Ghost Funk Orchestra
A Song For Paul

Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat.The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry.Founded by Lamarr’s wife and manager Amy Novo, the trio started from humble beginnings in 2015, but since then has released two Billboard charting albums and toured the world to sold out venues. The trio returns now with their second studio album, I Told You So, with even heavier grooves and more confidence. It may have been several years since their most recent studio effort, but they haven’t missed a beat.Pressing Information:- Mastered by Doug Krebs- Lacquers cut by Well Made Music- Pressed at Gotta Groove Records- Housed in heavy Stoughton Tip-On gatefold jacket- Includes download card

https://pitchfork.com/reviews/albums/sault-nine/The nursery rhyme “London Bridge Is Falling Down” is secretly about the spirits of the dead. The centuries-old children’s tune doubles as a macabre tale of children being walled inside the London Bridge, or buried under its foundation, to ensure that the structure never crumbles. At least that’s the theory advanced by Alice Bertha Gomme, a noted British folklorist and scholar of children’s games. Like the fables of the Brothers Grimm, whose bloody tales were sanitized for bedtime retelling, many nursery rhymes have equally disturbing origins. On NINE, the elusive British group SAULT channel childhood rhymes—not just their repetitive, earwormy melodies but also their ominous undertones—into songs with a deceptively simple air that are laden with grief.NINE is SAULT’s third album in just a little over a year, and it builds on the penchant for mystery that they established with their first two albums, 5 and 7, both released in 2019 under a cloak of anonymity. The album will be available—whether as a stream, download, or CD/LP—for just 99 days. Where their first albums were rooted in neo-soul and funk, 2020’s Untitled (Black Is) and Untitled (Rise) borrowed liberally from Afrobeat and the blues. With NINE, they add new layers—of mystery but also flippant humor—to their sound.We laugh when things are funny but recently, particularly over the past year and a half, I began buckling over when things were neither humorous nor joyous. Laughter made more sense than sadness. It required more physical exertion, and helped me move when I wanted to hide in a crawl space. It’s that energy of laughing because everything is terrible that beats through the brief opener, “Haha,” an a cappella chant that resembles a playground rhyme set to syncopated handclaps. “How about/Ha ha ha ha/How about/Ha ha ha ha,” runs the refrain, leaving little inkling of its origin story. Are we laughing at a joke or a person? And “how about” what exactly? That man, that dog, them Yankees? The meaning is as cryptic as the band, but they do offer a hint: “How about the love.” Looking around the globe today, that four-letter word is as urgent as it is furtive, and while SAULT are private, the grief they sing of has been projected onto the world stage, stoking a sadness that could make you want to disappear. It’s the type of misery that elicits a desperate ha ha ha ha. How about the love, right?

Release date: June 11, 2021Throughout human history, we have depicted the world we live in through art. By reworking what we see in the world, the simplest things have helped us understand the beauty of nature and to evaluate the material world that we have created around us, as a window to a constantly changing reality, through our own perception. It is that absolute reality that appears in the seam of human and nature and that can be revealed through art.Still life painting, also referred to as natura morta (”dead nature”) in Italian, stretches back to ancient times. Some of the earliest works, found in Pompeii, depict commonplace objects such as fresh autumn fruits alongside man-made objects such as a small amphora and a small terracotta heap with dried fruits. These two thousand year old paintings give a snapshot of Roman life, and also creates a link to time and space. A slice of life has been created by binding the earth’s pigments with extracts of oil, made from nuts and seeds, painted with brushes, made from a variety of fibers, such as trees and hair from animals. While life wanes with each brush stroke, by shifting reality into past, art exists to make us come alive, being a living image of a dead thing, a surface and a symbol with symbolic powers of its own. Still life works celebrate material and ephemeral pleasures by returning to nature as the ultimate source for our standards in art as well as in life itself.Natura Morta collects pieces from a continuous variety of melodies — supported by a decisive rhythm section — creating a musical kaleidoscope of ever-changing colors. Sven Wunder brings life into this rich assortment of musical implications by fusing and combining melodic instruments with each other in a setting that spans from a classical to a modern idiom. The author evokes this panoramic portrait by articulating an instrumental dialog between a chamber orchestra and a jazz ensemble. The result is a musical celebration of material pleasures that also serves as a reminder of the brevity of human life. This album was produced with financial support from the Swedish Arts Council.The staff used on this LP is the following:9 violins, 4 violas, 3 cellos, 1 flute, 1 piano, 1 electric piano, 1 cembalo, 1 twelve-string guitar, 1 electric guitar, 1 trumpet, 1 flugelhorn, 1 tenor horn, 1 marimba, 1 electric bass, drums and percussions.