MUSIC

The album will be released on February 13, 2026

Strut proudly presents the debut album from producer, songwriter and multiinstrumentalist, Momoko Gill. Fresh from her critically acclaimed collaboration Clay recorded with cult electronic artist Matthew Herbert, Momoko steps forward in her own right for the first time with her remarkable debut solo album.

Momoko has long been one of the UK electronic and jazz scene’s best-kept secrets. A self-taught drummer, producer, songwriter, and vocalist, she has brought her unique touch to collaborations with Alabaster DePlume, Matthew Herbert, Coby Sey, Tirzah, and Nadeem Din-Gabisi (her musical foil in An Alien Called Harmony). Extensive touring behind the drum kit, at the keys and in front of the mic have honed her compositional and production instincts.

With Momoko, Gill emerges into the spotlight with an album that is entirely her own. Throughout, you can hear the stylistic flavours of jazz musicians as much as singer-songwriters, experimental artists and electronic producers. Though Gill rejects imitation, sculpting her sound through feel and expression rather than tradition. Based in London and having grown up in Japan and the US, Gill channels her breadth of perspective through her musical ideas and storytelling, with a unique voice developed through instinct, collaboration and solitary study.

The album’s eleven tracks take in a wide spectrum with the jazz-infused groove of ‘No Others’ and harmony-drenched, reflective ‘Heavy’ contrasting with the dark, confrontational sound of 'Shadowboxing' leading into an eerie left-field instrumental beat, ‘Test A Small Area' and the impressive 50-person choir on ‘When Palestine Is Free’ (which includes heavyweights Shabaka Hutchings, Soweto Kinch, Alabaster DePlume, Coby Sey, Marysia Osu and more). It is a deeply personal and poetic recording and showcases the full uncompromising range of Momoko’s vison, presented in her own voice.

Momoko was produced by Momoko Gill, recorded at Total Refreshment

Centre, mixed by Matthew Herbert and mastered by Alex Gordon at Abbey Road Studios.

Classic jazz-funk album produced by the Mizell brothers. Great! Includes 'Black & Blues', 'Harlem River Drive', 'Chicago, damn' and others.

Through the ages, several people from moustachioed party boat troubadours to jazz elite like Jimmy Smith/McGriff and Shirley Scott have wielded the power of the electric organ to hypnotize listeners. Now, taking all the possible cues from these musical heavyweights, and breaking through the musical sound barrier to organ-ize your mind comes Mr. Sophisticated Fingers. Together with the ever-faithful Cold Diamond & Mink this mystical key stroker rephrases ten of the greatest hits from Emilia Sisco’s debut album “Introducing” in a unique lyrical style. In Organ-ized’s Slow Dance & Soul album these songs continue for further greatness. You may have heard them before, now listen to them again, as now they’ve been organ-ized by the musical maestro Mr. Sophisticated Fingers, baby!

Through the ages, several people from moustachioed party boat troubadours to jazz elite like Jimmy Smith/McGriff and Shirley Scott have wielded the power of the electric organ to hypnotize listeners. Now, taking all the possible cues from these musical heavyweights, and breaking through the musical sound barrier to organ-ize your mind comes Mr. Sophisticated Fingers. Together with the ever-faithful Cold Diamond & Mink this mystical key stroker rephrases ten of the greatest hits from Emilia Sisco’s debut album “Introducing” in a unique lyrical style. In Organ-ized’s Slow Dance & Soul album these songs continue for further greatness. You may have heard them before, now listen to them again, as now they’ve been organ-ized by the musical maestro Mr. Sophisticated Fingers, baby!

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.

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

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.

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.

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." 

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.”

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.

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 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.

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.

There comes a point when an artist's catalogue is rich enough to deserve a retrospective. Kelly Finnigan's B-Sides, Singles & Forgotten Gems celebrates 15 years with Colemine Records, bringing together rare B-sides, standalone singles and overlooked recordings in one place. Spanning his earliest work to some of the first music recorded at his Ohio studio, the collection traces Finnigan's growth as a songwriter, producer and vocalist. An ideal introduction for newcomers and a rewarding deep dive for longtime fans, it captures the journey so far while hinting at what's still to come.

There comes a point when an artist's catalogue is rich enough to deserve a retrospective. Kelly Finnigan's B-Sides, Singles & Forgotten Gems celebrates 15 years with Colemine Records, bringing together rare B-sides, standalone singles and overlooked recordings in one place. Spanning his earliest work to some of the first music recorded at his Ohio studio, the collection traces Finnigan's growth as a songwriter, producer and vocalist. An ideal introduction for newcomers and a rewarding deep dive for longtime fans, it captures the journey so far while hinting at what's still to come.

It’s five years in a blender. It’s every troublesome misunderstanding of a half-decade relationship distorted and stretched into an absurdist black comedy mini-series on wax. It’s the sound of every fight we ever had, playing simultaneously. It’s several consecutive voice notes that you did not listen to, and instead read the transcription. It’s fifteen songs from iconoclastic rapper Mike Eagle and innovative producer Kenny Segal. It’s the world’s first half-whimsical break-up album. It’s DOOMED! It’s also LA. Maybe not first and foremost, but Los Angeles runs deep in this record’s present, and its lineage. The story of any big city is also one of transplants. DJ Premier in New York, Tupac in California. If you build it, they will come. Mike and Kenny both arrived in LA as young, aspiring artists who were drawn to the scene around groundbreaking rap crew Project Blowed. They have been friends— and occasional collaborators—for almost twenty years. Despite that, DOOMED! is the first time the two have put together a full body of work. But everything happens in its time, and fate worked to bring them together at the exact moment that would allow the duo to create something extraordinary. Mike, fresh off a string of multi-producer records and processing the end of a tumultuous relationship, was in need of creative catharsis. Meanwhile, Kenny had locked in on his next challenge after a recent string of critically acclaimed collaborations not only with rappers like billy woods, and K-the-I???, but also jazz trio Human Error Club and bluesy indie rocker Benjamin Booker. “In recent years, Kenny made it very clear that he wasn’t trying to keep having one or two beats on my projects; he wanted to build something,” Open Mike Eagle explains. “I was able to convince him to let me use a couple beats for Neighborhood Gods Unlimited with the caveat that we would focus on our thing next. Then my relationship fell apart right when we started working, and it was like, ‘Perfect, I have a lot to say about this.’” Here are some more particularly interesting insights from the man himself: “If DOOMED! is prestige TV, then think of “Out To Lunch” as the pilot where we meet a man who’s not all there because his head is still in yesterday, and the following as a brief synopsis. There’s a song that starts at an argument about the color of a rental car. There’s a song about trying to write a pair of lovers’ initials in wet concrete and the. stick breaking. There’s a song that’s a prayer about finding the strength not to look at my ex’s social media. There’s a song about a character from Adventure Time who’s a piece of shit that I identify with. ach vision is a crashed airplane halfway on the border of dream and nightmare, bitter and sweet, sadness and freedom. Every one of Kenny’s beats is a chunk of ore from a different comet. I used each one as a canvas to paint my impression of a dead world.

It’s five years in a blender. It’s every troublesome misunderstanding of a half-decade relationship distorted and stretched into an absurdist black comedy mini-series on wax. It’s the sound of every fight we ever had, playing simultaneously. It’s several consecutive voice notes that you did not listen to, and instead read the transcription. It’s fifteen songs from iconoclastic rapper Mike Eagle and innovative producer Kenny Segal. It’s the world’s first half-whimsical break-up album. It’s DOOMED! It’s also LA. Maybe not first and foremost, but Los Angeles runs deep in this record’s present, and its lineage. The story of any big city is also one of transplants. DJ Premier in New York, Tupac in California. If you build it, they will come. Mike and Kenny both arrived in LA as young, aspiring artists who were drawn to the scene around groundbreaking rap crew Project Blowed. They have been friends— and occasional collaborators—for almost twenty years. Despite that, DOOMED! is the first time the two have put together a full body of work. But everything happens in its time, and fate worked to bring them together at the exact moment that would allow the duo to create something extraordinary. Mike, fresh off a string of multi-producer records and processing the end of a tumultuous relationship, was in need of creative catharsis. Meanwhile, Kenny had locked in on his next challenge after a recent string of critically acclaimed collaborations not only with rappers like billy woods, and K-the-I???, but also jazz trio Human Error Club and bluesy indie rocker Benjamin Booker. “In recent years, Kenny made it very clear that he wasn’t trying to keep having one or two beats on my projects; he wanted to build something,” Open Mike Eagle explains. “I was able to convince him to let me use a couple beats for Neighborhood Gods Unlimited with the caveat that we would focus on our thing next. Then my relationship fell apart right when we started working, and it was like, ‘Perfect, I have a lot to say about this.’” Here are some more particularly interesting insights from the man himself: “If DOOMED! is prestige TV, then think of “Out To Lunch” as the pilot where we meet a man who’s not all there because his head is still in yesterday, and the following as a brief synopsis. There’s a song that starts at an argument about the color of a rental car. There’s a song about trying to write a pair of lovers’ initials in wet concrete and the. stick breaking. There’s a song that’s a prayer about finding the strength not to look at my ex’s social media. There’s a song about a character from Adventure Time who’s a piece of shit that I identify with. ach vision is a crashed airplane halfway on the border of dream and nightmare, bitter and sweet, sadness and freedom. Every one of Kenny’s beats is a chunk of ore from a different comet. I used each one as a canvas to paint my impression of a dead world.

A Nickel and a Nail and Ace of Spades (1971) is a powerful Southern soul album that captures the raw emotional intensity and gospel-rooted depth that defined Wright’s finest work. The album blends deep soul, blues, and country influences into a tight yet emotionally charged sound marked by warm organ lines, restrained but expressive horn arrangements, and Wright’s impassioned, pleading vocals. The title track, “A Nickel and a Nail,” stands as one of his signature performances, a slow-burning lament about hardship and desperation delivered with striking vulnerability, while “Ace of Spades” adds a grittier, blues-inflected edge. Throughout the record, Wright’s background in gospel singing shapes his phrasing and intensity, giving even the most understated arrangements a spiritual urgency. Though less commercially celebrated than some of his contemporaries, this album remains a cornerstone of deep soul.

The album opens with the rarer 12” mix of Samuel Jonathan Johnson’s seventies disco funk offering, “You”. And if you thought you owned every track by Glenn Jones, Earth Wind & Fire and Gladys Knight & The Pips, all three will delight with previously unreleased recordings. It’s astonishing how the mid-pacer “Share My Love” was omitted from Glenn’s 1983 Everybody Loves A Winner. Indeed, who decided that Gladys’s “How Deep Is Your Love” should not make the final line-up of her 1985 set, Life? As EWF’s “Club Foot” was not included on the 1983 Electric Universe album, it does make you wonder how many other unreleased gems could be unearthed from the Sony Music vaults. And then there’s Aretha…nothing more needs to be said! Side two opens with Phyllis Hyman’s joyous dancer “Forever With You”, recorded in 1991 (released posthumously in 1998 on her final CD of the same name) and where her hallmark vocals have never sounded better. There are also some spectacular downtempo moments; “Never Stopped Loving You” from Tyrone Davis, “Right Time For Love” from Don Covay, and Garland Green’s “I Know What Love Is” are long forgotten knee- tremblers that have always been out there, but many may have been missed. The album closes with the mighty Dells, clearly at their very best on the gorgeous Gamble & Huff penned and produced “Somebody’s Gotta Move”. Originally included in their 1992 set I Salute You, it was a CD-only release in the US and very hard to find on the Jamaican vinyl-only version.

A longtime favorite among Brazilian music collectors! Trio Ternura’s ‘A Gira’, originally released in 1973, blends mid-tempo grooves with percussive funk and soul in a way that feels effortlessly timeless. We're excited to make this incredible single available once again, cut at 45 RPM and remastered from the original tapes. *****AUDIO*****: www.youtube.com/watch?v=UATvde65bzI ¡Uno de los singles favoritos entre los coleccionistas de música brasileña! ‘A Gira’, del Trio Ternura, publicado originalmente en 1973, combina ritmos de tempo medio con funk y soul percusivo de una forma que resulta atemporal. Nos alegra poder ofrecer de nuevo este increíble single, cortado a 45 RPM y remasterizado a partir de las cintas originales.

Regarded as one of the finest releases to emerge from Chicago’s legendary Cadet label, Marlena Shaw’s The Spice of Life stands as her definitive masterpiece. Released in 1969, the album showcases Shaw’s remarkable expressive range, elevated by the meticulous arrangements of Richard Evans and Charles Stepney. Together, they crafted a soul‑jazz landmark where lush orchestration, sharp rhythmic sensibility, and Shaw’s commanding vocal presence come together with striking clarity.

Gorgeous DIY, private press, lounge jazz and Latin boogie stardust from 1984, framing keyboard maestro Ronald Langestraat in his living room, laying down pure vibes to 4-track - huge tip FFO Lewis, Gil Scott Heron, James Mason, Starship Commander Woooo Wooooo. "Searching was self-recorded in Ronald’s living room on a 4-Track Tape Recorder in 1984. The recordings symbolise his engagement to cross-over everything that was known to him musically at that time. Most importantly, all recordings reflect his personal way of searching; searching for his own characteristic sound. Rhythmical patterns meet well balanced distortion, shaping the music into a mirror of his character. He was part of several Dutch Latin and Jazz bands, including Cascada and Ritmo Natural. With the latter he performed at Holland’s North Sea Jazz Festival. At this point Ronald is 78 years old, playing music every day. Instruments: Acoustic Piano, Fender Rhodes Piano, Farfisa Organ, String Ensemble, Tenor Sax, Alt Sax, Soprano Sax, Clarinet, Alt Clarinet, Organ Bass, Micro Moog, Drums, Longa & Voices.”

Through a collaboration with Cincy label Chiefdom Records comes a fresh 45 on Colemine from Doctor Bionic. Both cuts from this 45 feel Colemine-core: funky, dirty drums, jazz keys and guitar, and a groove that just won't quit. Put "Expert Witness" on during your next DJ set and watch the floor fill up. Ohio's take on much of the funky west coast jazzy funk over the last couple of decades. Doctor Bionic is nothing short of prolific, having released over 10 albums in the last five years. Keep your eyes on this up and comer on the scene. And don't forget to flip it over for the nightcap. "Mistake" is a mellow guitar driven tune to close out the night in a melancholy way. Sparkling Rhodes, sparse guitar, and driving drums are the order of the day.