UMOR REX

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Recorded by Concepción Huerta in 2024 between Berlin, The Hague, and Mexico City. Volcano photography by Magaly Ugarte. Mastered by Rafael Anton Irisarri at Black Knoll Studio, New York. The cover was risograph printed in Barcelona by Mateo Barbuzzi aka Club del Prado. Design by Daniel Castrejón in Mexico City.

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TRACKLIST (43:03)

01 Magma como la vena en el territorio
02 El fuego y la luz están aquí
03 La Tierra y sus poderes subterráneos
04 El Sol de Los Muertos
05 Los Ecos de las Voces del Silencio
06 El interior de la Tierra arde como el Sol

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︎ CASSETTE ︎︎︎ ANOST    ︎︎ CASSETTE & DIGITAL ︎︎︎ BANDCAMP 

This album, crafted entirely within a subharmonic framework and meticulously processed through tape manipulation, stands as Concepción Huerta’s sharpest work to date—undoubtedly her most abrasive, intense, and exhilarating. Her signature remains intact: a practice deeply rooted in drone, musique concrète, and hauntingly visceral textures—a kind of soundtrack that evokes powerful, image-driven narratives.

Conceptually, Huerta’s sonic vision evokes an image of open veins, not human veins, but those of the earth itself, the open veins of Latin America. These nervures are, in truth, rivers of lava; fury transmuted into fire coursing beneath the land until it erupts. The album is, in a way, a reflection on dispossession, resource extraction, and colonization. But beyond being a historical commentary—one that some might relegate to a forgotten past—it is also a reminder of the present, of how these practices persist in contemporary, postmodern guises.

It serves as both a tribute to the literary work of Eduardo Galeano, one of the most influential voices of Latin American leftist thought, and a howl from the Lacandon jungle in Mexico, resonating with the Zapatista struggle, the resistance of the Guaraní people in Paraguay and Argentina, and the voices of Indigenous communities across Latin America.

In the 16th century, a book titled Visión de los vencidos (The Broken Spears) was published in Mexico, compiling Nahuatl texts that presented the unofficial history, the account of the defeated. Concepción Huerta’s album El Sol de los Muertos (The Sun of the Dead) is not a call to action nor a reactionary manifesto, but an invitation to reflection, a historical reexamination. It urges us not to accept the official narrative at face value and serves as a warning, to remain vigilant and, within our capacities, resist the resurgence of fascism and colonialism in all its modern forms.

EL SOL DE LOS MUERTOS


Tierra de Fuego
venimos de lugares que tienen todo que perder
aún así jamás perderé mi Sur
Es el magma que recorre como venas en el territorio
lleva la fuerza de una historia que se contó
desde otro lugar


Cinturón de Fuego
La articulación volcánica extendida en América Latina
resultado de todas las violencias sumadas
a un territorio que ha sido despojado
pero la reminiscencia de la historia está
en la propia tierra:
Ella guarda la verdad


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algunas notas de fuego
articulación y furia
resonancias geográficas a través del valor insostenible, ficticio.
pero en el corazón del mundo está el fuego: el núcleo.
las venas lo conducen
a través de la tierra.
el corazón da calor y con el fuego
se activa
la vida


las venas dan el flujo de la vida y
el tránsito del despojo histórico…
pero la vida es aquí
aún hay algo que no se pueden robar…
fuego.


“Toda la noche llovió sobre nosotros,
y el trueno mueve la tierra”


La vida es aquí
La historia emerge a través del tiempo
en la misma Tierra

las voces del silencio resuenan
como ecos
a través de los caminos
los territorios, las cuencas, ojos de agua….
cuantos ecos, ecoss, ecooooooosssssssss…
somos muchas vidas dentro de una muy grande.
a través de la Tierra vivirá la Historia
En el interior de la Tierra arde
el
Sol


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el Sol es la estrella de calor y luz
a través del astro se iluminará la memoria


Sol
la estrella que sostiene la vida en la Tierra
el fuego y la luz están aquí
que ilumina la verdad.
la vida es aquí
Sol
estrella que sostiene la vida
en la Tierra


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cartografía de memorias

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SOMOS
LA ARTICULACIÓN DEL
(SILENCIO - HISTORIA)
SOMOS
EL SOL DE LOS MUERTOS

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All songs written & produced by Bella Wakame (Andi Haberl & Florian Zimmer). Recorded live 2024 in Berlin at Silent Green, Donau 115 & our homes. Live recordings by Tadklimp. Mixed by Tadklimp, Berlin 2024.

Words on The Island of Unknowns by Indra. Dunis. “Shades of Nambei” is inspired by the song “Nambei“ of Spirit Fest.

Mastered by Rafael Anton Irisarri at Black Knoll Studio in New York.

Artwork by Daniel Castrejón in Mexico City.

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TRACKLIST LP (38:50)

01 Fresh Despair
02 Shades of Nambei
03 To Win Love
04 Sundrops
05 Toutpartout PT2
06 Breakdowns, Full On
07 The Island of Unknowns
(feat. Indra Dunis)
08 Grand Tour
09 Manga Bois
10 Spirit-Shelf

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︎︎ LP+DL ︎︎︎ ANOST  ︎︎ LP+DL ︎︎︎ BANDCAMP

Roughly two years after the release of their initial statement of intent, debut single “Toutpartout PT2” with its hypnotic ripples, Andi Haberl and Florian Zimmer aka Bella Wakame have successfully channeled the magic of a 2024 live recording (captured at Berlin’s Donau115 & Silent Green) into their first proper studio offering. Their self-titled debut full-length is set to arrive on May 30, 2025 via Umor Rex. You can hear inspirations ranging from Bitchin Bajas, Jeremiah Chiu to Groupshow (Jelinek, Leichtmann, Pekler), the hypnotic, intricate battle between form and freedom (the fun of momentary formlessness) continues to unfold over the course of 10 new tracks, featuring album guest Indra Dunis (Peaking Lights).

You can either shorten the reins, or you can loosen them – and give things more slack. With Bella Wakame, it’s definitely the latter. Constantly challenging each other, they’re tapping a whole new energy. Tons of different energies.

Based on the impulsive, propulsive interplay between drums/sensory percussion (Andi Haberl) and modular synthesizer (Florian Zimmer), the frenzied, free-form results take listeners into completely new dimensions – sonic worlds that don’t really sound anything like their other musical outlets (The Notwist, SUN, Saroos, Driftmachine etc.).

Whereas most bands tend to notoriously overthink names/monikers, these guys obviously only care about the ecstatic push-and-pull that occurs once their instruments meet and overlap: it’s wildly explosive textures with a booming heart. Moving restlessly between motorik club, electro-acoustic jazz experiments, ambient excursions, and fast-paced instrumental anthems that seem to explode at the seams, one can immediately tell how much they enjoy the newfound freedom, the turbulent encounters born on the spur of the moment.

It’s all about a quick-paced exchange of friendly blows, a chasing of tails into ever-new musical terrains. Relying on just enough form for that wildness to blossom within, their just-in-time dashes continually unfold, refold, return, grow bigger – and leave you startled.

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All songs written and performed by Nicolás Melmann in Château Éphémère.
Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Artwork by Daniel Castrejón.

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TRACKLIST LP (36:23)

A1 Música Aperta I
A2 Música Aperta II
B3 Música Aperta III

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︎︎ LP+DL ︎︎︎ ANOST  ︎︎ LP+DL ︎︎︎ BANDCAMP

Nicolás Melmann (born in Buenos Aires and now based in Barcelona) explores sound's social and poetic dimensions through transdisciplinary projects. Drawing inspiration from Erik Satie's concept of "furniture music," Melmann's compositions transform the listening experience into havens of calm and contemplation.

Música Aperta is a fusion of acoustic and electronic sounds, rich in beautiful harmonies, where carefully soft elements interplay with delicate raspiness. Made up of three parts, the music unfolds slowly, immersing the listener in time. Música Aperta resonates with echoes of Satie, the meditative minimalism of Arvo Pärt, the roughness of Phill Niblock, and the nostalgic reflections of Richard Skelton.

Another way of listening to Música Aperta is through its digital encore – an extension of the album experience that brings the concept of open music to life – "a work that remains unfinished and open to transformation." The website features a reactive audiovisual interface where images dynamically respond to the music's behavior, translating electroacoustic frequencies into real-time cinematic landscapes. The album blends instrumental and electronic textures while allowing listeners to interact with different layers through a virtual mixer, enabling them to create unique sound combinations and personal sonic experiences.

Project supported by: Asylum Arts / The Neighborhood (New York), and Château Éphémère - Fabrique Sonore et Numérique (Poissy).

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Concept, composition and production by Aimée Portioli. Wind recordings by Aimée Portioli and Pablo Diserens.

Mastered by Rafael Anton Irisarri. Front cover photo by Bárbara Cameán and Aimée Portioli. Back cover photo by Maria Louceiro. Design by Daniel Castrejón. 

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TRACKLIST LP (36:16)

Tuning the Wind Part I
Tuning the Wind Part II

TRACKLIST DL (36:16)

Tuning the Wind 

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︎︎ LP+DL ︎︎︎ ANOST  ︎︎ LP+DL ︎︎︎ BANDCAMP    ︎ MORE DIGITAL OPTIONS HERE

Tuning the Wind was created in 2022 as an installation piece. Since then, it has been adapted into multichannel, 4DSOUND, and stereo installations, as well as performed live on numerous occasions around the world. The piece has a duration of 36 minutes and 15 seconds. For the vinyl pressing, it has been divided into two parts.

Composer Aimée Portioli, known professionally as Grand River, recorded various types of wind and then reworked them through layering and pitch adjustment to create a musical piece where the wind itself becomes a prepared instrument. At times, the sound of the wind is tuned to the 440 Hz reference, while at other times, the instruments are tuned to the sound of the wind. In Tuning the Wind, nature and music merge seamlessly. Synthesizers and wind recordings become indistinguishable, blending natural sounds with human-made instruments. The boundary between a gust of wind and an instrument-generated sound fades away. Human artistry and nature’s symphony merge to become one.

Wind is air in motion. It makes no sound until it encounters an object. The sounds it produces depend on the strength of the wind and the shape and material of the object it touches. When the wind blows, trees sway, buildings rattle, materials move, and sound waves are generated. Some believe that temperature changes create layers of air, and that the friction between them forms a unique sound—perhaps the true voice of the wind, which birds may be the only creatures capable of recognising. Sometimes the wind howls; at other times, it sings or whistles, shifting from a gentle murmur to an angry roar. The wind’s range of frequencies, tones, and timbres is vast and varied. Tuning the Wind is a piece about the wind, made with the wind—an abstract expression of our ongoing conversation with nature.

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All music composed, produced and mixed by Gabo Barranco aka AAAA in Centro Histórico, Mexico City, between January and April 2024.

Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Mateo Barbuzzi. Design by Daniel Castrejón.

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TRACKLIST (42:00)

01 Capsula C.
02 Slowcore Groove
03 X Scroll Era
04 Refugio
05 Maquinas de Humo
06 Lomas de Sotelo
07 Main Character Syndrum
08 Safe House
09 Fogger 2000
10 You May Rest Here

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︎︎ LP+DL ︎︎︎ ANOST  ︎︎ LP+DL ︎︎︎ BANDCAMP

Through X Scroll Era, Gabo Barranco, aka AAAA, conducts a rigorous overhaul of the aesthetics and statements of low-profile IDM, trance, and progressive-acid music typical of the early 2000’s. In addition to this inherent and undeniable veneration for the era, the pieces on this album — which originated from recordings and experimental exercises with gear and accidentally became an album — serve also as a kind of retrospective inspection of Mexico City's suburbs (Lomas de Sotelo), with landscapes full of indiscriminate concrete, highways of two and three levels, factories, and parking lots that have supplanted nature with their own detached beauty. It is a sound memory, a specific melancholy that praises skate squads of the area, friends from the past, parties, and substances. It reviews the decline of rave culture but also its resilience and capacity for transformation. What AAAA offers us with X Scroll Era is an almost multigenerational soundtrack, a memory that feels collective and recollects euphoria, ecstasy, and nostalgia.

After several LPs and EPs (Acid Test, Omnidisc, Janushoved) and several years active in the dance and contemplative electronic music circuit (MUTEK, BERGHAIN, iii Points, RBMA), X Scroll Era is the first album by Gabo Barranco, aka AAAA, published on the Mexican label Umor Rex.