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Top tier tackle from Heels & Souls Recordings for their fourth reissue as they let loose a much anticipated double header, Gold In The Shade’s 'Over You' backed with 'Shining Through'. Rough, tough, straight-from-the-heart ‘90s street soul, coming courtesy of TSR bossman Robert Roper and the Gold In The Shade ladies Arletta Davis and Sonia Johnson. One of the most sought-after cuts of this scene, it encompasses much of what made street soul special - heavy bass, gritty breaks, emotive chords and off-kilter vocals, marrying together to form a snapshot of a raw DIY scene with optimism at its heart.

The trio’s first single from 1990, ‘Shining Through’ is a no nonsense, bassbin-rattling love song from the underground, seeing long-term friends Sonia and Arletta pulling on the heartstrings from the mic as Robert works his magic behind the studio controls.

Lovingly remastered from the DAT by Cicely Balston, if only ‘Over You’ had been so easy. Two years of endless searching for the tape and subsequently a clean copy of the record, Heels & Souls even went to the lengths of having the multitracks restored so that Robert could attempt to recreate the original mixdown in the studio – but the magic of ‘91, unfortunately, can’t simply be conjured at the drop of a hi-hat.

After all but losing hope, Sean P (by way of Backatcha’s Aiden Leacy), came to the rescue with a mint condition copy of the record that he had from running in the same circles as Robert and Duval back in the day, ripping and restoring it with a precision he’s rightly famed for. And so (finally!) here it is: distorted samples, low-fi hits, speaker rumbling bassweight and all. Raw to the core, but that’s the point – pure, unbridled emotion from the depths of North West London.

Fully licensed from Robert Roper, 20% of profits from Heels & Souls Recordings and Prime Direct Distribution will be donated to Lives Not Knives, a youth-led London-based charity, working to prevent knife crime, serious youth violence and school exclusions.

On Seeds, Georgia Muldrow takes a step back and leaves the beatmaking to Otis Jackson Jr., aka Madlib. As producers, Muldrow and Jackson are not worlds apart, so the switch requires no adjustment on the part of the listener. That said, this is one dense and tight set, barely over half-an-hour in length, and it's definitely in contention for Muldrow's most focused, funkiest, and (somewhat ironically) personal release to date. Throughout the record, the emphasis remains heavily fixated on her family as a unit of salvation and purpose. The most direct track of the lot is "Husfriend," where she honors her relationship with Dudley Perkins (a/k/a Declaime, who appears on “The Few”). Muldrow can't quite divorce the planetary and personal issues, heard vividly on "Best Love," which sounds just like a simple, sweet, straight-ahead love song until she starts asking her other half for money to build water wells on three continents ("We can make a difference if we try now"). Overall, Seeds is another left-field deviation in Muldrow's career: it's one of her most captivating and immediate front-to-back statements of purpose as a singer, but it's also the first album where she's handed over all the production duties to somebody else. In celebration of this album’s decenary run, Someothaship Connect is pleased to reintroduce an anniversary edition repress of this captivating release in partnership with Fat Beats.

Almost 2 years after the success of the album THE TONY ALLEN EXPERIMENTS and a few months after the release of the 7inch AMORE, Nu Guinea return to the scene with a new LP published by their newborn label NG RECORDS.
After touring the world looking for sounds suitable for their vibrations, NU GUINEA decided to go back to square one, Napoli, where Massimo Di Lena and Lucio Aquilina were born and raised. They watched their city from a distance reconstructing its energy from their studio in Berlin, calibrating the synths on the meridian of Vesuvius, the volcano that has always protected and threatened Napoli.
NUOVA NAPOLI is the result of a long musical research that has become a historical investigation on the sound that shaped Napoli during the ‘70s and ‘80s, starting from the contamination of genres (disco, jazz-funk, African rhythms) which ended up in Nu Guinea’s DNA.
In this album the synthesizers fill the spaces between the past and the future, tightening in a single body acoustic instruments, electronics and voices in Neapolitan dialect. It is the first time that the duo has worked with such a large group of musicians, some of whom are exponents of the contemporary Neapolitan scene.

WARNING: We recommend listening to Nuova Napoli while walking in the alleys of Napoli’s historic center, around wet clothes hanging and street vendors on tiny three-wheelers.

Following the mighty rendition of "I Want You", Soul Sugar (a.k.a. Guillaume 'Gee' Metenier) is back with another massive Soul-Reggae version, this time taking on Luther Vandross' "Never Too Much".
Fearlessly taking on such timeless classics is serious business, and Leo Carmichael delivers, once again, with a maximum dosage of finesse and feeling. Seductively delicate backing vocals from Carl Lee Sharshmidt and Karene Brown keep it as warm and intimate as one would hope, while Thomas Naim's tasteful guitar licks and Gee's minimal production allow the song to breathe and flow steadily on its own.
Recorded in Paris, Kingston, Miami and London, the resulting blend of Soul and Reggae riddims has rarely felt so natural. On the A-side, Gee's "Discomix" dubs a generous dose of the sultry backing vocals over a minimal, bassy groove that dips, dives and flows on into the sunset. UK producer Adam Prescott lets loose with an infectious 90's dancehall rerub, aiming straight for the dancefloor... ladies' choice! Finally rhythm legends Sly & Robbie drop the BASS with a heavy dancehall treatment, taking it low, letting it ride, while the vocals float on... Never Too Much!

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

Within Melbourne's burgeoning cinematic-soul scene, which includes breakout acts Surprise Chef and Karate Boogaloo, mysteriously sit The Pro-Teens. Helmed by prolific drummer and percussionist Hudson Whitlock, who also plays in both aforementioned bands, this breakaway studio project involves an interchangeable collective of incognito, Melbourne-based, esteemed instrumentalists playing under outlandish pseudonyms such as "'Dead Honest’ Dean Amazing" and "Libby Clique-Baite". Symbolically led by keyboardist "Snooch Dodd", new album ‘I Flip My Life Every Time I Fly’ is the latest musical concoction from Whitlock's eccentric brain, marrying the soul/funk roots of sample culture with the principles of boom-bap hip hop.

Incorporating the colourful comic book stylings of MF Doom and Kool Keith, or the dark and exotic flavours of Gravediggaz and The Wu-Tang Clan, The Pro-Teens also take cues from their composing heroes Galt MacDermot, Richard Evans and Marc Moulin. The Pro-Teens bop, zip, whip and fling on this phantasmagorical journey - an unorthodox patchwork of cinematic soul, hip hop-guided funk breaks, vivid instrumental textures and film score-esque moods.

The Pro-Teens work on the same analogue recording model adopted by the tight-knit College Of Knowledge label, self-recorded and produced with the rag-tag crew of musicians putting tracks down live to tape in crammed attic studios and sharehouse recording spaces. The first limited pressing of 'I Flip My Life Every Time I Fly' was released on the 'College Of Knowledge' imprint in late 2020. It was one of the highlights of the year at Mr Bongo HQ who loved the concept and felt this tripped out masterpiece from Melbourne needed to be heard well beyond those lucky enough to have bagged those limited first copies.

Within Melbourne's burgeoning cinematic-soul scene, which includes breakout acts Surprise Chef and Karate Boogaloo, mysteriously sit The Pro-Teens. Helmed by prolific drummer and percussionist Hudson Whitlock, who also plays in both aforementioned bands, this breakaway studio project involves an interchangeable collective of incognito, Melbourne-based, esteemed instrumentalists playing under outlandish pseudonyms such as "'Dead Honest’ Dean Amazing" and "Libby Clique-Baite". Symbolically led by keyboardist "Snooch Dodd", new album ‘I Flip My Life Every Time I Fly’ is the latest musical concoction from Whitlock's eccentric brain, marrying the soul/funk roots of sample culture with the principles of boom-bap hip hop.

Incorporating the colourful comic book stylings of MF Doom and Kool Keith, or the dark and exotic flavours of Gravediggaz and The Wu-Tang Clan, The Pro-Teens also take cues from their composing heroes Galt MacDermot, Richard Evans and Marc Moulin. The Pro-Teens bop, zip, whip and fling on this phantasmagorical journey - an unorthodox patchwork of cinematic soul, hip hop-guided funk breaks, vivid instrumental textures and film score-esque moods.

The Pro-Teens work on the same analogue recording model adopted by the tight-knit College Of Knowledge label, self-recorded and produced with the rag-tag crew of musicians putting tracks down live to tape in crammed attic studios and sharehouse recording spaces. The first limited pressing of 'I Flip My Life Every Time I Fly' was released on the 'College Of Knowledge' imprint in late 2020. It was one of the highlights of the year at Mr Bongo HQ who loved the concept and felt this tripped out masterpiece from Melbourne needed to be heard well beyond those lucky enough to have bagged those limited first copies.

Within Melbourne's burgeoning cinematic-soul scene, which includes breakout acts Surprise Chef and Karate Boogaloo, mysteriously sit The Pro-Teens. Helmed by prolific drummer and percussionist Hudson Whitlock, who also plays in both aforementioned bands, this breakaway studio project involves an interchangeable collective of incognito, Melbourne-based, esteemed instrumentalists playing under outlandish pseudonyms such as "'Dead Honest’ Dean Amazing" and "Libby Clique-Baite". Symbolically led by keyboardist "Snooch Dodd", new album ‘I Flip My Life Every Time I Fly’ is the latest musical concoction from Whitlock's eccentric brain, marrying the soul/funk roots of sample culture with the principles of boom-bap hip hop.

Incorporating the colourful comic book stylings of MF Doom and Kool Keith, or the dark and exotic flavours of Gravediggaz and The Wu-Tang Clan, The Pro-Teens also take cues from their composing heroes Galt MacDermot, Richard Evans and Marc Moulin. The Pro-Teens bop, zip, whip and fling on this phantasmagorical journey - an unorthodox patchwork of cinematic soul, hip hop-guided funk breaks, vivid instrumental textures and film score-esque moods.

The Pro-Teens work on the same analogue recording model adopted by the tight-knit College Of Knowledge label, self-recorded and produced with the rag-tag crew of musicians putting tracks down live to tape in crammed attic studios and sharehouse recording spaces. The first limited pressing of 'I Flip My Life Every Time I Fly' was released on the 'College Of Knowledge' imprint in late 2020. It was one of the highlights of the year at Mr Bongo HQ who loved the concept and felt this tripped out masterpiece from Melbourne needed to be heard well beyond those lucky enough to have bagged those limited first copies.

In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their fi rst record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound. With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives. Featuring musical contributions from Mary Lattimore, Robin Pecknold (Fleet Foxes), Anant Pradhan, Nick Movshon, Leon Michels (El Michels Affair), Shannon Wise (The Shacks), Dave Guy (The Roots), and Elliot Skinner.

For the past 4 years the band has criss-crossed the Netherlands. Playing sold out shows at clubs, theaters and festivals from north to south, east to west. Capturing the heart and soul of every person there.

All the travelling also has rendered further personal development and awareness of who Michelle David & The True-tones are. We know them as a band that makes every show a soul spectacle with their unique gospel combined with soul, blues, jazz and afrobeat. Now with a new album coming up; 'Truth & Soul’ (29-04-2022) they expanded their musical horizon even more. Dreamy Indie soul with a heavy 70’s vibe mixed with Brazilian flavors and African Rhythms.

Truth & Soul also contains particularly personal duets with Lilian Vieira and Dobet Gnahoré, both well known for their extraordinary musical talent. Knowing who we are enables us to connect even more with those around us.- Michelle. 'You Can Make it' (the first single of the album) features Grammy - Winner Dobet Gnahoré. Hailing from Côte d’Ivoire Dobet Gnahoré is one of Africa’s hottest and most beloved artists.

Michelle: The lyrics are affirmations that should be on Repeat. In times such as these we need to know we CAN AND Will Make IT!

Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel.

Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel.

Alex Puddu will be releasing the brand new album ”Night People” with his record label Al Dente Music. A great record written and produced by Alex Puddu that follows his latest album ”Love After Dark” Night People is a truly soulful piece of work in style with classic R&B groove and retro 80’s synth-pop. The Album was recorded in Rome in Italy at the Tube Recording Studio where Alex Puddu collaborated with legendary session musicians from the pop and Italo-disco scene from the early 80’s such as bass player Dino Kappa (Libra, Franco Micalizzi, Alan Sorrenti, Loredana Berté) and drummer Agostino Marangolo (Goblin, Pino Daniele, Enzo Carella, Mike Francis).and Giovanni Guerretti one of the best italian Piano and keyboard player of the new musicscene. Night People includes the six singles that had allready a great airplay across the nations ” If You Desire” featuring Vincent Bates, ” Leaving This Town” and Don’t Stop The Music” Feat. CaiNo, ”Call Me” feat. Simone Miller and ”Victim Of Love and Future Woman” Feat . James Knights. Agostino Marangolo: Drums Dino Kappa: Bass Giovanni Guerretti: Piano Synthesizer, clavinet., electric piano Alex Puddu: Synthesizers, piano, electric guitar, organ, drums, percussion with Hendrik Jørgensen (Trumpet) Mikkel Fleron (Sax) Morten Grønvad (Vibrafon) Bburny Pelsmajer Synthesizer strings,Moog Gavino Congiatta : BassRecorded in Italy at Tube Recording Studio, engineered by Francesco Lupi , and recorded by Alex Puddu at Sexy Lady Studio Copenhagen, all tracks mixed by Kamilo Kratc exept track A2,B2,B3 mixed by Morten Trøst, mastered by Kamilo Kratc in N.Y.C - Horns arrangements on B1,B3 by Hendrik Jørgensen exept b4 horns arrangement by Hendrik Jorgensen and Alex Puddu Music and lyrics by A. Puddu Produced by Alex Puddu

Alex Puddu will be releasing the brand new album ”Night People” with his record label Al Dente Music. A great record written and produced by Alex Puddu that follows his latest album ”Love After Dark” Night People is a truly soulful piece of work in style with classic R&B groove and retro 80’s synth-pop. The Album was recorded in Rome in Italy at the Tube Recording Studio where Alex Puddu collaborated with legendary session musicians from the pop and Italo-disco scene from the early 80’s such as bass player Dino Kappa (Libra, Franco Micalizzi, Alan Sorrenti, Loredana Berté) and drummer Agostino Marangolo (Goblin, Pino Daniele, Enzo Carella, Mike Francis).and Giovanni Guerretti one of the best italian Piano and keyboard player of the new musicscene. Night People includes the six singles that had allready a great airplay across the nations ” If You Desire” featuring Vincent Bates, ” Leaving This Town” and Don’t Stop The Music” Feat. CaiNo, ”Call Me” feat. Simone Miller and ”Victim Of Love and Future Woman” Feat . James Knights. Agostino Marangolo: Drums Dino Kappa: Bass Giovanni Guerretti: Piano Synthesizer, clavinet., electric piano Alex Puddu: Synthesizers, piano, electric guitar, organ, drums, percussion with Hendrik Jørgensen (Trumpet) Mikkel Fleron (Sax) Morten Grønvad (Vibrafon) Bburny Pelsmajer Synthesizer strings,Moog Gavino Congiatta : BassRecorded in Italy at Tube Recording Studio, engineered by Francesco Lupi , and recorded by Alex Puddu at Sexy Lady Studio Copenhagen, all tracks mixed by Kamilo Kratc exept track A2,B2,B3 mixed by Morten Trøst, mastered by Kamilo Kratc in N.Y.C - Horns arrangements on B1,B3 by Hendrik Jørgensen exept b4 horns arrangement by Hendrik Jorgensen and Alex Puddu Music and lyrics by A. Puddu Produced by Alex Puddu

Easily one of our favourite exclusive labels, Lyskestrekk return with the sensational new long player from Flammer Dance Band.

Incendiary live shows, a dedication to their unique sound and a series of instant sell-out releases have insured this superb outfit have won fans the world over, with DJ royalty like Gilles Peterson & Harvey getting on board too. We're only getting 300 of this fIrst press for the world, so we'll split as evenly as possible - but expect rationing !

Members of Poets of Rhythm and Faruk Green present a heady approach to Jazz and Low Rock instrumentals from Berlin, Germany. Horns, drum breaks, basslines and keys seething with freedom and emotion. The debut LP from Feed LA works in tandem with the albums cover art, a beautifully structured abstraction of flowering sound beams, gently crashing into itself, uncovering intriguing rhythmic discoveries and subtle sonic nuances with each listen.

Feed LA is:
Özgür Bayraktar – keyboards, Daniel Ray Gahn – drums, Jeff Özdemir – bass, Michael Treetop Voß – trumpet, vocals

Ruth Koleva hails from Sofia, Bulgaria, and has been a TV star and singing out concert halls for years. She has also long been singing on some superb broken beat and nu-jazz records while working with top-level production talent and having her tunes remixed by Zed Bias, Kaidi Tatham, Mark de Clive-Lowe and Eric Lau. The neo-soul star's Ruth album gets a special anniversary edition release here with four heart-melting and textbook neo-soul tunes on the A-side then some super remixes on the flip. This is timeless stuff that works on the heart and the heel in equal measure.

It's the album that modern funk heads have been waiting for - a Zackey Force Funk project produced entirely by XL Middleton. With no guest features or producers, Blue Blade Piranha showcases the chemistry of one of the west coast's dynamic duos of funk. XL's synth-driven soundscapes pull heavily from 80's boogie & 90's g-funk, with occasional sprinklings of house & minimal wave. They provide the perfect backdrop for Zackey's breezy, yet hallucinatory ruminations on the intoxicating highs and grievous lows of street life.

At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases. American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward. The band’s previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in december 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota.

Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter’s planetary frequency and the studio’s abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record. ‘Taste What We Taste’ is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. ‘Banana’ celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On ‘Royal Tears’, the jagged guitar chops call back to Gang Of Four, while the hot n’ heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits. Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn’t be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52’s Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras. There’s space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as ‘Sirens’ opens the album up in a swirling pond of rag tag percussion and molten synths. ‘Words Would Handcuff Us’ cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships. Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience – a joyously transient chapter in the evolution of American Cream Band.

Over heard an old song so good you wish you knew it when it came out? The chief at Sleepers Recordz heard Keep On Dancin’ and felt compelled to press it to vinyl. A masterful blend of 21st Century Pop, Funk, and Soul that never fails to get folks groovin no matter the age or background. Inspired by the pop sounds of the era, Temu crafted the perfect ear worm tailored for an audience in Copenhagen, Denmark, where he once resided in 2010. It instantly became an infectious local smash hit and it still slaps now. Temu revisits this jam from over a decade ago with a newly remastered cut, remixes and a stripped down version available on all streaming platforms. On the B-Side of the vinyl is a window into what would become one of Temu’s signature sounds, “Body Move”. Tailored specifically for the robotic “Popping” style of streetdance in 2015, Temu crafted an entirely new instrumental groove using a sample of his talkbox from his song “Magic & Sorcery” found on the Relic of the Mothership album. However, pro street dancer or not, the chances of anyone being able to stand still while listening to this are very, very low.

The Amsterdam-based duo of Lyma and Rebiere aka Likeminds follow up their debut album On My Way with versions from its predecessor.

Sometimes life throws you a curveball and you still gotta make it to first base. That’s what happened when Rebiere’s laptop was stolen, along with all the recordings of their original debut album. The pair made a brand new album from scratch, but they kept coming back to the demos from the lost recordings. They started to rework the sound as a whole, adding finishing touches, including additions from Bo Floor and Gino Groeneveld from Jungle By Night. The demos weren’t the same as the stolen tracks, but they learned to love the imperfections all the same.

The Lost Tape takes you on a journey - through low-slung beats, party jams, soulful. melodies and woozy synths, all masterfully woven together with samples and field recordings from Amsterdam’s watery canalways. It’s also the story of how the duo met, at a time when Lyma felt lost at sea with his collection of unreleased tracks, before Rebiere threw him a lifeline and brought some focus and clarity. Sometimes finding a like-minded friend can make all the difference.

Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.

Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, Mega Wega was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.

For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the Covid-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.

So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.

Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.

Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).

Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.

“Make It Happen” is a positive, uplifting, track filled with in-your-face brass, dirty wah guitar, and group vocals that fans of “Sly and The Family Stone” will fall in love with. Make it happen, is a conversation with yourself, don’t wait till it’s too late, you got to do, to make it happen. You’ve got what it takes, but that’s not enough if you don’t try. With vocals that start low, but reach highs you don’t think possible, “Make It Happen” gives you no choice but to dance, sing and clap along, and most importantly to take their advice and “Make It Happen”.

Orgone are back in California and hitting their stride with "Chimera", a fire-breathing spectacle of psychedelic Afro-soul. Produced by Sergio Rios (Neal Francis, Say She She), "Chimera" is an electrifying, dream-like odyssey that takes you through the foggy swamps of New Orleans, weaving textures of beguiling voodoo soul, booming Afro-funk and rock-hard psych-rock. On "Chimera", the band from Los Angeles transforms hard, dark and infectious grooves into rousing dance rhythms. "Chimera", named after a mythical beast with the head of a lion, the body of a goat and the tail of a snake, conjures up a state that is simultaneously trance-like and heartbreakingly exciting. The album begins like an intoxicating cloud of smoke in the face with "Hallowed Dreams", drawing the listener into a state where reality blurs and the music takes control. The focus track "Zum Zum" is a rousing Afro-funk dance floor heater that synchronizes the heartbeat with the driving percussion, the hypnotic rhythm building to a rushing, psychedelic climax. On the raw and infectious 'Tula Muisi (Dance Like Them)', a blend of Afrobeat and heavy psych-rock, the singer calls for unity and respect, which translates as 'hear the music and dance like them'. The band is known for their gripping instrumentals and rousing live show. The well-earned confidence of this proven and iconic band can be heard on "Chimera". From the beginning, Orgone has been a chimera - a multi-faceted creation and the physical manifestation of impossible quixotic dreams. Chimera will delight fans of early Orgone while showcasing the band's effortless and infinite ability to change shape. It's an electrifying, mesmerizing album that exceeds expectations and keeps the listener on the edge of their seat.

Polistrumentalist, composer and producer Alex Puddu (Al Dente/Schema Records), also known for his collaborations with Edda Dell'Orso (Maestro Morricone's legendary vocalist,) Joe Bataan, Lonnie Jordan from L.A funk band War, and Gene Robinson Jr of Breakwater, and who boasts a solo discography of 17 albums, including the three original volumes of the red light soundtracks of Danish films" The Golden Age Of Danish xxxography.

He debuts for the first time with a new double single sang in Italian language, with two tracks "Pullover Grigio" and Texas Blonde", proposing a new sound that draws us into the Italian funk pop music of the late 70s and early 80s and into the pop/indie melodies of the new Italian scene, up to electronic sounds (as Calcutta, Fulminacci, Fra Quintale, Marco Castello and Nu Genea have done), between soul and disco, which are part of Alex Puddu's unmistakable production style. Don’t Miss It!

Big Crown Records is proud to present Forever & Ever, the debut album from Thee Heart Tones. Hailing from Hawthorne, California, Thee Heart Tones are both carrying on a tradition and pushing the boundaries with their music. Lead singer Jazmine Alvarado is just 19 years old and the oldest member of the group, Jorge Rodriguez is 21, but one listen to their record and it becomes blatantly apparent they are a talent well beyond their years. Thee Heart Tones are Jazmine on vocals, Ricky Cerezo on keys and organ, Jorge on drums, Jeffrey Romero on bass, Peter Chagolla on lead guitar, and Walter Morales on rhythm guitar. As the story goes, "one day I got a DM from Ricky Cerezo asking if I wanted to write a song for his new (then unnamed) band," Jazmine says. "I knew his drummer and the other boys from middle school, so they were familiar faces. They sent me an mp3 of an instrumental they'd written and told me they wanted lyrics, so I wrote some and sent it to them." That song ended up being "Don't Take Me as a Fool," a downbeat, minor key ballad on which Jazmine's sultry, pitch-perfect vocals soar, and which is now destined for their debut album. Ricky went home to play "Don't Take Me As a Fool", recorded as a voice note on his phone, to his dad. "I was hesitant. Dad knew this music better than anyone; he grew up with it. But he grabbed my phone and held it to his ear. His approval meant a lot to me. But he had the same reaction Jorge and I did when we fi¬rst heard Jazmine sing. `This is going to be a hit,' he told me. `You guys have something really special here'." It was that same recording that caught the ears of Leon Michels and Danny Akalepse of Big Crown Records, who both heard the potential in the group immediately. After they signed to the label, Leon flew out to Los Angeles to record their debut album with Tommy Brenneck at Tommy's Diamond West studio. They knocked out 14 songs in fi¬ve days, capturing the charm of teenage soul and mixing it with their seasoned production prowess and the result is a modern classic Soul album. Album opener and title track "Forever & Ever" is an infectious two-stepper that instantly lifts your mood while heavy duty B side ballads like "Should I Call You Tonight", "Cry My Tears Away", and "It's Time" hold court with the genre's classics. They pick up the pace and ¬fill the dancefloor with "Need Something More" as Jazmine matter of factly sets the record straight on a Northern Soul styled track. They cover the Alvaro Carrillo penned classic "Sabor A Mi" to great effect, doing it justice and putting their version right up there with the best of them. Another standout is their version of The Vanguards classic "Somebody Please" which they change the tone of and take to a different level. The punching drums of "No Longer Mine" juxtapose Jazmine's honeyed vocals and wind up with the gritty energy of a mid-90s hip hop sample. Forever & Ever is both a testament to their unmistakable musical chemistry and talent. Their intentions as a band are testament to their collective character. Choosing to cover "Sabor A Mi" "allows us to let our audience know we go back to our roots," Jazmine says. "Growing up in LA, you get influenced by the city, the artwork, the music," Ricky says. "Dad didn't own a lowrider car, but other members of our family did. Impalas. El Caminos. We were influenced by the culture, particularly Chicano culture. And oldies and soul music played a big part." The style. The culture. The nod to the past. "That's what we're going for. We want to connect young Chicanos with their heritage. And we want to unite people _ old and young."

Limited to 150 copies, only available at HHV!

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signicant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and inuences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this rst solo offering is just the beginning of his next chapter.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signicant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and inuences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this rst solo offering is just the beginning of his next chapter.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signicant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and inuences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this rst solo offering is just the beginning of his next chapter.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signicant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and inuences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this rst solo offering is just the beginning of his next chapter.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signicant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and inuences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this rst solo offering is just the beginning of his next chapter.

Big Crown Records is proud to present Forever & Ever, the debut album from Thee Heart Tones. Hailing from Hawthorne, California, Thee Heart Tones are both carrying on a tradition and pushing the boundaries with their music. Lead singer Jazmine Alvarado is just 19 years old and the oldest member of the group, Jorge Rodriguez is 21, but one listen to their record and it becomes blatantly apparent they are a talent well beyond their years. Thee Heart Tones are Jazmine on vocals, Ricky Cerezo on keys and organ, Jorge on drums, Jeffrey Romero on bass, Peter Chagolla on lead guitar, and Walter Morales on rhythm guitar. As the story goes, "one day I got a DM from Ricky Cerezo asking if I wanted to write a song for his new (then unnamed) band," Jazmine says. "I knew his drummer and the other boys from middle school, so they were familiar faces. They sent me an mp3 of an instrumental they'd written and told me they wanted lyrics, so I wrote some and sent it to them." That song ended up being "Don't Take Me as a Fool," a downbeat, minor key ballad on which Jazmine's sultry, pitch-perfect vocals soar, and which is now destined for their debut album. Ricky went home to play "Don't Take Me As a Fool", recorded as a voice note on his phone, to his dad. "I was hesitant. Dad knew this music better than anyone; he grew up with it. But he grabbed my phone and held it to his ear. His approval meant a lot to me. But he had the same reaction Jorge and I did when we fi¬rst heard Jazmine sing. `This is going to be a hit,' he told me. `You guys have something really special here'." It was that same recording that caught the ears of Leon Michels and Danny Akalepse of Big Crown Records, who both heard the potential in the group immediately. After they signed to the label, Leon flew out to Los Angeles to record their debut album with Tommy Brenneck at Tommy's Diamond West studio. They knocked out 14 songs in fi¬ve days, capturing the charm of teenage soul and mixing it with their seasoned production prowess and the result is a modern classic Soul album. Album opener and title track "Forever & Ever" is an infectious two-stepper that instantly lifts your mood while heavy duty B side ballads like "Should I Call You Tonight", "Cry My Tears Away", and "It's Time" hold court with the genre's classics. They pick up the pace and ¬fill the dancefloor with "Need Something More" as Jazmine matter of factly sets the record straight on a Northern Soul styled track. They cover the Alvaro Carrillo penned classic "Sabor A Mi" to great effect, doing it justice and putting their version right up there with the best of them. Another standout is their version of The Vanguards classic "Somebody Please" which they change the tone of and take to a different level. The punching drums of "No Longer Mine" juxtapose Jazmine's honeyed vocals and wind up with the gritty energy of a mid-90s hip hop sample. Forever & Ever is both a testament to their unmistakable musical chemistry and talent. Their intentions as a band are testament to their collective character. Choosing to cover "Sabor A Mi" "allows us to let our audience know we go back to our roots," Jazmine says. "Growing up in LA, you get influenced by the city, the artwork, the music," Ricky says. "Dad didn't own a lowrider car, but other members of our family did. Impalas. El Caminos. We were influenced by the culture, particularly Chicano culture. And oldies and soul music played a big part." The style. The culture. The nod to the past. "That's what we're going for. We want to connect young Chicanos with their heritage. And we want to unite people _ old and young."

Big Crown Records is proud to present Forever & Ever, the debut album from Thee Heart Tones. Hailing from Hawthorne, California, Thee Heart Tones are both carrying on a tradition and pushing the boundaries with their music. Lead singer Jazmine Alvarado is just 19 years old and the oldest member of the group, Jorge Rodriguez is 21, but one listen to their record and it becomes blatantly apparent they are a talent well beyond their years. Thee Heart Tones are Jazmine on vocals, Ricky Cerezo on keys and organ, Jorge on drums, Jeffrey Romero on bass, Peter Chagolla on lead guitar, and Walter Morales on rhythm guitar. As the story goes, "one day I got a DM from Ricky Cerezo asking if I wanted to write a song for his new (then unnamed) band," Jazmine says. "I knew his drummer and the other boys from middle school, so they were familiar faces. They sent me an mp3 of an instrumental they'd written and told me they wanted lyrics, so I wrote some and sent it to them." That song ended up being "Don't Take Me as a Fool," a downbeat, minor key ballad on which Jazmine's sultry, pitch-perfect vocals soar, and which is now destined for their debut album. Ricky went home to play "Don't Take Me As a Fool", recorded as a voice note on his phone, to his dad. "I was hesitant. Dad knew this music better than anyone; he grew up with it. But he grabbed my phone and held it to his ear. His approval meant a lot to me. But he had the same reaction Jorge and I did when we fi¬rst heard Jazmine sing. `This is going to be a hit,' he told me. `You guys have something really special here'." It was that same recording that caught the ears of Leon Michels and Danny Akalepse of Big Crown Records, who both heard the potential in the group immediately. After they signed to the label, Leon flew out to Los Angeles to record their debut album with Tommy Brenneck at Tommy's Diamond West studio. They knocked out 14 songs in fi¬ve days, capturing the charm of teenage soul and mixing it with their seasoned production prowess and the result is a modern classic Soul album. Album opener and title track "Forever & Ever" is an infectious two-stepper that instantly lifts your mood while heavy duty B side ballads like "Should I Call You Tonight", "Cry My Tears Away", and "It's Time" hold court with the genre's classics. They pick up the pace and ¬fill the dancefloor with "Need Something More" as Jazmine matter of factly sets the record straight on a Northern Soul styled track. They cover the Alvaro Carrillo penned classic "Sabor A Mi" to great effect, doing it justice and putting their version right up there with the best of them. Another standout is their version of The Vanguards classic "Somebody Please" which they change the tone of and take to a different level. The punching drums of "No Longer Mine" juxtapose Jazmine's honeyed vocals and wind up with the gritty energy of a mid-90s hip hop sample. Forever & Ever is both a testament to their unmistakable musical chemistry and talent. Their intentions as a band are testament to their collective character. Choosing to cover "Sabor A Mi" "allows us to let our audience know we go back to our roots," Jazmine says. "Growing up in LA, you get influenced by the city, the artwork, the music," Ricky says. "Dad didn't own a lowrider car, but other members of our family did. Impalas. El Caminos. We were influenced by the culture, particularly Chicano culture. And oldies and soul music played a big part." The style. The culture. The nod to the past. "That's what we're going for. We want to connect young Chicanos with their heritage. And we want to unite people _ old and young."

Big Crown Records is proud to present Forever & Ever, the debut album from Thee Heart Tones. Hailing from Hawthorne, California, Thee Heart Tones are both carrying on a tradition and pushing the boundaries with their music. Lead singer Jazmine Alvarado is just 19 years old and the oldest member of the group, Jorge Rodriguez is 21, but one listen to their record and it becomes blatantly apparent they are a talent well beyond their years. Thee Heart Tones are Jazmine on vocals, Ricky Cerezo on keys and organ, Jorge on drums, Jeffrey Romero on bass, Peter Chagolla on lead guitar, and Walter Morales on rhythm guitar. As the story goes, "one day I got a DM from Ricky Cerezo asking if I wanted to write a song for his new (then unnamed) band," Jazmine says. "I knew his drummer and the other boys from middle school, so they were familiar faces. They sent me an mp3 of an instrumental they'd written and told me they wanted lyrics, so I wrote some and sent it to them." That song ended up being "Don't Take Me as a Fool," a downbeat, minor key ballad on which Jazmine's sultry, pitch-perfect vocals soar, and which is now destined for their debut album. Ricky went home to play "Don't Take Me As a Fool", recorded as a voice note on his phone, to his dad. "I was hesitant. Dad knew this music better than anyone; he grew up with it. But he grabbed my phone and held it to his ear. His approval meant a lot to me. But he had the same reaction Jorge and I did when we fi¬rst heard Jazmine sing. `This is going to be a hit,' he told me. `You guys have something really special here'." It was that same recording that caught the ears of Leon Michels and Danny Akalepse of Big Crown Records, who both heard the potential in the group immediately. After they signed to the label, Leon flew out to Los Angeles to record their debut album with Tommy Brenneck at Tommy's Diamond West studio. They knocked out 14 songs in fi¬ve days, capturing the charm of teenage soul and mixing it with their seasoned production prowess and the result is a modern classic Soul album. Album opener and title track "Forever & Ever" is an infectious two-stepper that instantly lifts your mood while heavy duty B side ballads like "Should I Call You Tonight", "Cry My Tears Away", and "It's Time" hold court with the genre's classics. They pick up the pace and ¬fill the dancefloor with "Need Something More" as Jazmine matter of factly sets the record straight on a Northern Soul styled track. They cover the Alvaro Carrillo penned classic "Sabor A Mi" to great effect, doing it justice and putting their version right up there with the best of them. Another standout is their version of The Vanguards classic "Somebody Please" which they change the tone of and take to a different level. The punching drums of "No Longer Mine" juxtapose Jazmine's honeyed vocals and wind up with the gritty energy of a mid-90s hip hop sample. Forever & Ever is both a testament to their unmistakable musical chemistry and talent. Their intentions as a band are testament to their collective character. Choosing to cover "Sabor A Mi" "allows us to let our audience know we go back to our roots," Jazmine says. "Growing up in LA, you get influenced by the city, the artwork, the music," Ricky says. "Dad didn't own a lowrider car, but other members of our family did. Impalas. El Caminos. We were influenced by the culture, particularly Chicano culture. And oldies and soul music played a big part." The style. The culture. The nod to the past. "That's what we're going for. We want to connect young Chicanos with their heritage. And we want to unite people _ old and young."

Enigmatic instrumental group from The Pro-Teens pay tribute to the late great rapper MF DOOM, reimagining 14 iconic cuts through a wonky boom bap funk lens.Helmed by Hudson Whitlock, prolific drummer and percussionist of Karate Boogaloo and Surprise Chef, Melbourne's The Pro-Teens is a collective of instrumentalists making weirdo instrumental soul records. Drawing from the community of musicians from such bands in the College Of Knowledge orbit, The Pro-Teens' incorporate the comic book stylings of DOOM and Kool Keith, the dark and exotic flavors of Gravediggaz and Wu-Tang Clan, the cinematic compositional mastery of Galt MacDermot, Richard Evans and Marc Moulin, culminating in an unorthodox patchwork of cinematic soul, boom-bap funk breaks and left-field instrumental textures. MF TEEN: Your Concurrence In The Above Is Assumed recognises the legacy of rap's Illest Villain, traversing MF DOOM's discography and personas, flipping selections from Madvillain, MM.. FOOD, Viktor Vaughan, Danger Doom and more, taking care to ensure recognisable tunes such as Doomsday and Curls are represented alongside more obscure cuts such as The Gas Face, the Third Bass song that featured the first recorded verse from MF DOOM in his original moniker of Zev Love X of KMD. The full-length album follows the Pro-Teens now collectible 7"s of The Pro-Teens' renditions of Peachfuzz b/w One Beer and Doomsday b/w Curls, releases that built a feverous anticipation for the complete album. MF TEEN: Your Concurrence In The Above Is Assumed comes after 2021's Snooch Dodd & The Pro-Teens - I Flip My Life Every Time I Fly, co-released with UK tastemaker label Mr Bongo.

Enigmatic instrumental group from The Pro-Teens pay tribute to the late great rapper MF DOOM, reimagining 14 iconic cuts through a wonky boom bap funk lens.Helmed by Hudson Whitlock, prolific drummer and percussionist of Karate Boogaloo and Surprise Chef, Melbourne's The Pro-Teens is a collective of instrumentalists making weirdo instrumental soul records. Drawing from the community of musicians from such bands in the College Of Knowledge orbit, The Pro-Teens' incorporate the comic book stylings of DOOM and Kool Keith, the dark and exotic flavors of Gravediggaz and Wu-Tang Clan, the cinematic compositional mastery of Galt MacDermot, Richard Evans and Marc Moulin, culminating in an unorthodox patchwork of cinematic soul, boom-bap funk breaks and left-field instrumental textures. MF TEEN: Your Concurrence In The Above Is Assumed recognises the legacy of rap's Illest Villain, traversing MF DOOM's discography and personas, flipping selections from Madvillain, MM.. FOOD, Viktor Vaughan, Danger Doom and more, taking care to ensure recognisable tunes such as Doomsday and Curls are represented alongside more obscure cuts such as The Gas Face, the Third Bass song that featured the first recorded verse from MF DOOM in his original moniker of Zev Love X of KMD. The full-length album follows the Pro-Teens now collectible 7"s of The Pro-Teens' renditions of Peachfuzz b/w One Beer and Doomsday b/w Curls, releases that built a feverous anticipation for the complete album. MF TEEN: Your Concurrence In The Above Is Assumed comes after 2021's Snooch Dodd & The Pro-Teens - I Flip My Life Every Time I Fly, co-released with UK tastemaker label Mr Bongo.