Buscar:too many t s

Having some good time listening on soundcloud, i heard "Too Many Drugs".
EPOK does'nt makes so many tracks... but each of them is different, and that rare.

Also they all carry some reminience sounds, and they kick hard.
A Peur bleue at the Hardcore frontier.. .where you don't really know in what style you aree... you just know it kicks and keep on with the fighting spirit !

Visual by EXPEXP

Black So Man. For Black Is Also Man. Tout Le Monde Et Personne. He blames ‘Everybody and No one’.
Clealry, Bingotoma Traore was not trying to get rich, or entertain: he wanted to change the world. And all it took to get there was four cassettes, all recorded between 1994 et 1998. In that time he went from extreme poverty, sellings eggs in the streets and killing pigs at the factory, to being the biggest pop star in his native country, Burkina Faso, and a legend all over Western Africa.
Corruption, ill governance, education, colonisation… All his songs were history and philosophical lessons for the ghetto youths, the unemployed, and the many people who could identify themselves with him.
He died 20 years ago, mortally wounded after going through a car crash. Today, his videos still ranks millions of views on social network. No one has forgotten him. And his fight is more relevant than ever.
Rest In Power Black So Man (1967-2002). Thank you to his son Ange Fela Traore and his ex-wife Adji Sanon (to whom he dedicated the song ‘Adji’ included here) for their trust in us leading this reissue project. Half of the profits from the record goes to them.

limpe fuchs' first solo record came about by accident. initially, christoph heemann invited the famous anima duo to do a studio record in his home-town aachen, but paul fuchs decided not to join in, so limpe went on her own - and the recording sessions taking place in late 1986 and early 1987 turned out to become "via", limpe's first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary anima (music) records, such as violin, saw blade, chimes, wood block and limpe's unmistakable unique vocals, "via" featured a korg-synthesizer, that drew limpe's attention in the studio and she decided to give it a try and recorded a lot of electronic music for "via" - and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances . fast forward to 2015: after not having met christoph heemann for many years, they got in contact again and performed selected dates (as macchia forest together with timo van luijk) when he proposed to limpe another korg-synthesizer recording. not having touched the instruments in decades limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. she also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) - huge self-built instruments of various size with an amazing sound rich of oscillating overtones. the both side-long recordings - one side korg, one side pendulum strings - featured on "solaia" are a visceral document of limpe fuchs' artistic versatility and musical sensibilities. it's fair to say: the spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son zoro babel), which is released in conjunction with a first-time re-release of "via" - both to celebrate her long-standing musical career (and her eightieth birthday). "via" and "solaia" are available now as two separate lp's. both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with limpe fuchs and christoph heemann to give an insight in their collaborative history and portray limpe's outstanding artistry.

limpe fuchs' first solo record came about by accident. initially, christoph heemann invited the famous anima duo to do a studio record in his home-town aachen, but paul fuchs decided not to join in, so limpe went on her own - and the recording sessions taking place in late 1986 and early 1987 turned out to become "via", limpe's first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary anima (music) records, such as violin, saw blade, chimes, wood block and limpe's unmistakable unique vocals, "via" featured a korg-synthesizer, that drew limpe's attention in the studio and she decided to give it a try and recorded a lot of electronic music for "via" - and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances . fast forward to 2015: after not having met christoph heemann for many years, they got in contact again and performed selected dates (as macchia forest together with timo van luijk) when he proposed to limpe another korg-synthesizer recording. not having touched the instruments in decades limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. she also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) - huge self-built instruments of various size with an amazing sound rich of oscillating overtones. the both side-long recordings - one side korg, one side pendulum strings - featured on "solaia" are a visceral document of limpe fuchs' artistic versatility and musical sensibilities. it's fair to say: the spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son zoro babel), which is released in conjunction with a first-time re-release of "via" - both to celebrate her long-standing musical career (and her eightieth birthday). "via" and "solaia" are available now as two separate lp's. both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with limpe fuchs and christoph heemann to give an insight in their collaborative history and portray limpe's outstanding artistry.

Divine Rhythm is an undisputed classic, and here we have a couple of wicked new mixes and an unreleased mix too! Dj Rap teams up with Dope Ammo and Jasmine Knight to give this classic tune a new, upfront jungle lick. Meanwhile, the Feel the Pressure mix is an old and much sought after remix finally getting its place on vinyl!

Club / DJ Support
Jay Cunning, Ray Keith, Nookie, El Hornet, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

What started as an underground techno label in the early 90's, Juice Records typified the head in the clouds ambition of the techno generation by both sound and action. Anything was possible and similar minds would be reached through the vinyl medium. By the mid 90's, Juice Records established itself as a southern beacon to the techno and house music movement.

… but many people would have little knowledge of where the label sits in todays music sphere. Juice Records, wether by choice or default have remained free from the uber industry of dance music but continue to represent with our Adelaide based music activities.

What started as casual discussions about Antony's studio activities with label owner, Donato, soon progressed to talk of an album. A couple of years and many iterations would follow till the vision was clear. Juice 020 highlights the musical existence that Antony commits too. It goes beyond the drum machine and synthesiser sounds the label would be known for and embraces a wider spectrum with use of a Yamaha baby grand, Fender Rhodes, Washburn bass and Yamaha Electone E-75.

With a definitive genre hard to pin on the album, Juice 020 remains very much a traditional Juice Record. It is a clear example of what Adelaide happenings have been missed by the global industry while it plays with a techno formula that goes beyond our underground imaginings.

Clear Vinyl

Superb transparent record with transparent serygraphy.
Music by praised Tzii : experimental cinematic ambient, deep distortions of oriental soundscapes.
Noises surprises !


recorded from 2010 to 2012 at Venetie studio and erasmus studio by tzii himself, this record is perfectly situated in his own discography between HUMANS (TZII 2008/ARN008) and A SHOT IN DARK (TZII 2018/TS004) passing by the first TZII on NIGHT ON EARTH in 2001 or even SAND HEART RAGE (TZII 2013/TUT031 & 2nd F52) and THE GREEDY RAVEN AND THE FOUR BRANCHES (SOLAR SKELETONS 2015/ZZR054).
the central tool of this record is an electronic tabla, an MS20, voices, a shenaï, many effects and increasing the use of various samples of voices, violon etc.
mixing in side a two hits between muslimgauze and third type tapes, buddha bar as an introduction of a piece with tendency harsh surgical ethnic-breakcore noise well severe all that in frank cuts, brutal with a good toast of noise. at the end of side a we also find an enigmatic mental ketamine hole more calm and intimist sprinkled with ultra sounds.
side b as for her, is opened by an ultra violent white noise but very quickly caught up by two long ambient tracks to intensely lose the balance, very close to the door between the conscious and the unconscious with drones of shenaï and delay.

mastering & cut by angstrom mastering in 2020 kali yuga.
visual by ssm.
published during summer 2021 kali yuga in 33rpm 12" by kali nada.
223copy.

“While spending time trying to conquer the audio of live-stream
at home performances, I got better acquainted with my friend
Adam McDaniel, an engineer and producer in Asheville, NC.
Adam and I had known each other for years. When the band
was a bit smaller I’d often rent his studio, Drop of Sun, for prerecording / pre tour rehearsals.
 “Summer 2020 was tough for many reasons. But Adam and his
wife Emily opened their home to me and made it a safe space
to create and let go. I had an idea to record some covers and
bring some of the band into the mix, or add other players. I
wanted to record 80’s songs that I’d overheard walking the
aisles at the grocery store, and I needed to laugh and have fun
and be a little less serious about the recording process in
general. I thought about completely changing some of the
songs and turning them inside out.
 “I’d heard ‘Gloria’ by Laura Branigan for the first time at a family
Christmas gathering and I was amazed at all the aunts who got
up to dance. I imagined them all dancing and laughing in slow
motion, and that’s when I got the idea to slow the entire song
down and try it out in this way. I felt that ‘Safety Dance’ by Men
Without Hats could be reinterpreted to be about this time of
quarantine and the fear of being around anyone or having too
much fun. It made me wonder, is it safe to laugh or dance or be
free of it all for just a moment?
 “I know it’s not really in my history to do something unintentional
or just for the hell of it but my connection to these songs is
pretty straightforward, I just wanted to have a little fun and be a
little more spontaneous, and I think I needed to remember that I
could!” - Angel Olsen

“While spending time trying to conquer the audio of live-stream
at home performances, I got better acquainted with my friend
Adam McDaniel, an engineer and producer in Asheville, NC.
Adam and I had known each other for years. When the band
was a bit smaller I’d often rent his studio, Drop of Sun, for prerecording / pre tour rehearsals.
 “Summer 2020 was tough for many reasons. But Adam and his
wife Emily opened their home to me and made it a safe space
to create and let go. I had an idea to record some covers and
bring some of the band into the mix, or add other players. I
wanted to record 80’s songs that I’d overheard walking the
aisles at the grocery store, and I needed to laugh and have fun
and be a little less serious about the recording process in
general. I thought about completely changing some of the
songs and turning them inside out.
 “I’d heard ‘Gloria’ by Laura Branigan for the first time at a family
Christmas gathering and I was amazed at all the aunts who got
up to dance. I imagined them all dancing and laughing in slow
motion, and that’s when I got the idea to slow the entire song
down and try it out in this way. I felt that ‘Safety Dance’ by Men
Without Hats could be reinterpreted to be about this time of
quarantine and the fear of being around anyone or having too
much fun. It made me wonder, is it safe to laugh or dance or be
free of it all for just a moment?
 “I know it’s not really in my history to do something unintentional
or just for the hell of it but my connection to these songs is
pretty straightforward, I just wanted to have a little fun and be a
little more spontaneous, and I think I needed to remember that I
could!” - Angel Olsen

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios. Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. The package includes an insert with lyrics and pictures.

Blind, Chicago soul singer Willie Williams was first discovered performing in clubs in and around the Windy City. He was signed to ABC records by their A&R Director for the Midwest Johnny Pate a former Jazz bassist, independent producer, arranger and songwriter in his own right. Pate was a friend and colleague of fellow musician, songwriter and founding member of one of ABC’s prolific vocal groups The Trends, Tom Dorsey. Pate and Dorsey would contribute heavily as writers and producer throughout Willie’s recording career, beginning with his first ABC 45 release in 1966 “Have You Ever Been Played For A Fool/With All My Soul”. The release’s b-side became a popular radio play at the time with Willie becoming known as Willie “Soul” Williams for a while. Two further ABC releases were to follow “It Doesn’t Pay/Just Because” (1967) and “I’m Through With You/Strung Out” (1968).

Willie’s next 45 release although recorded in Chicago under Johnny Pate’s supervision found it’s way to another major label, RCA, although credited as a GWP Production (Gerrard W. Purcell). The 45 in question being the excellent Tom Dorsey penned songs “Just To Be Loved By You/Name It” released during 1969.

Two Willie Williams 45 releases did appear on the Gamma label but I’m unsure if one or both of these are by the same Willie Williams in question.

Throughout his recording career Willie continued to work the clubs with his own band which was led by his bass guitarist and confidant Bradley (Brad) Bobo a man who featured as a session musician on many recording sessions including the creation of The Notation’s album of the same name for Curtis Mayfield’s Curtom subsidiary label Gemigo.

On the 22nd of December 1970 a recording session was held in RCA’s Studio B, on North Wacker Drive, Chicago with sound engineer Russ Vestuto. The session was financed by Tom Dorsey who amongst other song writing gratuities had been paid handsomely for the 3 songs “Love Machine”, “My Baby’s Love” and “How Are You Fixed For Love” which he had wrote and contributed to the blue-eyed hit group, The O’Kaysion’s “Girl Watcher” ABC album. The result of this session yielded four Willie Williams tracks. Brad Bobo played bass guitar on the session, the composer of the four songs Tom Dorsey supplied the arrangements and Tom’s wife Carolyn (also a former group members of The Trends) joined both he and Brad on backing vocals.

The four songs were then offered to Eddie Thomas who chose two of them to release on a 45 single. The two songs being “Must Mean Love” which was later renamed “The Baa Baa Song “and “Psyched Out” which Eddie then released on his own Lakeside label, thus leaving the two other songs to remain unissued in the can.

Willie has now sadly passed away but in his later life once the opportunity’s for performing artists began to dwindle he chose a different path in his life, gaining a Doctors degree, he went on to become a College Lecturer. Tom Dorsey too turned his back on the music industry apart from his publishing company to concentrate on his family life as well as founding a very successful business involving one of his other great life passions, photography. Luckily for us he never lost the master tape of Willie’s sessions and after several years of tentative enquiries he graciously relented to my request to put them out. So now before you we have the two excellent previously unissued Willie Williams songs that Eddie Thomas passed on, the delightfully soulful “Give It All I Got” backed with the funky, social conscience themed “Do You Understand”, lost early 1970’s Chicago Soul at its finest.

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time vailable on 180g Vinyl. For fans of Joanna Brouk, JD Emmanuel and Pauline-Anna Strom.

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The “Music of Rana” Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the first volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

FACT MAG: "These deeply meditative pieces are an expert take on how subtleties and concentrated listening go hand-in-hand. There is inherent beauty here, but it’s the deeper aspects that make the biggest impact."

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time vailable on 180g Vinyl. For fans of Joanna Brouk, JD Emmanuel and Pauline-Anna Strom.

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The “Music of Rana” Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the first volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

FACT MAG: "These deeply meditative pieces are an expert take on how subtleties and concentrated listening go hand-in-hand. There is inherent beauty here, but it’s the deeper aspects that make the biggest impact."

This time you'll find the Wax's #plectrum with the vinyl; a little gadget to stimulate your musical fantasies. (only for the first 200 orders!)

Four years and ten releases later we can say that Apparel Wax -the vinyl-faced hero- has been able to always renew itself and its sound because, as our manifesto says, we try not to submit to any genre. We wanted every release to be the outcome of a long research through uncommon sounds and APLWAX010, yet again, is an unidentified sonic object picked up by our radar. The last one though! We didn't plan it, we just felt like the time has come -eventually- to close this beautiful chapter. More than one factor led us to take this decision: the progressive concern about the planet (therefore the impossibility to keep producing plastic bags and gadgets), the desire to leave at our peak and to invent something new are just two of them. The constant process behind the renewal of our sound -which we embraced ten years ago with the birth of Apparel Music- sometimes passes through hard choices and we need to feel again that sensation of 'void' in order to create something fresh, different, as we did when we started Apparel Wax. We won't drag our masked hero to a point of sonic stagnation. We'd like to send you all a big greeting and a heartfelt thanks for every second of your time spent listening to Apparel Wax, it literally meant the world to us. What was initially just a bold idea became a musical reference point for many people around the world, and we will be forever grateful to y'all because, without you, it would have never been possible. Finally, a huge thanks to all the artists involved in the project. They contributed with their art to a bigger cause, the biggest: music. YOU are the true masked heroes, you are Apparel Wax. As for us, we'll live on and our sound too. Our ideas, our passion and dedication for the one and only thing that really makes us happy will never die. Something new will always come on our end because that's our purpose, our philosophy. Manman, what a journey has been, now on to the next one!

The Toolroom Family is happy to announce the release of KC Lights' brand new single 'Cold Light' that lands as the highly anticipated follow up to his global hit 'Girl’ which, in spite of the global shutdowns of clubs and festivals last year went on to be the ‘stay at home’ summer anthem for 2020.

‘Girl’ dominated the airwaves with BBC Radio 1 daytime playlist inclusions, KISS FM, Capital Dance, Sirius XM in the US and specialist playlists all over the world. It has now amassed over 5m streams on Spotify alone and still going strong.

As we move further into 2021, timed right on the back of some of his most recent stellar remixes for James Hype, Topic, Blinkie, Lost Kings and Nightlapse, KC Lights returns to lift our bleak spirits with the aptly named ‘Cold Light’.

He has collaborated with UK singer, songwriter Leo Stannard, who is being hailed as one of the most talented and exciting songwriter / vocalists to emerge in recent years, which is quite impressive during these times of quarantines and lockdowns. Most recently, Leo featured on CamelPhat’s track ‘Blackbirds’ which is featured on the Camels album, ‘Dark Matter.” He may also be recognized for his work with Maverick Sabre, Tom Odell, Rae Morris, Lewis Mokler and many more.

‘Cold Light’ is signature KC Lights with a stripped back groove and tribal drums complimented by Leo’s sublime vocal which takes the track to a whole new level! It’s feels like another anthem in making from this emerging star and with a club mix and a 6am remix, it really is the perfect tune to take us into the promise of lighter and warmer months ahead.

Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not

to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.



In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.



The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.



“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”



There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.



The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.



“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”

4LP & 2CD Genesis Hits package to coincide with the bands UK tour in September 2021 with 3 sold out shows at London’s 02 Arena. This will be Genesis’s first tour in over 13 years with the classic line up of Mike Rutherford, Tony Banks & Phil Collins. They have sold around 100 million albums worldwide with over 20 top 40 UK hits with songs such as Follow You Follow Me, Turn It On Again, Mama, I Can’t Dance and many more. Genesis have won awards over the years at the American Music Awards, Grammy Awards, Ivor Novello Awards and a Lifetime Achievement at the Progressive Music Awards. The track list is made up of the songs the band have been performing in rehearsals and will make up the majority of the setlist during the gigs, the title of the release is the same as the tour. 4LP set is to be housed in a hardback gatefold book-style package, this will include classic images of the band, rare and unseen images from their archive & images of the rehearsal and the stage used for the gigs.

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios. Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. The package includes an insert with lyrics and pictures.

Spectra! represents a lone, anomaly release by illusive producer and recording artist J. Walker of Perth, Western Australia. Recorded and produced in 2016, Spectra! comprises a collection of 12 instrumental works composed in response to an imagined brief investigating the refined shades and pigments of colour.
Whilst stylistically somewhat comparable to library music recordings from Europe released throughout the 1980’s, Walker’s compositions never step too closely toward facsimile. Instead, they maintain a unique sense of identity, one closer akin to a born-too-late contemporary interpretation of the sentimentality and lost moods that allowed library music it’s point of difference and charm in the first place. Unlike many modern artists who flirt with the past, Walker isn’t concerned with carbon copying the sound palate and tape hiss of yesterday. In these works, antecedent emotional and harmonic bodies are given new life and form by means of modern studio hardware, musical equipment and compositional techniques. Recommended for fans of the Coloursound Library and Joël Vaandroogenbroeck.

Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro’s forgotten masterpiece Obnoxius. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade’s first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Today, very little is known about Jose Mauro and as a result those searching for some kind of insight on the man behind the music must attempt to glean what they can from the music itself. One rumour claims he died in a car accident shortly before the album’s release, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. The political turmoil from which the album emerged is significant also; recorded during an era of oppressive state censorship, the album, like all the Quartin catalogue, is the result of steadfast defiance in the face of a crushing military dictatorship. While many musicians of the era fled the country, preferring their prospects in the affluent, liberated USA, rebellious, young musicians like Mauro chose to stay and reflect their anger at the authorities through thinly veiled protest songs such as the stirring ‘Apocalipse’. Herein lies the basis for a more dramatic theory; that Mauro was in fact abducted by the military! Whatever the truth, the mystery remains unsolved, and all that remains is his bewitching music, all of which is composed by Mauro and Ana Maria Bahiana. Production on the record was cancelled after Mauro’s death and it was never sold commercially until its rerelease decades later. What appeal does Mauro’s music hold to today’s listeners, forty-something years removed from its conception? Simply put, there is very little else that sounds much like it all. Take the title track of ‘Obnoxius’. A wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro’s yearning vocals. The result is indicative of Mauro’s unique blend of sounds from Latin Jazz and samba to psychedelic folk and baroque orchestration.

Today, Obnoxius retains its strange, otherworldly appeal – A firm favourite amongst a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points. Jose Mauro’s mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro’s confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener an almost trance-like state of ecstasy. Mauro’s long hidden masterpiece, a complex and uniquely stunning work is being offered the chance to be heard by the wider audience it has always deserved. A second Jose Mauro release, A Viagem Des Horas, compiling more incredible tracks unreleased in Mauro’s lifetime, will follow, alongside other unreleased jewels from the Quartin catalogue, from the likes of Piri and Victor Assis Brasil…

Stepping up with an astounding collection of first-class sonics, Fred V’s
highly anticipated debut solo album, ‘Radiate’ is on the horizon for the
summer of 2021, on Hospital Records.
Consisting of 15 tracks that feature exciting collaborations with Millbrook, Zara
Kershaw, Vonn , Lottie Jones and SAYAH. Fred V’s first-ever standalone longplayer is everything you’d hope for and more, built from an infusion of electronic
influences from the past, present and future.
Expect an up-close and intimate insight into the Exeter-based multi-instrumentalist, as he continues to carve out his unique musical identity through ethereal
soundscapes and melancholic climates.
With his debut album marking a fresh chapter in his career as a solo artist, Fred
V’s journey so far has been a remarkable one. From his decade-long collaborative project alongside Grafix which saw many world tours, live shows and three
studio albums.
Since embarking on his individual venture Fred V has put out a string of successful releases which have drawn support from airwave tastemakers Annie
Mac, Ren LaVice, MistaJam, Charlie Tee and more.
Diving deep into the exploration of his own sound, expect to find Fred V playing at Hospitality Bristol BBQ in August, Hospitality Weekend In The Woods and
Sundown Festival in September.

Many great singers passed through the hands of late great soul/
R&B producer Jerry Wexler, from Aretha Franklin to Dusty
Springfield, but Etta James was a singer he willingly waited 20
long years to work with. “Etta is a church in herself,” he said in
his autobiography, adding: “Her voice is a mighty influence, her
musical personality able to express an extraordinary range of
moods.” He further described her as “A woman used but not
spent, abused but never defeated, vulnerable but though sheer
strength of will, victorious.” Her legend lives on in her music.
Press play and share her many emotions…

Originally from Philadelphia, invited to New York by Miles Davis, playing at Antibes in 1960 with Charles Mingus and Eric Dolphy, here is trumpeter Ted Curson in 1971... in Paris. With him, a legendary trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). A new transatlantic alliance in the service of jazz of all kinds: classic, modal, fusion and even free... Pop Wine is – between Coltrane and Miles with a nod to roots in the club the Caveau de la Huchette – an explosive cocktail but which leaves no stains!

In 1960, trumpeter Ted Curson played with Charles Mingus and Eric Dolphy on stage at the Antibes jazz festival. Eleven years later he was in Paris to record one of the gems of his discography, with a hard-hitting French trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums).

Arvanitas was also someone who had travelled widely. Originally from Marseille, he had accompanied visiting American musicians in Paris before moving to the States. It was when he came back that the charismatic trio was created with Samson and Saudrais and who recorded, in 1970 on Futura, the unforgettable In Concert and then, the following year, Pop Wine with Ted Curson.

Pop Wine: don’t be fooled into thinking you are going to hear jazz musicians trying to play pop after uncorking too many bottles. For, although the album occasionally tends toward fusion, it is first and foremost a wonderful jazz recording; and a recording with enough fizz to make your head spin!

There are five tracks in total: Quartier Latin reminds us a little of Olé Coltrane (Curson, like the saxophonist, is originally from Philadelphia), Flip Top where the trumpet and piano play out a chase scene through the streets of Paris, Pop Wine where funk and cool jazz meet on the barricades of black and white, L.S.D. Takes A Holiday which breaks out in a style close to free jazz, and finally Lonely One, with the impression that ends this unclassifiable album. Unclassifiable, unless we decide to elevate Pop Wine to the rank of a great vintage.

(Deluxe Edition) (translucent tri-coloured vinyl LP + MP3 download code in spot-varnished sleeve)

LP comes in gold foil lamination jacket housing printed record sleeve with 1x translucent gold, black & white insomnia effect vinyl, marketing sticker and free digital download card. The Sharecropper's Daughter Bonus Vinyl contains six new tracks serving as a companion piece to Sa-Roc's already acclaimed Rhymesayers debut, The Sharecropper's Daughter, released in October of 2020. These new songs further showcase Sa-Roc's sharp skills as a lyricist, and her gift for captivating melodies and engaging content, featuring production from Sol Messiah and Evidence, as well as a guest verse from MF DOOM. The lead single for the bonus vinyl, "Wild Seeds" is a lyrical testament to the beauty, mysticism, and wisdom of the elders and ancestors who've guided and bolstered generations of Black women through history's assault and neglect of them. With a title inspired by the sci-fi novel Wild Seed by visionary author Octavia Butler, the song serves as a celebration of women such as Queen Nanny, Harriet Tubman, Sojourner Truth and many others, whose legacies inform future generations of their propensity to bloom under the harshest of conditions. "Just like wild seeds, we remain unfettered and unbroken, adding beauty and immeasurable value to a world that chooses not to acknowledge us," Sa-Roc states, "but our very existence is the only acknowledgement we require." Throughout the songs of The Sharecropper's Daughter Bonus Vinyl, Sa-Roc maintains a concise blend of thought provoking commentary and razor sharp lyricism. On the opening track, "Options", she delivers a raw and searing testimony of the dedicated yet, all too often, underappreciated artist, reminding us to give our flowers to the living while we're still able. "The Great Escape" examines humankind's tendency to try to mask the unsavory elements of our past we're either unwilling or unable to confront head on. Echoing both sentimentality and sorrow, "Reconstruction of the Heart" recalls some of Roc's childhood memories and muses on the many ways in which our earliest experiences can scar, strengthen, and shape the very core of who we'll become. The Sharecropper's Daughter Bonus Vinyl chapter fittingly comes to a close with "The Rebirth", which remarks on the plight of the vulnerable artist and the quest for balance between creative transparency and overexposure. Here, Sa-Roc labors through her discomfort and commits to being brutally honest about the experiences that have informed her expression and made her a better artist. Featured guest, the late MF DOOM continues this line of thinking, offering his own unique observations, "Quick as a quitter will fold, some of what glitters is gold. Same story is old, getting left in the blistering cold. Broken souls get remold with little arbitration. Fortune favors the bold as does incarceration." This bonus vinyl pulls no punches in showcasing Sa-Roc's continual growth as an artist who, as NPR recently put it, "is a modern day griot whose aura radiates calm in a world of chaos."

Oliver Torr is about to release his first full length solo album. The album features many moods and colours, with Oliver exploring the use of his voice and lyrics as a new form of his expression. Successfully mixing electronic avant-garde/experimental forms with pop-like harmonic structures is the main theme of the record.

The idea of recontextualisation and themes of observation are mainly inspired by the philosophical literature and ideas of John Berger, Marshall McLuhan, and many others was a driving force during the creation of the album. The lyrical and sound design content is mainly inspired by panic attacks and depression, and serves as a therapeutic tool to aid in personal psychological healing.

Tracks make use of creative sound design by utilising field recordings and various experimental instruments and sources of sound, such as the Radical Chip, designed by John Richards (one of Oliver's mentors) and Max Wainwright. Tracks like 'Deià' which create a chaotic sonic palette are the author's representation of his mind under the siege of an intense panic attack, experienced in the seaside town of the same name that is located on the island of Mallorca.

Oliver feels like the album has been writing itself for the past 5 years, and in the past few months it has decided to finally show its form. With the help of Aid Kid, who is mixing the album and providing additional production, Oliver has put together a 14-track rollercoaster record, with the help of some special guests. Guests on vocals include Chrysalism, BCAA's Bilej Kluk, and sci fi RnB newcomer LVCIFER. Other sonic collaborators include Sunnbrella (guitars on two tracks), Bastl Instruments' David Strobach (distorted samples in intro), Peter Kutin, and Radio Laude's DeSteffan and R.A. (distorted samples/vocal on one track).

The record's sonics are a combination of Oliver's conscious influences, including experimental music, classical avant-garde, shoegaze, IDM, EBM, electronica, hints of modern club music, as well as PC music influences.

Oliver Torr is known as a composer, music producer, performer and installation artist. Outside of his solo projects, he has worked with many prominent musicians and creative companies/film makers worldwide. He is the founder of XYZ project, a music label concentrating on electronic music and audiovisual art (xyzproject.bandcamp), and a member of the noise.kitchen crew (a music and synth shop run by Bastl Instruments in Prague). Oliver is also a part of the 2020 SHAPE Platform roster (shapeplatform.eu), and the 2021 Gravity Network roster (gravitynetwork).

Oliver releases the album prior to the release of his 'Trans Europe Postal Express' project (supported and arranged in collaboration with SHAPE Platform) and gallery exhibition at MeetFactory art space Prague, that will take place in March, and will further the sonic palette of the album.

The album's artwork is directed and designed by Kristyna Kulikova and photographed by Lukas Havlena (VICE, National Gallery of Prague).

The album's pre-release sees a teaser trailer shot and directed by Tereza Halamova and Filip Kettner that will be released 1st of February. A short movie music video with the same crew is scheduled a month after the album's digital release.

A remixed version with reworks from established European electronic musicians (including Peter Kutin, Fausto Mercier, Wim Dehaen, Natalie Plevakova, Evil Medved, NobodyListen, David Herzig, Ancestral Vision and Trauma), will be coming in the next few months after the release.

When his mother brought Stanley Turrentine’s Salt Song LP back from a trip to Canada, Julien Lourau, then a teenager, was impressed by the scope of the sound and the groove of the saxophone. He was also charmed by the lush arrangements and funky sound of the record, typical of releases on the CTI label. Created by producer Creed Taylor, CTI left an imprint in the minds of 70s jazz fans much like Blue Note did in the 60s, and it even ended up releasing work by artists who started out on this mythical label such as Stanley Turrentine and Freddie Hubbard. The two even shared the same sound engineer, the great Rudy van Gelder.
Yet CTI, though highly prolific during its 15 years of activity, has not benefitted from the same aura as its predecessor. “To breathe life into this album, I listened to a wealth of CTI releases and discovered some I had never heard before. I noticed, oddly, that many of today’s musicians know very little about CTI - a label unfairly considered as minor.”

The choice of tracks was determined by Julien’s personal tastes, always keeping in mind a desire to help people discover them yet focusing on the joy of actually playing them too.

"The album is made up of 9 pieces. Mathieu Débordes got everything down to the nearest note before we even attempted to play them. CTI didn’t hold back in fuelling their compositions with brass and violins, but I erased this aspect and pared things down to a bass, drums and two keyboards."
English drummer Jim Hart, someone Julien worked with during his London years, propels the group - from hard-bop polyrhythms with “drum & bass” inflections to a reworking of classic Red Clay.

Sylvain Daniel on the bass and Arnaud Roulin on the analogue keys are two musicians close to the saxophonist, and that he met when they were students in 1999 while organising a master class at the Conservatoire de Nantes. Since then, they have become his esteemed companions.

The collaboration with young pianist Léo Jassef began on this recording, where he also plays the Prophet 5. The dynamic and overlap of the many keyboards played by Arnaud and Léo bring the record a richness of timbre and harmony that the strings and brass provided on the CTI recordings.
For the final track on the record, Julien called upon his friend of 30 years, guitarist Bojan Z, for a fresh, Gospel take on Love and Peace, a track recorded by Quincy Jones in 1969, which here, is dedicated to Bojan’s recently departed brother.

“When it comes down to it, this album really is as I had imagined it, with, luckily, a few unexpected turns. I created a playlist I then claimed as my own. But in the end, I must admit that I would have loved to have composed some of these tracks.”

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 Series 1 proved to be the last of their collaborations. For Series 2, composer Derek Wadsworth took over the reins to provide a more contemporary sound.
The Year 2 album contains Wadsworth’s score, specially selected cues to provide a driving and exciting narrative to convey the new adventures. Record Collector perfectly describes it as “classic 1976 period stuff: fast, furious and occasionally over the top in a dramatic way; nicely atmospheric for Sci-Fi and a touch funky every now and again.”
Derek Wadsworth enjoyed a long and successful career as a composer, trombonist and session musician. For over half-a-century he played, arranged, and conducted for some of the biggest names in music including Dusty Springfield, George Harrison, Judy Garland, Dionne Warwick and many more.

THE NIGHT FLIGHT ORCHESTRA is back! The band that formed as an idea of friends from several well known rock/metal bands (SOILWORK, ARCH ENEMY, MEAN STREAK) back almost a decade ago and has been dropping jaws ever since. With 5 albums already under their belt, 2 nominations for the Swedish Grammies, countless live shows and praises from fans and media alike, TNFO have steadily upped their game when it comes to paying tribute to a decade that influences all sorts of people and even industries to this day - the 80s. With hits like ‘Domino’, ‘Lovers In The Rain’, ‘West Ruth Ave’, ‘Divinyls’ or ‘This Time’, the band manages to maintain a variety of vibes and emotions within every album. From hard rockers, poppy digressions to progressive epics, disco-esque songs and almost cheesy yet loveable ballads.

Enter 2020, TNFO had just released their recent record, ‘Aeromantic’, and kicked off their European tour in support of it, when the Covid-19 pandemic hit. Björn Strid, the AOR dictator helming this exceptional collective called NFO, recalls “We made it one week into the tour after some absolutely amazing shows and then it all went south and we had to go home. Just about everyone on the tour got sick when they came home, with varied conditions.”
The band didn’t step back and accept the situation but decided to do what they do best instead: “It was pretty clear after some months into the Covid madness, that it was here to stay and that we weren’t gonna be able to tour for quite some time. So we made the best out of it. The remedy was simply to hit the studio again as soon as everybody was well again. It ended up being an incredibly creative 1,5 years and so many amazing songs came out of it.”

That being said, the second part of the ‘Aeromantic’ saga really captures what this band is all about: being in motion and romanticizing traveling, sometimes even with a broken heart - accompanied by the good things in life. Namely with songs like ‘White Jeans’, yet another jaw dropping classic rock gem about hot young love, cramped with nostalgia, or ‘Change’, which encompasses all the vibes you know from your favorite decade: Urgency, emotion, warmth and excitement. But also groovy danceable songs like ‘Chardonnay Nights’, a groovy, dreamy, yet uplifting homage to parties and hot love, or ‘Burn For Me’, a true feel good anthem for the summer - driving people to dance in the streets, all worries aside, to a brighter future.

On the other hand there are tracks like the almost progressive ‘Amber Through A Window’. A little throwback (at least titular) to the NFO’s epic 2017 album ‘Amber Galactic’: “Amber is with us wherever we go and I think she’ll keep coming back. She’s our mascot of escapism. The song was very interesting to compose. It takes you on quite a journey with key changes and goes from minor to major when you least expect it and throws you between different set of emotions. At the same time it feels pretty direct and operates like a mini epos. Really happy with how it turned out“, cites Strid.

Besides all this, the band has also stepped up their game when it comes to music videos for their timeless anthems. “White Jeans” for instance features Swedish TV personality Fredrik Lexfors and is a sweet little homage to the LGBTQIA+ community. “Fredrik is a good friend of mine and has loads of experience in the musical/theatre world and is super creative. He created this character called ”Kantorn” (The Cantor) some years ago and became a hit on YouTube. He has a very twisted and unique way of singing and acting, which is very funny. He was a part of Sweden’s Got Talent TV Show and went really far and became a crowd favorite. Fredrik has a lot of friends in the LGBTQIA+ community and I also have quite a few. We saw it as a joyful tribute and we’ve only gotten really good response. It’s of course also humorous but has a very nice balance and a very positive message.”

The bold and jovial video for “Burn For Me” on the other hand maybe among the biggest and best productions, the NFO ever recorded for the depths of the internet: “I’ve had this idea to film a ”Dancing in the Streets” video, where curious people come out of the woodworks and join the party in the streets. It’s a very classic 80’s scenario and very common in videos back then. Sort of the video to IRENE CARA’s ”Fame”. You don’t see it very often these days. We felt that it was needed and after “Burn For Me” was done I immediately envisoned it being the perfect ”post corona dancing celebration in the streets-song”.”

Those two videos are by far not everything the band will have to offer visually, but we won’t tell any more just for now. To be continued…

With all that new greatness up their sleeves, NFO are ready to take the world by storm – again! Even though coming up with a setlist for their scheduled tour starting in September may prove to become problematic according to the AOR Dictator: “Making a setlist might end up being a nightmare haha… I would be up for doing only songs off »Aeromantic I« and »Aeromantic II« since that’s really where we’re at right now, but I think most of our the Midnight Flyers would like to hear some old stuff, too. Maybe we could get away with it as long as we play “West Ruth Ave” as the ending song and create the good old conga train?”

Batman Forever: Music from the Motion Picture is the soundtrack to the 1995 Tim Burton produced movie Batman Forever. It was nominated for multiple Academy and Golden Globe awards. The soundtrack contains a number of hit singles including; Seal’s “Kiss from a Rose” which won three Grammy Awards, an MTV Movie Award for “Best Song” and charted at number 1 in the Billboard Top 100. Plus U2’s “Hold Me, Thrill Me, Kiss Me, Kill Me” , and songs from The Flaming Lips, the Offspring, Nick Cave, Michael Hutchence (of INXS), PJ Harvey and Massive Attack. It will be pressed on 2LPs of blue and silver vinyl.

Re-mastering by: Kevin Gray

This is a reissue of a now out-of-print album from live trio date by the legendary LA-based pianist, composer and multi-bandleader, Horace Tapscott. Pianist Horace Tapscott is always at his best when he is leading a trio. Born in 1934 in Houston, Texas, Horace came from a musical family centered around his mother, Mary Malone Tapscott, who worked professionally as a singer and pianist. When Horace was nine, the family moved to Los Angeles. As a teenager in the late 1940's, Horace was surrounded by the music of Central Avenue: Art Tatum, Charlie Parker, Coleman Hawkins, Dexter Gordon, were among the many cats on the set. Around this time, Horace also began to take music lessons from teachers Dr. Samuel R. Browne and Lloyd Reese, whose other students included Eric Dolphy and Frank Morgan. Horace's musical studies included trombone in addition to piano.

In 1952, Horace graduated from Jefferson High, got married to Cecilia Payne and went into the Air Force. Horace played in an Air Force Band while he was stationed in Wyoming for his term of duty. After mustering out, he returned to Los Angeles where he worked around on various gigs until he joined the Lionel Hampton Big Band as a trombonist.

In 1959, Horace finally went with the Hampton Big Band to New York, where his friend Eric Dolphy introduced him to John Coltrane. A tough winter, a lack of gigs, and too many nights on the floor of a friend's art gallery finally sent Horace packing for sunny Southern California, where a life with wife and family awaited his return.

The sixties saw Horace emerge as a die-hard leader of the Avant Garde. Horace began to gain public notice playing with his own group, that included alto saxophonist Arthur Blythe, bassist David Bryant, and drummer Everett Brown II. Horace also appeared on records for the first time.

Horace was always outspoken about racism, politics, stereotypes, and social ethics. His forward-minded vocal presence on and off the microphone is as much a part of his art as his piano playing. As a result, he was labeled a "dissident," categorized as an "employment risk," and black-listed from the music industry establishment in the early 1970's. None of this slowed Horace down. He began gigging sporadically at Parks and Recreation events and for churches around Watts. This "dark period," with his only regular gig at his friend Doug Weston's Troubadour on Los Angeles' "Restaurant Row", was also a time of intense creativity.

Around 1977, Horace reorganized the Pan-Afrikan Peoples Arkestra with the help of several old friends and many new faces. The Arkestra performances involve singing, dancing, and poetry in addition to the music. Soon after the new group's debut, Horace came to the attention of producer Tom Albach who contracted Horace to record a number of albums for Nimbus Records. Albach also helped introduce Horace to an international audience by arranging several European tours.

The 80's saw Horace emerge as one of jazz's premiere solo pianists. He recorded several solo piano albums for Nimbus.

Jorja Smith returns to announce a new 8-track project. ‘Be Right Back’ is due May 14th and is the first body of work from Jorja since her 2019 critically-acclaimed, Mercury Prize nominated debut album ‘Lost & Found’, for which she won her second BRIT Award for ‘Best
Female’ and earned herself a nomination for ‘New Artist’ at the GRAMMY Awards.
The project finds Jorja delivering some of the most emotive and imaginative songs of her career. Over string-heavy production, she unveils a collection of songs that are diverse in their range but still extremely cohesive as a body of work - “It’s called be right back because it’s just something I want my fans to have right now, this isn’t an album and these songs wouldn’t have made it. If I needed to make these songs, then someone needs to hear them too.” - Jorja says of the project.
To coincide with the announcement, Jorja is sharing new single ‘Gone.’ Highly anticipated,
Smith states that “There’s something about being able to write about one thing and for it to mean so many different things to others. I love that this song, well any of my songs really, will be interpreted in different ways, depending on the experiences of the people listening.
This one is just me asking why people have to be taken from us.”
‘Gone’ follows in the footsteps of Jorja’s stunning March release ‘Addicted’, which also appears on ‘Be Right Back’, alongside 6 additional unheard tracks including a feature from
rising South London rapper, Shaybo on track 3, ‘Bussdown’.
Over the past three years, Smith has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through the world. Smith has graced multiple magazine covers,
performed at awards ceremonies and on late night TV, and sold out shows across the globe, now surpassing over one billion global streams. Her 2019 hit single ‘Be Honest’ featuring Burna Boy has become her biggest song to date at almost 250M streams worldwide. Smith continues to hone her craft and ‘Gone’ serves as a much-anticipated prelude for the release of ‘Be Right Back’ on May 14th.

After the release of ‘Kuarahy’ concurred with the blast of the worldwide pandemic and all the consequences it has generated, WHITE STONES - Martín Mendez’s project (OPETH’s bass player) - are ready to launch their second record.

When WHITE STONES released ‘Kuarahy’ they became the first Spanish band signed to Nuclear Blast Records, cementing their first album as an unprecedented milestone. Now, with ‘Dancing Into Oblivion’, the band returns with a more compact sound, having been hard at work ensuring the utmost attention to every detail for a result that is even better than the first record.

The topics covered on this second album draw on the feelings that Martín himself affirms he has lived through during the lockdown imposed by the covid-19 pandemic. “I started it very calmed in March when »Kuarahy« was released and the lockdown started. I wrote the new record and it just flowed so well. It’s my point of view, of the feelings I had during the lockdown period, in this weird year. I took advantage of the moment and I feel excited about it”, reveals the musician.

The most outstanding musical elements on this new record are the disparate genres that manage to co-exist. There is an element of aggression, that can be seen rearing its head in an instrumental frenzy, as well as soft and delicate intricacies that develop an atmosphere which surrounds the listener. There are distinct dynamics among the songs, with interludes allowing the listening to take a breath and appreciate what they’re hearing.

The writing process of ‘Dancing Into Oblivion’ has been pretty similar to the previous ‘Kuarahy’ but with some clear changes. Martín composed all of the instrumentals for the album but, as he says, “I’ve left sections open to the interpretation of each of the other musicians, both in the drums and in the vocals. Eloi wrote the lyrics this time and we then workshopped them together whilst working out the vocal parts to get the final result in the studio”.

WHITE STONES once again recorded at Farm Of Sounds Studios (Barcelona), owned by their singer Eloi. They were satisfied with the sound of ‘Kuarahy’ and the experience of the recording of that album and the comfort of making everything with their own tools made it all easier. “Everything has been ‘homemade’ because it’s a way of working and a philosophy I like. You have more control and you can better enforce your ideas”, Méndez explains -who also created the cover for ‘Dancing Into Oblivion’ together with Sandra, his partner for many years.

The final mix and mastering of this second album was done by Jaime Gómez Arellano at Orgone Studios (UK) because the band were more than satisfied with the work he did on ‘Kuarahy’ and they wanted to repeat that great experience. Eloi, as the singer and also the guy who recorded the music sent to Orgone Studios, acknowledges “the recording had more experience and a better sound quality because we made better decisions during the pre-production thanks to a higher level of self-awareness of ourselves as a band. Jaime knew us better too, so that simplified the process and in turn helped to make »Dancing Into Oblivion« as good as it can be”.

The line-up has been enhanced with the participation of the multifaceted Joan Carles Marí Tur on drums (who also plays in other bands like FACE THE MAYBE). The guitar solos were the job of Joao Sassetti (who was already a member of the touring line-up of WHITE STONES). Sassetti lives in Portugal and he couldn’t be in the studio in Barcelona, so he recorded his solos and digitally sent them over for integration into the final songs. The recording of the instruments has been more organic and as Boucherie says. “The original sound has been retained as much as posible in each and every element” and it has brought a natural/raw touch for ‘Dancing Into Oblivion’ just as the band had hoped and expected.

Double Ultra Clear LP, Gatefold Jacket, Insert, Printed Inner Sleeves
A graduate from the prestigious Berklee College of Music, Ashe has been lauded by the likes of The FADER who raved about her ‘effortless voice’; People called her music, ‘deeply emotional yet so fun,’ Consequence of Sound
described her songs as, ‘accessible yet emotional’ and NME declared she’s ‘a
formidable new force in the pop world,’ among other accolades. Ashe’s touring resume includes performances at Coachella with Big Gigantic, and opening
slots for The Chainsmokers, LAUV, Louis The Child, Lewis Capaldi and more.
On TikTok Ashe gained 1 million followers, hitting over 2.5 billion video views
and 2.5 million videos created. On Instagram she has over 950K followers and
growing, approaching 520K followers on Twitter, and over 7.3 million monthly
listeners on Spotify. Her double EP Moral of the Story Chapters 1 & 2 is out now.
In 2020, Ashe also released the single ‘Save Myself,’ which garnered over a
million streams a week last summer, while the official music video saw #SaveMyselfMV trend on Twitter worldwide after its debut, including the U.S. at #5.
She recently contributed an original song, ‘The Same,’ to the new film and
soundtrack, To All The Boys I’ve Loved Before, her second placement in the
wildly popular Netflix franchise.
Ashe made her stunning late-night TV debut alongside Niall Horan on The Late
Late Show with James Corden, taped at London’s famed Royal Albert Hall and
her daytime debut on Ellen at the top of 2021. ‘Till Forever Falls Apart’ is the
first hint of more exciting new music which Ashe and FINNEAS recently performed on Jimmy Kimmel Live! Ashe’s debut album Ashlyn includes 14 songs
which she describes as ‘...deeply reflective and honest, full of stories of my
experiences with fear and pain and turning those hard things into joy and independence.
I’m an experiential writer and there was no way I was going to make an album
that didn’t address my personal journey, from my brother’s death this last year
to my own experiences with emotional abuse. I think you have to be vulnerable
to create something really great and I believe I did that. Writing this album was
also an opportunity to show that I’m not just a songwriter and a singer but a
producer and a musician with a very clear vision for my art.
Joni Mitchell refers to herself like a bee, gathering stories like pollen and trying
to make honey from it, ‘whether or not the flavor suits people is something
beyond my control.’ I really tried to take that approach to writing this album,
making something I loved above everything else. I couldn’t be more proud of
Ashlyn and I hope many people happen to love it too.”

A producer with 20 years of experience perfecting his craft, we’re excited to welcome Ramon Tapia to Drumcode for his debut EP.

The artist previously contributed a pair of cuts to the A-Sides series in recent years with ‘Sonic Therapy’ and Drum Control’, while also playing the Drumcode stage at Tomorrowland in 2019. Elsewhere he’s dropped heat on Truesoul, led by the crisp groover ‘Manipulate’. His ascension to Drumcode for his first full-fledged solo EP release is richly deserved.

As with so many during the past year, Tapia’s taken his studio work in colourful and interesting directions. ‘The Future of Mankind’ is a multi-faceted beast. The title track is a straight-up weapon, driven by an ascendent riff that’s energetic and hopeful in equal doses. ‘Song of Sirens’ sees ambient pads and rolling percussion combine for a quality cut every DJ needs. ‘Screwdriver’ does what it promises on the tin; guttural and textured, it’s a necessary transitional tool for every techno set. ‘Hold On’ is the kind of emotion charged dance music that’ll make us go collectively weak at the knees when raving returns. We’re already excited to hear it rinsed at Drumcode Festival in Malta this September, when Tapia joins the party.

Limited Coke Bottle Green vinyl, 250 copies only for the UK. Any future pressing will be on black vinyl. Massage feature Alex Naidus from Pains At Being Pure At Heart. Recorded by Lewis Pesacov (Fool’s Gold, Foreign Born, Peel’d). Massage was supposed to be low-stakes, no big deal "anti-ambition," as Andrew Romano, guitarist and vocalist, put it. The L.A.based jangle-pop group's first album, 2018's Oh Boy, was a sweet and simple weekend warrior's affair, or more specifically, an every-other-Monday one, as the band members gathered to bash out songs that offered messy but heartfelt tribute to their chosen heroes: The Feelies, the Go-Betweens, Twerps, Flying Nun. For Romano, not taking things too seriously is a dead-serious affair: “Nothing kills the kind of music we want to make faster than the sense that a band is trying too hard,” he says. The kind of music Massage makes sunny, bittersweet, tender is less a proper genre than a minor zip code nested within guitar pop. Take a little "There She Goes" by the La's, some "If You Need Someone" by the Field Mice; the honey-drizzled guitars from The Cure's "Friday I'm In Love," a Jesus & Mary Chain backbeat, and you're almost all the way there. Indie pop, jangle pop, power pop whatever you call it, pushing too hard scares the spirit right out of this sweet, diffident music, and Massage have a touch so light the songs seem to form spontaneously, like wry smiles. Still, on their sophomore effort, Still Life, they manage to take a quantum leap forward in songwriting, production, and depth, all somehow without seeming to try. These 12 deft songs are full of late-summer sunlight and deep shadows, pained grins and shared jokes, shy declarations of love and quietly nursed heartbreak. Still Life resurrects a brief, romantic moment in the late-'80s, right after post-punk and immediately before alt-rock, when it seemed like any scrappy indie band might stumble across a hit. When Andrew Romano and Alex Naidus first met in 2007, Naidus had just joined a band with his friends Kip Berman and Peggy Wang that was about to stumble into many of them. When Naidus finally left Pains for L.A. in 2013, two hit albums and a few world tours later, he started playing with Romano to recapture the no-stakes, suburban-garage joy of making music for its own sake. It was "friendship incarnate," Naidus remembers. The other members came from within the friend circle Gabrielle Ferrer (keyboard/vocals) is Romano's sister-in-law, Michael Felix (drums) is one of Naidus’ best friends, and David Rager (bass) is a childhood friend of Felix’s. When Felix moved to Mexico City in early 2020, Naidus’ wife, Natalie de Almeida, stepped in. The result is the finest batch of songs they've ever produced. From Naidus' velvet-lined JAMC tribute "Half A Feeling" to Ferrer's Let It Be-era Replacements-tinged lament "The Double" to Romano's "In Gray & Blue," these are gold-standard indie-pop gems from emerging masters of the form. Still Life glows with the sincerity and unfakeable warmth of the era they so lovingly channel. Like the best Gin Blossoms chorus you still remember, the songs on Still Life stir big, pure emotions, but beneath them, uneasy truths about adulthood linger, just below the surface. Maybe the exact mix of ringing guitars and two-part harmonies can chase those feelings away, or redeem them, for at least a minute or three. Massage won't stop trying.

Brock Van Wey returns as Earth House Hold and his third full album under the alias, continuing to explore the furthest influences of Ambient-infused, deconstructed Deep House in all its varying elements.

“...from the second I descended those stairs, lived it for myself, and the events that followed, I knew my life had changed forever. A life that brought with it a beauty as infinite as its pain”.

Daybreak Basements and Broken Hearts explores a new aspect of Brock’s early Deep House influences, one that meticulous followers of this guise would have been patiently trying to guess since his last outing in 2018. If Brock’s debut Earth House Hold album (When Love Lived, 2012) took the grooves and danceability from Deep House, and his second, (Never Forget Us, 2018), highlighted the powerful progression of vocals and melodies, then Daybreak Basements and Broken Hearts continues to build on the many aspects and inspirations of the Deep House genre, with a raw, dirty and somehow deeper take on the sound that Brock grew up with many years ago.

Brock’s signature vocals once again provide the narration and backbone to an album that is designed to progress; from its patient and spacious beginnings to its energetic and emotional closing chapters. Reverberating synths fill cavernous spaces as basslines rumble, bringing a darker, more abstract, early-morning vibe to an album born from a place of both reflection, and personal experiences.

“This is a house album in the purest sense of the word - just as much as the furthest thing from one that ever existed. As much a deconstruction of what deep house means as an attempt to reconstruct a time, and a life, it built.”

The Cold Stares will release their new album "Heavy Shoes" on August 13, 2021 via Mascot Records.
"Heavy Shoes" will be available on CD Digipack w/ 12 page booklet and 180 Grams Shiny Gold Vinyl w/ printed insert.
The great state of Kentucky is world renowned for many things. Bluegrass music? Of course. The smoothest, best-tasting Bourbon created by the hands of man? It doesn’t get any better. One thing that folks don’t always associate with Kentucky however is visceral, in-your-face rock and roll. The Cold Stares are determined to change that perception.
Chris Tapp and Brian Mullins have known one another for a long, long time. They grew up in Western Kentucky, just a stone’s throw from the border or Indiana, and attended different High School mere minutes down the road from one another. They originally started playing together in their early twenties before going their separate ways only to reunite in another outfit a decade down the line. “We were playing together in 2009 in another band that was doing really well,” Tapp said. “It didn’t work out, so we both kind of exited that band and contemplated retirement.” It didn’t take long before they were thankfully disabused of that notion.
That band is an intense amalgam of Led Zeppelin meets Free, Soundgarden meets Black Crowes; rock and roll wizardry where the riffs are hard, the vocals are searing, and the low end is capital “H,” heavy. Most of the album was recorded in a single day at Sam Phillips fabled recording studio in Memphis. “That’s our second record there, so there was a lot of familiarity going back in,” Mullins said. “The thing about that studio is that it’s old, and vibey. Sometimes you gotta bang on the gear a little bit to make it work. It’s kinda like the Millennium Falcon. It’s badass, but you just gotta get it running right.”

‘Heavy Shoes’ is Cold Stares’ best record yet, and they know it. It took a lot of blood, sweat, tears and doubt before Chris Tapp and Brian Mullins reached this moment, but it’s all the sweeter knowing they did it their way. “We’ve been through some tough times, and I’d say our band is a pretty good representation for blue collar people in general. People that work hard. We’re just a blue-collar American rock and roll band.”

Ltd Edition, Double LP!
After 12 amazing years together, the UK’s most successful folk band
Bellowhead called it a day in 2016 going out in characteristic style with a
sell-out show at the London Palladium.
It took a few years and a global pandemic, but to the delight of their many fans,
the band reassembled for a one-off worldwide concert stream in December
2020, marking the 10th anniversary of their 3rd album ‘Hedonism’.
Hudson Records are excited to release the release of that live session recording
- ‘Reassembled’ - which will be the bands’ first release on double vinyl LP and
will also be available on CD and digital.
The band re-connected online during the lockdown in 2020 and for the sheer
fun of it remotely made and released ‘New York Girls At Home’ - all from their
respective homes around the UK.
This unplanned performance was warmly received and ignited another idea: to
reunite in person for a one-off broadcast performance. ‘Reassembled’ features
a host of favourites, including New York Girls, Roll Alabama, London Town and
Roll the Woodpile Down

From the many musical lives of artist Glenn Donaldson emerges The Reds, Pinks and Purples, a project that sifts out the purest elements of pop music and in the process chronicles the point of view of an assiduous San Francisco-based songwriter. The Reds, Pinks and Purples’ third album, called Uncommon Weather, is both an elusive portrait of San Francisco––during one of its fluctuations as an untenable place for musicians and artists––and also a self-portrait, however inverted, of a songwriter who has dispatched another treasured collection of timeless sounding DIY-pop songs.

How The Reds, Pinks and Purples arrived here is a story with many roots, the most consequential of which is perhaps the musical aftermath of his earlier band, The Art Museums, whose brief tenure in the late ’00s coincided with an explosive period of the Bay Area rock scene and was followed by a hermetic musical period of Donaldson’s. Disenchanted with the dissolution of his band, Donaldson averted the DIY-pop sound with an instrumental, conceptual project called FWY! but meanwhile started a habitual songwriting practice, sharing nascent songs with friends in an email exchange. In 2013–2014, The Reds, Pinks and Purples took shape as the moniker for Glenn’s most direct expressions in the DIY-pop mode, enabled by this new disciplined output. By then, San Francisco was already a changed place. The tragic loss of his former bandmate in Art Museums was another source of discontinuity and rupture. You can hear in The Reds, Pinks and Purples’ earliest songs this grappling with life, anxiety, and atrophying subcultures. For an artist with an overriding interest in the aesthetic principles of discrete musical genres, this turn toward his immediate world for subject matter was a major shift, setting The Reds, Pinks and Purples apart from Donaldson’s other musical ventures.

Preceding the release of Uncommon Weather was the Reds, Pinks and Purples’ 2nd album, one of the record buying joys of 2020, You Might Be Happy Someday, and, earlier, their first proper full length Anxiety Art, a title that might nod to the classic Television Personalities song “Anxiety Block.” Donaldson’s music continuously reckons with the influence of Dan Treacy, whose own forays into drum-machines, echo, and reverb in the early 1990s is an important reference point for The Reds, Pinks and Purples’ musical template. Paul Weller, Robert Smith, and Sarah Records also come to mind. But, as important, Donaldson sees his projects as visual expressions too, often blurring the lines of records and physical art objects. They could just as well be “art multiples” as well as records. The pattern for Reds, Pinks and Purples’ records is to document San Francisco’s Inner Richmond district in photographs: the muted, pastel colours and unpeopled compositions unfold in a series of images that read like counter-melodies to Donaldson’s distinctive voice, a vocal tone that always complements the colours.

Self-recorded and mostly self-performed, Uncommon Weather features pinnacle versions of songs Donaldson has honed since the beginning of the project. The album arrives with grateful timing, quick on the heels of You Might Be Happy Someday, and alleviating, for a brief window at least, whatever it is that keeps us coming back to this elemental music. Donaldson imagines his listeners are just like himself: fascinated and addicted to the spiritual power of uncomplicated pop classics. Anthony Atlas

In 1979 as a 15-year-old Eddie Piller was perfectly placed to be at the epicentre of the Mod revival. An inquisitive passion
for music, a family connection to Mod royalty The Small Faces, and an attitude that saw him travelling his home city, then
the country and then the world to take in the sounds that were emerging. In the years since, Piller has been a legendary
figure within the music industry setting up and continuing to own the ground-breaking Acid Jazz label, signing multiplatinum artists such as Jamiroquai and The Brand New Heavies collaborating on compilations with Martin Freeman and as
an award winning broadcaster even setting up his own Totally Wired Radio station. In The Mod Revival he looks back at the
movement that set him on his way.
• Mod is a sixties youth movement original built on sharp clothes, American soul music and nights on the town, that has never
really died. The originals added young British groups to their likes and then moved on, but their influence echoed on
through the 1970s in Northern Soul clubs, and in the sixties influenced bands of the pub rock era. When punk arrived, it was
supposed to sweep away the past, but instead the Sex Pistols were covering the Small Faces. The Clash brought in Mod DJ
Guy Stevens to produce London’s Calling, The Buzzcocks sounded closer to the Hollies than The Ramones and in The Jam’s
Paul Weller there was a musical and sartorial nod to the past of The Who, The Beatles and pop art arrows.
• Weller had spent the 1970s becoming obsessed by mod and saw punk as having a similar youthful energy to the era he had
missed by being born a decade too late. For others Weller’s style proved an inspiration, and as the Jam broke through in late
1978, they saw a wave of bands follow in their wake, and they themselves influenced others to form their own groups. But
there were other things. In bleak late 70s Britain the glorious optimism of the 1960s looked bright and shiny, and as it was
only a decade or so in the past, it was easy to pick up original records, clothes and books for pennies, and as you bought
these you met other like-minded souls who did the same. For those a little too young for punk, it was a community of gigs,
scooters, clothes, bands and records, and for many it developed on through.
• Eddie never stopped being a mod and has a unique perspective having now lived through four decades of being intimately
involved in the music that has emerged from the mod scene. In this part two double vinyl edition (Part 1 and its CD
equivalent reached #14 in the UK compilations charts) Ed guides us through some of his favourite music from the scene. He
guides us through a plethora of bands whose influences include The Who, The Kinks and the Jam, to sixties soul and R&B,
those with an eye on psychedelia. The records have a vitality and a certain stylish swagger to them, that marks them out as
mod. In the deluxe booklet, Piller has written a 5000 word note describing what it meant to him and has granted access to
his own scrapbooksfrom his many years of gig-going from which pages and memorabilia are reproduced.
• Eddie Piller’s Mod Revival is a personal appraisal from the founder of The Modcast, on what the mod explosion of the late
70s and 80s means to him…