Tracklisting
A1 A Thousand Details - Unrestful Mind
A2 A Thousand Details - Saatchi at Sloane
B1 A Thousand Details - Highbury Fields
B2 A Thousand Details - Cheerish the Moment

Sales Note
Thick chords, swirling organs and timeless grooves intermingle on Unrestful Mind, the latest entry from A Thousand Details on HAYES.

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Tracklisting
A1 dc11 - Forced Removal
A2 dc11 - A Vast Reserve of Indifference
B1 dc11 - Florus
B2 dc11 - Locked Groove
B3 dc11 - Terribly Partial

Sales Note
In constant chase of the perfect loop TAR029 brings four jams composed by dc11 and a locked groove on B2.

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Tracklisting
A1 AgainstMe & Red Rooms - Anger
A2 AgainstMe & Red Rooms - Blurred Mind
B1 AgainstMe & Red Rooms - Tunnelvision
B2 AgainstMe & Red Rooms - Dungeon's Theme

Sales Note
The needle drops on a groove deep as a grave. A hi-hat flickering at 3 a.m. AgainstMe & Red Rooms don't care if you make it out of this one.

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Tracklisting
A1 Augusto Taito - Kanji
A2 Augusto Taito - Paradox Of Choice
B1 Augusto Taito - O1.2
B2 Augusto Taito - A Sip Of Blood v2.1

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Tracklisting
A1 Casual Treatment - It Warms My Heart
A2 Casual Treatment - Floating (Locked)
A3 Casual Treatment - What Will Last Forever
B1 Casual Treatment - Eternity is Long, Prepare for it (Locked)
B2 Casual Treatment - Back in The Tunnel
B3 Casual Treatment - Not The One You Thought (Locked)
B4 Casual Treatment - Remember Me

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Tracklisting
A1 Louis The 4th - Rootedness
A2 Louis The 4th - Conception
B1 Louis The 4th - Two Days Before Leaving
B2 Louis The 4th - Tumultuous Groove
B3 Louis The 4th - Frequencies

Sales Note
Groovy, percussive and hypnotic tracks by Louis the 4th.

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Tracklisting
A1 Taken - Hybrid
A2 Taken - Drumcode
B1 Taken - Ice Truck
B2 Taken - Standard Truck

Sales Note
TAKEN [2024] MADE IN STOCKHOLM FOR [TH TAR HALLOW]

TAKEN = Elias Landberg & Nihad Tule

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Tracklisting
A1 Decka - Locked 4
A2 Decka - Intake
A3 Decka - Dense
B1 Decka - Locked 1
B2 Decka - Keeps Rising
B3 Decka - Exit
C1 Decka - Locked 2
C2 Decka - Emaciated
C3 Decka - After Motion
D1 Decka - Locked 3
D2 Decka - Finalise
D3 Decka - Under Influence

Sales Note
Double 12inch, four sides, twelve direct and powerful techno cuts giving away Decka's impactful style. Every side starts with a locked groove.

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Tracklisting
A1 DJ Savage - Fuente
A2 DJ Savage - Gridlock
B1 DJ Savage - Abaddon
B2 DJ Savage - Inside Out

Sales Note
DJ SAVAGE - DUBS 2000-2002
"TO CALM YOU DOWN"

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Tracklisting
A1 JSPRV35 - Echo
A2 JSPRV35 - Fear
B1 JSPRV35 - Gras
B2 JSPRV35 - Trapped

Sales Note
Constant creativity and raw energy by JSPRV35.

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2024 Repress

Tracklisting
A1 JSPRV35 - Pacific
A2 JSPRV35 - Pimp
B1 JSPRV35 - Prolix
B2 JSPRV35 - Retry

Sales Note
New and super fresh sounding 4 tracker by an hugely inspiring and unstoppable producer called JSPRV35.

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Tracklisting
A1 Dynamic Forces - Refuse (String Mix)
A2 Dynamic Forces - Self Surrender (MStr-1ng)
B1 Dynamic Forces - Raw Voltage Rhythms
B2 Dynamic Forces - Helix

Sales Note
Not just a follow-up. Tar 23 shows the duo's distinct style and artistic progression.

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Tracklisting
A1 Dimi Angélis - Drifter
A2 Dimi Angélis - Tyrant
B1 Dimi Angélis - Limbo
B2 Dimi Angélis - Phantom

Sales Note
Dimi Angelis is coming bright-eyed and bushy-tailed with his 3rd appearance on Tar Hallow, bringing 4 intense, hard tracks

DIMI ANGELIS INCUBUS TAR022

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Tracklisting
A1 Earwax - Behind The Grid
A2 Earwax - Raw Shadow
B1 Earwax - Fast Human
B2 Earwax - Again
B3 Earwax - No Need More

Sales Note
B2 track ends in a 4 beat locked groove.

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Tracklisting
A1 Slight Function - Dunkler Traum
A2 Slight Function - Sicofanta
B1 Slight Function - Adaptation Disorder
B2 Slight Function - Shuffle Ground

Sales Note
Slight Function = Krenzlin + Rhombic

Early support by: Alexander Kowalski, angel molina, Casual Treatment, Dave Clarke, Dj Shufflemaster, Eduardo de la calle, Kastil, MTD, Oliver Rosemann, pacou, R/D/V, Ryuji Takeuchi, Svreca

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Tracklisting
A1 NTTR-909 a.k.a. Nihad Tule & Roseen - Rebound
A2 NTTR-909 a.k.a. Nihad Tule & Roseen - Odyssey
B1 NTTR-909 a.k.a. Nihad Tule & Roseen - Hyperbell
B2 NTTR-909 a.k.a. Nihad Tule & Roseen - Dialogue

Sales Note
NTTR-909 is a collaboration project between Nihad Tule and Roseen.

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Tracklisting:
A1 Louis The 4th - Va De Soi
A2 Louis The 4th - Tolo
B1 Louis The 4th - Declined
B2 Louis The 4th - Kassl

Sales Note
Straight-forward 4 tracker bringing fresh vibes and high energy.

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Tracklisting:
A1 Dynamic Forces - Directions
A2 Dynamic Forces - Old Bite
B1 Dynamic Forces - TRSR
B2 Dynamic Forces - Substance

Sales Note
New, fresh material by the duo Dynamic Forces. A serious, effective 4 tracker compiled by the duo's significant powerful productions.

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Tracklisting:
A1 Charlton - Would It Be
A2 Charlton - Getting Back Out There
B1 Charlton - Calm Your Drift
B2 Charlton - Right Ear In Left Ear Out

Sales Note:
Charlton with his own unique style returns on Tar Hallow with a banging 4 tracker.

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The Source Material Various Artist series is back with a monster record for its second instalment once again featuring some of the realest heads on the underground – YTP, Raw Takes, Ole Mic Odd & Alonzo, and Chupacabras. This one comes hand-stamped on translucent green wax and is limited to 250 copies.

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Simply an iconic track from Swiss brothers Mandrax and Seb K aka Shakedown, ‘At Night’ is one of the most recognisable house tracks of the last two decades. With one of the most-hyped remixes of the year, artist of the moment Peggy Gou delivers with a squelching 7 minute groover, bringing in that iconic synth motif to lift the production and keep it rolling. Stepping up to tackle this masterpiece with a nu-disco dance track, Tiger & Woods use cowbell to accent a B-boy beat, with drum machine breaks bringing it back to the dancefloor. With a sophisticated house remix with a nu-disco edge is Purple Disco Machine, fusing a funk-infused bassline with Terra Deva’s unforgettable vocals. Finally is a brand new version from the Shakedown duo themselves, the Galactic Boogie Mix. With saturated synths and interplanetary breakdowns, Shakedown bring a carefree 80s quality to this iconic track’s irresistible after-dark charm.

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Repress!

26 years after its initial release, In The Lab EP by Language receives a reissue via Few & Far Between, a new imprint out of Bristol. Founder of Few & Far Between, Sam Hall, makes the 1992 deep house record the figurehead of his new label, setting the scene for the forthcoming original releases and further reissues in 2018 and beyond.

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Gondwana Records are proud to announce Octava the sublimely beautiful second album from immersive LA deep-jazz masters Phi-Psonics. Phi-Psonics is a meditative, deeply soulful immersive jazz group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulful music draws on jazz and classical influences together with Ford-Young"s own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, along the way they create something uniquely their own, beautiful landscapes for your thoughts to roam within.
Tracklist
1.1Invocation
1.2An Offering
1.3We Walk in the Gardens of Our Ancestors
1.4Green Dreams
1.5Where We've Been
1.6Lunar Reflections
1.7Becoming
1.8New You

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Repress!
Double trouble from the depths with this audacious edit package taking in two ultimate, belt from the bottom of your heart classics. Reworked, reloved and revamped to provide maximum dancefloor elation. Two big, bold edit beasts to help you break on through to the other side.

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Rayko the Spanish Disco Producer and DJ extraordinaire has been busy in his Madrid based Studio burning the midnight oil to deliver Vadillo Vice Volume two.

Four reworked funk fuelled bass heavy cuts, tried and tested by the man himself on dancefloors across the globe and due to be released on vinyl only later in the year.

Deeply rooted in the golden era of the 70s and 80s, Rayko’s influences are masterfully interpreted and transformed into modern day dancefloor bombs, and are a key signature sound of his long established label Rare Wiri (Since 2008) an outlet for his productions alongside other likeminded artists such as Daniele Baldelli, Man Parrish, Gazeebo, Ilija Rudman, Ichisan, Spirit Catcher, Mushrooms Project, Eric Duncan among many others.

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“‘A La Sala,’ I used to scream it around my house when I was a little girl, to get everybody in the living room; to get my family together. That’s kind of what recording the new album felt like. Emotionally there was a desire to get back to square-one between the three of us, to where we came from–in sonics and in feeling. Let’s get back there.” - Laura Lee Ochoa

The title makes it clear. A La Sala (“To the Room” in Spanish), the fourth studio album by Khruangbin, is an exercise in returning in order to go further, and do so on your own terms. It extends the air of mystery and sanctity that’s key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music. Yet if 2020’s Mordechai, the last studio album Khruangbin made without collaborators, was a party record whose ensuing post-lockdown tour enhanced the band’s musical reputation far and wide, A La Sala is the measured morning after. It’s a gorgeously airy album made only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It is a porthole onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.

It is also a response to the unique moment Khruangbin finds itself in now: following a decade spent cultivating extraordinary music paths, beginning a year when they'll perform for more people, in more iconic spaces, staging a live show that pushes a creative envelope peculiar to them alone. (Look for the band at major festivals and venues near you.) 2024 feels like both marker and pivot, cementing Khruangbin’s stature as a commercially and critically successful group that continues to be guided by creative possibilities.

Such crossroads are familiar for iconic artists throughout the rock era — your Dylans, Stevies and Bowies, up thru turn-of-the-century Radiohead, all have navigated these straits. On A La Sala, Khruangbin also pulls exploration inward, spurning the din of the crowd’s expectations, mapping a personal direction home. The trio’s collective musical DNA and the years spent constructing it in Houston’s local-meets-global cultural stew ensure the band carries on sounding like no one but itself. A La Sala may in fact be Khruangbin’s purest distillation. A cascade of crisp melodies still emanates from Marko’s reverb-heavy electric, dancing gently around Laura Lee’s minimalist almost-dub bass triangles, while DJ’s drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place.

Where prior album-by-album growth seemed to point the narratives towards music’s polyglot edges, such inquiries now sound like known intimacies. What once seemed like sonic invocations — spaghetti-western film scores, found-sounds, dancing moments more living room than rooftop disco — are ingrained characteristics. This is who they are! And there’s a freshness to the instrumental interactivity on A La Sala that’s less concerned with getting further out than going deeper in. That depth is not about therapeutic self-reflection, but a profound desire to celebrate the world’s external wonders.
A La Sala invites intimate intercontinental partying. The first single is, after all, called “A Love International.” “Pon Pón” holds the band’s table at the West African discotheque; yet the joy now moves to the corner left of the dancefloor, where the back-and-forth between Laura Lee’s bass, DJ’s hi-hat, and Marko’s tuneful rhythm scratches, is a marvel of knowing head-nods. There’s “Hold Me Up (Thank You),” a familial sweetness in its spare lyrics, feeding off the rhythm section’s sturdy funk shuffle, and a chorus on which Marko’s guitar evokes both sides of the Atlantic in confident unshowy rhythms. They’re on “Todavía Viva” too, next to DJ’s noir-soul rim-shots, synth strings and a pregnant pause that is Laura Lee’s favorite moment on the album, the mood kin to the band’s glorious live interpretations of G-funk fantasias. And the rocked-up miniature, “Juegos y Nubes,” demonstrates Khruangbin’s Houston-born superpower to culture-mix, a dancing mood less concerned with worldly glamor than communal grooving.

“I read something long ago, attributed to Miles Davis. He said, ‘When they play fast, you play slow. When they play slow, you play fast.’ And it's definitely how I've approached looking at music: Don't follow the trends. And if the trend is this, then do something else.” - Marko

From the get-go, Khruangbin’s journey has been emphatically its own: a sound and visual representation with few precedents, ignoring pop expectations, relying only on internal inspirations, and a multitude of visions. It’s a mindset of penetrating the self, connecting to the surrounding world, modeling your own life experiences. This ethos is threaded throughout A La Sala, audible in the album’s form and function. (It’s even visible in the vinyl version’s physical package, which will be released as a set of seven distinctive covers and color-sets — more on which in a sec.)

The building blocks for the album’s 12 songs were jigsaw pieces found in Khruangbin’s creative past. Having stockpiled ideas originally set down as off-the-cuff recordings (voice-memos made at sound-checks, on long voyages, as absentminded epiphanies), they began fitting those pieces together in the studio. Which parts were apt? Which could be massaged and stretched out? Which inspired new sections or rhythms or musical interactions? Once more, Khruangbin’s familial DNA kicked in. Layer-by-layer, the intimate work, rework and re-rework bore new fruit. They also brought back a strategy once foundational to their records: seeding an album with field recordings.

Some results fold directly into A La Sala’s down-home feel. “Three From Two” and “May Ninth” are wistful mid-tempo numbers, with guitar melodies that reside somewhere between Bakersfield and by-the-riverside, cues that, for all its borderless inclusivity, another core Khruangbin value is being steeped in American roots. And in the landscape that music comes from. Like all albums prior to Mordechai, Marko made sure environmental sounds — natural and man-made — appeared as textures. (At times philosophically: the group recorded while cricket chirps played in their headphones, presumably for terroir.) It’s how A La Sala achieves such interconnected set-and-setting-ness.

Other results are more metaphorical, especially in Khruangbin’s flirtation with ambient spaces. The dramatically beatless “Farolim de Felgueiras” and “Caja de la Sala” both feature only Marko’s unmistakable guitar dueting with Laura Lee’s Moog, lightly layered with sounds of shoes on stone steps, and cicadas in an open field. The closing “Les Petits Gris” more fully reduces and fleshes out the ambiance, with a piano and a simple single-note bass pattern, Marko’s plaintive spare guitar echoing the melody of a ballerina-turning music box. It feels an apt way of ending — as a passing of this particular moment, preparation for the next one, soon-come.

Even the seven different covers that adorn A La Sala’s various vinyl editions offer a throughline from the music into Khruangbin’s current frame. Designed by the band using Marko’s multitude of travelog photos, they are windows from the band’s living room onto a set of daydreams, scenes of impossible skies, external glances illuminating what is going on inside. These are also directly related to David Black’s images of DJ, Laura Lee and Marko which accompany A La Sala, and to Khruangbin’s live staging reinvention. It’s all about looking out and looking back, in order to better look ahead.

“All the little moments you capture. You don't see how impactful they are until you hear what eventually comes of them. A lot of those scraps end up being the thing — and you don't realize it until it's ‘The Thing.’” - DJ
credits
releases April 5, 2024

Produced by Mark Speer & Steve Christensen
Written, Arranged & Performed by Khruangbin
Art Direction: Tiny Frees
Mixing: Steve Christensen
Mastering: Chris Longwood

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Tracklisting:
A1 Gunjack - From Within
A2 Gunjack - Theme From Dubwars
B1 Gunjack - Gatekeepers Ball
B2 Gunjack - Ratsel Box

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Repress!
The first in a series of compilations by Jura Soundsystem is a blend of Dub, Ambient, Downtempo, Boogie and Proto House with a focus on music never before released on Vinyl, sought after out of print titles and some special versions edited specifically for the album.

The intention with this project was to delve deeper into the reissue pond and unearth some lesser known tracks and artists. Highlights include Smackos (AKA Legowelt) Ambient epic ‘We Can Watch Alf In The Hotel Room’, never before released on Vinyl, the Dub / Psych hybrid of Minus Group’s ‘Black Shadow’, Kash’s sought after ‘Percussion Sundance’ and special edits of Ken Dang and Tabou Combo. The end of the album includes some soothing Ambient tools.

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The return of Gaussian Curve - Gigi Masin, Jonny Nash and Marco Sterk’s much-loved trio are back for the first time since their 2016 sophomore album 'The Distance', presenting two new tracks entitled 'Winter Sun' and 'Fever Dream'.

Both tracks originate from recording sessions that took place in Amsterdam in 2016 for 'The Distance'. Despite not finding a place on the final album and being left as unfinished sketches for six years, the tracks represent an important part of the Gaussian Curve story which the band felt compelled to complete. Coinciding with the decision to perform a handful of live shows in 2022, they finally revisited the sketches, mixing and arranging them with the goal of giving them the full release that they deserve.

The trio’s trademark sound hits from first moments of 'Winter Sun'; a lush slow builder with all the classic GC ingredients; Nash’s airy and spacious guitar lines interplay with Masin’s warm rhodes, underpinned by Sterk’s subtle use of electronics and the minimal rhythm of a CR-78 drum machine.

On 'Fever Dream', the trio subtly expand their palette; a gently building 303 bass line and 808 rhythm form the foundations of the piece, with Masin’s vocals adding to a slow-burning intensity. Arguably a fuller sound hinting at new areas of exploration for the trio, but unmistakably Gaussian Curve.

Graphic art by Qiu Yang, design by Steele Bonus,

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