Quinn Oulton's '100 Degrees' arrives in good company, featuring Reuben James & Linden Jay

Quinn Oulton’s teamed up with Reuben James & Linden Jay for the song of the summer, ‘100 Degrees’

Following strong sustained demand from their fans, the trio have finally given the people they want and delivered this beautiful studio recording of '100 Degrees' - building it into a laid-back R&B summertime gem zoning in on the importance of slowing down to appreciate life and the fleeting moments of summer.

Devra's debut self-titled EP has arrived in full force

Italian drummer, composer and producer Devra has today arrived with his debut EP over on Root Records. Consisting of 5 tracks journeying across jazz, neo-soul and hip-hop, the EP is an introduction to the world of Devra and what’s to follow.

Sonically connecting with the overarching themes of transitional spaces between light and dark moments in life, the track acts as an introduction and mission statement of what’s to come. Inspired by the sounds of the Italian underground music scene, as well as hip-hop-inflected jazz of acts Robert Glasper and Roy Hargrove, ‘Moses’ also has space for expressive solos to trumpeter Francesco Fratini and tenor saxophonist Lorenzo De Luca.

Originally from Vicenza, Italy, Devra made a name for himself as a session drummer in his native country, collaborating with several artists on the national scene across the worlds of jazz and pop. His experiences and cross-genre collaborations led to him arriving at a personal synthesis resulting in his upcoming debut EP. It’s a project that moves between jazz and neo-soul, with echoes of hip-hop and RnB that reflect the musical shifts and transitions he’s been through in recent years.

“Moses was the first track that I wrote on the EP, and it was very challenging to write, in many ways. I had the idea of rhythmically introducing parts in ‘stolen time’ but created an obvious contrast through it developing into a strong hip-hop groove within a well-defined, formal structure.”

The EP's second single ‘Blood Water’, uses neo-soul as the canvas for creation, and sees Devra team up with vocalist Sara Vanderwert to deliver an explicit message on this track – it’s our duty as human beings to respect the Earth and our connection with it.

Combining dancing vocal and flute melodies with atmospheric synth layers and a bopping neo-soul backbeat, the track also retains the jazz throughline found across Devra’s upcoming EP. There’s space for tasteful solos from both tenor saxophonist Lorenzo De Luca and alto saxophonist Zeno Merlini, which channel the emotional energy delivered by Sarah Vanderwert’s vocal performance.

The EPs final single, ‘The Stealer’ acts as the final preview of Devra's expansive self-titled debut project -- A self-professed nod and homage to the late great trumpet player Roy Hargrove, ‘The Stealer’ paints a sonic picture of New York City. It puts the weaving horn lines of trumpeter Francesco Fratini and alto saxophonist Zeno Merlini front and centre, with their urgent, dancing melodies adding spice to the relaxed, half-time feel of the rhythm section. The title alludes to the jazz traditions of recycling and interpretation. 

Stella Talpo drops 'QUICKSAND', the second single from her debut album

Stella Talpo returns with the second single from her forthcoming debut album ‘MEDUSA’, with the brand new cut ‘QUICKSAND’, taking us further into the world of her debut album.

Following Jamz Supernova & Wonderland-endorsed lead single GOOD GIRLS, Stella returns with QUICKSAND. This one is full of a fierce attitude that mirrors her willingness to tackle her anxieties head on, as she explores themes of depression and the passing of time through the metaphor of entrapment in quicksand. It's a building block in the story of a growing UK R&B scene, with a gritty twist that's present across the rest of the record.

Across the 11-tracks that make up her debut album ‘MEDUSA’, Stella challenges societal ideals and oppressive frameworks. A central thread of mythological, primal & visceral imagery is used to normalise elements of life that are part of the ugly (but real) human experience, contrasting with the sterilised society we occupy, where we’ve been detached from our primal nature. “Initially, the concept was inspired by the ‘Chimera’, a creature villainised for its grotesque form, which paralleled the story I wanted to tell about our inner darkness & imperfections, the things that make us animals that we’ve hidden away, particularly from a woman’s point of view.”

A result of years of musical experimentation and growth with producer Lewis Moody (30/70, Cherise), the project marks an injection of ethereal darkness and alt-pop sound design into Stella’s soulful R&B songwriting. Influences range from the leftfield electronics of Gazelle Twin and the cinematic soul of SAULT, through to engagement with contemporary feminist literature by the likes of Gillian Alban and Clarissa Pinkola Estés. Their writings acted as a springboard for many of the lyrical motifs explored by Stella, as she explains; “Women Who Run With Wolves unlocked so much for me creatively, inspiring a lot of the purpose, metaphors and repeated literary motifs on the album.”

Born in a small town in Italy, but now firmly rooted in South London by way of Singapore, Spain and America, Stella has released a trilogy of EPs in the lead up to her debut album. Finding widespread critical support from the likes of The Line of Best Fit, CLASH and New Wave Magazine, as well as BBC Introducing, Reprezent Radio and Rinse FM, she’s now ready to share a body of work that truly represents her eclectic musical tastes and travelled upbringing. Also a keen reader of literature and poetry, her evocative, insightful lyricism is at the centre of her alluring, boundary-pushing work.

PRE-ORDER THE ALBUM

The Offline announces his debut album with new single 'La mission commence'

Hamburg’s finest cinematic soul artist ‘The Offline’ announces debut album with lead single ‘La mission commence’.

Watch the music video + order the LP below.

Following his debut EP ‘En clair-obscur’ and a series of singles earlier this year cementing his place as a rising voice in the world of cinematic soul & funk, ‘The Offline’ shares the lead single from forthcoming debut album ‘La couleur de la mer’ - ‘La mission commence’.

A track characterised by contrasts, playful horn melodies and soulful guitar lines develops with a rising intensity, balanced with dramatic, stomping beats that wouldn’t go amiss in MF Doom’s discography. The rich array of instrumentation, from Fender Rhodes through to a brass section, creates a symphony of sound that places the track as a movement within an album self-styled as ‘the soundtrack to a movie that has never been shot.”

“I used repetitive patterns in the song to immediately capture the listener's attention and create a sense of intrigue, building anticipation and welcoming people into the screening of the movie to which this is a part of the soundtrack.”

Reminiscent of film scores from the 60s and 70s, The Offline worked with co-producer Tim Liztenberger to channel the influence of film composers such as Francois de Roubaix and Brian Bennet, creating his own soundtrack on ‘La couleur de la mer’. Inducing images of manorial, fog-swept villas at the sea's edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. Experimenting with themes and atypical song structures, the music moves from dramatic cues to fragile romanticism. It incorporates psychedelic spaciness, retro soul and hip-hop sensibilities informed by The Offline’s extensive record collection and crate-digger status.

“Ever since I was a child, I was fascinated by the soundtracks from the 60s and 70s, and I always wanted to make an album in the film score direction. I wrote about 30 demos, kicked half of it and stuck to the ones that felt right in the dramaturgical structure of the ‘movie'. Interestingly the main theme was set really early on while writing the album, which made the writing process much easier.”

Aptly named, ‘Thème de la couleur de la mer’ opens proceedings, establishing the core motifs of the record. Haunting flutes and xylophones lead the way into Khruangbin-esque guitar lines, which sit against a hip-hop canvas that returns on boom-bap head boppers like ‘Quelque chose reste’. Retro soul revival takes precedence on deep cuts like ‘Un bout de chemin’, with wah-gated guitars interacting with emotive cello lines and symphonic string & horn sections.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After coming back to Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. His Debut EP ‘En Clair-Obscur’ includes five tracks that capture the essence of his journey and the feeling of a cool summer soundtrack.

Stella Talpo announces debut album 'MEDUSA' with 'GOOD GIRLS'

After spending the last few months hunkered down and tapped into a creative stream of literature and art, Stella Talpo returns with the support of PRS’ ‘Women Make Music Fund’. ‘GOOD GIRLS’ acts as the introduction and announcement of her debut album ‘MEDUSA’, releasing this autumn.

Immediately marking a grittier, primal turn in Stella’s R&B sound, ‘GOOD GIRLS’ brings in elements of leftfield alt-pop and a wild edge that sets the tone for the upcoming record. The track holds no prisoners, adopting visceral, gory imagery to comment upon oppression experienced by women under patriarchal structures. The message is double-edged, with lyrics discussing the importance of solidarity, and the power in numbers needed to break barriers and enact change.

"GOOD GIRLS is about empowerment and solidarity. It urges listeners to be strong and fight for freedom, rather than being a ‘good girl’ who follows the rules and stays in the shadows. I set out to describe the struggles of being a woman in a male-dominated world and the ways in which women have been held back and manipulated.”

‘GOOD GIRLS’ will release on May 25th via DeepMatter Records

Across the 11-tracks that make up her debut album ‘MEDUSA’, Stella challenges societal ideals and oppressive frameworks. A central thread of mythological, primal & visceral imagery is used to normalise elements of life that are part of the ugly (but real) human experience, contrasting with the sterilised society we occupy, where we’ve been detached from our primal nature. “Initially, the concept was inspired by the ‘Chimera’, a creature villainised for its grotesque form, which paralleled the story I wanted to tell about our inner darkness & imperfections, the things that make us animals that we’ve hidden away, particularly from a woman’s point of view.”

A result of years of musical experimentation and growth with producer Lewis Moody (30/70, Cherise), the project marks an injection of ethereal darkness and alt-pop sound design into Stella’s soulful R&B songwriting. Influences range from the leftfield electronics of Gazelle Twin and the cinematic soul of SAULT, through to engagement with contemporary feminist literature by the likes of Gillian Alban and Clarissa Pinkola Estés. Their writings acted as a springboard for many of the lyrical motifs explored by Stella, as she explains; “Women Who Run With Wolves unlocked so much for me creatively, inspiring a lot of the purpose, metaphors and repeated literary motifs on the album.”

Born in a small town in Italy, but now firmly rooted in South London by way of Singapore, Spain and America, Stella has released a trilogy of EPs in the lead up to her debut album. Finding widespread critical support from the likes of The Line of Best Fit, CLASH and New Wave Magazine, as well as BBC Introducing, Reprezent Radio and Rinse FM, she’s now ready to share a body of work that truly represents her eclectic musical tastes and travelled upbringing. Also a keen reader of literature and poetry, her evocative, insightful lyricism is at the centre of her alluring, boundary-pushing work.

PRE-ORDER THE ALBUM

Quinn Oulton reveals brand new Alexithymia (Deluxe Edition)

Following the release of his debut album 'Alexithymia' in May 2022, Quinn Oulton releases the Deluxe Edition, featuring Ella Grace, Monica Martin, Hemai & more.

After teasing us with a series of diverse singles, including a team up with singer-songwriter Ella Grace for Wonderland-backed single ‘Next Time (Ella Grace Version)’, Quinn is ready to share 'Alexithymia Deluxe'. Consisting of six reinventions of tracks from the album, plus the original track listing, this is a special package that reflects a capsule in time in his artistic journey, and hints at what’s yet to come.

With reimagining’s ranging from heartfelt piano duets through to experimental electronic & 808 heavy explorations, Quinn has used the project to recontextualise his music and connect with new collaborators. Alongside his solo reworks, he’s taken the opportunity to team up with Chicago-based singer-songwriter Monica Martin and London-based broken beat & trip-hop producer Hemai.

“The writing and production process for the original album was a time of growth and development in my sound as I toyed with different areas of influence from song to song. For this Deluxe version, I wanted to bring some of these tracks into a new context by stripping away all of the production or approaching them from a completely different angle sonically. I love how different the same song can hit when presented in a new context.”

South London based multi-instrumentalist, vocalist & producer Quinn Oulton exhibits a raw sound, melding soaring vocals and tangled acoustic textures with abstract electronics. His music spans several genres, including jazz, indie and pop.

His debut album 'Alexithymia' was released in May 2022, receiving national radio support from Gilles Peterson, Huey Morgan & Cerys Matthews (6 Music), Jack Saunders & Sian Eleri (BBCR1), along with Jamie Cullum (BBCR2) & Jamz Supernova (BBC1X). It includes tracks featuring Moses Boyd and Genevieve Artadi.

Recently Quinn has played shows at the Blue Note in Milan, HEAVEN and Band on the Wall supporting KNOWER, and Woolwich Works supporting Laura Misch. Alongside his solo career, Quinn tours and regularly appears on radio and TV alongside 2020 Mercury Nominee, Moses Boyd, and performs with artists such as Priya Ragu, Yellow Days, Theo Cross, & Conor Albert.

Myele Manzanza returns with brand new EP 'Focus'

Following the release of the third instalment of his ‘Crisis & Opportunity’ series, which saw him team up with Omar, China Moses, Rosie Frater-Taylor & more, Myele Manzanza has touched down with his brand new EP - ‘Focus’.

Currently a Bandcamp-only release, the EP sees Myele drop a one-take improvised project with Lewis Moody (keys, synths) & Benjamin Muralt (bass guitar).

Head below for some insightful liner notes from Myele below, and head over to Bandcamp to purchase.

This recording came together as an offset from the Crisis & Opportunity Vol. 3 - Unfold creative development phase. For 4 days in early 2021, Lewis Moody, Benjamin Muralt and I bunkered down in a tiny studio near Finsbury Park, tracking some of the pre-planned ideas (The final productions of Gone Up In Flames, Child & Falling Fast for example) as well as having some open improvised jams with the hope of generating some fresh material (Wasted Time & Drumbella were some of the by-products of these improvisations). There was maybe 5 hours' worth of raw recorded material that for various reasons didn’t make the cut for the album, however, there was a golden 25-minute run that at the time we all came away from thinking ‘holy shit’. I recall Benjamin saying after the performance concluded that ‘this is the kind of music I’ve always wanted to make’ and I was in accord that we had gotten one of those all too rare musical moments where nothing was planned but we collectively fell into the ‘zone’ and made something greater than the sum of its parts.

As the Crisis & Opportunity Vol. 3 - Unfold gradually developed though, there wasn’t really a natural place for this music to fit into it and in the back of my mind I felt that having to cut and edit it down would spoil the magic of the moment. So it stayed sitting in a hard drive, to be more or less forgotten.

Cut to late 2022, for a bit of nostalgia I was having a listen through some of the unused sessions. I happened to be playing some chess online whilst this recording came on and I fell into what could be called the ‘zone’ again, gaining focus and going on perhaps my longest chess-winning streak ever. For the first time, I had a sense that I could naturally ‘see’ or ‘feel’ the patterns over the board rather than needing to fall into the usual slow methodical calculation that’s generally required for a player at my very amateur level to avoid blundering. In any case, I came away feeling elated and I knew that I had to get this music out into the world. (I was initially going to call this recording “Music To Play Chess To” but I came to the realisation that this might have been very corny and maybe the most un-cool album title ever beyond folks in the chess community)

This isn’t a jazz recording, but it is an improvised one. The music you are listening to here was all done in one take warts and all (including the synth & keyboard programming, which does lend this recording to sound a little more ‘produced’ than your average jam session), & aside from a mix on volume levels to make sure the recording sounds balanced, there was zero editing on the musical performance. Also worth noting that beyond setting a tempo for the click track, there was no prior discussion on what we were going to play. We just started playing.

On reflection, I can hear how this mode of playing - the minor key with minimal harmonic movement, the clear dub & electronic music language, the open form slow building evolution of the sound (rather than the more accelerated initiation of musical ideas and melodic lines more common in jazz) - directly draws from early 2000’s New Zealand dub acts like Trinity Roots, Fat Freddy’s Drop, Salmonella Dub & early Shapeshifter (more of a stadium smashing live drum & bass outfit, but some of their earlier work was a little more in the ‘liquid’ style that hewed them a little closer to their peers at the time) who were very pivotal influences on me. In saying that, Lewis is from Australia and Benjamin is from Switzerland & would have never really checked those bands out in any real way, and their set of influences would have impacted this music as much as mine did.

So then, let’s call this musical style ‘Improvised Minimalism’.

This process of music-making doesn’t always work as cohesively as this. More often than not there’s a lot of trial and error before it settles into itself. Depending on the musicians it can be very easy to over-play and get too busy, or under-play and get stale, as in a sense there are no real rules to it. However, to play this way successfully requires a lot of musical language, an ability to listen and hold space for others as well as an ability to initiate and fill space with confident musical ideas, and an overall sense of camaraderie with the other musicians you’re playing with. Having the wisdom to know when & how to just stay there, and when to take a leap of faith and jump into the unknown.

All in all, it requires a level of focus. Something I felt the three of us were lucky to achieve across a full 25-minute performance that you’re hearing now, and hopefully this music might be of service to you and perhaps bring a sense of focus to whatever it is you need to do. 

Paul Grant announces forthcoming 'Forward' EP with brand new track 'Rivers' (feat. Chris Keys)

Following an emphatic creative run of back-to-back album releases over the past few years, including 2021’s ‘Reflections’ and 2022’s ‘Sketches’, Paul Grant returns with a Spring-time bop that’s ready to bring the sun home. ‘Rivers’ acts as the introduction to his forthcoming ‘Forward’ EP.

The track is a continuation of a collaborative spirit that’s seen Paul team up with the likes of Kiefer, Braxton Cook and Emmavie. This time, Grammy-nominated producer Chris Keysis brought into the mix, adding euphoric synth pads and his own improvisational flare to complement Paul’s expansive, Brazilian-flavoured arrangement.

Talking about ‘Rivers’, Paul explains “Rivers is influenced by Brazilian music of the 70’s and features orchestral elements and keyboards by my friend and producer Chris Keys, who was recently nominated for a Grammy after his contributions to Lizzo’s latest album.”

Paul has been steadily making his mark as a go-to producer within the jazz-hip-hop scene on the west coast and beyond. Upcoming EP ‘Forward’ continues with his mission to bridge the spaces between genres, and cultivate a community of collaborators that continue to push his music in exciting new directions. With hip-hop as the canvas, Paul’s paints of choice are the hues of jazz, R&B and...  more

Hamburg's finest instrumental cinematic soul project, The Offline is back with 'Cap de l'Homy',

The Offline continues his fusion of jazz, funk, surf and soul on 'Cap de l'Homy', an ode to a famous surf spot along the shores of the French Atlantic.

Acting as the perfect soundtrack to the arrival of Spring, ‘Cap de l’Homy’ is based around a sunny chord progression and melodies that invoke a sense of longing and nostalgia. It’s another soulfully visual tune from an artist determined to paint pictures in the minds of his listeners. The Offline came to life, when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing the beach life on film. After coming back to Hamburg, he started writing songs to match the sonic counterpart to the analogue visuals and soon recognized that he needed to build a group of musicians. With Carl-Michael “Grabi” Grabinger on drums, Sebastian Schütze on bass and the brass section with Hans-Christian Stephan and Kimo Eiserbeck, he found highly skilled instrumentalists to help the tracks come to life.

Listen to ‘Cap de l’Homy’ everywhere

Jerk announces new 'Limina' EP with brand new single 'Father Sky'

Following the release of their album ‘Bloom’ in December 2022, Jerk returns with their signature blend of hip-hop beats and jazz instrumentals, but this time with a disco twist.

‘Father Sky’ is an addictive introduction to the sound world of their forthcoming ‘Limina’ EP. Based around a dreamy, uplifting chordal loop, Jerk puts a four-to-the-floor groove and bopping bassline at the front and centre of the mix. Ever evolving to keep the listener on their toes, they put their full skill set as a multi-instrumentalist on display, opening up for a flowing saxophone solo, nodding to the jazz heritage of New York City.

Speaking on the track, Jerk said; “Father Sky was the first track written on this project, and I’ve come to think of it as a sort of sonic affirmation. I started with the chord progression, and it had this sort of addictive character where I could play it on repeat forever like a sort of constantly evolving spiral - I tried to make the rest of the instrumentation match that ever-evolving feeling, cascading until it reaches that final drop. The title, Father Sky, comes from that feeling of reaching out to the ethereal.”

Jerk is the brainchild of composer, producer, and multi-instrumentalist Joshua Kinney. Based in Brooklyn, NY, the project is an exploration of the connection between jazz and hip-hop with compositions blurring the lines between hip-hop beats and instrumental jazz compositions.

Listen to ‘Father Sky’ on all platforms here.