Fully Loaded / Soundclash 1 (Ghost Relick VIP)
Ruff Revival 12"
'Naphta's 'Fully Loaded' side restores muscular memories of Jet Star B-sides, Shut Up and Dance , Production House, Ibiza ...Spin Inn, blues... Potential BadBoy, Genaside II, G Double E and so many more spring to mind during this simply irresistible rinseing. Jungle was indeed so much more than we've all been told. Building on the fantastic reactions thus far on his 'Long Time Burning' full length CD album, and next to the heavily delayed, but eagerly awaited Keysound rerub from Grievous Angel himself (out soon we promise, hold tight) Naphta looks well placed to triumph under the disarming righteous cause of jump up jungle. How can you say no?'
GRIEVOUS ANGEL Harpy
"Absolutely love it!" Mary Anne Hobbs, BBC Radio 1
"Mosh pits materialise when I play this!" Jamie VEX'D
Loops For Voerman
Machinefabriek CD EP
'Loops For Voerman is a dark, impressionistic composition, just over fifteen minutes in length, its bowed metal, atonal strings and cold harmonic overtones continually realigning, bringing to life the imposing nature of Voerman's sculpture. The silence within the piece, between the scraping and sustained resonance of the sounds, evokes an unsettling presence, a claustrophobic feeling of imposing, collapsing structures, abandoned and lost. Machinefabriek's contribution to the installation, presented here as a stand alone piece, is a master class in sound sculpture, and an essential addition to the ever expanding back catalogue of Rutger Zyudervelt. '
Hood Faire 12" EP
"A really beautiful sound" - The Wire Magazine
"He's an absolutely extraordinary player who builds up these soundscapes. It's amazingly clever, I don't know how he does it with two hands to be honest" - Tom Ravenscroft, NME
"It's a beguiling and soothing listen" - Diskant
'From the opening bars of first track 'Sky Burial' Dean Mcphee's expressive solo electric guitar playing is a joy to behold. A guitarist from West Yorkshire, McPhee performs using only guitar and effects, and the three compositions which make up 'Brown Bear' were recorded live with no edits or overdubs. 'Brown Bear' is a masterful excursion into solo performance, incorporating folk picking styles, subtle shifts of background ambience and sorrowful melodies, all seemingly executed with ease. At times the compositions are reminiscent of Richard Thompson's emotive and melancholic playing, with shades of the Australian trio The Hungry Ghosts' ear for a beautifully sparse melody, in other places brushing up against the more minimal spectral pieces of Loren Connors. 'Brown Bear' has a rich, warm tonal quality, and McPhee's expansive playing style clearly requires no additional accompaniment to colour the tracks. Using slow delays and open tunings Dean creates textural plains over which his melodies soar. Clocking in at just over twenty one minutes, 'Brown Bear' is an astonishingly beautiful EP from a natural player.'
'Emiter is a solo project by Marcin Dymiter (electronics, guitar, generator, loops, tape) who previously played in such bands as : Ewa Braun, Mapa, Mordy. He has collaborated with musicians engaged with jazz, electronics and avant- garde music: Rob Mazurek, Paul Wirkus, Rosa Arruti, Le Quan Ninh, John Butcher, Axel Dorner, Andrew Sharpley, Mikolaj Trzaska, the poet Marcin Swietlicki, Raphael Roginski, Marek Choloniewski, Tomasz Choloniewski, Dagna Sadkowska, Michal Górczynski and as a band voice_electronic duo, Linie Pólnocne. He cooperated and composed for off's theaters, he plays on live to silent films and cooperates with visual artists. Marcin Dymiter is also a musical producent. He played in many countries in Europe. As Emiter he has released ten CDs. He experiments with sound design - unlocking tones and transformations which accompany our life and searches for inspiration in the world around us. He believes that music is everywhere. Composing it is a never ending process. "Microsillon" is Marcin's first album on Gusstaff Records. Field-recordings, acoustic sounds, electronica, guitar and improvisations are the most important features of this record. It was recorded in many places in Gdansk, sometimes in public rooms of historic importance. In these recordings excellent polish musicians participated : Tomasz Choloniewski (percussion), Wojciech Jachna (trumpet), Tomasz Gadomski (hang).'