MUSIC

Dunya, the title of Mustafa’s masterfully crafted and breathtakingly tender full-length debut, roughly translates from Arabic to “the world in all its flaws.” It’s a lofty subject for a young songwriter, but as with every theme at the heart of the Sudanese-Canadian artist’s work—from religious devotion to childhood trauma, gang violence to romantic intimacy—he approaches it through a personal lens. Blending genres and moods, weaving novelistic details into instantly memorable folk songs, he has crafted a record that feels like a series of personal breakthroughs, arriving one after the other. The first thing that strikes you about Mustafa’s music has always been his writing: a simple, piercing tone that can make any story feel as raw and earnest as the words to a love song. With a hushed delivery that can silence his surroundings, Mustafa evolved swiftly from a child prodigy reciting poems throughout his native Toronto to a behind-the-scenes pop songwriting force. On Dunya, he becomes a full-on auteur in his own right. “I’m trying to preserve and celebrate the ordinary life in the hood,” Mustafa notes of his lyrical inspiration. Exploring his upbringing and trajectory onward, these songs are equally disarming in their simplicity and multilayered in their emotional breadth. Featuring appearances from collaborators such as Aaron Dessner, Rosalía, Clairo, Nicolas Jaar, and more, alongside Mustafa’s longtime creative partner Simon Hessmann, the music reveals a confident, distinctive voice that’s never sounded more poised for the masses. Even when it sounds like he’s taking on the world, Mustafa is speaking only for himself: a story that he knows is just getting started.

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 reflection 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 significant 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 first 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 finds 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 influences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this first solo offering is just the beginning of his next chapter.

Australia’s world-renowned cinematic soul outfit Surprise Chef return with new album Superb. A record that represents a change in their creative approach and turns up the heat in their music. Trading in their meticulous writing and recording techniques for a looser and less planned approach with the intentions of bringing more levity to the process, and it comes through in spades. The high caliber musicianship is still front and center, but they push their sound into a more energetic and fun place on this album.

Album opener “Sleep Dreams” is the closest thing to a Surprise Chef tune one would come to expect, but then lead single “Bully Ball” comes on and you get the picture that they came to kick in the door on this one. The song’s gritty drums thunder through the speakers and get covered with percussion, keys, bass, and guitar chanks that stay in the pocket and bring the funk with them. The band pushes the boundaries of arrangement with tunes like “Body Slam” that starts off like a sweet soul track then pulls a 180, turning dark and haunting, centering on a sound they created by tucking a timpani into a bathroom two doors down from the mixing board. That same sense of experimentation comes up again on “Fare Evader” where they pepper another neck breaking rhythm track with synth notes that sound like robot sound effects from a 70s sci-fi film. The fellas turn up the tempo for the dance with tunes like “Consulate Case” and “Tag Dag”; the former pulling influence from afro-funk and the latter from jazz-funk. They take us deep into the beautiful world of Surprise Chef ballads on “Websites” and double down on their abilities to make beautiful and ethereal tracks with “Dreamer’s Disease”.

With their new album Superb, their new approach, and plans to tour the world, we are about to see Surprise Chef take the step from the underground’s most beloved to a household name and we are definitely here for it. 

Thee Marloes give us with another killer of a two-sider while they finish recording their debut album. The A side "Logika" is a laid back tune about where the head and the heart meet and how they often don't see things the same way. Natassya Sianturi's honeyed vocals float over a beautifully arranged track driven by guitar riffs, organ, and reverb drenched stick hits. They manage to put the perfect amount of paint on the canvas with the band sounding tight as ever hitting all the changes that bring in the earworm chorus that stays in your head even if you don't speak Indonesian. The B side "True Love" finds Thee Marloes dipping back into the soulful side of jazz but this time with a beat ballad that could soundtrack a Tarantino movie and hold court with the best of the genre. This one leans you back in your chair setting the mood for a smokey lounge affair and a strong drink. Two more pages from Thee Marloes book on a must have 45 giving a taste of what is to come on the 2024 full length.

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi “Shadow” Radebe and the late Zwelakhe “Malemon” Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path—one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn’t long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born.

(Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.)

With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito’s style.

“Kwaito was the thing ‘in’ at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy,” says Radebe. “We didn’t have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar.”

That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke ”H.” They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn’t have music production or engineering backgrounds so they required support from engineers together their ideas down on tape.

They were inspired by South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs—a perfect blend of local flavor and global influence.

Patrice Rushen’s all-time classic 1979 album for Elektra Records This album marked another progression in Rushen’s solo career as she broke through with the huge club hit ‘Haven’t You Heard’ and also featured on her LP cover with her trademark braids for the first time courtesy of stylist Sibongile Bradley and top photographer Norman Seeff. The album showcased Rushen’s famed talent for bringing the right musicians together, mixing more experienced players like drummer James Gadson and Bill Summers with younger talent including bassist Freddie Washington and drummer “Ndugu” Chancler. The tracks themselves were more spacious than on ‘Patrice’, released 18 months earlier. “It was the confidence of feeling that we didn't need quite as much in the arrangements,” Patrice explains, “and the times were also changing in terms of what we liked, what we danced to and the kind of grooves that people responded to. With ‘Pizzazz’, we had the advantage of a rapport with radio and black press, which were both very powerful at the time.” Alongside ‘Haven’t You Heard’, the album features many tracks that have become fan favourites over the years - the upbeat, carefree single ‘Let The Music Take Me’, the sweet ballad ‘Settle For Me Love’ and a memorable duet with Roy Galloway, ‘Givin’ It Up Is Givin’ In’. Strut’s expanded reissue of ‘Pizzazz’ is packaged in full original artwork and featuring loud cut bonus 12” versions of the album’s singles ‘Haven’t You Heard’ and ‘Let The Music Take Me’, alongside a previously unreleased instrumental version of ‘Givin’ It Up Is Givin’ Up’. Package includes rare photos by Bobby Holland and a new interview with Patrice Rushen. All tracks remastered from the original tapes by The Carvery.

Awesome compilation of rare dub versions of Amy Winehouse songs

Tracklist :

Side A

Valerie Dub
Dubber Than Me
You Know I'm No Dub
Dub & Mr. Jones
Dub To Black
Redub
Will You Still Dub Me Tomorrow
Wake Dub Alone

Side B

Dub The Box
Love Is A Dubbing Game
You Know I'm No Dub - Take 2
Dub To Black - Take 2
Will You Still Dub Me Tomorrow - Take 2
Dub The Box - Take 2
Love Is A Dubbing Game - Take 2
You Know I'm No Dub - Take 3

反戦、児童遺棄、ドラッグ問題、国家権力、人種差別、環境問題、アメリカの社会問題を、心の奥地に深く突き刺さる、人類史上最も聖愛な歌声と共に歌い上げられたコンセプト・アルバムであり、間違いなく至上最高のソウル・アルバムと言える1971年の歴史的名盤。

Hill departed from the hip hop sounds of her debut album The Miseducation of Lauryn Hill (1998) in favor of austerely performed acoustic soul and folk-based songs. She jokingly described herself as a "hip-hop folk singer", and according to Robert Hilburn, assumed the role of a folk singer accompanied only by her acoustic guitar. Rather than singing any of her previous hits, Hill debuted all new songs in a folk style and, in between songs, spoke at length about her personal and artistic struggles.

If there’s a group in this age that faithfully carries the torch of real group soul harmony, it must be these three cats from the US west coast by the name of Thee Baby Cuffs. Currently composed of Joe Narvaez and Reality Jonez, prance on the stage with their new song “There Ain’t Enough Roses”. Produced together with the Timmion house band Cold Diamond & Mink, these gentlemen lay down pure soulful romantics enough to fill a jacuzzi. Even though they seem to be walking out from the candy and flower shop empty handed to meet their lover, they are equipped with lyrics and falsetto flows that can melt any heart. Continuing with their tried and tested downtempo ballad style, Thee Baby Cuffs deliver a soul boulder just as potent as their previous Timmion releases “My My Baby” and “You’re My Reason”, not to forget the brilliant work that they have put out on the Raza del Soul label from California. So hop on in the passenger’s seat and let Thee Baby Cuffs serenade you all the way to the sunset. In case you’re more for the instrumentals, flip the single over to reveal the flute-led version that’ll send you to that sweet Steve Parks lowrider territory in no time.

The idea of putting together songs like impressions of a feeling rather than a collection of recordings from a certain decade or style or genre was at the heart of a discussion I had with Norman in 2019. It was a warm July day on the Riviera. I had just finished putting together the sound system for our first and only festival. “It should paint a picture”...

We began a work of compiling. Norm would send tracks and we would try to situate them on the spectrum of a large “carte postale” encompassing in one corner the kitsch resort balneaire, in the other the sail boat in a Caribbean creek, with sandy beaches and glimmering waves in between. With the certainty that the French only seem to possess in matters of taste (my wife Emma is the same), Norm would go: “ah ca c’est 100% Blue Wave” or not at all.

Shortly after, I was introduced by Norm to Charles. The two had been exchanging on references for a while and they had agreed to work together. I was over the moon of course. Our souls had been sucked to Club Meduse shortly prior, and was an inspiration for our aspirations.

The timeline here gets blurry. I lost a bunch of money in the Lebanese crisis and the local economy melted down. Covid hit. The second edition of Pocket of Light Cote d’Azur got cancelled. Movements restrained. Lovers separated. And then the Beirut Port Explosion happened.

I won’t meander long in self pity, but at this very moment in time, the beach seemed so far away, like a forgotten paid reservation at my dream holiday destination. It took me a while to shake that feeling off. Sometimes it still catches me.

We convened to meet in Dusseldorf. We had a party at the Paradise Now. The next day, we had cold tea and cake. Charles walked us through a part of his collection. Every record like a layover on the way to where I left off in my head.

At this moment, seeing Norm and Charles moving to the sound, I remembered that we were up to something golden.

A couple years later here we are. I am thankful for the patience of my collaborators and thrilled to present to you this volume of Transcoastal.

A reminder to keep sailing on that capricious sea despite the weather. Not too far off after the horizon, a gentle vision of paradise awaits.

We went out of our ways, we hope you go out of yours.

Love, light and sand in your shoes,

Mario

Vinyl-only for the time being.

In commemoration of soul singing legend Ural Thomas's 85th birthday, Cairo Records and The Albina Music Trust present Nat. - Ural! This giant tribute to Ural's 70 year music career includes an LP, a 7", a thirty six page 12 X 12 full color book, five postcards, a newspaper fold out, a 11 X 17 poster and beautiful printed inner sleeves.

Here's a detailed description of the contents -

THE LP - These 8-track recordings are from the early 90s - possibly some begun as early as late 80s. There are synthesizers, drum machines, a chorus of vocal overdubs, guitars, bass, drums...a full band all Ural, recorded at home and now for the first time on LP.

THE 7" - Two songs Ural recorded in the early 1960's at home with a bunch of kids from the neighborhood. Side A is the avant garde funk masterpiece Fade Away - featuring kids blowing into ten foot long bed posts outfitted with trombone slides. Side B is the sweet, simple soulful and life affirming ballad, "Smile".

THE BOOKLET - This 12 X 12 full color book features a long interview with Ural, interviews with his contemporaries and tons of great photos. It covers his whole career as a soul singing legend.

THE POSTCARDS - Five postcards featuring pictures of Ural from various stages of his career.

THE FOLD OUT NEWSPAPER - An old article about Ural's struggles with the city of Portland and a new article about how great Ural is on the other side.

THE INNER SLEEVES - Two large beautiful alternate covers for Nat - Ural are printed on the inner sleeves.

THE POSTER - Full color promo shot of Ural in a mesh outfit hanging out in a birdbath. 

The First Lady of New Orleans Soul, Irma Thomas' career had many stops and starts; she never caught on with a big label, and bounced between smaller concerns, being most famous for how deft of a live performer she was than her studio output, a superstar in Louisiana, but a curio outside it. 

In 1967, after moderately successful albums with the local Imperial, she went north from New Orleans to record at the FAME studios in Muscle Shoals where Aretha Franklin became a star at the behest of Chess Records, who aimed to turn her into the next Etta James. For reasons that are not clear, Chess released a couple singles from the FAME sessions, but never actually put all the songs Thomas recorded there in LP form. It would take until a Japanese release in 1984 for these songs to see full release; it is  a drop-down soul classic, an impactful, fantastic album that is a giant what-if? Thomas might have gotten her flowers much sooner if this had come out back then. You can fix that now.

In 1969, Albina in the US underwent a pivotal transformation which saw the arrival of Black residents displaced by the Vanport floods. While a local Black economy thrived to start with, the neighbourhood eventually got neglected due to disinvestment by the city's elites but citizens didn't take it lying down and some of them formed Shades Of Brown, a group that emerged at the Albina Arts Center which was a haven for artists during civil unrest. With members from various musical acts, they found unity under leader Thara Memory who instilled discipline and required them to read and write music before performing. This EP, which is the group's sole record, embodies their camaraderie and the community's struggle against neglect across six raw-as-you-like funk cuts laden with emotion and narrative.

A dazzling 11-track journey through the rich, handpicked gems of Numero’s finest. Blending the timeless warmth of classic soul with a fresh, modern twist, Eccentric Modern Soul delivers an expansive soundscape that feels both nostalgic and new.

In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade, V4’s unparalleled 12” output referenced every significant Black British music scene; from lovers rock to jazz-funk, sound system reggae to hip hop, new jack swing to garage, from artists Ashaye, Julie Stapleton, Maureen Mason, Rohan Delano, The Wades, and Endangered Species. This 18-track double LP is the first critical overview of the label, with extensive notes by Simon Reynolds, era-defining photographs, and fresh remasters, all housed in a glorious foil-stamped gatefold tip-on sleeve. Is this a dream?

“Do you need samples?”

We all ask ourselves this from time to time, and thankfully, Frollen Music Library (FML) has you covered.

‘001-015’ is a “best of” compilation celebrating the first 15 sample packs made by Naarm/Melbourne (AUS) based Frollen Music Library. Launching in late 2021, the sample house has since been featured in productions by ScHoolboy Q, Leon Thomas, Devin Malik and more.

This retrospective “best of” traverses a wide range of styles and moods to appeal to every music enthusiast as well as producers and songwriters alike. Whether it’s bouncing Hip Hop beats or evocative cinematic etudes, FML’s 3-piece house band, comprising Henry Jenkins, Darvid Thor and Hudson Whitlock have a deep love and respect for many musical styles. FML’s diverse catalogue takes cues from the ‘Third Stream’ composer David Axelrod on their ‘Sharpen Your Axe’ (FML009) pack, as well as drawing upon cinematic themes from 60’s and 70’s Italian film score composers a la Ennio Morricone and Riz Ortolani, as heard on ‘The Fretted Neck’ (FML006). There are 90’s New York boom bap beats found in ‘Golden’ (FML013), as well as synthesiser music inspired by Tonto, which is showcased in the ‘Nina’s Exploding Brain’ (FML014) pack, utilising a locally made synthesiser from Melbourne Instruments.

Jenkins, Thor and Whitlock have been playing in bands and producing music for their local music scene for the last 15 years. Recording and performing with The Cactus Channel, Karate Boogaloo, Mo’Ju, Surprise Chef and many many more. Not only is this brand-new LP a great musical collage worthy of any music library enthusiast, but also functions as a tremendous sampler demonstrating the many styles of FML. Fast, slow, sweet AND sour!

An overflowing chalice of funky gospel gems from the Forest City. You could start a church with this thing. PULPIT NOT INCLUDED. </p><iframe width="560" height="315" src="https://www.youtube.com/embed/gY8kHiS3-SM?si=YmcIoXsiViov2LFb" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe><iframe width="560" height="315" src="https://www.youtube.com/embed/J61aMfKyik0?si=Xy0yDGMecKsLuzw3" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

In Latin, the word Gemini denotes “two together” or “twins”. In astrological terms, Geminis are noted for, amongst other things, being curious and versatile. For San Diego’s 9-piece (mostly) instrumental combo The Sure Fire Soul Ensemble, Jazz and Funk have always been the two genres that they’ve consistently and effectively melded together, forming the bedrock of their sound. Exercising their stylistic curiosity and versatility, they’ve expanded upon this foundation on their new 11-song long player for Colemine Records.

Recorded between late 2021 and early 2024 at The Kitchen II in their homebase of Lemon Grove, California, SFSE steer their “introspective party music” into fresh sonic realms. While their breakbeat-heavy brand of funk-soul-jazz is still the cornerstone of their sound, as displayed in tunes such as “Makin’ Moves”, “The Grifter” & “Don’t Trip”, they’ve begun to take more and more cues from library music labels such as KPM Music, spiritually-leaning jazz labels such as Tribe & Black Jazz Records and exotica-adjacent jazz artists such as Cal Tjader and Dorothy Ashby. Now leaning more into the “introspective” part of their sound, particularly on “Mother Earth”, “Freddie” and the title track, they evoke the spirits of Freddie Hubbard, Phil Ranelin, Wendell Harrison, Bubbha Thomas, Chester Thompson and even Cannonball Adderley at his headiest & most cosmic (listen to Adderley’s “Soul Zodiac” & “Soul of The Bible” albums for reference). “Corporatocracy” takes it a step further with an extended tabla solo, which floats in and rides the percussive wave before kicking into its funk-driven, modal vibe.

With their current lineup of Tim Felten on keys, Jake Najor on drums, Omar Lopez on bass, Kiko Cornejo Jr on conga/percussion, Aquiles “Lito” Magana on guitar, Wili Fleming on trombone, Sheryll Felten on percussion, and both Jesse Audelo & Travis Klein on saxophone & flute, SFSE maintains their commitment to keeping it funky, but dares to go where they haven’t gone before and, as a result, breaks intriguing new ground in their overall sound. 

All the music in the world is at your fingertips, and it’s up to you to set the vibe… So, what should we listen to? If you’re having trouble deciding, turn on the radio. It’s the perfect place to discover something new, or jam along to a tried-and-true station that’ll never let you down.Tune In is due out 11/1/2024 via Chiefdom Records. The second of three installments in the Terrestrial Radio series, it’s a carefully curated collection of instrumental fusion, designed to serve as the perfect radio mix for fans of jazz, hip hop, funk, soul, reggae and beyond. It’s the latest release from Cincinnati based executive producer Doctor Bionic (Jason Grimez). As a DJ, producer, and former member of 90s rap group MOOD, Grimez’ musical career revolves around hip hop. He’s always preferred to sample songs from the late 60s and early 70s because of the authentic tone. “Growing up collecting and sampling records was an education, whether we realized it or not,” he explained. Grimez records and produces music using analog gear to emulate the instrumentals that he’s always loved as he works with some of the best musicians in the Cincinnati area to bring his ideas to life. Among others, Jonathan Luck Spaulding and Josh “Mojo” Cole made several appearances on guitar throughout the record. Every Doctor Bionic release is accompanied by a unique, thought-provoking album cover. For Tune In, Grimez worked with Refael Idan Suissa, a painter and digital artist based in Israel.Next time you’re looking for some new instrumental tunes to set the tone, you can count on the growing catalog from Doctor Bionic.

Bacao Rhythm & Steel Band, the mysterious steel pan outfit hailing from Hamburg, Germany have amassed a cult following around the globe. With a slew of classic 7”s and three critically acclaimed full length albums, they set a high bar for themselves, one they clearly intend on pushing even higher with this new offering. On their fourth album BRSB, Bacao are back with more of the same, but more of the same with them is inherently different. Covering songs that span genres and range from mega hits to underground album cuts, they make them their own with their unique approach to the traditional steel pans of Trinidad and Tobago. While part of the allure of a new Bacao Rhythm & Steel Band album is finding out what covers they do it is equally intriguing to see what original tunes they cooked upland this record is foul of stand out originals. The album opener, “In The Crosshairs” is a rough and tough mid tempo head nodder while both “Grilled” & “Treasure Quest” pick up the tempo with heavy African Funk influences on both. Bacao goes deep with “Hazy Memories”, a bass heavy slow burner that walks a line between hypnotic and hype. All these originals stand as testament that the term “cover band” is a shoe that could never fit Bacao. However, in the tradition of steel pan music, they do a heavy amount of covers. This time around there is a big West Coast Hip Hop influence with covers of Game & 50 Cent’s “How We Do”, Dr Dre & Snoop Dogg’s “Nuthin But A G Thang”, and Tupac’s “Got My Mind Made Up” all of which take on new energy and lend themselves to the BRSB steel treatment. Bacao puts another certified dancefloor filler on their resume with their cover of Claudja Barry’s uber Disco classic “Love For The Sake Of Love” which they flip into a dubbed out affair aptly changing even the title to “Love For The Sake Of Dub”. Pulling from the contemporary smash hit section of Hop Hop they cover Drake’s “Hotline Bling” and “Love$ick” by Mura Masa & A$AP Rocky. Then they go very unexpected with “Stranger Things Theme” where they take the synth heavy theme song to the hit show and give it a more hypnotizing tone than the original.By the time BRSB is through, Bacao has taken the listener on a journey spanning a myriad of energies, tempos, and moods while keeping it all under one umbrella. For all that, these songs are alive, and they will be taken out of the context of this album and sewn into the fabric of DJ sets around the globe for many years to come. Bacao Rhythm & Steel Band continues building their legacy and pushing the boundaries of steel pan music forward with another rock solid musical offering. Enjoy.

In Latin, the word Gemini denotes “two together” or “twins”. In astrological terms, Geminis are noted for, amongst other things, being curious and versatile. For San Diego’s 9-piece (mostly) instrumental combo The Sure Fire Soul Ensemble, Jazz and Funk have always been the two genres that they’ve consistently and effectively melded together, forming the bedrock of their sound. Exercising their stylistic curiosity and versatility, they’ve expanded upon this foundation on their new 11-song long player for Colemine Records.

Recorded between late 2021 and early 2024 at The Kitchen II in their homebase of Lemon Grove, California, SFSE steer their “introspective party music” into fresh sonic realms. While their breakbeat-heavy brand of funk-soul-jazz is still the cornerstone of their sound, as displayed in tunes such as “Makin’ Moves”, “The Grifter” & “Don’t Trip”, they’ve begun to take more and more cues from library music labels such as KPM Music, spiritually-leaning jazz labels such as Tribe & Black Jazz Records and exotica-adjacent jazz artists such as Cal Tjader and Dorothy Ashby. Now leaning more into the “introspective” part of their sound, particularly on “Mother Earth”, “Freddie” and the title track, they evoke the spirits of Freddie Hubbard, Phil Ranelin, Wendell Harrison, Bubbha Thomas, Chester Thompson and even Cannonball Adderley at his headiest & most cosmic (listen to Adderley’s “Soul Zodiac” & “Soul of The Bible” albums for reference). “Corporatocracy” takes it a step further with an extended tabla solo, which floats in and rides the percussive wave before kicking into its funk-driven, modal vibe.

With their current lineup of Tim Felten on keys, Jake Najor on drums, Omar Lopez on bass, Kiko Cornejo Jr on conga/percussion, Aquiles “Lito” Magana on guitar, Wili Fleming on trombone, Sheryll Felten on percussion, and both Jesse Audelo & Travis Klein on saxophone & flute, SFSE maintains their commitment to keeping it funky, but dares to go where they haven’t gone before and, as a result, breaks intriguing new ground in their overall sound. 

Rosettes are finally here with their debut album on Timmion Records, Lifestyles, a compelling journey into psychedelic soul, jazzy funk, and introspective grooves. For the listener, it creates an experience that manages to be both sophisticated and raw to the bone. Expanding on the sound they refined with their previous singles, this 10-track album captures the group in top form while crafting intoxicating sonic potions that pull you in.Featuring standout tracks like the soulful opener “The Call,” the Isaac Hayes-inspired title track “Lifestyles,” and the introspective groover “Spirals,” the album weaves together cinematic instrumentals, intricate horn arrangements, and deeply personal storytelling, courtesy of lead singer Tytti Roto. Drawing inspiration from a range of vintage and contemporary masters—Cymande, SAULT, and Sade, to name a few—the rest of the eight-piece group doesn’t linger in the shadows. Instead, they make it their mission to position the groove front and center.The album closes with “The Queen,” the sole instrumental track, which evokes the spirit of 1970s blaxploitation soundtracks with its wah-wah and fuzz guitars and jazzy changes. Every track on Lifestyles is a testament to the Rosettes’ ability to craft genre-blending masterpieces that are as emotionally gripping as they are musically intricate. For fans of adventurous soul and funk, this album offers a rich and rewarding journey.

Venomous Tex-Mex R&B and early rock n’ roll from San Antonio’s West Side scene. From 1961-67, Bexar county kingmaker Abe Epstein cut every teen combo to grace the Patio An daluz stage, launching the careers of Doug Sahm, The Royal Jesters, Sonny Ace, The Dreamliners, and hundreds more throughout the decade. Spread across two luxurious slabs of vinyl, The Cobra Label compiles 28 neuro toxic sides from Epstein’s first bite in the biz.