After years of exploring classical and popular music on the violoncello, as well as delving into contemporary composition and improvisation, Garcia presents IN / OUT, an album that pushes the boundaries of musical convention. Recorded in an underground reservoir in Geneva, this unique project transforms the site’s natural acoustics into an integral part of the compositions.Through nine meticulously crafted pieces, Garcia blends minimalist contemporary music, dark ambient, and experimental noise. By using expanded cello techniques, microtonality, and alternative tunings, she creates sonic landscapes that evoke the depth and complexity of a multi-cello ensemble. The resonance and reverberation of the cavernous space infuse the album with a haunting, immersive quality, where each sound interacts organically with its environment.Drawing inspiration from composers like La Monte Young, Eliane Radigue, Jürg Frey, and Arvo Pärt, Garcia integrates elements of sacral minimalism and acoustic experimentation into her work. The result is a project that bridges improvisation and composition, showcasing the cello’s versatility while challenging traditional notions of recording and performance.Produced in collaboration with Bongo Joe, IN / OUT stands as a testament to Garcia’s innovative vision and her ability to transform unconventional ideas into deeply evocative musical experiences. This album invites listeners to step into an auditory world where instrument, space, and artistry converge in profound harmony.

An orchestra that played for Nazis. A silence that lasted for generations. A work that lets this silence speak, sing, and scream. Motvind Records presents John Andrew Wilhite’s monumental piece, Bristol Silence, written for the Motvind Festival and premiered at Hotel Bristol in Oslo in the summer of 2023. In this work Bristol Silence, the double bassist and composer brings to light a chapter of Norwegian music history that has remained in the shadows. Wilhite writes:Having known that Nazi officers lived in and around Oslo’s Hotel Bristol during occupation of Norway, and that the house band “Bristolorkestret” later became the Norwegian Radio Orchestra– an central organ for Norway’s national musical identity still today– I was walking down Rosenkrantz’ gate and suddenly wondered if there was a connection between the two facts. There was.But the piece became something much more than a work “about” the Bristol Orchestra and the silence surrounding their past; a kind of vertigo coming over me as soon as I started to see all the negative spaces spun out around this central nerve. The silence of the complicit and the “apolitical”, the silence of the repressed and the imprisoned, the silence of the absent and the murdered, the silence of the conspirator and of resistance, of refusal.Known to Motvind Records listeners as the bassist in Andreas Røysum Ensemble and for a fine duo album with Katt Hernandez, as well as collaborations with brilliant musicians such as Derek Baron and Elliott Sharp, Wilhite is also one of the most exciting and interesting young composers in Scandinavia today. His works have been performed everywhere from big stages like The Norwegian National Opera to experimental jazz venues like Café Oto. This is Wilhite’s first album as a bandleader - and what a debut it is! Bristol Silence has already been nominated for multiple awards and we are proud to present this work of intricate layers, tightly interwoven. The music is performed with great energy and a profound sense of meaning.The piece is written for an ensemble with the same instrumentation as the original Bristol Orchestra. And it’s a brilliant ensemble. Vocalists Sofia Jernberg and Robin Steitz, regularsboth on huge opera stages and in experimental music venues, complement each other masterfully here. The horn section - Erik Kimestad Pedersen, Klaus Ellerhusen Holm, Andreas Røysum, and Torben Snekkestad - handles material that shifts between grotesque big-band swing, structure-based noise sequences, and intricate melodic lines. String players Hans P. Kjorstad, Ferdinand Bergstrøm, and composer (and director!) John Andrew Wilhite pluck, bow, and carve. The stellar pianist Ayumi Tanaka, as always, dazzles with an exquisitely subtle touch— and at one point opens up the abyss with one of the wildest solos we’ve ever heard. And the multifaceted nature of this record calls for two very different drummers: Andreas Winther on drum kit, time-keeping, and texture, and Ane Marthe Sørlien Holen on grand percussive gestures and sophisticated colorations.The album opens with the music of the Bristol Orchestra itself, but it is “the silence behind the music” that remains the focus. Derek Baron articulates this well in his accompanying essay, where the nuance of the work’s meaning comes through: The question is not only “why has no one spoken about the fact that the first conductor of the Norwegian Radio Orchestra toured with German ensembles for German soldiers?” but also about all that cannot be said or shown. Was there not also a resistance fighter within the ensemble? In this first movement, the music from the old Bristol records is gradually stripped away until only the surface noise remains. Finally, the ensemble plays this silence, harmonizing and amplifying it.The second track, Vår kveld, is inspired by the poem Vårkveld (Spring Evening) by Gunvor Hofmo A depiction of deep sorrow, Hofmo wrote it in the spring of 1943, only months after her closest friend and lover, the Austrian-Jewish writer and refugee Ruth Maier, was arrested by Norwegian police and deported to Auschwitz. This movement conveys not only the silence surrounding Norwegian collaboration with the occupying forces but also the terrible loneliness of losing the one you love. The duet between the vocalists underscores this pain, ending with a voice crying out - without receiving an answer.Stumpiano is inspired by the story of the “stumpiano” —a piano without strings, only the hammer mechanism— given to the renowned pianist Robert Riefling while he was imprisoned for helping Jews escape to Sweden. This represents another kind of silence: strike, refusal, secret resistance. Riefling’s quiet defiance beyond the concert stage makes the irony of the stumpiano even sharper. Here, it becomes a symbol of resistance through mute action.The movement As Many Sighs focuses on the performer. The text comes from Tosca, staged by the Deutsches Theater in Oslo in October 1942, just a month before Ruth Maier was deported. An entertaining song here suddenly opens up to a horrific realization: “These golden lamps are killing me!” Standing on stage, staring straight into the spotlights, the performers question if they are entertainers or prisoners. How fine could that line really be?In Every Morning, Brecht’s ironic poem from Hollywood Elegies is set in tribute to Henry Gleditsch, the theater director at Trøndelag Teater, where Bristol Silence was also performed. Gleditsch wrote a play satirizing Norwegian businessmen who grew rich by collaborating with the Nazis. He was executed in the forest outside Trondheim - also in October 1942.But Your Eyes Said is inspired by “Your mouth says no no (but your eyes say yes)” by Joseph Santly, sung during the war by Arne Sveen – the Bristol Orchestra’s vocalist– who was also a member of the Norwegian resistance. The song Sveen sang might, in another context, have sounded like a lewd, even creepy, Tin Pan Alley cliché, but here it is turned on its head: while he sang for the dinner guests, he was memorizing plans to sabotage the railway. In this movement, the phrase “Your mouth said… But your eyes said… But your hands said…” repeats, but the answers never come. The voice rises by a half step, only to be interrupted by the ensemble’s vague, toneless noise. Sometimes, what is left unsaid means the most.The final movement, Every Last Breath, is built around a poem by Fred Moten: Every last breath / We want to breathe somebody / So beautiful in refusing. Here, at last, a kind of statement emerges from the silence - an agitation, a disturbance. It is not an answer, far less an absolution, but a wounded attempt at articulated intent. This is the power of art - it does not simplify but allows great questions to remain in all their complexity. Yet it demands that we act and take responsibility.Bristol Silence, the concert work, is now released as an album, with music accompanied by an essay by Derek Baron and visual material by Gregory Blake, who has reworked historical images of Hotel Bristol to remove all human figures - an echo of the musical concept. The album also includes the libretto, delving into the layers of meaning and reference within the work.It is a great pleasure to present a work that speaks to what a society is. This is not a piece about the past - but about the silent lines that stretch from it, all the way into our own time.   Ensemble:Sofia Jernberg, sopranoRobin Steitz, sopranoErik Kimestad Pedersen, trumpetKlaus Ellerhusen Holm, alto saxophone & clarinetAndreas Røysum, clarinet & fluteTorben Snekkestad, tenor saxophoneHans P. Kjorstad, violinFerdinand Bergstrøm, guitarAyumi Tanaka, pianoAndreas Skår Winther, drumsAne Marthe Sørlien Holen, percussionJohn Andrew Wilhite, conducting & double bassTexts assembled by John Andrew Wilhite with Finn Iunker, with a contribution from Fred Moten

Cop Tears recorded selections from Theodor Adorno's piano works in Derek's apartment in New York during the winter of 2018. Cop Tears is John Andrew Wilhite-Hannisdal (double bass), Derek Baron (flute), Cameron Kapoor (guitar), and John Welsh (guitar). --- Side ADrei Klavierstücke (1927, 1945), 3. ValsetteKlavierstück (1921)Drei Klavierstücke (1927, 1945), 3. ValsetteP.K.B. Eine kleine Kindersuite (1933) 3. Beiß dem Ted sein Öhrchen ab (Basso ostinato)Drei kurze Klavierstücke (1934, 1945), 1Drei Klavierstücke (1927, 1945), 2. Die böhmischen TerzenDrei Klavierstücke (1927, 1945), 1. Adagietto. Hommage à BizetSide BP.K.B. Eine kleine Kindersuite (1933):1. Klein-Gavlin kann nur “Ich auch” sagen2. Ich bin das hüpfende Kleinpferd, ich bin das Hottepferd mit Knopf im Ohr4. Klein-Gitty und Klein-Gavlin (Variationen aus ihrem Leben),var. 1 (…und auf dem Bauch)var. 2 (Ländler)var. 3 (Gitty und Gavlin als Tristan und Isolde)var. 4 (Auch Brahms besucht das P.K.B.)var. 5 Molto vivace e capricioso (quasi Presto) (Bewegte Gruppenszene)3. Beiß dem Ted sein Öhrchen ab (Basso ostinato)var. 6 Kleines Feuerwerk zu Ehren Debussysvar. 7 Herztönevar. 8 Etwas feuerlich (Kanon des Friedens im P.K.B.)  --- Mastered by Matt Bachmann.Liner notes on the vinyl LP by Kylie and Coop.Published by Reading Group in 2020. RG18.

Al Karpenter expands on their Post-Genre Punk approach reaching a new level of maturity. In fact, we can say that “Greatest Heads” is Al Karpenter’s “Remain in Light” from Talking Heads in the sense that it is also their fourth record, heavily based on production and is influenced by Afrobeat in distorted ways. This record contains elaborated liner notes by Eoin Anderson and features very special guests: “ “ [sic] Goldie, Lisa Rosendahl, and Mikel Xedh — a deeply important musician from the Basque Country who collaborated with Al for over a decade and who recently passed away. This record is dedicated to him.If Adorno wrote “To Write Poetry after Auschwitz is Barbaric” in 1949, Al attempts to answer the difficult question today; what kind of music can be done in the face of a genocide? Al Karpenter invites Brigitte Fontaine, Brecht & Artaud to improvise a protest song in a dark cellar in Berlin shouting against the current silencing in Germany of people who are pro-Palestine The audience gets sucked by the layers of histories while hearing ethereal ethnic sounds, music from Saturn, beat poetry, spectralism, tones reminiscent of Robert Ashley, infinite melancholy and lamentations with echoes of 70s free jazz re-imagined as revolutionary potentials for a future to come. Álvaro Matilla, Marta Sainz, Enrique Zaccagnini & Mattin play with restrained intensity mixing electronics, noise, abstract beats and garage rock with a conceptual approach and desperate anger; African Head Charge meets Akauzazte. A deeply emotional conglomerate of a thousandmusics, claiming a profound truth; we are all karpenters of life. Or as Jérôme Noetinger said after seeing the band live at the Ears We Are Festival in Biel/Bienne this year: “All Karpenters = all Joseph = all father of God = all God = no more God then. Freedom in the expression of one chord.”A giant leap.“There's a dub housing / new picnic time era Pere Ubu vibe (gone wrong) all over that I absolutely adore.” Hicham Chadly from Nashazphone Records

Lovely new one from the always amazing Hegoa: For fans of: John Tchicai (with strings), Steve Reich, Arv & Miljö (Discreet) Hekura are a Barcelona-based duo that create expansive soundscapes anchored in ritual minimalism. With influences ranging from the ethereal mysticism of Alice Coltrane to the hypnotic pulse of Steve Reich, their music explores the boundary between introspection and bold sonic exploration.Inspired by ethnographic traditions and the raw energy of Julius Eastman, their compositions fuse scattered percussion, shimmering textures, and hypnotic saxophone rhythms for moments of solitude and profound reflection. Hekura's work invites listeners to immerse themselves into a spectral world where tradition meets the avant-garde, offering a uniqueand evocative listening experience.Ernest and Edu met during their jazz studies at Taller de Musics in Barcelona. Their first conversation was about Charlie Haden Liberation Orchestra's "free jazz" version of the South African anthem, NkosiSikelele. That bond quickly translated into a shared world of listening, respect, experimentation, and sound that crystallized in Hekura.Edu Pons is a saxophonist and a music teacher at Taller de Mùsics in Barcelona. His music ranges from jazz to folk or from classical to free improvisation yet with his own distinctive voice.Ernest Pipó is a guitarist and composer from a small town in La Garrotxa.Currently based in Barcelona, he primarily focuses on music production and soundtrack composition. His influences range from jazz, electronica, noise, pop, and, although he dares to admit it, also ambient.

Rüstəm Quliyev was born in 1969 in the village of Kosalar, Nagorno Karabakh. At the age of seven he had already mastered the tar before moving on to play the saz. He first encountered guitar during his military service for the USSR in Russia and quickly made a name for himself as a guitarist after returning to Azerbaijan. During the early 1990s, after years of intense fighting, he had to flee his home due to the conflict in Karabakh and settled in the capital city Baku. There his guitar playing took on a new character. He played at weddings, made TV appearances, and recorded numerous cassettes with small local labels. Rüstəm’s guitar playing not only drew on the rich traditional music of Azerbaijan but his thirst and passion for music also meant that he incorporated styles from across the globe into his repertoire: from Bollywood disco tunes and Afghan pop songs to Iranian street melodies and Spanish flamenco. He crafted a unique sound within an already idiosyncratic subculture of Azerbaijani electric guitar music. Sadly, his career was brought to a sudden end in 2005 after a short battle with lung cancer. His music, however, lives on remaining popular throughout the country. This release of archival recordings, produced in collaboration with Rüstəm Quliyev’s family and Moutains of Tongues, marks the first international release of this guitar legend's music.

MAGHREB K7 CLUB – Synth Raï, Chaoui & Staifi 1985-1997 (ENG)Most of Lyon’s musical scene is composed of men originating from eastern Algeria, but since the 1950s, the Croix-Rousse and Guillotière cafés have counted musicians from all over Maghreb. These cafés were social hubs, where these individuals met up weekly, playing together and sharing their everyday life experience —but they also had a major role in the development of popular music of French-based North Africans. In Lyon, Le But Café in the 3rd arrondissement or the bars on Sébastien Gryphe Street in the 7th arrondissement were among these: one could conduct business there, getting booked for a wedding, a baptism, a gala, or a studio session... all took place there. Playing together in Lyon. The practice of music was cross-regional with different North African influences, but also with local traditions. These versatile musicians also absorbed new local influences: music within the context of immigra- tion was a perfect school for musical cosmopolitanism. Chachacha or tango versions of some Cheikh El Hasnaoui tracks come to mind, or Mohamed Mazouni’s jerks and twists. Like their predecessors, the musicians in this compilation brilliantly integrate raï or staïfi tunes with disco aesthetics or funk guitar riffs as Nordine Staifi did. You could also think of Salah El Annabi who used the “ Oxygene ” theme (1976) by Jean-Michel Jarre, the Lyon-based composer and electronic music pioneer. “As we say around here, mixed weddings make good-looking lads!” said Abbès Hamou, a musician from Place du Pont. Following on from their musical traditions and unrestrained inventiveness, the musicians’ repertoire naturally assimilated their era’s aesthetics and technologies.

Extended guitar hero Oren Ambarchi returns with Shebang, the latest in the series of intricately detailed long-form rhythmic workouts that includes Quixotism (2014) and Hubris (2016). Like those records, Shebang features an international all-star cast of musical luminaries, their contributions recorded individually in locations from Sweden to Japan yet threaded together so convincingly (by Ambarchi in collaboration with Konrad Sprenger) that it’s hard to believe they weren’t breathing the same studio air. Expanding on the techniques used on Simian Angel (2019), we can never be entirely sure who is responsible for what we hear, as Ambarchi’s guitar is used to trigger everything from bass lines to driving piano riffs. Picking up from the staccato guitar patterns that ran through Hubris, Shebang’s single 35-minute track begins with a precisely interwoven lattice of chiming guitar figures, expanding Hubris’ monolithic pulse into a joyous, hyper-rhythmic melodicism that calls up points of reference as disparate as Albert Marcoeur, early Pat Metheny Group, and Henry Kaiser’s It’s A Wonderful Life. Building from isolated single notes into densely layered polyrhythms, the muted guitar tones are joined by subtle touches of shimmering Leslie cabinet tones and guitar synth. Simmering down and funnelling into a single note, the guitar stew is soon thickened by Joe Talia’s propulsive ride cymbal, which blossoms into a beautifully flowing yet rigorously snapped-to fusion funk, whose ever-shifting details skitter across the kit – think 70s heavyweights like Jack DeJohnette or Jon Christensen. An unexpected entry of guttural bass clarinet licks from Sam Dunscombe begins the series of instrumental features that pepper the remainder of the piece. Soon we hear from the legendary British pedal steel player B.J. Cole (hopefully known to some listeners from his outer-limits singer-songwriter masterpiece The New Hovering Dog or, failing that, ‘Tiny Dancer’), whose languorous yet uneasy lines float in and out of a shifting rhythmic foundation supported by a single note bass groove, cut through with aleatoric synth articulations Though single-mindedly occupying its rhythmic space throughout, Shebang’s dense ensemble sound is carefully composed while drawing on the free flow of improvisation, with individual voices momentarily coming to the fore and subtle changes in harmony and texture. Perhaps the most surprising of these shifts occurs around half-way through when the smoke of a buzzing synth crescendo from Jim O'Rourke clears to reveal something like a piano trio, with Ambarchi’s guitar-triggered piano patterns providing restless accompaniment to flowing melodic lines from Chris Abrahams of The Necks, while Johan Berthling’s double bass and Talia’s drums fill out the bottom end. Before long, things take another left turn as Julia Reidy’s rapidly picked 12-string guitar lines take centre stage, with O’Rourke’s monumental synth clouds hovering in the distance. The ensemble surges through a slow series of harmonic changes before the whole shebang dissolves into a delirious synthetic mirage. Bridging minimalism, contemporary electronics, and classic ECM stylings, and bringing together a cast of preternaturally talented contributors, Shebang is unmistakably the work of Oren Ambarchi: obsessively detailed, relentlessly rhythmic, unabashedly celebratory.

Resolve acts in dialogue with the minimalist inspirations of the first Arnold Dreyblatt & The Orchestra of Excited Strings release, 1982’s Nodal Excitation – in effect, looking beneath the hood of several decades of progression to review and renew the revolutionary intent of their microntonal foundation credo. This new Orchestra – Oren Ambarchi, Konrad Sprenger and Joachim Schütz – combine effortlessly to explore new scalar dimensions. PLAY LOUD.

“It’s is an extraordinary noise, an acidic tone dialled up in all directions, not just distortion but an intense vibration with huge amounts of treble to emit a stinging sound that could loosen your dentistry.” MOJO ★★★★ “There is a lot of colour crammed into this compilation…an escalating dense cascade, a display of virtuosity” The Quietus (Compilation of the Week)  "Azerbaijan’s Rəhman Məmmədli dazzles, deserving of recognition for his imaginative reconfigurations of longstanding forms and palpably impassioned playing"  Pop Matters In the heartlands of Azerbaijan, where the melodies of the Caspian Sea meet the rhythms of the Caucasus Mountains, the electric guitar has become more than an instrument—it's a symbol of cultural fusion and artistic expression. Building upon the success of their first compilation, "Azerbaijani Gitara," which showcased the pioneering work of Rustem Quliyev, Bongo Joe Records are thrilled to present the highly anticipated second volume, featuring the legendary guitarist Rəhman Məmmədli. The roots of Azerbaijani gitara culture run deep, stemming from a rich tradition of musical experimentation and innovation. From the early 20th Century oil boom to the socialist era of Soviet rule, Azerbaijani musicians and composers embraced the electric guitar as a vehicle for blending indigenous traditions with global influences. The introduction of electric guitars from the Czechoslavakian factory 'Jolana' sparked a musical revolution in the Caucasus, with young musicians like Rəmiş leading the charge. Drawing inspiration from traditional mugham music, Rəmiş pioneered a unique playing style that captivated audiences and inspired a new generation of guitarists. In the decades that followed, Azerbaijani guitarists continued to push boundaries, incorporating regional styles and techniques into their playing. Rəhman Məmmədli, a legend in his own right, revolutionized the sound of Azerbaijani gitara by introducing distortion and experimenting with new playing techniques. He’s still using this unique style today playing and touring in Europe and around the world. With "Azerbaijani Gitara vol. 2," we pay homage to the pioneers of Azerbaijani gitara culture, while celebrating the continued evolution of this unique musical tradition. Each track on this compilation is a testament to the enduring legacy of Azerbaijani guitar music. Join us on a musical journey through the vibrant streets of Baku and beyond as we explore the rich tapestry of Azerbaijani gitara culture. From soul-stirring ballads to electrifying solos, "Azerbaijani Gitara vol. 2" promises to captivate listeners with its depth, diversity, and unbridled passion.

Among the Haitian bands that manage to travel abroad, Chouk Bwa Libète is probably the most closely linked to the roots of vodou inherited from ancestors torn from African lands by the tragedy of the slave trade. The Ångströmers are two representatives of Brussels' most radical and uncompromising electronic scene. The two entities have been active together since 2016. They have tirelessly sought a form of symbiosis between their respective vocabularies, so that the electronic part never gets in the way of the freedom of the rhythmic flow. That's why they've never used drum machines or any other process that would padlock the drumming. The Ångströmers used dub principles to give the Haitian trance a new width in the sound spectrum. Dusted Magazine described their debut album Vodou Ale, which also marked the start of the collaboration with Bongo Joe in 2020, as: “(...) an astonishingly power sound that reaches right into the gut, but also lifts free of physical boundaries.(...)”. “Live At Cafe Oto” arrives as a sort of culmination of the long joint research. In 2022 and 2023, Chouk Bwa & The Ångströmers performed over sixty concerts in Europe. One of those was recorded on 16th October 2023 at Cafe Oto, London. It is undoubtedly a significant example of what the collaboration is able to deliver in concert. The raw percussive trance music with electronic radiations brings a complex, powerful and spiritual experience to audiences. “Live At Cafe Oto” outlines the repertoire previously recorded on Somanti, and released by Bongo Joe in October 2023. In the live setting, it takes on yet another dimension of freedom and wildness. This is by no means entertainment, but on the contrary a plunge into the reality of a living culture, carried in their souls by the members of Chouk Bwa Libète, with the added desire to inscribe it in the present time, through the action of the Ångströmers.

“Putting an overdue spotlight on the genre’s trailblazing icons and essential releases from the 1960s and ’70s” Bandcamp Album of the Day “These songs are marvels of accelerated interlocking, creating a party sound of unnerving complexity” Songlines (UK) “A rousing compilation of exuberant accordion-rich merengue” Sounds & Colours (UK) Merengue Típico: Nueva Generación! delves into the heart of Dominican merengue, a genre whose significance often eludes the spotlight. Bongo Joe's venture into unexplored terrain takes us to the Caribbean, specifically the Dominican Republic, shedding light on its musical tapestry. Curated by Xavier Daive, aka Funky Bompa, the compilation unveils rare '60s and '70s gems, providing a glimpse into a transformative period following the fall of the Trujillo regime. With over 20 years in the Dominican Republic, Xavier Daive meticulously sources original 45s, offering a snapshot of merengue's evolution during a creatively charged era post-Trujillo. The genre's roots, dating back to the 19th-century Dominican Republic, predate salsa, establishing its unique identity with the introduction of accordions via German trade ships. The genre's classic típico configuration emerged in the mid-'60s, leaving a lasting impact on its evolution. Focused on the explosive '60s and '70s merengue típico scene, influenced by genre pioneers like “Tatico” Henríquez and Trio Reynoso, the compilation showcases technical finesse and high-speed rhythms. Tracks like Rafaelito Román’s "Que Mala Suerte" embody the genre's infectious energy. Aristides Ramírez’s "Los Lanbones" adds a touch of humor, cautioning against pub freeloaders. Merengue Típico: Nueva Generación transcends the realms of a typical reissue; it's an immersive journey into the roots of Dominican merengue, expanding its narrative beyond borders to enrich the global musical landscape. This compilation goes beyond individual tracks, providing a historical and cultural context, enriching our understanding of the genre's evolution in the Dominican Republic during a crucial period. Designed for both connoisseurs and wild dancefloors, this compilation is not only a historical and cultural exploration but also a treasure trove for DJs seeking to infuse their sets with the vibrant rhythms of merengue típico.

Coco María and Bongo Joe reunite for the second edition of Club Coco, featuring a sackful of Latin inspired tracks from international bands and producers. All the songs were selected by Coco María, who in recent years has gone from a promising up-and-comer to an ever-present and influential figure in the music industry, widely known for her tireless work shining a light on contemporary, pan-Latin roots music around the world, through both her live DJs sets and eclectic radio sessions. This compilation brings together several of the most respected and innovative artists on the frontiers of tropical music today. Those who take the energy, melodies and textures of classic Latin music and turn those gems into songs tailor-made for a new generation of music lovers. Simply put, it's a record for those diggers who jump with excitement when they find a vinyl reissue of some Latin star of the past, be it Joe Arroyo, Los Mirlos or Aniceto Molina and then wonder, "This classic music sounds amazing, but where are the bands that are taking these sounds to new places?”. Whilst the first volume of Club Coco was loaded with groove, cumbia and a proper party-starter feel, this new edition explores the sounds of the pan-Latin post-digital music community in a broader and more eclectic sense (but without straying too far from the dance floor). Featuring emotive cuts, such as the track by Las Mijas, Coco María opens the audience's ears to new twists and innovations in the Latin American song tradition. By including Ronald Snijders' eighties funky eerie hit, Coco also gives us a taste of the wide range of influences that inspire this community of artists and music lovers, which go far beyond the more expected tropical styles. All of this is tied together through tracks and interludes from Los Pirañas, Juan Hundred, Candeleros, Acid Coco, Dip In The Dub, Iko Chérie, Lola's Dice, Guess What and Raz Olsher, which feel as if those Latin music idols of the late seventies have been reborn and are on a mission to conquer the dancefloors. Once you pick up this album, you will realize that what you have in your hands is much more than a tracklist of incredible songs. It’s actually a cultural representation and treasure from a community of artists, DJ's and music lovers who use music to express the pride they have for their Latin and Afro heritage. It’s a soundtrack for a music community who travel back and forth between Europe and Latin America, looking for songs that explore new frontiers of tropical music, without losing sight of their roots.

Our favorite six-string shaman is waving that axe around again! Sir Richard Bishop wrenches forth fresh damnable truth and beauty from a musical kamikaze run through histories both known and unknown. Turning a gimlet eye to the American Primitive guitar style, Sir Rick applies his own bloodthirsty interpretive methods on a self-described “excursion into the dark woods,” to locate – and play along with – the Primitive’s moonshine-fed inner savage.

Vinyl LP +7" This austere song-cycle is a collection of tunes addressing youth, sexuality and human morays in an utterly unique fashion. Barely released in its day (1970), Corky's remains one of the pinnacles of excellence in the career of Mayo and his Red Krayola. ==== "I first heard the sudden unbelievable wave-rolling sound of this strange, acoustic, old time cartoon band singin 'I'm a student of human nature' in '94 in good ol' Memphis, TN. Played to me by a giant man with an exploding pillow of blond curls wearing overalls. Wot the fuck was this? I was 22 and getting a fast-paced indie rock education after dropping out of college mid-semester a few months earlier. Was I wasting my parents money when I called from the Blues City Cafe and told them I had moved across the country? Ah, yes it's true, I surely was. But here on the turntable was a suitable replacement for the out-of-state tuition throw to the breeze - a corduroy-professorial-erotic-swinger vibe pouring off a re-issued LP!? Who is this massively turned on man singing about Shakespeare? The picture of the man on the back said it all. I could not have imagined this existed at all. But wot does it sound like? To me, his record has sonic values of the 60's but sounds distinctively weirder than anything I've heard from that decade. And wot an incredible bit of luck there, on the decade's cusp." - Mike Donovan

Marja Ahti's absolutely astounding new full-lenght from the Stockholm based fönstre imprint.  Marja Ahti is a Swedish artist living in Turku, Finland. She works with found sounds, objects and electronics, creating auditory assemblages that reveal a profound sensitivity to sound’s tactile potential. This new record sees her palette expand to include more recognisable acoustic instrumentation, albeit working in collaboration with musicians who are already reconfiguring how those instruments can sound. Touch This Fragrant Surface of Earth has its roots in a tape piece presented at Lampo in Chicago. Ahti then started working with Isak Hedtjärn (clarinet), Ryan Packard (percussion) and My Hellgren (cello) at the electronic music studios (EMS) in Stockholm. Incorporating recordings from those sessions, Ahti presented a new iteration of the work at the Seventh Edition Festival for Other Music in February 2024 with the trio performing live on stage whilst Ahti helmed the mixing desk, spatialising a specially made tape part through the INA GRM’s Acousmonium speaker orchestra. The piece has since gone through several further iterations before arriving at the version we have here on the LPs B-Side where immense bass pressure and high frequency tones buffer restless amplified breath and scrape that folds over itself with extraordinary dynamics and subterranean activity before giving way to gorgeous resonant forms and passages of ritual purpose and sheer, unmistakeable beauty. The A-Side is Touch This Fragrant Surface of Earth’s gentle double. Still Life with Poppies, Mirror and Two Clouds offers a companion reconfiguration of Ahti’s resynthesised percussion sustain and the same recordings of Hedtjärn and Hellgren from EMS, but here they’re nestled in a sonic landscape of calm and restraint that gives them a wholly other character. Ahti also draws on older recordings she’d made of Sholto Dobie’s diy pipe organs and uses these to create repeating patterns and flourishes of sliding pitches that emerge unexpected out of cycling passages of Ahti’s clear struck metal, destabilising electronic interventions and minimal piano figures. Marja Ahti: 

“I’ve been fascinated with the kind of elemental quality the sounds I'm using have such as airy sounds or earthy, wooden sounds. These qualities can also be found in wind instruments and percussion and the musicians I worked with on Touch This Fragrant Surface of Earth are really good at enhancing these qualities in their playing. I wanted to have this connection between found sounds, field recordings, or pre-recorded sounds, objects, and material, and see where these sounds might meet each other, and hopefully blend is a natural way without a divide between instrumental music, or acoustic music, or electronic music. But also, when you bring in people they come with their personalities and their ideas which is also energizing and brings surprising things into the collaboration that I couldn't come up with myself. I was really interested in making this a proper collaboration and not just coming up with the piece and giving it to them. We had the sessions at EMS where we could share ideas and Isak, Ryan and My could bring in their own ideas. Making recordings there gave me time to process these ideas and to also approach them in the same way that I would work with any other sound.”  Marja Ahti: electronics, field recordings, idiophones, amplified objects, piano, bass harmonica Isak Hedtjärn: clarinets My Hellgren: cello Ryan Packard: percussion

For this collaborative release, Eiko & Jim edited and remixed material captured at shows they played during a lovely two week tour through France, Switzerland, Italy and Ireland in April 2023. Pareidolia shapes an ideal collage from the best resonances and relationships from those nights. A dynamic medley of color and shape to pulse through earbuds, speaker cones and the air around you, appealing to your suggestibility, wherever you find it.

First ever vinyl pressing of Gastr del Sol's amazing debut!  . Although simple systems are easier to relate to each other, complex systems also have relationships, albeit on a deeper level. Finely articulated things don't have to be unique.