Pre-order of Serpentine. You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.
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releases August 14, 2026
€8EUR or more
Record/Vinyl + Digital Album
Includes digital pre-order of Serpentine.
You get 1 track now
(streaming via the free Bandcamp app
and also available as a high-quality download in MP3, FLAC and more), plus the
complete album the moment it’s released.
After the wild Afro-jazz fusion of Trancedance (reissued as BT118) and the meditative solo Christer Bothén Donso n’goni (BT133), legendary Swedish multi-instrumentalist Christer Bothén returns to Black Truffle as part of a dream quartet completed by the three members of Ghosted: Oren Ambarchi (guitar), Johan Berthling (bass) and Andreas Werliin (drums). Recorded at a rustic studio built by Werliin and Hans Fredriksson in the sylvan surrounds of Hamburgsund, Sweden across a few days in September 2023, Serpentine offers up four generous slices of hypnotic repetition and shimmering resonance, cut through with wild bursts of Bothén’s bass clarinet.
The depth and ease of the quartet’s rapport is evident from the first moments of the opening title-track. Berthling’s resonant upright bass locks into a head-nodding ostinato that makes sensitive use of a prominent end-of-phrase rest, opening spaces through which Werliin’s continually shifting statements of the pulse shine through. Having worked together in various groups for many years, Berthling and Werliin are masters at playing subtle games of difference and repetition, creating a driving rhythmic flow animated by perpetually changing details: here, you can never step in the same groove twice. Weaving through it all is Ambarchi’s now-signature Leslie-cabinet guitar tone, sounding out long chords at times strikingly close to a Hammond, while also creating intricate cross-rhythms through the play of his tremolo modulations against the bass and drums. When Bothén enters five minutes in, the growl of his bass clarinet at first works deep in the collective brew, carving off brief staccato phrases and twisting them into fragmented melodies. As he moves into the instrument’s higher registers, Bothén’s playing becomes wilder, twinning with Ambarchi’s guitar in shimmering arcs like a 21st century update of the Garbarek-Rypdal pairing immortalised on Sart.
Each of the four pieces explore different possibilities of a shared language. On ‘Antigorite’, another hypnotic bass riff emerges gradually from an atmospheric haze, eventually developing into a frenetic rhythmic workout propelled by Werliin’s cowbell. Berthling sits out for ‘Lizardite’, while Bothén moves from bass clarinet to the Donso n’goni, the sacred Wassoulou hunter’s harp he has studied for half a century; the resulting performance streamlines the approach heard on other tracks into pure modal propulsion, sparkling with harp-like arpeggios from Ambarchi’s guitar. On the closing ‘Chrysotile’, the bottom drops out, leaving a swampy, churning mass of wavering organ-like chords, roaming bass runs, and distant toms, over which Bothén floats bass clarinet figures by turns bluesy and abstract, the whole thing landing somewhere between classic ECM and the most blasted freeform moments of early Amon Düül II. Bearing a delicate calligraphic abstraction by Bothén on its cover and beautiful documentation of the recording sessions on its inner sleeve, Serpentine is a powerful reminder of the magic that can happen when inventive musicians just get together and play.
Oren Ambarchi is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental
approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it’s no longer easily identifiable as itself. Instead, it’s a laboratory for extended sonic investigation". (The Wire, UK)....more
steady grooves with the sax of josh johnson dancing all over it. and when he takes a break, jeff slides in with something interesting. anna is a rock keeping everything together. the drumming is just perfect. listening to this enhances my life... i work to this, i drive to this, and i play it in shared spaces. lee
I thought Bleed was very good, but not great. Disquiet, however, is greatness. An album of this length is risky, but it works as three disks individually, and as a three hour whole. Rapid Eye Movement and Ghost Net are equally propelling in completely different ways. Causeway is utterly beautiful from the opening notes, and sublimely shocking when the drums finally join in. Warm Running Sunlight seems to suspend time. Disquiet could be even longer if it wanted to.
This is my #5 album of 2025. rvss.eel
Úlfur invites a team of A-List producers and musicians to remix “Arborescence.” The results are moody and haunting. Bandcamp New & Notable Jul 20, 2018
Improvised, avant-garde acoustic guitar sketches from the Australian guitarist and composer, simple yet mesmerizing. Bandcamp New & Notable Jul 19, 2026
The Australian trio conduct a naturalistic free-improv exercise driven by steeled patience, unflinching trust, and unbound experimentation. Bandcamp New & Notable Jun 16, 2026
You'd think that the statement "this is the work of amazing musicians playing together" should apply to everything that I choose to listen to, but I still feel the need to emphasize it here. Four songs, 17-21 minutes each, and every moment is alive with intensity, filled with atmosphere, shrouded with energy that pulls you forward even in the most repetitive or simplistic moments. Travel is dramatic, in the calmest, coolest way, and it is very good. rvss.eel