Jazz / Soul / Funk

Big Crown Records is proud to present the sophomore full-length from Les Imprimés, Fading Forward. Spearheaded by self-taught multi-instrumentalist and producer Morten Martens, the album explores mortality, escapism, and a myriad of experiences associated with love.

Martens made a tremendous impression with his highly acclaimed 2023 debut Rêverie and has since cultivated a diehard fanbase whose demographics are as wide-ranging as the influences that shape his music. He mixes tones from ’60s and ’70s soul with arrangement nods to doo-wop records, takes drum energy from hip-hop, and covers the whole thing with vocal stylings drawn from ’90s and 2000s alternative. But it is Martens’ lyrics, emotion, and delivery that truly bring everything together and help him stand out from his peers. There’s an infectiousness and pop sensibility in the writing, executed with the utmost class and taste, giving Les Imprimés the rare quality of immediate attraction that only deepens with repeat listens.

Hailing from Kristiansand, Norway, Martens plays nearly every instrument on Fading Forward, produces and arranges the album, and of course sings. “It’s soul music, but I don’t exactly have the soul voice,” Morten explains humbly. “But I do it my own way, in a way that’s mine.”

Album opener “You & I” is Morten’s homage to his partner, who sticks it out “through the chaos and the blunders” with him. Punchy drums and cascading pianos make this one a proper two-stepper and an anthem for those lucky enough to find someone who understands them and helps them through the parts of life where they need it most. “Again & Again” slows the pace and deals with the heavier side of love and life, as Martens professes his resilience through the mishaps, heartbreak, and letdowns of love affairs gone wrong. “Untainted Love” brings the sweet side of new love center stage with a tune that plays on the title of the Gloria Jones classic. “Get Lost” leans into the metaphysical with an invitation to leave reality behind and spend time with Les Imprimés, where there’s room to dream. “Only Love” is built over a gritty drum break, with a chorus that is simple yet profound, and an arrangement that gives it the energy of a mantra. The album turns to the dancefloor on “With You,” an uptempo, uplifting tune about a fleeting encounter that leaves you pining for more. Martens longs for her, but joyfully—as if simply remembering that such a connection is possible is exactly what he needed. Martens is joined by guest vocalist Ama Li on “Miss the Days,” a slow-burning ballad that reckons back to simpler times when love felt easier. Fading Forward closes on a wholly somber note with “Paradise,” a tune that wishes freedom and peace to a friend who passed away.

In the small town of Kristiansand, Norway, there is a huge talent who spent much of his life laying low and playing in the background. Signing to New York’s Big Crown Records inspired Morten Martens to begin sharing his own music. The response to his debut Rêverie pushed him out of the studio and onto the stage, serving as inspiration to push his artistry to new heights—heights that are fully realized on Fading Forward.

Big Crown Records is proud to announce Marco Benevento to the family with his unstoppable debut 7”. A true piano virtuoso who’s been playing since the age of seven, Marco’s career has taken him around the world many times over, earning him a deep discography and a reputation as an in-demand session player.??Big Crown co-founder and Grammy-winning producer Leon Michels first brought Marco into the fold during the recording of El Michels Affair’s Adult Themes album, and he’s been lending his talents to countless Big Crown projects ever since. Outside the label, Marco’s unmistakable touch can be heard on records by Clairo, Kevin Morby, and Freddie Gibbs, among others.??But enough about what he’s done for everyone else—this release is Marco at his finest: doing his own thing, and doing it well. The A-side, “Frizzante,” is pure celebration captured on wax, waiting for the needle to set it free. It’s a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. From the first note, the infectious topline riff hooks you in, giving way to

cascading piano runs, lush horn arrangements, and layers of electric piano and synths that keep the energy rising. There’s no lull, no letup—just a proper soul-jazz dancefloor affair.??On the flip side, Marco shows an entirely different shade of his sound with “Turnadot,” featuring Italy’s own Marianne Mirage.

Hauntingly beautiful and cinematic, the song sits comfortably between Portishead and Serge Gainsbourg. Marianne’s vocals float over Marco’s perfectly balanced arrangement—his production both restrained and expressive, making the tune universally captivating, whether or not you speak Italian.

Big Crown Records is proud to present Glera, Marco Benevento’s debut album on the label. Marco Benevento has always moved like someone who understands the studio as its own instrument, not just a room where the toys are. Long before he began appearing on stages with Freddie Gibbs and Madlib, and in the liner notes of albums by Clairo and Leon Bridges, Benevento was already thinking like a producer - listening for texture, tension, and negative space, and for the strange emotional alchemy that occurs when groove and curiosity collide. His new album Glera sharpens that instinct into focus, presenting Benevento not only as a virtuosic keyboardist and bandleader, but as a composer building worlds from rhythm, tone, and feeling. Glera is a genre-bending jazz record that folds in soul and reggae’s elastic low end with an open-door sense of possibility. The project began three years ago as a kind of private exercise, with Benevento writing intuitively, inspired by Italian film scores and melody. Over time, those sketches evolved into something broader and more muscular, culminating in the grand majesty heard here. What emerges is music that moves cinematically without becoming precious. Tracks can feel like chase scenes or slow dissolves, sometimes within the same song, with jazz improvisation sharing space alongside reggae pocket, orchestral elements, and psych-pop atmosphere. It’s exploratory but grounded, complex yet unmistakably groove-forward. Album opener “Frizzante” is pure musical celebration captured on tape - a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. On “Turandot,” Benevento is joined by Italy’s own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes “Big Top,” stretching the album’s palette even further; equipped with voice memos and peacock calls, it’s most aptly summed up as “circus funk.” Blow the whistle and the game begins with the jazz-fusion–esque dancefloor filler “Houdini,” a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on “I Can’t Control This Bliss,” Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to “Miss Neptune” over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, “Sprezzatura” plays like a high-speed pursuit through narrow streets, while “Quattro Passi” brings the pace down to a saunter, featuring jazz vocalist Chiara Civello. Marco Benevento is operating at the highest level, shaping sound with purpose and curiosity. This album announces itself loudly—both outward-facing and deeply intimate. It’s music that moves—across genres, tempos, and registers—while remaining anchored to the joy of discovery. It’s a record that embodies motion, carrying the past forward without ever standing still.

Hiding Places is a collaborative album from Brooklyn-based rapper billy woods and Los Angeles beat scene veteran Kenny Segal, set for release by Backwoodz Studioz on March 29, 2019. On its face, it seems an unlikely pairing; woods—who moonlights as ½ of dissonant rap duo Armand Hammer—is a chaotic force, the warped relic of an NY indie-rap wave that never happened. Meanwhile, Segal has been in L.A. for twenty years; from paying dues with Project Blowed to pushing the culture forward with Busdriver and Milo. All the while, his soulful, dreamlike production precariously tethered to earth by the right drums or rumbling bass. But look closer and it makes more sense. After all, Segal lent his production to a couple of songs on Paraffin, Armand Hammer’s critically-acclaimed opus, and the two veterans have more than a few shared collaborators: Open Mike Eagle, ELUCID, and Hemlock Ernst amongst them. Hiding Places finds both artists deep in the labyrinth. Segal’s lush soundscapes have a new edge, woods’ writing is, paradoxically, at its most direct. Hiding Places is a child’s game: funny and cruel, as brutal as a fairy tale. The album features contributions from both artists’ well of collaborators with ELUCID, Self-Jupiter, and MOTHERMARY making appearances.

Orgone, a contemporary funk band based in Los Angeles, has spent years updating the sound of 60s and 70s soul and funk for the modern era. Among their catalog, New You stands out as one of the most beloved releases among fans.

After nearly two years, Okonski returns with Entrance Music — an album that finds the trio at the height of their improvisational prowess and celebrating the spontaneous and meditative. On the heels of 2023’s debut Magnolia, pianist and leader Steve Okonski has reconvened long-time musical collaborators (Durand Jones and the Indications bandmate Aaron Frazer on drums and bassist Michael Isvara “Ish” Montgomery) for another session in the spirit of artists like the Bad Plus, Gerald Clayton, and The Breathing Effect. Ultimately Entrance Music serves as an invitation to early hours, where songs linger in the doorway, announcing their presence before returning to the air, in a meticulous drift into the next.

Recorded over a five day session, Entrance Music was one of the first albums committed to tape at Portage Lounge, Terry Cole’s studio in Loveland, OH. “It was a new setup, but with Terry behind the dials it was very familiar,” says Okonski. “I can’t emphasize enough how much Terry feels like a fourth member [of the band] because of the space he’s curating, the energy he is bringing, and the production ideas.” The energy and sound created with the Colemine labelhead at the helm makes for a listening experience equally at home with ECM or Stones Throw catalogs.

From the rippling notes of the pastoral opener, “October,” Entrance Music is lush with anticipation, both band and listener feeling the tension in the tranquility — where the interplay of jazz improvisation and boom bap beats never shortchanges the musicianship but the talent is ever in service of the song.

While the band does not play together as often as they would like, not much time is needed for the three to lock in. Montgomery’s bass opening to “Passing Through” bends and moves with a singular meditative grace before piano and percussion joins the daylight filling a room with breath and light. If Magnolia resonated with last calls and late nights, Entrance Music counters with early mornings and first cups of coffee.

Whereas much of the debut resonates with his time in New York, Entrance Music “feels a little less ‘on the streets at 2 A.M.’ and a little more nature-based…a little more ethereal,” says Okonski. “It’s definitely age, environment, and family — all of that does come through in the music.” <iframe style="border: 0; width: 350px; height: 439px;" src="https://bandcamp.com/EmbeddedPlayer/album=3410800866/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://okonski.bandcamp.com/album/entrance-music">Entrance Music by Okonski</a></iframe>

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.”

Durand Jones & The Indications are in bloom.

After more than a decade of music-making, the trio have blossomed as a unit and are basking in their successes. On their aptly titled new album, Flowers, The Indications unfurl their true colors — embracing all their roots and influences, maturation and confidence, and share them with the world. "We spent the last 10 years building this house and now we’re living in it,” says Blake Rhein.

Flowers reflects DJI's growth and conviction: It's grown and sexy, fit for cruising and kissing, and delights in the softer side of soul and disco. "All of these songs touch on such mature topics, things that we never got to sing about before," says Durand Jones. "We are all in our 30s, have all been through ups and downs in our personal lives and professional lives, and flowers are a sign of maturity, growth, spring, productivity."

On lead single “Been So Long”, the Indications (Durand Jones – vocals, Aaron Frazer – drums/vocals, Blake Rhein – guitar) sing in unison: “It’s been so long/since we’ve been gone/it’s good to be back together.” It’s a song that contemplates the universal experience of returning to your hometown, alongside their experience of creating Flowers– a personal homecoming.

Since forming in 2012, the road has taken The Indications from those origins at Indiana University, Bloomington to the global stage, playing shows throughout Europe, Japan, Australia, and New Zealand. West Coast shows — where DJI has a strong following among the lowrider and vintage soul enthusiasts — consistently sell out. In March 2025, they will support Lenny Kravitz in arenas around Europe on his Blue Electric Light tour.

It has also seen the release of their three thoughtful, harmonic albums: Durand Jones & The Indications (2016), American Love Call (2019) and Private Space (2021). All brought international acclaim, a dedicated following and hundreds of millions of streams. This without a platinum feature or viral hit that upped the ante; when fans show up, and they do in droves, it’s for this band and the magic they make.

For as far as Durand Jones and The Indications have come, Flowers grew from the desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut.

As on that 2016 release (which was recorded on a Tascam four-track tape machine), The Indications prioritized collaboration while creating Flowers. Much of the self-produced album was written together at Rhein's Chicago studio, and many tracks are based on one-take demos — proof that vibes were particularly high, each member pulling from their refined tool kits with ease. Notes Frazer: "We took the spirit of play that started the project, and added in the wisdom and lessons that we've acquired through the years."

"When I think of Flowers, I think of this sense of naturalness. There's a lot of courage in showing the human side of making music," adds Rhein. "We spent the most energy playing to each other’s strengths and learning how to support each other. Being able to make art from an intuitive level takes a lot of confidence, not second guessing yourself, not asking if it's going to be well received."

Jones says Flowers is the result of significant personal transformation. "I had spent the last year and a half laying everything out that I felt insecure about — I felt insecure about my sexuality, growing up poor; about a myriad of things. I laid all of that out on the table and it made me such a stronger person, to the point that I got back to the Indications and I was way more sure of myself."

Pulling sonically and spiritually from each of the group's previous releases and solo work — Jones released his debut album, Wait Til I Get Over, in 2023; Frazer followed with his sophomore effort, Into The Blue, in 2024; and Rhein writes and releases as Patchwork Inc. — Flowers is the next stage of DJI's inspired soulful discography. DJI are not only accepting their flowers, but indulging in their sweet and sexy fragrance.

Close on the dancefloor, backseat of the car, behind-closed-doors vibes permeate Flowers. The bass-thumping fantasy getaway of "Paradise" channels the likes of Sade, Stevie Wonder and Minnie Ripperton, while Frazer's trademark falsetto guides listeners to an end-of-night dancefloor on single "Flower Moon."

"I feel like I can tap into myself in more of a personal way than I could back with American Love Call," Jones says of "Really Wanna Be With You," a string-laden, private press disco-inspired track written about an ex Jones believed to be a soulmate. "I love how triumphant and glorious that arrangement sounds; you dance through the heartache, you dance through the pain, and you keep it moving."

While Durand Jones and the Indications may be in bloom, their flowers are perennial. "We still find so much joy in doing this, that we can still be exploring new avenues," Frazer says. "We're so blessed to have such a wide range of influence and musical minds that have such a good grip on the things that they love, and the ability to synthesize those influences and bring them to a group setting. So we'll continue to do what we're doing for many years to come." 

Following her Grammy-nominated debut, "surrealist blues poet" aja money returns with a soulful, jazzy scratch pad of ideas, concepts and philosophies that features Vic Mensa, Mick Jenkins, Brandee Younger, Georgia Anne Muldrow, and others. On the surface, monet's sophomore album might seem like a set of poems set to low-slung, post-Low End Theory beats and kosmische/spiritual jazz synths, but she's not that straightforward. Her politics are the beating heart of her craft and that heart beats with revolutionary energy: already this year, her second poetry book 'Florida Water' has been nominated for an NAACP award. Crucially, she reclaims the idea of surrealism for Black voices; following artists like Suzanne Césaire, she uses surrealism to set her politics free, not as a series of Jungian tropes and aesthetics. She's plugged in throughout and, most importantly, her delivery makes the music strangely gripping. Poetry's not the easiest sell, but monet's tongue-twisting tales of American brutalism have never felt more necessary. "Octavia Butler newscasting premonitions from a graveside in Altadena," she quips on 'hollyweird', just moments before a wild trumpet circles the air above. And on the brilliant 'for the Congo', she cuts even closer to the bone. "How many children," she asks. "How many children died for the sake of my comfort today?" African percussion penetrates her words and it's hard not to feel utterly crushed.

Joyce & Tutty Moreno, the legendary architects of Brazilian sophisticated samba, have partnered with Adrian Younge to complete JID027—a deeply emotional album born from tragedy. Set in motion by the endorsement of their late friend João Donato, the project became a tribute to him following his sudden passing. The result is a breathtaking collection of improvisation, poetry, and resilience.

Blues in the Mississippi Night documents a remarkable 1947 session recorded by Alan Lomax in New York, shortly after performances at his Midnight Special concert series. Featuring Big Bill Broonzy, Memphis Slim and Sonny Boy Williamson—originally credited under pseudonyms for their safety—the recording pairs intimate performances with candid conversation. Prompted by Lomax, the musicians speak openly about racism, labour and life in the Jim Crow South, tracing the blues back to lived experience. The result is a powerful blend of music and testimony, grounded in the realities that shaped the form. Remastered from the original tapes by Lomax Archive, this edition restores the clarity and presence of the session. It stands as a vital historical document, capturing three defining voices in direct, unguarded form.

In the late '70s, three do-right women from Cleveland forged a brief partnership with Ohio's everything man, Lou Ragland. Unlike the prefabricated singing combos of the day, Lily Pearson, Annette Warren, and Avetta Henry swapped lead duties as situation demanded. When a Ragland-centric publicity stunt preempted a concert appearance, Love Apple disintegrated, abandoning this rehearsal tape within the lo-fi confines of Thomas Boddie's cherished Eastside studio. Devoid of bass, the sparse instrumentation (only Lou on guitar and piano and Hot Chocolate's Tony Roberson on drums) accentuates each vocalist's aptitude, showcasing some of Ragland's finest songwriting in the process. During any given take, Ragland can be heard calling audibles, directing his singers to repeat a passage, or lending his own sweet tenor to the vocal mix. Never intended for release, Love Apple's six-song sketch is the perfect companion to I Travel Alone, bringing Ragland's unique musical vision into sharper focus.

Operating in a basement studio at the confluence of the Mississippi and Missouri rivers, pipeline man Howard Neal and his appropriately named Shoestring label was Alton, Illinois' answer to a question no one asked. Pressed in minuscule numbers and barely outside the 62002 zip code, the singles by The James Family, Jimmie Green, Pete & Cheez, and Carletta Sue are prime examples of cosmic midwestern disco in search of a break. This heavy weight 10-song LP is housed in a tip-on sleeve, and includes an essay and imagery that complete the picture of this pure expression of small-town soul.

Released in 1970, Funkadelic’s self-titled debut was a radical collision of psychedelic rock, gospel, blues, and soul — a chaotic, genre-defying statement that redefined the possibilities of Black music. Where Motown aimed for polish and crossover appeal, Funkadelic dove headfirst into distortion, improvisation, and spiritual ambiguity, offering a sound as gritty and unpredictable as the era itself.Backed by a ferocious young band — including Eddie Hazel, Billy Bass Nelson, Tawl Ross, Tiki Fulwood, and Mickey Atkins — the album rejected convention in favor of raw groove and existential noise. Tracks like “I Got a Thing…” and “What Is Soul” pulse with menace and joy, bookended by surreal monologues that echo both street philosophy and space-age gospel.As part of Org Music’s Westbound Records reissue series, this edition restores the album’s full impact across multiple formats. The deluxe double LP, mastered at 45RPM directly from tape by Dave Gardner at DSG Mastering, offers the highest fidelity to date. Gardner and restoration specialist Catherine Vericolli archived and restored the original master tapes at 54 Sound Studios in Ferndale, Michigan, with assistance from in-house engineer Nick King. A single LP edition, cut from high-resolution tape transfers, is also available, alongside CD, cassette, and digital formats.A sonic revolution in its time and a lasting influence ever since, Funkadelic remains a groundbreaking testament to music without rules and freedom without limits.

Free Your Mind And Your Ass Will Follow is the second album from funk innovators Funkadelic, arriving in 1970 mere months after their trailblazing debut. Famously originating from a single LSD-fueled marathon session, the record saw the band honing their songcraft, while still allowing plenty of space for mind-bending exploratory jams. It marked the official introduction of legendary keyboardist Bernie Worrell, and would go on to chart at No. 92 on Billboard's Pop chart. Remastered direct to lathe from original master tapes by Dave Gardner (all analog).

A year and a half after the release of her already acclaimed album Me Chama De Gato Que Eu Sou Sua, the young and award-winning exponent of the Brazilian music scene releases a double single that ends the album cycle with a flourish. Winner of the São Paulo Association of Art Critics Award for album of the year in Brazil and nominated for a Latin Grammy for “best rock album in Portuguese”; in the US, it received excellent critical and public acclaim, and her show toured 11 countries on three continents, with over 40 sold-out shows. After an intense year of work, Ana returns to the studio to record the 2 songs that were included in the show's repertoire -- A Sua Diversão, by Ana and Tuca Monteiro; and Não Tem Nada Não, by Marcos Valle, Eumir Deodato and João Donato. The single will be released on 7” vinyl by the labels RISCO, MR Bongo and Psychic Hotline in July 2025. “The first time I played Não Tem Nada Não was in a solo show, and I immediately felt that the song should be included in the Me Chama De Gato Que Eu Sou Sua show. For the show of my last album, I decided to reduce the band a bit, remove the horns, so that it could be more flexible and be able to tour more places with it. First, it was a logistical issue. I wanted the new show to be audible… the bass drum, the snare and the hi-hat, the individual pieces and all the instruments. They had to have a lot of emphasis, I wanted everything to be audible. And I felt that in the shows with the big band, something always didn’t come through, it went unnoticed. So I thought of a leaner show so that, sonically, everything would have emphasis. So, these phonograms come as a continuation of Me Chama De Gato live, of the meeting with the band. I wanted to provoke this encounter with the band in a phonographic way. At the same time, it is a more subtle, more neutral phonogram than my other works. It almost fulfills the function of a live performance, the representation of a live performance, of an arrangement for the band. “A Sua Diversão, on the other hand, is an unreleased song, written in partnership with Tuca Monteiro, which I had been playing at some Me Chama De Gato shows… However, since it was an unreleased song, I didn’t see much point in releasing it alone, and at the same time, I didn’t know where to fit it. So, when I started considering recording Não Tem Nada Não, which is a song by my idols… I have this in my career, I don’t re-record idols, I don’t consider myself an interpreter, I’m a composer… So when I decided to record Não Tem Nada Não, I was racking my brains to make it natural in my discography, as someone who is a composer, who is a music producer. So A Sua Diversão came in perfectly, as a counterpoint, as a fitting, in a great farewell to Me Chama De Gato… “These are definitely songs that don’t point the way, but rather close a cycle. They reflect research based on live performances, on the MCGQESS shows, which will be celebrating their farewell in Brazil this year. The two tracks occupy a similar place in my discography to Mama Planta Baby and Mulher Homem Bicho, but different because without the pandemic factor, without the home studio, now recorded live, with a band.”

What does hell look like? The introduction of Toy Machine skateboard's seminal 1996 video Welcome to Hell with its pulsing overlay of the Stars and Stripes on top footage of police officers, businessmen, and fast food service workers, would appear to paint hell as the mirage of American exceptionalism. A thick, centuries-spanning unreality that may not outwardly trade in fire and brimstone, but if you turn your nose to the wind, you'll smell sulphur.What comes after that scene, born of — or despite — those apparent depictions of damnation, would become a cultural touchstone: skateboarding performed at the highest level, composed and displayed in a fashion that would influence and endear audiences for decades to come. Welcome to Hell features a unique and progressive patchwork of skateboarders, most of which would become icons in their world, and helped redefine what the modern skateboarding video could be.A young Joseph Shabason felt that impact. The acclaimed musician hit rewind on his VHS copy of Welcome to Hell hundreds of times in his youth, each watch as thrilling as the last. That invigorating, improvisational, full-body experience of skateboarding is one that Shabason likens to jazz, where a shared language exists between the wheels and woodwinds. The way the skateboarder and musician command that language is what distinguishes them, adding definition to the mercurial concept of "style." This connection becomes most apparent in collaboration; ensembles of skaters and musicians are a noisy, creative bunch. Reflecting on this relationship and the Toy Machine classic would ultimately lead Shabason to wonder: what does hell sound like?The answer was a concept album that, like his previous records, lives in the personal. One that, much like skateboarding itself, would push him to try something new: rescoring Welcome to Hell. The video's original soundtrack served as a musical awakening for many — an active, aggressive mix of songs from bands like The Misfits, Black Sabbath, and Sonic Youth. Here, you'll find that recontextualized, softened, yet no less energizing. Over the album's ten songs, Shabason plays with the angular and ambient, exploring large group melodies that move forward with the on-screen action, shifting the mood in subtle and substantial ways that reframe our understanding of this culture-defining skate video and the skateboarders in it.In Shabason's "Hell," quintessential "East Coast powerhouse," Mike Maldonado is backed by a sharp, driving modal composition that calls back to 1970s Miles Davis, the melodic sensibilities of Azimuth, and stands as a fascinating complement to Maldonado's hard-charging on-board approach. The debut of Elissa Steamer, a pioneer decades ahead of her time, is given fresh spirit with an off-kilter funk. Brian Anderson, whose virtuosic section was originally guided by a dour Pink Floyd track, now flies across the screen in jazzy fits and starts, punctuated by the joyous wail of Shabason's saxophone. Nowhere does the fluid and improvisational intersection of skateboarding and jazz meet and swell than with Donny Barley. His easy, instinctual cool flecked with tinkling synths and bass lines that echo the natural power of Barley’s abilities.Shabason then creates what could be rightly considered an audio portrait of Ed Templeton. The celebrated visual artist, photographer, and founder of Toy Machine cuts a distinct profile, which Shabason distills with a throbbing, slanted rhythm and an eerie layering of feedback and pressuring keys. The "curtains" section in Welcome to Hell belongs to Jamie Thomas, whose career-defining performance here would set the stage for a decades-spanning career and a level of influence in skateboarding that is still felt today. Shabason meets Thomas' epic with a commanding, angular rhythm that builds and flows with the momentum of his skateboarding. Airy group melodies mingle with a wonked-out vibraphone and tight percussion that lets loose in florid bursts before devolving into a finishing sequence of muscular improvisation — a fittingly bold interpretation of the work of one of skateboarding's most daring practitioners.Finally, as if ending with his thesis statement, the last song of Shabason's Welcome to Hell is a calming vocal harmony that lies atop the video's infamous "bail section." A horrific collection of skateboarders falling and twisting themselves into agonizing, unnatural shapes — a Hieronymous Bosch captured on VHS. It's the culmination of the unexpected made whole. Shabason's album a provocative reimagining that instills a new sense of awe in the 27-year-old classic, prompting the question first posed by the original: what if hell was a place you wanted to return to again and again?

Their soulful funk awareness might have found its grandest stage with their self-titled 1979 “debut” for Mercury, an album that covered the band’s gritty soul with a layer of stifling L.A. gloss, that caused few heads to turn, and that marked the beginning of the end for Father's Children. Years before the coke dust had settled, another album’s worth of material had been tracked, the creative supernova that should have ushered the group into the nation's consciousness years prior. Who's Gonna Save the World is that 1973 explosion, conceived prematurely and then uncovered decades into a lengthy incubation inside producer Robert Hosea Williams’ suburban beltway garage. Unreleased previously, Father’s Children’s true freshman offering is a work genuinely concerned with its own time and place, bringing together comet-hailing funk, sunny group harmonies, fuzz-guitar solos, shimmering keys, bubbling percussion, spiritual prophecy, and dub experiments. Our deluxe LP edition includes the bonus 45 “Linda Movement” b/w “Intellect” and a folio full of promo photos that track the band’s evolution from D.C. doo-woppers to L.A disco denizens.

Hot on the heels of ‘Mordechai’, the critically acclaimed third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series.Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s ‘A Calf Born in Winter’ in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. “The LateNightTales series is such a special thing to be a part of because we wouldn’t have made it if it wasn’t for Bonobo’s LateNightTales, because that’s how we got into the LNT family – and got a break.”With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin’s deep love of global grooves – from Asian pop to Nigerian reggae – Japanese mellow groove to Latina flavas – are steeped in eclecticism; Nazia Hassan’s Hindi-disco ‘Khushi’, produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute ‘Don’t Go’, a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for Песняры and thence to Madrid for the strident vocal performance of Paloma San Basilio with ‘Contigo’ before hightailing back to Texas.Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle plus, in the LateNightTales tradition, the band deliver an exclusive, horizontally brilliant version of Kool & The Gang’s ‘Summer Madness’, while the mix concludes with a spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie’s ‘Gnossienne’.“It’s cool to think about what you would listen to late at night, as a band together, lighting a spliff, kinda vibe. We definitely wanted to cover as much global territory as possible; so it was the globe and then home. We wanted to show the treasures from our hometown, or people from our hometown that the rest of the world probably doesn’t know. That’s what makes Khruangbin Khruangbin. The stubbornness about being so hometown-centric but what makes Houston is this this constant international influence. That’s that gulf stream, bringing it right into Houston. So I guess that’s kind of the theme.”The LateNightTales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Hot Chip, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.

This is a solo percussion work recorded in 1980 and released in 1981 by Masahiko Togashi, one of Japan’s foremost percussionists and drummers. After the accident that left him partially paralyzed, Togashi developed his own techniques and performance methods, using drums, bells, gongs, and a wide range of percussion instruments to capture the unique sound world he envisioned. This album documents that deeply personal sonic exploration.

Evidence has traveled the world, released a string of acclaimed albums with Dilated Peoples and as a solo artist, has become a respected producer crafting beats for Kanye West, Beastie Boys and Linkin Park among others. For his part, Alchemist has become one of rap’s triple threats, producing for Snoop Dogg, Eminem, Nas and many more. Alchemist is also an accomplished rapper and Eminem’s touring DJ. While they were building their respective careers, Evidence and Alchemist had worked together regularly collaborating on Dilated Peoples albums, Evidence’s solo material and Alchemist’s releases. As the pair continued collaborating, they began labeling themselves as Step Brothers when they would record, as noted on Evidence’s The Layover EP. The pair then decided it was time to record an album together. Now as the Step Brothers, Evidence and Alchemist deliver another stellar musical achievement, Lord Steppington, which delivers lyric-driven, punchline-heavy and intricate rhymes. Lord Steppington boasts the best of the duo peppered with frequent collaborators and friends, including Action Bronson, Roc Marciano, Domo Genesis,The Whooliganz, Styles P, Fashawn, Rakaa, Blu and Oh No.

A full instrumental version of ‘Garbology’, the 2021 collaboration between American rapper Aesop Rock and hip-hop producer Blockhead. On-and-off creative foils for each other’s work going back years, the pair complemented each other perfectly on the original album, but this slate fully exposes Blockhead’s sparse and often desolate production work.

The original 1983 release of Feel My Love is a boogie/modern soul classic by Vaughan Mason & Butch Dayo.

Few figures in Chicago soul operated quite like Lenny "King Creole" LaCour. Across the 1960s and '70s, he built a sprawling catalogue of R&B, harmony soul, funk and early disco releases, issuing records through a network of independent labels and aliases that have since become prized collector's items.Magic Touch: The Soulful Sounds of Lenny "King Creole" LaCour gathers 26 standout recordings from his remarkable body of work. Featuring artists including The Mar-J's, The Swinging Hearts, Junior & The Classics, Evelyn Smith, Filet Of Soul and Harvey Scales and The Seven Sounds, the collection traces LaCour's knack for crafting infectious grooves, heartfelt ballads and dancefloor-ready soul.Expanded with extensive notes, rare photographs and archival memorabilia, this anthology shines a light on a fascinating and often overlooked chapter of American independent soul music.