidhar entering a portal “into the endlessness” during “New Echoes,” only to be transported back to the beginning, full of gratitude and pondering “howstrange it is to be alive.”

On Soft Echoes, Shashidhar leads us on a journey through her mind,traversing its peaks and canyons in search of greater connection. “I want to take people places,”she says, pausing thoughtfully. “I can’t always guarantee that they’re good places, [but] hopefully you’ll feel something.”

50 frequency and amplitude modulated sine waves describing a landscape / Trigram for Earth.Trigram for Earth, by Flora Yin Wong, is inspired by traditional eight-sided Pakua mirrors and the trigrams inscribed on each of their edges. The function of the mirrors is to show the nature of reality as being composed of mutually opposing forces and modulate them. Here, energies seem to be manipulated to guide and direct our listening, lost in a maze of sound, diffracted to the point of merging with the artist's own listening, through her memories, her obsessions, the fragments she carries within her. Flora Yin Wong invites us to embark on a multi-faceted investigation of sound, a journey through the meanders of liberated sonic forces, an auscultation of her own listening and a portal, at last, ajar to a fragmented and forever mysterious inner world.In his work '50 frequency and amplitude modulated sine waves describing a landscape,' Sébastien Roux applies his approach to algorithmic composition to the observation of the natural world, bringing the sound of the sea and the song of birds into the electronic domain, transmuting them into each other through a slow process of gradual modulation. Exploring the abstract space of pure sounds between two naturalistic tableaux, Sébastien Roux offers us a fascinating meditation on the world of synthesis, revealing, with an economy of means and great formal elegance, the magic of sonic simulacrum (deepl propose simulacra, mais là je suis pas assez calé_) and the strange beauty of the artificial, in a gesture that is ultimately as poetic as it is musical.

Peridot' dives right in, and so I will. It’s a gemstone, peridot, and may become your favorite gemstone (as it has mine since I’ve dug in to its history and cultural significance). I like volcanoes and volcanic land formations. 'Peridot,' the musical piece presented here by Powers/rolin, is soundtrack to memories of in-person witnessed lava floes and the infinite parade of Herzogian docu-footage of rivers of fire and constructive destruction. There are edits or augmentations evident, creating (or revealing) form, in the tradition of Teo Macero’s work on In A Silent Way. Because rarely does the beauty of a musical moment survive the translation from performance to recording without losing that crucial thing that made it a once-in-a-lifetime happening without judicious and usually minimal manipulation. We overdub, we mix, we edit. We master, we distribute. If you’ve ever been out in the woods with some friends and come upon a little place in a creek that’s just big enough to get in for something resembling a ‘swim’ but is more like a ‘dip’, and no-one has brought costumes designed explicitly for swimming so some begin to disrobe completely, and then you do too even though you feel awkward and never really wanted to be naked around these people (or, really, almost anyone) but do it anyway, and the embarrassment never really goes away during the whole time you luxuriate in the cold water but almost does again and again as something in you realizes that this is the best and greatest juxtaposition of flesh with moving water that could ever have happened, if this has occurred to you in your life then now you have musical accompaniment for the sorting-through of that memory. In recent years, again and again, Powers/Rolin does it right & natural, and somehow I always think of sunlight and ’sunlight’ simultaneously when I listen to their recorded work. In the great tradition of deeper side twos, 'Albatross' feints at providing respite from the momentum when really it uses your newly-turned cognitive soil to sow the real seeds: be here now, again; stay stripped, start crying if you have to or want to; there are forces at play inside of you and outside of you (yes, in Ohio, of all places) that recognize and respect the value of nakedness in mind and body and can instinctually lash that value to timbre, tone and harmony in the service of beauty."—Will Oldham, April 2024.

If you listen to LA LOM's music with your eyes closed, you might find yourself in a world somewhere between shimmering tropical heat and a black and white Hollywood crime thriller. Music with the “twang” of rockabilly, the sensuality of Latin American rhythms and the raw sound of modern independent music, which has already found prominent fans such as Beck and Vampire Weekend. Behind LA LOM, abbreviation for The Los Angeles League of Musicians, are the three LA-born musicians Zac Sokolow (guitar), Jake Faulkner (bass) and Nicholas Baker (drums/percussion). In 2019 they got together to play at the historic Roosevelt Hotel on Hollywood Boulevard, by now they perform concerts in front of thousands of people, released the first digital singles of their Latin and soul instrumentals and attract countless fans to their popular social media profiles. Their album debut on Verve Records was produced by Elliot Bergman (Cage the Elephant, Major Lazer, Wild Belle).

A vibrant kaleidoscope of sound, colour and emotion, British multi-hyphenate James Alexander Bright's new album 'Cool Cool' is set for release on 26th July via Athens Of The North. A dynamic set of urgent funkers, gentle soul ballads, head-nodders, fuzzy folkers and straight-up disco bangers span 10 songs that soundtrack fertile daydreams, esoteric dancefloors, languorous reflection, and wild excursions in nature and beyond.

James' voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead on this new record. Whether tenderly caressing on the title track's beautiful soul minimalism or deployed passionately on boogie machine 'Straight Line'; it's an immediately recognisable signature. Impressive multi-instrumentalism sees him perform on guitar, bass, keys, programming, percussion, production and myriad quirky effects; across song subjects that cover searching for truth, imagining the distant future, teen nostalgia, relaxation exploration, aspirations of freedom, and classic tales of love and romance.

"'Straight Line' started out as a wonky homage to 80s & 90s radio", says James. "It's based on the memory of meeting someone you want to stay up all night listening to music with". Disco highlight 'Your Love' is"based on the feeling of love and chasing it. It has a certain kinetic charm but holds a melancholic note also". Similarly, on soulful paean to romance 'Fall For You' James explains"You know when you've loved. To love is a magical thing whether it's an experience, an object, or a person; we've all loved and lost".

"'Cool Cool' is the most stripped back song I've ever written,"he confesses."Recorded in one afternoon with no special effects or production tricks, it feels quite timeless". In contrast the uninhibited 'Aguas Blancas' flexes with exuberance. James explains"It's a homage to one of my favourite beaches on the island of Ibiza. I was imagining being there as I made this. What's not to like about big waves, a buzzing beach shack bar, and nudity?".

As always with James' music, what started as a solo endeavour organically morphed into more of a family affair. Initially written and recorded at his home studio in the rolling hills of the Hampshire countryside, the tracks on 'Cool Cool' were completed in sessions with regular collaborator Peter Lyons in East London and Linkwood at Athens Of The North in Edinburgh. Old friends and new contribute vocals (Kerry Leatham and Katharine Alice), drums (Gillan McLaughlin and Joris Feiertag), and synths (Reuben Vaun Smith on 'Aguas Blancas'), plus collaborations with Wolverhampton electronic duo Letherette on 'I Feel Alive' and Ugandan/Nottingham singer-songwriter and guitarist Daudi Matsiko on 'Hear'.

James says"Some of these people I was in bands with as a kid, which is a pretty magical thing. I've been a fan of Letherette for years so it was a buzz when I asked Andrew to work on some tracks together and he was really into it. When Daudi shared a guitar part he wasn't sure what to do with on his Instagram stories, I messaged him to say "I'll make a track out of this!" and that then became 'Hear'".

The past six years has seen James release a veritable treasure trove of music: 'Mallorca' and 'Strange Folk' EPs, debut album 'Headroom', joyous second 'Float', an album of collaborations and reworks with cosmic Americana-disco DJ/producer duo Flying Mojito Bros, and a new project with Groove Armada's Tom Findlay as Bright & Findlay.

James balances music alongside the creative duality of a job in illustration and the responsibilities and constraints that come with raising a young family. Utilising any spare moment to write and record new ideas, his creative output under various projects had been relentless. Turning his back on apathetic major label offers in his early 20s, he's released through cult DIY label Tape Club Records, German stalwart !K7 Music and now with Scottish tastemaker Athens Of The North, presenting an evolving vision of a sound that has touched on everything from outsider art-rock to machine funk, mystic folk to experimental jazz.

Limited to 50 units

Garage Hermétique's sub-label dedicated to non-club excursions continues its exploration by welcoming Nummer to its collection of mixtapes.

Let yourself be captivated by the day unfolding under the morning sun, filtered dreamy synths, the memory of distant voices and eerie percussions; echoing in the garden, transporting the listener into a kaleidoscopic realm.

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

Originally from Ireland, but now settled in the peaceful countryside of rural France, Kaz Hawkins is the epitome of musical mastery and versatility. With a soul as rich as the music that inspired her growing up in Belfast, Northern Ireland, and a voice that crosses genres with ease, Kaz stands out as a singer, songwriter and performer extraordinaire. Her musical odyssey began decades ago, shaped by a deep love of blues, soul, jazz and folk, which have become her artistic pillars. Renowned for her spellbinding performances and heartfelt compositions, Kaz has charmed audiences the world over, weaving stories of resilience, love and the human experience through her melodies. A seasoned musician, Kaz's magnetic stage presence has graced countless venues, captivating audiences and leaving them eager for more. Her melodies transcend borders, resonating with diverse audiences and earning her a loyal fan base across continents. Beyond his musical talent, Kaz embodies authenticity, courageously sharing his past marked by domestic violence, depression, drugs and self-harm, inspiring others to find hope through his music and their own uniqueness. In 2024 and 2025, Kaz is ready to captivate her audience once again with the release of two live albums, "Live in Brezoi (I)" and "Live in Brezoi (II)". These albums capture the raw energy and emotion of her performances, showcasing her unrivalled talent and the undeniable bond she shares with her audience. Another album, different from the blues, is also in the pipeline and is being produced in Berlin for release in 2025. In addition, Kaz is embarking on exciting collaborations with other artists, infusing her soul essence into collaborative projects. The first is with French soul artist Thomas Kahn in a duet entitled "A Place Like Home", released on January 10, 2024. Other collaborations will be announced shortly. As she moves forward, Kaz aims to amplify her presence on social networks, creating deeper bonds with her fans and forging a community united by the magic of her music. In a world where melodies paint emotions and lyrics engrave memories, Kaz Hawkins stands as a testament to the power of music, inviting you to embark on an unforgettable sonic journey.

Electro-boogie-machine 'Straight Line' is taken from 'Cool Cool', the upcoming third album by British multi-hyphenate James Alexander Bright. "'Straight Line' started out as a wonky homage to 80s & 90s radio", says James. "It's based on the memory of meeting someone you want to stay up all night listening to music with".

James' passionate voice, pitched somewhere between Eddie Chacon, Beck and Michael McDonald, takes a confident lead over a melange of body-popping LinnDrum beats, a host of swooping, fuzzy synths, and backseat-rocking bass. Initially written and recorded at his home studio in the rolling hills of the Hampshire countryside, 'Straight Line' was completed with regular collaborator Peter Lyons in East London.

It's backed on 7" vinyl with the wonky dancefloor wobbler 'Oh My', sounding something like Theo Parrish producing Arthur Russell after a sleepless night.

The past six years has seen James release a veritable treasure trove of music, including 'Mallorca' and 'Strange Folk' EPs, debut album 'Headroom', joyous second 'Float', an album of collaborations and reworks with cosmic Americana-disco DJ/producer duo Flying Mojito Bros, and a new project with Groove Armada's Tom Findlay as Bright & Findlay.

James balances music alongside the creative duality of a job in illustration and the responsibilities and constraints that come with raising a young family. Utilising any spare moment to write and record new ideas, his creative output under various projects had been relentless. Turning his back on apathetic major label offers in his early 20s, he's released through cult DIY label Tape Club Records, German stalwart !K7 Music and now with Scottish tastemaker Athens Of The North, presenting an evolving vision of a sound that has touched on everything from outsider art-rock to machine funk, mystic folk to experimental jazz.

A dynamic set of urgent funkers, gentle soul ballads, head-nodders, fuzzy folkers and straight-up disco bangers; album 'Cool Cool' is set for release on 26th July via Athens Of The North.

Compiled by label founder Dom Ore Miles Away: One is a collection of tracks that spans continents, era and genres. Rooted in soul this compilation features recordings from legendary musical figures side-by-side with perhaps lesser-known soulful gems – all beautifully bought together in one cohesive long player.
Setting the tone is Idris Muhammad's spiritual-jazz recording I'm A Believer before moving into the modern soul and funk selections Miles Away have built their reputation around. We have the crossover-soul rarity Yes It's You by Eugene Smiley, the remarkable foot-to-the-floor soulful dance cut She's So Good by Solid Gold Revue, enduring soul funk explosion No Communication by True Transfusion, the gospel-infused Fantasy Ride by Uneda Dennard & the full length extended version of Superstar by Ruth Waters. Many tracks appearing here for the first time since their original release.
On the second disc the compilation begins to weave a slightly different direction compared to the output from Miles Away thus far. Here you'll find soundtrack and library music cuts from the likes of Czech artist Milan Kymlicka, renowned Argentinian composer Oscar Lopez Ruiz and noted Italian song-writer Paolo Zavallone alias Bimbo E I Milionari (edited by Ric Piccolo). Oddities and curiosities come in the form of Be My Friend by Laine August - an 80s electro-pop gem courtesy of Freeez keysman Andy Stennett. There's the stripped back street-soul-sounding Deeper by Colour and the breezy Latin American sounds of Paulina Virgo's Vale Valor. Finishing the set is Lady Africa Margaret Singana's timeless cover of the Stretch track Why Did You Do It.
Painstakingly researched and officially licensed from the artists, producers and labels that originally put out this wonderful music. In-depth liner notes go into great detail about each artist depicting their histories, stories and music - something which has been at the heart of Miles Away from day one. This music deserves to live on long in the memory!

Black Decelerant is the second installment of Reflections, a series showcasing contemporary collaborations orchestrated by RVNG Intl., recently inaugurated by Steve Gunn and David Moore.Black Decelerant, the duo of Khari Lucas, aka Contour, and Omari Jazz, explores jazz traditions, improvising with synthesizers, guitars, and electronics as a practice laid forth by their musical ancestors. This experience allows for sonic meditations on themes such as Black being/nonbeing, mourning/life, expansion/limitation, and the individual/the collective. The two strive to create a sonic surface which can simultaneously allow Black listeners a place to be still, and to serve as a basis for a movement beyond "the moment." The album's ten compositions configure vast, resonant landscapes with signals, weathers and spirits, suspended in memory and distilled in time. The Black Decelerant machine recalibrates archival relics and acoustic impulses into collages of amalgamated timbres, where harmony exists not without discordance. Across the expansive space of the record, cadent storms of modulated sound ascend beside serene melodic spells. Piano keys and bass lines tumble in free fall throughout the release, accompanied on tracks "two" and "eight" by the spectral trumpet improvisations of Jawwaad Taylor.The duo arrived at their name upon reading Aria Dean's Notes on Blacceleration, an article which explores Accelerationism within the context of Black being or non-being as a foundational tenet of capitalism. Coupled with the record's intended effect, "Black Decelerant" references the music being an invitation to slow down, while hinting at the shared politics between themselves and the artists and thinkers who inspire them.

Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro’s parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England’s Southern coast. “We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the 60s and 70s music I could find from there.

In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020-23, Wax Machine birthed three cult-favourite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau’s Brazilian sound was already beginning to blossom across Wax Machine’s releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana.

Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro’s delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife.

Like the musical equivalent of semantic drift, Lau Ro’s displacement led to the creation of another Brazil. A mythic place in Lau’s soul, as they put it, “where the sunshine and joy of my childhood remained untapped.” Lau continues: “It’s music that might sound as if it came out of a parallel universe Brazil, rather than its modern day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself.”

Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro’s parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England’s Southern coast. “We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the 60s and 70s music I could find from there.

In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020-23, Wax Machine birthed three cult-favourite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau’s Brazilian sound was already beginning to blossom across Wax Machine’s releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana.

Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro’s delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife.

Like the musical equivalent of semantic drift, Lau Ro’s displacement led to the creation of another Brazil. A mythic place in Lau’s soul, as they put it, “where the sunshine and joy of my childhood remained untapped.” Lau continues: “It’s music that might sound as if it came out of a parallel universe Brazil, rather than its modern day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself.”

n 1969, a transformation in Albina was underway. Displaced by the Vanport flood two decades prior, an influx of Black residents had settled in the area after redlining practices among the city’s realty boards provided few other options. A local economy among Albina’s Black residents had flourished for a time, but soon declined due to chronic disinvestment by the city’s elites. As with many urban centers in America, the impending ghetto-ization of the neighborhood developed as the civil rights movement was in full swing. And the citizens of Albina had something to say about it.

During this time, Shades Of Brown came together at the Albina Arts Center - a community hub for practicing artists of all stripes. A product of the Model Cities initiative, the center was established to develop the cultural and intellectual resources in the neighborhood amid the protests and civil unrest of the times. Paul Knauls’ Cotton Club had shuddered its doors in the wake of Martin Luther King Jr.’s assassination. Albina’s Black residents had been forcibly displaced from their homes to make way for urban renewal projects conceived by the Portland Development Commission. And Williams Avenue, the once-vibrant hub for Oregon’s jazz music with myriad Black-owned businesses lining the streets, was at risk of becoming a blighted shell of itself. Left to their own devices, Black artists were organizing to convey truth through their work and the Albina Arts Center was ground zero.

Rehearsing at the Albina Arts Center, members of the Shades Of Brown found one other as a variety of Albina’s musical acts were shifting, separating, reconstituting, and forming anew. The group would feature members of the Cavaliers Unlimited, Little Nolan & The Antoine Brothers, Youthsound, Upepo, and the Norman Sylvester Band. And as luck would have it, Free Meal Ticket - renowned soul singer Wilson Pickett’s group - would disband while on tour in Portland. This left director, composer, and future Grammy recipient Thara Memory en route to the Albina Arts Center. He was quickly recruited to become the bandleader for Shades Of Brown.

Equipped with the ephemeral resources flowing from the Model Cities initiative, Memory organized youth and adults into a variety of ensembles, and with a penchant for results-driven rigor he would furnish his pedagogy via musical boot camp with the Shades Of Brown. The band was required to read and write their music. Before a note was to be played, members were summoned to the blackboard to chalk out their parts on a musical staff. And it was not uncommon that rehearsals consisted of the band being drilled with marching routines, as was common in the tradition of Memory’s southern upbringing. This went on for months. When the results were in, Memory gave the green light for the band to perform. And the Shades Of Brown would have something to say about it.

Celebrating Albina Music Trust’s tenth vinyl release, the story of Shades Of Brown circles back to the label’s first outing, The Gangsters. Both records spotlight the impact of Thara Memory’s tutelage while highlighting the legacy of community-powered arts education in Albina. Even the label’s logo mark is an inspired interpretation of the Albina Arts Center’s motif.

Being the sole recorded output of Shades Of Brown, the album reflects the group’s sense of fellowship as well as the sentiments of its contemporaries in Albina - makers, dreamers, activists, and youth - under-resourced and confounded by the City Of Portland’s blatant disregard. As vocalist Gregg A. Smith lays bare on “Searchin’ For Love”, one can’t help but hold the image of this community and its cry for decency in light of limited services and harm. Over half a century later, we now have this document to ponder. What are we doing to prevent this from happening again?

Devoting an album entirely to the Persian poetry of Jami, aluminary of the Sufi tradition, was one of Haji Ghulam Farid Sabri"s cherished ambitions for a long time. This dream came true for the Qawwali icon when he visited Berlin in July 1991 at the invitation of the Heimatklänge ("Home Soundsfrom Home Planet Earth") festival, accompanied by his 14-year-old son Amjad. After Ghulam Sabri"s untimely death on the 5th of April 1994, Amjad Sabri became his musical successor, thereby passing on the Sufi Qawwali mastership of the Sabri family to the next generation. This all came to an end when Amjad was murdered for his Sufi beliefs in the streets of Karachi on the 22nd of June 2016. Thus, Jami is not only a memorial to the Sufi Muslim tradition and the Persian poet but also to Ghulam Farid Sabri and Amjad Sabri. It remains their only record in Farsi.

During the weekends, we used to drive a 131 "caffellatte" for a trip out of town towards the South. Family adventures from a distant time, the cassettes carefully chosen long before the departure, all around us the scent of the sea and in the background the Vesuvius.

In a kaleidoscope of memories and Mediterranean influences, Baffone recount in their own special way that Golden Age between the 70s and 80s. An era full of dreams, passions, unresolved issues and dizzying grooves. Mixing Napoli Soul, Funk, Disco and songwriting, Baffone gives us a profound investigation of the human soul, performed with an original and authentic language.

A tribute to primordial forces, the sea, the lava earth and the childhood that slips away.

Acclaimed UK electronic music producer, DMX Krew has announced a brand new album, "Unlikely Seeming", on the Byrd Out label. The8-track album showcases his blend of joyous, melodic synth hooks, textured pads and analogue drum machine rhythms. Leaving to one side pummeling sounds, the focus of this album is on sonic fun, mining the 80s pop vibe DMX Krew does so well. BBC 6 Music"s Tom Ravenscroft describes the trailing single "Wednesday Memory" as "the funkiest thing ever ... it"s almost too joyous".

After scoring a surprise hit in 2006’s red-hot 7” funk market with their cover of “C.R.E.A.M.,” El Michels Affair quickly turned around another smash 7” double-single of re-imagined takes of the Wu-Tang Clan. “Duel of the Iron Mics” sees the hypnotic piano hook of the “Liquid Swords”-classic elevated to intriguing heights with dramatic strings and Catch the blast of a hype version on the b-side, where “Bring Da Ruckus” is brought to life in imaginative ways not hinted at on the bulletproof original. The raw sample stabs and sub-bass of the stripped-down Wu-Tang stunner are replaced with mind-bending bass notes, and the re-played organ hook turned way up. Both of these tracks would eventually feature prominently on El Michels Affair’s landmark LP “Enter the 37th Chamber,” celebrating its 15th Anniversary in 2024.

Not so long ago Marlena Shaw was a forgotten figure. The talented vocalist had made several LPs for respected labels such as Cadet and Blue Note, and she'd performed regularly throughout the '60s and '70s. But she hardly had what you might call diva status. Falling into the unfortunate category that slips uneasily between soul and jazz, she was accepted - but not especially admired - by aficionados of either genre. Then came the '90s, and an open-minded enthusiasm for soul and jazz - and more importantly - everything in between - soon changed that. Marlena Shaw became an icon, and the diva status soon blossomed amongst her new-found soul-jazz fans.

Respect is a word that means much to any singer. The artist who stands up in the bright lights before an audience that has handed over their hard-earned cash has only their physical presence and naked voice to rely on. There is no hiding when you're on stage, you're the focus of attention and everybody is gawping at you. The singer yearns to communicate and entertain, and in return not only asks for appreciation and acceptance, but respect. To this end Marlena Shaw has endured decades of singing in the shadows, and she has only recently finally found her niche.

On Disc One we have 'California Soul', probably the most enduring and well-known of her many songs, but just a few seconds listening will tell you that it is much more than that. It's already a classic amongst those who have already seen the light and have danced and swayed to its timeless swing. Upon hearing it all lovers of soul, jazz – or any other kind of good music - will feel an aural glow as warm as the Californian sun. The song 'Liberation Conversation' on the flip was only ever available on her highly revered 1969 LP 'The Spice of Life'. This is where the 'Blues ain't nothing but a good woman gone bad' launches into an irresistible, relentless uptempo funk groove.

Disc Two showcases 'Wade in the Water', an ancient song rumoured to have been developed and popularised by slaves in the American south. The message is to pass on the notion that by fleeing in a bid for freedom through streams and rivers, the scent that bloodhounds use to follow their victims will be obscured. Marlena's version has long been a favourite dancefloor filler since its 45-only release back in 1966.

'Woman of the Ghetto' is one of her best-known songs and ends the set on the other side. The opening number from 'The Spice of Life', it's since been recognised for the classic it is, and as such has been afforded anthemic status. We release the original 45 version here, as used to promote the LP back in the day.

This special 2x7" product from Jazzman is dedicated to the memory of Marlena Shaw, b. 22 September 1939, d. 19 January 2024.