lapgan.bandcamp.com/album/history-the-remix

“peace everyone

excited to announce that this friday HISTORY THE REMIX is coming to y’all. 5 tracks from History reimagined by some of my favorite artists

this past year for me was all about building community in music and this remix EP reflects that

all the remixers are collaborators and friends from around the world, from my fellow Chicago producers Spectacular Diagnostics and BG all the way to Sid Vashi in Australia, and Kartik Sudhera and EXCISE DEPT in India

it was an honor to have such talented artists work on the EP. v grateful for all the contributions and v stoked on the project

pre-order link is up now !!!

love”

brachliegentapes.bandcamp.com/album/abstractions-of-dead-dreamers

Pale World returns to Brachliegen following 2023’s split tape with Open Fracture, and a slew of scorched earth cassette releases on Industrial Coast and Venalism which melded blistering noise assaults with dense processed field recordings and ambient compositions.

A janus-headed release, Abstractions of Dead Dreamers pushes the Pale World signature technique of dischodant and dynamic juxtaposition to new extremes. Having honed their practice with releases at venerable UK noise label Outsider Art, Pale World finds expression in abstraction as the project reflects on the passage of time and the occult meanings squirrelled away in the dreams of the dead.

Mining the depths of the unconscious and returning with snatches of anguish, melancholia and quiet acceptance, Abstractions of Dead Dreamers sees Pale World bow their head to the insomniacs, the sleepwalkers and the dead with a phantasia of Ligottian despair and disorder.

Throughout Abstractions of Dead Dreamers, scrapes of metal and distorted melodies are caught stuttering through a malfunctioning tape deck before being swallowed up by pummelling electronics. Blows of feedback are, in turn, interrupted by snatches of the quiet patter of domesticity as they push their way through the damp lining of the past.

Antithetical layers weave in and out of each other, swerving and jostling, as the past lurches through the cracks in the subconscious and gnaws at its frayed edges. The clatter of everyday life, surveilled by recording devices, constantly lingers beneath immobilising harsh noise interruptives which arrive unannounced during the reverie, like a night hag pressing down on one’s chest before the new day breaks. Possessed, momentarily by the pulse demon, waking life resumes; but the phantom’s return is always anticipated.

brachliegentapes.bandcamp.com/album/circumference

circumference is six tracks of cyclical, recursioning noise from en creux. Building on previous releases on Falt, Czaszka, Hard Return, Otomatik Muziek & SM-LL, circumference finds Lucia H Chung using her artist name — en creux — as an instruction as she summons a hollowed out, reversed form of sound from the mixing console.

Operating beneath the surface, patterns emerge from within the disorder and chaos of no input feedback mixing, structuring and composing for brief moments before recrudescing to ecstatic impurity and entropic chaos.

en creux states: “white noise is always an important medium for me as it’s sound in the fullest form yet devoid of any specific shape. It’s like a sort of language in its most original, pure and natural state that does not yet have any meaning attached to it. It’s ambiguous and highly contextual. I feel that it represents a sense of freedom that anyone could use to create and destroy.”

The two sides of the tape develop in contrast. One side slowly moves from full textured noise to fluttering bursts, while the other side starts with rhythmic pulse and ends with a metallic smog of signal hum. Together, the six tracks cycle round, like astral bodies in an interminable elliptical orbit.

credits
releases January 17, 2025

No-input mixer feedback by Lucia H Chung
All tracks recorded live, no overdubs
Mastered by Cause and Condition

nahawadoumbia.bandcamp.com/album/vol-2

Awesome Tapes From Africa the label began over 10 years ago with the reissue of Nahawa Doumbia’s Vol. 3. The recording kicked off a successful run of classic and new recordings from artists across Africa, being made available for the first time in the international marketplace. ATFA makes it possible for artists to expand their fanbases and revenues streams with legally licensed recordings and a 50/50 profit split. For its 50th release, ATFA presents iconic Malian singer Nahawa Doumbia’s beloved Vol. 2.
Released on LP in 1982 and unavailable outside Mali until now, Vol. 2 is an intimate yet powerful document of the early efforts of one of Mali’s most enduring voices. Four decades of worldwide acclaim later, Doumbia is still touring the world blowing minds with her achingly emphatic singing backed by her partner guitarist N’gou Bagayoko. Vol. 2 is stark in its instrumentation—simply featuring voice and acoustic guitar—but massive in its sonic impact.

Painstakingly extracted and remastered from LP by longtime ATFA audio engineer collaborator Jessica Thompson, this is the first time this recording has been cleaned-up for wider release. The master recording no longer exists and the original was pressed at relatively inferior quality, heightening the difficulty of presenting Vol. 2 with clarified audio. The historic recording was worth the effort.

Doumbia’s voice soars above Bagayoko’s guitar as she lays out her plaintive approach to expressing relevant topics of the day. The room sound could be considered the third instrument as its shape and sonic affect is vibrantly apparent throughout. And the simplicity of this recording only enhances the immediacy of these four songs. As a bookend to both Doumbia’s long career and ATFA’s growing catalog, Vol. 2 is a grand yet unpretentious encapsulation of the energy behind this decade-long collaboration between artist and label.

Translation of Back Cover:
A1
SAKORO MERY
There are men who have influence over the history of people or a country. Sakoro Mery Diakité left his mark on the history of “ba ni monotie” during the era of colonialism. He worked as a Head of District, Town Councilor, and Member of Parliament. He was responsible for bringing water and electricity to the town of Bougouni, Capital of “ba ni monotie”.
“You are part of the people who ended in glory, wealth and honor. May the earth be light to you, distinguished descendant of the old Fulani dynasty of Mali.” says Doumbia.

A2
DEMISEN KULU
Every association based on men has its foundations and rules. The motto of Mali's “Demisen Kulu” or “Youth Group” is “Work and Discipline”. Nahawa Doumbia, through this song, urges Malian youth to be more daring and persevering in their work.

B1
MA I NI WULA
Everyone has a life; everyone has a destiny. Nahawa Doumbia wishes each of us a happy ending, a death untainted by too much suffering. Have you often heard the cries of the mother who loses her child? Or the husband who loses his wife? “Death is tough and cruel. No matter how much we pray to it, the cruelty that it is, blocks its ears and lets us cry ourselves out.”

B2
JIGI YIRI
In an unforgettable month, in September 1980, my father and I said and wished “Goodbye and safe trip” to each other. This was in Bamako, where my father was heading to Mecca and I was going to Côte d’Ivoire. When I returned, all I saw was the prayer body of my father, his kettle, beanie and shoes. My God, you took my mother and now my father away from me. You’re now my only support, my “jigi yiri”. Papa Moussa Doumbia, to you, who died on the way to heaven, I wish the earth be light.

@survival_horror

intlanthem.bandcamp.com/album/skylla

Skylla is the debut solo recording of Italian-born and London-based composer, bassist, and vocalist Ruth Goller. This album of otherworldly detuned bass harmonics and dense vocal arrangements was initially released in 2021 by longtime collaborator Bex Burch’s Vula Viel Records, and quickly went out of print. Since then Goller’s notoriety has only grown, and her follow-up record, SKYLLUMINA, was released by International Anthem in early 2024 and met with high praise.

Skylla is the genesis of her sound, and it’s a sound that is hard to place. Listener’s could be convinced that these recordings came out of contexts as disparate as 80s Downtown NYC or some mysterious Bjork-adjacent project of the Icelandic 2010s. It’s hard to imagine a person making this music despite the fact that its elements are instantly recognizable.

““Ruth Goller and Skylla feed resonant spaces with nutritious frequencies that allow the support beams to finally purr.”- Ben LaMar Gay

"Ruth transports me to places I didn't know before. She dismantles my heart." - Ibelisse Guardia Ferragutti

"Ruth is my favorite type of musician - the kind who create a sound/world that is uniquely personal but also very welcoming." - Matt Lux

"I've enjoyed listening to this record in the moments right after the sun goes down"- Macie Stewart

"Ruth's solo material is some of the most refreshing and singular I've heard in decades." - Frank Rosaly

"She is one so deft as to play un-self-conscious of her mastery, and you can know this through feeling her humble nature as a human mere moments before she wields your heart in the high wires of her sound" - Alabaster DePlume

credits
released December 6, 2024

All music written and recorded by Ruth Goller.

Electric bass, double bass and vocals on all tracks by Ruth Goller.
Vocals on tracks 3,5,6 by Alice Grant
Vocals on tracks 4,6,7 by Lauren Kinsella

Produced and mixed by Kit Downes
Mastered by Tyler McDiarmid

Artwork by Paula Rae Gibson
Design by Pedro Velasco
Reissue design by Craig Hansen

This record is dedicated to my father Paul Goller.

Originally released by Vula Viel Records (VVLP004) July 9, 2021

Thank you:
Kit Downes, Alice Grant and Lauren Kinsella, Bex Burch, Pedro Velasco, Paula Rae Gibson, Barbara Goller, Max de Wardener and Sebastian Rochford for his poem

timecapsulespace.bandcamp.com/album/choice-remixes-2008-2022

🚨 We’re excited to announce that Kay Suzuki’s “Choice Remixes 2008-2022” is now available on vinyl and download from bandcamp!

Flipping rhythms from Guadeloupe, Cuba, Senegal and Puerto Rico, Time Capsule founder Kay Suzuki releases an acid-soaked collection of remixes that transcends time and space.

The final track on the collection heads back to the Caribbean and the island of Cuba, where Sunlightsquare a.k.a. Claudio Passavanti worked with vocalist Rene Alvarez and expert in Afro-Cuban percussion, Giovanni Imparato, on ‘Oyelo’. Here, Suzuki strips out the kick completely, leaving an implied rhythm which he calls an “imaginary four-to-the-floor” - a groove that is felt rather than heard, leaving the listener floating in another universe entirely.

bandcamp.com/holiday

Greetings and Salutations

This Friday, December 6th, is the last Bandcamp Friday of the year, and the Nyege Nyege Tapes & Hakuna Kulala back catalog will be available as Name Your Price* downloads from Midnight to Midnight PST aka 9 am - 9am CET.

nyegenyegetapes.bandcamp.com

clairerousay.bandcamp.com/album/sentiment-remix

The pieces that make up the remixes of claire rousay’s acclaimed album sentiment redefine the very notion of “remixes”. rousay’s generous vulnerability and emotional availability combined with her eager collaborative spirit permeate each piece. “If these were the only versions of these songs that lived in peoples’ minds, I would be totally okay with that,” says rousay. “They feel more like collaboration or extensions of the album itself.”

For music rich with intimate personal details, it’s rousay’s openness and sense of broader musical community that lends the sentiment remixes an even greater depth of feeling to them. rousay gathered a list of collaborators from near and far, whom she feels a personal or musical kinship with, as with engineer and fellow Texan, Andrew Weathers, frequent collaborator more eaze, and saxophonist and fellow Los Angelian Patrick Shiroishi, as well as artists whom she had wanted to work with on sentiment but didn’t get the chance to. Each artist selected their own tracks for reinterpretation free of constraints, acting as a natural extension of the album whilst creating new sound worlds and altered perspectives on the intimate pieces. The varied results reflect the collaborators’ unique voices, from glitchy scrambles and blissful jazz arrangements to sensuous R&B throbs and dense atmospherics.

rousay describes the process of assembling the remixes:
“I don't want to tell people what to think about the music. I always wanted the album to be loose or open to interpretation. When I play the album live, I play with different people in each city (like AMULETS guitarist Randall Taylor) and their playing for the shows is all up to their interpretation too. I wanted the record to be a malleable object. There's a lot of song structure to the record so I wanted to find a way (through the ‘remixes’) to make space for other perspectives.”

habibifunkrecords.bandcamp.com/album/habibi-funk-029-samh-almeaad

We’re happy to announce our 27th release, a 7“ by Libyan singer Cheb Bakr titled "“Samh Almea’ad,", Our journey with Cheb Bakr’s music began when Yousef Alhoush, whose father Najib Alhoush led The Free Music from Libya, generously lent us boxes of cassettes to digitize. For three days in a hotel room on Zamalek island in Cairo, we sifted through nearly 100 tapes, finally landing on several from Cheb Bakr that dated back to the late 1990s and early 2000s. His albums stood out for their fresh, genre-defying sound—Bakr’s vocals flowed effortlessly over R&B and hip-hop beats with touches of jungle and drum and bass percussion We noticed familiar rap verses on a few of Bakr’s tracks—verses by none other than Ahmed Ben Ali, who was about to release an album with Habibi Funk. When we asked Ahmed about his connection with Bakr, he explained that they’d collaborated closely at Jamaica Studios in Benghazi.

Despite having lost touch for years, Ahmed helped us reconnect with Cheb Bakr through mutual friends. Their reunion took place in Bakr’s living room, where we joined them on a video call to discuss Bakr’s career and his influences. He explained how he sought to reinterpret eastern Libyan folk sounds for a new generation, blending them with contemporary genres.

This 45 marks the beginning of our work with Cheb Bakr, there is an album to follow next year. For now these introductory songs offer a glimpse into his unique musical styl Side A features “Samh Almea'ad,” a reinterpretation of a 2003 New York classic with Bakr’s signature spin. Side B, produced by Ahmed Ben Ali, features “Rjana Lamta,” a track that hints at American influences alongside a nod to Ahmed’s “Dameek Majeb.”

susosaiz.bandcamp.com/album/distorted-clamor

We are proud to announce 'Distorted Clamor', the latest full-length album from legendary Spanish ambient composer Suso Saiz. Marking his eighth release with our label, the album showcases Saiz at his spellbinding best, continuing a prolific creative phase in a career that spans over 40 years.

Building upon 'Resonant Bodies' and 'Nothing Is Objective', his most recent full length releases for Music From Memory, Saiz's dedication to experimentation and conceptual approach to sound lie at the centre of 'Distorted Clamor'.

Discussing his process and the concept behind the album, Saiz says: “Thousands of beings cry out for their lives, for the sustainability of their habitats, for their future. Their clamouring together generates a distorted, deafening and incomprehensible noise. Trying to go deeper into that distortion and understand all the voices and discover the strength and beauty in all of them. This was the first image I had when I started composing Distorted Clamor. Can distortion and all those sounds (clicks, clips, ticks, tocs, pluks, crashes) that we normally discard, generate beauty? This question has also accompanied the entire whole project.”

The transit of sound through various materials is also central to the work, with Saiz using water, wood, and metals as filters and sound-transforming pedals. The album was created without the use of synthesizers, relying entirely on acoustic sounds that were transformed in an unnatural way to achieve something completely new.

Spanning eleven compositions, Saiz's mastery of timbre and ability to paint layers of sound with the subtlest of touches stand out unmistakably to the listener. As always, his radiant drones are a nest of hidden feelings; they glisten with complex emotions and textures, teasing out moods of vulnerability and hope.

'Distorted Clamor' is released on 2xLP as well as digitally on December 6th 2024. Sleeve art and design by Michael Willis.

cavaliervmc.bandcamp.com/album/cine

CINE is the first collaborative project from rapper Cavalier and producer Child Actor, dropping November 15th, 2024 on Backwoodz Studioz. Both artists have already had an active year; Child Actor crafted big singles for ELUCID, Navy Blue, and Open Mike Eagle, alongside a full album with shemar. All Cavalier did was put out what might be the album of the year with Different Type Time in April, as well as We Gon’ Need Each Other, a side project with Quelle Chris. It is a special moment when you have two artists on the rise team up for a project of this weight, and CINE delivers. This is a midsummer’s dream of an album: languid, alluring, mysterious and beautiful—and through it all danger lurks in the wings.

Cavalier is a visual artist in every sense of the word, so it is fitting when he describes the album in cinematic terms. “This is a rhythmic biopic,” he says. “Child Actor didn't just produce this record, he scored chapters of my life for processing, framed buried thoughts, and illuminated the grittier parts of my journey.”

If Different Type Time was Cavalier’s sprawling magnum opus—his Do The Right Thing, if you will—then CINE is his Crooklyn. Equal parts memoir and memorial, CINE pulls from sepia-toned summers and black-and-white nights; one of ten million stories from a city that is gone but not yet forgotten. For his part, Child Actor saw where Cavalier was going and built upon those themes and ideas as their collaboration deepened.

“We talked about how these beats were somehow drawing him into a specific period of his life for whatever reason, and I wanted to find a way to have my post production provoke a feeling of genuine recognition, to use sounds and textures to turn whatever vague notions those beats might have been giving him into true sense memories,” the producer explains.

So, on “Sojourn,” while Cavalier immerses us in a world of bus depots and liminal spaces that are the province of all traveling salesmen, Child Actor weaves air brakes, running engines, and stray conversations among passengers into the soundscape. That creative feedback loop became their shared process on CINE, working hand-in-glove like a director and cinematographer.

“I first met Cav at the Armand Hammer pop-up WBDTS release show. woods surprised us by using the occasion to pitch us the idea of doing a collaborative EP,” Child Actor says. “woods went back to greeting fans and Cav and I got to talking through initial concepts. Cav told me something like "I don't do small projects, I always make sure to give people a full meal."

While Different Type Time came to Backwoodz as a work-in-progress, CINE was conceived, developed and nurtured entirely under the label’s auspices. Cavalier traveled back and forth from New Orleans to Brooklyn to record with Backwoodz mainstay Willie Green, who also mixed and mastered the album at the GreenHouse. Meanwhile, Child Actor’s come up started with Backwoodz Studioz, having produced extensively for Armand Hammer (Shrines, WBDTS, BLK LBL) and for woods and ELUCID individually (Terror Management, I Told Bessie), as well as big records for Fielded (Plus One), Moor Mother (Brass), and ShrapKnel (Metal Lung).

@sentient_sherm_bag

@Lit

Band Camp Friday today!

We also have a lineup of many works that can be heard only here at Boris.Check it out!

boris.bandcamp.com

spiritualjazz.bandcamp.com/album/spiritual-jazz-17-saba-mps

All the Colours of the World in the Black Forest

‘High quality music to be enjoyed by many people all around the world, no matter where they are’ Andreas Brunner-Schwer, MPS Records

The German SABA and MPS family of labels extended this sentiment to include music from musicians all around the world, no matter where they were from - and here on Spiritual Jazz 17 SABA MPS we explore that very theme.

Throughout the ‘60s & ‘70s both labels released a wealth of music from a wealth of international jazz musicians coming from both North and South America, Europe, the Caribbean and the Far East. The aim was to release jazz that was exciting, innovative and interesting, regardless of style: there was swing, blues, bop, avant-garde, fusion – and spiritual jazz. Plurality became a defining feature and the immense breadth of their output made both SABA and MPS worthy European counterparts to American imprints such as Blue Note and Impulse.

On Spiritual Jazz 17 SABA MPS we feature, among others, international contributions from Americans Elvin Jones, Nathan Davis & Dave Pike, Europeans Pedro Iturralde, Jef Gilson, and George Gruntz, and the Japanese Hideo Shiraki. In our extensive liner notes we outline the history of the SABA and MPS labels, and go some way to explain the spirit and philosophy behind the long-standing record company and the musicians who bore their souls to the recording process.

Friedheim Schulz, who oversaw many of the sessions, has fond memories, “These guys had ideas, they had their special thing, it was the time when there were lots of ideas and new sounds and what have you, and SABA proprietor Hans Georg was always of the mind that people should do their own kind of music. So he gave them the chance to record and then he would just put out the albums and that was it! The musicians would really play what they wanted to play.”

Their great legacy is a lineage of music that has transcended the fatigues of time, and we’ve picked prime examples from the SABA & MPS catalogues to uphold our own legacy in our long-running series of Spiritual Jazz.

Last Bandcamp Friday of the year today y'all remember to tap in with an artist you been rockin with the most this year. Them Spotify Wrapped, Apple Replays, and YouTube Music Rewinds dropped. Check to see if your most played artists gotta Bandcamp and show em some love

Only real way to follow a local scene

ay man its bandcamp friday if anyone wants to support a ktt artist who just dropped an album my s*** is on there!

hadjigaviota.bandcamp.com/album/gut-punch

thanks for tagging me @Vox this thread is so sick

i feel like you always put me onto really cool s***

Been tagging you a bunch because I saw what you said about not finding cool music on ktt anymore and I feel like you and a lot of people are really sleeping a lot of great stuff that gets posted here so I appreciate this heavy

mississippirecords.bandcamp.com/album/old-joy-official-soundtrack

This record label is extremely diverse, never know what they're gonna feature next

aphextwin.bandcamp.com/album/computer-controlled-acoustic-instruments-pt2-ep

If you f*** wit aphex