Search:capture

Singer-songwriter and multi-instrumentalist Son Little expands his musical palette on his upcoming album, Cityfolk. Blending elements of soul, folk, and blues, Son Little captures his signature sound along with expressive yet personal lyrics. Cityfolk is a reflection on love, loss, and finding peace in the chaos. It"s about holding on, letting go, and learning to breathe again when the world feels heavy. Born Aaron Earl Livingston to a preacher and a teacher in Los Angeles, Little"s collaborations with The Roots and RJD2 helped him make a name for himself in his adopted hometown of Philadelphia. Critics were quick to recognize the unique power of Little"s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little"s "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent." Since then, his catalog has racked up over 250 million streams, and Little has toured with everyone from Leon Bridges and Kelis to Shakey Graves and Mumford & Sons alongside festival appearances at Bonnaroo, Newport Folk, and more. Never one to rest on his laurels, Little also earned a GRAMMYî for his work helming Mavis Staples" acclaimed "See That My Grave Is Kept Clean."

»Low Tide, Hi Grypus!« is the new live-iteration of JC Leisure as JC Leisure Group. Documenting an encounter and a communication between human improvisers and atlantic grey seals. The record presents responsive improvisation as a form of cross-species collaboration.

The project began on Porthdinllaen, Wales, where Leisure recorded seal vocalisations from a local colony at low tide. Back in their Liverpool studio, Leisure developed a performance system that translates human musical gestures – pitch, timbre, rhythm, density, presence - into triggers for these seal expressions. The resulting system is dual-active, as in it simultaneously acts and is acted upon in the horizontal instance. It creates a new-music non-linear threshold that cannot be replicated.

»Low Tide, Hi Grypus!« was recorded live at 1210 Berlin and captures one instance of this concept. Local improvisers were invited to encounter the performance system. Recorded in one take, pedal-steel, woodwinds, strings, piano, organ, and electronics gradually learn to listen and respond to the marine voices. This interspecific group moves from intimate duets (that's human, seal) into full ensemble works (humans, seals) over the course of one night.

Rather than treating field recordings as static material, the extensive seal archive functions as an active collaborator: shaping form, pacing, and interaction in real-time. Now that’s marine biology meets human communication!

JC Leisure has previously released work on Sun Ark, Warm Winters Ltd, Not Not Fun and collaboratively with Dialect as Raft of Trash. He has composed a radio play commissioned and broadcast by BBC Radio.

Devotional music most often gets distilled into earthy chants and ancient folklore, it doesn't always ascend to the sky like Julinko’s ‘Naebula’ an album that from the first organ note clearly trades in terrestrial dreams for ethereal visions. A feverish quality permeates the whole record, as if a ritualistic performance was being captured from start to finish, a collection of hallucinatory doom, synthetic neo-folk hymns and ghostly art-rock.

Julinko, stage name for Giulia Parin Zecchin, has long been one of the best kept secrets of the experimental community in North-East Italy, with three records that helped define her unique blend of heavy psychedelia, slowcore and dark ambient. On ‘Naebula’ what really stands out is how powerful and soaring her voice is, a weapon of undeniable force that can transform into a vessel of raw fervour or glide effortlessly as a delicate lament. Her unconventional approach shines through on tracks like ‘Jeanne De Rien’, where a marching pulse acts as a pillar for an extended mantra, almost verging into powwow territory. ‘Peace Of The Unsaid’ uses its arrhythmical structure to create space, a crepuscular night ode that reaches the heights of Sinead O’Connor’s most intimate force-fulness while retaining a sweet composure. Whether it’s glacial murderous shrieks or gospel-esque vitality, songs like ‘Cloudmachine’ or ‘Kiss The Lion’s Tongue’ seem to draw as much from a tradition of European minimalism, the use of drones and repetition, to the tradition of folksongs as hymns, where modal harmonies make way for an apparent stasis. Another key element in Julinko’s songwriting is the seamless blend of her minimalistic approach with these dense textures borrowed from a distant outsider metal heritage, Lynchean noir on steroids or wordless exorcisms with deep undercurrents.

Clear vinyl 2LP reissue of the definitive demo collection from French Death/Thrash legends, Massacra! "Day Of The Massacra" captures the relentless energy of France's leading early-90s death/thrash act. This release compiles these foundational tracks - ranging from the punk-influenced Legion of Torture to the more developed Nearer From Death - showing the evolution of a band that pushed the boundaries of extreme music.

When High Tone Live dropped on Jarring Effects, it wasn't just another live album - it was a statement. Captured in the spring of 2003, the Lyon-based collective condensed years of experimentation into an 11-track journey that redefines what live dub can be. Since their formation in 1997, High Tone have stood at the crossroads of dub, electronic music, rock, and urban culture. With Jarring Effects as their home base, they built a reputation for transforming the stage into a laboratory - a place where basslines mutate, beats deconstruct, and every frequency breathes. High Tone Live draws from four key releases - Low Tone, Opus Incertum, Bass Température and ADN - Acid Dub Nucleik - revisiting them through the raw energy of the stage. Classics like "Dehli Katmandou" and "Enter the Dragon" are stretched, twisted, and reborn in extended, improvisational forms. Two unreleased tracks, "112 Dub" and "Onew Dub," complete the set, adding a dose of fresh material to a disc that feels both retrospective and forward-looking. As with any live recording, there are rough edges: the mix shifts, some moments feel caught mid-explosion. But that's the beauty of High Tone Live. The imperfections add warmth, immediacy - a reminder that this music is made by humans pushing machines to their limits. High Tone Live stands as one of the strongest documents of Europe's post-dub explosion. It's a record that bridges continents and genres - a sonic travelogue where analog grit meets digital hypnosis. More than a live set, it's a manifesto of independence and sound exploration, stamped with the unmistakable seal of Jarring Effects.

The compositions of Colleen, aka multi-instrumentalist CeIücile Schott, are as richly varied as they are precise. Each of Colleen"s albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott"s music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one"s life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album"s sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue"s PA sound itself and the venue"s acoustics. Colleen"s music translates snapshots of Schott"s life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott"s deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental.

The compositions of Colleen, aka multi-instrumentalist CeIücile Schott, are as richly varied as they are precise. Each of Colleen"s albums are shaped by her predetermined distinct instrumentation and parameters, including works composed entirely of music boxes, pocket synthesizers, and antiquated stringed instruments. The connective essence of Schott"s music is in her ability to create pieces within this transcendent specificity that are both expansive and imbued with profound emotions. Libres antes del final is an album that reaches for the hope and desire to be truly freed from unnecessary suffering and harmful thoughts before reaching the end of one"s life cycle. Schott composed and performed Libres on the Moog Matriarch, centering the record on a pulse-driven, bubbling energy with constant momentum. She then reamped the music in one of her favorite spaces in Barcelona, Casa Montjuic, accentuating the album"s sense of movement. The reamping process adds a literal physicality to the album, as carefully chosen and placed microphones (including the famous Neumann KU100 binaural head) capture both the venue"s PA sound itself and the venue"s acoustics. Colleen"s music translates snapshots of Schott"s life into singular pieces, often instrumentally transmuting a dense web of sensations into wondrous sonic terrain. Schott"s deft manipulation of the Moog Matriarch makes each subtle adjustment feel monumental.

Calvin Love is a Canadian singer-songwriter, composer, and producer from Edmonton, Alberta, now based between Edmonton and Los Angeles. With a sound that blends noir-tinged folk‑pop, crooning rock ’n’ roll, and cinematic storytelling, Love has become a distinctive voice in the international indie landscape. His music has drawn comparisons to Roy Orbison, Leonard Cohen, and Bryan Ferry, with Aquarium Drunkard describing his work as “a crestfallen soundtrack of near‑escape… like Chris Isaak trapped in a David Lynch film.”
Since his debut New Radar (2012), Love has released a run of acclaimed records including Super Future (Arts & Crafts, 2015), Highway Dancer (2018), Night Songs (2020), and Lavender (2021). Along the way, he has collaborated with renowned producers and artists such as Gus Seyffert (Beck, Roger Waters, Black Keys) and the late Richard Swift (The Shins, Damien Jurado), while earning coverage from outlets including SPIN, The Fader, Interview Magazine, and Stereogum.
A seasoned live performer, Love has toured extensively across North America, Europe, and Asia, appearing at festivals such as SXSW, Pop Montréal, Strawberry Festival (China), Endless Daze (South Africa), and Sled Island. He has shared stages with Morrissey, Mac DeMarco, Courtney Barnett, Jonathan Wilson, The Divine Fits, and Jim James, performing in iconic venues like Carnegie Hall, The Troubadour, and Hollywood Forever Cemetery.
In early February 2026, Love releases his seventh studio album, Throw My Shadow To The Sun — a bold, visceral statement that captures him at a new creative peak. Self‑produced and recorded by Reverend Baron at The Ladder Factory in East Los Angeles, the album channels raw, unfiltered energy into a late‑night rock ’n’ roll atmosphere built on moody grooves, gritty textures, and Love’s unmistakable croon.
The sessions brought together a formidable live band: Josh Da Costa (Drugdealer) on drums, Brent Randall (Vanity Mirror) on bass, Davey Chegwidden (De La Soul, Ghostface Killah, Raekwon, Too Short) on percussion, Jeremy Brian Gill (Curtis Harding) on tenor saxophone and flutes, Daniel E. Garcia (Reverend Baron) on lead guitars, and multi‑instrumentalist Laena Myers (White Fence, Orville Peck, El Mariachi Bronx) on violin.
From the hypnotic sway of “Underneath It All,” to the reverb‑drenched sax of “Forever Feels,” to the heavy sludge‑rock crush of “Setting Sun,” Throw My Shadow To The Sun draws from the lyrical storytelling of Dire Straits, the laid‑back blues of JJ Cale, and the timeless melodic drama of Roy Orbison. The result is a cohesive, lived‑in record that transforms fleeting moments and late‑night impressions into something enduring and cinematic.

Dorian Concept returns with "Miniatures," a collection of his renowned one-take synthesizer recordings that he’s been known for sharing online since the mid-2000s. “This release was right under my nose” he says. Over the past two decades, Dorian Concept has uploaded videos of himself "fooling around" on various synthesizers and keyboards – long before the rise of short-form content. These signature one- to two-minute performances have sparked countless covers, remixes and reinterpretations by musicians and producers alike. Through this project, Dorian Concept aims to celebrate a long-standing bond with his instruments and honor it in the form of a photo album.

In his own words:

As a kid, every night before bed, I would sit in the same place and draw a comic. I rarely finished them, but I couldn’t go to sleep without having started one. These "Miniatures" and the preceding videos I’ve recorded come from the same place. They’re the expression of a ritual.
Around 2020, I created a compact setup using three devices – a mono synthesizer, an analogue reverb and a looper –which I separated from the rest of the studio. Every day, before I started working, I would improvise on this small setup and at the end of every month, I would record a video and share it with the world. These songs were made in front of you, in a Truman-Show like fashion.
Now they feel like diary-entries that capture the timeline of a deepening relationship, the harvest of limitation and repetition, and the beauty of simplicity.

The cover art is a drawing by the esteemed Austrian artist Leopold Strobl (courtesy of Gallery Gugging), who is known for his distinctive small-format work. The closing track, “An Unopened Letter,” features the genre-defying guitarist and producer Bibio.

Following a trilogy of introductory EPs, a buzzed-about tour with Alvvays, and a mountain of global acclaim since they first emerged in 2022, the Stockholm-based trio teamed up with Alex Farrar (Wednesday, Snail Mail) for their first-ever full-length record. A sun-drenched prism of Girl Scout’s guitar-driven indie rock, Brink refracts with a new glow from each song to the next. Towering anthems intersecting with hushed tenderness. Nostalgia with momentary living. Doubt with joy. Forever a band of dualities, Brink is no exception for Girl Scout. Comprised of 13 tracks caught between apocalyptic anxiety and wistful escapism, the album captures the all-too-familiar crossroads of feeling stuck, yearning for change, and standing on the edge of something unknown.

Produced by Josh Schroeder (Lorna Shore, Dayseeker), the record captures Varials at their most instinctive and unfiltered. Imperfect takes, emotional performances, and new melodic textures create a sound that's both crushing and alive. Onstage, the lineup ( Skyler Conder , Mike Foley , Sean Rauchut , and Shane Lyons ) continues to prove why Varials remain one of heavy music's most cathartic and commanding live acts







[g] [wouldyoufollowme]





[m] [intothequiet]

Remastered from the original recordings and now presented on a 45rpm 2 LP deluxe audiophile edition, this is first time the complete 7-track album has been available on vinyl. 'In My Own Sweet Way', recorded during a month- long European tour in 1987, captures Woody Shaw in peak form playing with a spirit and a sense of adventure that identify him as a jazz giant. Woody calls the trumpet "the prince of all the horns". Woody is the king of all the trumpet players.

Nobody around plays with such a big, round, ravishing sound - a sound which could easily fool you into thinking that you are listening to a flugelhorn. Woody's musical asociates on this album are Alex Deutsch, a young drummer from Austria who has worked in Europe with many American jazz stars; Neil Swainson, a highly gifted bassist from Toronto who has worked with Pat La Barbera and Peter Leitch but is perhaps best known for his superb collaboration with George Shearing; and Fred Henke , a pianist from Montreal whose credits include backing Clifford Jordan, Steve Grossman and Junior Cook

As the world sinks deeper into screens and algorithms blur the line between creation and imitation, Nubiyan Twist return with Chasing Shadows, a record that reclaims the pulse, warmth and spontaneity of human connection.
The band’s fifth studio album is a rich and restless blend of jazz, afrobeat, hip hop and electronic textures, exploring the space between the organic and the digital. It’s music that moves, sweats, and breathes, made by real people in real rooms with heavyweight features bringing together varied voices from the music community which they inhabit.
Bandleader and producer Tom Excel explains: “We wanted to make something that felt joyous and defiantly human — something that couldn’t exist without that connection between people. You can get an AI to write a fugue in seconds, but it can’t capture the chemistry and chaos that happens when musicians lock in together. Chasing Shadows is our way of holding onto that.”
Folowing 2024’s acclaimed Find Your Flame, praised by Roling Stone, Jazzwise, NPR and more, Chasing Shadows pushes the band’s sound further into new soulful territory under Exce l’s expert guidance, featuring bright new vocalist Eniola and a glowing cast of icons and innovators. Malian star Fatoumata Diawara lights up the title track on a powerful slice of Afrobeat, Joe Armon Jones leads the dub workout ‘Rhythm Of You’ and the band take it back to their hip hop roots on great colabs with The Pharcyde’s Booty Brown, Ghanaian MC M.anifest and London dancehal favourite, Mr Wi liamz.
On Chasing Shadows, Nubiyan Twist continue to look outwards with their music but keep the focus firmly on humanity and positivity. It is an album which crosses continents and which shamelessly celebrates our co lective strength.
Fifth album from UK-based co lective Nubiyan Twist led by bandleader & producer Tom Excel (Africa Express, Onipa)
Featuring Booty Brown, Fatoumata Diawara, M.Anifest, Mr Wi liamz and Joe Armon Jones.
Pressed on Yelow Vinyl LP, or Green & Yelow splatter Vinyl LP (exclusively for UK indies).

Strut Records presents a fresh look at Oblivion Express, the 1971 album that marked Brian Auger’s shift into a new musical frontier. After years spent shaping the sound of British jazz-soul with the Trinity, Auger stepped into the new decade with a leaner, electrified ensemble and a renewed sense of purpose. This record captures the moment that transformation took shape.

Oblivion Express introduced a sound that was distinctly Auger’s own. Rather than echoing the fusion emerging in the United States, Auger developed a language rooted in the UK’s jazz underground, culminating in a spaced out jazz- rock / prog-fusion album awash with larger than life drum fills and Auger’s virtuosic organ playing. Between bassist Barry Dean and drummer Robbie McIntosh the album moves effortlessly between tight, articulated phrases and broader, improvisational passages. The trio’s interplay forms the backbone of the album and sets the tone for the sound that would define the early years of the Express.

Album opener “Dragon Song” launches with a restless drive that immediately signals Auger’s new direction. Auger chose to record this version of John McLaughlin’s piece (his friend and former bandmate in 'The Niddy Griddys') after hearing McLaughlin’s album Devotion during its mix at New York’s Record Plant Studios. Auger was blown away, recalling, “Oh my god, this is amazing. I wanted to record that myself - and I did!”. Pieces like “Total Eclipse” demonstrate the Oblivion Express’ command of dynamic contrast, and title track “Oblivion Express” explores the cinematic and compositional prowess of the group through stripped back, building moments vs. explosive melodic breakdowns. Riff-heavy “The Sword” later became known through Madlib’s usage in 2014 tracks “Yeti Movie” and “Parodies”.

In retrospect, Oblivion Express stands as a jazz leaning, prog-rock masterpiece and foundational moment in Auger’s catalogue. It captures the starting point of a new sound that is more focused, more urgent, and fully committed to the possibilities of jazz-rock at the dawn of the seventies. The album remains a vivid document of a band discovering its identity and setting the stage for the further array of influential releases that would follow.

Released in 1967, Open marked a bold debut for Brian Auger & The Trinity, featuring the dynamic vocals of Julie Driscoll. Music and its makers were rapidly evolving in ‘67, the UK's Jazz and R&B scenes were being influenced by pop and psychedelia and socially, musicians of many styles found common ground in London’s clubs like The Cromwellian and The Scotch Of St James where the The Beatles, US legends Wilson Pickett and Jimi Hendrix mingled with the capitals jazzers and pop stars, often loudly jamming together in even louder 'Lord Byron' shirts. 'Open' fully embraced this spirit by fusing together those genres and attitudes of the era. From the outset Auger displays his jazz rooted approach on the A side with 'In and Out' and 'Isola Natale' (later covered by one of his American jazz heroes Richard ‘Groove’ Holmes). Both showcase the Trinity's musicianship and Brian's improvisational flair. Auger himself takes on vocal duties on the raucous ‘Black Cat’, a track that became a club hit. Open is marked by its eclecticism; 'Lament for Miss Baker' is a tender, piano ballad influenced by Duke Ellington, reflecting Auger’s jazz and classical influences whilst 'Goodbye Jungle Telegraph' is a wild and crazy percussive freak out. Brian displayed not only his virtuosity but also his surrealist sense of humour with bizarre sound effects, inspired by Spike Milligan's The Goons' radio show interspersed between the tracks.

Julie Driscoll’s arrival on the album’s B side brings a sharp shift in tone. Her smoky, emotive vocals inject a soulful depth, notably on covers of Otis Redding & Carla Thomas hit 'Tramp', Aretha's 'Save Me' and The Staples Singers ‘Why Am I Treated So Bad". With original numbers 'Break It Up' and 'A Kind Of Love In' we hear the Auger / Driscoll pop infused R&B at its very best, whilst the version of Donovan’s 'Season of the Witch' stretches out into a slow-burning epic. In 2025, Open is viewed as a cult classic and testament to a unique period when genre boundaries were fluid and artistic risk-taking was the norm. Brian Auger & The Trinity’s debut captures the adventurous energy of the late 1960s. 58 years later, its importance in the development of British jazz fusion and progressive bands that followed is undeniable, with The Charlatans Tim Burgess recently commenting on Auger's Instagram that The Trinity were a 'huge influence'.

Mammal Hands are pleased to announce the release of their highly anticipated fourth album 'Captured Spirits', released 11thSeptember via Manchester tastemaker record label, Gondwana Records.

Consisting of saxophonist Jordan Smart, pianist Nick Smart and drummer and tabla player Jesse Barrett, the trio have forged a growing reputation for their hypnotic fusion of jazz and electronica and have recieved glowing recommendations from the likes of The Guardian and Gilles Peterson. Drawing on their love of electronic, contemporary classical, world, folk and jazz music, Mammal Hands take in influences including Pharoah Sanders,Gétachèw Mekurya, Terry Riley, Steve Reich and Sirishkumar Manji.

Forming in Norwich in 2012, brothers Nick and Jordan along with Jesse, developed their distinctive and polished sound with their meteoric live shows and release of three critically acclaimed albums: 'Animalia' (2014), 'Floa' (2016) and 'Shadow Work (2017). Landmark live performances have included shows at The Roundhouse London, the main stage at Field Day Festival, La Cigale Paris, Montreal Jazz Festival, Hamburg Elb Jazz, Athens Technopolis and Unit Tokyo.

Repress

Well. Where do we start with 'Deep Inside' Originally released in the golden NYC House era of 1993, this 5 tracker literally smashed everything in sight. And still does now! The epitome of an evergreen, all-time classic release. Masters At Work Louie Vega and Kenny Dope were on a major roll in this era, producing, remixing, dj-ing and everything in-between, these guys put in ridiculous work. They are joined on this EP by a roll-call of names and collaborators, Erick Morillo engineering the title track Check. Maurice Joshua on co-production duties You got it. Vocals by Ms. Barbara tucker They're there. Killer, rock hard drums Stacks of Soul Masterfully chopped up Disco samples All present. Serious stuff. Sometimes a record just manages to capture and distill the true essence of what this is all about and 'Deep Inside' is one such record, it bears all the hallmarks of golden era MAW, all the signposts of what was happening in NYC's clubs in the early to mid 90's were there within it's grooves. You know a record is good when it's still being, quite literally, hammered nearly 25 years later! Now, remastered, and reissued with the full involvement of Strictly Rhythm this seminal piece of NYC House history is made available again with all original, full sleeve artwork intact as per the 1993 original. This one's a straight up essential for any self-respecting dance aficionado. You know what to do!

2026 Repress!

LIMITED EDITION SPLATTER VINYL

More Strictly Rhythm GOLD right here. An all-time, hands down, unstoppable CLASSIC record from way back - 1995 to be precise. If you don't know this record it's possible you've been in a coma, living in a cave with no electricity or have literally just arrived here on planet earth. Either way, once you hear 'Higher State Of Consciousness' you certainly won't forget it. Produced by Philly's legendary Josh Wink and released by the forward thinking A&R team at Strictly. At the time there was very little to nothing that even came close to this release. The 'Tweekin Acid Funk' mix being the highlight and the version that caught everyone's ears and captured minds worldwide across radio-waves with endless rewinds on MTV and in the clubs. Foreseeing the impending 'Breaks' boom that came around in the mid to late 90's 'Higher State...' was one of those rare moments where a record truly transcends genre boundaries and found it's way into DJ's boxes and bags on every scene. A mighty, evergreen slab of wigged out, acidic, breakbeat chaos. Essential. This one's a tasty 2017 reissue and remaster, featuring all 3 mixes, unedited, as per the original release way back when. Do not sleep.

Chalybeate documents a month long stay by Tokyo based producer aus in Ikaho, one of Japan's most established Onsen (hot spring) towns, during autumn 2024.

Working from field-recordings captured inside multiple ryokan baths, aus synthesized the subterranean movement of the onsen's with local details: the bubbling of source water, the hoozuki lantern plants and wind chimes placed at each inn, and the surrounding insects and birds. Rather than portraying Ikaho as a landscape, the recordings trace the town's respiration.

The material was first presented on site as an installation unfolding across eight different baths, where visitors listened while soaking in roten-buro (open air hot baths). The project drew wide attention for proposing listening as a bodily act, inseparable from heat, moisture, and duration.

Chalybeate re constructs that installation as an album. The recordings were left to sit for a year within Ikaho's air and humidity, allowing the sound itself to slowly change. The title refers to Ikaho's iron rich mineral water, known as "Golden Water," which oxidizes upon contact with air and leaves rust colored traces in its baths. Following this process, the album's sound was repeatedly re submerged and re worked, gradually absorbing a corroded texture.

Tape hiss, gentle distortion, and subtle fluctuations rise quietly, like steam.
What remains is not documentation but residue.

Mixing was handed over to Manchester based producer The Humble Bee by Craig Tattersall, known for his work with The Boats and The Remote Viewer, after aus exhausted himself traversing Ikaho's steep stone steps. The exchange mirrors the work itself: from bathtub to hot spring, from sound to something that surrounds the body.

Woodwind like tape noise and the movement of water dissolve into one another.
The music does not arrive all at once. It settles slowly, as if lowering into warm water.

Detroit powerhouse vocal trio Dames Brown make their long-awaited debut with ‘Take Me As I Am’, a bold, soulful celebration of the Motor City’s sound and a heartfelt tribute to their late mentor, Amp Fiddler.

Crafted at Amp’s legendary home studio, the album captures the essence of Detroit through rich instrumentation, gospel-infused harmonies, and unfiltered soul. Blending house, funk, techno, and 70s groove, Take Me As I Am embodies the city’s spirit; timeless, raw, and full of life.

Featuring collaborations with Detroit icons Andrés, Eddie Fowlkes, and Waajeed, standout tracks like ‘You’re The One For Me’, ‘Glory’, and ‘What Would You Do’ showcase the trio’s unmatched energy and vocal chemistry.

Across fourteen tracks, Athena Johnson, Teresa Marbury, and LaRae Starr channel the soul of Motown, the groove of Parliament Funkadelic, and the power of Aretha Franklin, uniting their influences into one authentic, uplifting sound.

With nearly a decade of releases on Defected and its sub-labels, including collaborations with Sophie Lloyd, The Vision, Floorplan, and Horse Meat Disco, Dames Brown continue to shine as one of Detroit’s most dynamic vocal collectives.

‘Take Me As I Am’ is more than an album… it’s a declaration of love, legacy, and Detroit soul.