Search "hello+cruel+world" 112 Items

The highly anticipated follow-up to Thee Sacred Souls's breakout 2022 self-titled debut, Got A Story To Tell, features 12 all original new songs, a soaring statement of exquisite craftsmanship from this young band from San Diego whose story grows bigger by the day. Recorded and produced by Gabriel Roth at Penrose Recorders, in Daptone’s Riverside, CA studio, and written in the throes of supporting their 2022 album, which was met with significant excitement and major touring that brought them across the world. What swirls together on Got A Story To Tell is an appreciation of decades of soul music, and beyond - a sound and feel that is timeless, lived in, and very much in the now. Album opener “Lucid Girl” champions independent women, set to some of the toughest sounding drums and bass the band has yet to put to tape. “Waiting On The Right Time” slinks with a touch of slow-burning psychedelia. A plea for empathy punctuates “One and the Same,” with Lane singing: “We’re one and the same, I feel one day / We learn to live with each other / In love, not fear / Just for a moment, why can’t we be together.” “On My Mind” is a sweeping orchestration, with Lane navigating the complexities of finding happiness while balancing the good with the bad. The album is punctuated with strings and squelching guitar, trundling piano, pops of conga, horns - it makes for a thrilling, layered listen that rewards with multiple spins.

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.

The trio's collective musical DNA, the years spent constructing it in Houston's local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko's reverb-heavy electric, dancing gently around Laura Lee's minimalist almost-dub bass triangles, while DJ's drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there's a freshness to A La Sala's instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world's external wonders. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on "Fifteen Fifty-Three"), West African discos (on "Pon Pón"), G-funk fantasias ("Todavía Viva"), living room dancing moments (the first single, "A Love International"), or even ambient found-sounds (on "Farolim de Felgueiras” and throughout the album) - are ingrained characteristics. This is who they are! Unique and huge (and growing), ambitious and driven. Khruangbin's aspirations and commitment to playful creativity even extends to A La Sala's vinyl packages, of which there will be seven distinctive covers and color-sets. Designed by the band using Marko's multitude of travelog photos, the images are windows from the band's living room onto a set of daydreams, scenes of impossible skies, external glances that illuminate what is going on inside. Each cover image comes with a matching color vinyl. These too are all about looking out and looking back, in order to better look ahead.

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.

This is a repress. Multi - instrumentalist with rare elegance, FKJ unveils its first album French Kiwi Juice, and invites us in his world.

Roots Underground kicks off 2024 with a bang, presenting the EP of one of the most fascinating living legends of Detroit techno: John Beltran. Although he has never stopped producing music (luckily for us!), this EP represents a more than welcome return of John Beltran to those more classic techno sounds that have made him one of the most iconic producers of this musical genre in the world.

Surprise Chef's music is based on evoking mood; their vivid arrangements utilize time and space to build soundscapes that invite the listener into their world. The quintet's distinct sound pulls from 70s film scores, the funkier side of jazz, and the samples that form the foundation of hip hop. They push the boundaries of instrumental soul and funk with their own approach honed by countless hours in the studio, studying the masters, and perhaps most importantly, the "tyranny of distance" that dictates a unique perspective to their music. Hailing from just outside of Melbourne, Australia their first two albums, All News Is Good News and Daylight Savings amassed a die-hard fanbase and brought their sound from their home studio to every corner of the globe. The band is now signed to Big Crown Records, joining a lineage of contemporary and classic sounds that have influenced Surprise Chef's music since their formation in 2017. Surprise Chef is Lachlan Stuckey on guitar, Jethro Curtin on keys, Carl Lindeberg on bass, Andrew Congues on drums, and Hudson Whitlock-the latest member who does it all from percussion to composing to producing. Their self proclaimed "moody shades of instrumental jazz-funk" have a bit of everything: punchy drums, infectious keys, rhythm guitar you might hear on a Studio One record, and flute lines that could be from a Blue Note session. But when you step back and take in the entirety of their sound and approach, you'll hear and see a group greater than the sum of its parts. In many ways Surprise Chef embodies the idiom "the benefits of limits." They were limited in that there weren't many people making or talking about instrumental jazz/soul/funk in Southeast Australia, let alone putting out records. This left them to develop their sound and approach in a kind of creative isolation where a small circle of friends and like-minded musicians fed off each other. "Being in Australia, being so far away, we only get glimpses and glances of this music's origins," Stuckey says. "But hearing a label like Big Crown was one of the first times we realized you could make fresh, new soul music that wasn't super retro or just nostalgic." This approach is on full display throughout their new album Education & Recreation. Tracks like "Velodrome" pair chunky drums with an earworm synth line that has all the making of something you would find on an Ultimate Breaks & Beats compilation while numbers like "Iconoclasts" show their knack for tasteful use of space. From the crushing intro of "Suburban Breeze" to the floaty mellow bop of "Spring's Theme" Surprise Chef has weaved together an album that takes you through peaks and valleys of emotion and provides a vivid soundtrack that will pull you deeper into your imagination. There is a beauty in the vast space for interpretation of instrumental music and they are adding a modern classic to the canon with this new album. Turn on the record and enjoy the ride, wherever it may take you.

The seeds of the collaboration were planted in 2017 when Anderson. Paak and Bruno Mars toured together on the European leg of his 24K Magic World Tour. One late-night jam session on the road unlocked immediate chemistry. Just before the world slipped into quarantine, Bruno called Anderson: "Remember that idea we had back in 2017? Let's do it. " One studio session grew into to a months-long collaboration, culminating the "setlist of doom. " Legendary Bootsy Collins christened Silk Sonic and came in as the "special guest host" for An Evening With Silk Sonic, their debut album. Silk Sonic was finally set free on March 5th, 2021. Within less than a month, their debut single "Leave The Door Open" cracked over 230 million streams, and currently sits at 1. 2 billion streams with over 346 million official video views. It reeled in rave reviews, including Variety who noted it "could be a Best R&B Song Grammy winner from 1974."

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 !

As the name suggests, Sai Galaxy represents a star-studded cluster of artists from around the world – their varied styles colliding to form a refreshing fusion of classic Afrobeat, disco and West African funk. Drawing from the influence of 70s and 80s Nigerian artists such as Nkono Teles, Jake Sollo and Mike Umoh, the Sai Galaxy collective is on a mission to reproduce the analogue warmth and groove from those decades. Consequently, they lean heavily on 70s production techniques - free from the predictable rigidity of digital sequencing. Spearheaded by Australian multi-instrumentalist Simon Durrington (from Digital Afrika), the members include Olugbade Okunade - former trumpet player from Seun Kuti’s Egypt 80 - as well as guests Gabriel Otu, Ray Lédon and Vanessa Baker. While the EP seeks to reflect 70s production, glimpses of contemporary elements can be found in the arrangements and harmonies, at times reminiscent of modern artists such as Lord Echo, Bosq and Voilaaa. As Durrington believes: “dance is vital to health and community”. And with an EP that urges you to dance from start to finish, consider Sai Galaxy a cosmic tonic for the modern lifestyle.

“The art of the remix has been around for several decades, from the fervid imaginations of JA pioneers like Coxsone Dodd, Duke Reid or King Tubby to the disco enthusiasts of New York, such as Tom Moulton, who bequeathed us the modern iteration of the remix and provided a template from which most remixers still work. Moulton's first commercial remix, a reworking of BT Express' appropriately-named `Do It 'Till You're Satisfied', which stretched it from three minutes to a luxurious five, assisted the band in securing its first Billboard R&B Number One, as well as providing a pathway for remixers like Walter Gibbons, Larry Levan, Richie Rivera and Tee Sott, to completely reinvent the concept of a remix (and in some instances, deconstructing the idea of what comprised a song). It has subsequently been used as a marketing tool, a dancefloor-devastator, a gimmick (both cheap and expensive) or even as a way of reaching a different audience (think Tori Amos' `Professional Widow'). Khruangbin are no slouches when it comes to the remix themselves. They've been reworked before, in 2016, with the highly collectible EP on Boogiefuturo. But this time, they're taking it a step further with an album dedicated to the art. Entering the tight-knit world of a Khruangbin song can be a little daunting. They have created this entire universe in which the trio seem to function telepathically in the way the music is composed, arranged and played. To mess with their delicate eco-system can invoke feelings similar to that of an unwanted guest crashing a good-time party. "We write our music to be interpreted; this is another wonderful interpretation of the music," reassure Khruangbin. "There is something very vulnerable about letting others work on your music. But through the correspondence with the different artists, we gained a bigger connection to the songs themselves." The choice of remixers for this album is neither arbitrary nor accidental. They're not names picked randomly out of a hat or chosen via a throw of the dice. All have some connection to the band, sometimes personal friendships, musical connections, or simply mutual musical appreciation. Harvey Sutherland and Ginger Roots have both toured with the band, Kadhja Bonet and Ron Trent had their own mutual fan club going on, Knxwledge sampled `White Gloves' on a recent mixtape, Natasha Diggs and Soul Clap's Eli's are recent buddy-ups, Quantic is a mutual friend of Bonobo (crucial in the KB origin story), while I've known Laura for number of years; plus she is also godmother to one of Felix Dickinson's kids. Doesn't get much more intimate than that, right? Some of these remixes were specifically made so you can dance your ass off while getting down to the Khruangbin sound, while some might better be appreciated horizontally with headphones on, wearing fashionably loose clothes. The choice is yours. But all were made with love and respect for Khruangbin. "A good remix deconstructs, recontextualizes, or simply extends a good time," say the band. Amen and out." - Bill Brewster

DJ friendly 2xLP version, cut loud for your pleasure!

Harmonies is the new long player from underground super-producer Lord Echo. Hotly anticipated for the last few years by his growing entourage of fans, many were frustrated by his descent into obscurity in the industrial backwaters of New Zealand where he lived alone and went completely insane trying to complete the record. But those frustrations are finally at an end, and the wait was worth it - for fans at least.The new album solidifies his already distinctive mutations of reggae and rock steady with disco, African soul, techno and spiritual jazz. In other words, the Lord has returned from the wilderness with a bounty for his followers. Eat of the bread of life and enjoy access to his crazy World of Sound.

Twenty-eight years ago, pissed-off twelve-year-olds around the universe discovered a new planet, a Black Planet. Public Enemy’s aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even in the border town of Laredo, Texas, home of the future founders of the Latin-Funk-Soul-Breaks super group, Brownout. The band’s sixth full-length album (out May 25th) Fear of a Brown Planet is a musical manifesto inspired by Public Enemy’s music and revolutionary spirit.

Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn’t possibly have expected that their golden-era hip hop albums would sow the seeds for countless Public Enemy sleeper cells, one that would emerge nearly three decades later in Austin, Texas. Greg Gonzalez (bass) remembers a kid back in junior high hipped him to the fact that Public Enemy’s “Bring the Noise” is built on James Brown samples, while a teenaged Beto Martinez (guitar) alternated between metal and hip-hop in his walk-man, and Adrian Quesada (guitar/keys) remembers falling in love with Public Enemy’s sound at an early age. “When I got into Hip hop, I was looking for this aggressive outlet . . . and I didn’t even understand what they were pissed off about, because I was twelve and lived in Laredo . . . but I loved it and I felt angry along with them.”

Joseph Abajian (Fat Beats’ owner) must have sensed the deep hip-hop well lying beneath the versatile band’s Latin-Funk veneer. “I thought their sound would work covering Public Enemy songs,” Abajian says, and, “it was good to know they were P.E. fans . . . We came up with a track listing and they went to work.” Despite the band’s eagerness to work on new original material (an album of original songs is slated for next year), they couldn’t pass up the opportunity to pay homage to this iconic and influential posse.

Translating sample-based music to a live band turned out to be more of a challenge than they anticipated. Adrian tried to get inside the Bomb Squad’s [Public Enemy’s producers/beat-making team] head in order to find the inspiration to reinterpret P.E.’s songs: “imagine the Bomb Squad going back in time and getting the J.B.s [James Brown’s funky backing band] in the studio and setting up a couple analog synths and then playing those songs.” While some songs closely follow the original musical blueprint, others use the source breakbeats as jumping-off points later sweetened by Trombonist Mark “Speedy” Gonzales’ horn arrangements, synth wizardry courtesy of friend-of-the-band Peter Stopschinski, and DJ Trackstar’s turntable scratches. But don’t listen expecting to hear paint-by-numbers recreations of classic Public Enemy jams. “Our approach is never in the tribute sense,” Adrian explains. “We’ve always taken it and made it our own, whether it’s the Brown Sabbath thing or this Public Enemy thing.”

Coming off numerous tours as Brown Sabbath and even a stint backing the late legend Prince, Brownout is arguably the tightest and funkiest band on the road today and they’re psyched to bring this revolutionary music to the people. For a band without an overt political agenda, they collectively couldn’t resist the opportunity to play this music live, especially now. “If there’s any way that we can use the already political and protest nature [of P.E.’s music], we would like to try,” Beto says. “The album’s title, Fear of Brown Planet is definitely a relevant idea today and we’re not afraid to put it out there, because we want to speak out.” By reinterpreting these hip hop classics in their unique style and channeling the spirit of Public Enemy that first echoed around the world and captured their imaginations all those years ago, Brownout is doing exactly that.

Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region's sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020's acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own _ Bridges calls it "more introspective," while Khruangbin bassist Laura Lee says it "feels more night time." When Texas Sun was released, AllMusic called the results "intoxicating" and Paste noted that "their talents and character go together so well." Now comes the next stage _ a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties' musical directions were clearly affected by their time working together. Khruangbin's most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger's Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. "As far as an essentially instrumental band, these guys are kind of the top for me," says Bridges. "I'm honored to have been the first singer that they've incorporated in their music." "It feels really special to me," says Lee. "It's not Khruangbin, it's not Leon, it's this world we created together."

Limited edition of 350 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.

Delvon Lamarr Organ Trio-or as it is sometimes referred to, DLO3-specialize in the lost art of "feel good music." The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. & The M.G.'s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It's a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat. The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan's smoldering pocket-groove drumming locks in the trio's explosive chemistry. Founded by Larmarr's wife and manager Amy Novo, the trio started from humble beginnings in 2015, but since then has released two Billboard charting albums and toured the world to sold out venues. The trio returns now with their second studio album, I Told You So, with even heavier grooves and more confidence. It may have been several years since their most recent studio effort, but they haven't missed a beat.

Limited to 200 copies, in this coor way only availabble at HHV.

Karate Boogaloo are proud to present Hold Your Horses, a mesmerizing new long-playing disc of original instrumental tunes from Melbourne, Australia’s most dedicated.

Sitting at the core of Melbourne’s burgeoning movement of cinematic instrumental soul, Karate Boogaloo’s roots go deep into the fabric of the DIY soul idiom. A mainstay of the Melbourne underground over the last decade, their now sought-after series of LPs delving into hip-hop sample culture and its relationship to funk music, The ‘KB’s Mixtapes’, are evidence of their long-standing contribution to the development of the Melbourne cinematic soul sound.

Henry Jenkins, Hudson Whitlock, Callum Riley, and Darvid Thor have been playing music together since their playground days. Meeting as high school preteens, these four friends explored the teachings of the great small combo instrumental bands à la Booker T & The MG’s and The Meters. With these lessons in one hand and their characteristic sense of goofy humor in the other, the ensuing 15+ years saw Karate Boogaloo develop the kind of shared musical language that can only be built through countless hours spent together existing as friends and musical allies.

Karate Boogaloo’s singular bond shines brightly on Hold Your Horses, the second album of original Karate Boogaloo compositions. Following on from the cult classic Carn The Boogers (College Of Knowledge Records, 2020), Hold Your Horses is a document of KB’s distinct interpretation of instrumental funk. A bona-fide journey from start to finish, each tune melds seamlessly into the next, deftly creating a world built on moments of cinematic tension, whimsical melodies and eerie discordance and underpinned by undeniable super heavy funk. Hold Your Horses respectfully builds on a legacy of soul music whilst remaining unimpeachably unique and authentic.

The trio's collective musical DNA, the years spent constructing it in Houston's local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko's reverb-heavy electric, dancing gently around Laura Lee's minimalist almost-dub bass triangles, while DJ's drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there's a freshness to A La Sala's instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world's external wonders. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on "Fifteen Fifty-Three"), West African discos (on "Pon Pón"), G-funk fantasias ("Todavía Viva"), living room dancing moments (the first single, "A Love International"), or even ambient found-sounds (on "Farolim de Felgueiras” and throughout the album) - are ingrained characteristics. This is who they are! Unique and huge (and growing), ambitious and driven. Khruangbin's aspirations and commitment to playful creativity even extends to A La Sala's vinyl packages, of which there will be seven distinctive covers and color-sets. Designed by the band using Marko's multitude of travelog photos, the images are windows from the band's living room onto a set of daydreams, scenes of impossible skies, external glances that illuminate what is going on inside. Each cover image comes with a matching color vinyl. These too are all about looking out and looking back, in order to better look ahead.

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.

Includes 60 x 60 cm poster of the album artwork! The poster is only available at HHV!

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and Covid lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy." Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

This HHV Exclusive Edition of the new Mighty Mocambos album ist limited to 200 copies. Mocambo and HHV continue their tradition of cooperation with this new gem.
A unique longplayer by Germany's Funk champions The Mighty Mocambos: 'Scénarios' is a wild journey through iconic performances captured on 8-track tape, including celebrated versions of breakdance favourites like 'Axel F.' And 'Let The Music Play' as well as brand new original material composed especially for recordings in unusual settings.

Hamburg's deep funk chefs are known for their intuitive recordings that capture the energy of a live performance, and with this record they go all the way.

Just before the pandemic, the group recorded an in-store live session at legendary Hamburg record shop Groove City and taped an impromptu performance at JAM PDM! breakdance battle in Potsdam. Both were released on vinyl 45s, quickly sold out and became secret weapons for DJs. While most bands shifted their stage to the studio in 2020, producing an abundance of isolated lockdown-inspired material, the Mighty Mocambos – never shy of an antidote - took the mobile version of their recording studio on the road.

With no audience allowed at the Pitt Hopkins Music Session charity concert, the group used the occasion to compose meditative folk-soul instrumentals to be performed exclusively on stringed instruments. Sweaty funk does not work via video stream, but the format provided a welcome opportunity to create something entirely different. Even without electricity and drums, the cinematic "Four Two Three" and "Silent Heroes" are unmistakably recognizable as Mocambo themes.

When you follow Nina Simone's credo that an "artist's duty is to reflect the times", it became evident that once the world slowly started opening up again, further concerts would be captured on the group's portable Fostex R-8 tape machine. Luckily, restrictions fell on the very evening that the band hit the open air stage at the Import Export in Munich on September 11th 2021. The extended afrobeat-inspired jam on J.J. Cale's "Carry On" witnesses people celebrating and dancing together again for the first time after a year and the manic "Munich Psycholympics" unleashes all bottled-up energies that had being lying dormant.

The slightly kafka-esque "Ghost Walk" was taped during a soundcheck for a concert that was eventually called off for safety reasons, reflecting once more the uncertainty of the time. The last scénario sees the Mighty Mocambos returning to a packed indoor venue, playing "Let The Music Play" to a audience of b-boys and -girls – a testament to the sheer power of music. Featured as an encore here, an acoustic version of "Where Do We Go From Here?" (originally recorded with Lee Fields) closes the record and its restless voyage through unusual recording situations.

"Scénarios" differs drastically from other live albums as it does not seek to replicate existing material from studio albums. All songs were written or arranged especially for the live recordings in order to combine the group's DJ-friendly trademark sound with added vibes and momentum from the audience. Most of them were recorded while they were performed in public for the first time ever.

First Word Records is very proud to present a brand new EP from Yazmin Lacey - 'When The Sun Dips 90 Degrees'.
This EP follows on from her two recent singles, '90 Degrees' and 'Something My Heart Trusts', both of which are included here, along with three previously unreleased tracks, 'Heaven', 'Body Needs Healing' and 'Burn & Rise'. This set illustrates again Yazmin's candid songwriting delivered in her uniquely laidback soulful style, whilst a glorious fusion of neo-soul and jazz performed by Pete Beardsworth and her trusty band rides throughout.
In recent times, Yazmin has made live appearances on Jazz FM, BBC Radio 4, 1Xtra and NTS, & received widespread acclaim across the airwaves, including BBC Radio 2, BBC 6 Music, Worldwide FM and Mi-Soul, plus Spotify love from the likes of The Independent and heavy support from DJs such as Gilles Peterson, Jamz Supernova, Tom Ravenscroft, Huey Morgan and Jamie Cullum. Yazmin appeared heavily in The Guardian / The Observer's recent extensive feature on the UK's new Jazz movement too.
Initially a Brownswood 'Future Bubbler' graduate, Yazmin self-released her debut EP, 'Black Moon', last year. This lead to a Maida Vale session late 2017 with Jordan Rakei, Moses Boyd, Oscar Jerome and now label-mates, Children of Zeus. She kicked off the year with a performance at the Worldwide Awards with Skinny Pelembe, and has recently done shows with artists such as Ezra Collective, Tall Black Guy and Fatima. Yazmin has a UK tour scheduled for later in the year, as well as several festival appearances across Europe locked in. There's a lot more to come from this Notts-based Londoner yet.
In Yazmin's words: "'90 Degrees' is about that time of the day / night when there's a shift in pace and energy. When you decide to lock off from the 'outside' world and create your own atmosphere, take some time to give thanks for what's breathing love into your life and smoke off the fuckeries. Everyone needs a little routine for self preservation."
The 5-track vinyl & digital EP is released worldwide on June 15th.

The Moritz Von Oswald Trio opens a new chapter. There's a new configuration to the project, with Tony Allen joining original members Moritz von Oswald and Max Loderbauer. Tony Allen, the legendary drummer who's amassed a formidable catalogue both as a solo artist and as part of Fela Kuti's band, has taken over percussion duties from Vladislav Delay. Together, von Oswald, Loderbauer and Allen form something close to a dream team, two masters of the electronic sphere meeting an afrobeat pioneer. Allen had already established a rapport with the group before they entered the studio to record Sounding Lines - he's been touring with von Oswald and Loderbauer for more than a year, playing live shows around the world. There has been an evolution on each new Moritz Von Oswald Trio record, and Sounding Lines is no different. The album, which was mixed by Ricardo Villalobos, maintains the project's trajectory—a fearless exploration of dub techno, classical music and jazz—but the prevailing mood feels looser and more organic than ever before. Allen's imperious percussive work sits tantalisingly in the mix. His drums meet the electronics of von Oswald and Loderbauer in a way that renders the project in new, vivid colours. There are 4/4 tracks, beatless interludes and complex jazz structures, with propulsive recordings ("3") coexisting alongside more languid moments ("1"). Sometimes Allen provides flourishes of drums (notably on "4") while at other times spectral synths come to the fore (as on "5"). Von Oswald, a masterful composer and arranger with a deep understanding of space, paints the crevices of each composition on Sounding Lines with rich detail. Individually, von Oswald, Loderbauer and Allen are formidable and hugely influential musicians. As a trio, they've conjured something remarkable.

afrodelic kraut-funk from the minds behind Poets of Rhythm and the Whitefield Brothers on Stones Throw's sister label, they have previously recorded for DJ Shadow, Mo Wax, Ninja Tune, BBE, Daptone & Compost

Runner-Up at Apollo Theater Amateur Night! Highly Anticipated Debut Album from a Major New Talent Set to Take the World by Storm Nao Yoshioka's first album, "The Light," was recorded by three teams in the U.S., the Netherlands, and Japan. The notable vintage soul artist Brian Owens from the U.S. handled the instrumental recording and vocal direction for three tracks. In New York, Dani Elliott and Orly collaborated on songwriting and provided tracks. In the Netherlands, Shirma Rouse, hailed as the No. 1 Soul Queen, also took charge of the instrumental recording and vocal direction for three tracks. The Japanese team featured top musicians from the scene, including Takuya Kuroda, a trumpeter renowned for his work with the José James Band. Soul music, connected through Nao Yoshioka, casts its spell from Tokyo to the world.

"To change your mood or mental state - change your Vibration" A fragment from the Kyballion has deeply resonated with the band in recent years. Everything is mental, as Above so Below. Balthvs deeply believes in these tenets, and their manifestation is through music. Melodies that try to resonate deep within and generate a different type of Vibration.

From the psychedelic experience arises a more balanced lifestyle, and from arduous and uncertain times arises the desire to have inner peace of mind. Music is medicine for the soul and the trio plays this music to wind down, relax, and be more present. It's music from the 21st century, a time when the world has deeply connected to one another via the digital realm, cultures are now free from geographic boundaries, they influence, mesh, and collide with one another. Turkish melodies meet Latin rhythms, from instrumental tunes to Spanish and English lyrics.

The band freely takes from all corners of the world, and it reflects on the global audience they have slowly amassed in the past 4 years. Third Vibration is a celebration of life; a deep respect for the power of music.

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.

RSD Limited Run / Regional Focus, Limitation: 1000

Eramus Hall was a soul/funk group from Detroit, whose debut “Your Love Is My Desire" became one of the most sought-after records of the modern soul era, coveted by DJs and record collectors alike. The group only recorded the one album for Westbound Records, home of funk heavyweights Funkadelic and Ohio Players, before moving to Capitol for their second and final album in 1984.
After a definitive reissue of Eramus Hall's debut album, ORG Music and Westbound Records have teamed up again to release a full LP worth of rare and previously unreleased tracks, including some of their earliest demos. The record will be pressed on color vinyl with a package that features never-before-seen photos, exclusively for RSD Black Friday.

Includes 60 x 60 cm poster of the album artwork! The poster is only available at HHV!

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and Covid lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy." Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

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.

The Delvon Lamarr Organ Trio may have this Kexp session to thank for much of the notoriety they have received since it first premiered. Since then, they've secured a record deal, a world renowned booking agent, a publishing deal, international sponsorships, and will be embarking on a national tour this spring. This session was released on vinyl for the first time for Record Store Day 2018, marking the first full Kexp session ever to be pressed on vinyl.

Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region's sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020's acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own _ Bridges calls it "more introspective," while Khruangbin bassist Laura Lee says it "feels more night time." When Texas Sun was released, AllMusic called the results "intoxicating" and Paste noted that "their talents and character go together so well." Now comes the next stage _ a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties' musical directions were clearly affected by their time working together. Khruangbin's most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger's Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. "As far as an essentially instrumental band, these guys are kind of the top for me," says Bridges. "I'm honored to have been the first singer that they've incorporated in their music." "It feels really special to me," says Lee. "It's not Khruangbin, it's not Leon, it's this world we created together."

Mmyykk’s Science EP arrives at a time when the world needs it. The eponymous title track is about recognising the power and connection that we all have to the cosmos - and it feels like no coincidence that this body of work arrives in 2021.

The EP balances universal themes with playfulness; asks hard questions relating to accountability and materiality whilst remaining musically cohesive and funky throughout. An exceedingly difficult artist to pigeonhole, Mmyykk (pronounced Mike) works concurrently within the realms of soul, jazz, hip hop, R&B and ambient; his sound equally indebted to his fellow west-coast natives Thundercat and Flying Lotus as it is to synth experimentalists Herbie Hancock and Stevie Wonder.

Whilst Mmyykk operates as the multi-instrumentalist, vocalist, producer & engineer across all 6 tracks, we can still hear the richness of improvisation musical collaboration involved in the making of this record, with numerous cameos from artists in Mmyykk’s adopted hometown of Minneapolis as well as a feature from London’s very own Demae.

The city of Minneapolis, whilst not addressed directly in the lyrics, provided a backdrop like no other whilst this album was coming together. Being at the epicentre of such a tragedy had a profound effect on the formation of the EP... “The City was literally burning...” Mmyykk recalls as he goes on to explain that tackling themes such as police reform, reparations and accountability in his work is his way of taking a stand in the fight for justice.

Despite the grief prevalent in the city, the EP exudes a complex “dopeness”, executed so effortlessly it belies the skill involved in the process - it’s precisely this nonchalant cool that defines what Science means to the artist.

Whilst we can dissect the inspirations and trace the lineage of this body of work- the result is singular. It’s clear that Mychal Fisher, aka Mmyykk is operating on his own terms, in a lane of his own - and making it look easy.

Limited to 500 copies. For the first time ever on vinyl Four new instrumental tracks, produced, recorded, composed & played by Dam-Funk. . Originally released on June 2nd 2015 as a free streaming promotional EP before the release of Dam-Funk’s sophomore album Invite The Light. Pitchfork described “Free” the EP closer “… distills his daily inspirational thoughts into a breezy, sun-kissed glow, delivered with his usual cool sincerity. Of course, the style is purely West Coast, but the message is universal: funk is freedom. And in Dâm's world, funk is the future.

"Shake It" is a hip new sound from the world famous funk, soul and boogaloo powerhouse band, The New Mastersounds. Featuring Lamar Williams Jr on vocals and the NMS Horns, this single presents a fresh and cool feel to the traditional funk 45. Perfect for any dance DJ collection and fans of funk music alike. This is the first release by The New Mastersounds on Color Red, a record label founded by Guitarist Eddie Roberts in Denver, CO.

The son of a radio DJ who introduced him to the world of record collecting, Harris grew up with music, progressing from violin, to high school drumline, to the Jazz Studies program at Virginia Commonwealth University. He also continued working with other instruments and developed an interest in sampling. His development as a producer – at first, without a computer or sampler – came first learning to replay samples on the drums, piano, bass or guitar.
DJ Harrison finds himself inspired by local musicians in the Richmond scene that’s as diverse and nonexclusive as they come. Among rappers, producers, punks and bluegrass bands, he falls within reach of an expansive pool of musicians to collaborate with. He lives and works in Jellowstone, a house turned recording compound occupied by his band mates in Butcher Brown, a “garage punk jazz funk” group

New York-Based Japanese Singer Nao Yoshioka's Latest Work, Which Challenges the US Mainstream Head-On, Is Now Available in Analog Format Nao Yoshioka is a Japanese soul singer who moved to the US in 2018 and has been enjoying unprecedented success as a Japanese soul singer, reaching #32 on the Billboard Urban Adult Contemporary charts and receiving acclaim from Rolling Stone. Undeniable" is the latest release from Nao Yoshioka, who has moved to New York and released his first album in three years, and is a stunning fusion of organic and digital sounds that are timeless and in tune with the theme of "impulse". The album, which is his fourth album to break into the mainstream of US R&B, was co-written in New York, LA and Philadelphia with Eric Roberson, Carli Mateen, Devin Morrison, Keir Victoria and other up-and-coming young artists, and was reconstructed with a band including Kyriam Shakespeare. The band played in a reworking of the piece. Philly masters such as Larry Gold and Vidal Davis also lend their skills, resulting in an aggressive, sensitive, world-class album.

“Flow”: A Reviving Sound of Unity Beyond the Pandemic, with Collaborative Voices Echoing Across Global Music Scenes Nao Yoshioka’s latest album “Flow,” born from overcoming the trials of the pandemic and rediscovering light, represents a collaborative effort that brings together artists from various countries, bridging the gap in a divided world through music once again. Collaborations with artists representing scenes from the US, UK, Netherlands, Australia, and Japan, including Devin Morrison, Reuben James, Mxxwll, Jael, Jarreau Vandal, and Takuya Kuroda, amplify her musical identity. Elite engineers, including Qmillion, who mixed Robert Glasper’s masterpiece, and Sam Brawner, known for his work with Anderson .Paak, also contributes. After enduring challenging times, this album, themed around self-discovery and expression, guided by Nao’s deep creativity in a state of immersion, leads listeners into an uplifting sound that sways both hearts and bodies, inviting them into their own immersion. This blend of soul, R&B, jazz, and funk becomes a symbol of hope and revival that Nao delivers to the world, resonating as a baton of timeless music.

Balthvs is THE premier eclectic & psychedelic world funk trio from Bogotá, Colombia, sparking a counterculture revolution in their home country.

Cause & Effect is Balthvs's second record. An evolution from its initial chill psychedelic sounds portrayed in 2020's 'macrocosm'. Owing to its Colombian roots, the album has plenty of Latin American rhythms, as well as ventures into Deep House, Turkish Music, Vaporwave, Trip-Hop and Disco. Their signature psychedelic elements are always present, ready to engulf the listener in a hypnotic trip across time, space, cultures, and different eras.

The name of the album reflects an ancient hermetic axiom. Nothing is accidental, everything is invoked. Chance or fate are names for a cosmic law not comprehended. Everything you do, consciously or unconsciously will come back at you, nothing happens without reason.

The trio's collective musical DNA, the years spent constructing it in Houston's local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko's reverb-heavy electric, dancing gently around Laura Lee's minimalist almost-dub bass triangles, while DJ's drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there's a freshness to A La Sala's instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world's external wonders. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on "Fifteen Fifty-Three"), West African discos (on "Pon Pón"), G-funk fantasias ("Todavía Viva"), living room dancing moments (the first single, "A Love International"), or even ambient found-sounds (on "Farolim de Felgueiras” and throughout the album) - are ingrained characteristics. This is who they are! Unique and huge (and growing), ambitious and driven. Khruangbin's aspirations and commitment to playful creativity even extends to A La Sala's vinyl packages, of which there will be seven distinctive covers and color-sets. Designed by the band using Marko's multitude of travelog photos, the images are windows from the band's living room onto a set of daydreams, scenes of impossible skies, external glances that illuminate what is going on inside. Each cover image comes with a matching color vinyl. These too are all about looking out and looking back, in order to better look ahead.

The debut album by musician and producer GO.SOUL.MAP. is a little gem in which pop and soul intersect and the clichés between mainstream and underground leap. A sexy and pensive nocturnal journey, immersed in thirteen songs between soft bass and space disco trips, with the voice of London based Derane Obika of Living Sounds. The selection of songs in this album were made with the hope to bring the listener to deep thought, the lyrics and melodies seamlessly married to tracks that drive the listener's emotions. Produced, written and performed by Derane and Salvo, they came together by chance and were inspired to make the album making sure to balance the sound between the Lyrics, Melody and Music to insure that not only the songs are heard but the experience remembered and both spirit and soul are touched. The album is truly "Music From The Heart" Behind the alias GO.SOUL.MAP. hides one of the most authentic and purest talents of the current Catania music scene. Of which, moreover, under other guises and names, he has been an indispensable pillar for over a decade. An artist of immediate sensitivity, not only artistic. His training is fairly canonical: as a child, he studied piano. From there, as if following the movements of concentric circles, the passion for synths, drum machines, the world of samples and the recording studio. Above all, an uncommon ability to breathe in music. Accepted and found without prejudice, but always with the need to reveal a distinctive track, a signature. Touring between bars, streets, concerts and clubbing. An experience very consistent with the subject matter of this disc. Which is, in fact, the debut of a non rookie. An ambitious record, because it possesses a sound that is as sexy as it is thoughtful and a writing style, exemplary, that lies on that borderline that, in the stereotype, defines underground and mainstream. Fields that instead it crosses naturally and between which it moves without any particular problems. After all, the music comes not from the malice of the intellect but from the nuances, tender or vehement, of naivety. Peaceful Sound For Broken Minds is a pop record, pop soul, of modern urban pop. Yes, labels, even in the sense of tags, are definitely that. Of course, it is the way in which ideas are rendered that makes the difference. The record is about the need to find one's peace, but it is the fall that it shows and not the landing. With honesty and, above all, style. That is, mastery of means and an important file work with which to decline that therapeutic soul pain in which his songs are immersed. We wait for hours more, the initial Fall Into The Flame and I Am Believe seem to tell us from there we move on. Hold The Line is where trip hop forgets itself, immersing itself, to the point of blurring, with the retro atmospheres of someone like Curtis Harding. Pushing has a space disco cadence that, more pronounced, we also find in the lunar expedition sound of Watergate. The exotic visions of Back In Underwater, between the stardust of Air and the innocence of Plone, become more jazzy in Cat With Camera. Just as in the urban streaks of Don't You Worry, which in upbeat mode would sound like a great reggae song, or Are U Ready, or in the disco funk of Right Of Me, the soulful accent of Derane Obika of Living Sounds emerges, a Londoner of Nigerian origin who grew up listening to gospel, Prince and Stevie Wonder, whose voice guides us through the songs of Peacefull Sound For Broken Minds. Which is a new point for that work of redefining the standards of pop today that Space Echo is doing. Throwing the clock overboard, because the time it wants to capture is nothing more than the movement of its hands

The world doesn‘t offer much cause for hope right now: after the pandemic follows a war in the middle of europe, climate catastrophe is looming, and many of us are falling into a vague sadness. Daschenka Project sets a counterbalance to this contemporary melancholy: the groovy, earthy music creates fertile ground for lightness, on which Dascha Lüscher talks in a charismatic, warm voice about the things in life that we all encounter: about rampant consumerism and self-optimization, about secret desires and hide-and-seek, of pointless conflicts that lead nowhere, of hardened fronts and the desire for more harmony, in short: of injury and healing, of pain and pleasure. The music sounds as if Jamiroquai, Morcheeba and James Brown are working together: „Funky Trippin‘ Soul“ sums it up best, according to bandleader, Dascha Lüscher. Daschenka Project not only have a weakness for groove, trip hop and funk, but also for the eighties. That‘s why the EP „Spinning Round“ is combined with „The Eighties Session“ for their debut: five of their favourite songs from the 80s - Simple Minds‘ „Don‘t you (forget about me)“, „Sledgehammer“ by Peter Gabriel, Chris Isaaks „Wicked Game“, „Rebell Yell“ by Billy Idol and „Sign o‘ the Times“ – originally by Prince – all arrive with weightless feet in Daschenka Project fashion. With the releases of „Don‘t You“ and „Wicked Game“, Daschenka Project was able to increase the number of followers on social media from 300 to around 4500 within a few months. The two videos have over 300,000 views on Facebook alone. This is a remarkable success, and one can be curious about where the journey will go, after all, there are seven more songs in the pipeline. The collected work will be released under the title „Spinning Round“ at the end of May 2023 by the Basel label „Burning Sole“ on vinyl and digitally and on CD throughout the year. For the studio recordings, she was able to win over musicians such as Michael Chylewski, Jean-Pierre von Dach and Peter Wagner, who have performed on stage with Joss Stone, Seven, Kunz, Adrian Stern and Sina, among others. Despite being the driving force behind Daschenka Project, Dascha remains humble. In addition to her sense of grooving bass riffs and her multifaceted voice, she sees it as her strength to bring the right people together at the right time to let something evolve that gives people a feeling of togetherness and optimism.

Batov Records opens another chapter, introducing "Five Seasons, the debut album of Eje Eje, the brand new solo project of Itamar Klüger, of the Satellites, presenting a fresh and contemporary world incorporating the rich diversity of Middle Eastern and Mediterranean musical styles with psych, funk, dub and other internationally known sounds.

From Dusk Till Dawn, the first album of the new generation R&B band Halley, who performed at “sxsw 2024”, will be released on a long-awaited vinyl record! This is the culmination of Halley's work, packed with the lustrous and soulful voice of vocalist TaeHyun and a band ensemble based on R&B/neo-soul. Strongly influenced by jazz, R&B, soul, gospel, and funk, the music is characterized by elements of black music.

Limited edition coke bottle green vinyl coloured 180g vinyl gatefold double album from Stella Polaris.

The world’s largest free chill out event, Stella Polaris have been wrapping their electronic blanket of dubby and jazzy slo-mo sounds around tens of thousands welcoming bodies since ’97. An oasis of positivity and top-drawer music beaming out of Denmark, with a record label arm born in 2003.

Fast forward 20 years and their 17th album release, a delectable double album features new material from upcoming artists and exclusive Stella Polaris custom made remixes of well-known artists including: Foster The People (us), Groove Armada (uk), José Padilla (es), Underher (ca/de), Days of May (fr), The 2 Bears (uk), Elvstrøm (dk), Teitur & Mads Björn (dk).

By popular demand, Big Crown Records is proud to present Holy Hive's Harping EP on vinyl for the first time. For their debut EP on Big Crown Records, they decided to start things off with an extended reunion enlisting all of their favorite players from the Big Crown Family and beyond. The backbone for all these songs is the accomplished Harpist Mary Lattimore, who gives her learned heartfelt accompaniment to every song. There are guest vocals from one of their favorite songwriters Sasami on two tracks and a cast of lively characters assemble to add their lines - Dave Guy on Trumpet, Nick Movshon on bass, Katie Jacoby and Kristine Kruta on Strings, Leon Michels on Vibes, and nally Jens Jungkurth, Chris Connors, and Alex Deturk as sound sculptors.

By popular demand, Big Crown Records is proud to present Holy Hive's Harping EP on vinyl for the first time. For their debut EP on Big Crown Records, they decided to start things off with an extended reunion enlisting all of their favorite players from the Big Crown Family and beyond. The backbone for all these songs is the accomplished Harpist Mary Lattimore, who gives her learned heartfelt accompaniment to every song. There are guest vocals from one of their favorite songwriters Sasami on two tracks and a cast of lively characters assemble to add their lines - Dave Guy on Trumpet, Nick Movshon on bass, Katie Jacoby and Kristine Kruta on Strings, Leon Michels on Vibes, and nally Jens Jungkurth, Chris Connors, and Alex Deturk as sound sculptors.

Includes 60 x 60 cm poster of the album artwork! The poster is only available at HHV!

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and Covid lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy." Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

The Sleepers RecordZ is proud to introduce Jolie Davenport to the world of modern funk music. The Austin, TX-based vocalist brings you two synth-centric hitters, both produced by the backbone of the Sleepers label, Ivan Makvel. In the course of just two tracks, Davenport covers all of the prerequisites for a well-rounded modern day boogie excursion. "Runaway" is made for the dance floor and isn't shying away from its polished, pop sensibility. The chorus is an earworm waiting to get pleasantly stuck in one's mind, gliding perfectly over frenetic bass notes and synth brass chords. "Like That," penned by modern funk mainstay Moniquea, balances the party by taking it to the streets. Makvel's production here is better suited for a cruise down the boulevard in a 60's-era Chevy rather than the club, yet it's also certain to incite involuntary movement the moment you press play. As always, Sleepers brings you these two tracks in physical form via limited edition color vinyl 7" - only 150 copies pressed.

Renowned around the world for his iconic sound, disco legend “t-groove” teams up with one of the greatest street drummers of all time, George Kano, to form the foundation of an 18 man jazz-funk-disco experience! Their debut album, Lady Champagne featured the semi-instrumental “Secret Love”, a silky smooth guitar number that captivated fans of all dispositions. Now re-recorded with the singular vocals of city pop diva Yuko Imai and original Japanese lyrics, this single is sure to dazzle fans of both disco and city pop! Don’t miss this exclusive 7” single, packaged in a flipback cover, only from P-vine Records.

Pinky Perzelle, aka Sonny Rooney's debut 'No Games' featuring Eda Eren, is a true labour of love and an ode to his total passion and dedication to multi instrumental record creation without compromise. Almost every instrument was recorded and played by Perzelle at his home studio. Featuring the utterly unique, impassioned and reassuring vocals of British-Turkish artist, Eda Eren, and additional drums from world renowned Malcolm Catto (The Heliocentrics). The lead track is a timeless, heartfelt, funk-ladened portal into a world reminiscent of a cinematic movie scene or an undiscovered gem from another era all-together. The hypnotic 'Remix' from Velvet Season & The Hearts Of Gold aka Gerry Rooney & Joel Martin, introduces subtle electronica and dubbed out instrumentation. A true lesson in after hours, left-field Balearica. Pinky's own 'Electronic Mix' references early house music and broken-beat electronic drums. Showing yet another side of Perzelle's approach to music making.

Without a pandemic, you’d now be listening to an album wholly recorded in Cuba with local musicians. Back in 2020, everything was organised, so that in May 2021 we could get started. Yet, the sanitary measures proved to be a fierce adversary, so rather than giving up entirely we decamped to Dakar in October the same year – a compromise that ended up being a positive event in itself.
Cuba has a long African history. Under mass enslavement and the Transatlantic trade, Africans were forced from their homelands, against their will, taking their music along with them. Merging throughout the centuries, taking on European influences, led to the birth of a distinctive Afro-Cuban musical tradition. Highly percussive, brass-based, simmering, full of danceable rhythms. The spirit etched into thousands of recordings, forever turning towards Africa. The departure point here is not to keep things the same. Rather, a return to the source enacts a loop – much the same as those providing the foundations for hip-hop beats.
The flame when it’s re-lit illuminates everything. Thanks to the Senegalese musicians in Dakar, the Cubans who crossed the Atlantic to join us and my usual family of musicians, this music – a cross-section of covers and original compositions - exists as a homage to Afro-Cuban music. Made in Africa, in Senegal. Three worlds, three languages, three colours. Recorded over 17 days, non-stop, germinating the seed born in Cuba at the end of 2020 so that the most beautiful fruits might be cultivated in Dakar, 2022.
When the world doesn’t seem big enough, we look up to the sky where even the blackness is lit up, where those I loved who are now gone shine as stars, shining as brightly as all the others. Each time I think I’m not going to make it; I recall the star of my mother. Then the path becomes clear.
Pandemic, visa problems, cultural clashes, bank transfers that didn’t go through, a fractured foot – this project sometimes felt like a series of accumulated challenges. The only thing linking us, a shared love for the music, each of us invoking our personal star and all that we have overcome.
In this way, the music is born as a call to our stars.

Fast DE is the new band of Dutch composer and bassist Daniël Eskens. With a musical background in various indie and jazz-facing acts such as Jo Goes Hunting, Opera Alaska, and Karsu, years spent composing and experimenting in his studio gradually led to the creation of Fast DE. A diverse array of influences—Billy Strayhorn to Soulwax, Bela Bartok to Brian Wilson—culminates in a sound that is refreshingly unique, bridging electronic, jazz, psychedelic, and alternative pop. In its live setup, the band configuration consists of Dario Trapani on guitar, Jimmi Hueting on drums, and Daniël Eskens on bass and synthesizer. With its debut album Sight Inside on the horizons, Fast DE invites you into its kaleidoscopic world of complex rhythms, spirited improv, and playful melodies—a colorful choreograph in sound.

South London’s hottest young producer, Ed Black, known around the world as edbl, has teamed up with session legend and Youtube guitar sensation (his cover of Just the Two of Us has amassed over 5.5 million views!) Kazuki Isogai to create the perfect modern soul album!

As the first chords on album opener “Worldwide” warble, and Kazuki’s twinkling guitar starts to play, you can almost picture the two musical masterminds sitting across from one another, smiling as they recognize a riff or chord shape. It’s almost impossible to imagine that this album was created by two musicians on opposite sides of the world, in the middle of a pandemic. Their chemistry is undeniable, as Kazuki’s jazzy, slinky guitar solos dance across beats created by the singular talent that is edbl.

Yet, tracks like “Lemon Squeezy” show just how adaptable Kazuki is, as he backs down, letting “Nostalgia” (from South London Sounds) vocalist Taura Lamb take the spotlight. A riff here, and a reverb-drenched lick there is enough to showcase Kazuki’s talent, elevating edbl’s mellow beats to a whole new level.

Kazuki’s sweet guitar, and edbl’s soulful, mellow beats. What more could you possibly want? Don’t miss the long-awaited collaboration between two of modern soul’s most talented musicians, available on limited edition vinyl, only from P-vine Records.

The Growth Eternal is Tulsa-native Byron Crenshaw - descendant of Black Wall Street pioneers. Currently residing in Los Angeles, the jazz bassist, vocodorist, producer/songwriter/composer, artist and activist presents PARASAiL-18 - the debut full-length album.

Byron explains his new album: "PARASAiL-18 was a 4 year process, and this process has made me as much as i’ve made it. What is this album all about?My escape in all its different forms:Hope, drugs, sex, desire, daydreaming, nightwalking, burial, fire, and fun.

The Parasail represents our momentary relief from the weight of the world. The “18” represents the point in my life where i needed escape most. The lowercase “i” represents ego dissolution and yielding to things as they are. The end of our escape.

mited Pressing.

Invisible City Editions returns with an official repress of a fantastic double-sided private press rarity from 1989 Detroit. Featuring two legendary Inner City alumni Producer/keyboardist Engineer Art Forest and Inner City background vocalist dancer/singer Shawn Pittman. On the A side a lush slow modern soul slow burner “Dreams'' features a deep,spatial throbbing bass line with glistening synths floating underneath cool angelic hypnotic vocals by Ms Pittman.” 'Dreams are only Dreams till you make it real' chants Shawn Pittman and we’re lead down a dazzling maze of mirrors. With “I'm Losing Control (Extended Bass-ment Club Mix)” on the flipside a wild late night warehouse dub remix features sci-fi vocal effects,fostex tape loops and ultra-heavy bass and driving drum machines. Minimal lush soul perfect for early mornings and the post-club world and a wild sci-fi house winner for late night club sessions. An IC fave! Remastered by Brandenberg/The Carvery (Note: we’ve also removed the drum machine going out of sync that was on the original press) Official Repress via Art Forest and his label Wildboy.Essential stuff!

Art Forest is an Electronic Engineer and production wizard from Detroit Michigan. He originally recorded 2 of Inner CItys’ Biggest Hits “Good Life” and “Big Fun” and continues to record to this day. Art Forest still finds and repairs equipment to add to his studio today. He also recorded for Paula Abdul “Straight Up” and Madonnas’ “Justify My Love” Shawn Pittman was a singer and dancer from Detroit who was a good friend of Inner City vocalist Paris Grey. Shawn Pittman sang backing vocals and harmonies on “Good Life” and “Big Fun”.

Time to hit the accelerator! Released in association with the classic label KPM, Jaguar Skills has produced his own film soundtrack, 'The Man In The Jaguar Mask', released on his label Nope23. Using the same equipment and recording methods of the classic ‘70s film soundtracks, Jaguar Skills & his orchestra, have channelled the sounds of the great action film composers into this project. With intricate detail, Jaguar Skills made sure, every step of the way, that this project was going to be as authentic as possible, so he invited some of the very best session musicians in the world to work on the record. The all-star players on the album include; Simon Katz (Gorillaz, Jamiroquai) on guitar, Drew Horley (Stevie Wonder Band) on keys, Zoltan Renaldi (Funkadelik) on bass, Bill Ware (Steely Dan) on vibes, conductor Jonas Peterson (Marvel Soundtracks) on strings, Patrick Gorce (Tony Allen Band) and Andy Findon (Lala Schifrin Band). Each track instantly takes the listener through a different scene in the movie, 'The Man In The Jaguar Mask' is a love letter to the b-movies and kung-fu flicks Jag Skills grew up on.

Batov Records presents a full-length foray into the musical world of Italian producer and multi-instrumentalist Ayala, with particular emphasis on his love of African music, from Afrobeat to disco. Whilst earning the support of leading DJs such as Colleen Cosmo Murphy, Dave Lee, Danny Tenaglia, J-Kriv, and DJ Rocco, Ayala has built an increasingly visible profile producing and DJ, with releases across a wide range of prolific labels, such as Compost, Hector Romero's Latin freestyle label, Orianna, and leading Italian label, Rebirth, early supporters of the likes of Tensnake, Motor City DrumEnsemble, Soul Clap, Jimmy Edgar, and Deetron.

Let the clicking of the gears transport you to another world. A land filled with organic synthesizers, deep bass lines, moving drums and lo-fi textures, topped off with warm vocals and soaring strings, Dragonfruit takes you on a genre blending trip through their music. The first glimpse of their unique sound has been captured on their debut-album "Gears Of The Giant Machine”.

Dragonfruit are another prime example of an outfit who are looking to push the boundaries of genres. The Rotterdam-based group’s unique blend of sampled hip-hop crossed with influential neo-soul has certainly given them the scope to broaden their ever rising horizons. Full of confidence and a personality that shines through, their music certainly has many people wondering what’s going to happen next, with an individual unpredictability that has seen them featured in the likes of Earmilk and Kaltblut to date.

They now arrive, after a string of single releases, with their highly anticipated debut album ‘Gears of the Giant Machine’ arriving on October 8th through Super Sonic Records. The album is full of rich lo-fi textures and electronica that transcends beyond the norm, with the lead single being the relentlessly colourful ‘Digital Princess’. Modern R&B is more than prevalent here, with an upbeat slice of laden beats that match the wonderful lyricism of both Danique van der Vlugt and featured artist Amazumi. It’s catchy and juicy from the off, with the songs meaning centring around female empowerment which elevates the track even further once you realise its celebratory undertone of accepting who you are and loving it.

The album as a whole is an escape to a completely different place, and Dragonfruit have created this sonically diverse and unique listening experience. This ideology is more than well placed, as they encompass a whole range of sounds; synthesizers, deep bass lines, moving drums, topped off with warm vocals and soaring strings. ‘Gears of the Giant Machine’ will remove you from the mundane, with ‘Digital Princess’ being the catalyst. It’s clear that Dragonfruit capture the essence of what it takes to be a modernised power-pop outfit, and ‘Digital Princess’ is set to take a lot of people by surprise and wonder.

Speaking more on ‘Digital Princess’ Dragonfruit explains: “Digital Princess is a song about female empowerment, or empowerment of any kind if you will. It’s about coming to terms with who you are and celebrating that. In the words of Rupaul: “‘If you can’t love yourself, how in the hell are you gonna love somebody else”.

But not only that: if you don’t love and accept yourself, how can you expect anyone else to do so? So again: celebrate yourself. Reflect and recognise what you like and don’t like. Come to terms with what you can’t change, and change what you can if you want.”

Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, Dlo3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. For Fans of New Mastersounds, Soulive, Jimmy Smith, Khruangbin.

Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, Dlo3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. For Fans of New Mastersounds, Soulive, Jimmy Smith, Khruangbin.

NBN Records is very proud to introduce to you, Teddy Bryant, singer, composer, songwriter, producer and multi-instrumentalist from Conway, South Carolina.

Despite being his first solo album, Teddy Bryant is no rookie in the music industry, as he's been playing local shows with his Contemporary Jazz band called Urbyne since 1998 and releasing a Neo-Soul album in 2012 under the moniker of Moonlight Ora. Being the son of a Jazz player and after learning the piano at an early age, he soon realized he had unique musical skills : a boiling talent for composing melodies and harmonies and an unparallaled voice that could remind of none other than the legendary Marvin Gaye. Teddy does his own thing though, and he approached the label with the album already finished from top to bottom, including the artwork, made from an old analog poto of Teddy's mother.

On « In The Beginning » Teddy invites you to a trip around his world, at a cross between Contemporary Soul, Street Soul and R&B. « A dreamy concept of sonic realness is an ode to everlasting love and pays tribute to Sade, Marvin Gaye, Prince and Quincy Jones » as he describes it. Showcasing out-of-this-world vocal abilities and composition skills, Teddy sounds just as good as the all-time greats he got his inspiration from.

Lava Love is the new album by Zoe’s Shanghai. Led by singer Zoé Renié Harris, the band has made a splash into the crowded neo-soul scene with their debut EP A Mirage (Meant To Last Forever) released in 2019 - a deeply evocative sound and Zoe’s extraordinary voice gained them immediately the spotlight as ones to watch (“a worthy torchbearer for heady and hearty soul music”- Earmilk). Following a successful string of EPs and singles, the Barcelona & Paris-based four-piece band is now ready to share with the world their first full-length album. Lava Love was recorded in an old stable in the French region of Auvergne - known for its mountain ranges and dormant volcanoes, this region could not have been a more apt setting. Lava and love portray in fact a dynamic flow of memory and meaning pouring out of Zoe’s Shanghai’s heart. In and out of the metaphor, Lava and love can be powerful, frightening, beautiful, dangerous and at the same time are essential elements that create fertile change and growth. Through the 11 songs, the band evoke memories and pose questions - inner dialogues, life stories, encounters and relationships – the album depicts a kaleidoscope of moods and feelings, prompting the listener to open to the conversation: while each song presents a microcosm on its own, the album manifests itself in the shared musical experience - immersive music to listen to and enjoy with your loved ones. Produced with Oli Barton-Wood (Nubiyan Twist, Joe Armon-Jones, Nilufer Yanya), the sound of Lava Love brings together hypnotic melodies, groovy rhythms and thoughtful lyrics - fusing the essence of multiple music styles and forging Zoe’s Shanghai unique contemporary soul. The album follows the critically acclaimed EP ‘A Mirage’, which garnered the support of Gilles Peterson & Huey Morgan (bbc 6 Music), Jamz Supernova (bbc Radio 1Xtra), Worldwide FM and Earmilk to name a few.

Mmyykk’s Science EP arrives at a time when the world needs it. The eponymous title track is about recognising the power and connection that we all have to the cosmos - and it feels like no coincidence that this body of work arrives in 2021.

The EP balances universal themes with playfulness; asks hard questions relating to accountability and materiality whilst remaining musically cohesive and funky throughout. An exceedingly difficult artist to pigeonhole, Mmyykk (pronounced Mike) works concurrently within the realms of soul, jazz, hip hop, R&B and ambient; his sound equally indebted to his fellow west-coast natives Thundercat and Flying Lotus as it is to synth experimentalists Herbie Hancock and Stevie Wonder.

Whilst Mmyykk operates as the multi-instrumentalist, vocalist, producer & engineer across all 6 tracks, we can still hear the richness of improvisation musical collaboration involved in the making of this record, with numerous cameos from artists in Mmyykk’s adopted hometown of Minneapolis as well as a feature from London’s very own Demae.

The city of Minneapolis, whilst not addressed directly in the lyrics, provided a backdrop like no other whilst this album was coming together. Being at the epicentre of such a tragedy had a profound effect on the formation of the EP... “The City was literally burning...” Mmyykk recalls as he goes on to explain that tackling themes such as police reform, reparations and accountability in his work is his way of taking a stand in the fight for justice.

Despite the grief prevalent in the city, the EP exudes a complex “dopeness”, executed so effortlessly it belies the skill involved in the process - it’s precisely this nonchalant cool that defines what Science means to the artist.

Whilst we can dissect the inspirations and trace the lineage of this body of work- the result is singular. It’s clear that Mychal Fisher, aka Mmyykk is operating on his own terms, in a lane of his own - and making it look easy.

Record Kicks is proud to present POST MOMENTUM, the new EP by Italian cult combo Calibro 35 to be released on limited edition 12" vinyl. The extended-play comes 17 months after the acclaimed previous Calibro 35 album MOMENTUM, which – as the band stated: "represented a look at nowadays and a reflection about making music right in the time that we're living". The tour began right after the album release in January 2020, but it was soon interrupted when the whole world suddenly stopped because of the Pandemic. Now "POST MOMENTUM" represents a re-start and the first step towards the future, picking up where they left off.

Among the six tracks of the EP, while "Digi-Tails" and "Stars and Stripes, Chirps and Bleeps" express the unique musicianship of Calibro 35 as we have come to know over the years, "Being a Robot is Awesome" and "Artificial Black Moon" see the participation of a guest from the world to come: Sophia, the humanoid developed by Hanson Robotics capable of interacting autonomously with everything around it, reminding us how being a Robot could prove to be the best strategy to survive sometimes. The opening of the EP is an alternative version of the single "Stan Lee" enriched by two heavyweights of Italian rap: Ensi and Ghemon that don't make us miss Illa J. The EP ends with another alternate version of "Stan Lee", this time in all its instrumental glory.
Active since 2008, Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their thirteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

The band started back in 2007 when Grammy award winner producer Tommaso Colliva (Muse), invited some of the best musicians from the Italian indie scene - Enrico Gabrielli (PJ Harvey, Mike Patton, John Parish), Massimo Martellotta (Stewart Copeland, Adrian Younge), Luca Cavina (Retox, Zeus!), Fabio Rondanini (John Parish, Daniel Johnston) - to record some Italian golden age soundtracks. What started as a studio b-side project evolved in a full time band able to release 7 heavily acclaimed albums. Their last album MOMENTUM came out on Record Kicks on January 24th 2020. "MOMENTUM" stood out as a new starting point for the project.

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.

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.

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.

Two immensely talented musicians formally of dope soul/electronica four piece Electric Conversation from Paris. LaNote & Valet have a unique take on soul music with abstract rhythms and filtered textures yet memorable and beautiful songs with a genuine warmth of feeling, which is missing in so much contemporary music. This double album includes ‘Week-End’ which has also been remixed by the legendary DJ Spinna and ‘One Way’, blessed by a beautiful remix from Marc Rapson, both gaining support on the digital airwaves world wide. Further remixes come from the excellent aCatCalledFritz, Mecca:83, Simon S, Nicky Lars and Dusty (from Jazz Liberatorz).

Delvon Lamarr Organ Trio-or as it is sometimes referred to, DLO3-specialize in the lost art of "feel good music." The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. & The M.G.'s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It's a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat. The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan's smoldering pocket-groove drumming locks in the trio's explosive chemistry. Founded by Larmarr's wife and manager Amy Novo, the trio started from humble beginnings in 2015, but since then has released two Billboard charting albums and toured the world to sold out venues. The trio returns now with their second studio album, I Told You So, with even heavier grooves and more confidence. It may have been several years since their most recent studio effort, but they haven't missed a beat.

Come Inside b/w Sorrow Tears & Blood is the first single from the Chico Mann album "Double Life". The guitarist/producer is back at the helm with a fresh set of tunes under his "Chico Mann" moniker since his 2013 '80s electro-funk and boogie album "Magical Thinking". Founding the hard rock meets West African funk outfit Here Lies Man during his hiatus, his new effort seamlessly melds his dual musical personas which is inherent in the title of the album.

Starting out as a collaboration with bassist JP Maramba, "Come Inside" soon became one of the high points and an integral part of their live show with its frenetic energy. Conceptually, the music is an expression of the chaos and fast pace of modern life while extending an invitation to leave the door open to a new way to interface with the world that is more balanced and values authentic experiences over materialism.

On the flip, Fela Kuti's "Sorrow Tears & Blood" gets the psychedelic treatment. Being the first song from Fela's catalog that he'd heard, he was immediately hooked on the groove and power of the underlying message "The takeaway from that song for me is that it's of the utmost importance to ground myself in music and creative expression as a form cultural resistance. Therein lies beauty and determination in the face adversity."

Where will you hide when the world around you is closing in? On their latest LP, GFO invites you to close your eyes and take a dive into your subconscious. Strings and horns float around from ear to ear while their three sirens explore themes of isolation, fear of the unknown, and the fabrication of self-image. It's a soulful psychedelic journey that picks up sonically where "A Song For Paul" left off. The drums are heavier, the arrangements are more intricate, and the vocal harmonies soar over a bed of odd time signature grooves. This is an album that's meant to be listened to in the dark. So won't you join them? You're not scared.....are you?

Following on from his previous debut album Tape 1/Tape 2 on Soundway, Felbm delivers Tape 3/Tape 4 : an intimate, emotional, lilting and melodic solo project. These 14 lo-fi, instrumental, jazz-infused sketches were written on guitar, with cascading keyboards, vibraphone and drum machine. Possessing a restorative and soothing quality, it goes some way to balancing out a chaotic year for the world at large. With echoes of the dreamier end of 1980s English indie-pop, minimal ambient music and Brazilian bossa-nova, Topper’s musical storybook includes touches of The Durutti Column, hints of Antônio Carlos Jobim and Baden Powell, whilst all set firmly in the summer fields of Germany and the Netherlands. The recording method used for the creation and recording of Tape 3 and Tape 4 follows the same as his previous release: all sketches were initially recorded onto cassette on a 4-track tape machine. Most notably a vibraphone finds its way onto almost every track fitting Topper’s sound-palette perfectly: warm yet distinctive, a percussive as well as sustaining sound that evokes some melancholy and a certain timeless nostalgia. Features that most certainly also apply to the other ‘new’ instrument on the tapes: mellotron flutes. Tape 3/Tape 4 navigates the space between quiet, open, meditative tunes and more solid instrumental works, reflecting his constant search for an optimal balance between stillness and movement.

Named "best kept secret of Canadian funk" by the Quebecois newspaper La Presse, The Brooks are a band of accomplished musicians, well-known in the soul/funk scene across the Atlantic. Expert instrumentalists led by Alexandre Lapointe create a dazzling combo with frontman Alan Prater— an incredibly energetic showman who has worked alongside some of the biggest names in the music industry. This passionate and experienced band fan the sacred fire every time they perform! Thanks to a solid realization, their musical message comes across beautifully. The Brooks go beyond mere interpretation and style exercises: they are a powerful groove machine and a driving force in their sector. 50 years of African American music are condensed in the band's aesthetic. In their live shows and in their records, you can hear James Brown's meticulousness, D'Angelo's delightfulness, Fela Kuti's radiance, Herbie Hancock's intergenerational openness, and J. Dilla's innovative spirit. These heroes of music didn't let rules and trends dictate their messages, and neither do The Brooks. Just like these history makers, they built their reputation with sweat and rigor, outside of conventional channels. The Brooks are incredibly hard workers united in a project where pleasure and complete artistic freedom are the only key words. After 8 years of existence, with an EP and two albums, they have already won many awards and nominations (gamiq, Independent Music Awards, ADISQ...) and built a solid reputation in the Quebec indie world. Who are The Brooks? First, there's the icon, Alan Prater! This Florida-born musician can boast that he shared the stage with the Jacksons! Thanks to his many trips and experiences, he became a key member of Montreal jazz. He is the band's biggest asset: if The Brooks were a sports team, Alan Prater would be captain. Then, at the drums: Maxime Bellavance, one half of the Beat Market duo, whose "dancy and retro futurist" groove can be heard in several major and underground projects in Canada. Philippe Look aces guitar and vocals. His experience as a session musician working with famous bands for 20 years allowed him to take part in different projects: rock, downtempo, trip hop, electro… As one of the founding members of The Brooks, he also wrote many of the band's songs. Keyboardist Daniel Thouin is an integral part of the Montreal jazz scene. He is both an accomplished acoustic piano player and synthesizer player, well versed in writing as well as in improvising, in organic sounds as well as in the latest technologies. Thouin possesses a double vision, which allows him to both exalt and lead productions. Composer Sébastien Grenier wows us with his saxophone. Thanks to his theoretical knowledge and his 20 years of experience, acquired through continuous training all around the world, he is a true guiding force. French trumpetist Hichem Khalfa begun learning the instrument at 7 years old. He attended a musical conservatory before going to the Haute École de Musique and finally pursuing his studies at McGill University. He won prizes at Rimouski International Jazz Festival and received the François Marcaurelle prize at Montreal Off Festival. His successful jazz projects allowed him to work with famous musicians like Blitz the Ambassador, Nomadic Massive, Rhonda Ross and Kalmunity. Philippe Beaudin can be considered an apostle of Afro-Latin percussions, which he teaches and practices with great passion. Thanks to his participation in several projects, you can discover his talent both on stage and onscreen. The Brooks' philosophy is based on art in its rawest form, on perfectionism in musical practice. The choices they make and the directions they take are motivated mostly by instinctive feelings. This is how The Brooks recently crossed the path of Underdog Records during a trip in France. It was love at first sight for the two groups who share a passion for soul. Their chemistry allows them to be completely free in their creative process and natural as ever in their conception-creation-communication approach.

With a timeless sound that blends heavy soul and psych-rock, Monophonics have built a reputation over the past decade as one of the best live bands in the country. Led by singer Kelly Finnigan, the band of has drawn on their colorful history — both their experiences as veteran touring performers and as individuals growing up in the Bay Area — to create “It’s Only Us,” their fourth release since 2012.

A reflection of what they see as the current state of the world, the record touches on difficult subjects such as broken relationships, mental health issues, gun violence and power struggles, all with an underlying message of unity, resilience and acceptance. The band’s signature style of arrangement has been expanded with top-notch production and creative instrumentation to round out the Monophonics’ trademark soul sound, while Finnigan’s vocals are more powerful than ever. At times these tracks can feel classic, as familiar as an old song you grew up with, while simultaneously raising questions about the state of music in 2020 and what the future might hold.

“It’s Only Us” is the sound of a group continuing to grow as songwriters, musicians, performers and people — reflecting on where they’ve been, and pushing the boundaries of what’s possible in the years to come.

LP is packaged in high quality Stoughton Tip-On gatefold jacket, LP stored in an anti-static innsersleeve, and includes a download card. Pressed at Gotta Groove Records in Cleveland, OH.

With a timeless sound that blends heavy soul and psych-rock, Monophonics have built a reputation over the past decade as one of the best live bands in the country. Led by singer Kelly Finnigan, the band of has drawn on their colorful history — both their experiences as veteran touring performers and as individuals growing up in the Bay Area — to create “It’s Only Us,” their fourth release since 2012.

A reflection of what they see as the current state of the world, the record touches on difficult subjects such as broken relationships, mental health issues, gun violence and power struggles, all with an underlying message of unity, resilience and acceptance. The band’s signature style of arrangement has been expanded with top-notch production and creative instrumentation to round out the Monophonics’ trademark soul sound, while Finnigan’s vocals are more powerful than ever. At times these tracks can feel classic, as familiar as an old song you grew up with, while simultaneously raising questions about the state of music in 2020 and what the future might hold.

“It’s Only Us” is the sound of a group continuing to grow as songwriters, musicians, performers and people — reflecting on where they’ve been, and pushing the boundaries of what’s possible in the years to come.

LP is packaged in high quality Stoughton Tip-On gatefold jacket, LP stored in an anti-static innsersleeve, and includes a download card. Pressed at Gotta Groove Records in Cleveland, OH.