Bad With Names

Single: Treasure 
Project: Hypnotic Joints II
Apple Music: http://itunes.apple.com/album/id/1672931201
Official Video: https://youtu.be/9nYK16lm8f4
Bandcamp: https://hypnoticbrass.bandcamp.com/track/treasure

Treasure

xoxoxo

Hello

Intro For Strings

Slope

Lara

Momentum captures the moment after silence, the movement that never stopped, only refined.
Each track is built with precision and restraint: deep house, melodic techno, and the pulse of late nights that never needed words.
Bardoq returns in full form, darker, cleaner, and fully in control.
Nothing left to prove. Just motion.

Bandcamp

Bardoq - Momentum - 10 Love Is Waiting

Time is the rarest substance in the universe: invisible, elusive, yet shaping every breath of existence. To respect it is to master the flow of the stars, to become aware of the silent mathematics that underlies destiny. Each moment is a particle of eternity, waiting to be aligned with intention. Those who move with consciousness don't chase time; they weave it, turning seconds into constellations of meaning that will never fade.

The Forgotten Equation

Hollow

"Lost in the Sauce" is the second single from King Garbage's debut LP, Make It Sweat, out 9/22 on Styles Upon Styles. Kicking off the album with a bittersweet vibe, laid-back yet celebratory with a hangdog's sense of perseverance, the track is a lover's inebriated lament for one last jam before heading home and starting it all over again.

King Garbage’s Make It Sweat LP will be available on September 22, 2017 from Styles Upon Styles.

Learn More: bit.ly/SUS025-KG

King Garbage – Lost In The Sauce (SUS025)

A beautiful jazzed out number floating between hip hop and dub influences. Taken from the debut collaborative effort from South London musicians Joe Armon-Jones and Maxwell Owin. Out 8th September via @yamrecords.

Read more: http://bit.ly/JoeArmonJonesMaxwellOwinIdiom

Listen On YouTube

Joe Armon-Jones & Maxwell Owin feat. Oscar Jerome - Idiom (STW Premiere)

When The Expansions self released their first single in 2013, the laid-back jazz funk of Lavender, it quickly gained strong support from soul and rare-groove aficionados including Kenny Dope, Dom Servini, Patrick Forge and Andy Smith. A run of shows followed and before long, when someone was asking if there was a soul-jazz band around to play with, “The Expansions” was the answer. 

Although this popularity meant a hiatus in releasing music, the band have been constantly busy, playing around Europe with legendary British-Ghanaian soul singer, Andrew Ashong and the exceptional, upcoming talent Connie Constance. 

There has also been a breakout project from drummer Jonny Drop - the album Sub Plot gained massive support and love from BBC Radio 6 Music’s Lauren Laverne. While keys-man Dave Koor has been busy playing shows with Gilles Peterson favourite Hector Plimmer, Shaun Escoffery, and Ego Ella May, improvising with Yussef Dayes (Yussef Kamaal) and Nubya Garcia, releasing music as Deoke and collaborating with label-mate Scrimshire on their Modified Man exploration. 

But always, The Expansions has remained a central focus and the true home of these four jazz and soul lovers, with occasional trips out to the country to form ideas and practice new music for the eventual album. 

Murmuration, recorded over three days at Big Noise in Southend, is constructed of single takes, with minimal overdubs, as the band attempt to capture the feeling and energy they create live. 

Debut single Breakthrough introduced the insanely catchy but deeply soulful blend of synths and groove, but here on the album that is explored to the fullest with longer breakdowns and more expansive, experimental solos. Pocket 5 displays the, possibly unexpected, influences of broken beat and almost combative rhythm playing – particularly in the complex guitar and keys breakdown where Koor and O’Keefe layer conflicting time signatures and battle to ride it out to the heavy drum return. 

Cannonball brings warm mellowness that delicately evolves through beats, touching on bossas alongside their fundamental hip-hop sensibilities. But even here there is a raucous zenith before the band sublimely recede into the silence of the a-side ending. 

Colossal album highlight Ivory Mountain is truly an epic. Evoking moments of 4Hero, there is a lightness of groove in the first half of this soulful exploration. But at the halfway point, all restraint is let go as a live string section joins the four quarters of the band for three glorious minutes of soulful disco. Evoking sounds of Quincy Jones, George Benson and Johnny Hammond, all the way through to a beautifully cacophonous finale. 

Dragonfly undoubtedly reflects on the work of Herbie Hancock and is the most direct throwback to the band’s earlier work, which is a welcome marker of how far they have come. A quintessential jazz funker. 

The album closes with the thoughtful and introverted shuffle of Miles Away. In the final eight minutes of Murmuration, The Expansions allow space and time to take precedence, with once-more-restrained peaks and developments. It becomes clear though, that the band cannot resist one last explosive finale, as they rise with screeching synths, strings and dubs for a perfect race to the finish line. 

You can hear the influences of Idris Muhammad, Grover Washington, even parallels with South London peers Yussef Kamaal and Ruby Rushton. But The Expansions have tirelessly worked to create a sound of their own and are very proud, along with label Albert’s Favourites, to finally share it.

Murmuration

Miles Away

Track taken from the album 'Gallery Love' out in March 2019 on Apollo Records.
-
Written & Conjured by Oso Leone
Recorded at Casa Cosmos, Mallorca 2015-2017.
Produced by Joy Marin.
Mixed by Joy Marin.
Mix engineer, Antoni Noguera.
Mastered by Hay Zeelen.

2018 Apollo Records.
All rights reserved.

Virtual U

From an artist in their seventies, you probably wouldn’t expect to hear an album like this. But Brazilian drumming legend Ivan ‘Mamão’ Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group’s ‘samba doido’ (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser known jovem guardua group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker ‘Jackson Conti’.

With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of rootsy electronic samba and tripped out jazz, beats and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London based producer Daniel Maunick (aka Dokta Venom).

Take a bite of Mamão’s psychoactive Papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle.

United by a love for the music of Mamão and Azymuth, the CD and digital edition also feature remixes and dubs from some of today’s most forward-thinking producers with a penchant for percussion, including IG Culture, the 22a crew, Max Graef and Glenn Astro.

Vinyl / CD / Digi

Ivan ‘Mamão’ Conti - Ilha Da Luz

"PLEASURE, JOY and HAPPINESS," AVAILABLE FROM DAY END RECORDS (DE-002).

STREAM: https://ffm.to/rlembdx
VINYL: https://dayendrecords.bandcamp.com/

eddiechacon.com

https://www.instagram.com/eddie_chacon_

https://www.instagram.com/johncarrollkirby

https://www.instagram.com/dayendrecords

Eddie Chacon experienced proper, peak-nineties acclaim in the soul duo Charles and Eddie: they scored a global No. 1 in 1992 with “Would I Lie To You,” appeared three times on Top of the Pops, and featured on soundtracks from True Romance to Super Mario Bros.. Their crooning style was clearly pop-ready, but undeniably reverent: the pair first met when Eddie noticed Charles carrying a vinyl copy of Marvin Gaye’s "Trouble Man” on a New York subway train.

By that time, Chacon had already been navigating music in interesting ways, all the way back to his teen garage rock band with the late Cliff Burton (Metallica) and Mike Bordin (Faith No More). In the late ’80s, he released a full-length on Uncle Luke from 2 Live Crew’s label and signed to Columbia as a solo act. He was a working artist, always popping up in unexpected places: through the course of his career, Chacon would write, sing, or produce ten Top 40 hits around the globe.

In the words of Mac DeMarco: “Eddie Chacon is planet earth’s number one musician. Yesterday, today, and forever.”

Years ago, Chacon retired from music for a second calling as a fashion photographer and creative director. In an interview at the time, he said, “I was fortunate to have a 35-year music career and felt that there wasn’t that much more for me to say or achieve.” Very thankfully, that’s no longer the case. Private experiments, far from the major-label center he once frequented, began to feel urgent and new. “There’s nothing more exciting for me than getting to start from the beginning again,” he says today.

“Pleasure, Joy and Happiness” will be available July of 2020 on the boutique Los Angeles-based label Day End Records. This is a thoughtfully considered album of quiet, confident R&B: it doesn’t jump out at you, but rather gets in you. Produced by John Carroll Kirby, the like-minded artist and collaborator with Frank Ocean and Solange Knowles, it features restrained percussion from Kanye West’s Sunday Service drummer Lamar Carter. Celestial soul as a break from chaos, these are quietly challenging songs as timeless as they are contemporary.

“What a rare and cool challenge it was for me to help Eddie re-emerge after a long hiatus,” says John Carroll Kirby. “I was excited to produce a record for him that captured the chill, laid-back wisdom and easy vocal mastery he has that you don’t see that much these days.”

Lead single “My Mind Is Out of Its Mind” finds a deep groove to try and contain spiraling heartbreak, while the sweet and wobbly “Trouble” balances the delightful near whisper of the title track “Pleasure, Joy and Happiness.” But even the project’s lightest moments feel sincere and mature. Altogether: a truly unifying release, coming from a man who’s earned the right to share such a regal, romantic sound.

“I used to think to myself,” Chacon says, “if I ever make a record again, I’d want it to be a record you’d have to be my age to make.”

Eddie Chacon - 01 - "Trouble"

Limitation can be a creative force in a world where anything is possible, and for a young Liam Shortall, that pool of influence & opportunity was as diverse as any. Born in Glasgow and surrounded by music from a young age, he gravitated initially towards instrumental music, picking up the trombone, learning his jazz chops, and listening to the big band, blues, and ska sounds of his family home. A tendency to self-deprecation is a way that Glasgow has impressed itself on Shortall, albeit one which at times tipped over into self-criticism. Nowhere is that struggle & vulnerability more present than on his debut album Bad With Names. As much as Bad With Names showcases some of Glasgow’s finest, it's also the most complete statement of the corto.alto sound to date, a riptide demonstration of his multi-instrumental abilities ( trombone, guitar, bass, synths, programming, tuba, percussion), punchy improvisation and subtle electronic production that has stitched it all back together again.

EJS

corto.alto

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