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Various Small Whistles and a Song, the new album by Chicago-based artist Lia Kohl, incorporates notions of space, social relations, and humor. As the title suggests, the album responds to Ed Ruscha’s 1964 photographic artist book Various Small Fires and Milk, which Kohl sees as a wondrous celebration of ordinariness, one that reveals Ruscha’s trademark deadpan humor and depth. In the spirit of that publication, Kohl created her own series of sonic vignettes, with guest appearances from her close community of collaborators including claire rousay, Macie Stewart, Patrick Shiroishi, and others, reflecting the same sense of humor and mundanity.

The structure of the album—16 one-minute tracks—directly mirrors Ruscha’s book, which comprises 15 photographs of fire and one of a glass of milk. Ruscha’s “small fires” are represented here by recordings of whistles—mostly human whistling, with occasional appearances by train whistles, emergency whistles, and a woman selling penny whistles on the street in Guangzhou, China. About this choice of material, Kohl writes: “I’ve always been captivated by whistling—it’s musical but often a bit unconscious; usually solo but often done in public places. There’s something tender and human about hearing someone whistle, a socially acceptable version of hearing their mind wander.” As with Ruscha’s photographs, the whistles are not random snapshots but windows into social situations, narratives, or spaces.

The “milk” of the title — the 16th photograph in Ruscha’s book — is interpreted here as a single recording: a group of people singing together in Barcelona around 6 a.m. on New Year’s morning, captured through the floor of an Airbnb. Kohl describes this as a social, collective sound that contrasts with the solitary nature of whistling. The song functions as a counterbalance—a quiet celebration of shared experience.

Lia Kohl is a composer and sound artist based in Chicago. Her wide-ranging practice includes composition and performance, installation, improvisation, and collaboration. She tours nationally and internationally, working in theater, jazz, rock, and experimental contexts. Her work centers curiosity and patience, an exploration of the mundane and profound possibilities of sound.

Music From Memory is thrilled to present ‘Aquáticos’, a captivating new record from Los Angeles producer Eddie Ruscha and Brazilian guitarist Fabiano Do Nascimento. Blending Nascimento’s expressive, Afro-samba and choro-inflected guitar with Ruscha’s cosmic, groove-driven sound, ‘Aquáticos’ marks the start of a vibrant musical partnership—an organic, free-spirited collaboration full of interplay and vitality.

Conceived during the early 2020’s, ‘Aquáticos’ grew from a series of recording sessions in which the music unfolded naturally, in a state of effortless flow. Album opener ‘Nascer,’ the very first piece they recorded, captures such a moment perfectly: Nascimento’s 7- and 10-string nylon guitars weave seamlessly with Ruscha’s modular synths, drum machines, and vintage keyboards. Like much of Ruscha’s work under Secret Circuit and E Ruscha V, it is rich in lush, rhythmic textures—pulsing and bubbling with vibrant energy.

The initial session that produced the opening track set the tone for the record, establishing a template of intuitive interplay and musical freedom. Each subsequent session built upon the last, gradually shaping ‘Aquáticos’ across nine tracks, all characterized by melodic richness, rhythmic depth, and an unshakable sense of spontaneity.

‘Aquáticos’ pulls the listener gently into a celebration of musical conversation — a radiant, immersive journey where Ruscha and Nascimento’s instruments breathe together, echoing the joy, curiosity, and playful spirit that define their collaboration.

Sleeve art and design by Michael Willis.

Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. Since then, they’ve played alongside Bully, Wavves, and Nothing. After years in the Cincinnati DIY scene, they made their Bayonet Records full-length debut, How the Light Felt. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dreampop, using drum machines and layered, intricate melodies.
Tomorrow Comes Crashing, Smut's first record with O'Connor and Steiner, sees the band re-energized and trained on the limitless potential that comes with making music with people you love. Galvanized with a new lineup, Smut focused on creating a record that possessed the same towering intensity as the records that first got them into music: Three Cheers for Sweet Revenge, Relationship of Command. The outcome is ten of their most intense, bombastic, and focused songs to date.
Catharsis bursts through the seams throughout Tomorrow Comes Crashing. “Syd Sweeney, ”inspired by the actress, is the record's centerpiece. It's about how profoundly strange it can be to be a woman, to be misunderstood by people who don’t even know you. The song is driven by chugging guitars and big, rolling drums. In other words: stadium rock about perception. Paramore meets Dookie. “She connects to the youth and the girls in the water/All she amounts to is someone’s daughter,” sings Roebuck in one particularly poetic moment. The song comes to a thrashing metal-inspired breakdown. It’s ecstatic.
To make the record, Smut recorded “as live as they could,” alongside Aron Kobayashi-Ritch(Momma) in a studio in Red Hook, Brooklyn, over the course of ten days. “We have so much energy right now,” says Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side. The recording was a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends' couches and floors, Roebuck completely blowing her voice by the end. Smut has always been DIY. Because they love it. Because they have to do it–there’s no other option. Tomorrow Comes Crashing is the culmination of that DIY spirit: making a record that completely encompasses the intensity, moodiness, and emotion of their journey so far.

Smut - die Band aus Chicago, bestehend aus Sängerin/Texterin Tay Roebuck, Gitarrist Andie Min, Bassist John Steiner, Gitarrist Sam Ruschman und Schlagzeuger Aidan O'Connor - hat neue Energie getankt und sich auf das grenzenlose Potenzial besonnen, das entsteht, wenn man mit Menschen, die man liebt, Musik macht. In neuer Besetzung - "Tomorrow Comes Crashing" ist das erste Album von Smut mit O'Connor und Steiner - konzentrierten sich Smut darauf, die großen Gefühle einzufangen, die entstehen, wenn man sich zum ersten Mal in Musik verliebt. Das Ergebnis sind zehn intensive und bombastische Songs. Roebuck, Ruschman und Min gründeten die Band ein Jahrzehnt zuvor in Cincinnati, Ohio. Nach Jahren in der DIY-Szene von Cincinnati nahmen sie ihr Debütalbum "How the Light Felt" auf, das eine Offenbarung war. Pitchfork beschrieb es als "eine rigorose, Jahrzehnte umspannende Studie" und eine "gut geölte Drehung des Gitarrenpops der späten 80er". Under the Radar nannte es "Pop-Perfektion", die "subtile Haken mit wehmütigen Texten verbindet". "Tomorrow Comes Crashing" zeigt die Band mit neuem Elan. Der Song "Syd Sweeney", inspiriert von der Schauspielerin, ist das Herzstück der Platte. Es handelt davon, wie seltsam es sein kann, eine Frau zu sein und von Leuten missverstanden zu werden, die einen nicht einmal kennen. Der Song wird von tuckernden Gitarren und großen, rollenden Trommeln angetrieben. Mit anderen Worten: Stadionrock über Wahrnehmung. Paramore trifft "Dookie". "She connects to the youth and the girls in the water/All she amounts to is someone's daughter", singt Roebuck in einem besonders poetischen Moment. Der Song endet in einem Thrash-Metal-inspirierten Breakdown. Es ist ekstatisch. Um die Platte zu machen, nahmen Smut "so live wie möglich" zusammen mit Aron Kobayashi-Ritch (Momma) in einem Studio in Red Hook, Brooklyn, in zehn Tagen auf. Kurz bevor sie nach New York aufbrachen, heirateten Roebuck und Min, wobei der Rest der Band an ihrer Seite war. Die Aufnahmen waren ein wahrer Kraftakt: Sie fuhren mit ihrer gesamten Ausrüstung von Chicago nach Brooklyn, schliefen nach 12-stündigen Studiotagen auf den Sofas und Böden von Freunden, und am Ende war Roebucks Stimme völlig durch. Smut war schon immer ein DIY-Projekt. Weil sie es lieben und genau so tun müssen. "Tomorrow Comes Crashing" ist der Höhepunkt dieses DIY-Gedankens: eine Platte zu machen, die die Intensität, die Launenhaftigkeit und die Emotionen ihrer bisherigen Reise vollständig einfängt.

Smut - die Band aus Chicago, bestehend aus Sängerin/Texterin Tay Roebuck, Gitarrist Andie Min, Bassist John Steiner, Gitarrist Sam Ruschman und Schlagzeuger Aidan O'Connor - hat neue Energie getankt und sich auf das grenzenlose Potenzial besonnen, das entsteht, wenn man mit Menschen, die man liebt, Musik macht. In neuer Besetzung - "Tomorrow Comes Crashing" ist das erste Album von Smut mit O'Connor und Steiner - konzentrierten sich Smut darauf, die großen Gefühle einzufangen, die entstehen, wenn man sich zum ersten Mal in Musik verliebt. Das Ergebnis sind zehn intensive und bombastische Songs. Roebuck, Ruschman und Min gründeten die Band ein Jahrzehnt zuvor in Cincinnati, Ohio. Nach Jahren in der DIY-Szene von Cincinnati nahmen sie ihr Debütalbum "How the Light Felt" auf, das eine Offenbarung war. Pitchfork beschrieb es als "eine rigorose, Jahrzehnte umspannende Studie" und eine "gut geölte Drehung des Gitarrenpops der späten 80er". Under the Radar nannte es "Pop-Perfektion", die "subtile Haken mit wehmütigen Texten verbindet". "Tomorrow Comes Crashing" zeigt die Band mit neuem Elan. Der Song "Syd Sweeney", inspiriert von der Schauspielerin, ist das Herzstück der Platte. Es handelt davon, wie seltsam es sein kann, eine Frau zu sein und von Leuten missverstanden zu werden, die einen nicht einmal kennen. Der Song wird von tuckernden Gitarren und großen, rollenden Trommeln angetrieben. Mit anderen Worten: Stadionrock über Wahrnehmung. Paramore trifft "Dookie". "She connects to the youth and the girls in the water/All she amounts to is someone's daughter", singt Roebuck in einem besonders poetischen Moment. Der Song endet in einem Thrash-Metal-inspirierten Breakdown. Es ist ekstatisch. Um die Platte zu machen, nahmen Smut "so live wie möglich" zusammen mit Aron Kobayashi-Ritch (Momma) in einem Studio in Red Hook, Brooklyn, in zehn Tagen auf. Kurz bevor sie nach New York aufbrachen, heirateten Roebuck und Min, wobei der Rest der Band an ihrer Seite war. Die Aufnahmen waren ein wahrer Kraftakt: Sie fuhren mit ihrer gesamten Ausrüstung von Chicago nach Brooklyn, schliefen nach 12-stündigen Studiotagen auf den Sofas und Böden von Freunden, und am Ende war Roebucks Stimme völlig durch. Smut war schon immer ein DIY-Projekt. Weil sie es lieben und genau so tun müssen. "Tomorrow Comes Crashing" ist der Höhepunkt dieses DIY-Gedankens: eine Platte zu machen, die die Intensität, die Launenhaftigkeit und die Emotionen ihrer bisherigen Reise vollständig einfängt.

Following the contemplative explorations of previous works in the series and hot on the heels of the beautiful Cosmos from E Ruscha, Stella Z's "Figs" emerges as a delicate meditation on growth, patience, and the hidden life of fruit.

Recorded in London yet deeply inspired by distant memories from China, the album is a musical documentary that explores the fig—a plant with a profound personal significance to Stella. "The fig tree was the big, generous presence in our old home, feeding my family and neighbours every summer," Stella shares. "When we moved to an apartment, we thought we had lost the fig tree. But my mum took a cutting and planted it at our new place. To our surprise, a small fig tree started growing again, as if it had never left."

Early support from Vladimir Ivkovic, DJ Harvey, Jaye Ward, Laurent Garnier.

Following the much-lauded trio of meditations, from Woo, Davis Galvin and Graintable, that launched the series, "Cosmos" continues the label's gentle exploration of music to accompany moments of nurture and patience. This composition from E Ruscha V, once again mirrors the quiet and satisfying tending of the season ahead, creating space for contemplation and the witnessing of gradual transformation.

A multi-disciplinary artist rooted in Los Angeles, E Ruscha V approaches instruments as living entities, each with their own organic character. On Cosmos, his synthesizers breathe and pulse with natural rhythms, creating textures that emerge and recede like early morning mist in a garden. Echoing his work as a visual artist and much like gardening itself, there’s an innate understanding of when to tend and when to let things just be and evolve.

‘Cosmos’ follows a path that Ruscha began exploring with his 2018 release, "Who Are You", on Beats In Space and continued through recent works like ‘Green Mirror’ under his alias Secret Circuit and ambient pieces for the "Slow Show" performances. Each project has been a cultivation season that invites listeners to pause, observe, and connect with cycles of natural
emergence.

His work in both galleries and performance spaces – including MOCA Los Angeles, Lafayette Anticipation in Paris, and LUMA Arles – reflects this understanding of how the environment shapes experience.

A synthesis of where space, sound, and organic movement find their natural home.

Christened ‘High Tide’ after the sudden rising of the LA River basin during a particularly epic and rare rainfall, this cosmic slop funk jam was born from the minds of Devin Flynn (Pixeltan) and Eddie Ruscha (Secret Circuit), two individuals with a deep connection to Los Angeles’ tap water sources. While traipsing through the aisles of an Atwater Village bodega, the two mustered up a plan to create a rhythmic piece so delectable as to turn peoples’ heads inside out and pummel the senses with a wobbly Jah Wobble bass sound and a toy drum machine ‘no toy’ style back beat. They figured if they laced it up with enough electronic scuzz, the masses would be sure to want to sip from its nectar.

When DFA got wind it was all systems go and, from then on, all relevant parties knew that they should sit on the track for at least five years before it was released, otherwise the world at large would not be ready for it. The remixes are by Eddie himself - as Secret Circuit - and Dr. Dunks, aka Eric Duncan, a fellow Angeleno (at least at heart). Eric and Devin rolled through the streets as small children, shredding curbs and tagging local ice cream trucks, so it was inevitable they would reconnect and jam on ‘High Tide’.

Devin Flynn is an animator, musician and teacher who has worked on projects like Gary Panter’s web series Pink Donkey & The Fly and MTV2’s Wonder Showzen. He has previously released on DFA with Pixeltan, a trio - Flynn, Hisham Bharoocha of Black Dice and singer Mika Yoneta - that recorded with The DFA at the label’s inception, creating two seminal singles.

Eddie Ruscha is another DFA veteran, having remixed artists including Wolfram and Museum of Love. He has been making music for decades, as Secret Circuit and with myriad other aliases and collaborators, in addition to recording under his own name. He has released on labels like Beats in Space and Emotional Response, among others.

For fans of Young Marco, Suzanne Kraft, Prins Thomas, Khotin, Gaussian Curve.

Expected late October/early November

Scott Gilmore’s Volume 01, an Analog Synth Gem, Makes Its Vinyl Debut - Pressed at 45RPM for maximum fidelity.

Recorded on a vintage Tascam 388, the LP version of Gilmore’s alluring, easy-going instrumental electronic record arrives in the physical world via In Sheep’s Clothing Hi-Fi Records.

Los Angeles, CA — When the Los Angeles electronic musician and multi-instrumentalist Scott Gilmore recalls the creation of the songs on Volume 01, he describes specific moments of spontaneous inspiration. “I remember sitting at the tape deck, watching the leaves outside the window as they flittered in the sunlight—a moment of stillness that became intertwined with the melody I was recording,” Gilmore recalls, speaking of the track “Song For Cate.”

This sense of simplicity and presence is at the heart of Volume 01, which was recorded entirely on a Tascam 388 using a carefully curated selection of instruments.

Volume 01, an intimate, instinctual album that mixes lo-fi digital rhythms, strummed guitar, and melodic synth layers, is a collection of songs that captures Gilmore’s magnetic fluidity and the spontaneity of his process. Initially released digitally and as a limited edition cassette, Volume 01 is set to be issued on vinyl for the first time by In Sheep’s Clothing Hi-Fi.

The Tascam 388 is a classic mid-1980s analog machine that combines an 8-track reel-to-reel tape recorder with a built-in mixing console. Volume 01 exudes the kind of hazy, nostalgic warmth that only such recorders can provide. For the nine-song album, Gilmore harnessed analog synths including the Arp Odyssey, Yamaha CS-01, Korg DW-8000, Hohner Pianet T, Roland TR 606, and Roland SH 101, as well as bamboo alto saxophone, clarinet, electric guitar, and electric bass.

The album is awash in brief, propellant pieces. At just over four minutes, the relatively epic “Horizon Line” is driven by a three-note snare pattern, a two-note cymbal tap, with a humble bass-line serving as the rudder; Gilmore’s improvised keyboard runs move with an intuitive, conversational glee. The pensive "Shade" sounds like it could be a Penguin Cafe Orchestra demo. Closing track “D. Hareem” runs on a wobbly time signature but with an insistent, determined rhythm that belies genre descriptives. “I prefer to not know what I’m making as I compose,” Gilmore says. “It’s when I can’t clearly define what the music is that it’s then something that I want to put out into the world.”

In hindsight, Volume 01 was a portent. After its 2016 cassette release, Gilmore connected with International Feel, the Balearic imprint run by Marc Barrot, to release the sublime Subtle Vertigo. In 2019, Gilmore’s music caught the attention of Marc Hollander, the experimental composer and founding member of Aksak Maboul, which led to a signing with the Belgian label Crammed Discs. That deal enabled the creation of Gilmore’s solo album Two Roomed Motel and Doctor Fluorescent, a retro-futuristic, Vocoder-heavy 2020 collaboration with Eddie Ruscha V, a.k.a. Secret Circuit). Across these projects, Gilmore’s work has been mentioned in the same sentences as Stereolab, Arthur Russell, Woo, Air, R. Stevie Moore, and others, all of whom have combined synths and non-synths to memorable effect.

With the upcoming vinyl release, Volume 01 will set into wax an enduring set of works, offering listeners the chance to experience analog artistry in its most authentic, tangible form. In Sheep’s Clothing Records is honored to bring Gilmore’s work to vinyl.

"Artist, multi-instrumentalist and astral traveller E Ruscha V releases a hypnotic suite of flow-state synth improvisations for Fourth Sounds.

Building on Ruscha’s 2022 collection Thinking A View, also accompanying an exhibition at Cedric Bardawil, Seeing Frequencies is as intuitive and it is experimental, as Ruscha follows melodic and rhythmic modulations like desire paths across 13 spacious recordings.

Drawn in part from the CocoQuantus synth, built by a man Ruscha describes as 'too weird for Buchla', Seeing Frequencies rides high on tremolo waves and organic vibrations, rooted in ambient, Balearic and Kosmische music traditions, while simultaneously engaging in a dialogue with the synaesthetic qualities of Ruscha’ painting practice.

Allowing the music to flow through him, Ruscha describes the optimum moment of creation as one he imagines for the listener too. 'I really love when music forces you to forget,' he explains. 'There's this beautiful moment where everything coalesces, and you just don’t think about anything.'

To immerse yourself in Seeing Frequencies is to understand exactly what he means."

Edition of 300 marbled vinyl with risograph insert, liner notes by Anton Spice.

RIYL Harold Budd, Max Richter, Nihls Frahm. Limited Transparent Orange Vinyl LP. Final album from Roberth Haigh of SEMA, Nurse With Wound, Omni Trio. Smut shines a spotlight on the sounds of the 90s across genres – a record scratch, a spacey synth line, a breakcore beat – all while maintaining freshness and originality. The collaborative project of vocalist Tay Roebuck, guitarist Andrew Min, bassist and synth-player Bell Cenower, guitarist and synth-player Sam Ruschman, and drummer Aidan O'Connor, Smut have conquered national tours with Bully, Swirlies, Nothing, and WAVVES. Based in Chicago, IL, the band hits their stride in 'How the Light Felt'. It is an exercise in coping, an electrifying statement of hope in the thick of resounding loss, and a love letter to the people that keep us going. With their powers combined, Smut meld the songwriting sensibilities of Oasis with the vocal delivery of the Cocteau Twins – the percussive grooves of Gorillaz with the sensuality of Massive Attack. An electric current of hope led by Tay Roebuck's powerful, femme vocals, Smut puts on a live show that is not to be missed. Also Available From Smut: Power Fantasy 7”. Track listing: 1 Beginner's Mind 2 Twilight Flowers 3 Waltz on Treated Wire 4 Contour Lines 5 Rainy Season 6 Lost Albion 7 Like a Shadow 8 Still Life with Moving Parts 9 The Fourth Man 10 Signs of Life 11 The Nocturnals 12 Baroque Atom 13 On Terminus Hill

RIYL Harold Budd, Max Richter, Nihls Frahm. Limited Transparent Orange Vinyl LP. Final album from Roberth Haigh of SEMA, Nurse With Wound, Omni Trio. Smut shines a spotlight on the sounds of the 90s across genres – a record scratch, a spacey synth line, a breakcore beat – all while maintaining freshness and originality. The collaborative project of vocalist Tay Roebuck, guitarist Andrew Min, bassist and synth-player Bell Cenower, guitarist and synth-player Sam Ruschman, and drummer Aidan O'Connor, Smut have conquered national tours with Bully, Swirlies, Nothing, and WAVVES. Based in Chicago, IL, the band hits their stride in 'How the Light Felt'. It is an exercise in coping, an electrifying statement of hope in the thick of resounding loss, and a love letter to the people that keep us going. With their powers combined, Smut meld the songwriting sensibilities of Oasis with the vocal delivery of the Cocteau Twins – the percussive grooves of Gorillaz with the sensuality of Massive Attack. An electric current of hope led by Tay Roebuck's powerful, femme vocals, Smut puts on a live show that is not to be missed. Also Available From Smut: Power Fantasy 7”. Track listing: 1 Beginner's Mind 2 Twilight Flowers 3 Waltz on Treated Wire 4 Contour Lines 5 Rainy Season 6 Lost Albion 7 Like a Shadow 8 Still Life with Moving Parts 9 The Fourth Man 10 Signs of Life 11 The Nocturnals 12 Baroque Atom 13 On Terminus Hill

Dukes of Chutney, the transcontinental trio of Dustin Lynn, John Paul Jones, and Petra, explore the different spaces and places, between nothingness and nature, that nurture inner and outer peace for their debut full-length Hazel. Cosmic yet intimate, long-gestating and free-flowing, diffuse and centered, Dukes turned toward their immediate sanctum, and a network of friends and colleagues, to realize the vision of Hazel. “Pretty much everything we do is without purpose,” the Dukes admit, in line with their pursuit of joy. But it’s not empty hedonism or passivity at play on Hazel, so much as an expression of freedom. “Why not?” was scribbled on the white frame of the Polaroid documenting their first appearance on Tim Sweeney’s Beats in Space many years ago, and it remains their motto, their mantra.

The Naturals' debut album is more than just an rediscovery of one of the great lost albums of the last decade, but of how things were always intended. When Eddie Ruscha (Secret Circuit) and Thomas Bullock (Rub'n'Tug/STD) appeared as The Laughing Light of Plenty, their journey offered untold troves. Now at last the pulse is set for outer orbit and all are welcome to join.

After a mind-melting debut EP sold again and again, an album expanding their unique psychebalearicfolk imaginings was prepared and even pressed before being lost somewhere between a lock up in New York and limited quantities reaching Asian shores and dealers
trading at dizzying Yen.

Lost, but never forgotten, years passed until a nagging memory that an earlier, rawer mix had always been superior. A return to the original band name seemed The Natural(s) choice and so a project idea started to be (re)born.

A sunny Spring afternoon in a grand English garden, pots of tea, talk of life's travails, deep yogani, love affairs, kids growing up, the power of now and music, always music led to two labels coming together to dust down the desk and not just resurrect, but seek and offer the original intentions.
Here at last is the double album as intended. Of two great friends jamming their deepest vibes and flowing with love to offer tales of higher consciousness. Travel inward, beyond meer chakras. Aim for the stars. The devil is in the details so see the trails and follow to some avail.

Begin your own journey.

Following a run of sought-after releases on cassette from artists including Anthony Naples, Xvarr and E Ruscha V, Good Morning Tapes switch to vinyl for their latest (and first with HJ).

By Mahbunzi Nahgo Pihndi ("All the Healing Green Leaves of the Forest') aka Brian Close, one half of New York avant-garde duo Georgia:

'This record is an extension of a foray into trance ritual music. It is structured as a companion for film, meditation, vision seeking & sound rest.

It is by nature a nature worship record, combining acoustic percussive improvisation, sensory foley, vocalized staccatos, and a specific brew of physical / metaphysical sound relations... mind hush / thought flush / spirit rush / sun rise.

Inspired by an initiation ceremony of the Bwiti / Fang people of Gabon. This collection relays a fragmented branch of timings of this ceremony and proposes other paths for the sacred (Mougongo) instrument.

Recoded + Restructured + Reflected as a time capsule, with fullest respect / blessings to breeze the Bwiti understandings through the current climate.

Proceeds of this record will be donated to Tata-Yo (Nganga), Ebando.'

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.