Michalis Siganidis – Dead Slow

(2024, 300lmt 180g 12” Vinyl, FK020)

Michalis Siganidis seems to narrate through the strings in this absolutely physical, organic way his experiential, intellectual and emotional relationship with the instrument. The accompanying electronic commentaries by Jannis Anastasakis refers to a dialectic of question and answer. Through this pulsating sound environment, the listener receives a musical world deeply internal, a circuit – extremely subtle but also coarse with a fierce intensity in places – of rare in expressiveness psychic vibrations.

”Interactive sound narrative in 2 tracks -no overdubs- where the acoustic bass converses with BBC samples and electric one with Yannis Anastassakis’ effects, creating an environment of immobility. Sakis Papadimitriou used to call me Slownidis (Siga=slow). Ten -at the most- evolving patterns – for a life” Michalis Siganidis.

Michalis Siganidis – doublebass, electric (Banchetti) bass
Jannis Anastasakis – fx, loops


Adam Rudolph, Tyshawn Sorey – Archaisms II

(2024, 300lmt 180g 12” Vinyl, FK019)

When Sorey and Rudolph reconvened at Roulette a little over a year later from Zürcher Gallery (Archaisms I) as part of Thomas Buckner’s long-running Interpretations series, they decided to expand their palettes by inviting the three members of Yarn/Wire and ICE and conduct this larger ensemble using their respective languages. Archaisms II focuses on the unique approach to conducted improvisation that each has devised, with a trio of collaborators from the new music realm: Sae Hashimoto and Russell Greenberg of Yarn/Wire and Levy Lorenzo of the International Contemporary Ensemble (ICE).

The first half of Archaisms II features Rudolph at the helm, with Sorey at the piano for much of its 22-minute length, before shifting to drum kit in the closing minutes. The second half is conducted by Sorey, with Rudolph taking his turn at the keyboard for a portion of the proceedings. Despite the additional voices, Sorey says, “In a lot of ways it’s still a duet between Adam and me. Our concept has expanded so the point where the music still sounds like something that we teamed up and developed together.”

Tyshawn Sorey – piano, drumset
Adam Rudolph – handrumset, electronic processing, voice, percussion piano
Sae Hashimoto – multiple percussion
Russell Greenberg – multiple percussion
Levy Lorenzo – multiple percussion and electronic percussion


Adam Rudolph, Tyshawn Sorey – Archaisms I

(2023, 300lmt 180g 12” Vinyl, FK018)

Rudolph and Sorey had long admired one another’s work from afar when they first met for a concert at The Stone in 2018. “Tyshawn and I had an immediate, alchemical connection,” Rudolph recalls. “We found that we were really in tune with each other, and it was easy and inspiring to play with him.” Sorey adds, “With both of us being composers, it felt natural for us to operate in this composerly way. Rather than speaking two different languages, we quickly found a way to unify our languages and speak as one. Having developed a greater understanding of each other’s work as composers and performers has really intensified the experience for me.”

Archaisms I begins sparsely, with surprising, pointillist sounds that seem to emerge from various points in three-dimensional space surrounding the listener – strikes, crashes, gongs, chimes, horns. An insistent rhythm gallops out of this mysterious space before subsiding again into a mesmerizing sparseness. The first half of the performance continues in this tidal fashion, ebbing and flowing from dynamic action to punctuated silences. The second half (Side B of the vinyl release) begins with a dialogue of mallets and hand strokes, echoing and floating like whale song carried underwater. Ricocheting cymbals and snare snap these amorphous sonics into crisp focus, initiating an avalanche of roiling, shifting sounds that carry on at blistering pace for the remainder of the 22-minute excursion.

Adam Rudolph – handrumset and percussion
Tyshawn Sorey – drum set and percussion


Kristo Rodzevski – Black Earth

(2023, 500lmt, 180g 12” Vinyl, 350gsm Gatefold, FK017)

Black Earth has eleven traditional Macedonian songs infused with African aesthetics, including Gnawa undertones, Congo rumba, and African field recordings. The core of the traditional Macedonian harmonies and rhythms was developed over the centuries from the Ancient Greek and Roman Empire’s lyricism, Byzantium’s chants, and the Ottoman Empire’s classical music progressions, by way of multiple migrations, storytelling, wars, myths, tribalism, reconciliations, etc.) In a nutshell, Black Earth is a filtrate of the trans-generational transmission of resilience, trauma, love, and naivete.

Kristo Rodzevski – vocals, acoustic guitar, tambura
Dominic James – electric guitar
Josh Werner – bass
Adam Rudolph – sintir, percussion
Bill Laswell – bass, field recordings, production


Pray For Your Prey

(2023, 300lmt 180g 12” Vinyl, FK016)

Recording live on a rainy night at Brussels in October 2017 “Pray For Your Prey” will capture your attention with it’s s striking power. An eclectic mixture of noise, experimental, free jazz and improvised music blended exemplary together creating a volcanic atmosphere.

Giovanni di Domenico – fender rhodes
Gonçalo Almeida – bass
Balázs Pándi – drums
Giotis Damianidis – guitar


Babis Papadopoulos – Electric Solo

(2022, 500CD Digipack, FK015)

I started the “Electric Solo” project in 2008 – the same year I recorded my first pesonal album. A lot has happened since then; Concerts, personal albums, collaborative albums. Many tracks from these projects became part of the “Electric Solo” repertory and were performed live in an improvisational manner, reflecting the ambience of each night, the venues and my own mood. I chose to record tracks that were already part of my personal discography, along with some musical themes that I have been using as starting points for improvisation.

Babis Papadopoulos – electric guitar, loops, effects


Milcho Leviev, Lakis Tzimkas – Conversations From The Past

(2022, 500CD Digipack, FK014)

Lakis Tzimkas and Milcho Leviev came in contact in 2002 during their first common performance. Ever since, a special bond has been created in both personal and artistic levels. One of the outcomes of this common progression is this recording, five years before Milco Leviev had passed (1937-2019). This CD features compositions by both. The style oscillates between the classical and jazz music bordering the cinematic. Musical narrations create a tension that births the sense of depth, motion and emotion.

Milcho Leviev – piano
Lakis Tzimkas – double bass


Orange Blue Green – Skra’s Confession

(2022, 400CD Digipack, FK013)

The Orange Blue Green band improvises freely in the true sense of the word. An improvisation initiating from the very first sound produced without any prior coordination regarding the style, structure or anything relating to the overall musical form. An acoustic, almost classical trio that has embraced the fundamental features of the sound of chamber music, along with the various musical idioms and experiences of the members’ multi-dimensional course. Their music features a primal element, a product of the absolute freedom they cultivate, a robust sound consisting of the acoustic friction of rhythmic and melodic fragments and at the same time a lyricism and a kaleidoscopic refinement as well as a wide range of sounds.

Dimos Goudaroulis – cello
Nektarios Karantzis – doublebass
Christos Yermenoglou – drums, percussion


Sakis Papadimitriou – Something There

(2022, 400CD Digipack, FK012)

Almost two years of inactivity have passed. The main reason was the pandemic, of course, but there was also a second one, an eight-month period when I could not use my left arm because of a shoulder fracture. But still, on the 21st of October 2021, I performed solo at the Open Jazz events of Demetria Festival. In one of the old warehouses in the port of Thessaloniki which have been converted into cinema halls. Right across the port authority where I served for three years. The tension I was undergoing, plus the environment plus the emotionally charged audience seem to have created the perfect conditions from the beginning to the very end. I left at a daze not being able to explain what had happened.

Sakis Papadimitriou – piano


Sakis Papadimitriou, Christos Yermenolou – Ping Pong

(2017, 500CD Digipack, FK011)

Ping Pong certainly does not lack the imagination of the game, just as it does not lack that “togetherness” which rather constitutes the essence of an improvised partnership. This recording at the studio acquires the characteristics of a game in which the rules are set by the participants, exchanging sounds, intentions and impulses.

Sakis Papadimitriou – piano
Christos Yermenoglou – drums, percussion