Francesca Ogbuachi is a Photographer, Writer, Storyteller and music maker from time to time, although she is unable to read music notes. She is Italian, born to Nigerian parents, and her way of speaking and saying things that she usually wouldn't be able to say is predominantly through Photography, Writing, Videography and playing the piano, which has been a very significant part of, not only her way of working ever since it came back in the picture, but especially of her life. Francesca’s work is all analogue choosing film over digital often using Super 8 for her film work and preferring hours on the dark room over sitting at s computer. One of her inspirations, if not my main one, is everyday people and their way of being unpredictable, which is the whole premise of my writing, and something that is also translating in what she plays, which still baffles her.

pre-order, arriving late december / early jan Amazing duo perfromance by Hamid Drake and Piano, recorded at the Shenzhen Jazz Festival in China, during late Cotober of 2019, issued by the always amazing Shenzhen based imprint Old Heaven.  Hamid Drake - 鼓 Drums / 打击乐 Percussion / 框鼓 Frame Drum / 人声 Vocals Pat Thomas - 钢琴 Piano 录制于第九届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2019 年 10 月 20 日 Recorded at the 9th OCT-LOFT Jazz Festival, B10 Live, Shenzhen, October 20th, 2019

Pavel Eremeev: drums, electronics & feedbacks, mixing & mastering Artёm Galkin: guitars, bells, shankha, cover art Katya Shirshkova: harmonium on track 4 Wu Yilin: cassette design

A1、B3、B4为马木尔个人作品，B1是阿西木·东希（Əxim Dongxe ule）作曲，B5为塔塔尔民间乐曲改编，其余为哈萨克民间乐曲改编。 Track A1, B3 and B4 are original compositions by Mamer, track B1 is composed by Ashim Dongxeuly, track B5 is a Tatar traditional folk tune, the rest are based on Kazakh traditional folk tunes. “模仿者系列第六场：星空”现场录音，2024年6月19日录制于旧天堂书店。 Live recording from Mamer's solo performance 'The Imitator Series Ⅵ: Sky' on June 19, 2024 at Old Heaven Books.

Live recording from Mamer's solo performance 'The Imitator Series Ⅷ: Dirty' on June 25, 2024 at Old Heaven Books.

Live recording from Mamer's solo performance 'The Imitator Series Ⅺ: Fake Jazz' on July 3, 2024 at Old Heaven Books.

Live recording from Mamer's solo performance 'The Imitator Series V: Underground Factory' on June 18, 2024 at Old Heaven Books.

Les Disques Bongo Joe are pleased to announce the fourth album of La Tène ! Collaborating for the third time with the band, we're proud to release Ecorcha/Taillee, a two track project in between drone, folk, experimental and occitan music. La Tène’s long, hypnotic, wordless pieces are built from traditional folk instrumentation, wild percussion and blurred, subtle electronic embellishments, and feel as ancient and earthy as those millennia-old artefacts – with all the metal, wood, dedication and craftsmanship they entailed. As on their previous release Abandonnée / Maleja, a double set running to over 80 minutes, Cyril Bondi, Alexis Degrenier and Laurent Peter expand to seven members in total. Cohorts Jacques Puech (cabrette – a small bagpipe associated with the Auvergne region of France), Louis Jacques (cabrette and a larger, 23” bagpipe), Guilhem Lacroux (12-string guitar) and Jérémie Sauvage (bass) each return to add colour, layers and intrigue. Ecorcha/Taillée was recorded in a barn converted into a ballroom and cultural centre which exists to promote the folk music of region Auvergne. Both L’Ecorcha (eighteen and a half minutes long) and La Taillée (just under a quarter of an hour, brevity by this group’s standards) were recorded live and what you hear is a single take, with no editing after the fact. L’Ecorcha goes into space with simple, minimal tools. Beginning with a single, doomy chord circling in perpetuity and a metallic shaker by way of rhythm, a drone of unspecified provenance is joined a little under halfway through by Alexis’ hurdy-gurdy, adding bucolic buoyancy while Laurent uses the wooden surface of his harmonium as an extra percussive source. La Taillée is spikier, danceable even thanks thanks to Cyril’s insistent drumming and the harmonium and hurdy-gurdy moving in a glorious lockstep. If you were to think of the relationship between Lou Reed’s guitar and John Cale’s violin while taking in La Taillée, you wouldn’t be OTT by any means. nspirations, soundalikes and kindred spirits are elusive and fleeting in the case of La Tène. There are a couple specific to Ecorcha/Taillée, both brought to the table by Alexis : a Christian song titled La Passion, collected in 1883 by French folklorist Félix Arnaudin, and a reggaeton hit single from 2022, Saoko by Spanish star Rosalía. La Taillée adapts its crunchy central riff in La Tène’s own image. It’s that link between the past and the future that also rings out in the music of La Tène.  Alexis Degrenier : Amplified Hurdy-Gurdy - Vielle À Roue Amplifiée Cyril Bondi : Percussions - Percussions D’Incise : Indian Harmonium, Electronic, Percussions - Harmonium Indien, Electronique, Percussions Jacques Puech : Cabrette - Cabrette Louis Jacques : Cabrette, 23'' Bagpipe - Cabrette, Cornemuse 23'' Guilhem Lacroux: 12 Strings Guitar - Guitare 12 Cordes Jérémie Sauvage: Electric Bass - Basse Electrique

Infant Tree, August 2025Caius Williams is a musician from London who plays the double bass, guitar, and bass guitar. He works in collaboration with others, alongside an ongoing solo project, and often works with improvisation. Some projects include ‘Crosspiece’ (with Theodora Laird), a duo with guitarist Tara Cunningham, alongside recent performances or collaborations with Lifetones (Charles Bullen of This Heat), Steve Noble, feeo, Daniel O’Sullivan, Mark Sanders, Sachiko M, Tom Challenger, Maggie Nicols, Mark Wastell, amongst others. Caius has been running the GRAIN series at Avalon Cafe in Bermondsey for the last 3 years, which is focussed on programming new and adventurous music and nurturing a growing community with cross-scene and cross-generational collaboration. https://caiuswilliams.bandcamp.com/musichttps://www.instagram.com/caiuswilliams_https://www.youtube.com/@GrainResidency   Tara Cunningham is a guitarist and composer whose work focusses on both improvisation, and pushing the textural boundaries of her instrument. Ongoing projects include; duo with bassist Caius Williams and acid-jazz group Red Snapper. She has also recently recorded part of Jack Cooper’s Modern Nature for their fourth studio album, as well as currently working with drummer Seb Rochford on his latest project for 6 guitars.

Bogancloch is the new film by Ben Rivers. This soundtrack release is an expanded and adapted version of the film’s score produced for cassette, featuring Jake Williams and Alasdair Roberts with sound design and mix by Chu-Li Shewring. It will be available first at the BFI in London on 2 May 2025.Bogancloch is where Jake Williams lives, nestled in a vast highland forest of Scotland. The film portrays his life throughout the seasons, with other people occasionally crossing into his otherwise solitary life. At the heart a song, an argument between life and death, each stating their case to rule over the world. The film is without exposition, it aims at something less recognisable, a different existence of reality observed in discrete moments. A sequel to Two Years at Sea (2011), charting a subtly changing life in a radically changing world.numbered + handmade in an edition of 75 copies with on-body screen print and eco-x slip; each copy contains two-panel foldout with photographs by BEN RIVERS

Simultaneously casual and sincere, Deng Boyu’s latest output on cassette, Tractor Academy, is both a tongue-in-cheek teaser and a wildly romantic postscript to his upcoming solo LP. The eight songs here unveil the instinctual id beneath the electronic alter ego of Deng Boyu, known primarily as the ever-present drummer in China’s young and vibrant scene of free jazz and improvisation. This is one of a kind Northern Chinese IDM lit up by a whimsical touch of nostalgia. The sound textures – created by a toolkit comprised of a vibrator, a gong, and various metal objects – are distinctively dumb and dusty; the compositions are freewheeling in form, but heavily loaded with noise and personal history. It is a misfunctioning time capsule, what you'll get travelling back to a Disco dancehall of early ‘90s Inner Mongolia – where Deng Boyu first felt the thrill of the groove in his troubled adolescence – and doing a lavish Autechre dakou DJ set in it. So please sit back and relax, now that IDM has long lost its association with human intelligence, let’s hear Deng Boyu tell that old joke again. *You will find the first half of “Transmission Pt. 2” (Track 1) in Deng Boyu’s upcoming LP, Chimney Complex, to be released by Chinese label Badhead later this year. --- Dusty Ballz is a London-based label that releases Chinese underground music on cassette tapes. The term originates in an old Soviet joke, which somehow still speaks to the situation today. --- All music by Deng Boyu Woodcut by Tiemei Calligraphy by Zhao Sancai

Extremely limited edition cassette with UV printed tapes and a hand painted element on the clear cases. Edition of only 100 tapes! Bob Bellerue - zither, harmonica, whistling, gourds, electronics, feedback Katie Porter- bass clarinet No Edits or Overdubs Eternities is an intuitive collaboration between bass clarinetist Katie Porter and sound artist Bob Bellerue. Their work is inspired by deep presence, resonant feedback, melodic drone, and overtone magic, in the fluid realm between intention and indeterminacy. They use harmonic tones from wind instruments played within feedback systems to create multidimensional spectral drones. This release is live recordings from 2023 and 2024 full of lush clarinet timbre and organic modulations and deformations stretching across two tracks of this remarkably consistent "noise" duo. Physical edition is a lovely small run of 100 UV printed cassettes in a clear hand printed case.

'Soothers' collects two long-form pieces from Russell Walker, walking the line between melancholy and disquiet firmly rooted in the doldrums of British suburbia.'It'll Be Fine, Rob', a debut collaboration between Russell and Malvern Brume, presents the story of a hire-a-van journey from mundane hell rich with bitterness, cynicism and delusions of grandeur. A darkly humorous tale which drifts from bowels of unnerving drones that ebb to keys of tender melancholy at the deft hands of Malvern Brume's instrumentation. The piece, a clear foreshadow of a man's evening destined to collapse into pitiful stupor throwing chips at pigeons with fervent spite and sorrow, is a natural pairing between two stalwarts of contemporary British experimental music.The B-side presents a 2018 live performance mixed live by John Hannon, offering another excursion through bleak landscapes with peculiar stillness. Nightmarish qualities decorate the playful half-hour performance; audible croaks and screeches collide with nursery rhymes wittered by Russell's young son whilst caustic keyboard burns forward. An utterly distinct, one-of-a-kind performance exploring corners where, typical of Russell's touch, darkness sits confidently alongside glimmers of humour and solace.

Sparse downer stuff from the great People Skills aka Jesse  from Eyes of the amaryllis

Gently lay your palm on the warmed belly of a flat stone, and skim your humming thoughts across the murmuring divide. The opposite shore is a shadowed encampment of slowly stirring shingle. Autumn effervesces and spreads in a calm blanket of diffused musk, looping around two shallow mouthfuls of sunshine. A stave is transcribed along the tilted stasis of shoreline - silence holds a seance in the clay and the river intones its folly in electric bursts, ingesting the fretted, lemony light, and unspooling in currents of slow memory. In autumn 2024, Anthony Guerra and Mark Anderson sat on the banks of the Tukituki Awa - flanked on one side by the sleepy Haumoana beachside township, and on the other the local landfill. Aided by the slow imbibing of a bottle of wine, they set about recording this album directly to tape.

Two Speed presents solo material by Conal Blake, recorded between 2021 & 2023. The material is woven together into a single piece and more specifically, the piece is presented over two sides, once as a live recording and again as a studio mix."The main chunk of this material comprises of no-input recordings that I made at a shared studio in Limehouse. These recordings were pretty raw, ugly and were almost binned. But I decided to try and zoom in on them and find fragments of sound that could be worked on, and added to, to form new compositions. I took straight tones and layered them, and took more rhythmic sections to make loops. The opening of the tape is a high pitched feedback tone which is then joined by a small fragment of sharp feedback which is repeated and rotated at varying pitches. Further along in the set I add some scattered hi-hats and mangled vocal samples. released December 16, 2024Accidental recorded live at Cafe OTO by Billy Steiger, 06/11/23Intended recorded and edited between Limehouse and Tottenham, 2021-23.Mastered by Murray Collier at La Chunky Studios.The artwork is some hand written type that has been warped, abstracted and made better by Jessica Hickie-Kalenbach.Feedback Moves 2024

Artist's statement: "I met Jonas Frickas in 1999 when he opened for my band at a show in Gainesville FL. He was the first person I ever saw get an entire room full of kids moving, using only a single mic and loop pedal. Our orbits occasionally intersected over the decades of DIY until in recent years we both settled in the Northeast. During covid, our lives became interconnected more as my queer upstate NY community members began to visit and organize with the rural land project where Jonas lived outside of Brattleboro. In August 2022, Jonas invited me to play a benefit for Defend The Atlanta Forest at The Buoyant Heart, a DIY space in Brattleboro. There, I met activists from Atlanta who would later host me for an incredible show in the Welaunee Forest in fall 2022. Inspired by the forest and the queer/trans activists who had come to defend it and to Stop Cop City in spring 2023, I made an entire record, Sympoiesis, dedicated to the forest. In March 2023, two days before the record's release, Jonas died mysteriously on stage immediately after playing a show in Tallahassee FL, the same night that the police raided the Atlanta Forest and charged dozens of innocent attendees of a dance party with domestic terrorism. Later that year, I found myself returning to Brattleboro to play a memorial for Jonas. I find myself writing here all around a grief that I have not yet processed or come to terms with: Jonas' absence from this text, now from our lives. But his memorial—which took place in two venues to accommodate the enormous crowd—drew hundreds of people from the entire town of Brattleboro and from DIY art and music communities around the USA and was the top story in the local newspaper that day. Afterwards, I lingered in town for several extra days, feeling kind of aimless and crazy. My friend who I had intended to visit took ill from the stress and grief of the memorial so I stayed instead at the eerie Colonial Motel on Route 5, unsure of why I remained in town but unable to pull it together to leave and return home. There, in the seductive desuetude of Room 210, I often found myself slipping into a kind of fugue state, losing many minutes of the hour, staring at a painting that hung on the wall. The painting depicted a white bench that appeared to glow softly within a virgin forest in Autumn. It occurs to me now that I do not know if this painting hung only in my room or is a feature of the motel and is in every room. To have something to do while I waited to see if my friend would get well, I arranged to record in the studio Jonas had built at the Birge Street warehouse space. For two nights I played for Jonas in his old room during the Full Moon. These tracks were the first two takes on the first night. After the second night, I finally felt like I could leave and go home. RIP dear Jonas Frickas." - Erica Dawn LyleErica Dawn Lyle has been described by Pitchfork as a “punk hero,” which, though true, feels like an insufficiently specific term to describe her multifaceted presence and work. Colonial Motels is in fact rawly personal, a ladder out of an abyss of mourning as well as a determination to persevere and connect. Playing less but achieving more, this album captures the engaging intensity and directness that defines Lyle’s art, performance, and activism. Part I builds on patient looping and guitar body play, then gradually disintegrates into a gale of analog and digital noise stabbed with howling guitar calls. A blaring coda strips the electric guitar down to the primes before an abrupt end. Part II starts intense and cathartic, and stays that way, a heavily textured sonic wall which slowly undulates like an animated topographical map simultaneously receding and growing. The pieces seem to encourage a listening level that could be described as provocative, and Lyle’s guitar contains elements of squallish noise, employing to its advantage the overload of all apparatuses involved. But it also contains a masterful degree of space in which to catch the hypnotic repetition of desert blues, subtly weird pedal experimentation, unselfconscious playfulness, and aural hallucinations. Astonishingly, these pieces feel meditatively paced even as they reach peak intensity, enabling the listener to briefly rest in contemplation while in the eye of a storm about which most guitarists can only cower or fantasize. --- Erica Dawn Lyle - electric guitarRecorded by EDL, Aug 1 2023 at The Buoyant Heart, Birge Street, Brattleboro VTimprovised, single takes --- Mastered by Grant RichardsonPhotograph by EDLLayout by E. Lindorff-ElleryPrinted by Small Fires Press