Performed, recorded, edited & mixed by Francisco Antão

'Dogs and Moles'
Guitar, Flute: Rafael Fernandes
Drums: Raul Silva

'Mirrors of Flesh'
Vocals: Rui Pedro Almeida
Drums: Benjamin Brejon
Dub Mix: Spitbender

Recorded at ARM5A
Mastered & Cut by Frédéric Alstadt

Special Thanks to Ana Arantes, Avós, Mãe e Pai, Jorge Antão, ARM5A, 440Og, Benjamin Brejon, Dogs on Acid, Drenagem, Dust Devices, Effective Half Life, Enfermo Distro, Diogo Tudela, DJ Lynce, Elliptica, Jonathan Saldanha, Laura Reverger, Lendl Barcelos, Luís Sobreiro, Leticia Skrycky, Luisa Saraiva, Manel Neto, Motorik, Nando, Russa, Rafa e Raúl, Sensor, Tiago Carneiro, Vasco Oliveira.

Always lurking amidst the underground Porto music scene is Spitbender, the most stable moniker of the ever-morphing Francisco Antão. Spin gathers a collection of tracks that demonstrate his experimentalism & coy sonic precision. Spitbender takes cues from Jungle & Hip Hop producers to create his own unique blend of Downtempo. What becomes clear throughout the album is the attention to detail: it is infused as much by Industrial's red-line spectra as it is by the dubplate logic of the Darkside Continuum, yet it does so at its own tripped out speed. 

Spin begins with the laid-back but constantly shifting 'Global Overgroove'. Its breakbeat science moves in & out of DSP glitch-work & dub reflections. When its slinky bassline melody arrives, a certain dread sets in.

'Weyward Fold' drops into a driving, hard-edged chug, threaded with snippets of Malcolm X's disobedient pedagogy. The momentum carries into 'Headnod Doctor', where the bass distortion thickens & the cymbal circuit is overloaded, landing somewhere between Hip‑Hop grit & metal weight.

Side A ends with the downtempo roller 'Dogs and Moles (Skylurk Mix)'. The familiar break drifts into new territory, pulled along & wrapped in a slap-back echo. A quirky melody cuts through the haze, giving the track a fresh tilt. The mulch of the track forms a steady, unhurried pulse.

Spitbender's spacious atmospherics & groove-focused approach comes further into focus on 'Nothing Here But the Recordings'. Creating his own chapter in the book of Trip Hop, his minimalist touch is laid out in full.

'Force the Hand Ov Chance' pulls Boom Bap gently into dub mechanics, letting space do the heavy lifting. Its simplicity hides a deep pocket. 

Returning to broken-up distortion, 'Mirrors of Flesh (Dub Mix)' finds Spitbender using the mixer as an instrument to push & pull the heavy drums of Benjamin Brejon [of Méchanosphere] alongside the voice of Rui intoning the title phrase.

Sitting between the album's two poles, 'Out Take Dub' fuses the clipped‑obsession timbres of Spin's heavier moments with its blissed out flow. Feedback & distortion are welcomed & drawn long.

In the end, Spin hits like a fully formed statement—lean, focused, & unmistakably Spitbender. Every track pushes its own angle, but together they land with a clarity that feels earned. It's a sharp marker in his trajectory, & it leaves a charge in the air.