Session Victim’s 5th studio album ‘Low Key, Low Pressure’ feels like an anathema to today’s fast paced, industry driven musical landscape – and for all the right reasons.

Having released two intense, dancefloor-focused 12“s on Rhythm Section and Delusions Of Grandeur over the past year, their return to Night Time Stories brings out their trippy, headsy side once again.

And despite the pandemic downtime being over, Hauke and Matthias remain holed up in the studio, jamming, head nodding to drum breaks and churning out records like the one in front of you.

Spanning 10 tunes – 12 if you count the limited bonus 7“ that comes with the first pressing – the LP is undiluted Session Victim, with their occasional trio partner Carsten “Erobique“ Meyer as the sole musical guest on the library-esque SOFT LANDING, a tune reminiscent of something the boys would try to hunt down on one of their compulsive record store rummages to feed it to their Akais.

You’ll also find the sequel to one of their cornerstone tracks from their 2020 album Needledrop, Jazzbeat 07. (It’s JAZZ- BEAT 08, in case you were wondering.)

Having acquired a taste for the occasional cover version over the years, the duo closes the album out with their rendition of Instra:mental’s Photograph. Tackling such a classic is a daunting task which they approach in a gentle way, not swaying too far from the original, subtly reimagining the rhythmical foundation and exchanging the distinctive playground sounds from the original with field recordings of the locals populating the gritty area around their Neukölln studio.

Being long time fans of Swedish organ player Bo Hansson, Hauke and Matthias tried to reach out to the people responsible for his cover artwork - who today are in their late 80ies and have not answered ever since. Things came together in the most fortu- nate way when the pair were introduced to French artist Xavier d’espinay Saint Luc and his enchanting pencil wizardry. The out- standing result is what you’re holding in your hands right now.

TRACK LISTING

1. Enlightenment
2. Soft Landing
3. Jazzbeat 08
4. The Hidden Trail
5. Porchless
6. Mycelium Dub
7. Walk In The Park
8. Assembler
9. One Trick Ponies
10. Photograph 

Four years on from his explorative third full-length ‘Aquamarine,’ Londoner Ash Walker returns with an equally ambitious follow-up, via Night Time Stories. Alongside a plethora of award-winning collaborators and combining a dizzy- ing array of sounds, ‘Astronaut’ hears Walker push his astral shower of rhythm and vibes to new heights. If 'Aquamarine’ was the take-off of his audial spaceship, ‘Astronaut’ is the cosmic voyage reaching terminal velocity; a rocket-powered masterclass spanning jazz, blues, soul, funk, and reggae.

An avid record collector, Walker has DJed far and wide... from the infamous Royal Mail squat party to the canals of Venice, spinning vinyl in Brixton with The Specials to scattering dub across San Francisco and LA. His own production output is similarly explor- atory: his journeys have taken him far and wide, from tunnels under the river Thames to recording local percussionists in the Atlas mountains of Morocco

TRACK LISTING

01 Only Love Feat. Lou Rhodes
02 Letting Go Feat. Andrew Ashong
03 Afronaut Feat. Amp Fiddler & Laville
04 Babylonian Triangle Of Captivity Feat. Ebi Soda
05 Time Gets Wasted Feat. Sly5thAve & Denitia
06 Automation Feat. Oscar Jerome & Joe Armon-Jones
07 Running Away Feat. Jazz Ahmed & Laville
08 Petrol Head Feat. Laville
09 Detroit Velvet Smooth Feat. Yazz Ahmed
10 Jupiter Feat. Kennebe

Kennebec is the critically acclaimed musical outlet of Eric Phillips, a composer, producer, and multi-instrumentalist living in Portland, Oregon. 

Releasing his debut album ‘Departure’ at the beginning of the pandemic in early 2020, ‘Without Star or Compass’ was written and recorded during a phase in Phillips’ life which allowed him to re-examine his motivations. “The first primary influence for this record is that, more so than ‘Departure’, I wanted to write this record for my friends and others rather than for myself. Maybe it's also a product of maturing, but I wanted the music to communicate more clearly to others, and be less of an exercise of some kind for myself.”

From the subtle electronica of ‘Leaving The Canyons’ featuring the distinctive vocals of Future Islands frontman Samuel T. Herring, the expanding electronic beats of ‘Tall Tales’ featuring Hemlock Ernst (the rap moniker of Samuel T. Herring) and US singer Sudan Archives, to the effortlessly cast rhythms of ‘The Great Divide’ featuring Yazz Ahmed on horns, Phillips set out to make an album which was more direct with sparser arrangements and distinct melodies, while still maintaining the eclectic and creative nature of his debut. “I think if I were a writer, my words would be all setting and very little narrative. I'm really trying to evoke a sense of place and motion and journey and environment but the facts of the story are left vague.”

On working with Herring, Phillips adds, “I think our styles just resonated well with one another, and we clicked naturally. We sent some ideas back and forth remotely and then he flew out to Portland and we recorded all the vocals in three days together. It was so fun and inspiring - and really deepened my appreciation for his craft. He's such a nice guy and a total genius. Sam's lyrics really hit a beautiful balance between that sense of magic and folklore in the natural world that I'm after, while really bringing his own sense of narrative. He's really amazing at constructing lyrical concepts in a way that I think compliments my own strengths (and weaknesses).”

Throughout ‘Without Star or Compass’, Phillips masterfully creates an evocative sense of place and motion in a cinematic way, in part due to his love of soundtrack music, a heavy influence on the album. ‘Castalay's Fountain’ was inspired by classic JRPG music such as ‘Zelda’, ‘Chrono Trigger’ and ‘Final Fantasy’, while instrumental tracks ‘Friendship song’, ‘The Great Divide’ and ‘Calyptra’ are rich in cinematic grandeur.

In addition to the Kennebec project, Phillips has composed the music for numerous feature films, documentaries, podcasts and games. In 2020, alongside Mark Orton (of Tin Hat Trio) and John Hancock, Phillips co-composed the soundtrack to 'Wind of Change', a podcast created by New York Times Journalist Patrick Radden Keefe and produced by Spotify, recorded the Moscow Bowtie Orchestra for the feature length film ‘12 Mighty Orphans’ starring Luke Wilson, Robert Duvall and Martin Sheen and scored Northfork Studios documentary ‘Chehalis: A Watershed Moment.’

TRACK LISTING

A1. Castalay’s Fountain
A2. Leaving The Canyons Feat. Samuel T. Herring
A3. Northern Flight
A4. Tell Tales Feat. Henlock Ernst & Sudan Archives
A5. The Great Divide Feat. Yazz Ahmed
A6. Friendship Song
B1. Emoyeni Feat. Kalaido
B2. Dance Towards West
B3. Calyptra
B4. Open Air Feat. Samuel T. Herring
B5. Without Star Or Compass

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack.

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright.

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these struc tures beautifully, which was a big compliment for me”, he comments.

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then redid, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!”

STAFF COMMENTS

Matt says: The deep house legend’s downbeat and highly musical offering features a wealth of collaborators and sees him mature like good whiskey – full of flavour and depth.

TRACK LISTING

A1. Cool Water Feat. Ivan Conti (Azymuth) And Lars Bartkuhn
A2. Cycle Of Many
A3. Admira Feat. Gigi Masin
A4. Flowers Feat. Venecia
A5. Melt Into You Feat. Alex Malheiros (Azymuth)
B1. Flos Potentia (Sugar, Cotton, Tabacco) Feat. Khruangbin
B2. Sphere Feat. Jean-Luc Ponty
B3. WARM
B4. On My Way Home
B5. What Do The Stars Say To You

Twin sisters Georgina and Una McGeough who comprise Song Sung, grew up in Monaghan, a gnat’s width away from the border with Northern Ireland, and since the past decade have been based out of New York.

Via a mutual friend, the film-maker Seamus Hanrahan, Song Sung got a connection to David Holmes (Killing Eve, Noel Gallagher), and following their chance meeting in early 2016, spent three days holed up in Holmes’ studio laying down the tracks for an album. They had been collaboratively bouncing tracks back and forth between New York and Belfast for a short period, with Holmes sending the arrangements and Song Sung writing the lyrics and vocal melodies.

Fast forward four years and the result is a hypnotically unique sound that is strangely anthemic, coming on like a space-age girl-group transmitting directly from Jupiter. Holmes, known for his many film scores co-wrote and produced the album with fellow composer and Unloved band-mate Keefus Cian- cia (True Detective and The Ladykillers). The pair have a long standing working relationship and have worked on numerous scores including The Fall and Killing Eve (for which they won a BAFTA) as well as both Unloved albums.

Meanwhile, Song Sung, forging careers in the art world, have simultaneously managed to amass this vast catalogue of ma- terial in, quite frankly, the most unorthodox way imaginable (possibly contributing to the idiosyncrasies of their songwrit- ing). “We make melodies using alternative ways, but we also dabble in software” explains Georgina, “in the beginning, we created melodies by using our own vocals over some of our favourite music. Our first apartment in the East Village, was located above a bar and our back room was situated directly above the DJ booth. This is going to sound ridiculous, but it’s true, we started making melodies over the bass of the tracks coming through the floor from the bar below.” From that, a process of layering vocals, however obscure, was how the band started to formulate songs.

“We were very excited to work with David, the whole process was amazing and such a privilege. He got us immediately", claims Una. Georgina nods her approval. “Working on this album was an absolute dream. We only hope that the songs resonate, as they make their journey out into the world."

TRACK LISTING

CD
1. Come To The Water
2. Telling Tales
3. Somewhere
4. Orbiting Slow (Here It Comes)
5. Take Some Time
6. Testimony Of Tears
7. Let It Go (An Act Of Sorrow) BONUS TRACK
8. The Mind’s Eye
9. Come Whispering, Come Half Awake
10. Nothing Ever Dies

LP*
1. Come To The Water
2. Telling Tales
3. Somewhere
4. Orbiting Slow (Here It Comes)
5. Take Some Time
6. Testimony Of Tears
7. The Mind’s Eye
8. Come Whispering, Come Half Awake
9. Nothing Ever Dies

*9 Tracks With 10 Track Download

Expanding upon their recently released album Needledrop, which has received support from the likes of CRACK, Dummy, Mixmag, DJ Mag, Resident Advisor, XLR8R and more, the Remixed EP invites some of the pairs favourite artists for a deeper exploration of the album.

With a blend of jazz, electronic and downtempo, each of the remixers instill their own production styles to reimagine one of underground music’s most intriguing and genre-crossing acts into a new listening experience. From Laurence Guy’s melodic yet driving remix of ‘Needledrop’, to Jackmate’s transformation of ‘Still High’ into 5-minute, experimental rework, the ‘Needledrop’ remix EP continues to reaffirm the original album as Session Victim’s most eclectic LP to date.

Patrice Scott 90’s influenced take on ‘Isle Of Taste’ is a longer and more contemporary offering, whilst Dday One’s remix of ‘Jazz Beat’ adds a sinuous saxophone solo to fully embrace the experimental spirit of the original. The neo-jazz feel of ‘No Sky, Blue Sound’ is flipped to a slower tempo by Panoram, yet retains the explorative guitar solo heard on the album.

TRACK LISTING

A1. Needledrop (Laurence Guy Remix)
A2. Still High (Jackmate's Juke Rework)
B1. Isle Of Taste (Patrice Scott Remix)
B2. Jazzbeat 7 (Dday One Remix)
B3. No Sky, Blue Sound (Panoram Rework)

Driving, melancholic electronica, ‘Wise Old Man’ is a nod to what can be expected of James’ second album, Angel In Disguise, showcasing a more experimental side to his production. Traversing through musicality, progressive synths and introspection, this first single unveils the producer’s distinct sound with disorientated vocals; speaking of the interplay between reason and emotion, the lyrics repeat “Wise old man in my brain, soul bursting through my veins”, opening the gates to this captivating electronically steered opus.

This news comes after an incredible few years for the artist. 2018 saw James release his esteemed debut album A Louder Silence on Night Time Stories and follow up remix EP that championed upcoming electronic talent including Bruce, FaltyDL and Whities producer, Coby Sey, on rework duties; projects which captured the attention of key tastemakers including Resident Advisor, Pitchfork, Mixmag, Electronic Sound and Future Music UK.

An aesthetically driven artist dedicated to marrying powerful visual backdrops with sonic explorations, James teamed up with Hungarian director, Balázs Simon; producing the critically acclaimed, ‘Wurlitzer’ project which saw widespread support from the likes of Boiler Room, CLASH, Directors’ Notes, Motionographer, the UK and Berlin Music Video Awards, the London Short Film Festival, Dublin International Film Festival and more.

Angel In Disguise promises to explore the themes of love and loss through a masterful blend of harmonic vocals from James himself, nuanced electronic soundscapes and vibrant percussion - punctuated by bespoke visuals, directed by Balázs Simon. This exciting project is expected to make waves and see James step up, exhibiting his discerning ear and painstakingly honed production craft on a seminal label.

TRACK LISTING

1. Circles
2. Black Lens
3. I Ran With You
4. Wise Old Man
5. Angel In Disguise
6. Ritual
7. Alien (feat. Coby Sey)
8. Strange With You
9. Rebel

A heavyweight astral shower of rhythm and vibes, Ash Walker’s third album ‘Aquamarine’ is released on 19th July 2019 via Night Time Stories. Ash’s production output is similarly exploratory: his journeys have taken him far and wide, from tunnels under the river Thames to recording local percussionists in the Atlas mountains of Morocco. Inspired by a deep dive of sounds from artists including Duke Ellington, Quincy Jones, King Tubby, Bo Diddley, 4Hero, J Dilla, Pete Rock, Curtis Mayfield, Philip Glass, and Steve Reich; his first two albums, ‘Augmented 7th’ (2015) and ‘Echo Chamber’ (2016) gained attention from the likes of BBC 6 Music DJs Gilles Peterson, Don Letts, Gideon Coe and Clash Maga- zine, XLR8R and MIMS.

‘Aquamarine’ is a projection and culmination of all he’s absorbed. A cosmic explosion of sound and colour, rhythm, shape and patterns. The arrival of an unassuming dreamer now projecting his unique flavour of expression. ‘Aqua- marine’ is the take-off of this audial spaceship, a sound discovered in the grooves of thousands of records, united in one. A meditation designed to inspire good energy, Ash hopes to bring a sense of calm and tranquility to the listener amongst the chaos of life. Recorded at home with the freedom of time and space, it combines analogue with digital, and a fondness for normally unwanted shapes and textures such as fuzz, hiss and crackle.

“My previous albums have felt to me more like ventures on land. This one feels more like a deep sea voyage into the subconscious. Living to dream with visions of grandeur. Manifesting a beautiful path to walk on. It was inspired by everything around me, from friends and family to art and design, engineering and architecture, movement and how we use our five senses. I love to try and push my own boundaries of what I perceive to be right and wrong, seeing mistakes as innovations, and obstacles as inspiration.”

Highlights on the album include ‘Under The Sun’, ‘Time’ and ‘Finishing Touch’, all of which feature the smooth and silky voice of Laville. Themes of metaphysical exploration and transportation re-occur in the cosmic jazz of ‘Brave New World’ and the smoked beats on ‘Come With Us’. Also featured across the album are trumpet and flugel-horn genius Yazz Ahmed, bassist Marc Cyril (Keziah Jones, Jr Walker & The All Stars) and renowned musician and producer Jonathan Shorten.

STAFF COMMENTS

Barry says: Mixing elements of downbeat, hip-hop and a healthy dose of soul, 'Aquamarine' is another superb outing for the ever-talented Ash Walker. Shadowy beats clash with reverbed guitar and echoing vocals before breaking into loungy slow-jazz and heady opium-den instrumentals. It actually confounds all genre expectations and is all the better for it. Proper lovely.

TRACK LISTING

CD
1. Under The Sun (ft Laville)
2. Time (ft Laville)
3. Come With Us
4. Brave New World
5. Finishing Touch (ft Laville)
6. Aquamarine 07. Sanity (ft Laville)
8. I Need Money
9. Fat King Smoke
10. Aint Got You (ft Laville)

Vinyl
A1. Under The Sun (ft Laville)
A2. Time (ft Laville)
A3. Come With Us
A4. Brave New World
A5. Finishing Touch (ft Laville)
A6. Aquamarine B1. Sanity (ft Laville)
B3. I Need Money B4. Fat King Smoke
B5. Aint Got You (ft Laville)
B6. The Dagon's Cashmere Jumper

At the close of a marathon year supporting their breakthrough album, "Con Todo El Mundo", Khruangbin return with an exciting addition - an update on Vince Guaraldi’s timeless “Christmas Time Is Here.”

'Growing up the three of us all had very different Christmases,' says bassist Laura Lee. 'But we recently discovered we all had the exact same favourite Christmas song. When we realized it, we sat down to play it and it came together instantly. In 15 minutes, we had this recorded. It was like the best Christmas present ever.'

With ambling sweetness and a fresh, beat-driven groove, Khruangbin have taken this oft-covered classic and made it wholly their own. It's not in-your-face festivity and cheer, more languid, by-the-fire snugness from our favourite Texan laid-back funk rockers.

TRACK LISTING

A1. Christmas Time Is Here
B1. Christmas Time Is Here (Version Mary)

Aisha’s striking vocals sit centre-stage among her production of manipulated piano, electronic beats, sub-bass, sound effects and cello. Developed from an initial musical concept; melodies, structures and sounds bloom, exchange and reprise roles across the tracks, the EP evolving into a suite of four parts - the vocal tracks ("Progression", "Resolution") balanced by instrumentals ("It Will Come In Time", "Epilogue").

'The EP is about a natural progression, discovering courage and concurring fears. A small step in the right direction. A true understanding of my strengths and weaknesses that makes me feel much more emotionally balanced and focused.' - Aisha Chaouche.

Signing to Night Time Stories on the strength of a Soundcloud demo, Chaouche's debut album "Safe" was released in June 2018. The album chronicles events that occured in her formative years and the catharsis that occurred through her songwriting, the 12 tracks described as 'heartbreaking and spine tingling hymns” (Wonderland Magazine), having 'weightless, otherworldly qualities' (Uncut), 'richly textured sonic grandeur' (Bristol Live Magazine) and 'channeling the hymnal qualities of Cat’s Eyes, with the dense vocals of Medúlla-era Björk' (The Line Of Best Fit).

TRACK LISTING

A1. Progression
A2. It Will Come In Time
B1. Resolution
B2. Epilogue

"A Louder Silence" is the London-based producer and multi-instrumentalist’s first proper release; his two earlier singles feature on the record, after gaining support from Gilles Peterson’s Worldwide FM with a live airing and interview in 2017, plus continued backing from XLR8R, Stamp the Wax, and BBC Radio 6 Music DJ’s.

The album is both spacious and thought-provoking, energetic yet restrained, brimming with nuanced electronic instrumentals, dubby synths, and jazz breaks - creating an array of rich textures, complemented occasionally by James’ own soulful vocals.

While James’ early unreleased work was singularly electronic, "A Louder Silence" focuses on analog synths and warm acoustic instruments, all played by his own hand. It’s the product of a two-year spell in James’ home studio, with additional live drums recorded with Jim Macrae at London’s Old Paradise Audio.

James’ rich musical influences are laced through the release. Encouraged by his mother, a classically trained pianist, he learned to play the cello and developed a deep understanding of rhythm and melody that informs his approach to writing electronic music. James plays the piano he grew up listening to in “Mumma Don’t Tell” and samples an indefinable percussive element to drive forward “Suns Of Gold.” “Night and Day” sees cello plucks and long melodic strokes interlink with a grooving synth line. He also field records the atmospheric Moroccan sea in “Red Sea.” Inspiration stems from the experimentation of modern day electronic producers, fused with the Jazz, Classical, Blues, and Soul music that soundtracked his youth.

Central to the album is the idea of space. James recalls the early advice of his uncle, a jazz guitarist, who features on “Uncle Blue”:'I remember him saying to me: 'What goes in comes out' James says. 'Every detail should be a worthy detail; sometimes nothing is better than something.' Moments of blissful, structured intensity are juxtaposed with stillness and near silence -dark and light; loud and quiet. This also forms the foundation for the album title: "A Louder Silence" reflects the dichotomy of finding pockets of stillness in a noisy world.

TRACK LISTING

1. Alpine
2. Time
3. Suns Of Gold
4. Argonaut
5. Mumma Don’t Tell
6. Uncle Blue
7. Night And Day
8. Salaninam
9. Red Sea
10. Osho

The trio of Roy Avital, Yoav Saar and Johnny Sharoni produce a blend of sounds drawn from their diverse cultural worlds; ranging from art-pop to experimental house to horizontally-aligned vibes. Since surfacing at the close of 2013 with their breakout track "Move On", Garden City Movement have released "Entertainment" and "Bengali Cinema" EPs, the "Modern West" 12” in collaboration with The Vinyl Factory, climbed the Hype Machine Popular Chart with multiple singles, recorded live sessions for Boiler Room, Majestic Casual and FACT, opened for Bonobo, Caribou, Alt-J and played all over the world. The band's music video for "Move On" received a nomination for Best Music Video at the LA Film Festival, won “Best Video of The Year” at the MTV Israel Music Awards and the video for ‘She’s So Untouchable’ screened at Raindance Film Festival in London.

Recording through 2017 at their studio in Tel Aviv, Garden City Movement took the time to explore their sound as a band. From the combination of dream-like vocals and cinematic-RnB in singles "Slightly All The Time", "Before I Fall" and "A Means To An End"; to the leftfield four-four of "Mediterranea" and "Sans Titre" or the ethereal jazz of "I Knew Before I Met Her (That One Day I Would Lose Her)" and worldly influences of the title track - the heightened craft in their production is firmly felt across the album’s 18 tracks.

'After releasing three EPs, which each had a very tight deadline, recording the album has been a chance to grow. It’s the first time we have been able to really take the time and experiment a lot in the studio; try to develop and deepen our language, come up with new sounds, and take our techniques even further'. - Garden City Movement

The album takes a darker path lyrically; exploring the breakdown of a fading relationship and the depression, loneliness and abuse that follows. While not explicit, this melancholy grounds the album in the real world. The fusion of forward facing production and confessional account of human-interaction frames an emotional and honest album of modern soul music.

TRACK LISTING

1. Again
2. Passion Is A Dying Theme
3. Before I Fall
4. Ueno Park
5. Slightly All The Time
6. A Means To An End
7. I Knew Before I Met Her (That One Day I Would Lose Her)
8. Rini
9. Foreign Affair
10. For Tomorrow
11. What If You Can't Win?
12. Now
13. Bitter Moon
14. Zaïre
15. Mediterranea
16. Apollonia
17. Sans Titre
18. Santal 33

Comprising of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums, Khruangbin’s sounds are rooted in the deepest waters of world music infused with classic soul, dub and psychedelia. Their 2015 debut album "The Universe Smiles Upon You" was heavily influenced by 60’s and 70’s Thai cassettes the band listened to on their long car journeys to rehearsal in the Texan countryside. "Con Todo El Mundo" takes inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran. The sultry and humid grooves of their debut are alive and well, enhanced by a little extra funk, the lightly spiced flavours of Middle Eastern pop and maybe a little strung out Americana a la Cowboy Junkies. The hefty breaks on cuts like "Lady & Man" and "Maria Tambien" have that "Jungle Fever" toughness, while the woozy "August 10" and "Como Te Quiero" are classic examples of Khruangbin's languid style. "Shades Of Man" colours the trio's palette with a little country soul, while "A Hymn" preaches a gospel out of Death Valley. The perfect sophomore offering, "Con Todo El Mundo" retains all the tasty ingredients of the original and blends them with a new batch of exotic flavours.

STAFF COMMENTS

Patrick says: Shop faves Khruangbin continue their stroll through mellifluous melody with sophomore offering "Con Todo El Mundo", swapping the Thai tonalities of their debut for some distinctly Middle Eastern flavours. Every bit as languid and lovely as their debut, this new LP is different enough to show progression whilst remaining reassuringly familiar.

TRACK LISTING

1. Cómo Me Quieres
2. Lady And Man
3. Maria También
4. August 10
5. Cómo Te Quiero
6. Shades Of Man
7. Evan Finds The Third Room
8. A Hymn
9. Rules
10. Friday Morning

Taking influences from 1960's Thai funk - their name literally translates to "Engine Fly" in Thai - Khruangbin’s debut album ‘The Universe Smiles Upon You’ is steeped in the bass heavy, psychedelic sound of their inspiration, Tarantino soundtracks and surf-rock cool. The Texan trio is formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums.

The album was recorded at their spiritual home, a remote barn deep in the Texas countryside where their first rehearsals took place. The band listened to a lot of different types of music on the long drives out to the country but their favourites were 60s and 70s Thai cassettes gleaned from the cult Monrakplengthai blog and compilations of southeast Asian pop, rock and funk. This had a heavy impact on the direction of the band, the scales they used and the inflection of the melodies; which coupled with the spaciousness of the Texan countryside culminated in Khruangbin forming their exotic, individual sound. Although the band was conceived as an instrumental outfit, ‘The Universe Smiles Upon You’ features the first Khruangbin recordings with vocals. Tracks ‘People Everywhere (Still Alive)’, ‘Balls and Pins’ and recent single ‘White Gloves’ show a new dimension to the band.

“We feel like there is an ease that comes from being immersed in a space, away from the distractions of the city and everyday life. We make our music in a barn, in the Texas hill country, because it makes sense to us. Being there allows us to make music that comes naturally, and that’s what we wanted this album to be. We wanted to make a record that just let the music happen, and we hope that’s what you can hear.”

TRACK LISTING

1. Mr White
2. Two Fish And An Elephant
3. Dern Kala
4. Little Joe & Mary
5. White Gloves
6. People Everywhere (Still Alive)
7. The Man Who Took My Sunglasses
8. August Twelve
9. Balls And Pins
10. Zionsville