quête:vale

Night ist ein Konzeptalbum von über 50 Minuten Länge, das in 5 Segmente unterteilt ist, die fließend ineinander übergehen. Mit der konzeptionellen Anlage, den episch ausgreifenden Strukturen und der z.T. immensen Länge der einzelnen Stücke kommen Gazpacho dem, was der Proggie mag, so nah wie nie zuvor.

Dennoch ist Night sicher kein Neo-, Retrooder sonst-was-Prog, sondern die Band bleibt ihrem im Laufe der vorangegangenen Alben entwickelten Stil treu. Die Songs klingen wie eine Mixtur aus späten Talk Talk und späten Marillion.

An Talk Talk erinnert auch, dass sich die Stücke sehr gemächlich entwickeln. Das ist ein Novum für die bislang stärker songorientierte Band.

The Gold is inspired by the true story and theories of the 1983 Brink’s-Mat robbery, which saw
the theft of £26 million worth of gold bullion, and the decades-long chain of events that followed. First aired in February 2023, the first series of The Gold garnered 8.7 million viewers for the first episode and was nominated for a BAFTA. Series Two is inspired by theories around what happened to the other half of the gold.

Simon Goff’s work sits at the intersection of contemporary classical, electronic, and cinematic
music. His albums Vale and Spark Like Living Mothers have received critical acclaim for their immersive, textural soundscapes and compositional depth. He has also worked with some of the world’s most acclaimed musicians as a collaborator and sound engineer on Joker and Chernobyl - both of which earned him Grammy Awards.

“In series one of The Gold, the score developed around using the sound pallets of strings and electronics, acting themselves as characters in the narrative. The subject of class permeates the whole story and we used these sound worlds to represent two worlds, divided at first but becoming more and more intertwined as the series progressed. The ways in which the worlds have collided and merged in series two is even more complex. The tension is even higher and the neurosis that torments the characters runs deeper.” Simon Goff

Repress!

Wonderwheel recordings is proud to present the first full-length album from

producer Robin Perkins, aka El Buho. Balance represents a meeting of different currents that make up Buho's music: a fascination with the natural world, and its protection, a fascination with the rhythms, traditions and sounds of Latin America and a fascination with modern electronic music and production aesthetics. The album is peppered with Cumbia, Son Jarocho, Andean instrumentation & Afro-Colombian rhythms. Mixed with this, Robin integrates this idea of "nature music" - putting the sound of a misty forest, the songs of birds, of crunching leaves under foot or the rhythmic tapping of rain alongside synthesized sounds, electronic clicks or claps, deep basses. Trying at once to give them their own space but in a new, surprising perspective - it draws electronic music into something more soft, natural, different and appealing.

Balance is also an album that celebrates community and collaboration, showcasing collaborations with ten different artists form Latin America and beyond, both producers, instrumentalists and singers. Including more of a lyrical presence than his previous EPs, Perkins solicited the participation of talented singers like Dina al Wedidi from Cairo, Luzmila Carpio from Bolivia and the incredible decimas of Mexican poet Citlaly Malpica. The album also features the likes of harpist Veronica Valerio, Argentine multi-instrumentalist Rumo Tumba, jarana player Pablo Emiliano from Mexican Son Jarocho group Semilla and members of the Shika Shika family (the global collective he co-run's) Uji, Barrio Lindo, Kaleema, Minük and Jhon Montoya.

El Buho's music has an incredible power to convey feelings, atmospheres, memories or messages. The message that sits behind this music is to value on the one hand the power of community, of collaboration and of our modern, globally, connected world but also the remembrance, protection and celebration of the very earth we depend upon for our existence.

Originally released in 2003, Marcos Valle’s Contrasts combined early noughties production techniques with his trademark Brazilian songwriting brilliance. The album quickly became one of Valle’s most in-demand, with tracks like the triumphant “Parabéns” (which was sampled by Childish Gambino, covered by Tom Misch and remixed by Misa Negra) and bossa beach classic “Agua de Coco”, both becoming firm fan favourites.

Produced by Roc Hunter, and executive produced by Joe Davis, with musicians including Robertinho Silva (percussion), Alex Malheiros (bass), and Marcos’ wife Patricia Alvi (vocals), Contrasts encapsulated Valle’s ever evolving musical vision, bringing together samba, baião, bossa pop, broken beat, house, trip-hop and more, on one era-defining record.

After 22 years, Contrasts is finally set for a double LP vinyl and CD reissue, with the original mix of “Valeu” and “My Nightingale” making it onto the vinyl edition for the first time.

Pioneering British electronic musician Mark Van Hoen is set to release his latest solo album, The Eternal Present, on 23 May 2025 via Dell'Orso, a remarkable collection of tracks spanning nearly three decades of recordings from 1998 to 2024.
The Eternal Present embodies its philosophical title, inspired by Joseph Campbell's concept that "Eternity isn't some later time... Eternity is that dimension of here and now that all thinking in temporal terms cuts off." The album explores music as the ultimate expression of existing in the present moment, transcending time and creating a sonic experience that is simultaneously "spectral, ghostly, melodic, harmonic, and decayed."
An influential contemporary of Aphex Twin, Autechre, LFO and Boards of Canada, Van Hoen is best known for his solo work as Locust in the mid-'90s, which helped push post-rave electronic music into newly challenging realms. His extensive discography spans releases on influential labels including R&S, Touch, and Editions Mego. Van Hoen has worked on numerous collaborations throughout his career, including with Nick Holton and Neil Halstead of Slowdive under the moniker Black Hearted Brother—their album Stars Are Our Home was released in 2013.
The Eternal Present continues the lineage of Van Hoen's most significant works, with artwork by Ian Anderson (Designers Republic) reflecting the album's "eternal present" concept with a mysterious visual approach, allowing listeners to form their own imaginary landscapes. The mastering by Stefan Betke (Pole) enhances this document of the evolution of the artist over the years as he continues to hone his signature sound. Using a host of instruments including analogue synthesisers and employing various recording approaches, Van Hoen's equipment changed dramatically over the years—from early DSP processing used on his first solo record on Apollo ‘Playing With Time’ to various synthesisers, modular systems, tape machines, and digital workstations—contributing to the album's rich sonic diversity.
Throughout The Eternal Present, ideas are woven together through spoken word quotations and abstract vocals featuring notable collaborations from Rachel Goswell on the Slowdive cover "Shine" (from 1998), Megan Mitchell (Cruel Diagonals) on "Somewhere", and session vocalists Clare Dove and Dorothy Takev on "No-One Leave" and "It's Not You (In A Way)" respectively. The use of cleverly assembled vocal samples from an "undisclosed but very famous female vocalist" on "Multiplex" (2016) and the indistinct vocalisations on the Cabaret Voltaire-influenced "Only Me" (2017), constantly challenges and disorientates the listener through fluctuating, ever-changing musical elements.
The album was recorded across multiple locations including Somerset, London, Los Angeles, and New York—even beginning compositions during flights and in airport lounges—reflecting Van Hoen's changing personal circumstances, environments, and situations throughout the years.
Of Indian-Jamaican descent, Van Hoen was born and raised in England, absorbing diverse musical influences from his neighbors—African-Jamaican on one side and Punjabi Indian on the other. "Each family played their own music frequently, and I absorbed it." His musical foundations include Brian Eno, Kraftwerk, OMD, Tangerine Dream, Japan, Cabaret Voltaire, and Cocteau Twins, later finding inspiration in My Bloody Valentine, LFO, and '90s producers Robert Leiner and CJ Bolland.
These eclectic influences are evident on The Eternal Present, which contains snapshots of different periods in his life, with changing circumstances across decades creating a variety of textures and sounds. As Mark explains: "It holds the same sonic signature as many of my solo releases and early Locust albums. It's a natural development that has taken place in the last few decades. It's even related to the earliest music I made as a teenager, although perhaps more sophisticated."
“What a remarkably affecting, majestically broad and captivating work it is..what strikes you most is the album’s myriad diversity. Outstanding” (Electronic Sound)

“Whether channelling mid- 70’s Eno, early Aphex Twin or Neu! his vivid sounds shimmer with emotional weight” (Mojo 4*)

"Musically, Van Hoen belongs to a distinguished family tree. Originally influenced by the likes of Brian Eno and Tangerine Dream, and later presaging both Autechre's glitch and Boards of Canada's pastoral IDM." (Pitchfork)

Random Colored Edition, Limitiert. Love A ist etwas Bemerkenswertes gelungen: Das, was ihr Debüt "Eigentlich" auszeichnet, haben sie sich bewahrt. Die volle Faust auf die Zwölf, diese unmittelbare und schnörkellose Konfrontation, das Getriebensein durch ein Leben, das mehr Fragen aufwirft als es Antworten anbietet, dem Scheitern immer näher als dem Gelingen. Stefans Gitarre, die ganz untypisch für Punk völlig unverzerrt daherkommt und Jörkks latente Hysterie über allem.

Ria Moran steps into a bold new chapter with Cubico, her debut solo album set for release in July 2025 via DeepMatter Records. A deeply personal and sonically rich project, Cubico sees Ria stepping forward as a producer and instrumentalist, blending R&B, neo-soul, and jazz with introspective songwriting that explores love, self-discovery, and emotional growth. The 12-track album moves fluidly between smooth R&B grooves and darker alternative tones, embodying the full spectrum of her artistry—sweet, emotional, moody, quirky, and fun. Ria made her long-awaited return in November 2024 with Take It or Leave It, a collaboration with Nubiyan Twist that showcased her evolving artistry and set the stage for Cubico and finding support from BBC Radio 6, Radio 1, Rinse Fm, Jazz FM, Worldwide FM, and more. Prior to this, her 2019 EP Moving into the Light gained widespread recognition from BBC Introducing, BBC Radio 6, and Worldwide FM, placing her among the UK’s most exciting contemporary soul voices. Her music sits at the juncture of forward-thinking UK soul music and nu-jazz, placing her alongside contemporaries including Ego Ella May, Yazmin Lacey and Cleo Sol, whilst also nodding to pioneers like Sade and Erykah Badu. Beyond her solo work, Ria has built an impressive career as a collaborator. Her contributions to Nubiyan Twist’s Freedom Fables earned a MOBO Award nomination, and she later appeared on Blue Note Records’ Blue Note Re:Imagined series, performing a BBC Radio 2 live session at the legendary Maida Vale Studios. She also worked with bassist Daniel Casimir on his acclaimed Boxed In album, joining a roster of UK jazz heavyweights including Nubya Garcia and Moses Boyd. Since 2019, she has been a touring vocalist with Gotts Street Park, sharing stages with Celeste, ENNY, and Pip Millett. With Cubico, Ria Moran is fully stepping into her own as an artist, delivering a debut album that is as raw as it is soulful, as vulnerable as it is empowering—a must-hear for fans of innovative and heartfelt music..

"redrum" (with lowercase r) is the original music written for the homonymous dance show by gruppo nanou (with lowercase g and n) Composed in 2023 and put on stage in 2024, it won the Ubu Prize (Italian theatre awards) as best dance show of the year. The music is almost entirely electronic, with spare guitars, bass and vocal parts. Bruno Dorella plays, produces and mixes everything. As the previous album "Paradiso" (also a soundtrack for gruppo nanou), there is a constant dialogue between the musician and the choreographers Rhuena Bracci and Marco Valerio Amico, and with the dancers' bodies, for a longtime collaboration that will hopefully evolve more and more

"redrum" (with lowercase r) is the original music written for the homonymous dance show by gruppo nanou (with lowercase g and n) Composed in 2023 and put on stage in 2024, it won the Ubu Prize (Italian theatre awards) as best dance show of the year. The music is almost entirely electronic, with spare guitars, bass and vocal parts. Bruno Dorella plays, produces and mixes everything. As the previous album "Paradiso" (also a soundtrack for gruppo nanou), there is a constant dialogue between the musician and the choreographers Rhuena Bracci and Marco Valerio Amico, and with the dancers' bodies, for a longtime collaboration that will hopefully evolve more and more

It has been a hot minute since our first release, but right on cue for the summer festivities we can present our second vinyl outing. Taking a different approach, the “Beat$ & Bocadillos” EP will be split between different producers with the Miami Beat$ Crew handling the raw, and rugged “Beat$” side, whilst Valencian smooth operator Vsan handles the “Bocadillos” side. Three cuts on both sides, maximising your pitched down listening pleasure, calling for those chilled out moments amongst the madness of the coming months.

This 14-song full length was originally released by Bloodshot Records in 2018, but because it contains the potent “I Hate Chicago” diss track, it’s sacred writ that the album needs to be on a Windy City record label. So basically, we drew the short straw and now it’s our cross to bear. Laura Jane Grace is best known for fronting indie-punk titans, Against Me!, but on “Bought To Rot” her debut solo album you will hear lullabies and angular rock with influences ranging from The Pixies to Crass. You’ll come to learn about how Laura hates tra‑c and emails, but if you really listen, you’ll hear an album full of love songs. And we hope you really listen and hear that too.

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

A decade has passed since Infinity Night graced Bordello A Parigi with his wonderful Winter and Summer EPs. After too long a wait, the French producer returns with the aptly titled Le Temps Qui Passe. Six slices of select synthesizer music make up the 12”, tracks lovingly crafted with Frederic Bergamaschi’s trademark analogue warmth. A melancholic melody meanders through brightness in “Tu Ne Me Réponds Pas”, dulcet words hidden under the machine gauze of a vocoder. Skittish percussion gives way to the refrain of “It’s Full of Stars”. Hazy keys appear as an arpeggiator rumbles below a shimmering sky. “Les Souvenirs De Valerie” picks up where its predecessor left off. Astral notes are beamed into the heavens, echoing into the while crisp cymbals tether the piece. Infinity Night has always sought that point of balance in his music, a bittersweetness he accentuates and explores. This is true in the darker shades of “Nymphomania”. Beats are bolstered, key stabs piercing the tenderness of analogue trills. The title track is a rich patchwork. A burbling undercurrent supports forays into diverse tangents with lyrics surfacing through key shifts and sliding scales. Marching to militaristic rhythms, “I Comme Icare” is the curtain call. The stringent drums are broken by sailing synthlines, vocals masked in a familiar mesh to close. Le Temps Qui Passe, well worth the wait.

New entry in the legendary fabric presents mix series, home to standout releases from SHERELLE, Overmono, Saoirse, Kode9, and more.
- Curated and mixed by Pretty Girl – rising star producer/DJ/vocalist known for emotionally rich dance music and a global touring presence including Coachella, DC10, Lost Village, Glastonbury, and more.
- Mix includes exclusive unreleased material, the brand-new single “Innadream”, and hand-selected tracks from Australian and UK scenes.
- A journey through melancholic club textures, groove-heavy house, UK garage, and lo-fi rhythms – all tied together with Pretty Girl’s signature melodic flair.
- Backed by recent remix work for Romy and George Fitzgerald, and the acclaimed EP Get Back To Me.
- Launch party at fabric London (June 6)

o Resident Advisor: “A star in the making”
o Dazed: “Crafting nocturnal soundscapes for the party, the after-party, and the morning train ride home”
o The Sunday Times: “Succession of brilliant tracks”

Pretty Girl is the alias of Melbourne-born, London-based producer, vocalist, and DJ who’s rapidly emerging as a defining voice in emotive club music. Fusing dreamy textures with deep house, UKG, and lo-fi rhythms, her sound bridges dancefloor euphoria with introspective detail. A regular at global festivals like Coachella, Glastonbury, and DC10, she’s earned acclaim for both her immersive live sets and expressive studio work. Recent highlights include her Get Back To Me EP, remixes for Romy and George Fitzgerald, and now her most expansive statement to date: a mix for the revered fabric presents series.

Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe

Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe. The Dim Gleam edition is kind of a beige vinyl colour

Once again, Riba left everyone bewildered with a work that, on its own, gave early substance to what would eventually be known as roc català, of which Riba may well have been its most authentic representative. The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied him a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort's group. "Electròccid àccid alquimístic xoc" marks a shift in Pau Riba's sound-now electrified and fully embracing rock with nods to Lou Reed, Ray Davies, and Kevin Ayers, but the core of "Electròccid_" is defined by Riba's own authorship. With lyrics that veer from poetic to absurdly ironic, Riba explores themes like the moon, the stars, death, love, women, the devil, and the bourgeoisie-fueling the originality that made him such a unique artist. It's striking how naturally and effortlessly Riba incorporated the Catalan language into the rock idiom-and vice versa. First vinyl reissue in over four decades!

Repress!

Wonderwheel recordings is proud to present the first full-length album from

producer Robin Perkins, aka El Buho. Balance represents a meeting of different currents that make up Buho's music: a fascination with the natural world, and its protection, a fascination with the rhythms, traditions and sounds of Latin America and a fascination with modern electronic music and production aesthetics. The album is peppered with Cumbia, Son Jarocho, Andean instrumentation & Afro-Colombian rhythms. Mixed with this, Robin integrates this idea of "nature music" - putting the sound of a misty forest, the songs of birds, of crunching leaves under foot or the rhythmic tapping of rain alongside synthesized sounds, electronic clicks or claps, deep basses. Trying at once to give them their own space but in a new, surprising perspective - it draws electronic music into something more soft, natural, different and appealing.

Balance is also an album that celebrates community and collaboration, showcasing collaborations with ten different artists form Latin America and beyond, both producers, instrumentalists and singers. Including more of a lyrical presence than his previous EPs, Perkins solicited the participation of talented singers like Dina al Wedidi from Cairo, Luzmila Carpio from Bolivia and the incredible decimas of Mexican poet Citlaly Malpica. The album also features the likes of harpist Veronica Valerio, Argentine multi-instrumentalist Rumo Tumba, jarana player Pablo Emiliano from Mexican Son Jarocho group Semilla and members of the Shika Shika family (the global collective he co-run's) Uji, Barrio Lindo, Kaleema, Minük and Jhon Montoya.

El Buho's music has an incredible power to convey feelings, atmospheres, memories or messages. The message that sits behind this music is to value on the one hand the power of community, of collaboration and of our modern, globally, connected world but also the remembrance, protection and celebration of the very earth we depend upon for our existence.