Поиск:on the water

Krystof is the nom de plume of Polish-born composer, producer and DJ Krzysztof Skonieczny. After a decade in London, Krystof relocated to the remote, serrated landscape of La Palma, in Spain's Canary Islands. There he came into possession of a piece of land scattered with natural caves - one of which became his home and recording studio.

It was here that Krystof wrote his debut album, Diario di Vacanza. This record is a paean to the fertile terrain of La Palma, replete with its tangled networks of hiking paths, minas galerias (water tunnels), black sand beaches and banana groves.

Recordings of these spaces, melded with modular synthesis and electronic composition, form the basis for Krystof's work. These are soundscapes that hum with volcanic activity, bubble, burst and chatter - cooling to reveal locations, impressions, and fragments of a shared lived experience on the island.

Nach dem überwältigenden Erfolg seiner globalen Smash-Single "Ordinary", die auf Platz 1 der Global Charts landete, Platz 3 der Deutschen Single Charts erreichte und bislang über 650 Millionen Streams generierte, ist Alex Warren bereit, die Musikwelt erneut im Sturm zu erobern: Für den 18.07.24 kündigt er nun sein mit Spannung erwartetes Debütalbum "You'll Be Alright, Kid" an!
Neben den Titeln des ersten Album Parts, wie z.B. die Standout Tracks "Carry You Home" und "Before You Leave Me", enthält das neue Werk die Erfolgssingle "Ordinary" sowie seine neueste Single "Bloodline" mit Jelly Roll - und natürlich viele weitere brandneue Songs!

Enjoy The Ride Records and Enjoy The Toons Records in partnership with WaterTower Music proudly present |The Day the Earth Blew Up: A Looney Tunes Movie (Original Motion Picture Soundtrack) by Emmy-nominated composer Joshua Moshier (Baskets, The Shrink Next Door). Pressed on limited edition colored vinyl, this pressing is limited to 1,000 copies.

That’s not all folks! From Ketchup Entertainment, Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning “Looney Tunes Cartoons” comes The Day the Earth Blew Up: Looney Tunes Movie, a brand-new buddy comedy starring one of the greatest comedic duos in history - Porky Pig and Daffy Duck! This richly crafted, hand-drawn 2D animated adventure marks the first fully animated feature-length film in Looney Tunes history, told on a scope and scale that’s truly out of this world.

Porky Pig and Daffy Duck venture to the big screen as unlikely heroes and Earth’s only hope when their antics at the local bubble gum factory uncover a secret alien mind control plot. Faced with cosmic odds, the two are determined to save their town (and the world!)... that is if they don’t drive each other totally looney in the process. Featuring the voices of acclaimed actors Eric Bauza, Candi Milo, Peter MacNicol, Wayne Knight, and Laraine Newman with the laugh-out-loud gags, vibrant visuals, and beloved characters that make the Looney Tunes so timeless and iconic. The Day the Earth Blew Up: A Looney Tunes Movie arrives in theaters on March 14, 2025.

Emotional Rescue completes the series of non-defined reissues where the label licenses an all-time favourite, remasters and then reappraised with new interpretations by contemporary producers for today’s collectors.

After the series started back in 2019 with Hawkwind’s sprawling psychedelic electronics, featuring deep drone mixes by the esteemed digger Cherrystones (ERC074), the bouncing cosmic-Balearics of Thomas Leer with wonderful reworkings by friend and producer Bullion (ERC075) and then the post punk dubs of The Embrace and Timothy J Faiplay’s brooding italo-dub excursions (ERC076), there was always one artist and producer left out. Finally, then the percussive excursion of the early 80s band The Impossible Dreamers and their cult B side jam, Spin, coming with 9 minutes percussion-dub extravaganza of an extended reversion, plus a dub heavy reprise, by label go-to Dan Tyler (Idjut Boys /Noid), under his NAD moniker.

Started by a group of friends while at Exeter University that centered around Caroline Radcliffe, James Hood, Justin Adams and Nick Waterhouse, their debut 12” record is one of just three on the 100 Things To Do label. The other two releases have already been covered with the Hamburger All Stars ‘Swinging London’ 12” (ERC114) of 2022.

Recorded before the move to West London, ‘Life On Earth’ was a raw post punk vocal pop cut, with influences of dub, funk, hip-hop and African music shining through, there were in their own words, “young music fans starting out, with no agenda”.

However, it was on the B side that things got interesting. Enamored by the growing trend of extended 12” singles, they decided, with the A side wrapped up, to have some studio experimentation by recording a drumming jam, with all the members playing percussion, followed by some overdubbing. Memories are hazy, but at the time the band was an 8-piece, so the results a chaotic explosion, capturing the essence of that time. Featuring Nick and James on 4 hand piano, plus Caroline on Oboe, with some additional hollering and wooping vocals, Spin was a 5-minute burst of energy.

In effect, self-released in 1982, the band didn’t expect much to come of it, but the 12” acted as a calling card leading them to London and later signing for RCA. At the same time, Spin was being discovered in the early eighties alternative club world. On a trip to New York, the track was heard being played Downtown, and on enquiring it was discovered the DJ was playing a 7” that was never an official release but cut in the US solely for the club DJs there.

Its resonance extended further, to Italy and the Cosmic club of the resident, an ever-searching Danielle Baldelli, before being picked up a few years later by a young Andrew Weatherall during his pursuit of an alternative “Balearic” beat during the late eighties Summers of Love and has even recently received the Joe Clausell edit treatment back again in NYC.

For the remake to fit the label series, it was only right to ask label friend Dan Tyler to do what he does so well, putting the original through his array of dub machines and pedals, extending and cutting with aplomb to create an incendiary ‘Reversion’ that will send dancefloors literally in a spin. Teasing the percussion incandescent, looping and teasing, the piano held back before finally releasing in a haze of dub effects.

This is followed by the ‘Riddim Reprise’. Working with London based drummer Matt Bruce (Claptrap), this is the perfect DJ tool, taking the original idea of the band, to just jam see what happens, twisting it full of space echo and reverb, to offer a perfect 12” Extended Mix.

*People Like Us, the project of artist Vicki Bennet returns to Discrepant with a special vinyl release of "COPIA". This album marks the first new musical material since "The Mirror" in 2018, delving into the profound realms of existential collage and sampling, celebrating these forms as expressions of timeless connectivity.
* The title "COPIA," meaning 'abundance' and 'copy,' reflects the essence of collage and sampling - art created not in isolation, but as a connective thread through time and space, linking ideas across generations in a seamless tapestry.
* By reconfiguring preexisting sounds and images, Bennet highlights the non-dual nature of creation — where distinctions between past, present, and future possibilities blur, revealing a shared foundation beneath. The album marks a return to not just solo works but collaborations with notable artists.
* Drawing from the new People Like Us live AV performance, "The Library of Babel," sampling and edited sound collage, electronic music, combined with Ergo Phizmiz's lyrics and melodies, "COPIA" weaves and recombines a timeless blend of diverse elements that transcends traditional musical boundaries. This creative process unfolded through the exchange of multitracks across both water and ether. Collaborating with the voices, instruments and editing timelines of Matmos, Hearty White, Gwilly Edmondez, Lotte Bowater, Buttress O’Kneel, Douglas Benford, Irene Moon, Jon Leidecker, and Matt Warwick, the work evolved exquisite corpse-style.

“Bennett has proven herself an alchemist of popular music, able to push her source material into fresh and engaging places. Where some artists hack existing instruments and technologies to create their new sounds, Bennet has circuit-bent the songs themselves.” - Spenser Tomson, The Wire Magazine

Fronted by brothers Peter O'Doherty and Reg Mombassa , Dog Trumpet have been playing, writing and recording their music since the early 90s. Reg and Pete were founding members of iconic Australian band Mental As Anything, who hit the charts around the world with “Live It Up”. The band made a mark with their left field mix of music, art, video and humour and leading eventually to ARIA awards and induction into the Hall of Fame in 2009.

Dog Trumpet’s new album Live Forever is the result of 2 years in the studio.

For this, their ninth album , the song writing brothers Peter and Reg have brought Peter’s multi instrumentalist son Declan in on drums, production and mixing duties, enhancing and expanding their sonic palette.

At times psychedelic and ethereal, the album weaves together Dog Trumpet’s signature acoustic and electric guitar and bass driven sound with melodic drums, synthesisers, mandolin, saxophone and added backing vocals by their touring bass player Bernie Hayes.

For her second full-length as Plume Girl, Sowmya Somanath crafts a space where boundaries of language, feeling, and sound start to dissolve. ‘Unnameable Glory’ ruminates on the limits of expression, and the luminous freedom that emerges when we let go of the need to name. Elaborating on the exploratory songs of her debut, Plume Girl continues to bring together Hindustani classical improvisation, ambient soundscapes, and experimental pop.

Somanath’s voice—from gentle murmur to radiant call—guides the listener through dreamlike arrangements: sunrise guitar arpeggios, humming choirs, heartbeat kickdrums, and synths tremble. Elsewhere field sounds and old family recordings are collaged, a woman’s giggle transposed into a piano melody, a sloshing body of water mirrored by synth bleeps. Plume Girl conjures moments of revelation, drawing from the natural beauty and intuition, that unnameable glory.

Is there a divinity or a wholeness that exists beyond language, belief, or tradition? Unnameable Glory both celebrates and gently challenges the notion: Can we honour the creative richness of culture while also seeing through the divisions it creates? Can we meet the world—and each other—without assumption, without fear, with eyes made new? In these songs, the sacred is found not in grand gestures, but in the anonymous freedom of simply being: the iridescence of oil and water on a street, the smile of a stranger, the hush that settles by a creek.

At the heart of the album is a sense of curiosity and surrender—a willingness to listen without judgment, to let the moment be unnameable, to allow wonder to arise and dissolve. And yet, as Somanath notes, there’s an impulse to capture that’s tough to ignore; a need to replicate and remember. Unnameable Glory dwells in this tension: between holding and letting go, between the urge to define and the beauty of what cannot be contained. There is a quiet, revolutionary joy in simply living and sensing together. Music becomes a meeting place for the whole, the holy, and the unnamable.

The debut album from Addy Weitzman, ‘Light Months Will Fly Over Us’ explores new-wave, romantic pop and art rock with elegance and ambition, drawing from Weitzman’s scattered network of collaborators, as well as a “frighteningly vast” personal archive of compositions. Sequenced by Seth Troxler and released on his Slacker 85 label, it represents a pivot in musical direction for the imprint, and a showcase for the songwriting craft Weitzman honed as a member of cult electro duo Footprintz, and Montreal synth-pop projects The Beat Escape and Dawn to Dawn.

The title Light Months Will Fly Over Us is derived from a line in a poem by the Russian writer Anna Ahkmatova. Weitzman was immediately struck by its “hopefulness, its mystery… it gives the feeling of being suspended, hanging in a dream-like state”. This interpretation has been translated to the album, rich in memorable songwriting that nonetheless invites the listener to lean in further. Delicately mixed by engineer Pierre Guerineau, known for his work alongside Marie Davidson, each of the eight tracks gently interrogates life’s greater mysteries; fear, love and salvation, each defining and revealing the human soul.

Opener ‘End of The Line’ invites us into an immediately lush space of lounge lizard existentialism, soft brass and piano helping Weitzman introduce “where the journey begins and the fantasy dies”. Across orchestral arrangements arranged by Adam Wilcox, whose sensitive, ambitious compositions are weaved throughout the album, ‘Beyond The Speed of Life’ brings to mind the laments of Scott Walker. Navigating vulnerability via grandeur, Weitzman’s earnest vocals flourish in wide-eyed call-and-response with the object of a transcendent love affair.

Alongside collaborator, Richard Lamb, the next chapter of the LP plunges into contrasting machine-driven moods; the wry, bubbling ‘Entertainment Is All I Wanted (And I Found It)’ is imbued with the playfulness and experimentation of 80s electronic pioneers such as Fad Gadget, while the tougher, icier ‘Stranger To Your Kind’ shifts in a more instrumental direction, recalling Weitzman’s dancefloor experience, as well as contemporaries such as Matthew Dear.

Album centerpiece and striking first single ‘Running & Returning’ is the first of a suite of three tracks in collaboration with Weitzman’s The Beat Escape and Dawn to Dawn bandmate, Patrick Boivin. Blending lush saxophones and angular guitars with a wistful melodic touch and lyrics, its irresistible art-rock rhythm provides the foundation for one of Weitzman’s most involving vocal performances.

It’s followed by an anthem for existential absurdity: ‘Ice Cream Candle’ provides a driving acceptance that “the more and more you learn, the less you understand”; Weitzman submits to this uncertainty with equal grace on ‘No Man’s Land’, as baroque invocations of “words swept through the fields” and meeting “where the water lilies grow” give way to a blistering guitar solo, humbly riding hypnotic percussion.

For the compassionate finale of Light Months Will Fly Over Us, Weitzman narrates the experience of ‘Gabrielle’, a woman slipping between rooms between shuttered blinds in the towering city, “where cigarettes and roses fill the air.”

As lyrically delicate as it is musically ambitious, Light Months Will Fly Over Us is a sublime debut album, enriched with care, love and much-needed enchantment.

"I Became Birds feels like emo once again flipping the switch on its eternal energy source." - PITCHFORK // "One of the most arresting and interesting rock albums in recent memory." - SPIN // "Composed of self-deprecating wails, crashing guitar riffs, and a flicker of lyrical hope that almost feels naive _ in other words, the perfect foundation for classic emo catharsis." - STEREOGUM //// With I Became Birds, Florida's Home Is Where push their unique blend of whirlwind hardcore aggression and warm, open-hearted folksy melancholy to even further heights. Frontperson Brandon MacDonald's Dylan-esque eccentricities are on full display here, from the occasional blast of harmonica (like on early standout "Long Distance Conjoined Twins" or the disaffected, despondency-soaked closer "The Old Country") to their knack for abstractly evocative neurosis-as-poetry. But far from being a copycat act, Home Is Where's wearily raw-throated aesthetic and dynamically vivid compositions feel idiosyncratic and vital. The bittersweet folk melodies seep deeply into the band's DNA, adding an element of accessibility and immediate nostalgia to otherwise churning and angular song structures and sonic assaults. Vocals range from an intimate, gentle, and disarming croon to a full-bodied expectoration of the soul, oftentimes in the same song (like "Sewn Together from the Membrane of the Great Sea Cucumber," which splits the difference between mournful, gothic post-punk and staccato-heeled screamo with aplomb). A devastating rhythm section and nimble, versatile, yet powerful guitar work assist with the record's genre-bending, which ranges from maniacal chemical mixtures to gymnastic flips, twists, and turns. And yet, even amid the din, Home Is Where find ample time for hooks-- the oddball effervescence of lead single "Scientific Classification of Stingrays" and the shimmering, propulsive, delightfully off-kilter late-album stunner "Assisted Harakiri" are more than proof of that. Ultimately, I Became Birds shows Home Is Where hitting an early high-water mark. A brisk record-- six songs in roughly 17 minutes-- it never takes a dip in enthusiasm and inventiveness. Home Is Where's inexhaustible creativity and restless energy is bound to serve them well, and I Became Birds is all the proof anyone needs.

A1 - Symbiotic Link
Kicking off another stellar, varied EP, ASC opens Symbiotic Link with an eerie introduction telling of a tense interaction between orcas in open waters before a thunderous break with immensely sharp venom-fueled snares often used by the likes of Photek back in the day aggressively seizes the attention, jolting and stabbing as the juddering bassline rumbles below - as synthy melodies provide respite in the mix.

A2 - A Single Emotion
Serving up another raucous, nostalgia-driven treat for any breakbeat fan, ASC channels his old-school mastery with a thoroughly absorbing journey through a variety of breaks, edited, chopped and filtered to perfection with dense, earthy basslines lying beneath. Lifted by a soundscape filled with light horn melodies, echoing vocal hits and washes of pads, you'll experience more than a single emotion here.

AA1 - Whirl
Time for a Hot Pants break serenade through swathes of atmospheric synths as Whirl expands ASC's diverse repertoire further still - an earworm melody at the forefront is provided by the bassline on this occasion - simple yet immensely effective. The bass intertwines with the breaks effortlessly while sci-fi effects and samples whoosh and fall with several tonal changes keeping things fresh till the curtains close.

AA2 - Frontier
A rousing cymbal kicks off a curious, deep introduction punctuated by melodic keys and a simmering undertone of suspense. Chunky old school breaks suddenly enter the mix with a continuous, enveloping bassline as the atmosphere builds steadily via micro melodies, noir vocal samples and delicate bells, as ASC closes another Spatial EP in his inimitable, unpredictable engaging style.

Words by Chris Hayes (Spatial / Red Mist)

Legendary artist, Raincoats co-founder, songwriter, filmmaker, and feminist icon Gina Birch has announced her eagerly awaited second solo album, Trouble, arriving via Third Man Records on Friday, July 11. Pre-orders are available now.

Trouble is heralded by today’s premiere of the album’s blistering centerpiece, “Causing Trouble Again,” available for streaming now. An official music video – directed by famed photographer/filmmaker Dean Chalkley and featuring an all-star collective of fellow female artists including Birch’s longtime friend and co-founder of The Raincoats, Ana da Silva, Neo Naturists co-founder Christine Binnie, singer-songwriter Amy Rigby, X-Ray Spex and Essential Logic co-founder Lora Logic, painter Daisy Parris, artist Georgina Starr, writer Jill Westwood, multi-disciplinary artist and activist Bobby Baker, award-winning costume designer Annie Symons, veteran photographer and Raincoats collaborator Shirley O’Loughlin, and many more – is streaming now on YouTube.

“For the ‘Causing Trouble Again’ video, after hearing Bob Dylan sing about a white ladder all covered with water, I became obsessed with white ladders,” Gina Birch says. “ I decided to use five white ladders, three with seven rungs…I realized later that this references Jacob’s Ladder and a connection from Earth to heaven, but I think I was thinking of ladders as a symbol of getting on, getting up. I wanted to have a choreographed movement with four of us with these ladders. How do we move with ladders? Do we move together, do we fight, do we dance? “I also wanted to reference the wind scene from the film, The Colour of Pomegranates, and to include as many artist women from the Women in Revolt exhibition as I could.

Accomplished Polish beat-maker Emapea has made memorable appearances on many Cold Busted label compilations – such as in the IWYMI and Bust Free series – and has been selected for inclusion in Mark Farina’s next Mushroom Jazz installment. All this activity has mouths watering for the debut full length album from Emapea, and the appearance of Seeds, Roots & Fruits doesn’t disappoint one bit. Featuring sixteen exceptional tracks ranging from hip hop to acid jazz to psychedelic trip hop in the style of Mo’Wax, Emapea’s long player is indeed, as a wise man once said, “a journey into sound.” Seeds, Roots & Fruits rises above the average beats album to reveal the enduring depth of this young producer

Los Angeles trio sunking marry hip hop, and electronic influences on their 2nd album I DON"T LIKE MY TELEPHONE. Childhood friends Bobby Granfelt, a jazz drummer and self-proclaimed hip-hop head, Antoine Martel, a synthesist and composer, branched off their mainstay High Pulp to explore their polar opposite tastes and make music as sunking in addition to multi-instrumentalist Victory Nguyen. Their 2022 debut Smug, was more jazz-influenced, while I DON"T LIKE MY TELEPHONE is akin to the early work of beat-driven artists Thundercat, Madlib, and Flying Lotus. They hand selected artists Salami Rose Joe Louis, Niki Randa, Deradoorian, and Takoda to lend vocals and help capture that spirit. I DON"T LIKE MY TELEPHONE as a series of self-contained "micro-compositions," built around Granfelt"s drum loops and Martel"s new gear. In addition to, they were fueled by an increasing love for electronic music artists like Galcher Lustwerk, The Field, and Susumu Yokota, whose 1994 cult classic Acid Mt. Fuji they cite as a particular inspiration. The result is a record as vibrant as a kaleidoscope, and compact as one too, shuffling through more styles and ideas in neat, three-minute chunks of virtuosity.

Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. Since then, they’ve played alongside Bully, Wavves, and Nothing. After years in the Cincinnati DIY scene, they made their Bayonet Records full-length debut, How the Light Felt. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dreampop, using drum machines and layered, intricate melodies.
Tomorrow Comes Crashing, Smut's first record with O'Connor and Steiner, sees the band re-energized and trained on the limitless potential that comes with making music with people you love. Galvanized with a new lineup, Smut focused on creating a record that possessed the same towering intensity as the records that first got them into music: Three Cheers for Sweet Revenge, Relationship of Command. The outcome is ten of their most intense, bombastic, and focused songs to date.
Catharsis bursts through the seams throughout Tomorrow Comes Crashing. “Syd Sweeney, ”inspired by the actress, is the record's centerpiece. It's about how profoundly strange it can be to be a woman, to be misunderstood by people who don’t even know you. The song is driven by chugging guitars and big, rolling drums. In other words: stadium rock about perception. Paramore meets Dookie. “She connects to the youth and the girls in the water/All she amounts to is someone’s daughter,” sings Roebuck in one particularly poetic moment. The song comes to a thrashing metal-inspired breakdown. It’s ecstatic.
To make the record, Smut recorded “as live as they could,” alongside Aron Kobayashi-Ritch(Momma) in a studio in Red Hook, Brooklyn, over the course of ten days. “We have so much energy right now,” says Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side. The recording was a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends' couches and floors, Roebuck completely blowing her voice by the end. Smut has always been DIY. Because they love it. Because they have to do it–there’s no other option. Tomorrow Comes Crashing is the culmination of that DIY spirit: making a record that completely encompasses the intensity, moodiness, and emotion of their journey so far.

Heat Death Vinyl is Clear w/ Black Splatter. The drowsiest and earliest inklings of the slowcore movement can be traced to Codeine's 1991 debut. Combining the Louisville scene's relaxed tempo with doom metal's distorted slurry, the album is a depressing masterpiece of hushed vocals, noisy guitar, and punishing drums. Remastered from the original analog tapes and recreated in painstaking detail, Frigid Stars LP is the NYC trio's fuzziest and most affecting work. "A deft musical approximation of the sound of water turning to ice, the guitars are so weighed down with distortion that they struggle to march from one chord to the next." _ Pitchfork

The drowsiest and earliest inklings ofthe slowcore movement can be traced to Codeine's 1991 debut. Combining theLouisville scene's relaxed tempo withdoom metal's distorted slurry, the albumis a depressing masterpiece of hushedvocals, noisy guitar, and punishing drums.Remastered from the original analog tapesand recreated in painstaking detail,FrigidStars LPis the NYC trio's fuzziest andmost affecting work."A deft musical approximation of thesound of water turning to ice, the guitarsare so weighed down with distortion thatthey struggle to march from one chord tothe next."-Pitchfork

Washed Up Color Vinyl is Clear w/ White Splatter! A white ship sailing in a sea of blackness, Codeine's swan song arrived in 1994 amid grunge's ascension to alt radio's godhead status. John Engle's guitar alternates between crystalline and sludge, and Stephen Immerwhar's distorted bass floats on top of punishing drums from newcomer Doug Scharin (Rex, June of 44), resulting in nine perfect meditations on the loneliness and uncertainty of early adulthood. "Codeine's unyielding numbness creates its own kind of warmth _ the feeling of cold water running for so long that it suddenly feels hot." _ Spin

Far Out Recordings continues its reissue campaign of the late Argentinian guitarist Agustin Pereyra Lucena's work with the first-ever vinyl reissue of his singular 1988 private press album, Puertos De Alternativa, now his most sought-after LP. The album features some of Agustin’s most uniquely beautiful compositions, including “Luces de Valeria” and “Preparativos Maritimos,” alongside Baden Powell's “Pequeño Vals” and “O Cego Aderaldo (Nordeste...),” and “Tema Barroco” by his longtime collaborator, Guilhermo Reuter.

By 1988, Agustín had established himself as one of Argentina’s foremost interpreters of Brazilian music. The seventies saw success with his group Candeias, and he gained recognition in Brazil, forming friendships and collaborations with luminaries such as Vinicius de Moraes, Baden Powell, Dorival Caymmi, Toquinho, and Maria Bethania. Following the era of dictatorship in South America, Agustín spent the late seventies and early eighties, living and touring in Norway as part of his European travels with his group Agustín Pereyra Lucena quartet.

Recorded after returning to his native Buenos Aires, Agustin Peyera Lucena’s Puertos de Alternativa emerged from this confluence of diverse experiences and influences, revealing an artist deeply connected to his environment. The album's title, meaning "Alternative Harbours," reflects Agustín's particular affinity for water. He observed that much of his favourite music originated from places with rivers and seas nearby, noting, "There is a flow near water that influences guitar playing for sure."

With a profound connection to both instrument and environment, Agustín’s music is often difficult to place. The album begins rooted deeply in South American soil, drawing clear inspiration from Brazilian guitar masters like Heitor Villa Lobos, Garoto and Baden Powell. But, as it progresses, a sense of journey unfolds, evoking new landscapes and horizons – from the crystalline beauty of glacial Norway to the gentle currents of the Rio de la Plata.

The ensemble on Puertos de Alternativa features notable Argentinian musicians, including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj.

Mastered by Stuart Hawkes at Metropolis Studios from the original master tapes which had been lovingly kept by Agustin’s nephew José Lucena Perreyra


Tracklist & Credits:

A1. Luces De Valeria (Agustin Pereyra Lucena)
Guitar, Vocals – Agustin Pereyra Lucena
Piano, Bass, Drums, Vocals – Guillermo Reuter
Tamboril – Julio Said

A2. Pequeña Valsa (Baden Powell)
Arranged By Flute – Lucho González
Drums – Osvaldo Avena
Flute – Alejandro Santos
Guitar – Agustin Pereyra Lucena
Tambora – Eduardo Avena

A3. Planicie (El Llano) (Agustin Pereyra Lucena)
Arranged By Flute – Lucho González
Flute – Rubén Izarrualde
Keyboards, Acoustic Bass, Percussion, Arranged By Keyboards – Guillermo Reuter
Guitar – Agustin Pereyra Lucena

A4. Tema Barroco (Guillermo Reuter)
Guitar – Agustin Pereyra Lucena
Percussion – Guillermo Reuter

A5. O Cego Aderaldo (Nordeste...) (Baden Powell)
Guitar – Agustin Pereyra Lucena

B1. Tres Que Quedaron (Agustin Pereyra Lucena, Andrés Laprida)
Drums – Osvaldo López
Flute – Rubén Izarrualde
Piano, Keyboards, Bass, Directed By – Guillermo Reuter
Soprano Saxophone – Bernardo Baraj
Electric Piano, Arranged By – Andrés Laprida
Guitar, Electric Guitar, Vocals – Agustin Pereyra Lucena

B2. Preparativos Maritimos (Andrés Laprida, Agustin Pereyra Lucena, Guillermo Reuter)
Guitar, Vocals – Agustin Pereyra Lucena
Keyboards, Acoustic Bass, Percussion, Arranged By – Guillermo Reuter

B3. Puertos De Alternativa (Agustin Pereyra Lucena)
Guitar, Effects – Agustin Pereyra Lucena

B4. Casi-Numbe (Luis González Cárpena, Agustin Pereyra Lucena)
Bass – Lucho González
Bass Flute – Rubén Izarrrualde
Berimbau – Horacio Veros
Keyboards, Piano, Vocals, Drums, Arranged By – Guillermo Reuter
Guitar, Vocals, Arranged By – Agustin Pereyra Lucena

The Reds, Pinks & Purples is a San Francisco indie band led by Glenn Donaldson (The Ivy Tree, Skygreen Leopards, Art Museums and Painted Shrine). For fans of_ Guided By Voices, The Chills, Teenage Fanclub, The Shins, The Replacements, Leonard Cohen, The Go-Betweens, Robert Wyatt. Having penned over 200 songs in the last six years, The Reds, Pinks and Purples release a collection of tracks previously unreleased on physical format that continues to romanticise the wonders and woes of the world. With song titles that read like chapter sub-heads for a post-Douglas Coupland novella, 'The Past Is A Garden I Never Fed' takes The Reds, Pinks and Purples central orator Glenn Donaldson through the turmoil of small talk and everyday water cooler moments with a fine sense of pathos and irony. Set to a soundtrack that swerves between the dark days of Television Personalities and Byrdsian twang to the Jarvis Cocker-styled rhetoric and vocal tenderness of 'Richard In the Age Of The Corporation' with hints of everything from Husker Du's fuzzed splendour to the chiming majesty of The Chameleons it's an empowering listen. The pathos and irony of the glorious track 'The World Doesn't Need Another Band' sets out the band's store, it's a measured and quietly outspoken rant at lacklustre opposition peppered with a gorgeous guitar break. Meanwhile, 'I Only Ever Wanted To See You Fail' rumbles with an Eddie And The Hot Rods pre-punk riff before dissolving into a tale of self-doubt and remorse, bemoaning others' good luck. 'Toxic Friend' is from the book of the TVP's Daniel Treacey with an upbeat chorus that smacks of all that was good in old school indie in a hail of fuzzy logic and guitars. From humble beginnings as a home recording project, The Reds, Pinks and Purples has blossomed into a sporadic live unit with tours on both sides of the Atlantic and appearances at Pitchfork Fest London and Woodsist Fest as well as support slots for indie legends such as Destroyer, Guided By Voices, and The Feelies. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork.

Black Truffle is pleased to announce a new edition of Kassel Jaeger’s Fernweh, returning François J. Bonnet’s electroacoustic project to the label five years after the acclaimed Meith (BT069). Originally released on Giuseppe Ielasi and Jennifer Veillerobe’s impeccably curated Senufo Editions in 2012, Fernweh stands near the beginning of the gradual expansion of Bonnet’s approach after the austere acoustic textures of Aerae and Algae (both released on Senufo), leading to the lush, layered environments of recent solo works on Shelter Press and the epic electronic expeditions undertaken in duo projects with Stephen O’Malley and Jim O’Rourke.

A major work in the Kassel Jaeger oeuvre, stretching over two LP sides, Fernweh draws together synthesized and musique concrète materials into a drifting assemblage. Its title’s meaning is close to the concept of ‘Wanderlust’, fitting for this music that moves freely and unexpectedly between what Bonnet calls ‘climates’. Beginning with fizzing electronics whose rhythm of gradual approach suggests breaking waves, the clinical atmosphere is soon haunted by intangible traces of lived reality. Textures call up wind, water, insects, the crunch of feet on sand or the clinking of glasses, yet they can never be identified with any certainty. At times these concrete elements possess a vivid ‘closeness’; at others, the sounds shade into a formless distance. Though the listener forms no clear picture from the concrete sounds, these elements aerate the music, lending it their space.

Drawing from the rigorous formal language and conceptual apparatus of the French musique concrète tradition—with which Bonnet, as director of the GRM and researcher into its deepest archival recesses, is intimately familiar—the music of Kassel Jaeger is equally informed by how underground experimental music has rethought electroacoustic techniques, with Fernweh at times calling up the grit and grime of para-industrial eccentrics like Maurizio Bianchi or the Toniutti brothers, and at other moments suggesting the slow-moving grandeur of early Olivia Block. Subtle features of dynamics and rhythm act as connective tissue between the numerous ‘scenes’, with wave-like envelopes, rapid pulsations, and short, tape-loop patterns all recurring throughout the piece, shared ambiguously between electronic and concrete sounds. Amid these shifting, often inharmonic textures, the electronic elements sometimes cohere into melodic shapes and chordal patterns, cutting through the fog in distorted arcs or underpinning the layered surface with slow-moving harmonies. Like his friend and collaborator Jim O’Rourke, Bonnet displays a radical openness at odds with academic tradition, allowing unabashed emotion to coexist with rigorous experimentation. As Fernweh dies away with mysterious shudders, listeners are left at once moved and unsure of exactly what they just heard.