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The work of JJJJJerome Ellis lives comfortably in the gaps between silence and possibility. The Black disabled Grenadian-Jamaican-American artist creates atmospheric soundscapes with saxophone, organ, hammered dulcimer, electronics, and their voice. Improvisation is at the core of their artistry – often chipping away at large slabs of recordings to reveal the piece like a marble sculptor. It’s an expansive and interdisciplinary practice that allows JJJJJerome to adapt to any medium or form, including recorded music, live theatrical and performance art, scoring, spoken word and storytelling, and multimedia/visual works that incorporate sound. Living as a person who stutters, using their mouth to express themselves proved difficult growing up. The practice of spelling their performance moniker “JJJJJerome” stems from the realization that the word they stutter most frequently is their own name. Despite a brief placement in speech therapy as a child – Everything clicked when they picked up the saxophone in seventh grade. “I still stutter on the saxophone, but it’s different.” As an artist, their creative ethos now revolves around the exploration of stuttering through music, expounding upon the ability of each to shape time. They honor the stutter through art. Their career began when they started to improvise along with John Coltrane and Billie Holiday CDs on the horn. But as someone drawn to navigating limitations, JJJJJerome has since blossomed into an adept multi-instrumentalist, each instrument being a watershed in paving new avenues of potential sound worlds. Their voice is additionally guided by a reverence for the earth and ancestors – both human and otherwise. With maternal familial ties to the church, and memorable stories of their grandmother performing as a pianist and organist, JJJJJerome’s recent affinity for keyboards holds a meaningful weight. Forthcoming sophomore record Vesper Sparrow (Shelter Press) is born out of this connection to Black religious tradition and inheritance. It is a continuation of the artist’s ongoing study of the intersections between music and sound, stuttering, and Blackness, through the lens of time. The album is comprised of two complete thoughts, and hinges on a recorded stutter. JJJJJerome splits the four-part composition “Evensong” by fading out the stutter in part two, and sandwiches tracks three and four (“Vesper Sparrow” and “Black-Throated Sparrow”) in-between. “The stutter becomes a structuring moment,” they explain, regarding the opportunity to fill the time opened up. Suspension, then, becomes integral to JJJJJerome’s musical language. Both stuttering and granular synthesis can suspend moments in time, and “invite multiple ways of inhabiting, traversing, and connecting with others in those moments.” The artist also pulls in elements of pop production – electronic textures and distortions inspired in part by indie-rock; and spoken word, sampling, and audio manipulation drawn from Caribbean and Black American musics. JJJJJerome’s artistry has been recognized on a wide scale. Their debut record The Clearing (NNA Tapes, 2021) and accompanying book (published by Wendy’s Subway) was awarded the 2022 Anna Rabinowitz Prize for its “restless interrogation of linear time,” as described by esteemed writer Claudia Rankine. Their work has been presented by large cultural institutions, both internationally at the 2023 Venice Biennale and adventurous Rewire Festival; and at home in the US by the Whitney Museum, The Shed, the Center for African American Poetry and Poetics, and National Sawdust. JJJJJerome has additionally been awarded a Fulbright Fellowship (2015), Creative Capital Grant (2022), and several MacDowell residencies (2019, 2022). Recently, they have been commissioned by The Metropolitan Museum of Art and Ars Nova. A Virginia native, JJJJJerome currently lives in a monastery on traditional Nansemond and Chesepioc territory, aka Norfolk, VA. They live with their wife, poet-ecologist Luísa Black Ellis. earned a B.A. in music theory and ethnomusicology from Columbia University, and went on to lecture in Sound Design at Yale University. With childhood friend James Harrison Monaco, they create vast sonic-storytelling productions as James & JJJJJerome. It’s JJJJJerome’s dream to build a sonic bath house.

In the discourse around new albums from singular, world-building artists, the phrase “a big step forward” can often be a blinking red warning sign. You know you’re about to be pulled somewhere new against your will. Inertia is a hell of a thing. It’s nice here.

Surely, the party’s not over yet? JJULIUS’ Vol. 3 album is a big step forward, or a step up, out of the murky basement of the preceding two volumes. There’s no time to acclimate. A spindly violin grabs you by the hand and pulls you into the pastoral bounce of “Brinna ut,” which, in spite of its meaning (“Burn out”), creates the kind of blind positivity and warm stomach feeling less cynical people might find in self-help seminars. For us, we have records like this. And, inertia be damned, Vol. 3 has charm like a balm.

JJULIUS records have always arrived like meteors from another planet, an impression hammered home by the fact that they’re titled like compendiums of artifacts. And while Vols. 1 and 2 carried that notable tinge of darkness, Vol. 3 has (almost!) cast that shadow, adding elements of disco (“Dödsdisco”) and
dream-pop (“Etopisk hallucination”) to his forever favorites Arthur Russell, African Head Charge, and The Fall.

Some of that new car smell could be attributed to a change in process. Each song was written over beats played by Tor Sjödén of the wild-eyed Stockholm group Viagra Boys, beats that were themselves inspired by tracks from the likes of Patrick Cowley, CAN, Count Ossie, Black Devil Disco Club and others that Julius would send to him as inspiration.

Unless you’re Mark E. Smith, fervor fades. Eventually we all crave a lie down in some nice grass, a few minutes to gaze at the sky and wonder if everything is actually all that bad. Vol. 3 gives you 35 of those respiting minutes. “No looking back, no misery, no talking trash, no enemies.”
<iframe style="border: 0; width: 350px; height: 208px;" src="https://bandcamp.com/EmbeddedPlayer/album=1295288989/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://mammasmysteriskajukebox.bandcamp.com/album/jjulius-vol-3">JJULIUS-VOL.3 by JJULIUS</a></iframe>

Jnbo is the moniker assumed by Melbourne / Naarm-based composer, producer/engineer and bass player Henry Jenkins. Jenkins is known to most as the producer/engineer behind Surprise Chef, Karate Boogaloo, and the Grammy-winning Frollen Music Library. Serving as College Of Knowledge Records’ in-house recording and mix engineer, Jenkins has provided the sonic constitution for Melbourne / Naarm’s instrumental cinematic soul movement. & Friends sees Jenkins turn his abilities to his own brilliant compositions. The album comprises 12 introspective instrumentals - deep, cinematic odysseys steeped in romance and sincerity, with an unmistakable ‘freak funk bump’. Jenkins explains the conceptualisation of & Friends: “I wanted to write a record I would look forward to recording with my friends. The music I was writing had a funk sensibility in the bass and drums, contrasted by a more cinematic approach in the harmonic and melodic content, with guitars slipping and sliding in between. I tried to make that contrast the character of the record. I felt that every song should have the same instrumentation and with the same personnel. This became an enjoyable creative constraint; how much variation could I pull out of the same 8 instruments over the course of the album? I wanted to find as much diversity as I could within these tight bounds.” Jenkins applied these principles to the recording of & Friends, bringing together longtime musical collaborators Hudson Whitlock, Darvid Thor and Callum Riley (Karate Boogaloo), Lachlan Stuckey and Jethro Curtin (Surprise Chef), Lewis Coleman and Lena Douglas (The Cactus Channel) to realise unconventional arrangements across three guitars, piano, string synthesizer, Hammond organ, drums and bass, with Jenkins himself assuming bass guitar and production duties. The resulting album is a strikingly unique melange; moments of picturesque ambience move into head-nodding funk, with the three guitars and three keyboards precisely arranged across the stereo field throughout. The record displays the influences of film composer Bernard Herrmann, lounge pioneer Les Baxter and Motown’s Lamont Dozier, alongside Jnbo’s own eccentric idiosyncrasies. Jnbo - & Friends is out worldwide College Of Knowledge Records on April 3rd 2026.

Jo Johnson (erstwhile member of ‘90s riot grrrl legends Huggy Bear) launches her Silver Threads imprint with a double album of bittersweet transmissions of ribboning arps and iridescent greyscale atmospheres conjuring comparisons to Barker, the pastoral kosmiche ends of Border Community or Craven Faults.

"This double album is the inaugural release on Jo Johnson’s Silver Threads label and compiles her ‘slow album’ – work created and shared (in a limited way) in real time from January until June, in response to “bleak and often distressing times”. Alongside each of the five album tracks compiled on CD 1, Jo created Remnants, reworks and original tracks from “discarded audio and coincidental field recordings” that were shared exclusively with her Bandcamp subscribers and these seven tracks are compiled on the second CD.

Alterations Volume One was album of the week in Moonbuilding. In Futurism Restated, Philip Sherburne said it was, “A coherent and enveloping piece of work in which melodic motifs unfold against an ever-changing landscape of pads, drones, and arpeggios. It moves like a slow, broad river throwing off sparks at sunrise.” Electronic Sound said it was “spellbinding” and “never less than mesmerising” in the October issue and will feature an interview with Jo in the December 2025 issue. Surgeon said, “Beautiful restraint and Galactic emotions.” He called the final track, Unpicking, a “masterpiece”."

With ‘Terrain,’ Joachim Spieth presents the fourth long player on his Affin imprint. The follow-up album to ‘Ousia’ (2021), ‘Terrain,’ reflects on the human relationship with nature. The album title is a reference to a musical language that layers Spieth’s music production practices and intimacy with nature. ‘Terrain’ was forged in deep solitude.“ It’s an interplay of euphoric flashes and introspection” – says Spieth. The eight compositions take the listener into a captivating cascade of sonic textures resembling internal states fluctuations and emotional release. The tension between the organic warmth and static curves broads tones into liquified roars and empty spaces. Unlike Spieth’s previous albums, ‘Terrain’ holds more intimate gestures and emotional sensibility. Soothing frequencies here are intended to create a state of awareness in the listener. It is a work of conceptual and emotional beauty, evoking a form of spatial imagery that is as grounding as elevating.

Starting with an open dialogue seems like a good way to approach a collaboration. Almost a decade ago, that’s how Joana Gama (piano) and Luís Fernandes (electronics) started to work together, and both quickly understood that it was an ideal moment to develop and explore new paths in their music. “There’s no knowing” is their fifth album, 50 minute piece in which the two artists' have a dialogue while interacting with the void and silence around them. The origin of this work explains the frequent tension in this piece; Invited by Nuno M. Cardoso to compose the soundtrack for a TV series, “Cassandra”, Joana and Luís found themselves with the material and inspiration to extend this work into a long piece. At times, “There’s no knowing” feels like a tense and knife cutting soundtrack to a thriller. Joana’s tempo adds to a well-architected sound-design by Luís that pushes the boundaries of what the duo can achieve. The ambition, always present in their music, provides a fascinating backdrop - the focus in the moment coupled with the feeling of latent anxiety pushing each other to their limits.That tremendous momentum can be felt while listening to any of their records. As they push each other, we are invited to other realms of contemporary electronics and modern classical. “There’s no knowing” is their finest to date. But that’s no surprise, their work is based on that continuous progression.

Ten years on, Joana Gama and Luís Fernandes show no signs of slowing down. Over the past decade, the duo has released five albums, composed soundtracks for film and television, and created pieces for performing arts. With “Strata”, they embark on a bold exploration of their musical identity, breaking new ground by seeking the primordial, the raw, and forging a deeper creative synergy. This evolution makes their music feel less like a conversation and more like a unified, introspective monologue.
Until now, their work has largely been defined by dialogue—a dynamic exchange of ideas evident in their earlier records. However, in their relentless drive to push boundaries, they now turn inward, embracing a monologue as a pathway for growth, innovation, and celebration of their journey so far. Two key elements shape this transition: Joana’s growing affinity for synthesizers over piano, a direction initiated in “There’s no knowing”, and her integration of field recordings gathered from diverse locations around the world. Rather than stepping into each other’s domain, the duo finds common ground, creating music that thrives on harmony and introspection.
“Strata” stands as Joana and Luís's quieter and most cohesive record to date. It reflects their desire to craft music that resonates with the natural world, unfolding as a seamless stream of sound that enhances their connection and invites the listener into their creative process. While their previous works were compelling, they often felt distant, as if the listener was observing from the sidelines. “Strata”, by contrast, draws the listener in, encouraging them to fill the spaces and find their own place within the duo’s monologue.
This process climaxes in the closing track, "Geode," where the subtle sounds of debris underscore the tightly woven structure of “Strata”. It’s a testament to the duo's commitment to evolution and their ability to surprise both themselves and their audience. A decade into their collaboration, “Strata” reaffirms Joana and Luís's creative vitality, offering a record that feels both fresh and deeply rooted in their artistic vision. 

"Never before heard tunes from the heart of Manchester circa 1989. The lost demos of the band that was Joanna, recorded at iconic Strawberry and Pentagon Studios were discovered in a Manchester apartment loft after 35 years on the shelf. For fans of The Stone Roses, Happy Mondays and Charlatans. With the release of Hello Flower, Joanna is no longer “the most popular band without a record out,” as NME called them in 1990, but their singular spirit is now available for anyone who wants a taste." It’s 1989. The Stone Roses are dominating the Indie scene and music press. Happy Mondays are laying the foundations of what would come to be known as the Madchester era with chaotic live performances. All eyes are on the birthplace of the Industrial Revolution. Along the East Lancs Road, throughout industrial heartlands between Manchester and Liverpool, punctuated by woollyback accents, four young musicians meet and form the next contender for the scene’s attention, Joanna. Neil Holliday (vocals) and Terry Lloyd (bass), work colleagues from Runcorn and Widnes, join forces with Leigh Music College students Tyrone Holt (guitar) and Carl Alty (drums). They hail from thoroughly working-class backgrounds, raised by hard working dads and harder working mothers. Rejected by other local bands because of their perceived youthful naïveté, the four lads create a world of their own inside Pentagon Studios in Widnes. This world includes a stolen smoke machine and strobe lights, a wooden shack to prevent feedback on the vocals, and the occasional friend who would dance around wildly. “I think the first tune we rehearsed was called (I Wanna) Marry Joanna,” says Holliday, “I’d never sang into a mic before and had no clue about levels, amps or speakers and started sweating after a couple of failed attempts to vocalise the words I had on a scrap of paper about smoking weed.” Each track on Hello Flower came together in the Pentagon rehearsal room, a fusion of hard-edged indie rock with bass funk rhythms and crunching guitar riffs spiraling into infinity. With a clear sixties influence, Joanna was impossible to ignore and irresistibly danceable. Listening back today, their music evokes fantasies of Hacienda acid trip jubilees, where the hook is secondary to the groove and attitude. Organic and jammy, their demos are infused with a kinetic energy, full of the defining youthful experience of figuring it out. Their momentum grew quickly. They were interviewed on the cult Kiss FM by future Best Selling author and filmmaker Jon Ronson, performed at the 1500 capacity Ritz in Manchester, International 1 and Liverpool Polytechnic. The band secured coveted support slots for established acts of the time including Shack, Dr. Phibes and the House of Wax Equations, Rig, and Asia Fields. After recording several demos, Joanna had the opportunity to perform in London. It seemed like a given. The A&R people would show up, the band would sign a contract backstage, and their local-legend status would evolve into international superstardom. They were already mentioning an upcoming record deal in interviews, with a bravado that inspired one journalist to describe Joanna as epitomising “the simple beauty of youth.” Bands like World of Twist, Charlatans, Rig and Paris Angels had all followed a similar route towards recognition and secured record deals. A few hours before their fateful London show after the band had sound-checked, singer Neil bumped into a girl he knew from school. She had started dating a guy with a good job and settled into London life and escaped beyond their small-town limitations. She’d made it out. Neil puffed out his chest and let her know about Joanna’s big show and imminent success. She laughed. Neil returned to the venue in a black mood, leading to a domino-like fall of morale. They were never offered a record deal. As soon as doubt was seeded about the individual talent of any one member, and strategy became more important than expression, Joanna started to lose its magic. Wounded, they limped along for another year, never recovering their initial verve. This story doesn’t have the happy ending of instant success, but it does preserve something much more ephemeral and unique. Joanna constantly brushed shoulders with fame as manager and friend Martin Royle pulled the strings with a quiet determination in the background. A major player in the Liverpool scene, Dave Pichilingi, offered to manage the band. The Boardwalk, which later became the rehearsal space for Oasis, asked Joanna to headline their re-opening after a major refurb, selling the venue out. Was a certain young roadie called Noel Gallagher there to witness the evening while he was putting his own band together? Definitely. Hand-written letters on headed stationery, recently found in the attic of the Isle of Man home of Royle, show labels like Rough Trade, Factory Records and Polydor courted and encouraged the band to keep playing and recording. Thirty-five years later, these long-forgotten ¼-inch reel tapes from Pentagon Studios were discovered in the loft of a mutual friend, their manager having handed them off to him 24 years earlier. These musical time capsules contained tracks the band members themselves hadn't heard in over three decades, offering a poignant reconnection with their creative past and tantalising glimpses of what might have been. “We realised we were actually as good as we remembered,” says Alty. The memories between the band members are blurred and contradictory but the tapes hold everything together, they are real, definite and irrefutable. With the release of Hello Flower, Joanna is no longer “the most popular band without a record out,” as NME called them in 1990, but their singular spirit is now available for anyone who wants a taste. The simple beauty of youth can only be experienced when you are invincible, fulfilling your natural destiny, buoyed by complete optimism… This record captures innocence untainted by failure. Beyond analysis, beyond critique, just lost in the groove.

Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the '70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.

Joanna Brouk's most ambitious recording, Sounds of the Sea is a concept album full of mystery and eroticism. A conch shell bookends this journey into the deep, going down and down and down further, never reaching bottom. Drawing inspiration from various legends of mermaids and sailors, Brouk weaves circling flutes, vocals, drones and whale songs to describe a sense of unfathomable longing more clearly than words could ever express. Sounds of the Sea is a hypnotic and profound achievement by one of new age's greatest composers.

Previously issued on three rare cassette-only editions, Joanna Brouk’s 1980 sophomore album The Space Between has finally been given spacious LP quarters. The side-long title track, performed by Brouk’s Mills College instructor and sometime-lover Bill Maraldo is among the deepest and most distinctive pieces in the new age canon, while side B’s three cuts expand the theme in hypnotic new directions.

*per customer 1 copy. The dreamlike encounter between Dean Blunt's experimental refraction and Joanne Robertson's dreamy vocals is a dream come true. A dreamlike encounter between Dean Blunt's refractive experimentalism and Robertson's dreamy vocals, this dream-pop/shoegaze album is a graceful, introspective soundscape that blends lo-fi, experimental, and ambient music in a genre-defying style.

‘Blue Car’ is a collection of songs from Joanne's archive of unreleased solo recordings, similar to ‘Painting Stupid Girls’, these tracks attempt to record the moment, and where she was at emotionally that day, similar to diary entries. The dates she wrote these songs is unknown, they span roughly a ten year period.

Following years of memorable turns in collab with Dean Blunt and on her own solo recordings, ‘Blurrr’ is likely the moment Joanne Robertson ooozes into much wider acclaim and recognition - a stunning album of sparse heartbreakers recorded in the company of Oliver Coates and landing at an irresistibly fragile spot somewhere between classic Grouper, Cat Power and Arthur Russell’s ‘World of Echo’. A real delicate, special album - one of the year’s finest.

In pursuit of last year’s ‘Backstage Raver’ duo with longtime spar Dean Blunt, Manchester born, Blackpool-rooted, Glasgow-based Joanne Robertson casts her strongest spell yet on ‘Blurrr’, cementing her status as a master of timeless songcraft. On nine new songs, every strum and murmured lyric exposes a patient beauty and rare intimacy that transcends the sum of its parts. It includes a trio of co-productions with Oliver Coates - noted collaborator with everyone from Malibu and Mica Levi to Laurel Halo - lending an extra frisson of flesh-tingling substance to accentuate the sensuality of Robertson’s voice.

In solo mode, she has us by a thread on the album’s longest piece ‘Friendly’ where we're treated to harmonies and hooks that pull from Nick Drake through Sarah Records and the blissed Americana of Hope Sandoval, lilting into a filigree coda somehow comparable to Vini Reilly’s sun-kissed, balearic glissandi. Her blissed coos on ‘Peaceful’ set our arm hairs on end, and the languorous opener 'Ghost' is like Robertson's answer to Grouper's timeless 'Heavy Water’, while ‘Why Me’ feels like the Nirvana Unplugged x Cat Power hookup of our dreams; there's nothing heavy handed or overdone - just bare expressions - like a blast of cool air on a humid afternoon.

Coates elevates three of the album's most striking tracks. His emotive string flourishes are remarkably subtle, there's a trace of the cinematic wonder that elevated his work with Laurel Halo on 'Raw Silk Uncut Wood' and with Malibu on the now classic 'One Life', but Coates is careful not to overpower Robertson's songs, enhancing her harmonies without ever obscuring their faultlines. On 'Gown' we’re reminded of Arthur Russell's timeless 'World of Echo', and that connection deepens further on 'Doubt', where Coates' fluttering low-end reverberates below Robertson's cool-headed voice. The killer for us, though, is 'Always Were', a glittering masterpiece that sounds like Robertson’s voice has been recorded to a half-broken mic, then dubbed to worn tape, magnifying its emotional resonance as it cracks alongside Coates' heaving strings, snowballing into a dense mass of harmony and echo.

Caracol is one of the first examples of fusion between Brazilian percussive music and electronics. Synthesizers, samplers and sequencers were still a novelty in Brazil in the 1980s, but João de Bruçó and R.H. Jackson created an avant-garde masterpiece.

Using popular references and an eagerness to escape any retro / stylistic cliché that came to haunt Brazilian youth music at that time, they plunged into an audacious, intuitive and improbable sound journey in Caracol.
This rare adventure of Brazilian music was released independently in 1989, financed by the artists themselves. The original small pressing sold-out, belonging now to record collectors around the planet. For the first time Caracol is re-released on vinyl, with two extra tracks found after decades!

Remastered from the original tapes, this reissue includes a reproduction of the original graphic art, new testimonies from João de Bruçó and RH Jackson and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.

Limited Clear Vinyl edition, 300 copies! Joao Gilberto's self titled third album, is the fruit of the collaboration between Gilberto and the great composer and arranger Antonio Carlos Jobim and Walter Wanderley and his ensemble. This is one of the greatest pieces of work in the field of Brazilian music. Gilberto's delicate singing moves on top of extremely subtle, elegant orchestral arrangements of various songs from the classic repertoire, "Samba da Minha Terra" and "Saudade da Bahia" (Dorival Caymmi), "O Barquinho" (Roberto Menescal / Ronaldo Bôscoli) without forgetting essential numbers by Carlos Lyra, Vinicius de Moraes and Tom Jobim. A timeless masterpiece, period!

Limited edition of 2021 on clear vinyl. The masterpiece released in 1973 by Joao Gilberto, known as the god of bossa nova, has been reissued in analog format! This masterpiece is known as one of the best pieces of Brazilian music of the 70s. This masterpiece is known as one of the best pieces of Brazilian music of the 70s. It contains incredibly gentle, delicate, and amazing performances with a tremendous presence.

Back in stock ! João Gilberto’s 1970 En México captures the bossa nova legend in exile, blending Brazilian classics, boleros, and standards with his signature whisper-soft vocals and minimalist guitar. Recorded during his stay in Mexico City, the album features gems like “Bésame Mucho” and “Ela é Carioca,” offering a delicate, cross-cultural set that highlights Gilberto’s timeless, introspective style.

First released in Brazil in 1960 this is Joao Gilberto's second studio effort. A seminal album that just one year later introduced Bossa Nova to the United States. Joao Gilberto, one of the true masters of the genre, displays a great selection of songs including various Tom Jobim's classic gems such as "Samba de Uma Nota Só" ("One Note Samba"), "Corcovado" and "Outra Vez". An essential piece of work in the whole history of Brazilian music.

João Gilberto, the "Father of Bossa Nova", is known as one of the most influential lyricists and composers in South America, and Naked Lunch is proud to announce the release of this compilation album focusing on his early career. This compilation album features a selection of great performances from João Gilberto's early works, the ODEON trilogy, or "O Mito".

Brazilian singer, poet, guitarist Joao Gilberto made his 1959 debut with the now legendary LP, ‘Chega de Saudade’, a new sound and acknowledge as the first bossa nova album, a genre that swept the world in popularity and taken up by such artists as Stan Getz, Charly Byrd, Astrud Gilberto, Frank Sinatra, Quincy Jones, and countless others. Presented here is essentially a themed compilation of some of his best songs, including tracks from his acclaimed debut LP, ‘Chega de Saudade’.

I first heard about this incredible record from my friend and renowned collector Ian Wright back in the mid-2000s. Ian may well have been the first to feature it on a mixtape around that time. He originally found his copy on eBay without a sound clip calling the seller to listen over the phone before taking a chance on it. A true San Diego masterpiece, now highly sought after within the Modern Soul scene. Beyond that dedicated circle, it has remained largely unknown, due to its insane rarity. Although Glen is sadly no longer with us, his legacy lives on through this stunning piece of music, which will finally get the attention it deserves on dancefloors all over the world. Special thanks to the ever-dapper James Pogson for his invaluable help with securing the licence x

Mala and Joe Armon-Jones unite on A Way Back; a five track collaborative project that calls back the golden age of dubstep, released on Armon-Jones’ imprint Aquarii Records.

‘Sorrow’ is the third in the ‘Aquarii In Dub’ series from musician and producer Joe Armon-Jones, written and produced by Joe in his own studio and released on his own label Aquarii Records.

As well as Liam Bailey and James Mollison, Sorrow features Morgan Simpson on drums, bassist Luke Wynter, and Mark Mollison on guitar.

Produced and mixed by Joe Armon-Jones, mastered by Noah Priddle.