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Studio Mule drops “Anthologia”, the final chapter of a close look on the work of the Tokyo born DJ and producer Takayuki Shiraishi, a jack of all trades, that sways through Tokyo’s vast music scene since the late 70’s, a time when post punk grooves called the tune. As part of the band BGM he released in 1980 the album “Back Ground Music” on the legendary Osaka based underground label Vanity. Last October Studio Mule reissued BGM’s no wave, free funk mini-mal treasure. A few Month earlier Studio Mule already published “Missing Link”, a thrilling retrospect on Takayuki Shiraishi's unreleased material from the late 1980s, a creative period of which only a little ever saw the light of the day.

And now “Anthologia”, a record that is dedicated to his work during the years 1990 to 1996, a time span, in which Shiraishi moved on to produce house, downbeat and playful electronica. In 1995 he released the ambient/techno 12inch “Spectral Colours” on the R&S sublabel Apollo under the alias Planetoid. Two years later he manifested his techno leaning creativity under his given name on the album “Photon”, a record that helped launching Japan’s techno scene. It was followed by two more long players, that display his wide musical taste with ambient, house, breakbeat and other genre blending styles. Besides producing, Shiraishi was also a prominent figure of Tokyo’s club nightlife, DJing alongside Jeff Mills as well as Krautrock icons like Holger Czukay.

“Anthologia” features three unreleased tunes of this lapse of time, as well as highlights some work Shiraishi produced together with his friend Jun Sonohara as Musica Nova and a hidden gem he tuned in for the “Isolated Audio Players 1” compilation, published by the Tokyo based Pickin' Mushroom Recordings label in 2000.

The three unreleased tracks display his love for diversification. “Distant Thunder” is a drone driven ambient voyage, that slowly melds into a gentle rhythmic sensation driven by loose hi-hat patterns and a soft chord crescendo. On the opposite, “Lapis Lazuli” comes around as a mellow melodic downbeat trip enlarged with twisted rhythms and cosmic infiniteness. “A Voy-age” shows his love for house music with a grooving arrangement that comes close to the kinky house gems of contemporary producers like Lowtec. Also, the already known “Isolated Audio Players 1” compilation tune “Flicker” is located in the house spheres, delivering nervous jacking minimal vibes emerging from a precise produced dance of melodies, grooves and sound effects.

In comparison, the four Musica Nova tracks show again another side of Takayuki Shiraishi’s many musical talents. “Birds in Paradise” is an elegant triphop tranquilizer, while tunes like “Nocturnal Tribes” and “Green on Green” express his passion for electronic arrangements that think out of the box with airy melodies, slow-motion big beat rhythms, jazz particles and an overall cosmic sound complexion. The tune “Shifting Sand” goes the same direction, while adding esoteric reverberations and a touch of Drum and bass.

Together the eight tracks turn “Anthologia” into something more than just an anthology of Takayuki Shiraishi’s work. In association, all compositions work like an album that overwhelms with a reasoned story-arc, who slowly rises to a hypnotizing peak, from where all downswings to a calm finish, that makes you want to start all over again.

Golden Days is the late completion of Ethimm’s EP trilogy on Light of Other Days and it continues exactly where the group left off 4 years ago. What started as the groups signature „tension music“, oscillating between dark repetition and moody improvisations is slowly morphing into a production style that features a heavy pop sensibility infused with conciliatory optimism.

The opener and title track of the EP recounts the meeting of a new lover in an autumn sunset. Starting with dreamy piano chords, a rhythmic bass and handclaps, it provides a beautiful musical backdrop for Tizi’s longing voice. During the course of the track, modulating synths and plucked guitars join her vocals as she sings about the „Golden Days“ spent with her lover.

Over & Out starts off in typical Ethimm fashion. Dubbed guitars, minimal beats and a sparse piano melody sets the tone for Elisabeth Thimm’s fragile vocal. In Over & Out Elisabeth negotiates her wish for freedom and how she breaks with her daily constraints. Albeit initially being drained in melancholy, the track ends on a musically hopeful note when a beautiful chord progression suddenly appears, colliding with an extended synth solo from outer space.
On Echoes in the Distance, glorious arpeggios accompany a sophisticated 303-style bass line and haunting vocals. The track follows one of Elisabeth’s dreams into a frantic, nondescript, deserted backdrop and slowly morphes into the most ecstatic piece of the EP. The multi-layered arrangement combined with Ethimm’s yearning voice on top, sound like about 3 tracks seamlessly sticked together. The track ends in pure ecstasy and the listener is left with the exciting feeling of wanting more.

The EPs finale is made up of the hopeful and minimalistic Day by Day, a track reminiscent of the balearic pop from the 1980ies. Gracefully and drained in beachside sunshine, Ethimm reminds us not to waste our days with unnecessary actions and focus on the beautiful small things in life.

Young Berlin- Potsdam based nine-Piece WANUBALÉ follow up their debut Album "Phosphenes" with two brandnew Songs on this 12"!

Nils Frahm, born in 1982, had an early introduction to music. During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.

The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again.

The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes. As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new Nils Frahm, born in 1982, had an early introduction to music.

During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.

The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again. The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes.

As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new album of piano improvisations the result is 'The Bells', which will now be released on Erased Tapes in the UK, Ireland and North America. Perhaps the most stunning aspect of what on the surface appears to be an entirely pre-planned and composed body of work comes with the discovery that these pieces were in fact improvised.

These two friends share a common affinity in that they both possess an absolute mastery of melody, composition and performance able to deliver with devastating effect. The modest Mr. Broderick states 'I remember thinking to myself as I lay there stunned, that I could spend ten years trying to write an amazing piece of piano music, and still it would never be half as good as these improvisations!'

Recorded in a rented, beautiful old church in the heart of Berlin over two nights, Nils 'just played' with the occasional instruction from Peter 'I spouted "Make a song using only the notes C, E, and G", or "Make a song that you could imagine me rapping over the top of" (Track 8 'My Things'). At one point I was even inside the piano, laying on the strings, asking him to make a song called 'Peter Is Dead In The Piano'. The resultant work 'The Bells' shares the same excitement and air of playfulness.

For a musician this early in his career, Frahm displays an incredibly developed sense of control and restraint in his work. As the recognition continues to grow for both, 'Wintermusik' and 'The Bells', we are pleased to announce that 2010 will also see his next album release on Erased Tapes.

Masterpieace of a compilation of wanted tunes on vinyl !

Presented by Mitsuko & Svetlana Records, distributed by WRWTFWW Records.

A golden era gem from the master himself.

Archival reissue of long lost treasure from genius pianist and composer Masahiko Satoh whose resume includes hundreds of legendary albums and collaborations with Midori Takada (Lunar Cruise and Ton•Klami) among many others.

Very rare soundtrack of a 9-episode suspense drama that aired on TV in 1969 and 1970. Filled with exquisite jazz, soul-jazz, folk-jazz, and mystery-jazz, plus groovy affairs, classical moods, and 70s flair.

Highly recommended to Japanese jazz collectors, soundtrack collectors, Masahiko Sato collectors, lovers of rare gems and wearers of vintage trench coats.

All compositions and arrangements by Masahiko Sato
Masahiko Sato: piano, keyboard
Yoshiko Goto: vocal
Kiyoshi Sugimoto: guitar
Kunimitsu Inaba: bass
Yasuo Arakawa: bass
Akira Ishikawa: drums

Originally released in November 1970 as an LP on Toho Records (BL-1001)

Who put the dance into Factory Records?”

Be With would like to refer you to FAC 59.

Working with founding member Tony Henry, we’re honoured to present the reissue of 52nd Street’s crucial debut single “Look Into My Eyes”, backed with “Express”. Originally released on Factory Records in Summer 1982, this ultra-rare 12" is a double-sider in the truest sense. Unrivalled Manchester jazz-funk-boogie-soul.

Both “Look Into My Eyes” and “Express” came out of a five day recording session in the spring of 1982 at Revolution Studios in Cheadle Hulme, just outside Manchester. Rob Gretton had just signed the band to Factory, snatching them from under the noses of RCA and WEA Records who had been sniffing around and seemingly ignoring Tony Wilson’s concerns that Factory might not be the right home for a black soul act. Rob clearly thought different.

The band of Tony Henry on guitar and vocals, bass player Derek Johnson, drummer Tony Thompson, lead vocalist Beverley McDonald and John Dennison on keyboards were put in the studio with A Certain Ratio’s drummer Donald Johnson producing the sessions. The band also found themselves with an interesting new member.

The back cover of the finished record credits synth F/X to a mysterious “Be Music”. Turns out that’s Bernard Sumner. Yes, that one. Tony Henry explains that bringing Bernard in was another part of Rob Gretton’s plan, “Barney was a real soul boy at heart and had always wanted to produce and work with black artists… with 52nd Street, he was an honorary member”. The results suggest he fit right in.

“Look Into My Eyes” squeezes so much aural pleasure into one side of a 12" single. A strutting, rich, soul-gliding funk with bass and guitar high in the mix above twisted, bubbling synths. Like Nile and Barney drenched outside the Haçienda that first summer. How can something be this liquid loose whilst sounding so, so tight? The hypnotic, naïve-cum-insouciant vocals from McDonald, backed by her fellas, only add to the track’s charm. Put simply, it sounds like nothing else.

On the flip, “Express” is sheer drama on wax. Tony’s opening lesson in good manners (“Excuse me miss, is this seat taken?”) sees us strapped in for a wild, chaotic, rhythmic ride. All bold keys, synth brass blasts, insistent bells and a galloping groove giving *that rush* atop a bassline to die for. No surprise it was a Frankie Knuckles favourite. Blistering heat.

The 12" was Paul Morley’s single of the week in the NME but his approval did little to get daytime radio play or to sell the record when it was released. It probably didn’t help that, in Tony Henry’s words, Factory were a label “notorious for not promoting their bands, not wanting any communications with the written press and not answering their office phones.” It came and went with none of the fuss that music this good deserved.

But in the near-40 years since they were released, these two tracks have gone on to become cult underground hits for those in the know. Of course that means those original 12"s have gotten rare and pricey. So here’s your chance to own this particular piece of post punk Factory Records funk.

But this record isn’t just a vital slice of Manchester soul history. Tony’s not shy about just how important he thinks the collaboration between 52nd Street and Bernard Sumner was: “this worked out quite well for us in the band but even better for New Order and Factory Records as Sumner studied grooves, rhythms and how to write and construct funk and dance music from 52nd Street and producer Donald Johnson”. You just have to listen to Blue Monday to hear what Bernard did when he started putting what he’d learnt into practice.

“Look Into My Eyes” and “Express” come from a chapter of the history of Factory Records that no-one seems to have gotten around to writing. Working with Tony to reissue the original 12" is the start of putting that right. The story of 52nd Street is more than just a footnote.

Part I (Disc 1)

The Taiwanese artist Yutie Lee covers six Chinese folk songs about Flowers.
Tuberosa, Rose, Jasmine, Plum Blossom, Orchids & Chamomile all are odes to the beauty of the plant. The flower also being a metaphor for something we are desperately longing for, but can never quite get. However you may want to interpret the songs, they are all telling a story of something pure and indestructible. In the end nature will prevail?
Romantic thoughts created in a time long before the current state of the world.
By artificially mutating her voice, Yutie Lee successfully manages to transfer the songs into 2020s arguably much more complex, dystopian reality. She does this not without a bow to the past, prevailing something of the original songs sweet essence, even adding a layer of humour… in the end leaving the listener with a feeling of good hope.

Part II (Disc 2-3)

To complete the package Yutie Lee’s versions have been remixed by, Alva Noto, Bell Towers, Laura Groves, Oceanic and Suzanne Kraft.

2x12" Red Coloured Vinyl with Black Splatter, Inhalt des Deluxe Boxset: CD Digipack, 2xLP Gatefold, bedruckte Innentaschen, exklusive Box-Set-Farbe: rot transparent, Wanduhr mit dem Cover Motiv, Kühlschrank Magnet, A1 doppelseitiges 4c Poster, A5 Fotokarte, Sticker, Button, Größe der Box: 33 cm x 33 cm x 16 cm, im Hartkarton Material mit Deckel

Dom (and his Roland s760 sampler) was once described by seminal magazine NME as the “Ridley Scott” of drum and bass. His epic early records helped form the blueprint of the scene today.

Originally releasing on No-U-Turn in 1994 and credited as one of architects of “Tech-step”. Dom was signed by the legendary Moving Shadow label in 1996 where he released 3 solo albums and a plethora of singles becoming their most prolific and influential artist in the history of the label.

Well known for his early alliances with school friends “Optical” and “Matrix”, Dom started his own label DRP (Dom & Roland Productions) in 2006 to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work.

Lost in the Moment is Doms 7th Album. In his own words “I wanted to make an album that gets back to the core of the elements I love about drum and bass. The timelessness of simple tracks! A sense of being lost in the subtlety of evolving soundscapes, rhythms and loops which hint at more complex detail and emotions. These are the things I find harder to find in this era of instant gratification and easily consumable music.”

Dom’s previous album Last refuge of a Scoundrel was signed to Metalheadz in 2016. It sold out on its first day. Mixmag gave it 10/10 and named it album of the year. It was runner up in DJ Magazines “Best of British” category across all genres.

Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they’ve been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalogue of the legendary library label KPM.

They replied with Island Visions, an exploration of sound for vision where they construct “audio micro-worlds to explore and inhabit”. A way to transport the listener away from the everyday without the bother of getting on an aeroplane. Mind travel is space travel after all, and much better for the environment.

Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete’s travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion and the Seahawks live team of Dan Hillman and Alik Peters-Deacon.

From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Deryshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe.

The spacious “Hot Sand Shuffle” opens the record with some of Seahawks’ familiar “deck-shoegaze”. The slinky digi-dub of “Sky Blue Sky” follows, gently encouraging us to lay back and relax. “Mystic Beach” is a refreshing ocean spray of a synthetic groove that clears the head, priming a pathway to receive “Crystal Forest”, a new age house groove of birds and flutes.

Dense, deep and dreamlike, “Distant Shore” is ambient rainforest house with a 90s vibe, its dense foliage clearing to let us bask in the shimmer and shine of “River Run”. Hang drum, electric gamelan, flute and loon close side A.

Side B bounces into being with “Catch A Wave”, an upbeat beach groover of synthetic guitar, effervescent synth and snappy drums. Equatorial bubbler “Paradise Bird Bath” soon glides in with marimba, crisp beats and fat synth bass. Fender rhodes, space echo and fretless bass make “Smooth Runnings” a laid-back poolside groove.

“Spirits Have Flown” conjures a hazy vibe with marimba, sax, synth funk bass and chilled beats before “Rolling Deep” serves up a light cocktail of sultry rhythms, refreshing textures, cooling sax and fretless bass. Almost-title track “Island Blues” brings the horizontal poolside feels with melodic chimes, oboe and more fretless bass for maximum vibrations. The marina drone of modular electronics, celestial trumpet and jungle ambience pay the album’s final respects to the cosmos on “Sun Salute”.

Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams.

Pete’s front cover for the LP is part map, part postcard: “the record has five different sections and I wanted to reference those in the worlds they created, musically and physically. From beach campfire, to poolside hanging and nighttime dancing. A kind of portal to those places and the pictures they inspired in my mind. All places we’d like to be in this turbulent year”. The track descriptions on the back help guide the way.

2020 marks 10 years since Ocean Trippin’, the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures and moods that Jon and Pete have been exploring over the last decade. Sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don’t apply here.

This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and we worked with Jon on the vinyl version of Hatchback’s Colors Of The Sun). Of course we were going to put this out on vinyl.

Mastered by balearic engineer of choice (and Be With’s regular audio co-pilot) Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum travelling conditions. Take the trip.

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

“Miss Honey” by Moi Rene was an underground New York anthem during the early 90’s. While the artist and the song never fully got the acclaim it deserved, it’s originality and authenticity was strong enough to sustain its reputation as a must have track for any DJ who wanted to inject some raw and real NYC underground vibes into their set.

Through a series of memorable releases, the production team known as SRVD has emerged as one of the worldwide DJ community’s most original and innovative talents. Consisting of renowned producer Radio Slave and Performance arsist Partrick Mason, SRVD has done a remix that retains the New York-in-the-90’s edge of the vocal, while adding a techno – laced rocket fueled beat and synth that have made the track an immediate favorite of headlining DJ’s worldwide. Entitled Moi Honey, the SRVD remix package consists of a vocal and instrumental version.

the debut release of australia born, berlin based producer “fantastic man” on mule musiq. he has released many nice records from the quality labels like let’s play house,kitjen and own superconscious records. since we’ve met in milano last year,we started to talk about the release. now our first 12inch then his debut album is coming in this summer. stay tuned!

Brave Wave’s first 3-LP vinyls colored (Red, Black and White) set , Samurai Shodown The Definitive Soundtrack will come in a box set featuring three LP sleeves decorated with artwork from the game, with the box set featuring the original iconic Japanese cover drawn by famed illustrator Shinkiro. Both 3LP and 2CD version includes booklet.

SNK and Brave Wave Productions are proud to reveal their fourth collaboration, Generation Series 010: Samurai Shodown for both CD and vinyl.

Known as Samurai Spirits in Japan and originally released for NEOGEO in 1993, Samurai Shodown is one of SNK’s most classic and timeless 2D fighting games, featuring fast-paced gameplay, beautiful graphics and catchy music.

The soundtrack, composed by Norio Tate, achieves the difficult task of producing traditional Japanese sound comprised of instruments such as the shamisen and shachihata while maintaining a distinct NEOGEO vibe. The result is a beloved soundtrack that is simultaneous timeless, yet historical.

There are two variations of the soundtrack: an AES version and a NEOGEO CD arranged version. Samurai Shodown The Definitive Soundtrack will include both versions, featuring the entirety of the original soundtracks remastered and restored to the highest possible quality, in collaboration and consultation with SNK.

The CD and vinyl editions will feature a booklet containing artwork from the SNK archives, in addition to in-depth liner notes written by some of the original creators of the game, including series creator Yasushi Adachi, as well as Tate. In addition, the booklet will feature an in-depth essay by Greg Kasavin of Supergiant Games on the impact of Samurai Shodown on video game culture and history.

"NOON" One of the most prominent and widely acclaimed polish producers, returns after a two-year break with the new album called "Nobody Nothing Nowhere".

The fifth solo work of NOON was released by his own label called "Nowe Nagrania". The idea of "Nobody Nothing Nowhere" is connected to the various places in Poland and Europe: from the first sketches recorded in Gdynia, through Warsaw and London, to the final recordings in Łódź. Alan Kamiński is responsible for the graphic design of the album, based on NOON's own photos.

The atmosphere of working on "Nobody Nothing Nowhere" is similar to the aura of "Gry Studyjne" LP - NOON's sophomore album. However, this time NOON puts emphasis on much greater advancement, devoting himself to work alone with one analog beat making machine called Elektron Rytm Mk2.

Mikołaj Bugajak on "Nobody Nothing Nowhere" is accompanied by excellent musicians and also his regular concert partners - drummer Marcin Awierianow, bassist Piotr Połoz (both from polish post-punk band Psychocukier) and violinist Tomasz Mreńca. It is worth mentioning that NOON's part's contained on "Nobody Nothing Nowhere" were programmed on the machine in the shape of live performances, which gave the LP additional element of dynamism and life.

"Album called "Nobody Nothing Nowhere" is an album about escape, which turns out to be impossible. All these struggles and attempts to change destiny resemble a spiral journey. The albums consists of three parts, and is summarized by the song called "Spektrum".

My fifth album is released less than two years after "Algorytm" premiere in terms of experiences that I wanted to share with the audience." (NOON)

NORTHERN SOUL ESSENTIALS!!! 2020 finally sees the long-awaited follow-up to the mega-succesful Frank Wilson 45 in our ‘Soul Essentials’ series. And they don’t come more “essential” than The Tempests “Someday”. What a fabulous record and a top notch dancer to boot! For many, “Someday” is the Northern Soul sound of the millenium, and it is! But we have to go much further back in time to find it’s roots on the scene. Back another twenty years in fact, back to the eighties to the “discovery-city” of Stafford where it was first played to an astonished and eager audience. It was originally released as an LP-only track on the album ‘Would You Believe’ on Smash Records in 1967. And what an incredible album it is offering up a number of potential B-sides for our single: the title track, plus a very credible rendition of “Ain’t No Big Thing”, “Happiness”, “I Cried For You” and “What You Gonna Do” – all totally fantastic. But, we went with the stunningly sublime and pleading “I Don’t Want To Lose Her” dripping in tortured emotion that sends shivers across the dance floor! The Tempests were originally an all-white 10-piece outfit formed in the early-Sixties in Charlotte, North Carolina. They went through a number of personel changes over the years but by the time they signed to the Mercury owned ‘Smash’ label their unique sound featured black vocalist, Hazel Martin. It is Martin’s implouringy desperate delivery that resonated instantly with the Northern Soul scene propelling the band to iconic status. Now, over fifty years on, the two standout tracks from the album are available back-to-back for the very first time! Also available the No.1 oldie “Do I Love You” by Frank Wilson.

This EP is Volume two in the series of early 1990's slower tracks by Mike Wells that Rabbit City didn't want to release as they wanted all "Bangers".

Franky Rizardo announces the launch of his new label, LTF Records with four-track EP ‘Primrose’. The culmination of a number of years hard work, the Dutch DJ, producer, promoter and now label head proudly presents an outlet for his own music.

Encompassing an immersive feeling of energised focus, involvement and enjoyment of his journey within the industry so far, LTF Records (Listen To Flow) is Franky Rizardo’s new platform to transport its listeners and followers into a flow state of mind.

One of The Netherlands finest exports, Franky Rizardo has established himself as an international touring artist, as well as name renowned within his own country. Being an ever present on Dutch national radio station, SLAM! has provided him with the perfect platform to develop and nurture a label that is crafted with clear intentions and identity. Building a career based on strong philosophies, Franky has consistently aimed to do his own thing, keep everything in perspective and most of all, having fun.

From ingraining himself within the ANTS and elrow camps, to releasing on labels such as Strictly Rhythm, Rejected, Saved and 8Bit, Franky has become a name synonymous with deep driving house music that blurs the lines between Techno and House. The multi-faceted Dutch artist has also represented himself and his brand FLOW, at events such as Tomorrowland, Fabric – London, Shelter – Amsterdam, Amnesia – Ibiza and Soho Garden Dubai, further cementing his status as a one of electronic music’s most dynamic individuals.

Across four-tracks on the ‘Primrose’ EP, Franky focuses his energy firmly on the dancefloor, keeping people locked into his flow state. Opening with ‘Primrose’, the tracks low-end rumbles throughout, supplying the perfect atmosphere to keep the crowd moving. ‘Faze’ offers a wonky blissed out vocal alongside stabbing synth. Whereas ‘DC Terrace’ is a nod to the peak-time movements at Ibiza’s famous club, DC10. Closing the EP ‘Clouds’ provides an energised up-tempo focus track to engage to zone.

The label launches at time when authenticity within the industry is key, Franky continues to focus on his own output, never taking himself too seriously and always keeping full perspective on the task at hand. Inviting you to join him with LTF Records, Franky wants you to enter his flow state.