Search:the clouds

Germany Exclusive on Smoke Marble Vinyl, only 1000 copies available. Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Growing Bin say sayonara to summer with these bittersweet Balearic gems from Japan’s Nuback. Emotional pop and daydream dub to make you feel younger than yesterday. While the Discogs hipsters hastily hunt down the last, lost street soul OGs, Growing Bin choose instead to indulge in a little Nuback swing. Enlisting the talents of Tokyo’s Dai Nakamura, Hamburg’s home for sensitive sounds provide a much needed vinyl release for the misty-eyed ‘When The Party Is Over’ and ‘Heartbeat Summer’. Largely operating through his own Too Young Records, Nuback trades in textured soul, sympathetic synthesis and forlorn funk - a master at making you move while breaking your heart. Back in 2013, he waved ‘Goodbye To Summer, Again’, giving a digital release to these two tracks, which lurked a little low for the radar until Dai and Basso met somewhere beyond the algorithm, soon bringing this release to bloom. Opening with a fanfare of featherlight pads and full bodied bass, ‘When The Party Is Over’ is pure sonic seduction, holding both Balearic boogie and City Pop in a tender embrace. Delicate guitar and sparkling sequences tug the heartstrings with nostalgic beauty, and Dai’s smooth vocals are made to make you swoon. Emotional pop at its finest folks. On the B-side, ‘Heartbeat Summer’ drops the tempo and soaks up the sun, losing its cares in a haze of loved up dub. As soulful keys sink into spring reverb and steam kettle synths ride a rolling bassline, this downbeat delight lays back in the long grass, making shapes from the clouds and sipping a cool koshu. For summer lovers everywhere; A facemask ruins a first kiss, so start your romance right with Nuback.

“Garrett III is more of a swan project. A final installment, if you will. Garrett is now retreating more deeply, as evident by the album cover by @GangCulture into obscurity. The time has come for a landing via this 3rd installment of his ‘private life’. After surviving a lockdown x worldwide pandemic in 1 piece, without going insane, he has finally decided 2 conclude this phase of his tightrope walk between lush Ambient touched Modern-Funk & the choice of no vocals / strictly instrumental aural experiences, for listeners of all hues, backgrounds & taste. The hope is that it’s enjoyed in whatever way feasible for all human (& alien) kind.”

Tape / Cassette

This record was primarily informed by grief & loss. It’s overarching theme relates to the cyclic, transient nature of existence and the fact that everything is impacted by the law of change with nothing ever attaining a state of permanence. Dedicated to Adam & Alix.
Following up his 2017 album on Avian and another EP on Rengaine in 2018, we’re glad to welcome Verge on Veyl with 12 tracks of doom & drones to soundtrack the rest of this awful year

The second volume brings sublime crossings of gospel with the soul, funk and jazz of the Black Power era. Twenty rapturous cuts dot dazzlingly between Muscle Shoals soul, screwed breakbeat, Mizells-style fusion, disco and proto-house. Triumphant re-workings of Sly Stone, Donny Hathaway and Herbie Hancock’s Head Hunters will have listeners throwing their pew cushions into the air.

Full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.

Somewhere over western Europe, an un-identified falling object crashed landed causing a massive bang, and a ginormous Banana shaped smoke cloud. Frederic, a local artistic young chap was so inspired by this hilariously funny giant cloud that covered the whole sky as far as he could see; he ran indoors to take cover, and wrote a little summer step d&b beat, called 'Laughing at Clouds' - which seemed to draw a lot of attention. Out of the studio window, Frederic could see what seemed to be a pink giraffe giving it some serious head-nodding action. By the second drop Leonard (The pink giraffe) was dancing so heavily that he caused a small tremor somewhere over in the states, where young up & coming producer Melo seemed to pick up the transmission. While in his sonic laboratory he managed to transfer his latest project (Affirmation) through the current, where Frederic decided to make his first remix project, which pretty much made Leonard pass out after all the summer stepping....

2LP Over the past decade, SUED co-founder SW. has arranged the building blocks of dreamy rave and techno music-billowing pads, undulating sub-bass and adroit, nuanced drum programming-into and novel dance floor structures. TRUElipS, SW.’s first full album since 2016 and his first for Avenue 66, is a beguiling, fully-realised statement. The 12-track LP is rooted in the storied ’90s era when the spirit of orbital raves and free parties was channeled into massive leaps forward in the studio. A combination of house and drum & bass looms large, as does the much-referenced intelligent techno era, but if you’ve listened to an SW. record, you already know TRUElipS is the work of a singular auteur. Breakbeats, rave stabs and major chords permeate the album, motoring along on a chassis of sine-wave bass lines and SW’s widescreen percussive vision. Forays into downtempo and sweeping ambience keep the listener’s head in the clouds, while the superb melodic techno constructions that comprise the album’s core are at once contemplative and liable to bring on a giddy head rush. TRUElipS brims with the optimistic, escapist spirit that fueled dance music’s original triumph, a throwback to bright, imagined futures.

On August 21st rising DJ/producer Haider presents the ‘Endless Clouds’ EP on his own label Breaker Breaker, where pristine future electro meets high tech funk and raw, jacking house. This new release follows praise from a wide selection of world-class DJs and media for his past 12”s, not to mention achievements as label owner, party promoter, canny early spotter of talent and general proactive instigator. Now based in Berlin but originally from Sheffield via a stint in London, there’s a commonality throughout all of Haider Masroor’s music that links both thematically and geographically. His
productions recall both Steel City bleep and its distant younger cousin bassline, using only sparse elements, with beats and bass at the fore, to deadly effect. London is audible too via
the spiky energy of grime and the swinging shuffle of UK funky, and so is Berlin, evident in the sleek sheen and efficient precision.
On ‘Maracuja’ lush pads, pitched-up vocal snippets, bleeps and proper electro beats ride atop a deep, purring bassline that unfurls like giant waves, with sub bass punctuation adding further hefty depth.
The bouncy, punchy beats and pristine gleam of ‘I Came To Destroy’ are somewhere between celestial Miami bass and the aquatic grooves of Drexciya, again propelled by gigantic slo-mo bass tones.
A modern take on the cut-up samples of 90s house, on ‘Grove Street’ Haider mixes elements of classic French touch, Chicago rawness and low fi outsider grit, to create something very enticing indeed.

Rickard Jäverlings music can deservedly be described as playful and searching but for that sake not fumbling or too loose around the edges. On Album 4, the second album release from Jäverling on Höga Nord Rekords, he dwells more in dub than on his prior album release, and Jäverlings skillful songwriting is carried smoothly by the soft and fluffy production: the rhythm section sounds as if resting upon a sun warm bed of moss and elements flows in and out of the production like a freshly rippling stream of water deep in the summer forest. Echoes shoots through the pines, the hills and the valleys and makes the album a premium dub experience which dominates large parts of the album.

Aside the obvious references to nature that comes in mind listening to Jäverlings music, this album is more than a romantic view on the Swedish wilderness. It flirts, like all quality dub from the seventies and eighties with science fiction and space with broad synthesizer sweeps and delay drenched clouds like imploding and exploding stars somewhere in the outskirts of the Milky way, spreading dust over the Swedish forest. On the final three tracks, Ganjaman_72 takes the album out of the galaxy with spaced out-remixes on some of the songs.

With his feet steadily grounded in jamaican music tradition whit a non sentimental and curious view on production, Rickard Jäverling have together with Johan Holmegård (Dungen, Goran Kajfes), Andreas Söderström (ASS, Goran Kajfes) och Ganjaman_72 created the natural follow up to Album 3.

"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat - do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road.
When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells.
I am hallucinating again. Someone's humming in the kitchen? Singing? A Radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again…..again and again. The hairspray finally intoxicates them. An amphoric japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red.
Fleur calls and says mum died. The funeral will be televised on tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house.
I go back inside."

Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche (after one recent 12" on Richter's own Dekorder label). Combining real and fake acoustic instrumentation, sampling, field recordings and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) Classical & Opera to the anecdotical compositions of Luc Ferrari, Chinese Opera, Chanson, Sacred Music / Church Music, JG Ballard and Surrealism.

Marc Richter records as Black To Comm for Thrill Jockey, Type and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe and Kunstverein Hamburg.

Appearing on Echovolt for the very first time, Vancouver-based producer Wolfey offers up a four-track excursion that draws direct inspiration from the often-rainy climate of his sleepy home city.

"Powell St. Blues" E.P. is a dance record of rare emotional depth that sees the Canadian bring out an impressive amount of warmth and soul from the machines he uses to make music. Drawing inspiration from early house and techno producers out of Chicago, NY and Detroit, Wolfey likes to work with a small selection of synthesizers, drum machines and outboard effects processors - only using the computer to record, edit and mix-down long multi-track takes and improvised jams. The resultant tracks bristle with vivid detail and texture while evoking distinctly hypnotic and alluring atmospheres.

Side A opener “Powell St. Blues” is a bittersweet melancholic chunk of deep house with spacey chords and subtle acid style motifs slowly undulating over dusty drum machine rhythms. Wolfey’s deep and emotive electro influences come to the fore on “No Fun City”, where tech-jazz style electric piano motifs, bleeping lead lines and dubby rhythmic delays dance around a tactile 808 groove. On languid B-side opener “Overcast”, aural storm clouds gather menacingly above a moody bassline and the crunchiest of machine rhythms. S.M.P (Slim Media Player) guests on the EP’s lusciously loved-up conclusion, “Southlands Transmission”, where morphing synth arpeggios, rich sunrise-ready chords and swinging skittering hi-hats recall the pitter-patter of rain on the windows of Wolfey’s Vancouver studio. It’s a fitting conclusion to an atmospheric, mood-enhancing EP.

Buena Onda - Balearic Beats is a lovingly compiled collection of exciting music from the new Balearic generation that captures the essence and eclecticism of their Berlin party oasis, Buena Onda. It takes in 12 tracks of fast and slow, acid and downtempo, lush and dreamy sounds to transport you to a place of beauty, warmth and soul. It has been compiled by Hell Yeah label boss Marco with Buena Onda 's resident DJ and co-owner Gallo, and arrives later this summer as a 12" sampler, limited cassette, download, stream and original t-shirt. This first sampler features four tracks from it with artists Lucas Croon, Sergio Messina & The Four Twenties, Gallo, and Black Spuma all featuring.

First Up, Lucas Croon takes us on an epic 10 minute trip with his head-in-the-clouds sounds, long legged drums and summery pad work. Next, Sergio Messina & The Four Twenties mix vocodered vocals with lush acoustics on the dreamy 'Fly Away' while on the flip, Gallo's Tropical Hinterhof Remix of J-Walk layers up lush chords with new age hand drums and synth gorgeousness that is soothing and cleansing. Last of all, Phillip Lauer and Fabrizio Mammarella aka Black Spuma's mid tempo drums sink you into a groove that is embellished with heavenly chords and plenty of oceanic breezes all carrying you away. This is a fine taster of the full length compilation to come.

The man in the crowd is a wonderer with relaxed habits. In him the course of things and movement of the city is reproduced. The Düsseldorfer Detlef Weinrich is such a man in the crows. Some one who is constantly listening to future winds through rushes of the past. He loves the night for its free will. And his music tells stories about it. You might know him as a member of the band Kreidler. As a solo artist he goes under the name Tolouse Low Trax. And he's already got three Eps and two albums under his belt. His first solo album „Mask Talk“ thrives on a feathery beat frequency and cool new-wave-strength. His recently released piece „Corridor Plateau“, which appeared as a limited edition to accompany the exhibition „Corridor Plateau“ contains percussive electronics and Industrial sounding like its from the second industrial revolution. His third album „Jeidem Fall“, is also not from here. It sounds like music brought down to earth from the heavens. But its a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, „Jeidem Fall“ attacks the subconscious and clouds the mind. The drums have more movement that on „Mask Talk“. Along with the constant tapping of drumsticks goes melodical arpeggios dancing dark and dirty. At times longing vocals drift abstractly through the room, as on „Sa Seline“ or „Geo Scan“, without telling any obvious story.

To sound like stylistic cross references from the present and past is all just speculation for nothing on „Jeidem Fall“ really sounds like anything that has gone before. You could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album „Nommos“. There is also a hint of the minimallist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filter and filters all his personal preferences through his MPC and his small synth setup to make them come alive here and now in a new way. Again Tolouse Low Trax has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Only a little light should illuminate the whole thing and the bodies that move above them should have no fear from threatening percussion which are displaced into a misty trance. A dark swaying shadowy mass, ideal for a journey at the end of the night and all those non-places where longing sleeps and the last romantics dance while getting drunk.

Musique Pour La Danse presents Roomservice, Dutchman Orlando Voorn's forgotten yet unforgettable IDM-leaning, home-listening electronica / techno album from 1994 under his Living Room alias, originally released on the producer's cult Night Vision label.

Praised unequivocally by those lucky enough to have heard it, this criminally underrated record nonetheless deserves pride of place when talking about forward-thinking electronic music from the early 90s.

While it is widely acknowledged that Orlando Voorn's productions are one of the most fascinating prisms through which to experience a European take on the Detroit sound, Roomservice is also a strong reminder that the paradigm shift from sweaty raves to enhanced home listening, championed by Warp's Artificial Intelligence series, early Rephlex releases, along with projects such as The Black Dog, Plaid or Autechre was in fact not only limited to British artists.

As its name indicates, The Living Room is not geared for warehouses but instead interested in a more intimate and domestic setting. As such, it does not contain over the top bangers, but it's hard to find any filler in this album where all the tracks are killer, catchy and memorable. All displaying a sophisticated yet immediate focus on warm melodies and grooves no heavier than a feather, these emotional cuts provide a wonderful and intricate soundscape for introspective listeners to explore, and they will surely find echoes of ideas developped by Manuel Gottsching, Steve Reich and Pat Metheny scattered accross the album.

While some tracks are rhythmic and would fill a dancefloor in a second with their four to the floor or broken beats, the album also gives room for more ambient excursions to occur and develop brilliantly. But once again, it's more likely you'll end up dancing on your couch rather than dozing off.

2020 might be the most difficult year in recent history for dancefloors worldwide, yet that's not going to stop Musique Pour La Danse from reissuing this gem of an album for listeners, dancers, and DJs of today and tomorrow.

Words by Ed Isar.

Theresa Stroetges has and always will be a traveler. Under the name Golden Diskó Ship or as a member of bands like Soft Grid or the improv collective Epiphany Now!, the Berlin-based multi-instrumentalist has continuously been moving through the fringes of experimental music, but also extensively explored the possibilities of tried and tested formulas - whether folk, rock, techno or pop. With her fourth solo album, her first for the Karaoke Kalk label, the Golden Diskó Ship is yet again venturing into unknown territory. »Araceae« is inspired by environmental changes and the eerie feelings that arise when faced with natural beauty - when everything seems perfect on the surface but something feels off underneath it all. As a whole, it is notably more focused on electronic grooves that provide the foundation for Stroetges’s poetic long-form storytelling.

Partially conceived during a residency in India, »Araceae« is the first Golden Diskó Ship record to feature two guest musicians. For »Wildly Floral, Slightly Damp,« Stroetges collaborated with percussionist Dripta Samajder who with his Sri Khol contributes complex rhythms to a driving beat that wouldn’t be out of place in the record bags of daring DJs. Sophia Trollmann takes over saxophone duties for »Ortolan,« a riveting coming-together of intricate, IDM-flavoured techno and jazz-inspired improvisation. Both are integral standout tracks on an album that clearly follows a holistic plan. Already the opener »Clouds of Neon Limelight« dips into anthemic synth pop territory, but unfolds into a great saga full of ominous undertones and Stroetges’s trademark: layered vocals that at once evoke feelings of uncanniness and intimacy.

It’s a juxtaposition that runs throughout »Araceae,« thus enforcing the album’s overall themes of sensual experience and alienation. »Game of Biryani« for example lends some of its musical structures from pop music, calling into question traditional songwriting conventions which here reappear as irritating echo effects rather than recycled old tropes. With the lush »Limping over the Prairies« and the adventurous »Glow-in-the-Dark Gloves,« Stroetges further challenges her audience by applying noise and a heavy dose of autotune respectively to disorientating effect.

The couple makes for an impressive finale of an album that scrutinises our ideas of what is natural - whether in music or the world around us. »Araceae« was inspired by the travels of its creator, but also sets out to ascertain what lies beyond everything that eyes or ears can perceive.

White vinyl, picture sleeve, limited pressing of 500 copies, includes Peaking Lights remix

Montaine’s “Mount Nod” is a delicate, shimmering slice of DIY pop music. The lo-fi charm sits on that knife-edge between happy and sad, its repeated “I’m on the bottom line but I’m doing fine” changing meaning as the song goes on, plotting the course of Mr Montaine’s sensitivity. What starts out small gently unfolds into an understated English confidence by the end. On the B side Peaking Lights dive into the mysterious undercurrents beneath the surface of Montaine’s worldview. Like all good remixes it sets the artist in a parallel universe, this one a utopian disco slowscape, complete with bubbling clouds and dayglow fountains. We have to sincerely thank Sam Potter of 00s band Late of the Pier for coming to Be With with the story of February Montaine back in the spring of 2017. When we first heard “Mount Nod” our jaws dropped. We immediately thought of all the people that would love it. Of friends and family, far and wide. Of fans of timeless, soulful pop music everywhere. Championed by Trevor Jackson and Efficient Space, it’s perfect, addicitve pop which generously gifts the listener eternal goosebumps. Three years later, we are absolutely delighted to finally bring this out as the second release in our Be Pop series of 12″s. In Be Pop fashion it’s pressed on white vinyl and this time limited to 500 copies for the World.

Dropsonde was originally released by Touch (UK) in 2006. This is a reissue with seven previously unreleased recordings.

Widely regarded as one of Norwegian electronic music's most important artists, Biosphere's Geir Jenssen career spans nearly two decades, several albums, lots of remixes, various sound installations, commissions, soundtracks and even the odd Himalayan summit.

You may recognise his work without knowing it, so frequently does it crop up on TV trailers and idents. In the early 1990s he was a pioneer of so-called 'Ambient Techno', but since then, he has refined his sound into something more magnetic and enduring.

Dropsonde' isn't a soundtrack like the interwoven 'Substrata' nor an episodic journey in the way that 'Autour de la Lune' is. Here Geir Jenssen is pushing new directions towards the jazz colours of Miles Davis and Jon Hassell, whilst re-invigorating the pulse and projection of his signature sound: a hypnotic combination of pleasure and dread.

The spatial aspects some have dubbed "Arctic sound" but it summons strong feelings, or as Exclaim from Canada put it, "in order to climb higher, you must first go deeper". Jon Savage adds: "As with all of the Biosphere albums, the music draws you in and makes you want to listen and feel. Jenssen's work acts on a very emotional level, one that encourages you to drift away into a haze of images and scenes brought to you by the music, where spectacular beauty hides unseen danger. Intense and moving, but comforting and soothing at the same time."

A 'dropsonde' is a weather reconnaissance device designed to be dropped from an airplane or similar craft at altitude to take telemetry as it falls to the ground. It typically relays information to a computer in the dropping airplane by radio. The fall may be slowed by a parachute. Information collected by a typical dropsonde may include wind speed, temperature, humidity, and atmospheric pressure.

4 elements mystical project... Solid first. Of course, earthians dancefloor. Banger tellurik force ! Second comes with the Liquid/air element, a tribal invocation ! The flip opens with an aerian sound, clouds of infectious gaz witch turns more and more threatening till it double-kick ! Finally... the erruption... the pure fire... that one moving under... kickless. The glass becomes liquid... an acid fire inside !

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.