Back catalogue:

Review: Early on in Muslimgauze's (Bryn Jones') career, the musician released two ultra-mysterious releases on the equally mysterious label Hessian, which some speculate might've been comprised entirely of Jones himself. Hammer & Sickle was one of these two early LPs from the faux Arabic auteur, and was notable for its distinct lack of any back cover artwork (who needs a visual stimulus when you've got such great music on board?). Though still indicative of Jones' work as Muslimgauze, superfans will note that this release sounds a little more formative than some of his later releases, owing to its lessened use of Middle Eastern instrumentation and sparser production in general. B-sider 'Fear Of Gadaffi' is the most intermittent in this regard, revelling more than anything in the simple effect of spring delay on sampled, freeform perc hits.

Review: Samuel Rohrer's ArjunaMusic has been minimal in its output since 2012's debut from the label-head himself, but what he's put out has been of the highest quality. While both previous releases were strictly CD-only, Ambiq has also been pressed onto LP format. It seems strange that the deep, intricate music on the label hadn't been released on vinyl, but we're not here to question, merely to tell you how great this piece of music is. Buried in a complex shell compred of strands of free jazz, psyched-out electronics and ambient, this is as experimental as it gets. Starting from the opener, "Erdkern", we're thrown head-first into a melodic frenzy, one which expands and contracts from more rigid structures such as "Tund" and dissolves back into the abyss. The breaks on "Touching The Present" are stupendous. So great to see that the free jazz dynasty has evolved into brighter, more contemporary spheres.