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Label:Dead Oceans
Cat-No:DOCLP332
Release-Date:30.06.2023
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0656605163215
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Label:Dead Oceans
Cat-No:DOCLP332
Release-Date:30.06.2023
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0656605163215
TRACKLIST:
1. SOURCE (LIVE AT RADIO CITY MUSIC HALL)
2. THE MESSAGE CONTINUES (LIVE AT RADIO CITY MUSIC HALL)
3. LA CUMBIA ME ESTá LLAMANDO (LIVE AT RADIO CITY MUSIC HALL)
4. SO WE WON'T FORGET (LIVE AT RADIO CITY MUSIC HALL)
5. THE INFAMOUS BILL (LIVE AT RADIO CITY MUSIC HALL)
6. PELOTA (LIVE AT RADIO CITY MUSIC HALL)
7. TIME (YOU AND I) [LIVE AT RADIO CITY MUSIC HALL]
It's only fitting that Khruangbin's first-ever official live releases would be albums paired with their tourmates: artists whose music they love and admire, friends who've become family along the way. Khruangbin's 'Live At' series of live LPs traces just one small slice of the band's flight plan through the years: it's a taste of some of their most beloved cities, stages and nights. Most of all, Khruangbin's 'Live at' series ignites both sides of the band's magic: the warm, prismatic feeling of their albums and the bewitching energy of their performances. 'Live at Radio City Music Hall' features performances by Nubya Garcia and Khruangbin. More
1. SOURCE (LIVE AT RADIO CITY MUSIC HALL)
2. THE MESSAGE CONTINUES (LIVE AT RADIO CITY MUSIC HALL)
3. LA CUMBIA ME ESTá LLAMANDO (LIVE AT RADIO CITY MUSIC HALL)
4. SO WE WON'T FORGET (LIVE AT RADIO CITY MUSIC HALL)
5. THE INFAMOUS BILL (LIVE AT RADIO CITY MUSIC HALL)
6. PELOTA (LIVE AT RADIO CITY MUSIC HALL)
7. TIME (YOU AND I) [LIVE AT RADIO CITY MUSIC HALL]
It's only fitting that Khruangbin's first-ever official live releases would be albums paired with their tourmates: artists whose music they love and admire, friends who've become family along the way. Khruangbin's 'Live At' series of live LPs traces just one small slice of the band's flight plan through the years: it's a taste of some of their most beloved cities, stages and nights. Most of all, Khruangbin's 'Live at' series ignites both sides of the band's magic: the warm, prismatic feeling of their albums and the bewitching energy of their performances. 'Live at Radio City Music Hall' features performances by Nubya Garcia and Khruangbin. More
More records from Dead Oceans
Label:Dead Oceans
Cat-No:DOCLPV1355
Release-Date:06.09.2024
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0656605165509
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1
Toro Y Moi - Walking In The Rain
2
Toro Y Moi - CD-R
3
Toro Y Moi - HOV
4
Toro Y Moi - Tuesday
5
Toro Y Moi - Hollywood
6
Toro Y Moi - Reseda
7
Toro Y Moi - Babydaddy
8
Toro Y Moi - Madonna
9
Toro Y Moi - Undercurrent
10
Toro Y Moi - Off Road
11
Toro Y Moi - Smoke
12
Toro Y Moi - Heaven
13
Toro Y Moi - Starlink
Hole Erth, Chaz Bear’s eighth full-length studio record as Toro y Moi, is the genre shapeshifter’s most unexpected and bold move to date, with Bear diving headlong into rap-rock, Soundcloud rap and Y2K emo. The album blitzes anthemic pop-punk next to autotuned, melancholic rap – two genres that inform one another now more than ever before — and packs in the most features ever on a Toro y Moi album. We get Don Toliver’s moody crooning on the anti-love song “Madonna.” We get Kevin Abstract and Lev’s breathy reflections on “Heaven.” We get emo king Benjamin Gibbard, the beating heart of millennial indie for crying out loud. Recorded in the span of a few months across late 2023 and early 2024, Hole Erth’s features built naturally over that short span, with Bear simply reaching out to long-time friends. The sum of Hole Erth’s parts is massive, and demonstrates Bear’s deft abilities as a producer, especially in hip-hop; his role in the culture has long been solidified from previous collaborations with some of rap's biggest trailblazers. It’s a daring left turn for Bear, but the feel is effortless, the make-it-look-easy of a master at work. All told, Bear pushes himself into new sonic ground for the TyM oeuvre while embracing the project’s celebrated, well-known electronic beginnings. Hole Erth is brand new, but somehow perfectly at home.
The album’s title is an homage to Whole Earth, Stewart Brand’s DIY periodical from the late ‘60s and early ‘70s, the central purpose of which was to empower people to be holistically self-sufficient. From product reviews of carpentry tools, to how-to guides for growing your own food, to techno-optimistic analyses that’d go on to inspire Silicon Valley startup culture, parallels of the catalog’s DIY ethos can be found all throughout Hole Erth. Bear cites gorpcore, a new-age fashion trend of functional, outdoorsy outerwear worn as streetwear, as influencing the album’s aesthetic. This also ties back to Brand’s influential counterculture catalog. Bear notes: “Things have gone in a more gorp-y direction. Humans are tapping into this more tribal, earthier aesthetic. The Whole Earth catalog is this encyclopedic, self-sustaining guide. With the album title alone, that’s something I wanted to spark as a conversation. We can be off the grid, and also be on the internet, and try out all of these different lifestyles at the same time.” This sense of duality exists within Hole Erth: it’s seeped in the technological world while embracing real-world human connection.
The sounds that make up Hole Erth might feel like new territory for Bear, but in reality it’s a return to form for Toro y Moi – a project that has always orbited electronic music. “Toro is not a rock band,” Bear assures. “To me, my folk records and psych rock records are the side quests. What I fell in love with with the Toro project were the electronic productions – the samples. There’s always more to be done in the electronic world.” His experimentation with electronic production is most obvious on tracks like album opener “Walking In The Rain,” an immediate immersion into the brooding pulse of Hole Erth. Given Bear’s work with some of modern rap’s most influential acts, it’s no surprise that his autotuned cadence and cheeky play-on-words calls to mind the moody braggadocio of today’s popular hip-hop. “Hollywood,” featuring Benjamin Gibbard of Death Cab for Cutie and The Postal Service fame, places warped vocals and ephemeral sound bites of internet dial-up beneath watery ruminations on celebrity and the delusions prevalent in Tinseltown. The track’s nostalgic nods in combination with Bear’s genre fluidity is a Toro y Moi trademark that can be heard throughout his discography. From the twangy, laidback reflections that comprised his most recent Sandhills EP, to the retro-futuristic grooves of 2019’s Outer Peace, Bear is no stranger to flexing his muscles as a forward-thinking musical chameleon, while still managing to make music that feels eternally familiar yet compelling.
A sense of nostalgia sneaks its way into almost every Toro y Moi release, but angst is an emotion that Bear has never intentionally explored the way he does here. Tracks like “Tuesday'' channel a specific, yet forever-relatable sense of adolescent unease. A distorted guitar riff leads into a repeating chorus that conjures misunderstood teenagers singing aloud, maybe too loud, while riding bikes through American suburbs. This foreboding can also be heard on “HOV,” though not without poking some fun with lines like “Romance is so cold / My advice? To bring a coat.”
A sense of playful ambition and experimentation sits at the core of Hole Erth. Bear has the energy, but is acutely aware that his energy isn’t forever. At a time when the internet is blending multiple genres into one at an increasingly rapid pace, Bear accomplishes the rare feat of keeping up with the contemporary alternative listener. Constantly changing, evolving and experimenting is the heart of Toro y Moi, and on Hole Erth Bear challenges but also reclaims himself, embracing the myriad sounds and eras that formed him, while crashing new worlds together. More
The album’s title is an homage to Whole Earth, Stewart Brand’s DIY periodical from the late ‘60s and early ‘70s, the central purpose of which was to empower people to be holistically self-sufficient. From product reviews of carpentry tools, to how-to guides for growing your own food, to techno-optimistic analyses that’d go on to inspire Silicon Valley startup culture, parallels of the catalog’s DIY ethos can be found all throughout Hole Erth. Bear cites gorpcore, a new-age fashion trend of functional, outdoorsy outerwear worn as streetwear, as influencing the album’s aesthetic. This also ties back to Brand’s influential counterculture catalog. Bear notes: “Things have gone in a more gorp-y direction. Humans are tapping into this more tribal, earthier aesthetic. The Whole Earth catalog is this encyclopedic, self-sustaining guide. With the album title alone, that’s something I wanted to spark as a conversation. We can be off the grid, and also be on the internet, and try out all of these different lifestyles at the same time.” This sense of duality exists within Hole Erth: it’s seeped in the technological world while embracing real-world human connection.
The sounds that make up Hole Erth might feel like new territory for Bear, but in reality it’s a return to form for Toro y Moi – a project that has always orbited electronic music. “Toro is not a rock band,” Bear assures. “To me, my folk records and psych rock records are the side quests. What I fell in love with with the Toro project were the electronic productions – the samples. There’s always more to be done in the electronic world.” His experimentation with electronic production is most obvious on tracks like album opener “Walking In The Rain,” an immediate immersion into the brooding pulse of Hole Erth. Given Bear’s work with some of modern rap’s most influential acts, it’s no surprise that his autotuned cadence and cheeky play-on-words calls to mind the moody braggadocio of today’s popular hip-hop. “Hollywood,” featuring Benjamin Gibbard of Death Cab for Cutie and The Postal Service fame, places warped vocals and ephemeral sound bites of internet dial-up beneath watery ruminations on celebrity and the delusions prevalent in Tinseltown. The track’s nostalgic nods in combination with Bear’s genre fluidity is a Toro y Moi trademark that can be heard throughout his discography. From the twangy, laidback reflections that comprised his most recent Sandhills EP, to the retro-futuristic grooves of 2019’s Outer Peace, Bear is no stranger to flexing his muscles as a forward-thinking musical chameleon, while still managing to make music that feels eternally familiar yet compelling.
A sense of nostalgia sneaks its way into almost every Toro y Moi release, but angst is an emotion that Bear has never intentionally explored the way he does here. Tracks like “Tuesday'' channel a specific, yet forever-relatable sense of adolescent unease. A distorted guitar riff leads into a repeating chorus that conjures misunderstood teenagers singing aloud, maybe too loud, while riding bikes through American suburbs. This foreboding can also be heard on “HOV,” though not without poking some fun with lines like “Romance is so cold / My advice? To bring a coat.”
A sense of playful ambition and experimentation sits at the core of Hole Erth. Bear has the energy, but is acutely aware that his energy isn’t forever. At a time when the internet is blending multiple genres into one at an increasingly rapid pace, Bear accomplishes the rare feat of keeping up with the contemporary alternative listener. Constantly changing, evolving and experimenting is the heart of Toro y Moi, and on Hole Erth Bear challenges but also reclaims himself, embracing the myriad sounds and eras that formed him, while crashing new worlds together. 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:25.10.2024
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Last in:25.10.2024
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
Label:Dead Oceans
Cat-No:DOCLP335
Release-Date:01.12.2023
Genre:Pop
Configuration:2LP
Barcode:0656605163512
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Last in:26.02.2024
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Label:Dead Oceans
Cat-No:DOCLP335
Release-Date:01.12.2023
Genre:Pop
Configuration:2LP
Barcode:0656605163512
1
Khruangbin - The Number 3
2
Khruangbin - The Number 4
3
Khruangbin - August 10 / Master Of Life
4
Khruangbin - Two Fish And An Elephant
5
Khruangbin - White Gloves
6
Khruangbin - First Class
7
Khruangbin - So We Won't Forget
8
Khruangbin - Shida
9
Khruangbin - Friday Morning
10
Khruangbin - Lady And Man
11
Khruangbin - Pelota
12
Khruangbin - Evan Finds The Third Room
13
Khruangbin - Maria Tambien
14
Khruangbin - Time (You And I)
15
Khruangbin - People Everywhere (Shifting Sands Remix)
16
Khruangbin - A Calf Born In Winter
17
Khruangbin - Zionsville
"Live at Sydney Opera House" ist der letzte Teil der Live-Alben Serie von Khruangbin, dem weltumreisenden, genreübergreifenden Trio aus Houston, Texas. Das Album ist eine Doppel-LP, die ausschließlich aus Khruangbin-Kompositionen besteht und den Abschluss eines ehrgeizigen einjährigen Projekts für die Band bildet, das eine Hommage an ihre Live-Shows ist und ihre Improvisationskünste und kultigen Setlists feiert. Hier kommen karriereübergreifende Songs wie "A Calf Born in Winter", "Maria También", "So We Won't Forget", "Shida" und "Friday Morning" in ihrer vollen interplanetarischen Pracht zur Geltung, aufgenommen an einem der berühmtesten Veranstaltungsorte der Welt, dem Opernhaus Sydney. Der erste Solo-Auftritt der Band im berühmten Opernhaus fand im November 2022 statt und war an drei Abenden ausverkauft, womit sie sich in die Reihe der unzähligen Stars einreihten, die dort ebenfalls auf der Bühne standen. Die Doppel-LP folgt auf vier Live-Alben der Band, die seit Anfang des Jahres veröffentlicht wurden und mit Gästen wie Kelly Doyle, Ruben Moreno, The Suffers und Robert Ellis im Stubb's in Austin, Nubya Garcia im Radio City in New York, Men I Trust im RBC Echo Beach in Toronto und Toro y Moi im Fillmore in Miami aufwarten. Khruangbin sind bekannt für ihre Verbindung von Klängen aus aller Welt - darunter "eine Mischung aus R&B, Reggae, Surf-Rock, Melodien aus dem Nahen Osten, persischen Phrasierungen, lateinamerikanischen Rhythmen, Hip-Hop der 90er Jahre, westafrikanischer Instrumentierung, ätherischen Harmonien, psychedelischen Effekten und rumpeliger Disco" (Vanity Fair). Das Trio war mit zahllosen Welttourneen unterwegs und stand auf fast allen großen Festivalbühnen der Welt, darunter Glastonbury, Primavera und Coachella.
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Label:Dead Oceans
Cat-No:DOCLP331
Release-Date:19.05.2023
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0656605163116
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Genre:Indie Rock/Alternative
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It's only fitting that Khruangbin's first-ever official live releases would be albums paired with their tourmates: artists whose music they love and admire, friends who've become family along the way. Khruangbin's 'Live At' series of live LP straces just one small slice of the band's flight plan through the years: it's a taste of some of their most beloved cities, stages and nights. Most of all, Khruangbin's 'Live at' series ignites both sides of the band's magic: the warm, prismatic feeling of their albums and the bewitching energy of their performances. 'Live at Stubbs' features performances by Kelly Doyle, Ruben Moreno, The Suffers, Robert Ellis, and Khruangbin.
Tracklist:
1.1WOMAN TROUBLE
1.2AT THE TRAILRIDE
1.3DON'T BOTHER ME
1.4NOBODY SMOKES ANYMORE
1.5BLIND MAN CAN SEE IT / (IT'S NOT THE EXPRESS) IT'S THE MONAURAIL
1.6BIN BIN
1.7FRIDAY MORNING
1.8NUMBER 4
1.9PEOPLE EVERYWHERE (STILL ALIVE) More
Tracklist:
1.1WOMAN TROUBLE
1.2AT THE TRAILRIDE
1.3DON'T BOTHER ME
1.4NOBODY SMOKES ANYMORE
1.5BLIND MAN CAN SEE IT / (IT'S NOT THE EXPRESS) IT'S THE MONAURAIL
1.6BIN BIN
1.7FRIDAY MORNING
1.8NUMBER 4
1.9PEOPLE EVERYWHERE (STILL ALIVE) More
Label:Dead Oceans
Cat-No:DOCLP274
Release-Date:23.09.2022
Genre:World Music
Configuration:LP
Barcode:0656605157412
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Label:Dead Oceans
Cat-No:DOCLP274
Release-Date:23.09.2022
Genre:World Music
Configuration:LP
Barcode:0656605157412
Tracklist:
1. SAVANNE
2. LOBBO
3. DIARABI
4. TONGO BARRA
5. TAMALLA
6. MAHINE ME
7. ALI HALA ABADA
8. ALAKARRA
Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed "the African John Lee Hooker," one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali's musical legacy lives on through his son, Vieux aka "the Hendrix of the Sahara," an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original's integrity. The result is a rightful ode to a legend. Ali isn't just a greatest hits compilation. It's a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. "To me, music is magic, it is spontaneous, it is the energy between people," Vieux says. "I think Khruangbin understands this very well." The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin's reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they're poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. "I hope it takes them somewhere new, or puts them in a place they haven't felt or heard," Lee says. "It is about the love of new friendship and making something beautiful together," Vieux continues. "It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all." More
1. SAVANNE
2. LOBBO
3. DIARABI
4. TONGO BARRA
5. TAMALLA
6. MAHINE ME
7. ALI HALA ABADA
8. ALAKARRA
Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed "the African John Lee Hooker," one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali's musical legacy lives on through his son, Vieux aka "the Hendrix of the Sahara," an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original's integrity. The result is a rightful ode to a legend. Ali isn't just a greatest hits compilation. It's a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. "To me, music is magic, it is spontaneous, it is the energy between people," Vieux says. "I think Khruangbin understands this very well." The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin's reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they're poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. "I hope it takes them somewhere new, or puts them in a place they haven't felt or heard," Lee says. "It is about the love of new friendship and making something beautiful together," Vieux continues. "It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all." More
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Label:Dead Oceans
Cat-No:DOCLPC1274
Release-Date:23.09.2022
Genre:World Music
Configuration:LP
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Genre:World Music
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Limited Jade Vinyl!
Tracklist:
1. SAVANNE
2. LOBBO
3. DIARABI
4. TONGO BARRA
5. TAMALLA
6. MAHINE ME
7. ALI HALA ABADA
8. ALAKARRA
Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed "the African John Lee Hooker," one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali's musical legacy lives on through his son, Vieux aka "the Hendrix of the Sahara," an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original's integrity. The result is a rightful ode to a legend. Ali isn't just a greatest hits compilation. It's a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. "To me, music is magic, it is spontaneous, it is the energy between people," Vieux says. "I think Khruangbin understands this very well." The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin's reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they're poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. "I hope it takes them somewhere new, or puts them in a place they haven't felt or heard," Lee says. "It is about the love of new friendship and making something beautiful together," Vieux continues. "It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all." More
Tracklist:
1. SAVANNE
2. LOBBO
3. DIARABI
4. TONGO BARRA
5. TAMALLA
6. MAHINE ME
7. ALI HALA ABADA
8. ALAKARRA
Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed "the African John Lee Hooker," one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali's musical legacy lives on through his son, Vieux aka "the Hendrix of the Sahara," an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original's integrity. The result is a rightful ode to a legend. Ali isn't just a greatest hits compilation. It's a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. "To me, music is magic, it is spontaneous, it is the energy between people," Vieux says. "I think Khruangbin understands this very well." The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin's reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they're poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. "I hope it takes them somewhere new, or puts them in a place they haven't felt or heard," Lee says. "It is about the love of new friendship and making something beautiful together," Vieux continues. "It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all." More
Label:Dead Oceans
Cat-No:DOCLP300
Release-Date:29.04.2022
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0656605160115
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Label:Dead Oceans
Cat-No:DOCLP300
Release-Date:29.04.2022
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0656605160115
Tracklist:
1. The Medium
2. Goes By So Fast
3. Magazine (Feat. Salami Rose Joe Louis) https://youtu.be/qSKlCWGaaao
4. Postman https://youtu.be/xI0alDWn2tM
5. THe Loop
6. Last Year
7. Mississippi
8. Clarity (Feat. Sofie)
9. Foreplay
10. Déjà Vu
11. Way Too Hot
12. Millennium (Feat. The Mattson 2)
13. Days In Love
Toro y Moi's seventh studio album, MAHAL, is the boldest and most fascinating journey yet from musical mastermind Chaz Bear. The record spans genre and sound_encompassing the shaggy psychedelic rock of the 1960s and `70s, and the airy sounds of 1990s mod-post-rock_taking listeners on an auditory expedition, as if they're riding in the back of Bear's Filipino jeepney that adorns the album's cover. But MAHAL is also an unmistakably Toro y Moi experience, calling back to previous works while charting a new path forward in a way that only Bear can do. MAHAL is the latest in an accomplished career for Bear, who's undoubtedly one of the decade's most influential musicians. Since the release of the electronic pop landmark Causers of This in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his sound can be. But there's little in Bear's catalog that will prepare you for the deep-groove excursions on MAHAL, his most eclectic record to date. The second the album begins we're immediately transported into the passenger seat, jeep sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of MAHAL's 13 songs date back to the more explicitly rock-oriented What For? from 2015. MAHAL was mostly completed last year in Bear's Oakland studio with the involvement of a host of collaborators, Sofie Royer and Unknown Mortal Orchestra's Ruban Neilson to Neon Indian's Alan Palomo and the Mattson 2. "I wanted to make a record that featured more musicians on it than any other record of mine," he explains. "To have them live on that record feels grounded, bringing a communal perspective to the table." As a result, MAHAL is lush and surprising at every turn, from the cool-handed "The Loop," which recalls Sly and the Family Stones, to the elastic psych rock of "Foreplay" and the dizzying Mulatu Astatke-recalling of "Last Year." Lyrically, the album zooms in on generational concerns, picking up where the Outer Peace standout "Freelance" effectively left off. Bear seems to be surveying the ways in which we connect with technology, media, each other, and what disappears as a result. Cuts like the squishy "Postman" and the "Magazine" take a deep dive into our relationship with media in a changing digital world. "It's interesting to see how we adapt to this new age. We're so connected, but we're still missing out on things," Bear ruminates while discussing the album's themes. It's not all introspection. Bear cools things down near the album's end with the Mattson 2-featuring "Millennium," a laid-back jam with tricky guitar licks about ringing in new times even when everything else seems upside down. "It's about enjoying the new year, even when it's been shitty," Bear explains. "There's nothing else to do." Finding a sense of joy in the face of adversity is embedded in MAHAL's DNA, right down to the jeepney that literally and figuratively brings the music out into the community. "We know that touring is messed up for now, and large gatherings are a fluke," he explains. "It's about the notion of us going out to the people and bringing the record to them." And with the wide-open atmosphere of MAHAL, Toro y Moi stands to connect with more listeners than ever before.
More
1. The Medium
2. Goes By So Fast
3. Magazine (Feat. Salami Rose Joe Louis) https://youtu.be/qSKlCWGaaao
4. Postman https://youtu.be/xI0alDWn2tM
5. THe Loop
6. Last Year
7. Mississippi
8. Clarity (Feat. Sofie)
9. Foreplay
10. Déjà Vu
11. Way Too Hot
12. Millennium (Feat. The Mattson 2)
13. Days In Love
Toro y Moi's seventh studio album, MAHAL, is the boldest and most fascinating journey yet from musical mastermind Chaz Bear. The record spans genre and sound_encompassing the shaggy psychedelic rock of the 1960s and `70s, and the airy sounds of 1990s mod-post-rock_taking listeners on an auditory expedition, as if they're riding in the back of Bear's Filipino jeepney that adorns the album's cover. But MAHAL is also an unmistakably Toro y Moi experience, calling back to previous works while charting a new path forward in a way that only Bear can do. MAHAL is the latest in an accomplished career for Bear, who's undoubtedly one of the decade's most influential musicians. Since the release of the electronic pop landmark Causers of This in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his sound can be. But there's little in Bear's catalog that will prepare you for the deep-groove excursions on MAHAL, his most eclectic record to date. The second the album begins we're immediately transported into the passenger seat, jeep sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of MAHAL's 13 songs date back to the more explicitly rock-oriented What For? from 2015. MAHAL was mostly completed last year in Bear's Oakland studio with the involvement of a host of collaborators, Sofie Royer and Unknown Mortal Orchestra's Ruban Neilson to Neon Indian's Alan Palomo and the Mattson 2. "I wanted to make a record that featured more musicians on it than any other record of mine," he explains. "To have them live on that record feels grounded, bringing a communal perspective to the table." As a result, MAHAL is lush and surprising at every turn, from the cool-handed "The Loop," which recalls Sly and the Family Stones, to the elastic psych rock of "Foreplay" and the dizzying Mulatu Astatke-recalling of "Last Year." Lyrically, the album zooms in on generational concerns, picking up where the Outer Peace standout "Freelance" effectively left off. Bear seems to be surveying the ways in which we connect with technology, media, each other, and what disappears as a result. Cuts like the squishy "Postman" and the "Magazine" take a deep dive into our relationship with media in a changing digital world. "It's interesting to see how we adapt to this new age. We're so connected, but we're still missing out on things," Bear ruminates while discussing the album's themes. It's not all introspection. Bear cools things down near the album's end with the Mattson 2-featuring "Millennium," a laid-back jam with tricky guitar licks about ringing in new times even when everything else seems upside down. "It's about enjoying the new year, even when it's been shitty," Bear explains. "There's nothing else to do." Finding a sense of joy in the face of adversity is embedded in MAHAL's DNA, right down to the jeepney that literally and figuratively brings the music out into the community. "We know that touring is messed up for now, and large gatherings are a fluke," he explains. "It's about the notion of us going out to the people and bringing the record to them." And with the wide-open atmosphere of MAHAL, Toro y Moi stands to connect with more listeners than ever before.
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Label:Dead Oceans
Cat-No:DOCLP254
Release-Date:18.02.2022
Genre:Pop
Configuration:12"
Barcode:0656605155418
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Label:Dead Oceans
Cat-No:DOCLP254
Release-Date:18.02.2022
Genre:Pop
Configuration:12"
Barcode:0656605155418
Tracklist:
1.DORIS
2.B SIDE
3.CHOCOLATE HILLS
4.FATHER FATHER
5.MARIELLA
Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region's sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020's acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own _ Bridges calls it "more introspective," while Khruangbin bassist Laura Lee says it "feels more night time." When Texas Sun was released, AllMusic called the results "intoxicating" and Paste noted that "their talents and character go together so well." Now comes the next stage _ a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties' musical directions were clearly affected by their time working together. Khruangbin's most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger's Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. "As far as an essentially instrumental band, these guys are kind of the top for me," says Bridges. "I'm honored to have been the first singer that they've incorporated in their music." "It feels really special to me," says Lee. "It's not Khruangbin, it's not Leon, it's this world we created together."
https://www.youtube.com/watch?v=CgugkEB-q_Q More
1.DORIS
2.B SIDE
3.CHOCOLATE HILLS
4.FATHER FATHER
5.MARIELLA
Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region's sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020's acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own _ Bridges calls it "more introspective," while Khruangbin bassist Laura Lee says it "feels more night time." When Texas Sun was released, AllMusic called the results "intoxicating" and Paste noted that "their talents and character go together so well." Now comes the next stage _ a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties' musical directions were clearly affected by their time working together. Khruangbin's most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger's Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. "As far as an essentially instrumental band, these guys are kind of the top for me," says Bridges. "I'm honored to have been the first singer that they've incorporated in their music." "It feels really special to me," says Lee. "It's not Khruangbin, it's not Leon, it's this world we created together."
https://www.youtube.com/watch?v=CgugkEB-q_Q More
Label:Dead Oceans
Cat-No:DOCCD254
Release-Date:18.02.2022
Genre:Pop
Configuration:CD
Barcode:0656605155425
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Label:Dead Oceans
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Release-Date:18.02.2022
Genre:Pop
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CD!
Tracklist:
1.DORIS
2.B SIDE
3.CHOCOLATE HILLS
4.FATHER FATHER
5.MARIELLA
Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region's sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020's acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own _ Bridges calls it "more introspective," while Khruangbin bassist Laura Lee says it "feels more night time." When Texas Sun was released, AllMusic called the results "intoxicating" and Paste noted that "their talents and character go together so well." Now comes the next stage _ a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties' musical directions were clearly affected by their time working together. Khruangbin's most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger's Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. "As far as an essentially instrumental band, these guys are kind of the top for me," says Bridges. "I'm honored to have been the first singer that they've incorporated in their music." "It feels really special to me," says Lee. "It's not Khruangbin, it's not Leon, it's this world we created together."
https://www.youtube.com/watch?v=CgugkEB-q_Q More
Tracklist:
1.DORIS
2.B SIDE
3.CHOCOLATE HILLS
4.FATHER FATHER
5.MARIELLA
Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region's sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020's acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own _ Bridges calls it "more introspective," while Khruangbin bassist Laura Lee says it "feels more night time." When Texas Sun was released, AllMusic called the results "intoxicating" and Paste noted that "their talents and character go together so well." Now comes the next stage _ a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties' musical directions were clearly affected by their time working together. Khruangbin's most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger's Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. "As far as an essentially instrumental band, these guys are kind of the top for me," says Bridges. "I'm honored to have been the first singer that they've incorporated in their music." "It feels really special to me," says Lee. "It's not Khruangbin, it's not Leon, it's this world we created together."
https://www.youtube.com/watch?v=CgugkEB-q_Q More
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Cat-No:XLLP1327
Release-Date:09.06.2023
Genre:Indie Rock/Alternative
Configuration:LP
Barcode:0191404132715
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Tracklist:
1.Flimsier
2.Pink Shell
3.Seaforth
4.That Is My Life, That Is Yours
5.Tortoise Of Independency
6.Empty Stomach Space Cadet
7.Flimsy
8.Hamburgerphobia
9.From The Swamp
10.King Krule feat. Raveena & Raveena - Seagirl
11.Our Vacuum
12.Space Heavy
13.When Vanishing
14.If Only It Was Warmth
15.Wednesday Overcast
Written from 2020 to 2022, between London and Liverpool, Space Heavy took shape over the course of commutes between the two cities where Archy Marshall was splitting his time. Befitting an album quite literally written on the commute between the two places he called home, Archy found himself fascinated by the notion of “the space between” - the space haunted by dreams of love, touching a narrative of lost connection, losing people and situations to the guillotine of the universe. Once written by Archy, the music was developed by frequent collaborator and producer Dilip Harris and long-time band mates Ignacio Salvadores (Saxophonist), George Bass (Drummer), James Wilson (Bass Guitarist) and Jack Towell (Guitarist).
The result is a 15-track full-length by the musical polymath that inhabits the deepest reaches of the subterranean sonic world that Archy has constructed over the course of his career as King Krule. In it you hear a generational artist stepping into the height of their artistic powers – the auteurism apparent on his debut 6 Feet Beneath The Moon, the shapeshifting sonic palette of The OOZ, the primality of Man Alive! and the raw vulnerability expressed on You Heat Me Up, You Cool Me Down all coalesce into a wizened, dynamic body of work that reveals new elements with each listen. In line with Archy’s interest in the space between, it is an album wherein the negative space demands the same attention as the positive space. If one is willing to wade into the mire the reward is rich. More
1.Flimsier
2.Pink Shell
3.Seaforth
4.That Is My Life, That Is Yours
5.Tortoise Of Independency
6.Empty Stomach Space Cadet
7.Flimsy
8.Hamburgerphobia
9.From The Swamp
10.King Krule feat. Raveena & Raveena - Seagirl
11.Our Vacuum
12.Space Heavy
13.When Vanishing
14.If Only It Was Warmth
15.Wednesday Overcast
Written from 2020 to 2022, between London and Liverpool, Space Heavy took shape over the course of commutes between the two cities where Archy Marshall was splitting his time. Befitting an album quite literally written on the commute between the two places he called home, Archy found himself fascinated by the notion of “the space between” - the space haunted by dreams of love, touching a narrative of lost connection, losing people and situations to the guillotine of the universe. Once written by Archy, the music was developed by frequent collaborator and producer Dilip Harris and long-time band mates Ignacio Salvadores (Saxophonist), George Bass (Drummer), James Wilson (Bass Guitarist) and Jack Towell (Guitarist).
The result is a 15-track full-length by the musical polymath that inhabits the deepest reaches of the subterranean sonic world that Archy has constructed over the course of his career as King Krule. In it you hear a generational artist stepping into the height of their artistic powers – the auteurism apparent on his debut 6 Feet Beneath The Moon, the shapeshifting sonic palette of The OOZ, the primality of Man Alive! and the raw vulnerability expressed on You Heat Me Up, You Cool Me Down all coalesce into a wizened, dynamic body of work that reveals new elements with each listen. In line with Archy’s interest in the space between, it is an album wherein the negative space demands the same attention as the positive space. If one is willing to wade into the mire the reward is rich. More
Label:Groove Culture Seven
Cat-No:GCV7005
Release-Date:27.10.2023
Configuration:7"
Barcode:
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Label:Groove Culture Seven
Cat-No:GCV7005
Release-Date:27.10.2023
Configuration:7"
Barcode:
1
Serge Funk - Move On Up (Micky More & Andy Tee 7 Inch Mix)
2
Serge Funk - Move On Up (Micky More & Andy Tee 7 Inch Mix)
Taken from his standout album 'All Around The World', Serge Funk is back on vinyl with two delectable cuts: 'Move On Up' and 'Runaway'.
Both tracks get that extra magic touch from Groove Culture label bosses Micky More & Andy Tee for this release as they serve up a double header of specially made seven inch edits. Glamorously groovy, club heaters that blend all the best elements from disco, house, funk and boogie. 100% party starters right here.
DJ Support: Dimitri From Paris, Danny Krivit, Dr Packer, Late Nite Tuff Guy, John Morales, Moplen, Craig Charles and many others… More
Both tracks get that extra magic touch from Groove Culture label bosses Micky More & Andy Tee for this release as they serve up a double header of specially made seven inch edits. Glamorously groovy, club heaters that blend all the best elements from disco, house, funk and boogie. 100% party starters right here.
DJ Support: Dimitri From Paris, Danny Krivit, Dr Packer, Late Nite Tuff Guy, John Morales, Moplen, Craig Charles and many others… More
2x12"
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Label:Technimatic Music
Cat-No:tmmlp02
Release-Date:10.11.2023
Genre:Drum + Bass
Configuration:2x12"
Barcode:
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Last in:11.01.2024
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Label:Technimatic Music
Cat-No:tmmlp02
Release-Date:10.11.2023
Genre:Drum + Bass
Configuration:2x12"
Barcode:
1
Technimatic - For All Of Us
2
Technimatic - Coming Back
3
Technimatic feat. Ruth Royall - Help You Stay
4
Technimatic - Sunburst
5
Technimatic - Departure
6
Technimatic (feat. Zara Kershaw) - Colour Me In
7
Technimatic - Moment To Moment
8
Technimatic feat. Blocksberg - Under The Skin
9
Technimatic - Shifting Sands
10
Technimatic - Give Love
11
Technimatic - Aftermath
12
Technimatic feat. DRS - Risk Everything
13
Technimatic - You Call Me
14
Technimatic - Where It Begins
Tracklisting
A1 Technimatic - For All Of Us
A2 Technimatic - Coming Back
A3 Technimatic feat. Ruth Royall - Help You Stay
A4 Technimatic - Sunburst
B1 Technimatic - Departure
B2 Technimatic feat. Zara Kershaw - Colour Me In
B3 Technimatic - Moment To Moment
C1 Technimatic feat. Blocksberg - Under The Skin
C2 Technimatic - Shifting Sands
C3 Technimatic - Give Love
C4 Technimatic - Aftermath
D1 Technimatic feat. DRS - Risk Everything
D2 Technimatic - You Call Me
D3 Technimatic - Where It Begins
Sales Note
'For All Of Us' is the fourth album from liquid funk pioneers Technimatic, and the first on their own label 'Technimatic Music'.
Since joining forces in 2007, Peter Rogers and Andy Powell have become key players in the world of musical, emotive drum & bass. Their rich back catalogue covers the cream of d&b labels - Hospital, Ram, Shogun Audio and Spearhead to name a few - and in 2021 they established their own 'Technimatic Music' imprint.
'For All Of Us' reflects the current moment we are living in. The post-pandemic landscape, rising energy costs, geo-political instability, coupled with the relentless demands and expectations of social media have left many feeling disconnected, lost or anxious about their place and purpose in the world.
But music has always been a guiding force that, when the dark feels overbearing, never fails to help people into the light. Over the years, Pete and Andy have been inundated with personal messages of difficulty, grief, hardship, and how their music has helped people process, cope or just forget briefly about their troubles and go somewhere else. This is what 'For All Of Us' is about. More
A1 Technimatic - For All Of Us
A2 Technimatic - Coming Back
A3 Technimatic feat. Ruth Royall - Help You Stay
A4 Technimatic - Sunburst
B1 Technimatic - Departure
B2 Technimatic feat. Zara Kershaw - Colour Me In
B3 Technimatic - Moment To Moment
C1 Technimatic feat. Blocksberg - Under The Skin
C2 Technimatic - Shifting Sands
C3 Technimatic - Give Love
C4 Technimatic - Aftermath
D1 Technimatic feat. DRS - Risk Everything
D2 Technimatic - You Call Me
D3 Technimatic - Where It Begins
Sales Note
'For All Of Us' is the fourth album from liquid funk pioneers Technimatic, and the first on their own label 'Technimatic Music'.
Since joining forces in 2007, Peter Rogers and Andy Powell have become key players in the world of musical, emotive drum & bass. Their rich back catalogue covers the cream of d&b labels - Hospital, Ram, Shogun Audio and Spearhead to name a few - and in 2021 they established their own 'Technimatic Music' imprint.
'For All Of Us' reflects the current moment we are living in. The post-pandemic landscape, rising energy costs, geo-political instability, coupled with the relentless demands and expectations of social media have left many feeling disconnected, lost or anxious about their place and purpose in the world.
But music has always been a guiding force that, when the dark feels overbearing, never fails to help people into the light. Over the years, Pete and Andy have been inundated with personal messages of difficulty, grief, hardship, and how their music has helped people process, cope or just forget briefly about their troubles and go somewhere else. This is what 'For All Of Us' is about. More
2x12"
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Label:Critical Music
Cat-No:critlp018
Release-Date:06.10.2023
Genre:Drum + Bass
Configuration:2x12"
Barcode:
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Label:Critical Music
Cat-No:critlp018
Release-Date:06.10.2023
Genre:Drum + Bass
Configuration:2x12"
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1
QZB - Future Forever
2
QZB - Riot Gear Romance
3
QZB - Overdrive (feat. Charli Brix)
4
QZB - Shadowban (feat. T-Man)
5
QZB - Trench
6
QZB - Dangerously High (feat. Mara Sophia)
7
QZB - Nausea
8
QZB - Kodaira
9
QZB - Mirage (feat. Hadley)
10
QZB - Combat Drugs
11
QZB - Point Precision (feat. MCXL)
12
QZB - Harlem
13
QZB - Watch It Burn (feat. Charli Brix)
Tracklisting:
A1 QZB - Future Forever
A2 QZB - Riot Gear Romance
A3 QZB feat. Charli Brix - Overdrive
B1 QZB feat. T-Man - Shadowban
B2 QZB - Trench
B3 QZB feat. Mara Sophia - Dangerously High
C1 QZB - Nausea
C2 QZB - Kodaira
C3 QZB feat. Hadley - Mirage
C4 QZB - Combat Drugs
D1 QZB feat. MCXL - Point Precision
D2 QZB - Harlem
D3 QZB feat. Charli Brix - Watch It Burn More
A1 QZB - Future Forever
A2 QZB - Riot Gear Romance
A3 QZB feat. Charli Brix - Overdrive
B1 QZB feat. T-Man - Shadowban
B2 QZB - Trench
B3 QZB feat. Mara Sophia - Dangerously High
C1 QZB - Nausea
C2 QZB - Kodaira
C3 QZB feat. Hadley - Mirage
C4 QZB - Combat Drugs
D1 QZB feat. MCXL - Point Precision
D2 QZB - Harlem
D3 QZB feat. Charli Brix - Watch It Burn More
Label:Tresor Records
Cat-No:tresor329
Release-Date:09.02.2024
Genre:Techno
Configuration:12" Excl
Barcode:5051142009487
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Label:Tresor Records
Cat-No:tresor329
Release-Date:09.02.2024
Genre:Techno
Configuration:12" Excl
Barcode:5051142009487
1
Oscean - spiral
2
Oscean - feral
3
Oscean - spacion
4
Oscean - austraal
2024 repress, 140 g.
World minus UK
Propulsive techno solicitations abound on Ideoma, the debut EP from Oscean, a collaboration from Sebastia?n Galante, also known as Seph, and Andre?s Zacco. The two are figureheads of Argentina's techno sound, with releases on labels such as Insurgentes, Echocord Colour and Ilian Tape over the last decade.
Galante and Zacco join forces for the first time with inspiring effects, moving forward with vast paces, unshifting footsteps, with uneven prisms of electronic rhythm. Its direct intent and crisp sonic detail conjure a cinematic and nocturnal drive, unearthing subterranean pulses that leave all in its wake.
With Ideoma, Tresor Records presents a whirlwind of dense movement and cosmic energy that twists on percussive bends and distorting spirits. Spiral recalls natural phenomena, bound tight, with a rugged texture like no other, as flickers of sound processing suggest lift-off. The flanging Feral exudes a potent demeanour, wicked and unceasing. The ebbing melodics of Spacion hark back to 90s ambient techno and yet possess a rhythmic cut and thrust that navigates unchartered terrain.
Transmuting beyond planet earth, further into the extra-terrestrial, Galante and Zacco mask fractal brush- strokes with hurrying rhythms. They smear primitive and sharp sonics, pressed with dizzying resilience. The nosediving FM synths of Austraal beckon a haunting trip, cloaked in a trance of motion and forever eschewing all prediction.
More
World minus UK
Propulsive techno solicitations abound on Ideoma, the debut EP from Oscean, a collaboration from Sebastia?n Galante, also known as Seph, and Andre?s Zacco. The two are figureheads of Argentina's techno sound, with releases on labels such as Insurgentes, Echocord Colour and Ilian Tape over the last decade.
Galante and Zacco join forces for the first time with inspiring effects, moving forward with vast paces, unshifting footsteps, with uneven prisms of electronic rhythm. Its direct intent and crisp sonic detail conjure a cinematic and nocturnal drive, unearthing subterranean pulses that leave all in its wake.
With Ideoma, Tresor Records presents a whirlwind of dense movement and cosmic energy that twists on percussive bends and distorting spirits. Spiral recalls natural phenomena, bound tight, with a rugged texture like no other, as flickers of sound processing suggest lift-off. The flanging Feral exudes a potent demeanour, wicked and unceasing. The ebbing melodics of Spacion hark back to 90s ambient techno and yet possess a rhythmic cut and thrust that navigates unchartered terrain.
Transmuting beyond planet earth, further into the extra-terrestrial, Galante and Zacco mask fractal brush- strokes with hurrying rhythms. They smear primitive and sharp sonics, pressed with dizzying resilience. The nosediving FM synths of Austraal beckon a haunting trip, cloaked in a trance of motion and forever eschewing all prediction.
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Label:The Drop
Cat-No:DRP031LP
Release-Date:29.09.2023
Genre:Dub/Reggae
Configuration:2LP
Barcode:5056032375376
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Last in:17.07.2024
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Label:The Drop
Cat-No:DRP031LP
Release-Date:29.09.2023
Genre:Dub/Reggae
Configuration:2LP
Barcode:5056032375376
Flying high for the tenth anniversary of "Blackbird" album, we're pleased to announce the brand new Blackbird Returns remix album descending on the breeze. Friends from around the world, Nightmares on Wax, Jazzanova, KINGS, Syrup D, Christoph El Truento & Lucky Lane, DJ Philippa, Feiertag, Marcus Worgull, The KCBS, YARNI feat. Liv East, Dub Pistols vs Freestylers and Kid Fonque have remixed their favourite Blackbird tracks.
A1 BLACKBIRD (KINGS REMIX)
A2 RUSSIA (NIGHTMARES ON WAX 10TH ANNIVERSARY
REMIX)
A3 CLEAN THE HOUSE (CHRISTOPH EL TRUENTO & LUCKY
LANCE REMIX)
B1 SILVER & GOLD (YARNI FEAT. LIV EAST REMIX)
B2 BONES (PHILIPPA DUB)
B3 SOLDIER (JAZZANOVA REMIX)
C1 MOTHER MOTHER (FEIERTAG REMIX)
C2 BLACKBIRD (MARCUS WORGULL REMIX)
C3 BLACKBIRD (THE KCBS REWORK)
D1 BONES (DUB PISTOLS & FREESTYLERS REMIX)
D2 MOTHER MOTHER (KID FONQUE REMIX) More
A1 BLACKBIRD (KINGS REMIX)
A2 RUSSIA (NIGHTMARES ON WAX 10TH ANNIVERSARY
REMIX)
A3 CLEAN THE HOUSE (CHRISTOPH EL TRUENTO & LUCKY
LANCE REMIX)
B1 SILVER & GOLD (YARNI FEAT. LIV EAST REMIX)
B2 BONES (PHILIPPA DUB)
B3 SOLDIER (JAZZANOVA REMIX)
C1 MOTHER MOTHER (FEIERTAG REMIX)
C2 BLACKBIRD (MARCUS WORGULL REMIX)
C3 BLACKBIRD (THE KCBS REWORK)
D1 BONES (DUB PISTOLS & FREESTYLERS REMIX)
D2 MOTHER MOTHER (KID FONQUE REMIX) More
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Last in:03.07.2024
Label:echospace
Cat-No:echospace009-RE
Release-Date:05.07.2024
Genre:Techno
Configuration:12"
Barcode:
1
cv313 - Sailing Stars
2
cv313 - Subtraktive (Intrusion Twilight Dub)
3
cv313 - Sailing Stars (Intrusion Reform)
Another Repress landing end of January 2024!
MIDNIGHT BLUE 150 GRAM TRANSPARENT VINYL!
It's been nearly 15 years since this originally hit the shelves, which literally took the immersive atmospheric sound of Echospace and brought it right to the floor. With cv313's "Sailingstars" the spirit continues as they go on to preach the gospel of deep with a rippling exercise in space and bass. A sort of slow motion movement in tone and 38 hz sub frequency which nearly verges on the disturbing, a sonic threshold quite hard to achieve in a vinyl cut. The power of repetition and subtle atmosphere are clearly demonstrated here by bringing the listener to an almost hypnotic state within its melodic spatial grooves. The B side offers two immense reductions, equally effective providing a low end throb, analog spirit and organic textures captured in zero gravity, it's like truly sailing among the stars. Lovingly remastered and mixed down from the original analog 1/4" reel to reel tape, strictly limited to 300 copies for the world. More
MIDNIGHT BLUE 150 GRAM TRANSPARENT VINYL!
It's been nearly 15 years since this originally hit the shelves, which literally took the immersive atmospheric sound of Echospace and brought it right to the floor. With cv313's "Sailingstars" the spirit continues as they go on to preach the gospel of deep with a rippling exercise in space and bass. A sort of slow motion movement in tone and 38 hz sub frequency which nearly verges on the disturbing, a sonic threshold quite hard to achieve in a vinyl cut. The power of repetition and subtle atmosphere are clearly demonstrated here by bringing the listener to an almost hypnotic state within its melodic spatial grooves. The B side offers two immense reductions, equally effective providing a low end throb, analog spirit and organic textures captured in zero gravity, it's like truly sailing among the stars. Lovingly remastered and mixed down from the original analog 1/4" reel to reel tape, strictly limited to 300 copies for the world. More
Label:Avant! Records
Cat-No:AV!064
Release-Date:08.12.2023
Genre:Alternative/Electronic
Configuration:LP
Barcode:
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Last in:16.01.2024
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Label:Avant! Records
Cat-No:AV!064
Release-Date:08.12.2023
Genre:Alternative/Electronic
Configuration:LP
Barcode:
1
Skemer - Shout Or Cry
2
Skemer - Sunseeker
3
Skemer - Rhoeas
4
Skemer - Best
5
Skemer - Call Me
6
Skemer - Heartbreak
7
Skemer - Wait For Me
Note: limited repress of 300 copies on clear vinyl
Skemer is a brand new cooperation between singer Kim Peers, who’s also a model for Vogue, Steven Meisel, Prada and guitarist Mathieu Vandekerckhove of post-metal band Amenra and his personal project Syndrome.
Two very different worlds collide and lead to minimalist dark wave deconstructions that are equal parts brutal and erotic.
This duality is reflected in the name Skemer, which next to its obvious English meaning of ‘intriguer’ also stands for ‘dusk’ in Mathieu’s native tongue West-Flemish, as well as in their debut album.
Recorded just a few months after meeting, a sense of urgency shines through in the tracks that build Benevolence. The winding sensuality of Sunseeker juxtaposed with the pounding harshness of Best, the faint twirl of Call Me versus the solemn gait of Heartbreak.
Just like with their effervescent live performances where Peers seductive vocals coalesce with Vandekerckhove’s austere beats to meld into a transcendent fury. Everything has a double nature in the hands of Skemer. More
Skemer is a brand new cooperation between singer Kim Peers, who’s also a model for Vogue, Steven Meisel, Prada and guitarist Mathieu Vandekerckhove of post-metal band Amenra and his personal project Syndrome.
Two very different worlds collide and lead to minimalist dark wave deconstructions that are equal parts brutal and erotic.
This duality is reflected in the name Skemer, which next to its obvious English meaning of ‘intriguer’ also stands for ‘dusk’ in Mathieu’s native tongue West-Flemish, as well as in their debut album.
Recorded just a few months after meeting, a sense of urgency shines through in the tracks that build Benevolence. The winding sensuality of Sunseeker juxtaposed with the pounding harshness of Best, the faint twirl of Call Me versus the solemn gait of Heartbreak.
Just like with their effervescent live performances where Peers seductive vocals coalesce with Vandekerckhove’s austere beats to meld into a transcendent fury. Everything has a double nature in the hands of Skemer. More
12" Excl
in stock
Label:Systematic Recordings
Cat-No:syst0136-6
Release-Date:24.11.2023
Genre:Techno
Configuration:12" Excl
Barcode:4251804142915
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Last in:01.11.2023
Label:Systematic Recordings
Cat-No:syst0136-6
Release-Date:24.11.2023
Genre:Techno
Configuration:12" Excl
Barcode:4251804142915
1
Marc Romboy & Timo Maas feat. Fadila - Der Rhythmus (Original)
2
Marc Romboy & Timo Maas feat. Fadila - No Title
Strictly limited splatter vinyl (300 only)
GENRE/S: Electro/Techno
TRACKLISTS:
A1) Marc Romboy & Timo Maas „Der Rhythmus“ (Original)
B1) Marc Romboy & Timo Maas „Der Rhythmus“ (Dense & Pika Remix)
SHORT INFO:
Following the successful release of their inaugural collaboration, "Die Zeit," esteemed artists Timo Maas and Marc Romboy now present their second installment in their creative series. This latest offering delves into the realm of "Der Rhythmus," exploring the intricate nature of rhythm, as expounded upon by the introspective musings of vocalist Fadila.
The original composition emerges as a contemporary electro opus, meticulously crafted to infuse an exhilarating energy into moments calling for broken beats. With its innovative sonic palette, "Der Rhythmus" serves as a dynamic auditory experience, promising to captivate listeners seeking an electrifying sonic journey.
In addition to the original, the release features a transformative reimagining by none other than Dense & Pika. Their remix propels the track into a futuristic soundscape that seems to beckon from the year 2030. Immerse yourself in a riveting odyssey that transports you to a science-fiction world, where visionary sounds harmoniously merge with avant-garde techno rhythms. Dense & Pika's rendition embodies forward-thinking musical craftsmanship, inviting enthusiasts to explore new dimensions of electronic music.
"Der Rhythmus" emerges as a testament to the boundless creativity and collaborative prowess of Timo Maas, Marc Romboy, and Fadila, as well as the innovative remix artistry of Dense & Pika. This release is poised to leave an indelible mark on the ever-evolving landscape of electronic music.
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GENRE/S: Electro/Techno
TRACKLISTS:
A1) Marc Romboy & Timo Maas „Der Rhythmus“ (Original)
B1) Marc Romboy & Timo Maas „Der Rhythmus“ (Dense & Pika Remix)
SHORT INFO:
Following the successful release of their inaugural collaboration, "Die Zeit," esteemed artists Timo Maas and Marc Romboy now present their second installment in their creative series. This latest offering delves into the realm of "Der Rhythmus," exploring the intricate nature of rhythm, as expounded upon by the introspective musings of vocalist Fadila.
The original composition emerges as a contemporary electro opus, meticulously crafted to infuse an exhilarating energy into moments calling for broken beats. With its innovative sonic palette, "Der Rhythmus" serves as a dynamic auditory experience, promising to captivate listeners seeking an electrifying sonic journey.
In addition to the original, the release features a transformative reimagining by none other than Dense & Pika. Their remix propels the track into a futuristic soundscape that seems to beckon from the year 2030. Immerse yourself in a riveting odyssey that transports you to a science-fiction world, where visionary sounds harmoniously merge with avant-garde techno rhythms. Dense & Pika's rendition embodies forward-thinking musical craftsmanship, inviting enthusiasts to explore new dimensions of electronic music.
"Der Rhythmus" emerges as a testament to the boundless creativity and collaborative prowess of Timo Maas, Marc Romboy, and Fadila, as well as the innovative remix artistry of Dense & Pika. This release is poised to leave an indelible mark on the ever-evolving landscape of electronic music.
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Label:Music For Dreams
Cat-No:ZZZV23108
Release-Date:24.11.2023
Configuration:12"
Barcode:0616576255999
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Last in:04.03.2024
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Last in:04.03.2024
Label:Music For Dreams
Cat-No:ZZZV23108
Release-Date:24.11.2023
Configuration:12"
Barcode:0616576255999
1
Islandman - A1. Sunshine (Extended Mix)
2
Islandman - A2. Kalpler
3
Islandman - B1. Simple Man (Extended Mix)
4
Islandman - B2. Hemsin
Ahead of their European tour, Turkish electronic group islandman announce the release of the EP Popsicle Obstacle, out October 13 on Music For Dreams. The new material collected on the EP tracks a musical pathway from archaic folk traditions and regional acoustics through the electronic sequencer. From the spiritualist dream of primitive past to the glossy utopia of digital future. The core members of Islandman are multi-instrumentalist & producer, Tolga Böyük and Eralp Güven (percussion) and Erdem Ba?er (guitars). Islandman have become known for their live performances, as anyone who has witnessed their live streams from Istanbul for the London Jazz Festival and Boiler Room can attest to. The Popsicle Obstacle EP follows the group's third album Godless Ceremony of 2021 and their 2022 EP Bahar.
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3LP Excl
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Label:Stil vor Talent
Cat-No:SVT334LP
Release-Date:03.11.2023
Genre:House / Techno
Configuration:3LP Excl
Barcode:4251804143882
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Last in:10.10.2023
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Last in:10.10.2023
Label:Stil vor Talent
Cat-No:SVT334LP
Release-Date:03.11.2023
Genre:House / Techno
Configuration:3LP Excl
Barcode:4251804143882
1
Oliver Koletzki - My Last Attempt
2
Oliver Koletzki - Oliver's Silly Jam (feat. Oliver Klostermann)
3
Oliver Koletzki - Get on the Bus
4
Oliver Koletzki - Stay Until the Light (with Niko Schwind feat. Talmirage)
5
Oliver Koletzki - Heart on Hold (feat. Fritz Kalkbrenner)
6
Oliver Koletzki - Mind Games (with Natascha Polkè)
7
Oliver Koletzki - Space Papi
8
Oliver Koletzki - Candyflip
9
Oliver Koletzki - Pleasure of the Very First Time
10
Oliver Koletzki - Elevation (with Hidden Empire)
11
Oliver Koletzki - Mantra for Bora
12
Oliver Koletzki - Chasing Holes
13
Oliver Koletzki - Branka (with Andhim)
14
Oliver Koletzki - Hasenheide
15
Oliver Koletzki - Is it Real (feat. Malou)
16
Oliver Koletzki - Sonne geht auf (feat. LOLY)
17
Oliver Koletzki - Midnight Reggae
18
Oliver Koletzki - Don't Ever Wake Me Up (feat. Marlena Dae)
[Trifold 3x12” LP] incl. 18 Tracks for download
GENRE/S: House / Techno
TRACKLIST:
Vinyl:
A1 My Last Attempt
A2 Oliver's Silly Jam (feat. Oliver Klostermann)
A3 Get on the Bus
B1 Stay Until the Light (with Niko Schwind feat. Talmirage)
B2 Heart on Hold (feat. Fritz Kalkbrenner)
B3 Mind Games (with Natascha Polkè)
C1 Space Papi
C2 Candyflip
C3 Pleasure of the Very First Time
D1 Elevation (with Hidden Empire)
D2 Mantra for Bora
D3 Chasing Holes
E1 Branka (with Andhim)
E2 Hasenheide
E3 Is it Real (feat. Malou)
F1 Sonne geht auf (feat. LOLY)
F2 Midnight Reggae
F3 Don't Ever Wake Me Up (feat. Marlena Dae)
Download:
1. Oliver Koletzki, Oliver Klostermann - Oliver's Silly Jam
2. Oliver Koletzki - Get on the Bus
3. Oliver Koletzki, Niko Schwind feat. Talmirage - Stay Until the Light
4. Oliver Koletzki, Andhim - Branka
5. Oliver Koletzki, Fritz Kalkbrenner - Heart on hold
6. Oliver Koletzki feat. Natascha Polké - Mind Games
7. Oliver Koletzki - My Last Attempt
8. Oliver Koletzki feat. LOLY - Sonne geht auf
9. Oliver Koletzki - Midnight Reggae
10. Oliver Koletzki feat. Malou - Is It Real
11. Oliver Koletzki - Pleasure of the Very First Time
12. Oliver Koletzki - Candyflip
13. Oliver Koletzki - Space Papi
14. Oliver Koletzki, Hidden Empire - Elevation
15. Oliver Koletzki - Mantra for Bora
16. Oliver Koletzki - Chasing Holes
17. Oliver Koletzki - Hasenheide
18. Oliver Koletzki feat. Marlena Dae - Don't Ever Wake Me Up
Release Info:
With 'Trip to Sanity,' Berlin-based producer, DJ, live performer, and Stil vor Talent label head Oliver Koletzki presents a milestone in his 36-year long musical career and his 18-year tenure at the top of global electronic nightlife – his 10th studio album.
The album’s title, "Trip to Sanity’" – a reference to the classic German children’s story of the little dragon 'Tabaluga' – reflects Oliver's own path as a DJ within the world of club culture. But it also represents the appeal to an unbroken childlike curiosity as a producer, driven by the utopias of this parallel society. Naturally, Koletzki found his creative spark while performing on the stages of renowned festivals like Burning Man, Coachella, Garbicz, and Fusion, as well as in moments of peace and relaxation on meditative hikes and long beach walks in his second home of Cape Town.
In South Africa, Oliver wrote most of "Trip to Sanity" in the winter, then flashed out and finalised the tracks in his studio at Kreuzberg's Holzmarkt. Within the last 18 months a collection of complex and varied songs formed, which, typical for Oliver's collaborative approach, were often created in cooperation with musicians like techno-pop legend Fritz Kalkbrenner, Burning Man chance encounter Talmirage, scene friends Andhim, Hidden Empire, Oliver Klostermann and Niko Schwind, or the exceptional voices Natascha Polké, Malou, LOLY and Marlena Dae. The result is a rollercoaster ride through a diverse spectrum of dance music, effortlessly held together by Koletzki's unmistakable sound signature and his intrinsic sense for the exact tension between hedonistic dancefloor focus and poppy earworm impact. At the centre of it all shines a joie de vivre that runs like a thread through "Trip to Sanity": Playful, cheeky, imaginative, euphoric, a rainbow of genres and influences flow into each other, balanced by moments of reflection, melancholy or harshness.
The journey of discovery begins with the funky piano licks of "Oliver's Silly Jam," seamlessly followed by the disco groover "Get on the Bus." The radio single "Stay Until the Light" (feat. Niko Schwind & Talmirage) then combines pop vocals with deep emotions before Koletzki, alongside his superfriends Andhim, kicks it up a notch on the Afro-house masterclass "Branka." Next up, Fritz Kalkbrenner lends his unmistakable voice to the atmospheric anthem "Heart on Hold," paving the way for "Mind Games." Here, Natascha Polké's ethereal vocals glide over an almost haunting instrumental, heading towards the night.
At the album’s midpoint Koletzki breaks away from the expectations of the typical "techno blueprint" in a formal sense. Starting with the prophetically titled "My Last Attempt," a deep and muscular downtempo workout, Oliver creates a (further) homage to incredibly long nights with "Sonne Geht Auf" (feat. LOLY) and shows a completely different side of himself on the neon-infused dub track "Midnight Reggae." This segment of strong contrasts and a desire for reinvention is rounded off by the dreamy indie-dance atmosphere of "Is It Real" (feat. Malou), slowly leading us back to the club.
Because "The Pleasure of the Very First Time," "Candyflip," "Space Papi," "Elevation" (feat. Hidden Empire), and "Mantra for Bora" are clearly designed for the peak time, which is where Oliver predominantly finds himself during his sets. This part of the album is powerful, driving, and ecstatic – it captures the sweat of the dancefloor and the pulsation of the strobe light, making it tangible while listening.
Then, another shift is presented with "Chasing Holes" and "Hasenheide," two particularly rhythmic tracks characterised by hand drums and Balearic accents. Ultimately, Oliver concludes with the bittersweet closer "Don't Ever Wake Me Up" (feat. Marlena Dae). The title of this finale couldn't be more fitting, as it encapsulates what makes Oliver Koletzki's music so special at its core – it speaks to the subconscious, the senses, hits the heart, and leads it into the here and now.
For those who want to experience said state of mind even more intensely, there’s the opportunity this winter as part of the "Trip to Sanity" live concert tour in Germany. A long term dream of Oliver’s, who will present tracks from the new album paired with highlights from his extensive catalogue – naturally performed on an array of instruments in a proper live setup and as an audio-visual gesamtkunstwerk. For Oliver Koletzki, one milestone follows the other this year.
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GENRE/S: House / Techno
TRACKLIST:
Vinyl:
A1 My Last Attempt
A2 Oliver's Silly Jam (feat. Oliver Klostermann)
A3 Get on the Bus
B1 Stay Until the Light (with Niko Schwind feat. Talmirage)
B2 Heart on Hold (feat. Fritz Kalkbrenner)
B3 Mind Games (with Natascha Polkè)
C1 Space Papi
C2 Candyflip
C3 Pleasure of the Very First Time
D1 Elevation (with Hidden Empire)
D2 Mantra for Bora
D3 Chasing Holes
E1 Branka (with Andhim)
E2 Hasenheide
E3 Is it Real (feat. Malou)
F1 Sonne geht auf (feat. LOLY)
F2 Midnight Reggae
F3 Don't Ever Wake Me Up (feat. Marlena Dae)
Download:
1. Oliver Koletzki, Oliver Klostermann - Oliver's Silly Jam
2. Oliver Koletzki - Get on the Bus
3. Oliver Koletzki, Niko Schwind feat. Talmirage - Stay Until the Light
4. Oliver Koletzki, Andhim - Branka
5. Oliver Koletzki, Fritz Kalkbrenner - Heart on hold
6. Oliver Koletzki feat. Natascha Polké - Mind Games
7. Oliver Koletzki - My Last Attempt
8. Oliver Koletzki feat. LOLY - Sonne geht auf
9. Oliver Koletzki - Midnight Reggae
10. Oliver Koletzki feat. Malou - Is It Real
11. Oliver Koletzki - Pleasure of the Very First Time
12. Oliver Koletzki - Candyflip
13. Oliver Koletzki - Space Papi
14. Oliver Koletzki, Hidden Empire - Elevation
15. Oliver Koletzki - Mantra for Bora
16. Oliver Koletzki - Chasing Holes
17. Oliver Koletzki - Hasenheide
18. Oliver Koletzki feat. Marlena Dae - Don't Ever Wake Me Up
Release Info:
With 'Trip to Sanity,' Berlin-based producer, DJ, live performer, and Stil vor Talent label head Oliver Koletzki presents a milestone in his 36-year long musical career and his 18-year tenure at the top of global electronic nightlife – his 10th studio album.
The album’s title, "Trip to Sanity’" – a reference to the classic German children’s story of the little dragon 'Tabaluga' – reflects Oliver's own path as a DJ within the world of club culture. But it also represents the appeal to an unbroken childlike curiosity as a producer, driven by the utopias of this parallel society. Naturally, Koletzki found his creative spark while performing on the stages of renowned festivals like Burning Man, Coachella, Garbicz, and Fusion, as well as in moments of peace and relaxation on meditative hikes and long beach walks in his second home of Cape Town.
In South Africa, Oliver wrote most of "Trip to Sanity" in the winter, then flashed out and finalised the tracks in his studio at Kreuzberg's Holzmarkt. Within the last 18 months a collection of complex and varied songs formed, which, typical for Oliver's collaborative approach, were often created in cooperation with musicians like techno-pop legend Fritz Kalkbrenner, Burning Man chance encounter Talmirage, scene friends Andhim, Hidden Empire, Oliver Klostermann and Niko Schwind, or the exceptional voices Natascha Polké, Malou, LOLY and Marlena Dae. The result is a rollercoaster ride through a diverse spectrum of dance music, effortlessly held together by Koletzki's unmistakable sound signature and his intrinsic sense for the exact tension between hedonistic dancefloor focus and poppy earworm impact. At the centre of it all shines a joie de vivre that runs like a thread through "Trip to Sanity": Playful, cheeky, imaginative, euphoric, a rainbow of genres and influences flow into each other, balanced by moments of reflection, melancholy or harshness.
The journey of discovery begins with the funky piano licks of "Oliver's Silly Jam," seamlessly followed by the disco groover "Get on the Bus." The radio single "Stay Until the Light" (feat. Niko Schwind & Talmirage) then combines pop vocals with deep emotions before Koletzki, alongside his superfriends Andhim, kicks it up a notch on the Afro-house masterclass "Branka." Next up, Fritz Kalkbrenner lends his unmistakable voice to the atmospheric anthem "Heart on Hold," paving the way for "Mind Games." Here, Natascha Polké's ethereal vocals glide over an almost haunting instrumental, heading towards the night.
At the album’s midpoint Koletzki breaks away from the expectations of the typical "techno blueprint" in a formal sense. Starting with the prophetically titled "My Last Attempt," a deep and muscular downtempo workout, Oliver creates a (further) homage to incredibly long nights with "Sonne Geht Auf" (feat. LOLY) and shows a completely different side of himself on the neon-infused dub track "Midnight Reggae." This segment of strong contrasts and a desire for reinvention is rounded off by the dreamy indie-dance atmosphere of "Is It Real" (feat. Malou), slowly leading us back to the club.
Because "The Pleasure of the Very First Time," "Candyflip," "Space Papi," "Elevation" (feat. Hidden Empire), and "Mantra for Bora" are clearly designed for the peak time, which is where Oliver predominantly finds himself during his sets. This part of the album is powerful, driving, and ecstatic – it captures the sweat of the dancefloor and the pulsation of the strobe light, making it tangible while listening.
Then, another shift is presented with "Chasing Holes" and "Hasenheide," two particularly rhythmic tracks characterised by hand drums and Balearic accents. Ultimately, Oliver concludes with the bittersweet closer "Don't Ever Wake Me Up" (feat. Marlena Dae). The title of this finale couldn't be more fitting, as it encapsulates what makes Oliver Koletzki's music so special at its core – it speaks to the subconscious, the senses, hits the heart, and leads it into the here and now.
For those who want to experience said state of mind even more intensely, there’s the opportunity this winter as part of the "Trip to Sanity" live concert tour in Germany. A long term dream of Oliver’s, who will present tracks from the new album paired with highlights from his extensive catalogue – naturally performed on an array of instruments in a proper live setup and as an audio-visual gesamtkunstwerk. For Oliver Koletzki, one milestone follows the other this year.
More
12" Excl
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Label:Stil vor Talent
Cat-No:svt157
Release-Date:18.09.2015
Genre:House / Techno
Configuration:12" Excl
Barcode:827170609761
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Last in:09.09.2015
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backorder
Last in:09.09.2015
Label:Stil vor Talent
Cat-No:svt157
Release-Date:18.09.2015
Genre:House / Techno
Configuration:12" Excl
Barcode:827170609761
1
hvob - tender skin
2
hvob - tender skin, dj tennis rmx
3
hvob - the anxiety to please
4
hvob - the anxiety to please, scuba rmx
Tracklist:
A1 Tender Skin A2 Tender Skin (DJ Tennis Remix) B1 The Anxiety to Please B2 The Anxiety to Please (Scuba Remix)
Short info:
The third and final EP from the latest album of HVOB is due for release on September 18.
HVOB's album "Trialog" was released in spring this year and continues to attract unwavering international interest. The interdisciplinary art project - prompting an invitation to perform a Boiler Room set in Vienna, touted by American Thump magazine as a contender for an "Album of the Year" award - is a perennial headliner on influential blogs and media such as XLR8R, Resident Advisor, i-D and ARTE after charting high on Beatport and iTunes. At the same time HVOB's world-wide tour continues to gather momentum, with concerts in cities from Cape Town and New York to Hong Kong and New Delhi.
The third and final EP from the "Trialog" album, "Tender Skin/The Anxiety to please", is now set for release on September 18. None other than Scuba and DJ Tennis have been enlisted to remix the double A side, the seventh EP from the electronic duo: Scuba manages to transform the fragility of "The Anxiety to please" into a subdued powerfulness, while the DJ Tennis remix of "Tender Skin" is similarly powerful and technoid.
"Tender Skin/The Anxiety to please" is released on September 18 as a double A side, on vinyl and digital on Stil vor Talent.
More
A1 Tender Skin A2 Tender Skin (DJ Tennis Remix) B1 The Anxiety to Please B2 The Anxiety to Please (Scuba Remix)
Short info:
The third and final EP from the latest album of HVOB is due for release on September 18.
HVOB's album "Trialog" was released in spring this year and continues to attract unwavering international interest. The interdisciplinary art project - prompting an invitation to perform a Boiler Room set in Vienna, touted by American Thump magazine as a contender for an "Album of the Year" award - is a perennial headliner on influential blogs and media such as XLR8R, Resident Advisor, i-D and ARTE after charting high on Beatport and iTunes. At the same time HVOB's world-wide tour continues to gather momentum, with concerts in cities from Cape Town and New York to Hong Kong and New Delhi.
The third and final EP from the "Trialog" album, "Tender Skin/The Anxiety to please", is now set for release on September 18. None other than Scuba and DJ Tennis have been enlisted to remix the double A side, the seventh EP from the electronic duo: Scuba manages to transform the fragility of "The Anxiety to please" into a subdued powerfulness, while the DJ Tennis remix of "Tender Skin" is similarly powerful and technoid.
"Tender Skin/The Anxiety to please" is released on September 18 as a double A side, on vinyl and digital on Stil vor Talent.
More