You Have the Voice

Isolation Depth

<div class="payload-richtext"><p>(◕‿◕) 🧡 BIENVENIDXS A WWW.OTHER-PEOPLE.NET  🧡 (◕‿◕)</p></div>

(◕‿◕) 🧡 BIENVENIDXS A WWW.OTHER-PEOPLE.NET  🧡 (◕‿◕)

<div class="payload-richtext"><p>(◕‿◕)  💚 WELCOME TO WWW.OTHER-PEOPLE.NET 💚(◕‿◕)                                                                                                                                      </p></div>

(◕‿◕)  💚 WELCOME TO WWW.OTHER-PEOPLE.NET 💚 (◕‿◕)                                                                                                                                      

<div class="payload-richtext"><p>🦜🦜🦜 (◕◕◕‿◕◕◕)  HAVE A LOOK AROUND  (◕◕◕‿◕◕◕)   🦜🦜🦜                                                                                                                                   </p></div>

(◕‿◕)  WELCOME TO OUR NEW WEBSITE  (◕‿◕)

<div class="payload-richtext"><p>April 26-27 at Kägelbanan. Tickets here: <a href="https://sodrateatern.com/evenemang/musik-show/other-people-label-residency/">https://sodrateatern.com/evenemang/musik-show/other-people-label-residency/</a></p></div>

OP Residency in Stockholm

<div class="payload-richtext"><p>Sary Moussa will be playing his latest record at Rewire this year. More info here:  <a href="https://www.rewirefestival.nl/artist/sary-moussa-trio">https://www.rewirefestival.nl/artist/sary-moussa-trio</a></p></div>

Sary Moussa trio live at Rewire Festival

<div class="payload-richtext"><p>Our friends at Tunefork Studios have compiled this album for the millions of displaced people in Lebanon due to continuous Israeli assaults. <a href="https://tuneforkstudios.bandcamp.com/album/land-03-a-compilation-for-the-displaced-in-lebanon">https://tuneforkstudios.bandcamp.com/album/land-03-a-compilation-for-the-displaced-in-lebanon</a> Inside you can find  tracks by OP artists Sary Moussa and Charbel Haber. </p></div>

Tunefork Studios compilation for the displaced in Lebanon

<div class="payload-richtext"><p>Ncky Mao (Hiro Kone from Enxin/Onyx) and friend Rayyan are raising funds for Lebanon as its people are continuously assaulted by Israel. Please support this initiative here:  <a href="https://chuffed.org/project/174094-relief-for-families-in-beqqa-valleybaalbek">https://chuffed.org/project/174094-relief-for-families-in-beqqa-valleybaalbek</a> From the description: &quot;As you all may know well enough by now, on March 2nd Israel widened its assault on Lebanon, after a year and a half of a false ceasefire that witnessed a relentless bombardment of the south and its people through missile and drone strikes. As we write this, there are over a million displaced to areas across the country, with over 900 martyrs and more than 2,000 wounded.&quot;</p></div>

Nicky Mao (Hiro Kone) and a friend are raising funds for Lebanon

<div class="payload-richtext"><p>Period Music is a research process involving Susanna Gonzo, Merma Suelo, Tuce Alba, Elizabeth Gallon Droste, Agnese Menguzzato, and Farah Hazim. The six artists aim to attune to the different temporalities experienced through our bodies, drawing from multiple meanings of period – from the menstrual cycle to musical repetitions and astronomical revolutions. Get the physical copy here: <a href="https://periodmusic.bandcamp.com/album/period-music">https://periodmusic.bandcamp.com/album/period-music</a></p></div>

Period Music is out today!

<div class="payload-richtext"><p>Transfer - a new Surface Access record. (Update: it&#39;s sold out!)</p></div>

Surprise drop!

<div class="payload-richtext"><p>We are happy that you are here. We are a record label and book publisher established in New York City in August 2013. We have released over 90 music albums and half a dozen books. All our music is streamable here for free and you can buy it from us if you want to directly support the artists. Have a look around!</p></div>

Welcome to OP

<div class="payload-richtext"><p>Cinna Peyghamy unveils new album fusing Persian tombak and modular synthesis<br /><br />Five years in the making, &quot;Music For Tombak &amp; Synth&quot; bridges heritage, technology, and personal identity. The project, initiated in 2019 during Peyghamy&#39;s master&#39;s thesis research on contact microphones, was conceived as a means to reconnect with his Persian roots while exploring experimental sound design. On the album, Peyghamy seamlessly blends the traditional Persian tombak with modular synthesis and digital signal processing, creating a distinctive musical landscape that bridges live improvisation and studio production. The album’s genesis traces back to Peyghamy’s exploration of improvised electronic music and his desire to craft a performance-ready setup. Over several years, the project evolved from capturing the energy of his live shows into a fully composed studio work.<br /><br />&quot;Music For Tombak &amp; Synth&quot; stands as the first record where Peyghamy unites his dual identities as a live performer and studio producer, resulting in a body of work that reflects his deep connection to family, memory, and cultural heritage. The album features personal elements such as his father’s voice reciting the poetry of Ahmad Shamlo on the track Dar Shab در شب, collaborations with long-time friend Quelque Bourdon on clarinet, and the evocative sounds of the Persian setar, all anchored by the physicality and rhythms of the tombak. A sentiment further reflected in the album cover; a photograph taken by his father, Khosrow ‘Payram’ Peyghamy, picturing both his parents and grandparents.<br /><br />With this release, Peyghamy moves beyond conventional boundaries of &quot;traditional versus contemporary&quot; or &quot;acoustic versus electronic,&quot; instead offering a nuanced exploration of identity through sound. Each track serves as a keepsake, referencing cherished memories, emotions, and musical influences that define his experience as a French-born artist of Iranian descent, unable to visit his home country. &quot;Music For Tombak &amp; Synth&quot; invites listeners to engage with a deeply personal narrative, rooted in both cultural history and sonic innovation.</p><p><br /></p></div>

Cinna Peyghamy

Mutosy

Music for Tombak & Synth

Zur زور

Truth Is Possible

Glass Teeth 94

La Nesque

Dar Shab در شب

Divân دیوان

Quelque Bourdon

Slow Eaters (ft Quelque Bourdon)

Period Music

Lune

A Hair Braiding for Submerging in the Ocean of Dreams

Underworld Sustained by the Storm

Undoing the Spell

A Polyphonic Drop To Enter The End Of The World 

<div class="payload-richtext"><p>Another fine slab of dub techno from French duo Surface Access</p></div>

Surface Access

Transfer

Exposition Zero

<div class="payload-richtext"><p>Following a string of acclaimed collaborations, including Agua Dulce with percussionist Laura Robles and Mapambazuko alongside Congolese guitarist Titi Bakorta, Peruvian artist Alejandra Cárdenas (aka Ale Hop) returns with her most personal work to date yet, A Body Like a Home. Marking her first album under her birth name, the project is a sonic memoir exploring the tangled realms of trauma, recovery, and love through autobiographical soundscapes. A Body Like a Home is the artist at her most exposed. Comprising 13 songs and 15 poems, the album sees her set aside collaborative fusions for solo catharsis, channeling years of turbulence - intergenerational scars left by colonialism, racism, domestic violence, and alcoholism - into a work that oscillates between brutality and tenderness. Cárdenas states: “I grew up under Alberto Fujimori’s dictatorship, when a veil of hopelessness seemed to settle over everything. This is the backdrop of the album. The songs and poems trace the inevitable loop between private wounds - addiction, domestic violence, fractured intimacy - and Peru’s national scars, carved by colonialism. It’s not a straight story or a resolution. Writing and composing became a ritual of digging for meaning, into what’s buried, disguised, or renamed, until the body itself became a living archive.” At the heart of the album is Cárdenas’s own voice - part witness, part confessor - reciting over layers of electric guitars, electronic textures, the haunting violin of Mexican musician Gibrana Cervantes, and a collage of field recordings, from rainfall, muffled whispers, broken glass, to archival protest footage from Peru. The result is a work that resonates like a diary written in sound. The first single, &quot;Motherland&quot;, is a searing testimony where Cárdenas voice cracks under the weight of history and personal loss. Amid a storm of distorted guitars, she traces the cyclical legacies of colonialism, from state massacres branding Indigenous bodies as “terrorists” to the spiral of addiction as an unavoidable future. The lyrics draw parallels between political and domestic violence: a mother’s drunken knife pressed to her chest, and a motherland where racism is currency. She utters: “sacrifice demands a body.” Yet, amid the wreckage, a willful grip on love and faith persists. Ultimately, A Body Like a Home is a document of transformation. Tracks like &quot;Evangelina&quot; and the title piece &quot;A Body Like a Home&quot; hold space for resilience, spirituality, and love, while &quot;Early Road&quot; and &quot;Going South&quot; thread subtle nods to Peruvian folklore, opening up bright vignettes into a sense of belonging. The poetry chapbook accompanying A Body Like a Home (five of its pieces are also recited on the album) extends the work, building a parallel architecture. Oscillating between the documentary and the mythic, the intimate and the forensic, the profane and the oniric, these poems practice a theology of the ordinary, where everyday objects - cameras, knives, moth-eaten cotton - are charged with spiritual and historical weight. Here, the body is land, house, battlefield, collective pain, geological territory; and trauma is, in contrast, archival, cellular, ritualistic, inherited. Read alongside the music, the stories refract across two mediums: songs give them breath and poems give them bone.</p></div>

Alejandra Cárdenas

On Memory

A Body Like a Home

Glass Skin

Early Road

Anatomy of a Straight Line

Untamed

Motherland

Tear Gas Clouds

Evangelina

Inward

When We Were Diamonds

Dream of Fire

Going South

<div class="payload-richtext"><p>Following up a string of releases on labels such as Mana, Sun Ark, Orange Milk Records and Abyss, Other People are honoured to present the new album Fobia by Argentinian musician and sound artist aylu, real name Ailin Grad. Inspired in part of Grad&#39;s many collaborative projects over the last few years, Fobia sees her collecting and rearranging the music and sounds fostered within these to create an intimate, spiritually charged album that turns personal struggle into collective resistance and resilience. What initially started as a way for Grad to process her own experiences with agora- and claustrophobia, and an attempt to navigate feelings of shame and a perceived demand to keep these feelings bottled up and hidden from the world, she began to realise how mental health struggles are not isolated incidents but part of broader systems of collective suffering and injustice. “It took a long time for me to discover that my issues were part of a system that produces these kinds of symptoms and that it takes a lot of courage to find a way around them. I have the feeling that more and more people suffer from these kind of things in some way or another, and what was at first taught as something you should be silent about and keep private, I discovered that the more you talk about it and share it with people you trust, the more you realise that it’s part of something much bigger.” This tension and constant pull between fear and joy, light and dark, is present throughout the album. From the strained breathing featured in opening track Yodo echoing the suffocating feeling from claustrophobia interspersed with the lighter textures of Obelisco Elysium and Prospero offering up a sense of relief, to the almost cacophonous, immersive sounds of El Sol Mal, mirroring the complex, often contradictory emotions when navigating mental health challenges. Fobia invites listeners to move through pain with honesty, finding strength in shared experiences.</p></div>

aylu

Yodo (Veneno)

Fobia

Obelisco Elysium

 Desaparición Incompleta

Via Negativa

Prospero

El Sol Mal

Somitas

Cometierra

Yodo (Remedio)

<div class="payload-richtext"><p>Earth Sounds Now is a collective made up of community activist and musician Stefan Christoff, drummer, composer, scholar, and bandleader Asher Gamedze, music producer Nicolás Jaar, pianist and composer Büşra Kayıkçı, and novelist, poet, and sound performer Kaie Kellough. Over 13 months, they met online to share sounds, readings, writings, and drawings, resulting in Convergence—a project reflecting their collaborative process. Each member submitted different works, including paintings, poetry, field recordings, and musical experiments, taking turns responding to each other&#39;s contributions. Member Stefan Christoff highlights the importance of listening in these sessions: &quot;Sometimes we would listen all together, so there was also silence on the online call as we all listened on headphones to the sounds from our respective places. I am underlining listening here, which the world needs much more of.&quot; These submissions were organized into a sound library and finally mixed into record format by Jaar, capturing the essence of their exchanges across global soundscapes.</p></div>

Earth Sounds Now

Convergence

VIII

<div class="payload-richtext"><p>Highlighting a decade of working together as ‘Fronte Violeta’, Brazilian transdisciplinary artist Anelena Toku and musician and sound artist Carla Boregas are set to release the album ‘Fronte Violeta’, a captivating blend of aural compositions, scents and experiences. Switching the moniker name to the album title serves as a way to showcase the culmination of their multidisciplinary project’s journey, developed from compiling fragments, sounds and intentions from their previous body of work comprising electroacoustic and electronic music composition, moving image, scent, installation and live performances. ‘Fronte Violeta’ is a sonic amalgam where synthesized sounds, percussion, voice, feathers, branches and other non-human sonorities coalesce. Toku and Boregas have skillfully woven together those elements creating a rich tapestry of interconnected sounds that tension our perception as something always in motion, never fully settling into an established form. The limited edition of the release features a specially crafted incense, composed to intertwine with the listening experience. This relationship between sound and scent is something that’s been present in their work, both can evoke different stimuli on their own as well as in tandem. Made from plants - cinnamon, rosemary, fir and breu resins - the scent is a resonance of remembrance, an invitation for a multisensory unveiling.</p></div>

Carla Boregas

Anelena Toku

A Orelha do Mundo

Fronte Violeta

Clarão

Antes eu não sabia como dizer tudo que eu digo agora

Falando, eu me lembro

Lebrina

Hush

Estilhaço

Patrimonium

O Avanço em Retorno

<div class="payload-richtext"><p>&quot;Wind, Again&quot; is Sary Moussa’s fourth studio album and second album on Other People. Based between France and Lebanon, Moussa returns with a riveting electro-acoustic album informed by his ever-changing relationships to space, listening, and resonance as well as his growing interest in the study of harmonics in electronic and electro-acoustic music. Years in the making, “Wind, Again” approaches distinct musical worlds and languages by bringing together improvisations by musicians performing on Western and West Asian instruments such as the Hammond organ, clarinet, saz, and buzuk with electronic arrangements and textures. Rather than force a rapprochement of these musical worlds through the instruments, and keenly aware of the weighty sonic histories they carry, Moussa proposes another way through which they can exist together in contemporary electronic composition. Composed of six tracks, each of which demonstrate an array of recording and processing techniques, the album generates moments of tension produced by the synthesis of textural, tonal, and harmonic encounters that Moussa calls “shadows”, which outline an impressionistic musical language, existing at the edge of familiarity. Such moments permeate tracks like “Everywhere at once” and “Violence” that open with the Hammond organ and the saz respectively and slowly reveal an expansive field of sounds that showcases each of the musicians’ characteristic performances and Moussa’s densely layered textures. It is a latent yet unrelenting tension through which the composer invokes rather than represents a collective experiential state, especially familiar to those who know his environment. In “Wind, Again” these shadows are articulations of sounds steeped in traditions they are never quite tethered to. Such articulations are implied and alluded to, they play within a musical reference without the latter explicitly existing in the recording, always teetering, never completely here nor there. Sonically and musically, the album is fueled by the cultural, social, and personal realities that Moussa was brought up and lives in. Both personal and musical ties with the musicians who feature on the album is central to Moussa’s practice. In the title track “I will never write a song about you”, musician Julia Sabra opens with rolled piano chords, followed by Paed Conca on clarinet and Abed Kobeissy on buzuk, before Moussa’s electronic processing pieces together, lifts, and sustains the melodic direction of the track that emerged from the musicians’ separate improvisations. For Moussa: “The initial connection between the three performances was made on a track that no longer existed, the original recording was both an obstacle and necessary step for the track we hear on the record. It’s as if we were all telling different stories and I pulled on the thread that held them together”. The track, and more generally the record, is tinged with a melancholy of things lost, though it never fully succumbs to it. “Everything inside a circle”, Moussa’s most personal track and for which he provides the only vocals on the record, harkens back to a childhood memory of listening to music with his mother in a car: “There was a sound I was looking for — a memory of a sound and how I first heard it. This track is a hybrid of that memory and what I wanted to make of it”. The track relies heavily on generative systems and perhaps embodies most the ambiguous quality of the record’s music in its refusal to be pinned down by one musical tradition or another. “Wind, Again” is both familiar and alien, cold and warm; it pays homage to the mechanics, materials, and tactility of the instruments and converges acoustic and synthetic spaces. What anchors the sound of the album are the elements of a whole that cannot find its own idiosyncrasy and that is precisely why Moussa’s album is a tour de force.</p></div>

Sary Moussa

I Will Never Write a Song About You

Wind, Again

Everywhere At Once

White Dust

Violence

Everything Inside a Circle

A Storm, a Gift

<div class="payload-richtext"><p>aylu&#39;s debut release for Other People</p><p>Music originally composed for Alan Martin Segal’s “Desaparición Incompleta” (2020) Recorded in Belcebú Studios by Luciano Vitale, Buenos Aires, Argentina, 2021 and 2023</p><p>Voice: Luciano Vitale Tenor Saxophone: Rosa Nolly Bustos Artwork: Maziyar Pahlevan Cover photo: Brenda Erdei at Televisión Pública’s Studio, Buenos Aires, Argentina Mastering: Pantxo Bertin</p></div>

<div class="payload-richtext"><p>Delectable and on point duc techno, Advanced Surface Habitat is the debut 12&quot; by French duo Surface Access.</p></div>

Drainage/Overflow

Advanced Surface Habitat

Basic User Charge

<div class="payload-richtext"><p>Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly group A), joins Other People with their debut album &quot;In Rupture,&quot; capturing the same mesmerizing energy for which their live sets have become known. “In Rupture” is not painless but in rupture lies possibility. The elasticity of this time pitching us across unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision, shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the layers through discord and harmony, exciting the inversion of expectation, towing the listener to depths and back up again to illuminate the senses. At times metallic and feral, at others murky and sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem. The opening track “A Void” calls to mind some mutation in its mechanical ecstasy, but for what purpose remains unknown. Even in the near moments of stillness, “Needle Pierces the Threshold” breathes a forceful disquietude. Tommi’s vocals pulling the listener down into some subterranean madness, to unravel upwards from all sides, flooding the once parched landscape. In “Embers Kiss the Eye”, all of time emerges in one moment, compelling the subject’s gaze towards a new horizon. The album follows its subjects through exile, exhumation and discovery. Through this process plates shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return.</p></div>

Enxin/Onyx

A Void

In Rupture

Flare and Coil

Needle Pierces the Threshold

The Face of Others

Embers Kiss the Eye

Dorothy

Din Dian Redux

<div class="payload-richtext"><p>Okokon returns to Other People with his sophomore album, &#39;Offering&#39;, delving deeper into the lush and cinematic soundscapes he first explored on his debut album, &#39;Turkson Side&#39;. While primarily working in visual arts, Africanus Okokon, who records under his surname, bridges his artistic practices in &#39;Offering&#39;, using his masterful collage techniques to create his most personal work yet. Defying easy categorization, the album melds influences from dream pop, avant-garde folk, psychedelia, trip hop, and dub, with traces of field recordings seamlessly blended throughout to form a cohesive whole. &#39;Offering&#39; sees Okokon confronting and negotiating a sudden and unexplained death that occurred in his childhood and the complex emotions left in its aftermath, acting as his main inspiration when making the album. This ambiguity is something that permeates throughout, with Okokon wanting to explore the ambivalence and sometimes uneasiness of contradicting emotions appearing simultaneously, alluded to in the album title. This is also reflected in how the album tracks each inhabit different narrators with varying perspectives on the same events. The result being a hauntingly beautiful album, with recurring themes of death, growth, sacrifice and spirituality ever present.</p></div>

Okokon

Borga

Offering

Mentor

Judgement (feat. Okwui Okpokwasili)

Principalities I

Fruit Bat

Lifted

Principalities II

Agnate

Libate

Bones

Wraith

<div class="payload-richtext"><p>The initial seed for this project was planted in 2020 when Nicolás Jaar wrote the song “Piedras” for a concert at the Museum of Memory &amp; Human Rights in Santiago, Chile, which commemorates the victims of human rights violations during the military dictatorship led by Augusto Pinochet between 1973 and 1990. Between 2022-2023 it took on a new form as a radio play entitled &#39;Archivos de Radio Piedras&#39;, which was shared on a dedicated Telegram channel. In 2024, the play was converted into a 24 channel installation at the University Museum of Mexico City (MUAC), where it was exhibited for 5 months. Piedras 1 and 2 is a collection of the tracks featured within the play, all new music by Jaar, but partly presented within the play as the music of Salinas Hasbún (the name a composite homage to Jaar&#39;s grandmothers, Graciela Salinas and Miriam Hasbún). The play follows two friends mourning the disappearance of Salinas Hasbún, a musician and writer who vanished in the early 2020s. Although they live in a future where technology is advanced, they resort to DIY radio methods because the anonymous group “Las 0cho” has launched a worldwide attack on undersea internet cables, causing a global internet blackout. The play&#39;s central theme revolves around the idea that truths, memories and identities speak from the cracks (“rasgaduras”), or the &quot;in-between&quot; spaces (&quot;en el entre&quot;). This concept is supported by the way much of the narration unfolds - in the liminal spaces between radio frequencies. The instability and transitory nature of a constantly shifting radio dial becomes not just a metaphor but the structure of the play itself. It’s in these moments of noise, static and interference that the deeper revelations of the story emerge. This disjointed, ever-changing medium mirrors the way memory and trauma operate within the play - non-linear, slipping through the gaps, found in fragments or ordinary moments, rather than direct transmissions of “official” historical accounts. This notion reaches its climax at the end of the narrative, when a text is discovered in which Salinas speaks of finding a new number in a small pond in a cave mentioned in the first episodes of the radio play. This pond, inside the “cochlea of the world”, is seen as a way to introduce real-life randomness to computation. Embodied in the salt lakes of northern Chile, home to the world’s oldest bacteria, this randomness disrupts the rigid order of binary code, paving the way for a transformation of digital life.</p></div>

Nicolás Jaar

Radio Chomio (con Eli Wewentxu)

Piedras 2

Rio Radio Correspondencia Anfibia

3eee

F Collect

Even Heaven is Uneven

El Azar

I, you

Heterodina

Sin Conexión

SSS1

SSS2

SSS3

Cangilón

Piedras 1

Piedras

Aquí

Agua pa Fantasmas

Rio de las Tumbas

Viento

Mi viejita

Song of Hope

<div class="payload-richtext"><p>&quot;Narraciones de un Retorno&quot; es una serie de siete composiciones para violín y txompe, acompañadas de un zine de 56 páginas realizado por el violinista y artista sonoro Eli Wewentxu. El zine fue diseñado por Andrés Yañez y cuenta con contribuciones de Daniela Catrileo y Nekul Nuñez. La música fue grabada en Other People Studios (Berlin) en el verano y otoño de 2024. Con este lanzamiento, Eli diluye el límite entre la música y la narración oral y comparte la memoria sonora del territorio al que su familia pertenece desde hace varias generaciones. Partiendo de ahí, Eli dialoga la forma en que encontró un lenguaje propio mediante la música, tornando la estética eurocéntrica de instrumentos como el violín en una herramienta identitaria. Esta labor transita temáticas como la sequía en su lof ubicado en Chomio; la experiencia de crecer en el espacio partido entre el campo y la ciudad de Padre las Casas; la relación de su familia con la carpintería y también con el catolicismo instaurado; la prohibición de hacer música con el txompe; poéticas y prácticas críticas de la hegemonía del violín impuesta por la academia; y el retorno al territorio después de haber vivido lejos, al otro lado del mundo en otro continente. Eli Wewentxu es un artista mapuche de PLC, Gulumapu - Wallmapu, llamado hoy centro sur de Chile. Se formó como violinista desde temprana edad. En lo creativo trabaja con la composición musical, arte sonoro y audiovisual. Su búsqueda tiene como foco resignificar la escucha y mirada desde una perspectiva propia ligada a su identidad cultural, contexto territorial y crítica hacia el mundo académico occidental. Actualmente vive en su comunidad en Chomio mapu, donde realiza un archivo sonoro del territorio, trabaja con la tierra y cuida animales. La música y el documento con la traducción al inglés vienen en un USB con forma de violín. -- &quot;Narraciones de un Retorno&quot; is a series of seven compositions for violin and txompe accompanied by a 56 page zine by violinist and sound artist Eli Wewentxu. The zine was designed by Andrés Yañez and features contributions by Daniela Catrileo and Nekul Nuñez. The music was recorded at Other People Studios (Berlin) in Summer and Fall, 2024. Throughout &quot;Narraciones de un retorno&quot;, Eli shares the sound-memory of the territory in Wallmapu to which his family has belonged for generations. The work addresses topics such as the drought in the Chomio lof; the experience of growing up in the between space between the countryside and the city of Padre las Casas, Eli&#39;s family&#39;s connection with carpentry, their relationship with enforced Catholicism, the prohibition to make music with the txompe, poetics and practices critical of the violin’s hegemony imposed by the academy and finally a narration of Eli&#39;s return to the territory after having lived far away on another continent. Eli Wewentxu is a Mapuche artist from PLC, Gulumapu, Wallmapu, called today south central Chile. He trained as a violinist from an early age and works with musical composition, sound art, and audiovisual media. His work focuses on reshaping the act of listening from a perspective connected to his cultural identity, territorial context, and critique of the Western academic world. He currently lives in his community in Chomio mapu, where he makes a sound archive of the territory, works with the land and takes care of animals. Music and English translation document come in violin-shaped USB stick.</p></div>

Eli Wewentxu

Choroico 211

Narraciones de un Retorno

Aire

Epu Changül Kuwü

Lija

Pu Txewa Petu Inantuy ta Marra

Pieza sin Nombre

Mawun

<div class="payload-richtext"><p>This album marks a new direction and development of Higgins&#39; acclaimed work as a guitarist and composer, drawing on electronic music, free improvisation, and avant-garde modern composition, VERSUS is a highly emotional and expressive work that pushes Higgins&#39; own instrumental virtuosity into new territories. He performs guitar, keyboards, synthesizer, drums and laptop programming across a 9-track record that traverses and transforms many aspects of Higgins&#39; earlier work. The title track &quot;Versus&quot; was premiered at Monom Studios in Berlin, in a configuration for 75 surround sound speakers. Combining composed and written elements with highly-focused lyrical improvisations, VERSUS shows Higgins at his best — bridging styles and innovating new music that is harsh while seductive, intense while inviting, and always unexpected. The recording is itself a stunning achievement of electro-acoustics, beautifully created organic immersive stereo-scapes where instruments and electronics become indistinguishable, hi-fi audio at its best and most innovative. (Headphones or high quality speakers recommended.)</p></div>

Patrick Higgins

Antinome

Versus

In Situ

Sirocco

Catalyst

Faceless (Pulse) 

The Outside Doesn't Dream of Itself

Little One

Aporia

<div class="payload-richtext"><p>The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar’s Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he’d dreamed of; he’d previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn’s autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon. Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it. “Time To Hold Better” points to neglect on both personal and group levels. “This Time Last Year” is a personal time capsule. “We Keep Us Safe” is about solidarity, autonomy, and care witnessed within protest groups. “Melancholy Sabotage” is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. “Measures” is a more fluid exploration of the latter after the initial storm has passed. “We Don’t Owe” points to bigger bodies inflicting harm on populations that we owe nothing to. “Breaking Points” harkens the times that we may lose focus while pushing to transcend melancholy. “Eviction” is about being pushed out of a space unwillingly while simultaneously being forced to move forward. Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara’s most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara’s uneasiest outing to date. The record pinpoints the duality at the heart of Solpara’s sound, which is as plaintive as it is searing.</p><p><br /></p></div>

Solpara

Time to Hold Better

Melancholy Sabotage

This Time Last Year

We Keep Us Safe

Measures

We Don't Owe

Breaking Points

Eviction

<div class="payload-richtext"><p>Nicolás Jaar Rework of Büşra Kayıkçı “The Middle of Nowhere”</p></div>

Büşra Kayıkçı

Middle of Nowhere (Jaar rework)

Middle of Nowhere 

<div class="payload-richtext"><p>Archivos de Radio Piedras is a 17-episode radio play written and scored by Nicolás Jaar between 2019-2023. It features an hour and a half of new music which can be found in the second half of this Bandcamp release.<br /><br />Taking place in a speculative future Chile, set against the backdrop of a global digital blackout orchestrated by the enigmatic anarchist faction, &quot;Las 0cho,&quot; the narrative begins with a house fire and the presumed loss of a boy in a parched Chilean village, suffering under the weight of extractive mining. This event is revealed to be a nested narrative, a creation of Salinas Hasbún (whose name is a composite homage to Jaar&#39;s grandmothers, Graciela Salinas and Miriam Hasbún) and a friend to the protagonists Ere and Zeta.<br /><br />Hasbún&#39;s disappearance in 2022 leaves behind a legacy of musical and theatrical works, annually remembered by the two radio hosts. This year diverges as &quot;Las Ocho,&quot; in collaboration with unexpected allies, trigger a global digital shutdown, catalyzing a cascade of peculiar occurrences, including the speculative discovery of a new number.</p></div>