Linear Labs US Vinyl & CDs

Review: Based around bassist/producer Ali Shaheed Muhammad and pianist/producer Adrian Younge, The Midnight Hour shot to prominence last year with a self-titled debut album that was rapturously received by critics and listeners alike. Since then they've been touring extensively, so it makes sense that their latest full-length effort captures the energy and improvisation of those headline-grabbing performances. Complete with whooping crowd noise, the set sees them effortlessly join the dots between jazz-funk, classic-sounding soul, library music and hip-hop soul with the assistance of guest vocalists Loren Oden and Angela Munoz. The former stars on the album's standout moment: a set closing extended version of slow-burn favourite "It's You".

Review: Samantha Schmutz and Adrian Younge met at a Jazz Is Dead event, and their collaboration sure does sound like fate. Together, they knit a golden thread between Rio and Los Angeles, and 70s MPB and soul, recording straight to tape at Younge's all-analogue Linear Labs. Schmutz, known in Brazil as an actress, takes the opportunity to derobe a more personal, devotional side, channeling her childhood memories of singing to her father's records. Younge, whose past work includes sessions with Marcos Valle, Joao Donato and Joyce, then shapes the arrangements into curious, lullabying lush segmentations of hypno-samba, be these 'Nossa Cor' and 'Feitico', pulling towards bossa and Afro-Brazilian rhythms, or 'More Than Love', echoing Studio 54's cinematic disco.

Review: This release sees Adrian Younge diving deep into the funky, soulful sounds of the 70s, crafting a soundtrack that perfectly captures the Blaxploitation era. The music is a vibrant blend of wah-wah guitars, heavy drums, and soaring strings, creating a cinematic soundscape that's both gritty and exhilarating. 'Black Dynamite Theme' sets the tone with its driving rhythm and powerful horns, while 'Man With The Heat (Superbad)' and 'Shine' showcase Younge's mastery of funk grooves. The soundtrack also features soulful moments like 'Gloria (Zodiac Lovers)' and 'Tears I Cry', adding depth and emotion to the overall experience. With its impeccable production and authentic vintage sound, this is a must-have for fans of classic funk and soul, as well as anyone who appreciates a well-crafted soundtrack.

Review: Famously self-taught musician Adrian Younge is at the forefront of modern soul music after starting as a hip-hop producer in 1998. He expanded his skills by learning multiple instruments and took inspiration from classic soul and Italian soundtracks before he self-released his debut album Venice Dawn, a moody, synth-heavy album blending Ennio Morricone's style with contemporary flair. His Something About April album followed years later and is a modern classic that merges psychedelic soul, cinematic instrumentals and hip-hop aesthetics while taking cues from greats of the genre like Wu-Tang Clan.

Review: 'Linear Labs: Sao Paulo' on vinyl offers a deep dive into Adrian Younge's masterful blend of analog textures and global influences. Featuring unreleased gems from projects like 'Something About April III' and Snoop Dogg's 'Don't Cry for the Devil', this LP brings together a rich array of soundsifrom Brazilian samba with Samantha Schmutz to ALA.NI's Parisian jazz and Bilal's soul-infused tracks. The album resonates with Younge's signature analog warmth and forward-thinking production. Pressed on vinyl, this release is an essential piece for collectors and fans of psychedelic soul and genre-defying music.

Review: 'Linear Labs: Sao Paulo' marks Adrian Younge's next chapter, bringing together unreleased tracks from his global collaborations. Known for blending analog warmth with modern sound, Younge delivers an exciting mix of psychedelic soul and hip-hop. The album includes highlights like 'Something About April III' and 'Don't Cry for the Devil' with Snoop Dogg, alongside contributions from artists like ALA.NI, Bilal, and Stereolab's Laetitia Sadier. Each track taps into different influences, from Brazilian samba to Middle-Eastern psych, creating a dynamic sonic experience. This CD release presents Younge's curated vision of musical innovation, a must-have for fans of his boundary-pushing sound.

Review: Adrian Younge's latest in the Something About April series is a stunning analogue opus that blends a 30-piece orchestra with breakbeats, synth work and Brazilian psychedelia. It has reportedly been years in the making and is the culmination of Younge's sonic vision as well as being his most expansive and experimental work to date. Brazilian vocalists, fuzzed-out drums and lush orchestration evoke MPB greats like Verocai and Os Mutantes and hip-hop kings Wu-Tang in equal measure. Tracks like 'Nunca Estranhos' and 'Nossas Sombras' are richly cinematic and deeply soulful standouts. More than a closing chapter, this record cements Younge's legacy as a visionary composer.

Review: Adrian Younge's Something About April II, originally from 2016, is a stunning evolution of his cinematic soul vision. Younge, who has long been devoted to blaxploitation-era sounds, expanded his palette here with richer songwriting and tighter arrangements. While rooted in the late 60s to early 70s soul aesthetic, the album always felt fresh and purposeful and still does almost a decade on for this reissue. Standouts like 'Sandrine' and duets with Laetitia Sadier and Bilal showcase his growth in composition and emotional depth and come with lush instrumentation from Fender Rhodes, vibraphone, and his custom Selene keyboard. Younge moved beyond homage with this work and into a world where he creates timeless originals and fully realised modern soul gems.

Review: This unique album is a bold reimagining of the iconic sweet-soul group, spearheaded by Delfonics' lead vocalist William Hart and infused with Adrian Younge's unique, hip-hop-informed perspective. While the album features elements familiar to Delfonics fans, such as the electric sitar, french horn and lush string arrangements, Younge's approach departs from traditional production, offering a more experimental and idiosyncratic take on the genre. Drawing influence from the eccentric strains of soul and r&b adored by crate diggers, Younge's arrangementsiincorporating harpsichord, glockenspiel and electric sitariimbue the album with a sense of campy psychedelia, yet manage to avoid veering into kitsch. Hart's crystal-clear falsetto remains a cornerstone of the album, with his voice serving as a bridge between the past and Younge's modern vision. Though much of the album sees Hart performing solo, a departure from the layered harmonies of classic Delfonics, it feels organic and fitting for the material. The pairing of Hart's legendary voice with Younge's analog-driven production creates a sound that feels both nostalgic and fresh. Tracks like 'True Love' and 'Stand Up' show how much care has been given to allow the original beauty to the focal point. A genius blend of old-school soul and modern sensibilities.