Yellow Couch Music Blurs the Lines Between Jazz, Soul, and Dream-Hop on New Single “Am I More Than Enough?!!!??!”

Yellow Couch Music, the boundary-pushing, New York-based jazz collective led by drummer and producer Layton Weedeman, returns with a quietly stunning new single, “Am I More Than Enough?!!!??!” featuring Estephanie. At once intimate and expansive, the track fuses woozy jazz textures, smoldering soul, and hazy hip-hop into something wholly its own: a slow-blooming ballad of emotional dissonance and quiet resilience.

“I was drawing from early sessions where I first started blending live instrumentation with the musical voices that shaped me,” says Weedeman. “This one came from a place of wanting to revisit those foundational moments and filter them through the sound I’ve been building.”

That foundation gets elevated by the contributions of vocalist and longtime collaborator Estephanie, whose lyrical clarity and breezy vocal tone guide the track into deeply vulnerable terrain. Her delivery hovers somewhere between lullaby and lament, turning the song’s title into a question that feels at once whispered and screamed: “Am I More Than Enough?!!!??!”

The track’s heartbeat lies in its contrast, between strength and softness, doubt and devotion. Pulling inspiration from the shadowy elegance of Portishead and the laid-back, neo-soul sophistication of The Internet, Yellow Couch Music sculpts a sonic space where horns can sound regal without feeling showy, and where a simple drum groove can hold the weight of unspoken fears.

With its lyrical themes circling love, overcompensation, and the ache of self-doubt, “Am I More Than Enough?!!!??!” captures Yellow Couch Music at their most reflective, and most refined. It’s another transportive entry in their growing catalog, and a reminder that sometimes the deepest questions come wrapped in the gentlest sounds.

Written by L.Weedeman, E. De La Cruz, G. Tesch, K. Schoenherr
Produced by LHW
Mixed by Pat Van Dyke
Mastered by Alex DeTurk
Recorded by Layton Weedeman
Arranged by Layton Weedeman, Estephanie De La Cruz, Lars Haake

Drums: Layton Weedeman
Bass: Jessica “NuLyra” Libertad
Guitar: Kirk Schoenherr
Trumpet: Eric Biondo
Vocals: Estephanie De La Cruz

Photos: Isaiah Vasquez, Lindsey Blane, HS Fotografia
Artwork by LHW

"Yellow Nights" Blends R&B, Rock, and Pain into One Haunting Track

"Yellow Nights" is an elegant yet heartbreaking ballad that delves into the pain and toxicity lurking on the other side of love. Yellow Couch Music's latest single captures this raw emotion, with drummer/producer Layton Weedeman leading the way in its composition and production, drawing from an eclectic mix of influences.

“The groove for this song was inspired by the rhythmic complexity I was exploring. I went into the studio and laid down the drums, focusing on a chilled, groovy instrumental vibe,” Weedeman recalls. “It has a somber atmosphere and is in a 6/8 time signature—my favorite. There's something deeply hypnotic about playing in 3 or 6. One of my music teachers once described playing in 6 as feeling like a parallel dimension, and that idea really resonates with me.”

Once the groove was locked in, Weedeman knew the song needed a compelling voice to bring the lyrics to life and elevate it to new heights. Singer-songwriter Bradley Valentin was the perfect choice.

“I knew I wanted a male voice to sing over it. One evening, while sitting on my yellow couch and reflecting on the song, it suddenly hit me to reach out to Isai Florez, a drummer who worked with Bradley, for an introduction. Within minutes, I sent Bradley a text, shared a snippet of the track, and he responded immediately, eager to collaborate.”

Weedeman and Valentin met in person to record the vocals, sharing stories of their own relationship experiences. Valentin’s heartfelt lyrics about abuse and emotional scars gave “Yellow Nights” the emotional depth it needed. The track was further enriched by Pedro “AKN” Aquino’s soulful guitars and a deceptively simple bassline played by Grant Zubritzky (Brittany Howard, Tegan & Sara, Dua Lipa). Together, these elements create a unique fusion of R&B, jazz, and rock, making "Yellow Nights" a truly captivating experience. - John Morrison

Written by L.Weedeman, B. Valentin, G. Tesch, P. Aquino
Produced by LHW
Mixed by Jeff Berner
Mastered by Alex DeTurk
Recorded by Layton Weedeman, Jeff Berner & Pedro Aquino
Arranged by Layton Weedeman

Drums: Layton Weedeman
Bass: Grant Zubritsky
Keys & Synth: Grady Tesch
Guitar: Pedro Aquino
Vocals: Bradley Valentin

Artwork by Surambika Pradhan & Dovel Studios
Photos by Shen Williams-Cohen & Isaiah Vasquez

"The Wherewithal" A Soulful Anti-Valentine’s Anthem of Love and Heartbreak

“The Wherewithal” is the latest single from New York-based jazz and soul ensemble, Yellow Couch Music. Co-written by drummer/Yellow Couch Music founder, Layton Weedeman and Sierra Leonean-American vocalist/songwriter, NYALLAH, “The Wherewithal” paints a heartbreaking portrait of a love on the brink of collapse. The song began with Weedeman writing from his own personal battles with love and loss.

“The lyrics to the chorus are drawn from my own experiences in relationships.” Weedeman recalls. “While I’m speaking in the first person, it’s really a conversation with myself. I recognize how my actions and behavior in intimate relationships can come across as distant, old-fashioned, or “behind the times.”

From there, Weedeman recruited vocalist/songwriter/composer, NYALLAH to lend their writing and vocal talents to the song.

“I was immediately drawn to their voice after hearing their music and seeing them perform live. They have this powerful, soulful quality that I felt would be perfect for the track”

With a slick, midtempo groove reminiscent of Sade’s 1985 classic, “Sweetest Taboo”, “The Wherewithal” elegantly connects the worlds of jazz and R&B. Lush keys uplifting horns and Jessica “NuLyra” Libertad’s rich, understated bass make for lush, enveloping musical environment for NYALLAH’s lead vocal. Placing us in the midst of a communication breakdown the cold, growing distance between two lovers, “The Wherewithal” is an intimate reflection on the darker, less joyful side of love.

Written by L.Weedeman, N. Noah
Produced by LHW
Mixed by Pat Van Dyke
Mastered by Alex DeTurk
Recorded by Layton Weedeman
Arranged by Layton Weedeman & Nyallah Noah

Drums: Layton Weedeman
Percussion: Iran “El Menor” Farías & Reinaldo DeJesus
Bass: Jessica “NuLyra” Libertad
Keys: Grady Tesch & Isaiah “Zay” Thornton
Guitar: Timothy James
Saxophone: Lars Haake
Trumpet: Eric Biondo
Vocals: Nyallah Noah

Artwork by LHW

“Somewhere Along The Lines”: A Colorful Collaboration That Blends Soulful Playfulness with Serious Craftsmanship

“Somewhere Along The Lines” is the latest hip-hop and jazz-infused single from drummer/producer Layton Weedeman of Yellow Couch Music, a collective of like-minded musicians from around the world. Taken from the forthcoming album Tidings In The Rough, the song embodies the power that can be conjured when serious jazz chops meet the inventiveness and attitude of hip-hop. Like all of the music released under Layton’s Yellow Couch Music, “Somewhere Along The Lines” started with Weedeman carving out a small gem of an idea to be elaborated on later.

“I was in the studio just kind of jamming on a lot of these Latin rhythms that I’ve learned over the years.” Weedeman explains. “I recorded four or five minutes of me jamming to this drum groove, went home, and immediately laid down a bass track.”

A willing and enthusiastic collaborator at heart, Weedeman tapped into his broad network of musician friends from around the world to bring “Somewhere Along The Lines” to life. German saxophone virtuoso Lars Haake (John Benitez, Hiram Bullock, George Burton) was the first to get the call to begin work on the tune.

“I invited Lars over and he’s like a one-take wonder guy. I set up the microphone and he just gets it.”

Eric Biondo (Antibalas, Massive Attack, Charlie Hunter) handles trumpet duties on the track, an artist Layton has known for years and has always wanted to work with, but never had an opportunity to until now. Cuban singer/bassist, Jessica "NuLyra" Libertad was brought in to re-record and add some flavor to Weedeman’s rough bassline. Libertad currently lives and works in Mexico, but technology ensured that distance couldn’t stop her from contributing fully to the project.

“I've been sending her tracks and she's been sending me tracks via WhatsApp.” Weedeman says. “I love her style and her approach to playing is exactly what I would want to hear from a bass player. She just really adds some of that flavor that the tracks needed.”

Groovy, chill and full of color, “Somewhere Along The Lines” is the product of a handful of skilled musicians listening deeply and communicating openly. While every musician that appears on the track is deadly serious about their craft, the music is flush with playfulness and soul. Weedeman is overjoyed to play the role of leader and facilitator.

“It’s like now I have this outlet where I can just invite players in. This was really fun. Everything's just been so fun.” - John Morrison, WXPN

Written by L.Weedeman, L. Haake, E. Biondo
Produced by LHW
Mixed by Keith Rice
Recorded by Layton Weedeman
Arranged by Layton Weedeman

Drums: Layton Weedeman
Bass: Jessica “NuLyra” Libertad
Percussion: Iran “El Menor” Farías
Keys: Grady Tesch
Saxophone: Lars Haake
Trumpet: Eric Biondo

Art Direction and Design by Layton Weedeman

Mastered by Alex DeTurk

LHW Returns with "Untitled": A 23-Track Journey Through Sound, Memory, and the Gritty Elegance of the City

Following his 2022 EP *Interludes*, LHW returns with *Untitled*, a sprawling 23-track collection of beats, loops and demos that invites listeners into the somber spaces of his imagination. Spanning a decade’s worth of self-released and unreleased material, the album is a testament to LHW’s relentless exploration of sound and identity, all while maintaining a profound connection to the city that inspires him.

*Untitled* immerses the listener in a moody, atmospheric soundscape that feels like a rainy night in the city—there’s this beautiful melancholy in every track. Each one is like a little snapshot of his life, layered with that gritty elegance we know so well from urban living. The compositions are not merely beats; they are the echoes of a thousand late-night subway rides, whispered conversations in the shadows, and the glow of streetlights reflecting off wet pavement.

"These tracks were all created at different points in my life with different home studio setups," LHW explains, and it shows. The diversity of sound is palpable, as he shifts from the languid, almost melancholic samples of “Kinetic Dreams” to the frenetic energy of “Illusions Of Control.” Here, LHW pulls from a treasure trove of record collecting, each loop revealing layers of history and emotion. His self-taught journey with beatmaking is evident throughout the album; he admits that many tracks were exported "as is" in the moment, reflecting a rawness that is both endearing and authentic. This means that each track is mixed differently, representing distinct phases of LHW's production development.

The strength of *Untitled* lies in its capacity to evoke a visceral sense of place. Tracks like “Fragments of Reality” encapsulate the feeling of wandering aimlessly through dimly lit streets, while “Outsider Perspectives” captures the bittersweet nature of fleeting connections made in passing. LHW captures melancholy through poignant personal moments, inviting listeners to reflect on their own emotions and connections.

LHW describes his artistic process as a way to “block out the world around me,” and *Untitled* is a perfect encapsulation of this ethos. The album envelops the listener in a pensive sound, pulling them into a gritty, immersive experience as the chaos of the outside world fades into a distant haze. It’s an album for late-night wanderers and dreamers, those who find solace in headphones and the rhythmic pulse of the city.

Produced by LHW

“Locust Walk” An Energetic Tribute to Sun Ra’s Cosmic Legacy

This song began as a simple drum exercise. As a drummer, I'm always eager to explore new styles, but I often find myself falling into repetitive grooves. To shake things up, I turned to YouTube and found a Drumeo video titled "5 Drumming Styles You've (Probably) Never Heard." One of the styles featured was "Poinciana," a rhythm I was already familiar with, but hadn’t spent much time focusing on before. This song was originally performed by drummer Vernel Fournier in the 1950s popularized by Ahmad Jamal - a jazz pianist I cherish.

Inspired, I recorded myself playing this groove and then layered a bassline to complement the rhythm. With that foundation in place, I reached out to my good friend and Yellow Couch comrade Lars Haake, an accomplished saxophonist, asking him to add some color. I shared a few melodic ideas I’d written, and Lars took it from there, improvising and soloing over the track. The result was an abstract and unconventional piece I found to be undeniably fun and fascinating.

Desiring more experimentation, I thought of my middle school art teacher, H. Alonzo Jennings, who I’ve always referred to as Mr. Jennings. I had kept in touch with him over the years and remembered that, in addition to being an incredible visual artist and photographer, he also wrote poetry and performed spoken word. I reached out to see if he’d be interested in contributing one of his poems for the song.

Now, let’s rewind to the summer of 2021. Jonathan Glass, a fine artist/illustrator who specializes in drawing live concert sketches in real time, invited Lars and I to see the free jazz and avant-garde alto saxophonist Marshall Allen at Smalls in the West Village. Best known for his work in the Sun Ra Arkestra, Marshall Allen’s performance that night was one to remember as it was my introduction to his music and my first time at this legendary jazz club. Jonathan has also contributed a poem to Yellow Couch Music, which I’m planning to be included in my forthcoming full-length album. During the Marshall Allen set, I recorded a quick video on my phone and sent it to Mr. Jennings, who was in the hospital recovering from surgery at the time. I thought a little dose of Sun Ra might lift his spirits, and it did.

Fast forward to summer 2023. When I reached out to Mr. Jennings for a poem, he surprised me by sending a voice recording of him reciting his tribute piece to Sun Ra titled "Icarus On Locust Walk," a cappella without having heard the music I composed. His tone and cadence matched perfectly with the track when I imported his audio into my recording software. It felt very serendipitous. From a production point of view, this entire process of creating and composing was a bit unreal as it felt as though I was behind the wheel, but someone else was steering the ship.

Once I had everything recorded and ready to mix, Jonathan introduced me to Kevin Ramsay, the Lead Sound Engineer at Harvestworks in NYC. During a tour of the studio, Kevin shared its rich history, highlighting notable artists who recorded there, one of them being Sun Ra, which I took as a sign, leading me to ask him to mix my track. Kevin elevated the song to a new height and I was just about ready to be done with it, but something about my performance wasn’t sticking and I realized the groove wasn’t aligning with Mr. Jennings' raw energy. The rhythm section needed a stronger drum beat and a funkier bassline, so I decided to scrap it entirely and write new parts.

Feeling a heavier rock vibe, I reached out to Jeff Berner at Studio G and invited bassist Grant Zubritsky to re-record the rhythm section live in-studio with me. This time, we infused the track with fresh energy, leaning into my rock, funk, and hip-hop roots. The result was a hard-hitting sound that perfectly matched the intensity of Mr. Jennings' vocals—a unique rock/jazz/funk fusion unlike anything I’d created before.

Since that night at Smalls and collaborating with Mr. Jennings, Sun Ra’s influence seems to have permeated my life. Whether it’s randomly hearing his songs on the radio, spotting someone in a Sun Ra t-shirt, celebrating Marshall Allen's 100th birthday, or the recent surge of projects dedicated to Sun Ra—like Red Hot & Ra’s "The Magic City"—it feels like the universe is pointing me toward his cosmic ethos.

Although I didn’t set out to create a tribute to Sun Ra, his presence has undeniably guided this music, transforming what started as a playful experiment into a bold journey into the unknown. SUN RAAAAAAAA!!!!!! - Layton Weedeman, Yellow Couch Music

Written by L.Weedeman, L. Haake, H. Alonzo Jennings
Produced by LHW
Mixed by Jeff Berner
Recorded by Layton Weedeman & Jeff Berner
Arranged by Layton Weedeman

Drums: Layton Weedeman
Bass: Grant Zubritsky
Saxophones: Lars Haake
Words: H. Alonzo Jennings
Additional vocals: B. Valentin, Layton Weedeman

Artwork by Erik Weedeman

Mastered by Alex DeTurk

JSWISS and John Robinson Team Up with Estephanie on “Fool Stop”: A Soulful Anthem of Reflection and Wisdom

Brooklyn's Yellow Couch Music is a collective that is willing to push the boundaries while simultaneously harnessing the soul of music. YCM is led by Layton Weedeman, a drummer/producer who has the utmost experience in multiple facets of the art form. Weedeman is a professional instrumentalist, with a whole tenure in drumming on top of learning the bass and keyboard. With Yellow Couch Music, Layton looks to bring all the elements and sounds of music together to create a full composition of art to fully engage the listener. By infusing sounds from the past and present, from different genres of all types, there’s something for everyone in Yellow Couch Music’s discography. Now in 2024, Yellow Couch Music is getting set to release their debut single spearheaded by Weedeman himself. “Fool Stop” is the new single from the team featuring two legendary greats in John Robinson (Scienz of Life) and JSWISS (Elvis Costello, Nate Smith).

“Fool Stop” is one of the first original compositions written by Layton Weedeman as a solo artist. Prior to this, Weedeman handled the majority of his production through sampled records to create lo-fi instrumentals and study beats. This new release marks a turning point for the collective’s leader as “Fool Stop” serves as the first song in a series of singles planned for release this year.

The single begins with an infectious, heavenly chorus from Brooklyn’s Estephanie who connects the verses and provides a voice of reason throughout. The track sees JSWISS & John Robinson each reflecting and dropping gems of wisdom that we all can relate to and apply to our lives, especially today. This all over the creative and calculated backdrop planned out by Weedeman who brings in an ensemble cast to tackle this with him.

Trumpets by Eric Biondo (Antibalas, Massive Attack, Charlie Hunter), keys & synthesizers by Grady Tesch (Ira Coleman, Jerome Jennings, Huevito Lobaton) flute by Lars Haake (John Benitez, Hiram Bullock, George Burton), and Weedeman’s drumming flesh out this soulful, jazzy hip-hop track that provides a proper introduction to Spring. “Fool Stop” is just the beginning as Yellow Couch Music has plans to put out a full-length album later this year with the same lively & genre bending sounds you’re listening to here. - Michael Stover

Written by L. Weedeman, J. Caldwell, J. Robinson, G. Tesch
Produced by LHW
Mixed by Pat Van Dyke
Recorded by Layton Weedeman
Arranged by Layton Weedeman

Drums: Layton Weedeman
Keys & Synthesizers: Grady Tesch
Horns: Eric Biondo
Flutes: Lars Haake
Emcees: JSWISS & John Robinson
Chorus Vocals: Estephanie

Art Direction and Design by Layton Weedeman and Dovel Studio

Mastered by Pat Van Dyke

Photo by Adrien Chen

Roberto Poveda Revives “Otra Noche Más”: A Timeless Cuban Classic Reimagined in Collaboration with Layton Weedeman

Otra Noche Más is one of the first composition by Cuban singer/songwriter, Roberto Poveda, written at the start of his career in 1985. The original song and lyrics speak to an idyllic freedom that transcends all walks of life and brings you back to the state one can only experience in the presence of nature. It is no coincidence the song of freedom was picked up and recorded by the national record label of Cuba, EGREM, but met it's interesting fate and was mysteriously lost without a trace. Nearly 35 years later, during the 2020 pandemic, Roberto brought the song back to life, co-producing it in the home studio of Layton Weedeman, owner of Yellow Couch Music and a founding member and drummer of Courtesy Tier. This updated version brings a new spin, flair, joy, and upbeat tempo to the song's original message.

In 2018, Layton and Roberto started POVEDA, a project re-working and re-tooling Roberto's catalog of songs, spanning the course of 30 years, exploring the music of the Cuban Troubadour. Otra Noche Más marks the beginning of this series of releases. POVEDA is joined by many friends with Roberto as lead singer, Layton on drums and percussion, and features Grammy nominated singer/songwriter, Juan-Carlos Formell, the great nephew of legendary Spanish-Cuban singer Antonio Machin, Loisel Machin Rodriguez, German saxophonist and flutist, Lars Haake, and Cuban Singer and former member of Las Chicas Del Son, Danae Blanco Villanueva.

The video accompanying the release is based on a structural idea from Roberto’s photographs taken on a recent trip to Havana. The sound design and added ambiance heard during the intro and outro, the “voices of the city” and a voicemail message left by Roberto’s mother, were all ideas suggested by his dear friend and filmmaker, Emilio Alcalde.

Spotify | Apple Music | Bandcamp | YouTube

Produced and Arranged by Roberto Poveda and Layton Weedeman for AltoSongo Songs and Yellow Couch Music.
Mixed by Jeff Berner at Studio G Brooklyn
Mastered by Alex DeTurk at The Bunker Studio

Roberto Poveda - vocals, acoustic guitar
Layton Weedeman - drums, percussion
Juan-Carlos Formell - electric guitars
Loisel Machín Rodriguez - electric bass
Lars Haake - flute, saxophone, keys
Danae Blanco Villanueva - background vocals

Coco Fusco's "The Eternal Night": Three Cuban Young Men Defy Oppression Through Imagination

The Eternal Night portrays the journey of three Cuban young men who faced condemnation for their beliefs and creative expressions, highlighting the remarkable ability of imagination to transcend challenging circumstances.

This film draws inspiration from the true story of Néstor Díaz de Villegas, a Cuban writer and former political prisoner. In 1974, Díaz de Villegas, at the age of eighteen, received a six-year prison sentence merely for composing a poem. Prior to his imprisonment, he had already faced censorship multiple times due to his nonconformist attitudes, which were deemed "ideologically divergent" by the revolutionary government. This term, coined by Raúl Castro in the early 1970s, served as a legal and moral classification that criminalized dissent. It encompassed Cuban citizens deemed too intellectual, young individuals displaying an interest in American popular culture and music, presumed members of the LGBTQ+ community, as well as religious individuals whose faith hindered their compliance with political obedience.

The story revolves around a recently arrived poet in the prison, a young man of Evangelical faith from the countryside, and an older actor who was accused of plotting to assassinate Fidel Castro. The actor introduces them to the intricate social dynamics within the prison, teaching them how to resist the authorities' attempts to re-educate them. In order to bring life to the prisoners' evenings, he persuades the prison warden to embrace the idea of screening films as a more effective method of instilling socialist principles, thereby establishing a cinema within the confines of the prison

The Eternal Night will premiere at the Sharjah Biennial 15: Thinking Historically in the Present from 7 February to 11 June 2023.

Cast
Luis Manuel Álvarez
Enmanuel Galbán
Joel Lara

Director Coco Fusco
Producers Coco Fusco and David Leitner
Director of Photography David Leitner
Screenplay Enrique Del Risco
Editor Jessie Stead
Sound Design Roberto Fernandez and Harbor Sound
Music Roberto Poveda, Lars Haake and Layton Weedeman
Animation Melissa Brown and Brian Luna
Colour David Leitner
Subtitles María Cruz Alarcón

Based on testimony by Néstor Díaz de Villegas

Commissioned by Sharjah Art Foundation
Co-Commissioned by The Wapping Project
Additional Support Latinx Artist Fellowship and Anonymous Was a Woman

www.eternalnightfilm.com

LHW’s Debut EP Lo-Fi Hip-Hop Instrumentals Featuring Loisel Machín Rodriguez

Yellow Couch Music debut for drummer and beat maker LHW. Inspired by the beats in-between the tracks from some of his favorite hip-hop albums, Interludes was recorded at his home studio in Brooklyn with Loisel Machín Rodriguez on bass.

01. Love Seeds
02. As If
03. Minted Floss
04. Junk Cereal
05. Parked On The Sidewalk
06. What Have You
07. Underneath Moonlight
08. The Day Is Hours

Spotify | Apple Music | Bandcamp | YouTube

Layton H Weedeman - beats and samples
Loisel Machin Rodriguez - electric and upright bass
Produced by LHW
Associate Producer - Roberto Poveda
Mixed by LHW and Omer Leibovitz

Recorded at Yellow Couch Music in Brooklyn, NY
Cover photo by Leyla Lacheri
Album design by LHW

Photo by Surambika Pradhan