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If you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood—from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard—a sensory overload that follows you home, all those genres singing in your head at once. This isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years of apprenticeship in rock steady and roots reggae would inform everything that followed—and on his new solo record Inna Soul Steady Situation, Quiñones finally showcases those influences front and center. That quintessential blending of styles rings out immediately on the opening track "Soul Steady Situation"—Quiñones's vocals enter like a selector toasting over the riddim, an alarm call announcing his intentions with an urgency that feels club-ready and immediate. Then comes the classic drum fill, dropping into a rock steady groove that establishes the vibe: this is dancehall-infused soul meant for movement, not just contemplation. It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work. Before you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on "Don't Let Go," "Driftin'" and "One More Night." What Quiñones manages to do on this record—with the full support of Colemine Records, the defining label for contemporary soul music happening right now—is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. It's a partnership built on trust: Colemine has established itself as the premier destination for modern soul artists pushing the genre forward, recognizing that genre-blurring isn't a gimmick but the natural evolution of soul music itself. With that authentic self-expression, Quiñones and his crew manage to squeeze in some lighthearted fun as well, establishing a sense of equilibrium to counteract the heavier emotional overtones found on previous Sinseers efforts. A perfect example is "Bolsita," a tongue-in-cheek party song paying homage to iconic anthems like "Tequila" by The Champs and "Tighten Up" by Archie Bell & the Drells. But Quiñones doesn't stop there—he folds in electric boogaloo, early Ray Charles big band energy, and the Latin soul flourishes of Joe Cuba and Willie Colón, creating something that feels both nostalgic and fresh. Eric Johnson's saxophone takes center stage, adding playful solos that widen the sonic spectrum. The term "bolsita," which translates to "little bag," serves as the lingua franca for "let's get the party started"—it's admittedly corny, Quiñones will tell you, but it's the kind of song where everybody's going to shout along whether they like it or not. And that's precisely the point. By the time you reach the end of the record, having followed Quiñones across various genres and eras, you realize you've witnessed an artist in his prime doing what the best always do: capturing something deeply specific—Chicano identity, East LA's sonic DNA—and in that specificity, revealing something universal. It's music that transcends age, race, geography, and class precisely because it refuses to sand down its edges. Cross-generational talent building timeless appeal, one genre-blurring groove at a time.
If you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood—from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard—a sensory overload that follows you home, all those genres singing in your head at once. This isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years of apprenticeship in rock steady and roots reggae would inform everything that followed—and on his new solo record Inna Soul Steady Situation, Quiñones finally showcases those influences front and center. That quintessential blending of styles rings out immediately on the opening track "Soul Steady Situation"—Quiñones's vocals enter like a selector toasting over the riddim, an alarm call announcing his intentions with an urgency that feels club-ready and immediate. Then comes the classic drum fill, dropping into a rock steady groove that establishes the vibe: this is dancehall-infused soul meant for movement, not just contemplation. It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work. Before you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on "Don't Let Go," "Driftin'" and "One More Night." What Quiñones manages to do on this record—with the full support of Colemine Records, the defining label for contemporary soul music happening right now—is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. It's a partnership built on trust: Colemine has established itself as the premier destination for modern soul artists pushing the genre forward, recognizing that genre-blurring isn't a gimmick but the natural evolution of soul music itself. With that authentic self-expression, Quiñones and his crew manage to squeeze in some lighthearted fun as well, establishing a sense of equilibrium to counteract the heavier emotional overtones found on previous Sinseers efforts. A perfect example is "Bolsita," a tongue-in-cheek party song paying homage to iconic anthems like "Tequila" by The Champs and "Tighten Up" by Archie Bell & the Drells. But Quiñones doesn't stop there—he folds in electric boogaloo, early Ray Charles big band energy, and the Latin soul flourishes of Joe Cuba and Willie Colón, creating something that feels both nostalgic and fresh. Eric Johnson's saxophone takes center stage, adding playful solos that widen the sonic spectrum. The term "bolsita," which translates to "little bag," serves as the lingua franca for "let's get the party started"—it's admittedly corny, Quiñones will tell you, but it's the kind of song where everybody's going to shout along whether they like it or not. And that's precisely the point. By the time you reach the end of the record, having followed Quiñones across various genres and eras, you realize you've witnessed an artist in his prime doing what the best always do: capturing something deeply specific—Chicano identity, East LA's sonic DNA—and in that specificity, revealing something universal. It's music that transcends age, race, geography, and class precisely because it refuses to sand down its edges. Cross-generational talent building timeless appeal, one genre-blurring groove at a time.
Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic. The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.
For the debut release on our new Soft Rock For Hard Times imprint, Suzanne Kraft covers Sugarcane's unforgettable soft-rock-meets-modern-soul ballad "What You Do To Me." Originally released as a limited 45 and featured on WDVE's first Pittsburgh Rocks compilation in 1980, and then featured on Soft Rock for Hard Times Vol. 2 in 2014. Recorded and produced by Suzanne Kraft with a pitch perfect synthesizer solo by Jordan Czamanski, this version expertly matches the original song's private press essence with a full sound and dynamic arrangement that is recognizably Suzanne Kraft. Secret Circuit delivers an extraordinarily heavy dub on the flip, launching Suzanne Kraft's cover forward with bass and drums under waves of delay and echo, bouncing the song towards the iconic synth solo which Secret Circuit sends into pure soundsystem bliss. The Universal Cave crew whipped up a bonus Atmos Mix for the digital release, easing the song into downtempo, chilled-out arpeggiation directed squarely at horizontal listeners everywhere.
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.
Big Crown is proud to present Thee Marloes’ sophomore album, Di Hotel Malibu. It arrives as a widening of the frame — a confident step away from the lines that once neatly held their sound, and toward something more porous, conversational, and deeply Indonesian. It’s been two years since Perak, the Surabaya trio’s debut for Big Crown Records, introduced their unique sound. This new record doesn’t abandon that lineage so much as stretch it, showing how much they have grown as a band since the release of their debut and all the experiences that came with it. Composed of vocalist and keyboardist Natassya Sianturi, guitarist and producer Sinatrya Dharaka and drummer Tommy Satwick, Thee Marloes have always worked as a unit, their songs shaped by shared reference points and a lived-in sense of groove. On this album, that collective language expands. The arrangements move across a broader spectrum, with new instrumental colors, unexpected rhythmic turns, and a looser approach to structure. The band describes it as a response to the last two years of living: social realities, love lives in flux, and all that success has brought into their lives. The album opener “Under the Silver Moon” is a stone cold two-stepper that addresses the bitter and the sweet of long-distance love affairs over a breezy musical backdrop. “Six Years” is a page from singer Natassya Sianturi’s life and her struggle to take the step of leaving a comfortable and stable daytime job to follow her dreams of a full-time career in music. “Harap Dan Ragu” explores life, death, and the emotions that orbit them, opening with an earworm guitar riff that ushers in Sianturi’s honeyed vocals, this time in her native language of Indonesian. The album continues to switch vibes and tones track to track with the darker, more introspective “The More”. The gorgeous musicianship and pulsing drums are met with the deeply poetic lyrics that walk the line between futility and unbreakable resilience. Thee Marloes dip into their drop dead gorgeous ballad bag with “Through the Changes” with a powerful yet delicate song about how we imagine and deal with what comes after death. “Boru” sung entirely in Batak, a traditional language from North Sumatera, goes further into asserting heritage as a foundation and mission statement for the group while “I’d Be Lost” takes us back to the dancefloor with a light and lovely profession of love. In the end, Di Hotel Malibu is the result of the best type of inspiration: the global attention Thee Marloes have earned, and the chance to play their homegrown music for fans around the world has put wind in their sails. Enjoy the record, then catch them as they tour the globe. Soul Music from Surabaya, another Big Crown Sureshot.
If you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood—from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard—a sensory overload that follows you home, all those genres singing in your head at once. This isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years of apprenticeship in rock steady and roots reggae would inform everything that followed—and on his new solo record Inna Soul Steady Situation, Quiñones finally showcases those influences front and center. That quintessential blending of styles rings out immediately on the opening track "Soul Steady Situation"—Quiñones's vocals enter like a selector toasting over the riddim, an alarm call announcing his intentions with an urgency that feels club-ready and immediate. Then comes the classic drum fill, dropping into a rock steady groove that establishes the vibe: this is dancehall-infused soul meant for movement, not just contemplation. It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work. Before you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on "Don't Let Go," "Driftin'" and "One More Night." What Quiñones manages to do on this record—with the full support of Colemine Records, the defining label for contemporary soul music happening right now—is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. It's a partnership built on trust: Colemine has established itself as the premier destination for modern soul artists pushing the genre forward, recognizing that genre-blurring isn't a gimmick but the natural evolution of soul music itself. With that authentic self-expression, Quiñones and his crew manage to squeeze in some lighthearted fun as well, establishing a sense of equilibrium to counteract the heavier emotional overtones found on previous Sinseers efforts. A perfect example is "Bolsita," a tongue-in-cheek party song paying homage to iconic anthems like "Tequila" by The Champs and "Tighten Up" by Archie Bell & the Drells. But Quiñones doesn't stop there—he folds in electric boogaloo, early Ray Charles big band energy, and the Latin soul flourishes of Joe Cuba and Willie Colón, creating something that feels both nostalgic and fresh. Eric Johnson's saxophone takes center stage, adding playful solos that widen the sonic spectrum. The term "bolsita," which translates to "little bag," serves as the lingua franca for "let's get the party started"—it's admittedly corny, Quiñones will tell you, but it's the kind of song where everybody's going to shout along whether they like it or not. And that's precisely the point. By the time you reach the end of the record, having followed Quiñones across various genres and eras, you realize you've witnessed an artist in his prime doing what the best always do: capturing something deeply specific—Chicano identity, East LA's sonic DNA—and in that specificity, revealing something universal. It's music that transcends age, race, geography, and class precisely because it refuses to sand down its edges. Cross-generational talent building timeless appeal, one genre-blurring groove at a time.
Colemine is proud to present the first new music from the Delvon Lamarr Organ Trio in over four years. These tunes were taken from the I Told You So sessions and from a forthcoming full length LP. The super funky “Chicken Leg” on the A-side and the slow burn “If I Could” on the flip. The personnel on this features Lamarr on Organ, the incomparable Jimmy James (Parlor Greens, True Loves) on guitar, and the deep pocket of Grant Schroff (Polyrhythmics, Champagne Bubblebath) on drums. I Told You So was one of DLO3's best selling and performing albums, so the forthcoming LP is surely one not to be missed!
Wanda Felicia drops a dynamite double-sider on Timmion Records with “Stuck On You” b/w “Flowers In The Garden” – two soulful standouts from her debut album Now Is The Time… Brought to life by the analog alchemy of Cold Diamond & Mink, they showcase the full range of Wanda’s timeless voice and songwriting finesse.
On the A-side, “Stuck On You” struts in as an upbeat soul shuffler, delivering infectious energy with tight rhythms, warm organ, and Wanda’s unmistakable presence at the helm. It’s a flirty love song that grooves with clarity and conviction, made for celebrations.
The flip side, “Flowers In The Garden”, slows things down into a mellow midtempo groove – a lyrical reflection on relationships and emotional growth told through the changing seasons of a blooming garden. With sweet harmonies, a soaring chorus, and a graceful sax solo by Pope Puolitaival, it’s a lush, radiant piece of soul craftsmanship.
Together, these tracks feel like two pages from a love letter – heartfelt, detailed, and dressed in the warm textures of analog soul. Whether dancing by yourself at home or cutting through on a selector’s set, this 7” is a sure keeper.
Wanda Felicia drops a dynamite double-sider on Timmion Records with “Stuck On You” b/w “Flowers In The Garden” – two soulful standouts from her debut album Now Is The Time… Brought to life by the analog alchemy of Cold Diamond & Mink, they showcase the full range of Wanda’s timeless voice and songwriting finesse. On the A-side, “Stuck On You” struts in as an upbeat soul shuffler, delivering infectious energy with tight rhythms, warm organ, and Wanda’s unmistakable presence at the helm. It’s a flirty love song that grooves with clarity and conviction, made for celebrations. The flip side, “Flowers In The Garden”, slows things down into a mellow midtempo groove – a lyrical reflection on relationships and emotional growth told through the changing seasons of a blooming garden. With sweet harmonies, a soaring chorus, and a graceful sax solo by Pope Puolitaival, it’s a lush, radiant piece of soul craftsmanship. Together, these tracks feel like two pages from a love letter – heartfelt, detailed, and dressed in the warm textures of analog soul. Whether dancing by yourself at home or cutting through on a selector’s set, this 7” is a sure keeper.
Wyoming-born troubadour Jeb Loy Nichols returns to Timmion Records with This House is Empty Without You, a timeless collection of soul-rooted songs that radiate warmth, wisdom, and quiet intensity. Backed once again by Timmion’s house band Cold Diamond and Mink, Jeb delivers a full-length that sits comfortably among the label’s finest – steeped in southern soul traditions, but carried by his unmistakable voice and lyrical touch. From the gently loping opener “First Night Away from Home” to the closer “Time On My Hands,” the album unfolds like a good summer book, best enjoyed with a warm breeze on your face. Nichols has a way of making things sound effortless – like he’s singing just for you, from the porch or the back room – but listen closely and you’ll find songwriting full of depth, subtly arranged with organ swells, snapping drums, and deep-pocket grooves. Alongside the breezy mid-tempo romantics of “Here With You,” other standout moments include the rootsy southern shuffle of “Good Morning Monday,” the heart-tugging “Coming Home Love,” and “Step In,” a mellow groove about rediscovery and reunion. As always, Cold Diamond and Mink provide the perfect analog foundation – all soul and no filler. Together with Nichols – and Emilia Sisco, whose gospel-drenched background harmonies grace several tracks – they’ve crafted a record that draws from classic influences but sounds unmistakably personal and present. A masterclass in understated soul, This House is Empty Without You proves that Jeb Loy Nichols isn’t just still here – he’s still growing, glowing, and finding new ways to tell the truth.
What exactly is Spiritual Soul anyway? At the confluence of congas and Fender Rhodes, the Civil Rights Movement and vegetarianism, jazz-funk and gospel-soul, a Black-to-the-land movement in song sprung forth in the 1970s. Where Rotary Connection, Alice Coltrane, and Roy Ayers dared to fly, others flapped their free love wings, transcending the trappings of Top 40, sexuality, and capitalism at once.
On Eccentric Spiritual Soul, Numero digs deep into the private annals of the Black music diaspora, unearthing ten heavenly grooves for the tranquility bound listener. From Kalima's existential boogie banger "Where Is The Sunshine" to Fathers Children's proto-dub workout "Linda Movement," Lenny White's Bitches Brew comedown "Sweet Dreamer" to Spunk's Balaeric rainstick R&B "La Bimini," Eccentric Spiritual Soul has everything you need for your next incorporeal awakening. Flute not included, but encouraged.
Eccentric Sweet Soul explores a refined corner of soul music that came into focus in the late 1960s and 1970s, running parallel to — but distinct from — the harder, funk-driven sounds dominating the era. Curated and released by Numero Group, the collection captures a style built on warmth, melody and poise, favouring elegance over urgency.
Often described as sweet soul, this sound softened the genre’s edges without losing emotional depth. Arrangements lean towards symphonic ease and lowrider calm, while vocals are intimate and unforced, designed to linger rather than overwhelm. It’s music shaped for slow moments and repeat listens, its appeal undimmed decades on.
The compilation brings together defining voices of the style, including Majestic Arrows, Timothy Wilson, The Exceptional Three, Ujima, Family Connection, Third Generation, Sweet Breeze and The 5 Stepping Stars. Together, they map a lineage that feeds directly into what’s now understood as modern soul: tender, melodic and quietly assured.
Market East finally shares their most important statement to the world in the form of their debut LP, French Street. The group, composed of Kurt Cain on vocals, Vincent John on vocals, bass, guitar and keys, and Maxwell Perla on vocals, drums and percussion, deliver their signature celestial three part harmonies over arrangements that have never sounded so rich and compelling.
French Street is extremely soulful and the vocals are lush, like if the Zombies recorded at Muscle Shoals. The lyrics are poetic and nostalgic, as the group wrote songs about their bygone “golden” years. Back then, the boys didn’t have much besides each other and their shared love of music. Vocalist Kurt Cain lived in a small rowhome in North Philadelphia on a nearly deserted alley named French Street. It was here that Cain, John, and Perla came together every week to escape reality and get high off sharing music. They developed a deep appreciation for all things 60s and 70s, from Simon & Garfunkel to the Moments, and everything in between.
All these years later, and Market East has created a classic record of their own. From the baroque pop of the title track and the roaring soul of “Roses,” to the Latin flavors of “Echoes of My Heart” and the orchestral flares of “Everyday, Springtime,” Market East shows their impressive range. Recorded to analog tape in Philadelphia, the record was produced by the band and Eraserhood Sound. Grab your copy of this timeless classic today.
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.
An essential Roy Ayers album blending soulful jazz roots with crisp 1970s funk. Featuring Ayers' signature vibes, tight arrangements, and standout tracks like ‘The Boogie Back’ (sampled by the likes of NWA, 2Pac, De La Soul…) and ‘Change Up the Groove,’ this LP is a must-have for any fan of jazz-funk and vintage grooves. AUDIO: www.youtube.com/watch?v=HCE1TYS7a4w&list=PLeQdEEo-NQ4RiCGrVw6DbTmM4m0CGsMpF Un álbum esencial del catálogo de Roy Ayers, donde el jazz se funde con el funk setentero en su máxima expresión. Con el vibráfono como protagonista, ritmos pegadizos y arreglos sofisticados, incluye clásicos como ‘The Boogie Back’ (sampleado por multitud de artistas como NWA, 2 Pac, De La Soul…) y ‘Change Up the Groove’. Ideal para amantes del soul, jazz-funk y grooves elegantes..
ElectroSoul is the most collaborative and personal record yet from GRAMMY Award-nominated producer, songwriter, and multi-instrumentalist DJ Harrison.
Sparked by a sudden health scare in 2024, the album brought the Richmond, VA, native’s close-knit creative community into the studio. The result is a genre-melding testament to healing, recovery, rejuvenation and making the most of the present. Grounded in his Richmond roots and inspired by family, ElectroSoul moves with warmth, purpose, and groove.
Featured artists include Yazmin Lacey, Yaya Bey, Fly Anakin, Pink Siifu, Stones Throw labelmate Kiefer, Angélica Garcia, Miguel Atwood-Ferguson, and many more.
Mndsgn (born Ringgo Ancheta) grew up in south New Jersey, raised with Gospel music at church, and B-Boy culture at home. Experimenting with beat-making, he befriended fellow producer Knxwledge and the two formed the influential Klipmode collective (along with Devonwho and Suzi Analogue). Mndsgn's music flourished when he moved to Los Angeles, catching the attention of Stones Throw who released Yawn Zen (2014), an LP of introspective and mostly instrumental beat creations, punctuated by vocal cuts.
Body Wash is his second album for Stones Throw, a full set of realized songs that were only hinted at on Yawn Zen. Influences here include the likes of early SOLAR records material, Leon Sylvers III, Kashif, and Dave Grusin. These artists, Mndsgn says, "embodied that potent feeling in the early 80s boogie/funk/soul/jazz/fusion wave." He adds, "I was also digging back into some early 90s R&B sounds and started really imagining what it would be like if I had mashed the two eras together." He explains Body Wash as "a soul record that plays with nostalgic elements in a very dynamic & positive way. Think about it as a box of crayons for you to draw emotions with."
The album was built around a backstory, a loose narrative thread through which he could filter his unformed ideas. In the narrative, a homeless man encounters a mysterious woman who gives him shelter. She instructs him to bathe with a very peculiar body wash. As he soaks and sinks deeper in a thick lather of this unknown solution, the man finds himself transported to an alternate dimension. Mndsgn describes the story as a vessel "that would allow me to speak on topics that were universally relatable … The story actually became a true outlet for me to address worldly issues with Self." The resulting album also represents a dynamic step forward in songwriting. Without explicitly relating its plot or characters, the album as a whole turns on the story's key theme, the psychedelic, transformative power of love.
Two 180-gram LPs with 15 bonus tracks from the deluxe CD edition. Despite his huge success with his 1971 political concept album What's Going On, Marvin Gaye left social concerns behind for those of a more intimate nature with this 1973 album. Let's Get It On album broke new ground, gaining its place in history as one of the most sexual albums ever recorded, laying the basis for every slow jam ever after, and making Gaye both socially concerned and sexy -- a potent commercial combination.
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 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.
Reissued for the first time on vinyl, here's Jamaican reggae singer George Faith second album, originally released on Hollywood Records in 1979. Amazing soulful reggae melodies backed by the likes of Sly & Robbie, Aston "Family Man" Barrett, Tommy McCook, Earl "Chinna" Smith and more. Produced by the one and only Bunny Lee at Harry J Studios, and mixed by Scientist at King's Tubby's Studios!
10 Anos Depois is the tenth album by Brazilian musical artist Jorge Ben, released in 1973. It is a collection of popular songs from the first decade of his career re-recorded as medleys.
Pratt & Moody return with a new 7” single on Timmion Records, pairing “Hard Way To Live” with “You Bring Me Joy” – two deep diving soul cuts that reaffirm their place among the true pioneers of the modern sweet & beat soul revival. Written and recorded together with Timmion’s trusted house band Cold Diamond & Mink, the single continues a lineage that has consistently blurred the line between contemporary songwriting and timeless soul aesthetics. The A-side, “Hard Way To Live,” finds Pratt & Moody firmly in their beat ballad lane. Built on a warm, funky foundation, the song balances emotional weight with melodic lift, as its chorus opens into crossover soul-pop territory. Lyrically, it wrestles with life-earned scars and the quiet difficulty of letting go of pain that they cause – the feeling of keeping on running even after you’ve spent the last of what you had. ”On the flip, “You Bring Me Joy” unfolds like a slow-burning David Lynch scene, its dramatic crawl evoking soundtrack soul before bursting into a Stax-era Staple Singers inspired chorus. Tremolosoaked guitar lines nod to classic dark surf music, while Emilia Sisco’s gospel-tinged background vocals nod to Mavis Staples, elevating the track into full emotional bloom. Together, these two songs offer a vivid preview of Pratt & Moody’s upcoming album – a deeper plunge into soulful storytelling, their tried and tested lowrider soul chops, and modern clarity, soon to follow on Timmion Records.