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Repress!
Flying Lotus puts out this 3disc set - showcasing the music from Los Angeles jazz giant, composer, and bandleader Kamasi Washington ! Check a vid of a live improv jam with Miles Mosley below!The Epic is a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band. The band includes some of the most highly regarded young musicians on the planet, including bassist Thundercat and his brother, drummer Ronald Bruner Jr., as well as bassist Miles Mosley, drummer Tony Austin, keyboard player Brandon Coleman, pianist Cameron Graves and trombonist Ryan Porter. They make their living playing as sidemen for pop, jazz and hip-hop acts ranging from Rihanna to Stanley Clarke to Snoop Dogg.

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With Coexist, The xx defied any perceived "difficult second album" pressures to create a record that cemented their status as a truly global breakout act. On the follow up to their acclaimed, era-defining debut, the London based trio of Romy Madly Croft, Oliver Sim and Jamie Smith (aka Jamie xx) continued to deal in compelling, sparse atmospherics but expanded their musical world, especially through producer Jamie"s growing electronic sound palette. Coexist surpassed expectations to become the best-selling vinyl record of 2012. Meanwhile, the band progressed from playing intimate venues to becoming an international must-see live act, curating their own festivals and collaborating with symphony orchestras. A final ambitious run of 25 shows at New York"s legendary Armory venue rounded off the album campaign, witnessed by fellow artists (such as Beyonce, Jay-Z and Madonna) and fans alike. To celebrate 10 years of Coexist, The xx will release a limited edition, crystal clear vinyl pressing of the record.

Tracklist:

1. Angels
2. Chained
3. Fiction
4. Try
5. Reunion
6. Sunset
7. Missing
8. Tides
9. Unfold
10. Swept Away
11. Our Song

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"I See You", das dritte Album von The xx, wurde im Zeitraum von März 2014 bis August 2016 aufgenommen. Alle Songs des Albums wurden geschrieben von Jamie Smith, Oliver Sim und Romy Madley Croft. Alle Lyrics des Albums wurden von Oliver Sim und Romy Madley Croft geschrieben. Das Album wurde von Jamie Smith und Rodaidh MacDonald (der auch am Debütalbum von The xx mitgearbeitet hat) produziert. Das Album entstand dabei in einer Zeit, in der sich The xx sowohl als Band, als auch als Individuen außerhalb ihrer Wohlfühlzone bewegten. Während der letzten Jahre war Romy zeitweise nach Los Angeles gezogen, um vor Ort mit einigen der weltbesten Songwritern zu arbeiten. Oliver war Gesicht einer globalen Kampagne von Dior. Jamie wiederum veröffentlichte sein Debüt-Solo-Album, das Grammy-nominierte "In Colour". Und nebenbei arbeitete Jamie noch als Produzent mit Künstlern wie Frank Ocean, Alicia Keys und Drake zusammen. Doch The xx sind unbestreitbar am stärksten, wenn die drei zusammenkommen ... Belegt durch die harten Fakten: 2,7 Millionen weltweit verkaufte Alben ihrer beiden Alben bisher, Mercury Price Sieg für ihr Debütalbum "xx" und The xx ist eine der drei britischen Bands, die es schafften, Gold-Status in den USA in der letzten Dekade zu erlangen (die anderen beiden sind übrigens Mumford & Sons und One Direction). Dazu kommen übrigens noch an die 400.000 Ticket-Verkäufe für die Coexist-Tour und zweimal Gold für die beiden Alben in Deutschland!

Tracklist:

1.1Dangerous
1.2Say Something Loving
1.3Lips
1.4A Violent Noise
1.5Performance
1.6Replica
1.7Brave For You
1.8On Hold
1.9I Dare You
1.10Test Me
2.1Dangerous
2.2Say Something Loving
2.3Lips
2.4A Violent Noise
2.5Performance
2.6Replica
2.7Brave For You
2.8On Hold
2.9I Dare You
2.10Test Me

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A Reflection Of Discomfort. Uncertain. Unyielding. Objectively Gritty. A Snapshot Of Two Years Alone In An Unfamiliar City. Electric Chaos Assembled By An Uninspired “youth” Originally from Albany, New York and having since moved to NYC, NOLIFE is the latest signing to the Young Turks label. Incorporating influences from noise, hardcore, hip-hop, and electronic. NOLIFE has created an assaulting take on contemporary experimental electronic music. With his sole physical release being an extremely limited self-released cassette earlier this year, the forthcoming YOU WON’T SURVIVE THE STATE OF NEW YORK EP is the most fully realized NOLIFE project to date. Created in a state of isolation and poor health the five seamless tracks of heavy beats laced with dissonant noise samples create a dark picture of the NOLIFE existence.
RIYL - Arca, Amnesia Scanner, Oneohtrix Point Never, Death Grips

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AS is a group of Xperienz Designers based in Berlin. TIPPED

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New single following the critically acclaimed ‘Yugen’ EP and sees something of a shift away from that releases stark and cinematic sound, with more of a club focus this time.. 3D business for soundsystems. huge

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Jamie xx Debut Album: Jamie xx returns to London-based imprint Young Turks for his debut solo album, featuring 'Girl', 'Sleep Sound', 'Loud Places' (with fellow xx member Romy) and 'Gosh'. The full-length also features Four Tet, Young Thug, Popcaan and the xx's Oliver Sim.

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Inspired by the rhythmic, clattering sounds of the industrial machines that soundtrack his day, Quirke produces a unique blend of acoustic and electronic music. From the frenetic, driving rhythm of 'Break a Mirrored Leg' to the modern classical piano on 'Acid Beth' Josh's sonic world is distinct and immersive; his bold sound felt best represented by one word, his surname: Quirke.

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To showcase the exciting releases Young Turks have had throughout 2013, the label are set to release a series of uniquely artworked limited edition 12"s. Each vinyl will feature 2 tracks by artists affiliated with the label in 2013. The third of these will be the release of a track by Short Stories split with a track from Pional's 'Invisible/Amenaza' EP. Young Turks was established in London in 2007 and has released records by SBTRKT, Chairlift, Holy Fuck, Sampha, The xx and many more.

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Young Turks announce limited edition 12" series entitled '2013'. To showcase the exciting release schedule Young Turks have throughout 2013, the label are set to release a series of uniquely artworked limited edition 12"s. Each vinyl will feature 2 exclusive new tracks by artists affiliated with the label in 2013. At the end of the year fans will be able to purchase a box set designed to house all of the 2013 series releases. The first of these will be the debut release from Lost Scripts (John Talabot & Pional) split with a brand new track from Koreless who will be releasing his debut EP for Young Turks in the spring. Young Turks was established in London in 2007 and has released records by SBTRKT, Chairlift, Holy Fuck, The xx and many more

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Following the low-key online only release of Sundanza in 2010 plus his noted collaborative work with Jessie Ware, Lil Silva, SBTRKT and Koreless, this will be Sampha's first full solo outing. 

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Remixes by Martyn, Photek, John Talabot + Pional, The Field & Dan Carey.

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Young Turks are excited to announce their latest single 'Birthday / h808er by Illum Sphere' The single will be released digitally and as a limited 12". . Restless as a DJ and adventurous in his productions, Illum Sphere (real name Ryan Hunn) is both a key player in the Manchester scene and a unique presence on the global stage. Deliberately oblique in his approach, he has still had a vital impact on electronic music. This latest release sees Illum Sphere stepping out with a new 4/4 fearlessness. His DJ style fuses the explorative and the unexpected, so do his productions, and with the talent to match his idiosyncratic style, he is now achieving a newfound confidence and artistic distinction.

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On this white label, we bring together two of the best producers in the UK to give there perspective of the work of SBTRKT. The ratio of quality to quantity in the Braiden repertoire is disproportionately weighted in favour of quality. His debut release "The Alps", on Joy Orbison's label Doldrums, certified him as a meticulous detailed producer. If you've heard is Rinse FM show, you'll have enjoyed the intensity and breadth of his perspective. This musicological take on SBTRKT's "Pharaohs" recontextualises Roses Gabor afro-futuristic vocals line in a more genuinely space-age industrial club sphere. The darker edge to Lil'Silva is just the baddest of all UK house producers. His UK funky background has sheltered him from the hype lauded upon the flavour of the month post-dubstep producers of his generation. As a result, he's continued to garner respect from all sides, from the garage scene to the tech house scene

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THESHINING are Morgan Zarate and Acyde, a production/DJ duo who decided to put the sum of their musicianship and influences together. The result is hip-hop influenced beats, with sound-system inspired vocals, the sound of after hours, dark clubs and the morning after. 'HEYYOU' is their first single, a glorious flash of psyche style keys and hard hip-hop drums,Êwith the unforgettable chorus 'Hey You…Know You Think You're A Star', a much needed call to arms to stop posing and hit the dance-floor. TELL ME (I'M WRONG) continues where 'HEYYOU' leaves off, a glimpse into their dark side, with a stomping rhythm backed by a triumphant horn section: like a conversation between Rick Rubin & Fela Kuti.

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At daybreak, as sunlight travels through the atmosphere and begins to reach Earth’s surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises—especially after clear, calm nights—relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up.

‘Daybreak’ is Sven Wunder’s fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder’s now-distinctive artistry, ‘Daybreak’ is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings—supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path.

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Greg Foat and Forest Law (Brownwood, Bongo Joe)collaborate on an epic concept album about Life, Death, painting and Surfing. Inspired by the art and life of a local Isle of Wight artist and surfing legend Dave Gray. The album philosophically chronicles the many aspects of surfing and surf communities. This is the first album by Greg Foat to feature vocals throughout. Forest Law's lyrics are evocative and ethereal. Reminiscent of David Sylvian and Early Peter Gabriel. The Album features Moses Boyd - drums, Idris Rahman - Tenor Saxophone, Tom Herbert - Bass, Greg Foat - Grand Piano, Fender Rhodes and Synthesisers, Forest Law - Vocals
1000 Limited Edition Vinyl LPs

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Sabor de Amor is the fourth album from Brazilian soulman Hyldon, singer and instrumentalist, who formed, alongside Tim Maia and Cassiano, the legendary triad of Brazilian soul music in the 1970s. Sabor de Amor (Continental, 1981) is perhaps his most consistent work. On it, Hyldon is back once again by his trusted buddies Azymuth with a stellar lineup of musicians, including Alexandre Malheiros (bass), Ivan "Mamao" Conti (drums), Sérgio Carvalho (Hammond organ and Fender piano), Zé Roberto Bertrami (synthesizers), Antonio Adolfo (Yamaha piano), Marcio Montarroyos (flugelhorn), Renato Piau (guitar), Mario Monteiro "Picolé" (drums) and the Grupo Alma Brasileira (percussion).

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Repress!
collection of all the instrumental versions of BMD-2. An essential dub album!
Tracklist:
01. King Version
02. Queen Version
03. Jah Version
04. Troddin Version
05. Mash Down Version
06. Hit You Version
07. Friend Version
08. History Version

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“‘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

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Louie Vega and Moodymann, two of the most celebrated and iconic talents in the world of House Music, come together for this very special single “Seven Mile.” Originally released as part of Louie Vega’s universally acclaimed “Expansions In The NYC” album on Nervous Records, the song is now being released as a Double Pack, Custom Art Remix Package with an all-star collection of producers on remix duty, including Dennis Quin, Kai Alcé, Rocco Rodamaal, Alex Finkin and Charlie Soul Clap

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Repress!
We are honored to announce the next 12" in Dark Entries Editions is one of the all time Italo Disco club classics: My Mine - ‘Hypnotic Tango’. My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed from the ashes of Italian New Wave group Ipnotico Tango in 1982. They shifted focus from the experimental post punk sounds towards something more commercial with which to try and enter the market, namely to make a record. At that time Carlo was studying in Bologna and he had heard about producer and arranger Mauro Malavasi famous at that time for the many hits produced for Macho, Peter Jacques Band, Change, Luther Vandross, Ritchie Family. The group handed Malavasi a demo tape and four days later they were invited to Fonoprint Studios to record their first single, “Hypnotic Tango”.

Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out. “Hypnotic Tango” was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of House and Techno producers. In 1987 the legendary Frankie Knuckles remixed “Hypnotic Tango” at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the “Powerhouse Mix” paying tribute to the Windy City club atmosphere and adding his own "sighs" in the track as well. The Hypnotic Remix This reissue presents 4 mixes of “Hypnotic Tango” including the “Hypnotic Mix” only appearing together once before in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli. “Look on the floor and all is spinning round, Someone told me this was just a dance And take a chance I ain't met before..Do you think I really have a chance??"

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