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Could Divine is the debut album from anrimeal, the recording project of Ana Rita de Melo Alves.

A ‘computer folk’ record exploring the use of texture, limitation and repetition, Could Divine takes its cue from post-minimalism, particularly Eva Hesse and other women artists who pioneered the movement. Informed by Ana’s full control of the record-making process and the bedroom environment where it was created, the album is a deeply personal window into a protean creative mind - at times devastating, playful, mystical and earthbound, often in the space of a single track.

Originally from Porto, Ana moved to her current home of London in 2016, where she founded the ambitious DIY label Demo Records. While using this imprint to amplify other leftfield bedroom talents around the world. Ana developed the anrimeal project in semi-secret, keeping her finished debut album on the proverbial shelf.

The enforced isolation of 2020’s lockdown turned out to be the clincher for Could Divine. During her first solo gig as part of the Quarantunes livestream series, Ana quietly snuck the digital album onto Bandcamp on a pay-what-you-want basis. Inspired by the traction gained from this first outing, Ana’s own Demo Records are now teaming up with south-east London’s Crossness Records to give this beautiful record a full physical release on limited edition yellow vinyl.

Credits
Marching Parades
Written, performed, engineered, produced, mixed and mastered by Ana Alves.

Encaustic Witches
Written, performed, engineered, produced, mixed and mastered by Ana Alves.

I Am Not
Written by Ana Alves.
Vocals, electric guitar, violin and electronic elements performed by Ana Alves.
Electric guitar performed by Huw Roberts.
Drums performed by Miguel Crespo.
Engineered by Nico Fernandez.
Produced, mixed and mastered by Ana Alves.

Elegy for an Empty Coffin
Written, performed, engineered, produced, mixed and mastered by Ana Alves.

Headrest
Written, performed, engineered, produced, mixed and mastered by Ana Alves.

Could Divine
Written, performed, engineered, co-produced, mixed and mastered by Ana Alves.
Co-produced with Nico Fernandez.
Drums sampled from Miguel Crespo’s performance.

Vertical
Written, performed, engineered, produced, mixed and mastered by Ana Alves.

Death
Written, performed, engineered, co-produced, co-mixed and mastered by Ana Alves.
Co-produced and co-mixed with Nico Fernandez.

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Over the past year, a selection of artists have been digging through the depths of their creative pursuits, for material they either cannot finish, or else would like to see adapted. These same artists and more have delved into the resulting repertoire, and emerged with new, repurposed pieces.

Out of this births the first volume of the Sustain Series: a means for artists to make use of old sounds, hoping to bring forward music that might have otherwise not seen the light of day. Thanks to the input from a variety of fantastic musicians, old material can breathe new life, sometimes in more than one form.

In keeping with this 'recycling' of ideas, all proceeds of the compilation here on Bandcamp will go to Conservation International, promoting sustainability and conservation across the world.

It’s ever more important to think sustainably for the sake of our planet, and every effort we make will help curb the cataclysmic events we see shaping in front of us. Give what is feasible in these tough times, but most of all please enjoy this collection of recovered gems.

~

Album art for this series features the brilliant art of Fran McNamara, whose work makes use of repurposed materials. Through her use of 'found and tossed objects', she exhibits the impact of human activities on natural environments, and our wider connection with the natural world.

Her paintings make use of comics, maps, magazines and packaging in an attempt to "elevate the viewer’s awareness of our involvement as human beings in our world’s case for eco-sustainability."

Composed, performed and reworked by the artists named
Mastering by Ian Hawgood
Image by Fran McNamara
www.franmcnamara.com
Design by Ambientologist 

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Burd Ellen have announced their second studio album Says The Never Beyond, release date 27th November 2020. The record is a collection of carols and wintersong that occupy the liminal space between sacred and secular, connecting to the deep seasonal traditions of Britain and Ireland. Available to pre-order on LP, CD or digital release via Bandcamp from 2nd October.

Burd Ellen is a project featuring Debbie Armour (Alasdair Roberts, Green Ribbons,) and Gayle Brogan (Pefkin, Electroscope). The duo uses innovative instrumentation, drone and sound-wash to support detailed vocal work and create a unique sonic atmosphere. For Says The Never Beyond they have continued their long-term collaboration with Jer Reid (Sumshapes, Glasgow Improvisers Orchestra), bringing him out from behind the studio desk to play guitar on most of the tracks. The album also features contributions from Scottish Album of the Year Award nominee Rachel Newton (The Shee, The Furrow Collective) and Luke Sutherland’s (Long Fin Killie, Bows) current project Rev Magnetic.
Scheduled to go in the to studio over the summer, lockdown restrictions meant that the album was recorded remotely across Scotland and pieced together by engineer Jim McEwan (barkbarkdog studios). Debbie Armour says of the process: “I was in a period of what felt like grief for the record I thought we were going to make. It took me weeks to get to the point where I was ready to track the vocals, and many false starts beyond that. I can’t quite believe how magically it has grown in to this big, swirling thing we’ve all made together. Jim and all the musicians who’ve worked on it have been so, so patient with me and so open-hearted to the changes
and challenges. I could not be more thrilled with the outcome.”

Of the song choices she says: “Winter songs are the joy of my repertoire. I love the very old, very earthy carols and ritual songs. There’s real emotional weight to them, and an immediacy in their conjuring of the landscape. When we made the final decisions about what to include,
I also noticed how many of the songs talk about the quiet joys of Mary’s motherhood. I have adored spending so much time with my children this year, and have been reflecting quite deeply on my own mothering so it’s not a huge surprise to see it come up in the work. But it definitely wasn’t a conscious choice.”  credits released November 27, 2020

burd ellen are:
debbie armour - vocals
gayle brogan - vocals, violin, Lyra 8, Korg Volca FM, Dark Energy, zither, field recording

featuring:
jer reid - guitar (1,2..4.5,6), bowed cymbal (1), piano (6)
rachel newton - harp (4)
rev magnetic - programming & additional recording (8)

debbie’s vocal recorded by jim mcewan at solas sound
other recordings made remotely by gayle, jer, rachel & luke
mixed & mastered by jim mcewan at barkbarkdog studios
produced by jim mcewan & debbie armour

1,7 trad, arr burd ellen
2,3, & 5 trad, arr burd ellen & jer reid
4 trad, arr burd ellen, rachel newton & jer reid
8 trad, arr burd ellen & rev magnetic
6 benjamin britten, arr burd ellen & jer reid

photography by audrey bizouerne
sleeve design by debbie armour

burd ellen would like to thank
martin, chrissie, andi, ian, chris, kirsty, lauren, paul, josie, martin, rowan & thea - our beautiful patreon team.
debbie would also like to express her deep gratitude to: all the musicians who worked on this record in such trying circumstances, with open hearts and endless patience.
my kids for giving up their spaces at home to let me make this, which is so important to me
my current husband for hearing all my worries and tantrums and checking my spelling
jm for being a prince among men
gb for being my queen of the uncertain

given with such warmth to ghv, who have held the seeds of this work for many years, & in fond memory of david

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CoOp Presents an all-new double-album compilation entitled ‘Plug One’. It features a plethora of global talent from in & around the world of bruk and beyond - some already well-established in the field, some very much on the come-up and some brand new artists - this compilation is an acknowledgment of a continually evolving sound from the label formed by IG Culture & Alex Phountzi in 2018. ‘Plug One’ affirms this electric movement, with a deeply fluid current running throughout, with tracks ranging from the cosmic psych jazz of LCSM, to the classic UKG tweaks of Groove Chronicles, to the thought-provoking vibes of Reginald Omas Mamaode IV, to a veritable who’s who of 2020 bruk talent including Xtra Brux, Sivey, EVM128, Cengiz, Wonky Logic & many more.

From its beginnings as the classic clubnight and label in the early 2000’s, CoOp always carried an undefinable and potent creative energy. A sense of freedom and uninhibited exploration was positioned at the core of CoOp’s sprawling community and consciousness, communicated via movement and sound. From this seed and throughout the years that followed, this same energy permeated the worldwide underground music ecosystem. As CoOp’s legacy continued to influence new generations of music makers far and wide. The syncopated rhythms, soulful keys and infectious grooves synonymous with the broken beat sound now known simply as Bruk became entwined with new concepts and progressions, leading to new movements carrying on the essence of the bruk energy.

IG Culture and Alex Phountzi took the helm of their CoOp Presents label in 2018, with the vision of championing these new waves of emerging artists, continuing the all-important exchange of energy at the heart of the original CoOp movement, but also giving room for the music to be pushed into new and uncharted territories. With burgeoning producers from around the globe being drawn to the explorative and expressive nature of the project, an incubator was created, providing a space and platform for these ideals to take on new shapes and sounds. Just as every generation must rewrite its own history books, CoOp Presents was born from a combination of influences, ideas and personalities, and in turn is now encouraging the next generation to do some re-writing of its own. 

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Curating the tracks for a Mr Bongo Record Club compilation is always such a pleasure. At a time when the expression "Music is My Sanctuary" has an even greater cathartic impact for many people, we set out to make this volume an extra special one - like an old favourite mixtape or playlist.

For Volume 4 in this series, we continue in the same mould as with previous editions, selecting current favourites and rare lost gems from the Brazilian, African, soul, funk, and disco genres. We present tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. We felt their inclusion was important and wanted to share these wonderful discoveries with a wider audience. They also complement, enrich, and fit perfectly with the flow and journey of the compilation.

Support from Hunee, Antal, DJ Marky, Volcov, Jazzanova, J Rocc, Carlos Nino, Laurent Garnier, Benji B and many more.

Here at Mr Bongo we hope you will enjoy this selection of seventeen eclectic songs (in tempo and style) as much as we do, whether they make you move your feet, take you on a trip somewhere, or trigger a happy memory.

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Melancholic and mysterious, but at the same time, strangely familiar. Combining surreal soundscapes with a distinct sixties style songwriting, Emile’s psychedelic loner folk debut comes together like a weird dream. A dream that shows a side of reality too strange to observe in any other way. Driven by acoustic guitar and haunting arrangements, the frontman of The Sonic Dawn presents a unique backdrop, on which songs about death, life, loss and fear of growing old melt together with a dystopian look into the near future of our civilisation.

Credits
All songs are written by Emil Bureau, except for At se ud over sig selv, which is co-written with Niels Bird Fuglede and Weight of the World which is co-written with Niels Bird Fuglede & Jonas Waaben.

Instruments and vocals by Emil Bureau. Additional instruments: Hammond Organ on Birds Fall, I Krystalkuglens Skær and Mellotron on Weight of the World by Erik Errka Petersson. Drums and Percussion on Weight of the World, Life Upside Down and Det Kollektive Selvmord by Jonas Waaben. Bass guitar on Weight of the World by Niels Bird Fuglede.

Recorded and produced by Emil Bureau and Thomas Vang in Voks Recording and The Village Recording, Copenhagen. Mastering by Hans Olsson Brookes in Svenska Grammofon Studion Mastering, Gothenburg. Design by Robin Gnista. Cover photo by Niels Fuglede.

Released on May 1st 2020 by Heavy Psych Sounds.

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Chanter pour émanciper la femme africaine. Une rencontre unique entre les berceuses bantu du Congo, les musiques électroniques et le hip-hop. Un projet hybride qui fait la part belle à la danse et qui met en lumière le quotidien de la femme congolaise d'une façon audacieuse et surtout connectée avec son temps.
​
Gladys Samba, chanteuse et percussionniste renommée, avait depuis des années pour volonté de faire revivre et de vulgariser les berceuses de la République du Congo, considéré comme un véritable matrimoine culturel de sa région. En 2018, avec l'aide de l’Institut Français du Congo, elle y parvient à travers la réalisation du spectacle "Les Mamans du Congo". Fourchettes, assiettes, paniers, pilons et matériel de récupération accompagnent avec rythme et subtilité les voix des cinq Mamans du Congo.

De son côté en France, l'artiste Rrobin explore depuis 2013 les musiques électroniques et le hip-hop. Il réalise en 2018 l'album Déluge en collaboration avec des invités de marque comme Grems, Spoek Mathambo, Nancy Fortune ou Hedi Yusef. Plus récemment, Rrobin a été amené à travailler avec La Coopérative de Mai (Clermont Ferrand) dans le cadre de son dispositif consacré aux jeunes talents. Côté label, Rrobin est un des artistes éminents du label Galant Records. Côté spectacle, il fait partie de notre roster depuis 2018.

L'Institut Français du Congo et la Coopérative de Mai, partenaires sur le projet "Visa pour la Création", ont alors l'idée de se faire rencontrer Maman Glad' et Rrobin afin de créer un mélange inédit de sonorités traditionnelles et de sons actuels. C'est à l'automne 2019 que Rrobin décide de se rendre à Brazzaville avec Céline Frezza - ingénieure du son et directrice artistique de Galant Records - pour 10 jours de maquettage en studio. Le projet prend alors vie à travers l'enregistrement des premières maquettes. L'envie commune d'en faire un album et surtout une tournée devient évidente à l'écoute des titres. 

Credits:
//Composed by Robin BASTIDE
// Written by Gladys SAMBA
// Mixed by Céline FREZZA @Rumble Inn
// Mastering by Alex PSAROUDAKIS
// Artword by Hélène Bertholier

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Kevin Hayes, Kirk Marrison and Clark Rehberg III began collaborating under the KILN moniker in central Michigan in the early 1990s. The trio released its self-titled debut EP on the Roomtone label in 1997, further developing their sound — via naturalist recording techniques and nascent digital workstation methods — across subsequent releases in the early 2000s. KILN signed to Ghostly International for 2004 LP, Sunbox, which established the label’s ambient “SMM” tributary, going on to reach their most consistent stretch from 2007’s Dusker through 2013’s meadow:watt. They make their long-awaited return to Ghostly with Astral Welder, a fizzing, electro-charged gallery of propulsion and abraded tone, offering eleven rotating constellations of force, groove and color that infuse the listener with a buoyant sense of now.

As a means to refresh their sonic troika, the pieces that make up Astral Welder forgo the standard KILN approach to composition in favor of a more ambitious, intuitive strategy rooted in strict 16-and 32-bar loop forms. The collection was incepted as densely-layered loops employing the use of self-sourced found sound and environmental recordings, then expanded through more traditional multi-tracking methods and instrumentation.

“We used this loop cycle format as a new process to see if we could make full gardens of sensible noise in a truncated format, knowing full well we'd employ standard arranging formats later,” KILN explains. “Each song was built in a repeating cycle which generally lasted from thirty to sixty seconds. Sounds were stacked on this cycle until they hit maximum density, then converted and exported into a traditional linear timeline — at which point we made decisions on how to curate either a cogent sculpture or a longer, sprawling array.”

Those decisions ultimately yielded KILN’s most adventurous music to date. Astral Welder brings a new clarity and humanity to the panoramic guitars, elemental squelch and sinuous rhythms evolved over previous work. Consider the melodic sentimentality of “Oceantumblers” (built around a 35-year-old recording of a broken guitar), the music-box tenderness of “Open Field” or the wink-nudge playfulness of “Cartoon Garden,” which channels elements of alt-pop and hip-hop to forge something distinctly different from either.

KILN’s first LP since 2013 summons the spirits of a world that is long gone but ever-present, combining castoffs and cutouts of the digital age (mothballed electronics, bedroom-recorded cassettes), domestic detritus (cast-iron toys, vintage skateboard wheels) and vestiges of the natural environment (decayed birch logs, tuned rock piles) to create timeless, richly textured soundscapes radiating the warmth of golden-hour sunlight. 

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Recorded in a series of sessions at The Hive, with engineer Colin Stewart, Jeffrey drew inspiration from the jazz principles of spontaneity, dynamism, progression, and improvisation, the singular spirituality of Alice Coltrane and the mist-veiled landscapes of Canadian painter Takao Tanabe. He approached each session as an experiment in not only improvisation but also a kind of anti-composition in which he sought to remove ego from the creative process and to reimagine the self as a channel for natural processes, rendered through music. Playing to the rhythms of something unseen - a hidden partner that made itself known only in the moment of contact - Jeffrey sought to capture rather than design.

​The four shimmering instrumentals that compromise the album are like a landscape unto themselves. At once grounding and expansive, molecular and infinite, they defy easy categorization. There are no linear surfaces, only elemental processes that curve and weave, disappear and reappear; a detailed interplay of atmospheric synths and meditative rhythm evokes the motion of water, the momentary ray of light through tall trees. Like a sonic rendering of one of Tanabe's distant shorelines, there is both beauty and mystery here - a quality just out of reach, that rewards close attention but does not pursue it.

Credits
Recorded and mixed by Colin Stewart at The Hive, Saanich B.C
Mastered by Gavin Gardiner
John Jeffrey - drums, bass, guitar, synth, vibraphone
Rolla Olak - guitar
Marc Jenkins - pedal steel
Cover photo by Ian Wallace, Vancouver B.C
Design by D.Norsen
All songs by John Jeffrey

Thank you -
Colin, Rolla, Marc, Gavin, Ripley, Sanae, Jack
Ian, Bill, Dale, Paul, Jay, Tyler, Taylor