Buscar:wen

“Friends! I am so pleased to announce ‘A Night At The Little Los
Angeles’ - the 4-track version of ‘Sundowner’. Recorded at
home and in my back shed - aka The Little Los Angeles - in
suburban Kansas during the summer and winter seasons of
2017 and 2018. This is quite simply the sound of me alone in a
room with a four-track to catch my songs as they fell out of my
mouth. When I later went into a proper studio to make
‘Sundowner’ my goal was to capture the essence of these initial
recordings, and here you will now have access to the very
essence I was chasing.

“In many ways, this feels like a proper album to me, as it’s my
initial attempt to capture the Kansas sunset and put it into
sound, whereas ‘Sundowner’ was an attempt of an attempt. I
love and am proud of them both, of course, but am happy to -
for the first time - share this vulnerable side of my songwriting
process with the public. Many of my favorite recordings have
been made inside of an artist’s home without regard of the
outside world, but instead deep in their own world that they’re
creating in real time. And with that - I’d like to invite you into my
own little world here and now and ask you to please... step
inside of... and spend ‘A Night At The Little Los Angeles’!” -
Kevin Morby

Released in 2020 on Dead Oceans, ‘Sundowner’, with Morby’s
distinctively conversational and reflective writing style, was
received with open arms and was beloved by fans and critics
alike. Pitchfork lauded it as “a vision of the Midwest that feels
mythical and enormous.” ‘Sundowner’’s vision was further
fleshed out in comprehensive features in Vanity Fair, New York
Magazine, Stereogum, The FADER, Vice, Aquarium Drunkard,
and more.

In addition to traditional music publications, Morby appeared on
Adult Swim’s Fishcenter and Office Hours with Tim Heidecker.
Morby also made his network television debut on CBS This
Morning, where he performed the songs ‘Campfire’ and
‘Sundowner’ as part of a special joint performance with his
partner and fellow songwriter Katie Crutchfield, aka
Waxahatchee.

Here’s a definitive compilation of their first period career, Glaxo Babies was one of the most exciting british post-punk band of the era. Raised in Bristol – altogether with such local influential acts like Maximum Joy, The Transmitters and obviously The Pop Group – Glaxo Babies formed in late 1977. The band signed to local label Heartbeat Records (marketed by Cherry Red), with their first release being the This Is Your Life EP in February 1979; in the same year they released the single “Christine Keeler” . This led to them recording their first session for BBC radio’s John Peel the following April, and the track “It’s Irrational”, from this session, opened the seminal 1979 Bristol Compilation album “Avon Calling”. Their aggro mix of in your face lyrics and groovy bassline led to a unique formula, with both their feet in the post-punk scene and the uprising black jazz crossover. The so-called white funk was the plat du jour, even if the band soon achieved a straight and original personality. Fully remastered and licensed, ltd to 500 copies.

If you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in. And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, and vicariously the rest of the world, a good kicking. Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds, booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight... Put the boot in.

* In 1980 Gerald Moore - of G.T. Moore and the Reggae Guitars and Heron fame - was in Kingston, Jamaica working with Lee Perry on the `Return of Pipecock Jackxon’ LP. Gerald went into Harry J’s studio with James Lascelles (Global Village Trucking Company, The Breakfast Band) and Bud Beadle (Ginger Baker & Salt) alongside members of Zap Pow: Don Grant, Cornell Marshall and Dwight Pinkney.
* `Jerusalem’, a meditative and reflective track was one of four tunes recorded.
* Previously released on the `Harry J Sessions’ on Partial Records (PRTLLP001/CD001), this is the first time this cut of `Jerusalem’ appears on 45. Backed with a previously unreleased dub version, mixed by Dougie Wardrop direct from the master tapes.

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.

D’CRUZE ‘WATCH OUT’ The lost dubplates from rare DAT studio tapes that have been saved!

The Legend of The Lost Dubplates...

Prior to the original 1994 release of the D'Cruze classic 'Watch Out' our good friend and rave headliner Micky Finn requested a special version for his DJ sets, he went to the studio with D'Cruze and created a VIP dubplate special in the truest sense. Only held on dubplate by Micky himself and only ever heard in his sets it became stuff of legend. Fast Forward many years later a clip of it emerged on Soundcloud from a Micky Finn mixtape and the buzz for it started again. In 2021 Micky found the original DAT masters and supplied them to us for some restoration and remastering.

While searching for the lost classic we came across a DAT with the writing Watch Out - Flex, a remix by Cool Hand Flex that didn't make it in time for the original release and has remained on DAT since 1994! So now, together with the original version and a totally unique 2021 take on this classic from Chimpo, finally we are able to bring this lost treasure to you!

Grab yourself a piece of future history now whilst we have these available in stock, because these will never be repressed.

Cindy is a band built around the singing and guitar playing of Karina Gill. She became a musician only recently, having sat on the sidelines while ex-partners and friends made their stabs at it. Gill describes a chance encounter with an abandoned Squire Strat left in the basement by a previous tenant, “mummified in electrical tape with the remnants of a burrito on the head stock”, that led her to begin carefully strumming her way through simple chords and making her own songs. After one interesting self-released LP, still finding their footing, the band made the masterful and buzzed-about Free Advice, which went from a limited cassette on local SF label Paisley Shirt to vinyl pressings on Tough Love (UK) and Mt St Mtn (USA).

Cindy’s third LP arrives in quick succession, the quietly devastating 1:2. Jesse Jackson on bass, Simon Phillips on drums and Aaron Diko on keyboards weave the perfectly thin web behind Gill’s slow Velvety strums and murmured melodies. The rhythm section brings the crude flow, while the keys add subtle and surreal counterpoint to the withering world Gill depicts in her lyrics. “Songs tie together seemingly disparate things by the logic of mood,” Gill tries to explain. This isn’t dream-pop sunshine bliss; half-closed black drapes hang on the window where the narrator stares into the middle distance. “Sometimes you say you’re feeling small/You plan all day for your own funeral”, she intones in Party Store. Gill has a way of halting her phrasing that makes it feel like her thoughts are gently tumbling into the abyss. It’s this unsettling quality mixed with the hazy atmosphere that makes Cindy’s new LP 100% addicting and the perfect antidote to comfort listening. Glenn Donaldson, 2021

The Vapors are an English new wave band who were initially active between 1978 and 1981. The
group were spotted by Bruce Foxton of the Jam who went on to manage them alongside John
Weller (father of Paul Weller). They rose to prominence with the release of their debut album
‘New Clear Days’ which features their best-known track and international hit single ‘Turning
Japanese’.
• The songs on the album focus on prominent societal issues from the time including nuclear
weapons, power stations and the generation gap.
• The album is now reissued on vinyl for the first time, pressed on 180g yellow and black split
colour vinyl.

The Vapors are an English new wave band who were initially active between 1978 and 1981. The
group were spotted by Bruce Foxton of the Jam who went on to manage them alongside John
Weller (father of Paul Weller). They rose to prominence with the release of their debut album
‘New Clear Days’ and international hit single ‘Turning Japanese’.
• Their second album ‘Magnets’ was released in 1981 and features more power-pop songs
exploring themes of politics and societal issues. Highlights include the singles ‘Jimmie Jones’ and
‘Spiders’. The album cover was designed by Martin Handford who would later find fame for his
‘Where’s Wally?’ books.
• The album is now reissued on vinyl for the first time, pressed on 180g clear vinyl.

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.

Vinyl reissue of this classic Oi! compilation originally released on Secret Records in 1981.

It features tracks by the biggest bands of the genre like: 4 Skins, Blitz, Red Alert, Peter & The Test Tube

Babies, Infa-Riot or The Business. This album went straight to number four of the independent charts and became probably the best Oi!

compilation ever issued. Includes original artwork inner bag.

* Strictly limited-edition 12” vinyl in full colour sleeve
* DJ Die is among those who laid the foundations for British dance music, who first grabbed the world's attention in the early 90s and who indelibly stamped the 'Bristol Sound' on the history of music forever.
* Die went on to become one of Bristol's most cherished musical sons - and one of the jungle / drum & bass movement's biggest stars.
* From 1993 onward DJ Die gave V Recordings some of the labels most seminal releases, including the likes of 'Slide Away', 'Special Treat' and 'Autumn'. It would be criminal of us to not get him involved in the Legends series. This strictly vinyl-only release sees two cuts from '96 finally see the light of day, 'Capers' and 'Inside'.
* The fifth part in this vinyl series, with yet more legends waiting in the wings. These are an absolute essential for vinyl collectors.

Back in 1993, Aston was the one half to the SUBURBAN BASE act 'Rap and Aston' as well as part of 'Engineers Without Fears' and earlier 'The Blapps Posse', he then went on to form the hugely successful group 'The Freestylers'. He produced for artists such as Rebel MC and created some of the Sub Base classics which include Vertigo, More Time, Jeopardy and is now back with a brand new release of old skool inspired bangers to launch a new era of Boogie Times Records.

First up Aston introduces Pirate Jams with the the stunning ‘U Know The Score’, from the very first old skool lead stab and catchy vocal you know that here is a tune from a master of their craft, with all the years of experience and success condensed into one tune to make the definitive early 90's vibe with and updated twist. This has instant classic and future anthem written all over it, fingers crossed we get out and about to hear this at raves across the summer.

Next up is '4EVR' alongside Quicklung, a bolder driving piece of old skool inspired genius, from the early days of rave almost an 89/90s Belgium import vibe to it for those that 'Know The Score' as the A side says!

Grab yourself a piece of future history now whilst rather than hunting discogs two years from now lol

Already renowned for a ball-tearing live show, The Sniffers
made their international debut as one of the hottest tipped
acts at The Great Escape in 2018. Soon afterwards, they
signed deals with both Rough Trade Records and ATO
Records, made a massively hyped appearance at SXSW,
and finally released their self-titled debut album in 2019,
landing them an ARIA (Australian Recording Industry
Association) Award for Best Rock Album, capping off a wild
year for the lunatic, likeable punks.
Late in 2020, Amyl and The Sniffers went into the studio with
producer Dan Luscombe to record their sophomore album,
‘Comfort To Me’. Written over a long year of lockdown, the
album was influenced by and expanded on a heavier pool of
references - old-school rock’n’roll (AC/DC, Rose Tattoo,
Motörhead and Wendy O Williams), modern hardcore
(Warthog and Power Trip) and the steady homeland heroes
(Coloured Balls and Cosmic Psychos).
Lyrically, the album was influenced by Taylor’s rap idols and
countless garage bands and, in her words, “I had all this
energy inside of me and nowhere to put it, because I couldn’t
perform, and it had a hectic effect on my brain. My brain
evolved and warped and my way of thinking about the world
completely changed.”
Seventeen songs were recorded in the ‘Comfort To Me’
sessions and the top thirteen made the cut. They were mixed
long distance by Nick Launay (Nick Cave, IDLES, Yeah Yeah
Yeahs) and mastered by Bernie Grundman (Michael
Jackson, Prince, Dr Dre).
‘Comfort To Me’ demonstrates the same irrepressible smarts,
integrity and fearless candour as their debut but, as you’d
expect of any young band five years on, their sound has
evolved - in Amy’s words, it’s “raw self-expression, defiant
energy and unapologetic vulnerability.”

“Impressions / I Am Thousands” is the new release from Berlin-based electronic producer and multi-instrumentalist sUb_modU, aka the brainchild of Italian Romeo Sandri. Both songs form part of the jazz musician’s debut album ‘Descent To The Centre’, a record that is an autobiographical and existentialist account of oneself, blending the electric/psychedelic spectrum of jazz with house, avant-garde and ambient leanings.

Following on from “Pidgin Synths EP”, a releases that entangled a homage to afrobeat pioneer Fela Kuti with synth-heavy original material, sUb_modU has amassed an impressive list of tastemaker support through his unique reinterpations, from the likes of Gilles Peterson (BBC 6Music), Ross Allen (NTS) and Virgil Abloh (Off White). Alongside the release of his debut album is a special edition, double A side single, 7” featuring an exclusive 45 Centre Edit of the iconic “Expensive Shit” paired with a sUb_modu original “RAM Generation”.

"This is another one that went down a storm” – Ross Allen (NTS), Best of 2020
“"Quite a lot of people have been asking me about that Fela Kuti cover…”
– Gilles Peterson (BBC 6Music)
“A killer electronic-filled reinterpretation” – Twistedsoul
With further support from Virgil Abloh (Off White), TRENCH & DJ Mag

For Wilkes-Barre’s One Step Closer - the concept of home is complicated. “I’ve never felt so distant in my life,” vocalist Ryan Savitski screams on the lead single “Pringle Street,” a place in his hometown that binds the album’s lyrics to both a precise location and feeling of displacement. On their first ever full-length album and debut for Run For Cover This Place You Know, the band offers a modern comingof-age story about growing up and grasping both the known and the unknown.

One Step Closer started in 2016 and in their short five years, Savitski, along with drummer Tommy Norton, bassist Brian Talipan and guitarists Ross Thompson & Grady Allen have come into their own as a modern hardcore mainstay. Their 2019 EP ‘From Me To You’ countered existing trends in exchange for a more melodic sound in the vein of bands like Turning Point and Title Fight. They went on to open for Have Heart at the band’s now legendary reunion shows that summer, and joined bands like Knuckle Puck and Turnstile on tour before pausing to write their debut album.

This Place You Know grapples with the weight of themes like isolation, depression, and loss - all amplified by driving bass lines, emphatic guitar riffs and unwavering drumming performed by the band. From the first moments of album opener “I Feel So,” the stakes are made clear by the anchoring lyric ‘this place you know, sometimes it hides the truth and lets people go” - One Step Closer is attempting to resolve the unresolvable anguish of moving on from everything you once knew.

- Debut full-length & first RFC release for One Step Closer
- Previous touring & show history with Have Heart, Turnstile, Knucklepuck, Fiddlehead
- US & international touring to follow album release in fall
- Music videos for “Pringle Street,” “Chrysanthemum” & “Time Spent, Too Long”

The Men’s hugely influential album Leave Home came out during an exciting time in New York City. DIY lofts and shitty bars littered downtown Manhattan and North Brooklyn. The Acheron had just opened its doors. Kill Your Idols had broken up. Toxic State Records was just getting started with Crazy Spirit, Dawn of Humans, Hank Wood and Perdition EP’s. The city was alive with punk and noise and filth. And right at that time, The Men were the show to be at.

Every gig was dripping with sweat. Hallways and sidewalks were packed between sets. Chaos reigned in the pit. The Men hit like a bag of hard cement, a hardcore band with a familiar sound but with an aura of absolute chaos and intensity, like everything was on the brink of going off the rails at every moment of their set, a downhill freight train with no brakes. During these shows one’s focus could shoot back and forth between the intimidatingly angry-eyed, bald-headed Chris Hansell (who went on to front Warthog) and the long haired hippie punks Mark Perro, Nick Chiericozzi and Rich Samis, that made up the surrounding band.

Just one of the many juxtapositions the band embraced. If The Men were a chapter in Michael Azzerad’s Our Band Could Be Your Life, the early EP’s and cassettes would obviously be Minor Threat and Black Flag, while Leave Home would likely be… Sonic Youth. It was just before they made the full jump into each record being a smorgasbord of underground genres, from dream pop to folk;

before they had tracks called “Country Song,” for example. But it was a preview of what was to come. Leave Home was a pivot from pure hardcore punk (some might even call it mysterious guy hardcore), as the band got lost in the groove in a way one couldn’t on a straight up punk record. That groove was so strong on “If You Leave…,” “(),” and “Bataille,” while they spaced out on “Shitting With The Shaw,” and stayed as aggro as ever on “LADOCH.” But of course, Leave Home had a re-recording of their hardest track to date, “Think,” making it clear that they were still the moshers we all had come to know and love. If The Men raised their flag as an important New York punk band with Immaculada, they started waving it in the freakiest way with Leave Home.There is no doubt that Leave Home was one of the most influential records of the last decade.

You can hear their mark everywhere from Ty Segal and The Oh Sees to Milk Music and Hank Wood. Few bands have traversed as many genres as The Men and even fewer have done it so well. It is a testament to the band’s undying authenticity and adventurism that the record sounds as timeless and urgent now as it did when it blew the doors of New York punk off its hinges ten years ago, leaving a giant hole for bands of all kinds to come racing through.

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.

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.