MUSIC

The official debut album from Inglewood R&B singer/songwriter, SiR – released on Fresh Selects before he would go on to join Top Dawg Entertainment and RCA Records. Produced by Knxwledge (tracks #1, #2, #13); Tiffany Gouché (#3); DK The Punisher (#4, #14); J.LBS (#5, #6, #7, #12); Chris Dave (#8); Alvin Isaacs II (#9); Iman Omari (#10); and SiR (#11).

Dawn Richard and Spencer Zahn share a common collaborative ethos, a genuine sense of musical curiosity, and a cosmopolitan eagerness to escape the conventions of genre. That shared vision first brought them together on 2022’s Pigments—icy and warm, stripped-down and grand, familiar and otherworldly—and now it has reunited them for Quiet in a World Full of Noise By turns intimate, soul-baring, spectral, and startling, Quiet in a World Full of Noise blends atmospheric and orchestral soundscapes with mellifluous soul, jazz, and journalistic vocalizing—driving it all home with stark, confessional lyricism. The new album finds Richard at her most raw and exposed. Quiet expands the definitions of what constitutes progressive, avant-garde R&B by rewriting them altogether.

The music of LA-based Sudanese-American artist Dua Saleh (they/them) explores the inner self and the world at large. With their long-awaited full-length debut, a collection of R&B-infused electronic indie-pop songs titled I SHOULD CALL THEM, they portray the spiritual power, resilience, and joy of love. Equal parts imaginative and lived-through, it's a statement record only Saleh could make. Across three EPs since 2019, heralded by The New York Times ("commanding"), NPR ("visionary"), and Pitchfork ("ambitious and riveting") — alongside their breakout role in the Netflix series Sex Education — Saleh has deftly fused and inverted genre conventions with a socially conscious style driven by melody, grit, and bravado. Saleh’s foundation as first a skilled poet and their close ties to the indigenous roots have enriched their music with incredible depth. In 2023, they signed with Ghostly International with the punk-leaning standalone single “daylight falls” and took the cover of GAY TIMES as their Rising Star in Music honour recipient. Now squarely at the helm of their first LP — guests include Ambré, Gallant, serpentwithfeet, and Sid Sriram — Saleh shapes their most vulnerable work to date, an apocalyptic narrative informed by environmental anxieties and their experiences as a lover, holding personal truth and hope amidst chaos. Sonically, the album ushers in a new era for the artist whose boundless sound continues to expand. "It's important for me to heal by being fully myself," says Saleh, referring to the outsized role identity and gender expression play in their process. "I am being honest with myself with this record, this is my story." They see queer love as an act of defiance, be it figuratively, in the album's storyline, which follows two lovers at the end-of-times, or literally, in the many oppressed cultures around the world. They reference inspirations in popular culture with trans and queer representation such as Japanese manga and various memes like the one the album’s title winks at. They credit Minnesota, where Saleh came of age, for its inclusivity and catalyzing encouragement, and pay homage to the Midwest with the pulsing opening track "chi girl," which details the playful pursuit of a crush in Chicago. Saleh finds a kindred spirit in serpentwithfeet, who duets with them on the striking, string-backed "unruly." "Something about his voice is so captivating," says Saleh. "I think our connection musically is queerness, being able to have that against-all-odds connection with somebody where we may have had to resist our identity initially when we were younger. There's a power that queerness holds for both of us." The song pairs otherworldly atmospherics with a tangible bounce. serpentwithfeet rings questions into the night ("how'd I get so unruly") as Saleh trails with hushed hooks and sly verses. Throughout I SHOULD CALL THEM, Saleh is elastic in how they use their voice and tune the scenery to love's sweetness and the moments that challenge it. "want" uses straightforward R&B rock elements to underscore feelings of betrayal and resignation. "pussy suicide" is pure jealousy. Flanked by a looping guitar riff and moody trap beat, Saleh's delivery adopts different pitches, from low, morphing drawls to high-register raps. They go tender on the Sid Sriram-featuring "time & time again." Saleh says the song reflects someone who "could have been the forever person but we weren't meant to be in this time. We still have this deep bond and, maybe this happens more in queer relationships, we still look out for each other." It embodies the softness required to survive. On the smooth, surrealist back half highlight "television," they harmonize with Ambré. "I feel a spiritual rush when I listen to the music that comes out of New Orleans, and I feel it in my gut with Ambré’s," says Saleh. Gallant guests on "coast," playing the classic R&B counterpart to Saleh's hyper-pop-inspired vocal take. Album closer "2excited" finds the characters in Saleh's story embracing a rapturous love realized as the world crumbles — signaled by a 'Black Metal R&B' blowout of ascending percussion and guitar, saxophone sighs, and guttural cries. It is ecstasy and dread personified, catharsis for modern times, and a thrilling example of an artist unafraid and thriving.

Embark on a soul-stirring voyage with Oriana Ikomo as she unveils "THE HEALING," an EP that encapsulates the profound metamorphosis she has undergone in recent years. This musical journey is an ode to personal empowerment, and Oriana's resilience echoes through each note and lyric. The EP unfolds with a powerful, ethereal introduction where the piano and Oriana's soulful voice are in the center. With a hauntingly beautiful atmosphere, she passionately repeats the mantra, "Be kind to the mothers, the sisters, the brothers, and the sisters," serving as both an affirmation and an important message to the world. Oriana's sonic palette is a rich tapestry of genres, seamlessly weaving together R&B, Gospel, Ambient, Jazz, Electronic, and Pop influences. Her sound throughout the EP is affirmed and robust, reflecting the strength she has discovered within herself. In each track, Oriana showcases her exceptional versatility as an artist. From the heart-wrenching ‘MAMA, LET’S GO’ to the rhythmically charged ‘IMMA PLEASER’, she navigates effortlessly through different musical landscapes. The EP becomes a sonic experience, offering you a diverse and immersive experience. "THE HEALING" is not just an EP; it's a musical expedition that invites you to delve into the depths of Oriana Ikomo's soul. Through her evocative lyrics and dynamic melodies, she invites you to witness the beauty that emerges from personal growth and self-discovery. Join Oriana on this transformative journey as she leaves an indelible mark on the intersection of R&B, Gospel, Ambient, Jazz, Electronic, and Pop, proving that empowerment and artistry go hand in hand.

New Orleans-based African-American producer/composer, ÌFÉ feeds Afro-Caribbean hand percussion through digital synthesizers and drum machines as he delivers explosive lyrics tackling life, death and the world we live in today to create a 21st century soundsystem experience on 0000+0000 -- the follow-up to ÌFÉ's acclaimed 2017 debut LP IIII+IIII. Otura Mun -- working under the conceptual alias ÌFÉ -- wrote, performed, and produced the entire album feat special guests: Bill Summers (of Herbie Hancock's Headhunters), Lex (a gifted, vocalist from the New Orleans underground), French MC Robby The Lord, the soulful Yoruban guitarist Saint Ezekiel, the London Lucumi Choir, Polish American singer Lavoski, who as a steady ÌFÉ collaborator, contributes vocals to the majority of the album's eleven songs. 0000+0000 was mixed in Austin, Texas by engineer Stuart Sikes, known for his work with Cat Power, Jack White, and Loretta Lynn, Sikes functions as a crucial collaborator on the album, bringing his own unique analog warmth to the electronic landscape created by ÌFÉ. For fans of: Rosalia, C. Tangana, Popcaan, IBEYI, Dengue Dengue Dengue, Sampa The Great

The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones and The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. I Each song on Ghost Funk Orchestra’s 3rd album, A New Kind of Love, due to be released on Colemine Records … 2022, resonates like the soundtrack to a scene from an imaginary movie. The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones & The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. In the tradition of the “production forward” discographies of such record makers as David Axelrod and the Mizell Brothers, it’s easy to visualize Applebaum as a “mad doctor” figure, hunkered down in a studio channeling this musical representation of his inner world into the 12 compositions which make up A New Kind of Love. His writing stretches his psyche to explore a terrain in which to capture emotional notes of love going well, love gone sour, manifesting love songs based in ghostly affairs. While the studio is obviously a wondrous happy place of experimentation and creativity for Applebaum, he’s a band guy too (having actually fronted punk outfit The Mad Doctors). Applebaum has the wherewithal to bring his dreamy material to the 10 piece all star Ghost Funk Orchestra, leading them to breathe life into this sophisticated body of work which heralds the celebration of a new era for the group. Ghost Funk Orchestra will be touring in concert this summer and fall to celebrate the release of A New Kind of Love, an album which is sure to stand the test of time.

Jamila Woods has a voice and lyrical sensibility that transcends generations, and so it makes sense to have this lush and layered album that bounces seamlessly from one sonic aesthetic to another. This was the case on 2016's HEAVN, which found Woods hopeful and exploratory, looking along the edges resilience and exhaustion for some measures of joy. Her new album, Legacy! Legacy! is the logical conclusion to that looking. From the airy boom-bap of "Giovanni" to the psychedelic flourishes of "Sonia," the instrument which ties the musical threads together is the ability of Woods to find her pockets in the waves of instrumentation, stretching syllables and vowels over the harmony of noise until each puzzle piece has a home. The whimsical and malleable nature of sonic delights also grants a path for collaborators to flourish: the sparkling flows of Nitty Scott on "Sonia" and Saba on "Basquiat," or the bloom of Nico Segal's horns on "Baldwin." More than just giving the song titles the names of historical black and brown icons of literature, art, and music, Jamila Woods builds a sonic and lyrical monument to the various modes of how these icons tried to push beyond the margins a country had assigned to them. On "Sun Ra," Woods sings "I just gotta get away from this earth, man / this marble was doomed from the start" and that type of dreaming and vision honors not only the legacy of Sun Ra, but the idea that there is a better future, and in it, there will still be black people.  Soul music did not just appear in America, and soul does not just mean music. Rather, soul is what gold can be dug from the depths of ruin, and refashioned by those who have true vision. True soul lives in the pages of a worn novel that no one talks about anymore, or a painting that sits in a gallery for a while but then in an attic forever. Soul is all the things a country tries to force itself into forgetting. Soul is all of those things come back to claim what is theirs. Jamila Woods is a singular soul singer who, in voice, holds the rhetorical demand. The knowing that there is no compromise for someone with vision this endless. That the revolution must take many forms, and it sometimes starts with songs like these. Songs that feel like the sun on your face and the wind pushing flowers against your back while you kick your head to the heavens and laugh at how foolish the world seems.

Memphis-raised V.C.R, born Veronica Camille Ratliff, is the LA-based violinist, gospel singer, and multidisciplinary Cinematic Soul artist using music and literature as her primary tools of uplift. The debut album "The Chronicles of a Caterpillar: The Egg" follows V through fantasy storybook-style song narratives that equally touch upon Lord Of The Rings as it does Minnie Ripperton and Tchaikovsky. Veronica's book “The Creative Black Woman’s Playbook” was written and published in 2019 as a primer to her album, with the purpose of celebrating black femininity, honoring black heritage and history, and empowering creative black women internationally. www.creativeblackwomansplaybook.com The album releases April 29th 2022 via Leaving Records All Genre, and features vocal contributions from Pink Siifu plus production from Sudan Archives and Lastnamedavid.

LA harpist/composer Nailah Hunter has released her latest 12" EP on Leaving! It includes covers of Nan, Donovan's "Guinevere" and Radiohead's "Talk Show Host". The album is a masterpiece of unworldly beauty, blending the spirit of Alice Coltrane, alternative soul music, ambient, new age, and even acid folk! The original bonus song "The Brook" is also included on the vinyl-only version. It's a great piece of work that takes full advantage of the vibrant energy around "Leaving".