‘Caminhos’ is a tribute to the late samba singer and composer Sebastião Victorino Teixeira Dos Santos, better known as Catoni. The heavy swinging hip hop track bridges gaps between classic Brazilian samba sounds with hard hitting Dilla-esque grooves, raw funk and boom bap, taking us on a trip to the shores of Rio de Janeiro.
lyrics
Em que linha do horizonte meu olhar se embaraçou
Em que caminho de fonte a minha sede secou
Que estrada que prendeu na poeira os meus passos
Que noite acendeu no meu corpo o cansaço
credits
from Laroyê, track released September 1, 2021
Produced by Szabolcs Bognar aka Àbáse

Guitar & vocals by Catoni

Mixed by Benjamin Thierney
Mastered by Marco Pellegrino

Cover design by Jason Vaz
Cover collage by Exocé Kasongo aka Bantufuturist
Cover painting by Raphael Cruz

Oshu Records 2021

Caminhos (for Catoni)

Oya (feat Luciane Dom)

Listen on all platforms: idol-io.ffm.to/dont-forget-to-have-fun
Buy the LP: donglori.bandcamp.com/album/dont-for…et-to-have-fun
Listen to the DeepMatter Catalogue: tinyurl.com/dm-catalogue

All Seeds

Don Glori - All Seeds

When The Fire Goes Quiet

06 - Snibbet

How Glad I Am
Produced by Melanie Charles

2/20/2016

How Glad I Am

from the new EP 'Antiphon'  - https://alfamist.bandcamp.com 
Alfa Mist - Keys
Rudi Creswick - Bass
Jamie Houghton - Drums
Maria Medvedeva - Sax
Johnny Woodham - Trumpet
Jamie Leeming - Guitar

Antiphon

Keep On

I was reeeaaallly into the album "Sao Paolo" by Brasilian keys player Cesar Mariano when I got asked to do this rmx. So i decided to do it as if it was Cesar's band doing a rmx of it. I was sort of way to challenge myself to see if I capture that vibe. Also, Cinematic and Cesar Mariano both have made some of the most beautiful songs that groove in the 7/8 time signature. I had a blast making this one. Shout out the Eska on vocals. She is amazing!! We had some good times hanging out together in NY and London. And it was an honor to remix a Cinematic Orchestra track!!!

Taylor on Twitter: https://twitter.com/TaylorMcFerrin
Taylor on Facebook: https://www.facebook.com/pages/Taylor-McFerrin/9087746963
Taylor on Spotify: http://open.spotify.com/artist/0yLmsf6RBPYqm6hvFJCPg6
Taylor on iTunes: https://itunes.apple.com/artist/taylor-mcferrin/id26149051

The Cinematic Orchestra  : Child Song feat Eska  [Taylor McFerrin Sao Paulo Remix]

06 Dez Total (Filhos De Gandhy)

Righteous Energy is the feeling you get with your friends or a loved one when your collective synapses are firing and you reach a moment of transcendence together. It’s conversational, musical, synergistic. Righteous Energy is the light sizzle of synchronicity, the clean burning energy of inspiration. It’s about feeling good and knowing you’re sharing it with your people. 

Produced by Nate Mercereau
Drums: Aaron Steele
Synth Guitar, Guitar, Percussion: Nate Mercereau
Engineered by Nate Mercereau at Elysian Park (Los Angeles, CA) and House Of The Setting Sun (29 Palms, CA)
Mixed by Nate Mercereau at Elysian Park
Mastered by Michelle Mancini, Demifugue Mastering at Larrabee Studios

Righteous Energy

Nate Mercereau — Righteous Energy

There is something simultaneously both brand-new and retro about 'All News Is Good News’ - the debut album from Melbourne's instrumental soul group Surprise Chef. It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-esque cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity. There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time, this is a truly contemporary record that could have only been made now. 

The first limited pressing of 'All News Is Good News’ was released on the band's own 'College Of Knowledge' imprint in November 2019. It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process. We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies.

Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo. The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way".

The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone's fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.

All News Is Good News

Surprise Chef - All News Is Good News

Although Charles may be new to some, she has held a long spanning relationship with music that goes back to girlhood. She was raised by a Haitian mother in Brooklyn where the sound waves in their home was filled with artists like Johnny Hodges, Frank Sinatra, Chaka Khan, and Nat King Cole. She attended the famed arts high school, LaGuardia High School for the Performing Arts where she studied flute and vocals. Her early life was full of stage performances; as a kid she participated in musical theater, pageants, and talent shows in New York City. Eventually, she landed at the School of Jazz and Contemporary Music at The New School for college where she met artists like alto saxophonist Lakecia Benjamin and others. Perhaps better known as a singer, Charles has earned her title as a bonefide flutist. Her playing adds vibrant swaths of color and emotional texture to her music.

The album opens with a breathtaking rendition of Billie Holiday’s “God Bless the Child.” This song, and the album overall, flexes Charles’ impressive arrangement skills. The song features a powerful group of musicians—Benjamin Julia on electric guitar, Dezron Douglas on upright bass, Anwar Marshall on drums, Shedrick Mitchell on organ, and Tayzaro on cello. On flute and vocals, Charles floats above the soulful current of the band, singing the song over a dramatic blanket of electronic sound. The lyrics ring with equal power as the music. When Charles sings the lines “Yes, the strong get more/While the weak ones fade,” the connection to black women’s struggle is palpable. “My experience moving in the world as a black girl has always been, I have to be strong. I have to keep it together; I have to sort of live up to the standard,” says Charles.

At its core, Y’all Don’t (Really) Care is a clarion call for a more intersectional vision of the world in which black women can live more freely. The interlude “Pay Black Women” offers the most explicit instruction on some of the ways that care can be expressed. It contains a sample from a film project produced by Charles in 2021 entitled Love Letter to Black Jazz Girls.  Through the voices of three black women, the track draws attention to the racial gender wage gap but also to the treatment of black women artistic producers more broadly.

How Glad I Am

Melanie Charles is D'flower