Suche:the fantastic four

FANTASTIC TWINS, the solo artist formerly known as The Twins, has always carried an air of transmutability - not only in a name creating its own hall of mirrors, but also in a constantly fluctuating sound, from the first spoken word interludes recorded as The Truly Fantastic Dessagne Twins From Saint-Etienne (for the Pachanga Boys' infamous 'We Are Really Sorry' album) to myth-building solo releases on Hippie Dance and Optimo Music, as well as style-bending remixes for La Mverte Vs Capablanca, Moscoman and - most recently - fellow Hippie Dancer Rebolledo.

Following the echo-drenched 'Holiday' on 'A Very Nice Combinado Volume Dos', the project from Julienne Dessagne has embarked on yet another transforming journey, leading to the latest outing with the well-suited title THE NEW YOU. Its four tracks prove Dessagne's ongoing commitment to an open sound aesthetic that works the techno blueprint from the inside out, mutating from foreboding, post-industrial landscape to dazed interzone opera in a heartbeat.

Uncanny rave polaroids from last night's ill-memorized peak floor flash up on opener SHAKE IT's mental screen, while follow-up HEY tries to herd its nervously rushing percussion to no - albeit banging - avail. The title track slowly implodes in reverse, pitting Dessagne's obsessing, molting vocals against a stubbornly no-wave-ish synth bassline and octave-hopping freeform keyboards blown to gaseous smithereens. Post-punk closer TIME SCIENCE kicks into motion with a confused diary entry turned subconscious commentary - while the psych guitar gently weeps all over the neatly arranged furniture. Welcome back, newcomers!

If you check the credits of The Rolling Stones' Goats Head Soup LP from 1973 you'll find a certain "Pascal" listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene - the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn't do too well, since Buddah didn't renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End... Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah's Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read "Do not listen to this LP if you are stoned".

Nik's last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik's last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach.

Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain.

"Nik Raicevic's music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations.

"This is an absolute must for collectors and fans of visceral, neurotic soundscapes."

"As far as late-60s / early-70s American Bedroom' Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic's alien topographIes - the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage' sci-fi pulp-novel covers - & copious Downer' sentiment. This music is imbued with a sort of lonely, anti-social sensibility that's about as far as you can get from the Academic' Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same."

Never reissued before on vinyl format, the Wah Wah reissue features original sleeve artwork made of paintings and drawings by Nik himself, and reproduction of the famous ironic "Do not listen if you are stoned" sticker. Limited edition, 500 copies only.

Classic singles like Billy Fury's 'Halfway To Paradise', Dusty Springfield's 'I Only Want To Be With You' and The Walker Brothers' 'Make It Easy On Yourself' would not have been hits without Ivor Raymonde. As their arranger, and in the case of 'I Only Want To Be With You' songwriter too, he shaped the final recordings. He decided on the orchestration and backing
vocals, chose the instruments and determined what was heard on the radio - and what record buyers bought.
'Paradise: The Sound Of Ivor Raymonde' is a long-overdue celebration of Ivor Raymonde, collecting his work as an arranger, musical director, producer, singer and songwriter. The story of a British musical great is told for the first time.
Billy Fury, Dusty Springfield and The Walker Brothers are heard. So is the only vocal performance for which Ivor Raymonde received a credit on a record label. He worked with the pre-fame David Bowie and Tom Jones. He spotted the potential of Los Bravos, steering them into the charts with 'Black Is Black'. Near-misses and obscurities made with Brit-girls Cindy Cole and
Helen Shapiro, the soulful Sonny Childe and confrontational protopsychedelic London band The Flies are as fantastic as the hits. With these and more, 'Paradise: The Sound Of Ivor Raymonde' distils the essence of the magic of Ivor Raymonde.
'Paradise: The Sound Of Ivor Raymonde' is released by Bella Union, the label run by Ivor's son, former Cocteau Twins member Simon Raymonde.
Compiled by Simon and Kieron Tyler, it is a very personal tribute to a sadly missed father. Born in 1926, Ivor Raymonde passed away in 1990. The previously untold story is revealed through a moving reminiscence written by Simon and in-depth liner notes and a track-by-track commentary by Kieron. Ivor Raymonde played on the ocean liner The Queen Mary in 1949. In the Fifties, British television viewers saw him in legendary comedian Tony Hancock's 'Hancock's Half Hour' but music was always going
to be most important - the hits with Billy Fury and Dusty Springfield in 1961 and 1963 meant he was in demand. The 26 selections balance the wellknown with collectable rarities and tracks drawn from - until now - barely heard-of singles. Each is a gem and each shows the magic of an Ivor Raymonde recording.
'Paradise: The Sound Of Ivor Raymonde' is issued on CD and 180g heavyweight double vinyl album with digital download code. The vinyl version is sequenced slightly differently for listening flow. Every track was originally issued as a single issued in mono for the pop market until 1968 / 1969. Keeping the integrity of the compilation in mind, all but four tracks appear in mono as they did originally. The masters used are those of the original singles.

Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.

Mantequilla y su conjunto

In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.

In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.

In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.

1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".

There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.

"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.

Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!














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The hotly tipped UK artist makes his debut for Drumcode's vinyl only off-shoot. Focused on showcasing cutting-edge underground techno, Adam Beyer's always got an eye on the future when curating Drumcode Ltd. Taking inspiration from the likes of Marcel Dettmann, Truncate and Planetary Assault Systems, Turner's four-track debut 'Don't Talk To Me About Style' was birthed in his home studio throughout 2017. The industrious Brit delivers a powerful peak-time EP of nocturnal techno that moves between different moods. The title track pops with a thick grinding bassline and trippy synth effects, before 'Escape' envelopes you into a subterranean world. 'Diodes' follows, a fantastic slice of electrifying techno that bucks like a rodeo bull. The EP concludes with the blazing 'Tunnel', that makes its mark with deft drum arrangements and a piercing call-to-arms siren.

Here We Are Releasing The Second Album Of Cologne Born Producer Thyladomid Who Is Familiar To Many Through His Work On Hamburg Label Diynamic Which Has Lead Him To Perform Around The World, Together With Artists Such As: Adriatique, Solomun, Kollektiv Turmstraße, Hosh, David August, Stimming, And Many More. More Then 30 Minutes Playing Time, 6 Tracks And Artwork By Florian Kramer Offer A Lot To Discover. Thyladomid Is Famous For His Forward Thinking Deep Melodic Dance Music Which Earned Him Respect And Support From Many People Of The Scene And Evolved Also In Cooperations With Adriatique And The Singer Mahfoud. You Can Find Two Tracks Featuring Mahfoud On The Album. With His First Album "interstellar Destiny" In 2015 Thyladomid Has Already Changed Towards More Introspective Music And You Will Hear He Has Taken That A Step Further Here. In Comparison To His First Album, "places" Refers To Different Places Which Inspired Him To Write The Album And Offers A Higher Level Of Complexity In The Making Of Music Which Has Helped Thyladomid To Enhance The Moody Quality In A Dazzling Way Sometimes Even Spine Tingling When You Let Yourself Go To Explore The Abundance Of The Trax. As He Said In His Own Words: - the Albums Intention Was That Of An Organic Produced Album With Different Moods. Instruments Such As Piano And And Violin As Well As Field Recording Bring Alive A Special Quality. The Bouncing Of Stones On A Frozen Pond Recorded With Multiple Microphones Suggest For Example An Authentic Spacious Quality. The Self Recorded Percussion, Sometimes Quite Exotic Were Included In All Of The Tracks. The Combination Of Synthetic Sounds With Traditionally Instruments Was One Of The Big Challenges For Me. The Piano And Prophet 6 Und The Moog Sub37 Were The Main Instruments Used For The Album'. Thyladomid Started Working On The Album 2 1/2 Years Ago. His Classical Training On The Piano Helped To Quickly Come Up With A Musical Theme Which Is Based On Different Tonalities Which Were Then Linked To Each Other And Which Actually Helped To Structure The Whole Release. The Good Weather In Summer Was A Good Inspiration And Finally Led To The Idea To Dedicate Tracks To A Certain Place, A Place Which Means A Lot For Him. From That Idea The Title Of The Whole Album Derived: "places ". "a Little Church In Amsterdam" As He Says "is Such A Track Encouraged By The City Of Amsterdam I Love And Respects So Much And Actually Have Spend So Much Time In. It Is A Track I Played Outside In My Garden To Friends And Which Works Perfectly For Me.' "a Little Church In Amsterdam" Is A Track Where Melodies Bloom And Flourish. It Feels Like Zooming In On Nature Grasping A Time Lapse Symphony. "blossoming Limburg Ft Mahfoud" Was Born In The Capital Of Limburg Which Is Located In The South Of The Netherlands And Reflects The Summer Of 2017 And Was Recorded In A Warehouse. It Reflects The Intimacy And Synergetic Level Between Mahfoud And Thyladomid. The Fantastic Deep Vocal Track Is Spiced Up With Lots Of Acoustic Details Which All Happen In The Background But Effectively Surface To Pull The Listener Into His World. "night Owl" Is A Lyrical Dreamy Piano Piece With A Melancholic Note And An Ear For Details. Acoustic Finesse Presented On An Episodic Scale. We Guess The Track Was Influenced By The Works Of Four Tet Or Pantha Du Prince. "kollwitzplatz" Is A Small Park In Berlin's Prenzlauer Berg Which Was Thyladomid's Home For 2 Years . - the Cafes And Restaurants Laced By The Alleys Of The Kollwitz District Resemble A Piece Of Home For Me And Represents The Time Of My Stay In Berlin'. Musically "kollwitzplatz" Is Full Of Life. You Can Hear Children Talking While The Piano Attracts Sounds Like Moths Are Attracted To Light. The Track Offers This Richness Of Percussive Elements And Sound Sources Creating A Stunning Complexity Which Does Not Limiting Itself But Rather Creates This Free Flow Of Acoustic Signals. You Instantly Will Feel: There Is A Lot To Discover At "kollwitzplatz". "underwater Rhapsody", The Title Says It All: It Has That Episodic, Free-flowing Structure, Featuring A Range Of Highly Contrasted Moods, Color And Tonality. What It Actually Means To The Listener Is That Grande Chords Meet Dissonances Of Sound That Fly In Like Drones Cross The Big Time Melodies That Gain A Centrifugal Force At Times... And All This Leaves You Dizzy And Creates Another Big Listening Experience As The Whole Album Is Directed To Entertain You In A Smart And Distinguished Way.






[E b2 | Places Ft. Mahfoud

Transversales Disques present a reissue of Bernard Baschet and Michel Deneuve's 4 Espaces Sonores, originally released in 1982. Rare 1979 recording of Bernard Baschet performing on his Sound Sculptures.The Baschet brothers are known worldwide as creators of Sound Sculptures, fantastic shapes of moulded metal and glass, which combine the visual arts with music.François Baschet had always been fascinated by acoustics, by the relationships between the shape and material of an intrument and the beauty of its sound.Bernard Baschet was passionately interested in contemporary music and firmly believed that such instruments were the proper tools for modern music, for they offered to the artist and performer a personal means of expression denied by electronic devices.Together the brothers began to design and produce Sound Sculptures, which could also be regarded as musical instruments.Circa 1965, Bernard worked alongside Pierre Schaeffer as a member of the GRM (Musical Research Group) on the elaboration of what was to become Schaeffer's "Traité des objets musicaux" (Treatise on Musical Objects).The Baschet brothers also created structures and instruments of all sizes, including bell towers, windmills and fountains, using the natural elements of wind and water to make music. Bernard Baschet was especially proud of his pedagogical work amongst deprived and handicapped children, with the instrumentaium made up of fourteen pieces.

Samosa Records return with De Gama's new 'Funktastic' EP, a disco and funk groove machine of an EP. Ever since his game changing 'Afrika' release back in 2010, De Gama has been turning heads and this new EP shows why he continues to do so. Not only is it filled with fantastic music but it is only the fourth release on his own label, Samosa Records. Continuing his own form, it is also shows a continuing commitment to great music from the new label and is sure to keep everyone watching to see what they do in the future.


The EP opens with 'Son Of A Slave', a deeply grooving and moving throwback to heyday's of funk. The multi-layered groove will call to mind the heights of dirty groove typical of the Ohio disco-funk bands in the second half of the 70's, reimagined in a way thoroughly suited to the modern dancefloor. '1972' follows, a nod to the same era. It opens in a far murkier manner than 'Son Of A Slave' and exudes a far more modern feeling than the opener. Before long, the irresistible Afro-carribean grooves join in and get your head and shoulders swaying and bobbing, the kind of sound which characterized the Cosmic Wave era. Keys join in and plant a firm smile on your face. This is the other side of soul music.


De Gama closes off the EP with 'Star-Buk' and some handheld percussion. Funky guitar follows in before the big synth and kick join in. Where can the groove go next The bassline answers this question by taking it into outer space. 'Funktastic', it does what it says on the tin.

Following on from his debut EP on Drumcode earlier this year, Ilario Alicante returns.For the past few years Ilario Alicante has enjoyed something of an unintentional Ibiza kinship with Adam Beyer. When the Swede played his special annual sets on the Amnesia Terrace for Cocoon, for three years out of four, the Italian has been right there playing alongside him, ensuring his talents were on the radar of the Drumcode chief.

Ilario made his first appearance on the label in 2016 with the stirring 'Temporary' featuring on A-Sides Vol.4, before securing his first full-length release with the 'Awakened' EP that dropped earlier this year. 'Figures & Echoes' deepens his contribution to the label with half a dozen powerful cuts.

'Figure of RA' opens the EP, combining a rousing vocal loop, pulsating beats and effective melodic interlude to fantastic effect.
'The Acid Runner' follows and is true to its name, characterised by echoing vocal effects that lead to a piercing 303-line that hits with peak-time power. 'Virgo's Echoes' features a persistent synth line that combining effectively with lush layers of melody to create an atmospheric impact. 'Third Eye' delivers an exhilarating dose of rave thanks to the hypnotizing riff that runs throughout.

Collecting some of their earliest BBC sessions this necessary document showcases the Fab Four immediately following the release of their debut album Please Please Me and right before they would become international superstars. Combining fantastic R&B covers and some of their best early originals this compilation finds The Beatles at a crossroads between their early beat roots and the pop brilliance they would go on to display for the rest of the 1960s. Essential.

Dekmantel regular Matrixxman returns with the third, and final instalment in the Sector series, Part III: Polyphony. In this triptych, the producer from San Fransisco sets out to highlight the key components behind the sounds and style of techno, exploring the range within the confines of a particular limitation. Following Parts I and II, which looked at Rhythm, and Acid, Charles McCloud Duff charters the realm of Polyphony with four, meticulously produced techno tracks, expanding his repertoire of cult, dancefloor music.Polyphony refers to the simultaneous combining of many notes in a musical sequence. In electronic music, this specifically refers to the role of the synthesiser - such as the Minimoog, ARP Odyssey, which can produce different pitches simultaneously. Polyphony has been an integral characteristic of the genre's sound for over a quarter of a century, and can be heard in many key records, living a the sonic forefront of these four tracks. 'Sector Series: III Polyphony' provides an exercise in melody and polyphony. Throughout the EP, swaggering rhythms are inter-washed with a sea of multi-melodious, reverberated notation. 'Initiation' resonates with the grandiosity, and harsh claustrophobia of early Underground Resistance. 'Access Granted', drives hard with pulsing effects, with a dystopic, rhythmic cacophony of euphony. 'Desert Planet' plays around with a differing tempo, imagining a more fantastical vision of music, echoing back to earlier Plastikman productions, using a vast sonic spectrum to conjure up a colour palette of alien imagery. 'Horizon' rounds things off; a track that builds on minimalism with a progressive composition, allowing the polyphonics to drive the track, harnessing the adept production qualities that Matrixxman has come to be recognised for.

Solar Phenomena welcomes singular rhythm master STL for a new EP that offers four fantastic tracks of dubby house. It is the label's fourth release and finds the Something label boss in a typically inventive mood.

First track 'Spy vs Spy' opens things with shuffling drum loops and eerie synth details that hypnotises over seven minutes. 'Atomsmasha' has wooden hits and rough shakers peppering a soft, imperfect groove as awkward chords bring an unhinged edge to the mix. On the flip, 'Summer Breeze & Brotherhood' has loose keys doing an off kilter dance over STL's trademark low-key drums where 'Freebird' zones you out with long held chords and detuned keys as cloudy, dusty kicks bring a barely-there groove deep down low. You know what to get from STL by now, but at the same time you can never get enough.

Most of the musicians who gathered to record this fantastic spiritual jazz record for the Strata-East label on May 24th, 1974 had crossed each other's paths in various musical pairings over the preceding few years. Husband and wife team Dee Dee Bridgewater (vocals) and Cecil Bridgewater (trumpet) had been working together on albums like Frank Foster's "Loud Minority", and Roy Ayers' "Coffy" and "Virgo Red". Ten weeks before the "Freedom Of Speech" session, the couple had been joined in Tokyo by Cecil's brother Ronald Bridgewater (tenor saxaphone) to record Dee Dee's debut album, the beautiful "Afro Blue". Also in the studio on May 24th, 1974 was Donald Smith, (piano, vocals), fresh from recording on his older brother Lonnie Liston Smith's "Cosmic Funk" - on which Ronald Bridgewater had also played percussion. Cecil McBee (bass) was also there - just two weeks before, he'd completed his own Strata East date "Mutima", and in February he'd played on Mtume's "Rebirth Cycle" - with both albums also featuring Dee Dee Bridgewater on vocals. He'd also played on Lonnie Liston Smith's "Astral Travelling".

So 1974 was a huge year for all five of these people. Donald Smith and Cecil McBee were six months away from recording on Lonnie Liston Smith's massive "Expansions", with McBee fitting in a few Pharoah Sanders albums in between.

AND THEN, THE MYSTERY ... So with all this fervent activity, the question has to be asked ...Who was Billy Earl Parker Jr (drums), the leader of this session

Billy Parker remains unlisted as a musician on all major jazz sites. His only other recording appears to be as a percussionist on Charles Tolliver's "Impact" in 1975. Then there's nothing.

Finally, by backtracking one of those Zoom info pages, I found a summary of a "SUNY Rockland Community College" 2002 press release that no longer exists :

"Billy Parker's Fourth World Legacy Concert ...The concert, Billy Parker's Fourth World Legacy, is the eighth annual tribute honouring the late percussionist and RCC educator, Billy Parker. A long-time Rockland County resident, Parker began his affiliation with RCC in 1987, building its jazz program and maintaining his life-long tradition of teaching and inspiring others. A lifelong student himself, Parker was near completion of his doctorate in music education at New York University when he died in 1996.

But then people began to read this blog post, and in the comments, Aaron Fuller said :

"Billy Parker was my uncle. He was an incredibly talented, smart, and kind man. I'm very happy to see that folks are still enjoying his masterpiece. Just to give you a bit more information about him... He was born and raised in Buffalo, NY and then attended college at Michigan State University. He met my aunt in Lansing. They lived in NY and toured in Europe for quite a while. Sometime later they relocated to Nyack, NY and he ended up on the faculty of the community college while he pursued advanced degrees from NYU. He was an Ellington scholar. Although his name isn't well-known even among the most avid jazz fans, I think that if you were to talk to some of the great NY musicians that were around in the late 60s and 70s you would find that most knew him. He also had a huge impact as a music educator and I have no doubt that his former students are all over the place, continuing to put his love of the art into practice."

“There is rebellion in the daftness and obscurity, and Snapped Ankles are but a celebration of the necessity of the weird” the Quietus

“Uproarious post-punk vocals on an exhilarating, entertaining four-minute gem” The 405

“The most exciting thing in our world” Loud And Quiet

“A post-punk utopia fit for all the creatures of the forest” The Line Of Best Fit

“Just fantastic!” Marc Riley, BBC 6 Music

“Hot-stepping garage rock outta London, underlined with Factory Floor-esque monotone synths and punky attitude” Boomkat

“Snapped Ankles burst forth with a dose of thunderous, rollicking post-punk” DIY

- This four LP box set features some of the best studio recordings by Bill Wyman's Rhythm Kings, the ten-piece band that Bill
put together after leaving the Rolling Stones in 1992. Whilst the band features guest appearances by all-star musicians (including
Mick Taylor, Eric Clapton, Chris Rea, George Harrison,Gary Brooker and Peter Frampton on these recordings), it has an all-
star core line-up that features Georgie Fame, Beverley Skeete, Albert Lee, Terry Taylor and Bill Wyman himself of course.
- For this compilation, Bill Wyman has chosen forty three tracks that showcase the fantastic lead vocals of both Beverley
Skeete, perhaps the UK's busiest session singer, and Georgie Fame, a star (and legend) in his own right since 1964 of course.
- Each singer has two LPs: Georgie's features his renditions of songs by the likes of J.J. Cale, Mose Allison, Dan Hicks, and Bill
Wyman & Terry Taylor, while Beverley's features her take on songs by Nellie Lutcher, Screamin' Jay Hawkins, J.B. Lenoir and
The Rascals.
- This box set marks the first appearance of any Rhythm Kings recordings on vinyl. The four LPs are housed in an attractive rigid
outer slipcase and the inner sleeves feature all themusician credits.

Richy Ahmed's Four Thirty Two imprint continues to shine a light on the freshest talent emerging from the house music underground, and on the label's third release, the London based Senzala get to flex their muscle on a fine release, backed with a remix from Ahmed and Jansons AKA Lovehertz.

Having previously released on the French label Mr. KS & Friends, and Politics Of Dancing, the Senzala boys, otherwise known as Jonni Santos & Sam Holland, deliver the goods once more on the 'Phase' EP.

The title track packs rolling 909s and looping filtered disco riffs into its punch; never letting the energy levels drop. Vocal licks and techno-laced stabs drive this club-focused track fantastically, with a glossy production that really shines through. Richy Ahmed and Jansons come correct with a Loveherts remix; a heavyweight analogue bassline dominated the mix and the vocal parts slide down the arpeggiated riff as incessant synth stabs ramp up the heat, taking their remix right to fever pitch.

The Senzala boys grind out more solid house grooves on 'All For You', deploying disco samples and vocals that are filtered and twisted around the tough drums to great effect, whilst on 'Agora', the mood remains unfaltering as feel good riffs and warm keys wrap around Senzala's steady beat to complete a stellar release that's packed with energy and infectious vibes.

Four Thirty Two, the new record label directed and curated by Richy Ahmed, reveals its second release this Spring with a fantastic new single from Luca Cazal. Out on vinyl & digital in April, 'Be Alone' is backed with collaboration with Italian producer, Andrea Fiorito.
Cazal has previously released music on Crosstown Rebels, Classic Music Company and his own See Double label, and once again displays his house music credentials on this Four Thirty Two release.
His understanding of club music runs deep; knowing what makes a dancefloor tick is an essential skill for any producer, and Cazal's DJ residency at the Paradise DC10 club nights and regular gigs at Circoloco keep him firmly in tune and adept at carving out modern and fresh party moments.
'Be Alone' is an inspiriting, rolling house track that builds steadily over its tenure. A filtered vocal hook unfurls over tension building strings and nimble keys, the hi-hats assuredly rattling over rolling snare fills and with the energy levels never dropping, Cazal serves up a cracking club cut with all the hallmarks of a filtered house classic in the making.
The infectious house grooves keep coming with 'Manali', with Cazal partnering up with Andrea Fiorito (Cynosure) for a no-nonsense, heads down, acidic basement moment. An urgent bassline bounces around the locked groove whilst choppy vocals, haunting synths and energetic percussion all hustle for prime position in this lively and effective track.

For the past four decades, a growing cult of soul music collectors have sought two obscure LPs and a handful of extremely rare 45s released on the vanity record label LAD Productions, Inc. between the late seventies and the mid eighties by the mysterious South Side Chicago singer/song writer Larry Dixon.
Larry's raw songs capture the transition from R&B to boogie-down as disco was rapidly becoming extinct.
They also perfectly illustrate Larry's ability to overcome his environment and discrimination, transcended by his determination to write and produce music. With the support of his faithful musicians, Larry's success was only hindered by lack of airplay and promotion, but his talent shines through.
This is the story of Larry Dixon, his label LAD Productions, Inc., and his friends and family throughout four decades of music in Chicago's toughest neighborhoods.
Jerome Derradji is proud to reactivate Past Due Records - the boogie funk division of Still Music to release this fantastic archive - what many consider to be the Holy Grail - of Chicago Funk, Boogie and Soul.

The fifth release on Renate Schallplatten comes from Dimitri Veimar from Moscow, a good friend and regular guest behind the decks at Renate. Hot on the the heels of his fantastic Time EP on Omnidisc, he delivers four tracks of modern acid flavoured goodness. The icing on the cake is a superb remix by Renate all time favourite Lauer from the Robert Johnson crew.

Never before released studio and live recordings by Harmonia from 1975! Four fantastic tracks. Two from the Harmonia studio in Forst and two from live shows in Hamburg. These pieces express a very exploratory side of Harmonia, a rare peek into what they were capable of live.

Black magic, what is that supposed to be A spell that seeks to do harm to others Usually yes, however Taron-Trekka are animated by the best intentions, rather aim for the magic of the night and as always want to merely destroy the dancefloors of this world in a symbolic way. In fact, nobody has comes to grief with the four tracks of their "Black Magic EP" (the last part of their "Magic" triology) - nevertheless, they possess a certain magic.

However, Taron-Trekka don't make jumbo jets disappear, they don't walk through the Chinese wall or initiate other cocky tricks à la Copperfield. They are more like thimbleriggers. Or card jugglers. You know, those guys who surprise you when you least reckon with it. Those who have already outsmarted your mind when you were still thinking that it was just about to really begin. Taron-Trekka have the groove and cast a net of loops, which magically creates a tremendous energy. Loops with which the smallest shift can open up worlds. Worlds, which admittedly appear accessible, but are hardly decipherable. This way, tools become magical tracks. Furthermore, house becomes a music, which brands itself to the last corners of a soul. Just like the trick that you haven't understood until today.

A1 Black Magic Taron-Trekka's ride through the night starts funky and dry with the title track of the EP. The effects bleep here and fade away there, however over distance a magical pull develops. A pull that can only be escaped from with great difficulty.

A2 Monofile Regarding "Monofile", Taron-Trekka conjures a groove as selfwilled as enchanting by initially making vocals and keys appear on a dead straight beat and then letting this very same one stumble over itself. At the right moment it engenders at least as much "Ohs" as "Ahs" in a club, you bet.

B1 Red From black to red, from night until morning. For exactly this moment "Red" was made, which brings every last person to the next afterhour with its swing and depth.

B2 Distance Entirely against its own title, "Distance" may indeed affect one deeply. Namely then, when one wants to delve into funk as subtle as extensive. That is Jan Jelinek at a gallop or SND with more punch. Both are fantastic

Welcoming the fourth vinyl only instalment from FarFromNormal Features an excellent 3 track EP from the up and coming Julian. After a long process Julian has come up with 3 great original tracks which FarFromNormal where happily to take on board and put together Julian's very first vinyl release. This record grabs your attention from the start with track 1 Resorave. Resorave is a very psychedelic track with dark drums and beautiful slow atmospheres and a tripping vocal. Track 2 Grunge is much more on the groovy side to with fantastic production and pads that take you on a great journey. Track 3 Chorale is the title track and the one track to leave you on a high, with the heavy kicks and bass lines mixing between a tripping vocal and beautifully placed instruments, this is perfect for the peak hours.

hile it may seem as though it's been a quiet year in the studio for Brooklyn-based DJ/Producer Greg Schappert (aka Donor), his first full-length album entitled Against All on Chicago-based Prosthetic Pressings, will prove otherwise.

This 10-track release is a tour de force of formidable intensity and suspense and Donor wastes no time creating an ethereal realm right from the start. By taking a deep dive into a dystopian world full of distant transmission like voices, expressed through field recordings taken in and around New York City, Donor successfully paints a picture of what could be his unsettling vision of the future. While it may be difficult to explain how this album progresses throughout, there is something below the surface tying everything together, leaving us with a feeling of despair in that the world does not end how it is likely to be perceived through this beautiful or haunting, yet sophisticated, soundtrack. Alien invasions, civil war, post apocalyptic mayhem, call it what you will, Donor sets the stage for an unsettling vision of the not so distant future that can be heard in his thought provoking debut LP.

Donor's time spent overseas living in countries like Spain and Japan, his love for Birmingham Industrial Techno and early Dutch and Detroit Electro, combined with his upbringing on John Carpenter films, have all contributed to Donor creating his unique, yet recognizable sound.
Feedback:
Audio Injection / Droid Recordings
Yeah my boy Greg getting down! Great album!!
Leonard Posso / Thema
Hands down one of the best bodies of work to date from Greg aka Donor! SOLID PACKAGE! Many of these will get played throughout the night! Big Ups Donor and PP!
Vidal / Droid Recordings
nice sounds
Ergin Karabulut / FAZE Magazin
ok
DJ Nori / Posivision
cool dark essence.
Paul Clarke / Dj Mag
Not exactly heartwarming but lots of good stuff if you like it bleak.....
Mark EG / Core Magazine, Tilllate Magazine
IP Test
Nerk / V-Records / De:Bug
dark & minimal (in a good way)
Exberliner
!
Frank Hilpert / Freshguide (5x Regional A5 Mag) , Freshguide BLN, Freshguide MDL, erwischt.org/
Big - Review to follow.
Berlin Mitte Institut / Berlin Mitte Institut
More IDM than techno. Some interesting tracks on this album.
David Marcia / Phuturelabs, Phuturelabs
Good stuff. Considering for review and radio play.
Bleed / De:Bug
considering for review
Benoît Carretier / Tsugi
solid one tx
Pawel Gzyl / Nowamuzyk
killer1
Laurent Diouf / MCD magazine / WTM radio show
another wtm's playlist is coming soon...;)
Alland Byallo / Nightlight Music, Bad Animal, Pokerflat
Fantastic album. Deep, dark, nasty. Pure mood (and some seriously heavy BOOM).
Solomun
Hello, i am downloading and pre checking all promos for Solomun. I will give you a personal feedback if he plays and supports this release. Thanks a lot and have a great day.
Solenoid / Graphene / Belief System
wikked album of deep ritualistic techno ...
Electric Indigo
cool tracks here. station a14, ip test and own exile are my favorites after first listen. thank you!
Corin Arnold / BLN FM
sounding good, support!
RADIO CAMPUS BESANCON / THE VINYL GUERILLA
not really for me ... DJ Gaogao
Riyaz Khan / Diversions on chry105.5fm
like the shifting tensions and brooding atmospheres throughout!
Fabian Birke / WOMR College Radio / BLN.FM
For radio play, thanks
Andrew Grant (Circo Loco)
Own Excile is very good
Slam / Soma Records
cool album thanx
Sebastian Roya (Connaisseur)
Bomb! nice job!
Matthias Springer / Diametral / Chillkyway
great release, brainsqueezing!
DJ Hyperactive
good tune on here man
Patrick Bateman (Tic Tac Toe / Connect Four)
Hands On, Calling, Menace Is Mine & In Your Place are the ones for me. As always full quality from Donor!
Jonas Kopp / Curle, Deeply Rooted House
Will check properly , thanks.
HalfStereo
Dark moods is what i like...
Angel Molina ( Sonar / Tresor )
LOVE this dark & hypnotic release. Tracks like 'Menace Is Mine', 'Station A14', 'Counter' or 'Fault Is Found' are absolutely fantastic. thanks!!!
Scuba (Hotflush)
thanks. downloading for scuba!
Bryan Zentz / Minus / Thoughtless / Portlandia
I am miserably late on this—but really like it on quick listen. In Your Place and Us For Them are awesome. Looking forward to listening all the way through. Thanks!
Pär Grindvik / Little White Earbuds
thanks
Dr Hoffmann / Blind Spot
Great release, digging most of the tunes. thanks
Philip Downey / Swoon / pastlessonfuturetheories blog
Like Calling, IP Test, Us for Thenm, Fault, could try some on radio.
Tim Thaler / Bln.fm
downloading
Lukasz (Nermal) Napora / Audioriver Festival, Radio 4 Poland
great stuff. eager to listen to it from wavs
Vito Camaretta / Chain D.L.K
Interesting sonorities
Noah Pred / Thoughtless Music
Stark business worthy of a deeper listen.
2000 And One (100% Pure, Intacto) / 100% Pure
Oh yes perfect intermezzo stuff :)
Alexi Delano / AD ltd, Plus 8
Will have a proper listen.
Echologist (Steadfast) / Third Ear, Echocord
really liking this. fresh beats and trippy hypnotic vibes. look forward to spending time with this.
john1 / Bedrock
downloading
James Zabiela / Renaissance
In Your Place is nice in a bleak way.
Marcel Dettmann / MDR, Ostgut Ton
thx
Richie Hawtin / Minus, Richie Hawtin
downloaded for r hawtin
The Advent / Tresor
fantastic.. pure techno here.. Donor - Station A14 Donor - IP Test
Andrew Weatherhall / Rotters Golf Club
Downloading obo Andrew Weatherall
Noice Podcast Series
very nice Techno...
Samuli Kemppi / Prologue
Great album. Donor in top shape. Full support!
Lee Holman
Good album of deep dark sounds. Especially like Station A14. Thank you!
Benna Schneider / Harry Klein
some nice tunes here ,that I´ll play out surely
Douglas Fugazi / Medellinstyle
Yeah! Sounds really good. Thanks!
Plastic Lounge @ Freies Radio Freudenstadt
good tecno,playing
Kyle Geiger / Drumcode
Really like Space Station!
Paul Ritch
thx a lot for the promo
Dave Angel / Apollo, Rotation Records, Polydor/Love, OuterRythum, React Records, Island
Thanks! Will let you know if supporting.
Luciano Esse / Safari Electronique, Out-Er, Leftroom, Material Series
Great sounds, but I couldn't use them in set! Thanks anyway!
Arnaud Le Texier / Affin, Bass Culture, Cocoon, Children Of Tomorrow, Syncrophone.
Some inspiring tracks on this album! Thx
Henning Lösch / Radio Dreyeckland Freiburg
last exit Brooklyn...:-)
Roko (Sub.fm/B.O.M.B.)
OH shit this is good!!
Sigha / Immerse / Hotflush / Avian
loving this, many thanks
Jerzy Przezdziecki / Recognition Records, Boshke Beats Records
raw and mental. i like.
Alex Tolstey / Triangle Eyes/Boshke Beats Records
ho ho! review to follow
Alan Fitzpatrick
epic! love this.!