Label:Cuts From The Vaults
Cat-No:CFTV001
Release-Date:03.03.2023
Configuration:12"
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Label:Cuts From The Vaults
Cat-No:CFTV001
Release-Date:03.03.2023
Configuration:12"
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1
Unknown - Shot
2
Unknown - Shot (Special Dub)
3
Unknown - Bossarocker (Bossa Edit)
4
Unknown - Bossarocker (Break On Edit)
Repress!
Double trouble from the depths with this audacious edit package taking in two ultimate, belt from the bottom of your heart classics. Reworked, reloved and revamped to provide maximum dancefloor elation. Two big, bold edit beasts to help you break on through to the other side. More
Double trouble from the depths with this audacious edit package taking in two ultimate, belt from the bottom of your heart classics. Reworked, reloved and revamped to provide maximum dancefloor elation. Two big, bold edit beasts to help you break on through to the other side. More
More records from Unknown
Label:Moxy Muzik
Cat-No:MYEDITS010
Release-Date:14.06.2024
Genre:techhouse
Configuration:12"
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Label:Moxy Muzik
Cat-No:MYEDITS010
Release-Date:14.06.2024
Genre:techhouse
Configuration:12"
Barcode:
1
Unknown - Untitled (Vocal)
Moxy Edits' Ignite the dance floor once again. Turn up the volume and let the beats speak louder than words!
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Label:Belpaese
Cat-No:BELP010
Release-Date:31.05.2024
Configuration:12"
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Label:Forgotten Coordinates
Cat-No:FC02
Release-Date:03.05.2024
Genre:House
Configuration:12"
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Label:Forgotten Coordinates
Cat-No:FC02
Release-Date:03.05.2024
Genre:House
Configuration:12"
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1
Unknown - Be Good To Me
2
Unknown - Let’s Get This
Label:Tech-Nology
Cat-No:tnedits03ltd
Release-Date:19.04.2024
Genre:House
Configuration:12"
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Label:Tech-Nology
Cat-No:tnedits03ltd
Release-Date:19.04.2024
Genre:House
Configuration:12"
Barcode:
1
Unknown - Cindy
2
Unknown - Grindhouz (radio edit)
3
Unknown - Grindhouz
Tracklisting
A1 Unknown - Cindy
B1 Unknown - Grindhouz (radio edit)
B2 Unknown - Grindhouz
Sales Note
There is no in-between, neither is it only black or white - it is always, also, a question about
contrast.
This is the third edit release on the newly reborn Tech-nology label.
The first was played by Luca Bacchetti at Burning Man 2023 and by Michael Meyer in his
Soundcloud, radioshow - a big thanks.
The second is yet to be discovered, but mostly jazz and afro with a Minimal and Chicago touch.
The edit series is a mix between techno, which was initially the start of the label, so!
The edit series is not disco in the sense that is most popular or most accepted, this is a new way!
Making a techno approach to attack the original disco track.
Tech-nology!
This output is the third and not a secret track.
Here it is black, like the techno sound behind.
There is the basic well-known one-to-one production with extra techno breaks for your dancing
pleasure.
But the flipside, with 2 versions, is the big room killer.
There is always white noice More
A1 Unknown - Cindy
B1 Unknown - Grindhouz (radio edit)
B2 Unknown - Grindhouz
Sales Note
There is no in-between, neither is it only black or white - it is always, also, a question about
contrast.
This is the third edit release on the newly reborn Tech-nology label.
The first was played by Luca Bacchetti at Burning Man 2023 and by Michael Meyer in his
Soundcloud, radioshow - a big thanks.
The second is yet to be discovered, but mostly jazz and afro with a Minimal and Chicago touch.
The edit series is a mix between techno, which was initially the start of the label, so!
The edit series is not disco in the sense that is most popular or most accepted, this is a new way!
Making a techno approach to attack the original disco track.
Tech-nology!
This output is the third and not a secret track.
Here it is black, like the techno sound behind.
There is the basic well-known one-to-one production with extra techno breaks for your dancing
pleasure.
But the flipside, with 2 versions, is the big room killer.
There is always white noice More
Label:Tech-Nology
Cat-No:tnedits03
Release-Date:19.04.2024
Genre:House
Configuration:12"
Barcode:
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Label:Tech-Nology
Cat-No:tnedits03
Release-Date:19.04.2024
Genre:House
Configuration:12"
Barcode:
1
Unknown - Cindy
2
Unknown - Grindhouz (radio edit)
3
Unknown - Grindhouz
Tracklisting
A1 Unknown - Cindy
B1 Unknown - Grindhouz (radio edit)
B2 Unknown - Grindhouz
Sales Note
There is no in-between, neither is it only black or white - it is always, also, a question about
contrast.
This is the third edit release on the newly reborn Tech-nology label.
The first was played by Luca Bacchetti at Burning Man 2023 and by Michael Meyer in his
Soundcloud, radioshow - a big thanks.
The second is yet to be discovered, but mostly jazz and afro with a Minimal and Chicago touch.
The edit series is a mix between techno, which was initially the start of the label, so!
The edit series is not disco in the sense that is most popular or most accepted, this is a new way!
Making a techno approach to attack the original disco track.
Tech-nology!
This output is the third and not a secret track.
Here it is black, like the techno sound behind.
There is the basic well-known one-to-one production with extra techno breaks for your dancing
pleasure.
But the flipside, with 2 versions, is the big room killer.
There is always white noice More
A1 Unknown - Cindy
B1 Unknown - Grindhouz (radio edit)
B2 Unknown - Grindhouz
Sales Note
There is no in-between, neither is it only black or white - it is always, also, a question about
contrast.
This is the third edit release on the newly reborn Tech-nology label.
The first was played by Luca Bacchetti at Burning Man 2023 and by Michael Meyer in his
Soundcloud, radioshow - a big thanks.
The second is yet to be discovered, but mostly jazz and afro with a Minimal and Chicago touch.
The edit series is a mix between techno, which was initially the start of the label, so!
The edit series is not disco in the sense that is most popular or most accepted, this is a new way!
Making a techno approach to attack the original disco track.
Tech-nology!
This output is the third and not a secret track.
Here it is black, like the techno sound behind.
There is the basic well-known one-to-one production with extra techno breaks for your dancing
pleasure.
But the flipside, with 2 versions, is the big room killer.
There is always white noice More
+ Show full info- Close
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Last in:24.04.2024
Label:Digwah
Cat-No:DIGWAH09
Release-Date:12.04.2024
Genre:techhouse
Configuration:12"
Barcode:
1
Unknown - Couldn't Hate You
2
Unknown - Open Ended
Digwah is back with yet another standout release, showcasing two new rollers that expertly fuse timeless late '80s vocals with an infectious tech house rhythm and pulsating synth lines.
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Label:As We Enter
Cat-No:asw004
Release-Date:29.03.2024
Genre:Drum + Bass
Configuration:12"
Barcode:
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Label:As We Enter
Cat-No:asw004
Release-Date:29.03.2024
Genre:Drum + Bass
Configuration:12"
Barcode:
1
Unknown - Lover To Lover
2
Unknown - So Gone
3
Unknown - Come Again
4
Unknown - Shifting Gears
Tracklisting
A1 Unknown Artist - Lover To Lover
A2 Unknown Artist - So Gone
B1 Unknown Artist - Come Again
B2 Unknown Artist - Shifting Gears More
A1 Unknown Artist - Lover To Lover
A2 Unknown Artist - So Gone
B1 Unknown Artist - Come Again
B2 Unknown Artist - Shifting Gears More
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Label:Vibez '93
Cat-No:vibez93021
Release-Date:15.03.2024
Genre:Drum + Bass
Configuration:12"
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Label:Vibez '93
Cat-No:vibez93021
Release-Date:15.03.2024
Genre:Drum + Bass
Configuration:12"
Barcode:
1
Unknown - Bad Kingdom
2
Unknown - Labrea
3
Unknown - Jelly Swim
4
Unknown - Selekta
Tracklisting
A1 Unknown - Bad Kingdom
A2 Unknown - Labrea
B1 Unknown - Jelly Swim
B2 Unknown - Selekta More
A1 Unknown - Bad Kingdom
A2 Unknown - Labrea
B1 Unknown - Jelly Swim
B2 Unknown - Selekta More
Label:Dubwise Revolution
Cat-No:dubrev005
Release-Date:09.02.2024
Genre:Drum + Bass
Configuration:10"
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Label:Dubwise Revolution
Cat-No:dubrev005
Release-Date:09.02.2024
Genre:Drum + Bass
Configuration:10"
Barcode:
1
Unknown - Garnedd
2
Unknown - Ghetto Living
Label:White Label
Cat-No:MYEDITS008
Release-Date:19.01.2024
Genre:House
Configuration:12"
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Label:White Label
Cat-No:MYEDITS008
Release-Date:19.01.2024
Genre:House
Configuration:12"
Barcode:
1
Unknown - Untitled (Vocal)
2
Unknown - Untitled (Vocal)
Moxy Edits serves up double trouble, 2 slices of R&B house bumping – breathing a new lease of life into these two classics! I can’t hear ya……………
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Customers who bought this also bought this
Label:Few & Far Between
Cat-No:F&FB001RP
Release-Date:03.03.2023
Genre:House
Configuration:12"
Barcode:
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Last in:23.05.2023
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Label:Few & Far Between
Cat-No:F&FB001RP
Release-Date:03.03.2023
Genre:House
Configuration:12"
Barcode:
1
Language - Breakdown Wo!
2
Language - Crystal Clean
3
Language - Tranquility Bass
4
Language - Lake Placid
Repress!
26 years after its initial release, In The Lab EP by Language receives a reissue via Few & Far Between, a new imprint out of Bristol. Founder of Few & Far Between, Sam Hall, makes the 1992 deep house record the figurehead of his new label, setting the scene for the forthcoming original releases and further reissues in 2018 and beyond. More
26 years after its initial release, In The Lab EP by Language receives a reissue via Few & Far Between, a new imprint out of Bristol. Founder of Few & Far Between, Sam Hall, makes the 1992 deep house record the figurehead of his new label, setting the scene for the forthcoming original releases and further reissues in 2018 and beyond. More
Label:Gondwana Records
Cat-No:GONDLP060
Release-Date:03.10.2023
Genre:Jazz
Configuration:LP
Barcode:5050580794696
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Label:Gondwana Records
Cat-No:GONDLP060
Release-Date:03.10.2023
Genre:Jazz
Configuration:LP
Barcode:5050580794696
Gondwana Records are proud to announce Octava the sublimely beautiful second album from immersive LA deep-jazz masters Phi-Psonics. Phi-Psonics is a meditative, deeply soulful immersive jazz group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulful music draws on jazz and classical influences together with Ford-Young"s own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, along the way they create something uniquely their own, beautiful landscapes for your thoughts to roam within.
Tracklist
1.1Invocation
1.2An Offering
1.3We Walk in the Gardens of Our Ancestors
1.4Green Dreams
1.5Where We've Been
1.6Lunar Reflections
1.7Becoming
1.8New You More
Tracklist
1.1Invocation
1.2An Offering
1.3We Walk in the Gardens of Our Ancestors
1.4Green Dreams
1.5Where We've Been
1.6Lunar Reflections
1.7Becoming
1.8New You More
Label:Rare Wiri
Cat-No:RWWAX015
Release-Date:09.02.2024
Configuration:12"
Barcode:
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Label:Rare Wiri
Cat-No:RWWAX015
Release-Date:09.02.2024
Configuration:12"
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1
Rayko - Rain
2
Rayko - Mercy
3
Rayko - Gold Dust Woman
4
Rayko - Amigo
Rayko the Spanish Disco Producer and DJ extraordinaire has been busy in his Madrid based Studio burning the midnight oil to deliver Vadillo Vice Volume two.
Four reworked funk fuelled bass heavy cuts, tried and tested by the man himself on dancefloors across the globe and due to be released on vinyl only later in the year.
Deeply rooted in the golden era of the 70s and 80s, Rayko’s influences are masterfully interpreted and transformed into modern day dancefloor bombs, and are a key signature sound of his long established label Rare Wiri (Since 2008) an outlet for his productions alongside other likeminded artists such as Daniele Baldelli, Man Parrish, Gazeebo, Ilija Rudman, Ichisan, Spirit Catcher, Mushrooms Project, Eric Duncan among many others. More
Four reworked funk fuelled bass heavy cuts, tried and tested by the man himself on dancefloors across the globe and due to be released on vinyl only later in the year.
Deeply rooted in the golden era of the 70s and 80s, Rayko’s influences are masterfully interpreted and transformed into modern day dancefloor bombs, and are a key signature sound of his long established label Rare Wiri (Since 2008) an outlet for his productions alongside other likeminded artists such as Daniele Baldelli, Man Parrish, Gazeebo, Ilija Rudman, Ichisan, Spirit Catcher, Mushrooms Project, Eric Duncan among many others. More
LP Excl
in stock
Label:Mutual Intentions
Cat-No:MI-023
Release-Date:26.02.2021
Genre:HipHop/Rap/Urban
Configuration:LP Excl
Barcode:7090011905077
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Label:Mutual Intentions
Cat-No:MI-023
Release-Date:26.02.2021
Genre:HipHop/Rap/Urban
Configuration:LP Excl
Barcode:7090011905077
1
Stimulator Jones - A1 Drama Time
2
Stimulator Jones - A2 Floatin On
3
Stimulator Jones - A3 La Mano
4
Stimulator Jones - A4 Late Night With Terry Phillmore
5
Stimulator Jones - A5 Shaman's Dose
6
Stimulator Jones - A6 Cupcakes
7
Stimulator Jones - A7 Prince Sammy
8
Stimulator Jones - B1 Don't Be Afraid
9
Stimulator Jones - B2 Tripp Cisco
10
Stimulator Jones - B3 Chuck Taylor Strut
11
Stimulator Jones - B4 Bout Dat Love
12
Stimulator Jones - B5 Stoned Sneakers
13
Stimulator Jones - B6 From Afar
Special remarks :
High quality laqcuer cut LP with custom pantone printed innersleeve, pantone printed outer sleeve, shrink wrap and hype sticker!
Genre: Jazz-funk, library, fusion, soul, funk, dub
Tracklist:
A1 Drama Time
A2 Floatin On
A3 La Mano
A4 Late Night With Terry Phillmore
A5 Shaman's Dose
A6 Cupcakes
A7 Prince Sammy
B1 Don't Be Afraid
B2 Tripp Cisco
B3 Chuck Taylor Strut
B4 Bout Dat Love
B5 Stoned Sneakers
B6 From Afar
Press text:
Stimulator Jones breaks new ground on his sophomore LP, La Mano. The Stones Throw affiliate heads over to Mutual Intentions for a novel instrumental record that expands a musical dialect built on his singular fusion of sounds. The artist explores the musical possibilities contained in his hands as he moves between keys, guitars, drums and wind instruments in arrangements that break down the intellectual barriers of genre for the corporeal intimacy of the soul.
Vital Sales Points:
The title track is already picked up and compiled by Gilles Peterson on Brownswood Recordings.
La Mano is Stimulator Jones first instrumental LP between two Stones Throw albums as a singer.¨
Scroll to next page for audio and artwork links + resources…
More
High quality laqcuer cut LP with custom pantone printed innersleeve, pantone printed outer sleeve, shrink wrap and hype sticker!
Genre: Jazz-funk, library, fusion, soul, funk, dub
Tracklist:
A1 Drama Time
A2 Floatin On
A3 La Mano
A4 Late Night With Terry Phillmore
A5 Shaman's Dose
A6 Cupcakes
A7 Prince Sammy
B1 Don't Be Afraid
B2 Tripp Cisco
B3 Chuck Taylor Strut
B4 Bout Dat Love
B5 Stoned Sneakers
B6 From Afar
Press text:
Stimulator Jones breaks new ground on his sophomore LP, La Mano. The Stones Throw affiliate heads over to Mutual Intentions for a novel instrumental record that expands a musical dialect built on his singular fusion of sounds. The artist explores the musical possibilities contained in his hands as he moves between keys, guitars, drums and wind instruments in arrangements that break down the intellectual barriers of genre for the corporeal intimacy of the soul.
Vital Sales Points:
The title track is already picked up and compiled by Gilles Peterson on Brownswood Recordings.
La Mano is Stimulator Jones first instrumental LP between two Stones Throw albums as a singer.¨
Scroll to next page for audio and artwork links + resources…
More
Label:WRWTFWW
Cat-No:wrwtfww086
Release-Date:24.11.2023
Configuration:LP Excl
Barcode:4251804142014
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Label:WRWTFWW
Cat-No:wrwtfww086
Release-Date:24.11.2023
Configuration:LP Excl
Barcode:4251804142014
1
Danny Scott Lane - Three Is Company
2
Danny Scott Lane - A Shower At Six
3
Danny Scott Lane - Share
4
Danny Scott Lane - Must Have
5
Danny Scott Lane - Star Thing
6
Danny Scott Lane - Spy On Me
7
Danny Scott Lane - Shower Dance
8
Danny Scott Lane - 11PM
9
Danny Scott Lane - Smells Like Flowers
10
Danny Scott Lane - Showering Sad
WORLDWIDE
LP: Biovinyl, Limited Edition of 500, Heavy 350gsm Sleeve, Sticker
Tracklisting LP
A1. Three Is Company
A2. A Shower At Six
A3. Share
A4. Must Have
A5. Star Thing
B1. Spy On Me
B2. Shower Dance
B3. 11PM
B4. Smells Like Flowers
B5. Showering Sad
Info
WRWTFWW Records is so happy to announce Shower, the brand-new album by New York born, Los Angeles based ambient / jazz / downtempo musician Danny Scott Lane, following the recently released and very well-received cozy soundscape, Home Decor. The limited edition LP (500 copies worldwide) is available on biovinyl housed in a heavy 350gsm sleeve featuring an illustration by Gabrielle Rul and design by Jazlyn Fung. The album is also available digitally.
Continuing to gently push (caress?) the boundaries of chill out music, smooth jazz, and comfy electronica, Shower draws inspiration from “the feeling of a steamy shower shared with a stranger after a night on the dance floor”, a warm immersive affair for the mind and the body. This latest funky auditory experience once again invites Matt Elliot Gooden’s soothing saxophone, and this time also welcomes the vibrant beats of drummer David Ruiz. Organic, discreet in the most relaxing and elegant ways, and just the right amount of sexy – Lane’s new creation offers the finest in audio cocooning.
As you tilt your head back and close your eyes, let the hot and dripping sounds of Shower transport you to a world of sonic serenity. Feel the rich textures and appeasing harmonies wash over you, enveloping your senses in pure musical bliss.
Shower is the first new release by WRWTFWW Records made with biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.
Points of interests
- For fans of ambient, smooth jazz, minimalism, saxophone, solo showers, duo showers, shower à trois, and the fresh side of the pillow.
- Limited edition biovinyl of Danny Scott Lane’s new album featuring saxophone by Matt Elliot Gooden and drums by David Ruiz.
More
LP: Biovinyl, Limited Edition of 500, Heavy 350gsm Sleeve, Sticker
Tracklisting LP
A1. Three Is Company
A2. A Shower At Six
A3. Share
A4. Must Have
A5. Star Thing
B1. Spy On Me
B2. Shower Dance
B3. 11PM
B4. Smells Like Flowers
B5. Showering Sad
Info
WRWTFWW Records is so happy to announce Shower, the brand-new album by New York born, Los Angeles based ambient / jazz / downtempo musician Danny Scott Lane, following the recently released and very well-received cozy soundscape, Home Decor. The limited edition LP (500 copies worldwide) is available on biovinyl housed in a heavy 350gsm sleeve featuring an illustration by Gabrielle Rul and design by Jazlyn Fung. The album is also available digitally.
Continuing to gently push (caress?) the boundaries of chill out music, smooth jazz, and comfy electronica, Shower draws inspiration from “the feeling of a steamy shower shared with a stranger after a night on the dance floor”, a warm immersive affair for the mind and the body. This latest funky auditory experience once again invites Matt Elliot Gooden’s soothing saxophone, and this time also welcomes the vibrant beats of drummer David Ruiz. Organic, discreet in the most relaxing and elegant ways, and just the right amount of sexy – Lane’s new creation offers the finest in audio cocooning.
As you tilt your head back and close your eyes, let the hot and dripping sounds of Shower transport you to a world of sonic serenity. Feel the rich textures and appeasing harmonies wash over you, enveloping your senses in pure musical bliss.
Shower is the first new release by WRWTFWW Records made with biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.
Points of interests
- For fans of ambient, smooth jazz, minimalism, saxophone, solo showers, duo showers, shower à trois, and the fresh side of the pillow.
- Limited edition biovinyl of Danny Scott Lane’s new album featuring saxophone by Matt Elliot Gooden and drums by David Ruiz.
More
Label:Dead Oceans
Cat-No:DOCLP357
Release-Date:05.04.2024
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0656605165714
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Last in:13.05.2024
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Label:Dead Oceans
Cat-No:DOCLP357
Release-Date:05.04.2024
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0656605165714
“‘A La Sala,’ I used to scream it around my house when I was a little girl, to get everybody in the living room; to get my family together. That’s kind of what recording the new album felt like. Emotionally there was a desire to get back to square-one between the three of us, to where we came from–in sonics and in feeling. Let’s get back there.” - Laura Lee Ochoa
The title makes it clear. A La Sala (“To the Room” in Spanish), the fourth studio album by Khruangbin, is an exercise in returning in order to go further, and do so on your own terms. It extends the air of mystery and sanctity that’s key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music. Yet if 2020’s Mordechai, the last studio album Khruangbin made without collaborators, was a party record whose ensuing post-lockdown tour enhanced the band’s musical reputation far and wide, A La Sala is the measured morning after. It’s a gorgeously airy album made only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It is a porthole onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.
It is also a response to the unique moment Khruangbin finds itself in now: following a decade spent cultivating extraordinary music paths, beginning a year when they'll perform for more people, in more iconic spaces, staging a live show that pushes a creative envelope peculiar to them alone. (Look for the band at major festivals and venues near you.) 2024 feels like both marker and pivot, cementing Khruangbin’s stature as a commercially and critically successful group that continues to be guided by creative possibilities.
Such crossroads are familiar for iconic artists throughout the rock era — your Dylans, Stevies and Bowies, up thru turn-of-the-century Radiohead, all have navigated these straits. On A La Sala, Khruangbin also pulls exploration inward, spurning the din of the crowd’s expectations, mapping a personal direction home. The trio’s collective musical DNA and the years spent constructing it in Houston’s local-meets-global cultural stew ensure the band carries on sounding like no one but itself. A La Sala may in fact be Khruangbin’s purest distillation. A cascade of crisp melodies still emanates from Marko’s reverb-heavy electric, dancing gently around Laura Lee’s minimalist almost-dub bass triangles, while DJ’s drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place.
Where prior album-by-album growth seemed to point the narratives towards music’s polyglot edges, such inquiries now sound like known intimacies. What once seemed like sonic invocations — spaghetti-western film scores, found-sounds, dancing moments more living room than rooftop disco — are ingrained characteristics. This is who they are! And there’s a freshness to the instrumental interactivity on A La Sala that’s less concerned with getting further out than going deeper in. That depth is not about therapeutic self-reflection, but a profound desire to celebrate the world’s external wonders.
A La Sala invites intimate intercontinental partying. The first single is, after all, called “A Love International.” “Pon Pón” holds the band’s table at the West African discotheque; yet the joy now moves to the corner left of the dancefloor, where the back-and-forth between Laura Lee’s bass, DJ’s hi-hat, and Marko’s tuneful rhythm scratches, is a marvel of knowing head-nods. There’s “Hold Me Up (Thank You),” a familial sweetness in its spare lyrics, feeding off the rhythm section’s sturdy funk shuffle, and a chorus on which Marko’s guitar evokes both sides of the Atlantic in confident unshowy rhythms. They’re on “Todavía Viva” too, next to DJ’s noir-soul rim-shots, synth strings and a pregnant pause that is Laura Lee’s favorite moment on the album, the mood kin to the band’s glorious live interpretations of G-funk fantasias. And the rocked-up miniature, “Juegos y Nubes,” demonstrates Khruangbin’s Houston-born superpower to culture-mix, a dancing mood less concerned with worldly glamor than communal grooving.
“I read something long ago, attributed to Miles Davis. He said, ‘When they play fast, you play slow. When they play slow, you play fast.’ And it's definitely how I've approached looking at music: Don't follow the trends. And if the trend is this, then do something else.” - Marko
From the get-go, Khruangbin’s journey has been emphatically its own: a sound and visual representation with few precedents, ignoring pop expectations, relying only on internal inspirations, and a multitude of visions. It’s a mindset of penetrating the self, connecting to the surrounding world, modeling your own life experiences. This ethos is threaded throughout A La Sala, audible in the album’s form and function. (It’s even visible in the vinyl version’s physical package, which will be released as a set of seven distinctive covers and color-sets — more on which in a sec.)
The building blocks for the album’s 12 songs were jigsaw pieces found in Khruangbin’s creative past. Having stockpiled ideas originally set down as off-the-cuff recordings (voice-memos made at sound-checks, on long voyages, as absentminded epiphanies), they began fitting those pieces together in the studio. Which parts were apt? Which could be massaged and stretched out? Which inspired new sections or rhythms or musical interactions? Once more, Khruangbin’s familial DNA kicked in. Layer-by-layer, the intimate work, rework and re-rework bore new fruit. They also brought back a strategy once foundational to their records: seeding an album with field recordings.
Some results fold directly into A La Sala’s down-home feel. “Three From Two” and “May Ninth” are wistful mid-tempo numbers, with guitar melodies that reside somewhere between Bakersfield and by-the-riverside, cues that, for all its borderless inclusivity, another core Khruangbin value is being steeped in American roots. And in the landscape that music comes from. Like all albums prior to Mordechai, Marko made sure environmental sounds — natural and man-made — appeared as textures. (At times philosophically: the group recorded while cricket chirps played in their headphones, presumably for terroir.) It’s how A La Sala achieves such interconnected set-and-setting-ness.
Other results are more metaphorical, especially in Khruangbin’s flirtation with ambient spaces. The dramatically beatless “Farolim de Felgueiras” and “Caja de la Sala” both feature only Marko’s unmistakable guitar dueting with Laura Lee’s Moog, lightly layered with sounds of shoes on stone steps, and cicadas in an open field. The closing “Les Petits Gris” more fully reduces and fleshes out the ambiance, with a piano and a simple single-note bass pattern, Marko’s plaintive spare guitar echoing the melody of a ballerina-turning music box. It feels an apt way of ending — as a passing of this particular moment, preparation for the next one, soon-come.
Even the seven different covers that adorn A La Sala’s various vinyl editions offer a throughline from the music into Khruangbin’s current frame. Designed by the band using Marko’s multitude of travelog photos, they are windows from the band’s living room onto a set of daydreams, scenes of impossible skies, external glances illuminating what is going on inside. These are also directly related to David Black’s images of DJ, Laura Lee and Marko which accompany A La Sala, and to Khruangbin’s live staging reinvention. It’s all about looking out and looking back, in order to better look ahead.
“All the little moments you capture. You don't see how impactful they are until you hear what eventually comes of them. A lot of those scraps end up being the thing — and you don't realize it until it's ‘The Thing.’” - DJ
credits
releases April 5, 2024
Produced by Mark Speer & Steve Christensen
Written, Arranged & Performed by Khruangbin
Art Direction: Tiny Frees
Mixing: Steve Christensen
Mastering: Chris Longwood More
The title makes it clear. A La Sala (“To the Room” in Spanish), the fourth studio album by Khruangbin, is an exercise in returning in order to go further, and do so on your own terms. It extends the air of mystery and sanctity that’s key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music. Yet if 2020’s Mordechai, the last studio album Khruangbin made without collaborators, was a party record whose ensuing post-lockdown tour enhanced the band’s musical reputation far and wide, A La Sala is the measured morning after. It’s a gorgeously airy album made only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It is a porthole onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.
It is also a response to the unique moment Khruangbin finds itself in now: following a decade spent cultivating extraordinary music paths, beginning a year when they'll perform for more people, in more iconic spaces, staging a live show that pushes a creative envelope peculiar to them alone. (Look for the band at major festivals and venues near you.) 2024 feels like both marker and pivot, cementing Khruangbin’s stature as a commercially and critically successful group that continues to be guided by creative possibilities.
Such crossroads are familiar for iconic artists throughout the rock era — your Dylans, Stevies and Bowies, up thru turn-of-the-century Radiohead, all have navigated these straits. On A La Sala, Khruangbin also pulls exploration inward, spurning the din of the crowd’s expectations, mapping a personal direction home. The trio’s collective musical DNA and the years spent constructing it in Houston’s local-meets-global cultural stew ensure the band carries on sounding like no one but itself. A La Sala may in fact be Khruangbin’s purest distillation. A cascade of crisp melodies still emanates from Marko’s reverb-heavy electric, dancing gently around Laura Lee’s minimalist almost-dub bass triangles, while DJ’s drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place.
Where prior album-by-album growth seemed to point the narratives towards music’s polyglot edges, such inquiries now sound like known intimacies. What once seemed like sonic invocations — spaghetti-western film scores, found-sounds, dancing moments more living room than rooftop disco — are ingrained characteristics. This is who they are! And there’s a freshness to the instrumental interactivity on A La Sala that’s less concerned with getting further out than going deeper in. That depth is not about therapeutic self-reflection, but a profound desire to celebrate the world’s external wonders.
A La Sala invites intimate intercontinental partying. The first single is, after all, called “A Love International.” “Pon Pón” holds the band’s table at the West African discotheque; yet the joy now moves to the corner left of the dancefloor, where the back-and-forth between Laura Lee’s bass, DJ’s hi-hat, and Marko’s tuneful rhythm scratches, is a marvel of knowing head-nods. There’s “Hold Me Up (Thank You),” a familial sweetness in its spare lyrics, feeding off the rhythm section’s sturdy funk shuffle, and a chorus on which Marko’s guitar evokes both sides of the Atlantic in confident unshowy rhythms. They’re on “Todavía Viva” too, next to DJ’s noir-soul rim-shots, synth strings and a pregnant pause that is Laura Lee’s favorite moment on the album, the mood kin to the band’s glorious live interpretations of G-funk fantasias. And the rocked-up miniature, “Juegos y Nubes,” demonstrates Khruangbin’s Houston-born superpower to culture-mix, a dancing mood less concerned with worldly glamor than communal grooving.
“I read something long ago, attributed to Miles Davis. He said, ‘When they play fast, you play slow. When they play slow, you play fast.’ And it's definitely how I've approached looking at music: Don't follow the trends. And if the trend is this, then do something else.” - Marko
From the get-go, Khruangbin’s journey has been emphatically its own: a sound and visual representation with few precedents, ignoring pop expectations, relying only on internal inspirations, and a multitude of visions. It’s a mindset of penetrating the self, connecting to the surrounding world, modeling your own life experiences. This ethos is threaded throughout A La Sala, audible in the album’s form and function. (It’s even visible in the vinyl version’s physical package, which will be released as a set of seven distinctive covers and color-sets — more on which in a sec.)
The building blocks for the album’s 12 songs were jigsaw pieces found in Khruangbin’s creative past. Having stockpiled ideas originally set down as off-the-cuff recordings (voice-memos made at sound-checks, on long voyages, as absentminded epiphanies), they began fitting those pieces together in the studio. Which parts were apt? Which could be massaged and stretched out? Which inspired new sections or rhythms or musical interactions? Once more, Khruangbin’s familial DNA kicked in. Layer-by-layer, the intimate work, rework and re-rework bore new fruit. They also brought back a strategy once foundational to their records: seeding an album with field recordings.
Some results fold directly into A La Sala’s down-home feel. “Three From Two” and “May Ninth” are wistful mid-tempo numbers, with guitar melodies that reside somewhere between Bakersfield and by-the-riverside, cues that, for all its borderless inclusivity, another core Khruangbin value is being steeped in American roots. And in the landscape that music comes from. Like all albums prior to Mordechai, Marko made sure environmental sounds — natural and man-made — appeared as textures. (At times philosophically: the group recorded while cricket chirps played in their headphones, presumably for terroir.) It’s how A La Sala achieves such interconnected set-and-setting-ness.
Other results are more metaphorical, especially in Khruangbin’s flirtation with ambient spaces. The dramatically beatless “Farolim de Felgueiras” and “Caja de la Sala” both feature only Marko’s unmistakable guitar dueting with Laura Lee’s Moog, lightly layered with sounds of shoes on stone steps, and cicadas in an open field. The closing “Les Petits Gris” more fully reduces and fleshes out the ambiance, with a piano and a simple single-note bass pattern, Marko’s plaintive spare guitar echoing the melody of a ballerina-turning music box. It feels an apt way of ending — as a passing of this particular moment, preparation for the next one, soon-come.
Even the seven different covers that adorn A La Sala’s various vinyl editions offer a throughline from the music into Khruangbin’s current frame. Designed by the band using Marko’s multitude of travelog photos, they are windows from the band’s living room onto a set of daydreams, scenes of impossible skies, external glances illuminating what is going on inside. These are also directly related to David Black’s images of DJ, Laura Lee and Marko which accompany A La Sala, and to Khruangbin’s live staging reinvention. It’s all about looking out and looking back, in order to better look ahead.
“All the little moments you capture. You don't see how impactful they are until you hear what eventually comes of them. A lot of those scraps end up being the thing — and you don't realize it until it's ‘The Thing.’” - DJ
credits
releases April 5, 2024
Produced by Mark Speer & Steve Christensen
Written, Arranged & Performed by Khruangbin
Art Direction: Tiny Frees
Mixing: Steve Christensen
Mastering: Chris Longwood More
12"
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Label:Planet Rhythm
Cat-No:dubwars001
Release-Date:25.08.2023
Genre:Techno
Configuration:12"
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Genre:Techno
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1
Gunjack - From Within
2
Gunjack - Theme From Dubwars
3
Gunjack - Gatekeepers Ball
4
Gunjack - Ratsel Box
Tracklisting:
A1 Gunjack - From Within
A2 Gunjack - Theme From Dubwars
B1 Gunjack - Gatekeepers Ball
B2 Gunjack - Ratsel Box More
A1 Gunjack - From Within
A2 Gunjack - Theme From Dubwars
B1 Gunjack - Gatekeepers Ball
B2 Gunjack - Ratsel Box More
2LP
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Label:Isle Of Jura Records
Cat-No:ISLELP003
Release-Date:07.07.2023
Genre:World Music
Configuration:2LP
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Label:Isle Of Jura Records
Cat-No:ISLELP003
Release-Date:07.07.2023
Genre:World Music
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Repress!
The first in a series of compilations by Jura Soundsystem is a blend of Dub, Ambient, Downtempo, Boogie and Proto House with a focus on music never before released on Vinyl, sought after out of print titles and some special versions edited specifically for the album.
The intention with this project was to delve deeper into the reissue pond and unearth some lesser known tracks and artists. Highlights include Smackos (AKA Legowelt) Ambient epic ‘We Can Watch Alf In The Hotel Room’, never before released on Vinyl, the Dub / Psych hybrid of Minus Group’s ‘Black Shadow’, Kash’s sought after ‘Percussion Sundance’ and special edits of Ken Dang and Tabou Combo. The end of the album includes some soothing Ambient tools. More
The first in a series of compilations by Jura Soundsystem is a blend of Dub, Ambient, Downtempo, Boogie and Proto House with a focus on music never before released on Vinyl, sought after out of print titles and some special versions edited specifically for the album.
The intention with this project was to delve deeper into the reissue pond and unearth some lesser known tracks and artists. Highlights include Smackos (AKA Legowelt) Ambient epic ‘We Can Watch Alf In The Hotel Room’, never before released on Vinyl, the Dub / Psych hybrid of Minus Group’s ‘Black Shadow’, Kash’s sought after ‘Percussion Sundance’ and special edits of Ken Dang and Tabou Combo. The end of the album includes some soothing Ambient tools. More
Label:Music From Memory
Cat-No:MFM067
Release-Date:02.08.2024
Configuration:12"
Barcode:0731628580796
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Label:Music From Memory
Cat-No:MFM067
Release-Date:02.08.2024
Configuration:12"
Barcode:0731628580796
1
Gaussian Curve - Winter Sun
2
Gaussian Curve - Fever Dream
The return of Gaussian Curve - Gigi Masin, Jonny Nash and Marco Sterk’s much-loved trio are back for the first time since their 2016 sophomore album 'The Distance', presenting two new tracks entitled 'Winter Sun' and 'Fever Dream'.
Both tracks originate from recording sessions that took place in Amsterdam in 2016 for 'The Distance'. Despite not finding a place on the final album and being left as unfinished sketches for six years, the tracks represent an important part of the Gaussian Curve story which the band felt compelled to complete. Coinciding with the decision to perform a handful of live shows in 2022, they finally revisited the sketches, mixing and arranging them with the goal of giving them the full release that they deserve.
The trio’s trademark sound hits from first moments of 'Winter Sun'; a lush slow builder with all the classic GC ingredients; Nash’s airy and spacious guitar lines interplay with Masin’s warm rhodes, underpinned by Sterk’s subtle use of electronics and the minimal rhythm of a CR-78 drum machine.
On 'Fever Dream', the trio subtly expand their palette; a gently building 303 bass line and 808 rhythm form the foundations of the piece, with Masin’s vocals adding to a slow-burning intensity. Arguably a fuller sound hinting at new areas of exploration for the trio, but unmistakably Gaussian Curve.
Graphic art by Qiu Yang, design by Steele Bonus, More
Both tracks originate from recording sessions that took place in Amsterdam in 2016 for 'The Distance'. Despite not finding a place on the final album and being left as unfinished sketches for six years, the tracks represent an important part of the Gaussian Curve story which the band felt compelled to complete. Coinciding with the decision to perform a handful of live shows in 2022, they finally revisited the sketches, mixing and arranging them with the goal of giving them the full release that they deserve.
The trio’s trademark sound hits from first moments of 'Winter Sun'; a lush slow builder with all the classic GC ingredients; Nash’s airy and spacious guitar lines interplay with Masin’s warm rhodes, underpinned by Sterk’s subtle use of electronics and the minimal rhythm of a CR-78 drum machine.
On 'Fever Dream', the trio subtly expand their palette; a gently building 303 bass line and 808 rhythm form the foundations of the piece, with Masin’s vocals adding to a slow-burning intensity. Arguably a fuller sound hinting at new areas of exploration for the trio, but unmistakably Gaussian Curve.
Graphic art by Qiu Yang, design by Steele Bonus, More
Label:music from memory
Cat-No:MFM018
Release-Date:30.11.2022
Genre:Electronic
Configuration:LP
Barcode:
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Label:music from memory
Cat-No:MFM018
Release-Date:30.11.2022
Genre:Electronic
Configuration:LP
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1
gaussian curve - Breathe
2
gaussian curve - Suspended Motion
3
gaussian curve - The Distance
4
gaussian curve - Ceremony
5
gaussian curve - T.O.R
6
gaussian curve - Four For You
7
gaussian curve - Dancing Rain
8
gaussian curve - Another Place
**2022 Repress* The now classic LP from Gigi Masin, Jonny Nash and Young Marco. Highly Recommended!In the spring of 2016, Gigi Masin, Jonny Nash and Marco Sterk got together in the studio for the first time since they recorded Clouds, the critically acclaimed debut album from their Gaussian Curve project. By the time they reconvened in Sterk's new studio in Amsterdam, a stone's throw away from the temporary, second-â€floor space where they recorded Clouds, much had changed. When they first got together in March 2014, it was for a spontaneous, weekend-â€long exploration of shared musical passions. They were merely three new friends expressing themselves, and having huge amounts of fun in the process. By the time they got together again last year, the album they recorded on that famous weekend had taken on a life of its� own. To their surprise and delight, Clouds had become one of the most admired ambient albums of the 21st century. They�d initially reconvened in the studio to rehearse for their first live performances. It soon become clear that all three members were brimming with ideas for new Gaussian Curve material. Over the four days that followed, and fuelled by the same spontaneous working method that drove Clouds, a new album began to take shape. Although their methodology remained the same, the inspirations were different. Whereas Clouds was intimate by design, The Distance reflects more on spaciousness, distance and time. It is instantly recognizable as a Gaussian Curve record, but feels different in scope and tone. The Distance is a different musical beast to its� predecessor, but shares the same timeless, emotion-�â€rich feel that made Clouds such a hit. While the fundamental ingredients remain the same � Masin�s masterly piano and synthesizer work, Nash�s blissful, meandering guitar
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Label:TH Tar Hallow
Cat-No:tar019t
Release-Date:02.02.2024
Genre:Techno
Configuration:12"
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Label:TH Tar Hallow
Cat-No:tar019t
Release-Date:02.02.2024
Genre:Techno
Configuration:12"
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1
A Thousand Details - The Puppet of The West
2
A Thousand Details - Trifecta Bones
3
A Thousand Details - Sandes de CQTF
4
A Thousand Details - The Puppet Of The West (Sick Bastard Tool, Vinyl Version)
5
A Thousand Details - Cornered Without Options
Tracklisting
A1 A Thousand Details - The Puppet of The West
A2 A Thousand Details - Trifecta Bones
B1 A Thousand Details - Sandes de CQTF
B2 A Thousand Details - The Puppet Of The West (Sick Bastard Tool, Vinyl Version)
B3 A Thousand Details - Cornered Without Options
Sales Note
The very prolific ATD Records Founder, Gustavo Lima, brings 5 techno cuts on Tar Hallow for the first release of 2024. Early support by: Amotik, Answer Code Request, Ben Klock, Charlton, Chontane, Gary Beck, Kessell / Exium, Krenzlin, Kwartz, Leiras, Marco Bailey, Nastia, Perc, Steffi, W.I.R.E. and more. More
A1 A Thousand Details - The Puppet of The West
A2 A Thousand Details - Trifecta Bones
B1 A Thousand Details - Sandes de CQTF
B2 A Thousand Details - The Puppet Of The West (Sick Bastard Tool, Vinyl Version)
B3 A Thousand Details - Cornered Without Options
Sales Note
The very prolific ATD Records Founder, Gustavo Lima, brings 5 techno cuts on Tar Hallow for the first release of 2024. Early support by: Amotik, Answer Code Request, Ben Klock, Charlton, Chontane, Gary Beck, Kessell / Exium, Krenzlin, Kwartz, Leiras, Marco Bailey, Nastia, Perc, Steffi, W.I.R.E. and more. More
Label:Planet Rhythm
Cat-No:PRRUKBLK076
Release-Date:14.10.2022
Genre:Techno
Configuration:12"
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Label:Planet Rhythm
Cat-No:PRRUKBLK076
Release-Date:14.10.2022
Genre:Techno
Configuration:12"
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