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With "Steamy!" Jukka Eskola Soul Trio reaches its second album on Timmion and delivers another sure-shot for the soul jazz thirsty masses. As with his first self titled debut, this troupe of premium Finnish jazzers turns all the relevant corner stones of soulful and progressive jazz, never running too far up the deep end, but always harnessed with expressive sensitivity and professional cool. It's like the 1960's and 1970's global jazz movement got condensed into a radiant ball of hipness, heady and completely unpretentious.

In addition to the two single releases "Tiny B" and "Stick Of A Branch" Soul Trio dip their groove jazz chops into numbers such as "Five On Three", the shuffling "Jongo Street" and the fatback funky "Steamy". There's also a strong strain of Brazil on several tracks from bossa nova to richly percussive rhythms. On the over 7 minute long "Smash" they mellow out into a beautiful mood that sounds like John Patton swinging with a bunch of European cats. There's even a few studio tricks that we'll leave for the listener to discover.

Calling the Soul Trio a group of virtuosic players is an understatement as all of them have been working at it on a professional level since the 1990's. Trumpetist Eskola and drummer Teppo Mäkynen were both a part of the Helsinki nu jazz movement of the time, which later evolved into the now iconic Five Corners Quintet, while organist Mikko Helevä has hammered his Hammond in underground Finnish jazz funk groups for as long as his two band mates. Together they cook up a stew, which is like a bowl of perfect bouillabaisse, rich with flavour and with nice bits to chew on.

After inaugurating the label with a tape in 2015, our local friend Richard Brown (AKA Brown Irvin) returns to Motion Ward with an oblique two-track 12" entitled "Run Me That Soul". "Locution" flexes a wobbly equilibrium of dubbed dancefloor energy and amorphous acid while "Overcast" coats the B Side in a smeared gradient of ambient wash and shape-shifting stasis. A persuasive pair of parallel worlds for winding up and winding down.

Kinway is short for “no fuckin way!“ And that is exactly what
we thought, when we stumbled upon this suite of lush detuned
chords, heavily filtered down drum machines and wobbly,
pumpin tape compression. „It’s raining here“ is a five track LoFi manifesto that just waited there to be pressed on wax. …So
now it is. And it’s all yours! “Shit’s gettin’ wiggly”

Aaaron continues his journey through mystic synthesis with his 5th ep for connected , “Cosmic Soul”. It seems with each release he gathers more depth to his music and minimises his style and production to naked artwork in sound where each instrument has its space for the the listeners imagination. Abstract yet magnetic , tribal and futuristic. Sink in the shadows and rise on the waves.

1.COSMIC SOUL A rhythm section playing robotic funk against an esoteric drone meets a melancholic piano refrain and pleading vocal monotones that go dubwise. The landscape of the track rises and falls to a vocal and piano breakdown with electronic flutes piping in the distance , peppered with percussive stabs throughout as the emotive waves surge to find earth. Quite beautiful. 2.MERCY Synthetic textures reminiscent of Blade Runner 2049 form a backdrop for a skeletal drum figure, as soft Kraftwerk like notes filter in and out and a skinny sequencer drifts across the track like crosstown traffic. A vocoder pulse and dreamy synth horns hold the scene in the shade of a hot sunny day as the city flies by in stop motion. 3.ITS NOT OVER Imagine a classical symphony based on 2 or 3 chords , revolving and hypnotising by its simplicity and gradually rising in sonic temperature. Set against a drumscape of toms and unnaturally pitched and distorted snares and phasing plastic synth percussion like a drifting cloud of locusts. The vocal “Its not over between you and me” is haunting and irresistible and the song draws you in, mystified by its simplicity . Devoid of frills , cold and heartbroken yet the embers of passion still glow. Innocently executed , Aaaron at his futuristic high.

Twenty years ago the duo HIL ST SOUL released a groundbreaking debut album SOUL ORGANIC.
Zambian-born vocalist Hilary Mwelwa and producer/musician/songwriter Victor
Redwood-Sawyerr (VRS) had been working away in a North London studio creating a unique blend of neo soul, jazz and R&B that had critics on both sides of the Atlantic in raptures.

Billboard magazine enthused: “Brimming with R&B/hip-hop/jazz-flavoured rhythms and image-rich
lyrics….Even Aretha’s Until You Come Back To Me glows again under Hil’s touch”.
And talking about the lead single Strictly A Vibe Thang, US magazine Radio & Records were
smitten: “You can’t sit still on this one. While listening to this infectious tune you got to move something – even if it’s just your big toe!” In the UK Echoes magazine called it “one of the best UK soul albums ever”.

Strictly A Vibe Thang charted on the Billboard R&B Singles chart, following in the footsteps of Loose Ends, Soul II Soul and Brand New Heavies, while Hil’s acoustic take on the Stevie Wonder-composed Until You Come Back To Me came out of nowhere to be a sensation at America’s Smooth Jazz radio format It ended 2000 as the most-played vocal track of the year across US Smooth Jazz radio stations, and in the ensuing two decades it has been the most-downloaded - and one of the most-streamed - tracks on the Dome label. Also heavily played: the joyful mid-tempo groove of For Your Love

This 20th Anniversary Edition of the album – now in a gatefold sleeve – includes three bonus tracks not included on the original vinyl release: the acoustic version of Until You Come Back
To Me, the VRS Remix of Just A Matter Of Time, with its insidious groove, and Down To Business.

Hil is still very active, playing several UK shows this autumn, including one at London’s Jazz Café, where she first performed 20 years ago.

Slam City Jams is back with its sixth release and welcomes a new face to the label: the
mysterious producer, Westcoast Goddess, with his „Soul Out Of Time” EP.
After releases on Shanti Celeste’s Peach Discs (under his Videopath moniker) and Canada
based Heart To Heart Records, this guy caught our attention with his amazing analog take
on house music.
Written and produced between 2002 and 2018, this record contains everything house music
heads could wish for:
Sweet chords and strings, topped with heavy 909s, plus a cheeky little vocal shot on
„Satisfaction & Clarity”. Title track „Soul Out Of Time” sounds like a late night drive with the
top down. Meaning - shiny bells, swinging 80s drums, a funked up bass line and Balearic
breaks. The B-side kicks things off with “Open Heart”. A sample-based house tune, heavy on
the low end and super sweet on the tops, with Rhode pianos and catchy guitar licks. The EP
comes to an end with „In Search Of Darryl P”: A perfect track for the late hours, when those
trancey synths and euphoric strings go on and on... till the first rays of dawn!

Hold Up ft Kendra Foster is the breakout first single on Lonely C’s (aka Charles Levine of Soul Clap) debut album, Charles & Tribulations. Foster, known as a multitalented force of singer/songwriter who's toured the world for over a decade with Parliament-Funkadelic, won a Grammy for her co-writing on D’Angelo & The Vanguard’s Black Messiah, most recently set forth as a solo act with her 2016 eponymous sophomore album.

This may be Kendra’s first foray into house music, but she’s no stranger to the groove. This is a dance-floor classic in the making, already receiving powerful response from crowds at Soul Clap’s DJ sets.

Lonely C’s original mix features vocal/songwriting super talent Kendra Foster’s cathartic tale of a love gone away. Mike Dunn’s remix is a guaranteed dance floor activity, Javonntte dub for the dancers.

Then last but no means least FSQ’s Funkadelic Touch mix of “True” featuring Billy Bass Nelson, GKoop, O-Man, & Kim Manning”

Upfront DJ Support:

Dixon, Seth Troxler, Gilles Peterson, Moxie, Francois K, Osunlade, Josh Wink, Jovonn, Kraak & Smaak, Tensnake, Horse Meat Disco, Crazy P, Leo Mas, Luke Solomun, Hot Chip, Nightmares on Wax, Honey Soundsystem, Danny Tenaglia, Red Rack’em, Soul Clap.

New Swedish label Soul X Tension delivers groovy, adventurous & playful dance music. For the 1st release label heads Ebende & Matinda bring you a diverse but coherent split EP. 4 well crafted cinematic pieces of Electronica, with elements of UK Garage, Ambient, Techno, House & Tribal.

White Vinyl

Lars Hemmering is back with his second solo ep on Fullpanda records.
Also known as half of Live Duo – LADA with Dasha Rush, beside his own productions on DOCK records and among few others.

“Bloody &Soul “
Vinyl version – a collection of 4 intense left-field, abstract tracks, ranging from eerie cosmic like techno, throughout harder yet abstract beats, closing with dark ambient. Plus a digital bonus track.

A1.”Bless”
Dynamically hypnotic piece, where synth dominated baseline meets broken beats with barely present percussions, if refereeing to the classic techno approach, blending with dreamy chorals on the background.

A2. “Releasing Strains “
A moody melancholic cut with atmospheric, reverberating analogue synths and poly rhythmical structures.

B1. “Lars wars”
Takes us to more rougher side of techno, frantic energy with distorted syncopated rhythms tiny bouncing sounds that respond to over all dynamics.

B2. “Artarpet”
Closing track comes towards the dark ambient, that bring us to an empty like sound fields.

• Aretha’s sister hits her stride with the 1969 Brunswick release ‘Soul Sister’ with this is a rare groove classic
• Includes classic versions of ‘Light My Fire’, Hold On, I’m Coming’, ‘Son of a Preacher Man’ and ‘Gotta Find
Me a Lover’
• Reissued on 180g heavyweight classic black vinyl, with printed inner sleeve
• This is Erma’s second album, with her first being on Epic’s Shout label where she recorded the original
‘Piece of My Heart’

Soul Deep Exclusives is proud to present our latest vinyl release! This time we've recruited 4 talented producers that have created 2 tracks of musical bliss. Greek producer, mSdoS, has gone to the other side of the world to collaborate with Subsid, a Brazilian Producer, to craft up the song entitled, "Malibu". The song oozes with uplifting musicality and summer vibes, heating things up for the warmer time of the year. British producers, Payback & Conspire, team up to produce the second offering. The track offers up a more edgy sound, but is softened up by its epic pads and dreamy soundscapes. Overall, these 4 producers have created some classic music that will stand the test of time. Classy vibes!

Music With Soul strikes again with a Double Sider Dancefloor Stormer!! You are not even 30 seconds in and you are already asking yourself what the hell you are hearing. That is precisely the effect the label wants to induce with their releases. Welcome to the Music With Soul congregation.

‘One of our favourites’ iD Magazine

‘Mesmerizing’ The Guardian

‘Keep an eye on this guy!’ - Gilles Peterson


Catching Flies’ music draws from a wide-ranging palette of influences including jazz, soul, hip-hop, house and electronica and has previously seen him handpicked by Bonobo to provide support on his World Tour. Over the past few years, his music has gathered the support of Gilles Peterson, Annie Mac, Lauren Laverne, Julie Adenuga & Huw Stephens, critical acclaim from the likes of iD Magazine, The Guardian, Dazed & Confused, and Nowness, and a growing fanbase which has seen him perform both Live and DJ sets across the UK, Europe, the USA and Asia. This has culminated in over 60,000,000 streams to date.

Catching Flies is set to release debut album ‘Silver Linings’ on 5th July 2019. Containing shades of house and jazz, to hip-hop and electronica, ‘Silver Linings’ is a melodic mesh of bright electronics and intricate rhythms. It’s a beautiful, moving record, with sounds that unmistakably come straight from the heart.

Producer, multi-instrumentalist and DJ George King began Catching Flies in late 2012, when he recorded and self released his first two EPs. With huge radio and press support around the world - including multiple #1’s on Hype Machine, BBC Radio support from Gilles Peterson, Mary Anne Hobbs, Lauren Laverne, Tom Ravenscroft, Nemone, Annie Mac, Huw Stephens; praise from i-D, Dazed, The Guardian, Complex, Notion, The Line Of Best Fit, Clash, Dummy and more - he’s since attracted millions of listeners.

Against his instincts he signed with a big management agency and got talking to a label: it almost derailed his career. He explains “What I'd found so inspiring originally was the total freedom to make a tune on my own terms and just decide to put it out the next week. There was a hunger that came with that, and a sense of achievement from being the driving force, but as soon as I tampered with that ecosystem, it wasn't as exciting anymore”.

Touring with electronic music giant Bonobo - who also included him on his BBC Radio 1 Essential Mix - allowed him to watch up close someone who had taken a slow and steady path from tiny clubs in Brighton to arenas worldwide, and see it was possible to do without any compromise. After being teased through a succession of warmly received singles this past year, and seven years on from that first EP recorded and released from his bedroom, his debut album ‘Silver Linings’ is now ready to be revealed.

“It's taken me a while because I didn't want to speak until I had something to say. I wanted to make something positive, hopeful and colourful...The world isn't in the best place at the moment, and the last thing it needs is another dark and moody electronic record. I wanted ‘Silver Linings’ to be a scrapbook of the last three years. It’s definitely eclectic, and it’s supposed to be. Over three years a lot changes, your perspectives change, your tastes change; and I wanted to celebrate that by picking tracks that meant the most to me. One of my favourite things about making music is that it takes me right back to where I made it - the keyboard I used, the chair I was sitting on, the room I was in. It kind of teleports you back to a certain point in your life. A bit like a diary entry.”

Recalling those moments brings back a range of memories: ‘Satisfied’ began by being tapped out on a £15 keyboard bought from Kentish Town Cash Converters, ‘Yǔ’ was made in the mountains of China during a few days off from touring, while an evening on Hampstead Heath inspired ‘Kite Hill Theme’. Also featuring on the album is ‘New Gods,’ a collaboration with London’s bright stars Jay Prince and Oscar Jerome and the beautiful and meditative ‘Opals,’ inspired by the likes of Ryuichi Sakamoto and Alva Noto.

Catching Flies is already looking to the future, closing the first chapter in an exciting and inspiring story, ‘Silver Linings’ is only the beginning.

“A few weeks after I finished the album, I moved out of my house I made all the music in, so it feels like the closing of one chapter and the beginning of another. I can’t wait to make the next one now.”

“A genius” - Nai Palm
“One of the most incredible live performances I’ve seen” - Gilles Peterson
“He's like a human centipede sewn out of all the greatest musicians from the past 80 years” - Liam Pieper

Emerging from Brisbane’s music-art bohemian West End in 2008, self-taught, prodigious musician Lachlan Mitchell aka Laneous, began his eclectic and colourful journey in music as the leading member of funk band KAFKA, stamping his trademark falsetto croon on an Australian music landscape that wasn’t quite ready for an artist whose standout influence was D’Angelo’s ‘Voodoo’. Word of their talent soon reached UK’s perennial tastemaker Gilles Peterson who featured the band on his compilation, Brownswood Bubblers Four alongside other breakthrough acts at the time, Mayer Hawthorne, Floating Points and Lone. A world-class guitarist, vocalist, composer, visual artist and – significantly - muse, Mitchell’s unique ability to shine, create and inspire across genres was his obvious forte, even then. Regularly sought after to provide features for other bands and cover art for Hiatus Kaiyote albums Tawk Tomahawk and Choose Your Weapon, he worked diligently to support his community. But while Hiatus’ Nai Palm told media Laneous was “a genius” he often credited music and drawings to pseudonyms.

In 2016, after 8 years of humbly dominating the Australian underground art, soul and jazz scene [with ‘mutant-soul/croon punk’ cult group Laneous & The Family Yah, reggae band Kooii and improv-jazz-beat trio, Vulture Street Tape Gang] Mitchell relocated to Melbourne - a move that would instigate and inspire the long-awaited debut solo LANEOUS record that fans and peers had been craving for nearly a decade. Excited to create new music with an artist they’d previously referenced as an inspiration, Paul Bender and Simon Mavin (Hiatus Kaiyote) came on board swiftly, joined by Hudson Whitlock (Cactus Channel) on drums and Donny Stewart (Jazz Party) on vibraphone and flugelhorn - a key element in bringing Mitchell’s vision of an exotica/soul infused album to life. In classic Laneous fashion, the musical references for the record run deep, winding through an eclectic array of artists from Martin Denny, Burt Bacharach and The Beach Boys to Shuggie Otis, Wild Cookie and Wu-Tang.

The debut single Modern Romance was unleashed in October 2018 with a kinky, captivating visual accompaniment that marked the return of the Laneous legacy. After selling out the Melbourne launch of the single, the band was invited to headline Gilles Peterson’s Worldwide FM x Northside Records live Melbourne broadcast, teasing exclusive album cuts and drawing high praise from Peterson, stating it was “..one of the most incredible live performances I’ve seen’.

Out May 10 via Soul Has No Tempo, Mitchell’s MONSTERA DELICIOSA stands as a sublime genre work, peerless in Australia - his magnum opus bears the name that’s backed him from day one:

"AGS-022 brings to the surface a rare midtempo groover from Honolulu-based jazz vocalist Maggie Herron. The original 1984 LP has appeared only a few times on eBay.

On these songs, Maggie shows the soulful side of her jazzy chops over two mid tempo groovers that live somewhere in the great sweet spot between AOR and modern soul, with Jazz as the foundation.

Recorded right before the advent of the digital era, the organic grooves of her band lay the foundation for her impressive vocal range that she is taking to great heights at the end of the A-side.”

Here comes another sucker punch to the gut via the American underground. These five DJ-ready mutant acid cuts will have you leaping out of your skin, crawling along the floor, begging for a drop of water.

After capturing audience awards festivals like SXSW and the Los Angeles Film Festival, the word is out that Kashmere was the greatest high school band - ever. Their story is tucked in between slabs of hard 70s funk, soul, and jazz: Conrad Johnson transformed a bunch of rough-hewn high schoolers into a band that could compete with any in the nation – professional, or otherwise. Forget high school bands, we’re talking about sixteen year old kids who would give the JBs a run for their money! The Kashmere Stage Band released a total of eight albums and three 45s on Johnson’s Kram label. The band’s best tracks are collected here. Producer Eothen “Egon” Alapatt features an expanded booklet with updated liner notes and essays, more rare photos and ephemera, and a download card which contains the B+/Flying Lotus produced Texas Jewels: The Making Of Texas Thunder Soul short, a recently unearthed 1973 documentary on the band, and a 1972 performance.

I grew up fascinated with the music played late at night on the radio.
As a kid, when times were tough and I couldn't get myself to sleep, I would tune the radio to my favourite FM station and dream on.
This was back in the late 80's and lasted until the mid 90's, a time when I was getting hooked by Hall & Oates, Loose Ends, Maze, S.O.S. Band, Soul II Soul, and other artists that used to rule the dial in the wee hours.
So this music didn't only comfort and nurture me at the time, it also shaped my music personality.

When Renata approached me in order to work on the first ever compilation for Hello Sailor, I knew the selection would end up reflecting this side of me. It had to come from the heart.
It also had to bring to the table something different than what's already associated with Brazilian music, and exploring our own take on the street soul genre sounded good.
It was never done before and it's also faithful to Brazil's musical heritage.

Back in the 80's and into the 90's, it was very common at parties to have a slow dance moment in between the more uptempo sections. A timeout from all the frantic dancing, when people could cool off and flirt in a more romantic way. (It does sound like a great idea to have this intimate just-the-two-of-us moment in the middle of a party; maybe it explains the number of marriages at that time.)
This is a tradition that goes back to the black music balls in the late 70's, which helps to explain why the majority of the early rap acts from Brazil used to have a couple of romantic songs in their albums. When you add to this recipe the power of the mellow pop acts during the aforementioned period, one can realise why it extended its tentacles to deeper depths of pop music in Brazil.

This compilation features some of my favourite music ever, songs that I've crossed paths with in different moments of my life.
Fernanda Abreu, for instance, is a longtime crush - I have been in love with her music since the mid 80's when she used to sing in a band called Blitz, which my mom loved.
Afrodite Se Quiser, on the other hand, created some buzz while the group was active with the minor hit "O Que Que Ela Tem Que Eu Nao Tenho", from their first album (1987), but I didn't know about "Fora de Mim" until 2015. My point is: even if it took me 25 years to find this track, I had a reserved spot in my brain for it and it laid there perfectly as if it innately belonged there.
It's a built memory, and I love playing with this idea when presenting music to people.

Street Soul Brasil is part mellow pop, part R&B, part rap.
One can surely feel a lot of street energy from the B Side. The music reflects the influence of international pop at the time, but it also shows how Brazilians are talented in making any sound their own!

This compilation is supposed to be a mixed collection of songs, something that might trigger the feeling of flipping through an old photo book full of tender memories. These are songs that should speak straight to the heart, music to comfort and heal, music that deals with joy and pain, feelings that I always liked being transmitted through music.
It's among the best forms of therapy. It worked for me and I hope it works for you...

All of the music featured here on this new Soul Jazz Records collection was created by Brazilian
artists in the USA in the 1970s.
In the early 1970s North American jazz musicians were eager to work with upcoming Brazilian
musicians. Miles Davis invited Airto Moreira to join his new ‘electric’ band, Dom Um Romao (part of
Sérgio Mendes’ legen
dary Brazil ‘66 in the 1960s) joined the fusion group Weather Report, Flora
Purim and Airto both became a part of Chick Corea’s new project Light As A Feather, Wayne Shorter
collaborated with Milton Nascimento, George Duke recorded Brazilian Love Affair, and so on.
With all the attention placed on them from these important jazz artists, North America became the
new musical playground for a large number of these Brazilian artists – Airto Moreira, Flora Purim,
Sérgio Mendes, Luiz Bonfá, Eumir Deodato, João Donato and many others.
Most of these musicians had already experienced success through the earlier popularity of bossa
nova in the 1960s, either at home in Brazil or in the USA. But by the end of the 1960s many
Brazilian artists had left their own country, as the military dictatorship became progressively more
authoritarian and repressive. In the USA, through their critically acclaimed work for Miles Davis,
Weather Report, Lightj As A Feather etc., all of these artists were now given reign to explore new
musical terrains away from the restrictions of both a musical genre and a state censor back in Brazil.
This collection brings together some of these finest works and comes complete with extensive notes
that explains the path these musicians took from Brazil to the USA and shows the political and
musical links between Brazil and the USA that created the conditions for this unique fusion of these
two distinct cultures, North American Jazz and Brazilian music, that occurred in the 1970s.
The album comes as a deluxe gatefold double vinyl LP, complete with download code, full sleeve
notes, exclusive photography, double inner sleeves.