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Acclaimed DJ/producer Elena Colombi compiles an ambitious, multi-faceted tribute to Bell Hooks’ writings on love, heard via exclusive music from Christos Chondropoulos, Laurel Halo, upsammy, Coby Sey, Solid Blake, Brainwaltzera and many more... The 21 track, 92 minute results of this first part selection place Colombi’s curatorial tekkerz at the service of world building and allusive narrative navigation, pairing her selection of artists in an immersively quizzical session that questions cross-gender solidarity through art and music with a richly engrossing flow of material that jogs the imagination along its axes. Resembling a radio play or deeply personal mixtape, the mix follows a thread from the tensions of opposites in Olivia Salvadori’s angelic cooks and Coby Sey’s spoken word on ‘With all the Senses, Su Di Te M’Infrango’ thru absorbingly textured vignettes by Christos Chondropoulos unique to the set (‘The Spell’ and ‘Love Song’), and some breathtaking works by Laurel Halo on ‘Waves Goodbye’, to sidewinding sorts of Drexciyan electro-techno that each embody her thoughts in their own ways. The tape's conceptual thrust gives ample food for thought, but it’s just as well enjoyed on its musical merits, covering ground between the peal of Ben Bertrand’s solo sax ‘What To Do With My Male Body’ and muscular variations of dance music, and highlight to our ears a number of new artists such as Galina Ozeran with the Drexciyan enigma of ‘DVizhenie’, or the skulking beatdown of Frank Rodas on ‘Dial Up’, to see more established ones like Solid Blake flexing their experimental side. Really good.

弊店でも毎度瞬殺完売必至の大人気レーベル、濃密な音楽体験をお約束する”Cairo Records”の最新タイトルとなる第８弾コンピレーション！Mississippi recordsがディストリビューションする、このコアな黒人音楽遺産レーベルの最新作は著名アーティストから発見することすら困難なオブスキュアな無名アーティストまで超絶ディープなバラッドを収録した、Harry SmithのAnthology Of American Folk Musicのソウル版とも言うべき、鋭い審美眼による選び抜かれた豪華ソウル・ミュージックを25曲収録。場末の酒場は今日も歌へと酔いしれ、哀歌へと沈み、黄昏の夕日へと焦がれる毎日。遥か遠い日を夢に見る男と女の心打つバラッドの数々に乾杯です！金箔プリント・カバー&ブラック・インナー・スリーヴ仕様。28ページにも渡るフルカラー・ライナーノーツが付属。完全限定盤。同レーベルからのコンピは再プレスもなく、瞬時レア化しているため今回も争奪戦が予測されます。この機会を絶対にお見逃しなく！全音楽好きに大・大・大・大・大推薦です！

Subtitled: Ethnic Music Classics: 1925-48. This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation in a limited edition pressing. Produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. "One of the most consistently rewarding world music compilations in years, the cuts range from Macedonian fiddle jaunts to Puerto Rican Christmas tunes, from Abyssinian religious chants to ominous Japanese court music. The instruments include Ukrainian sleigh bells, Sardinian triple pipes, Vietnamese moon lutes and Ethiopian one-string violins...a profound artistry lurks beneath the alien vernaculars." --Village Voice; Vol. 1 contains music from Nigeria, Sardinia, Russia, Ceylon, Rajahstan, Cuba, Rumania, Vietnam, Macedonia, Morocco, Society Islands, South Africa, India, Japan, Jamaica, Fiji, and more.

Ethnic Music Classics: 1925-48. This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressing. Reissue produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. Early 20th century recordings from Bulgaria, Puerto Rico, India, Mozambique, Ukraine, Trinidad, Kazakhstan, Ceylon, Tibet and elsewhere, compiled by archivist Pat Conte.

Ethnic Music Classics: 1925-48. Restocked. Outernational Records is pleased to announce the third volume of this legendary series is now available on the vinyl format. This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressing. Reissue produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. Early 20th century recordings from Poland, Spain, China, Angola, Turkey, Mongolia, Russia, the Congo, and elsewhere, compiled by archivist Pat Conte.

In 1973, the Sound Sculpture Show took place at the Vancouver Art Gallery. An LP audio catalogue (with a booklet) of the exhibition, entitled “The Sounds of Sound Sculpture”, was released in 1975 under the supervision of the Canadian sound sculptor John Grayson and US composer David Rosenboom. Grayson had edited an important early book on the field, “Sound Sculpture”. The LP included rare takes of Rosenboom and Grayson, amongst others, playing famous pieces by pioneering sound sculptors including the Baschet brothers and Harry Bertoia, the latter best known for his Sonambient series. It also included some of the few recordings by Stephan Von Huene, who had begun to create his kinetic sculptures, and the profound atmospheric pressure systems constructed by the New York sound artist David Jacobs. The LP comes complete with a booklet of visually arresting photos and other materials about these historic sound sculptures.

In 1973, the Sound Sculpture Show took place at the Vancouver Art Gallery. An LP audio catalogue (with a booklet) of the exhibition, entitled “The Sounds of Sound Sculpture”, was released in 1975 under the supervision of the Canadian sound sculptor John Grayson and US composer David Rosenboom. Grayson had edited an important early book on the field, “Sound Sculpture”. The LP included rare takes of Rosenboom and Grayson, amongst others, playing famous pieces by pioneering sound sculptors including the Baschet brothers and Harry Bertoia, the latter best known for his Sonambient series. It also included some of the few recordings by Stephan Von Huene, who had begun to create his kinetic sculptures, and the profound atmospheric pressure systems constructed by the New York sound artist David Jacobs. The LP comes complete with a booklet of visually arresting photos and other materials about these historic sound sculptures.

Paradise Is A Frequency present their first compilation, The Style of Life — a 70-minute guided vacation for the mind assembled from thrift-store obscurities and forgotten formats. Known for unearthing strange sonic artefacts from the world of YouTube deep dives and bargain-bin treasure hunts, the collective gathers a dizzying mix of “wine cooler-core” moods, consumer-grade smooth jazz, aerobic VHS ambience and elevator-ready tape loops. Across four sides, the set features contributions from Metamorphosis, Lorad Group, Ski Johnson, Mensah and others. Presented as a kind of fictional lifestyle software update, the compilation is accompanied by a booklet of reflections, dig sites and visual fragments — extending its strange corporate-dream aesthetic beyond the music itself.

Thirty-two artists honor the extraordinary legacy of Suzanne Langille through interpretations of her vast songbook. Langille is best known as an acclaimed avant garde singer-songwriter and collaborator of guitarist Loren Connors. They ventured into electrified blues and abstracted artsongs across more than a dozen albums since the mid-1980s.

Langille’s songs, with Connors, solo, or other collaborators, are marked by distinct and captivating depth. Her evocative lyrics, layered with themes of loss, longing, and the natural world, defy conventional boundaries, blending poetry with potent melodies. Her work embraces the uncertainty of life and the delicate spaces between joy and sorrow.

Langille’s first published composition — “Grip My Hand” — kicked off Connors’ 1990 album Rooms. As her songs began to dot more of Connors’ albums, she led the spontaneous blown-out rock band Haunted House and collaborated with the trio San Agustin. Later, she released two albums with daf-player Neel Murgai.

“Suzanne’s songwriting defies easy classification. She bypasses essay-style lyrics and unsubtle emotion. Instead, she dives into the tenuous spaces between life, the unknown, and the shades of uncertainty lingering in between,” Family Vineyard's Eric Weddle writes in the album liner notes. “That’s the magic of Suzanne’s songs. A melody rises and pulls you in, like the relentless undertow of the Long Island Sound.”

The Suzanne Langille Songbook features a diverse array of artists who reinterpret her music, showcasing its timeless and transformative power. 

Stunning compilation of great soul songs. The third in a six part series of compilations following a similar logic as Harry Smith’s Anthology Of American Folk Music – only where Smith covered folk, blues, gospel and old timey, this compilation covers just American soul music recorded between 1955 and 1972. Many deep ballads and a few rockers. Features extensive 12 page liner notes with lots of photo’s as well as a real special bonus insert. Cover has gold foil printing, and the records are housed in classy black sleeves. Super fancy limited edition double LP not to be missed.

This limited-edition compilation LP was curated from the legendary Westbound Records catalog by participating Record Store Day stores, and marks the second installment of the Westbound Records Curated by Record Store Day series. Volume 2 showcases the label's lasting influence on hip-hop and beyond, with some of the most sampled tracks in the Wesbound vault. The track list for this compilation was carefully curated by the hardworking people in record stores themselves.

Incredible LP of shambolic garage rock recorded from 1966 - 1968. Lo fi, sincere, deep, catchy, badass music. Hard to find gems. A must for fans of real deal 60's garage rock. Not for the faint of heart.

Stunning compilation of great soul songs. The third in a six part series of compilations following a similar logic as Harry Smith’s Anthology Of American Folk Music – only where Smith covered folk, blues, gospel and old timey, this compilation covers just American soul music recorded between 1955 and 1998. Many deep ballads and a few rockers. Features extensive 12 page liner notes with lots of photo’s as well as a real special bonus insert. Cover has gold foil printing, and the records are housed in classy black sleeves. Super fancy limited edition double LP not to be missed.

The World Is but a Place of Survival: Ethiopian Begena Songs documents the spiritual heart of Ethiopia’s Orthodox Amhara tradition. The begena, a ten‑stringed lyre linked by legend to King David, is reserved solely for sacred music. Its rich, buzzing tone – produced by leather strips beneath the strings – is believed to protect against evil and bring players closer to God. Symbolising elements of the faith, the instrument is played during times of prayer and reflection, especially Lent. Long associated with scholars and nobles, the begena endured even the Derg regime’s ban.

Recorded in Addis Ababa by Stéphanie Weisser (2002–2005) and mastered by Renaud Millet‑Lacombe, this release comes via Death Is Not The End under licence from VDE‑Gallo, Switzerland.

The World Is but a Place of Survival: Ethiopian Begena Songs documents the spiritual heart of Ethiopia’s Orthodox Amhara tradition. The begena, a ten‑stringed lyre linked by legend to King David, is reserved solely for sacred music. Its rich, buzzing tone – produced by leather strips beneath the strings – is believed to protect against evil and bring players closer to God. Symbolising elements of the faith, the instrument is played during times of prayer and reflection, especially Lent. Long associated with scholars and nobles, the begena endured even the Derg regime’s ban.

Recorded in Addis Ababa by Stéphanie Weisser (2002–2005) and mastered by Renaud Millet‑Lacombe, this release comes via Death Is Not The End under licence from VDE‑Gallo, Switzerland.

The second of Louis Wayne Moody’s trilogy of mid-century noirs, 1966’s runaway adventure They Move In The Night follows the escapades of “The Kids”—teenage siblings Cara and Applejack Seaworth—as they set out across America by thumb, rail, and bicycle in search of their long lost father—”The Man.” Hunted by the F.B.I., P.T.A., C.T.A., animal control, and a wicked grandmother dead set on claiming their inheritance, The Kids must come to grips with their orphaned reality and an unyielding future.Discovered after spending 58 years on a dusty shelf in the Louis Wayne Moody Pictures vault, this previously unissued soundtrack contains a backpack’s worth of grieving guitars, somber surf, and haunting hiss, zipped tight with the teeth of abandonment, dashed dreams, moral ambiguity, fate, tearful goodbyes, and lukewarm diner coffee. Because the long arm of society nips at their heels... They Move In The Night.

A new Cairo double LP soul compilation! Shiny gold cover, two LP's and a 38 page book. All soul music from the early 1960's to early 1970's. All killer , no filler.

“Let me fly you home. We can talk on the way”

Thorn Valley is a 20 song assemblage of various transmissions from the ever diffuse and widening DIY underground, released to mark the four year anniversary of World of Echo.

Available as a gatefold double LP pressed in an edition of 500.

Artwork by Matthew Walkerdine.

クレジット

Now-Again Records presents a new, essential entry into the growing phenomenon known as Psych-Funk with Those Shocking Shaking Days: the untold story of Indonesia¡Çs various underground 70s musical scenes. Few are aware of the progressive music scenes from 1970s Indonesia, as censorship imposed by the dictator Suharto lead to crackdowns on those courageous enough to rebel. This insurgent sound - marked by relentless fuzz, over the top, politically charged lyrics, strong rhythms and a cranky low-fidelity - is as similar to that of Rare Earth protégés Power of Zeus as it is to that of South Korean psych-god Shin Jung Hyun. It is as informed by James Brown¡Çs funk as it is by the hard, progressive rock of Deep Purple and King Crimson. This anthology contains 20 tracks of hard, psychedelic, progressive rock and funk that has been largely unheard or ignored outside of the confines of this island nation. This is all thanks to the tireless (and expensive) research of Canadian hip hop producer and Southeast Asian music specialist Jason ¡ÈMoss¡É Connoy, the trust that Indonesian rock legend Benny Soebardja placed in Now-Again Records as he traversed his homeland¡Çs islands securing the necessary rights for the tracks contained within this anthology, and the cultural context added to the proceedings by Indonesian ex-pat Chandra Drews, who assisted in a track-by-track annotation. This anthology is the first of its kind – the first Western-based survey of the most impressive organizations to offer their take on the psychedelic and progressive rock and funk sounds during the shocking, shaking days of Suharto¡Çs regime. This gem can be purchased as a deluxe ¡Èmini-LP¡É tip on sleeve CD or a 3 LP triple paste on gatefold. Included are extensive liner notes, photographs, ephemera in full color booklets and, of course, fully restored and remastered audio.

Following the success of the 'Tokyo Glow' and 'Funk Tide' sets, Wewantsounds once again teams up with Tokyo-based DJ Notoya for a breezy selection of Funk and Boogie recorded in Japan for King Records in the 70s and 80s. Most tracks here are making their debut on vinyl outside of Japan and the album, like its predecessors, has been designed by Optigram's Manuel Sepulveda and is annotated by DJ Notoya. The audio has been newly mastered in Tokyo by King Records and remastered for vinyl by Colorsound in Paris.

- New Addition in the Wewantsounds Japanese Music Compilation series
- Compiled and annotated in Tokyo by DJ Notoya
- Unique access to King Records' vault
- Most tracks Making their Debut Outside of Japan
- Artwork by Optigram's Manuel Sepulveda

Tracklist
A1 BUZZ - Garasumado ガラス窓 2.35 (1974)
A2 Mami Ayukawa - Sabita Gambler 錆びたギャンブラー 3.53 (1987)
A3 Johnny Yoshinaga - The Rain 雨 5.47 (1978)
A4 Keiko Toda – Fade In 溶明 4.15 (1983)
A5 Koji Kobayashi - Bokura no Date 僕らのデート 3.08 (1978)

B6 Yuko Imai – Hotel Twilight 4.49 (1988)
B7 Kumiko Sawada – Your Love’s Away ユア・ラブズ・アウェイ 4.23 (1979)
B8 Masatoshi Kanno - Day By Day デイ・バイ・デイ 3.32 (1976)
B9 Yuji Mitsuya – After Five At Café-Bar 4.49 (1984)
B10 Fujimaru Band - Paper machine 2.29 (1977)

Diving deeper into the story of Japanese reggae pop, Tokyo Riddim Vol. 2 explores an electronic, new wave and often experimental sound unlike anything Japan or Jamaica had ever heard before.

The first time Ryuichi Sakamoto left Japan, he did not go to the United States or Europe - he went to Jamaica. It was 1978, YMO were about to release their debut album, but Sakamoto was in Kingston, invited to play synths for Japanese idol singer Teresa Noda at Dynamic Sound Studios in a band alongside Neville Hinds and none other than Rita Marley. It’s not a story many know, but one which would spark Sakamoto’s fascination with dub and mark a new chapter in the ongoing Japanese love affair with reggae.

The Teresa Noda tracks they cut - ‘Tropical Love’ and ‘Yellow Moon’ - bookend this second volume of Time Capsule’s Tokyo Riddim compilation, which tells the wider story of how a fascination with Jamrock swept Japan, adding a dash of lime to that sweet city pop sound, embracing a globalised musical palette and creating a whole new genre in the process.

For some, like Sakamoto, a diversion into reggae was part of broader fascination with new sounds and styles, tipped into the global disco of homage and appropriation that made Japanese music of the late ‘70s and early ‘80s some of the most creative and undefinable in the world.

You had iconic shape-shifter Yosui Inoue, who toyed with reggae, afro-beat and electro-Balearic, (and whose For Life Records released several tracks on this comp), and Kay Ishiguro, who enlisted J-reggae originator Pecker on the ambitious Stevie Wonder-esque ‘Red Drip’.

Then there were the Compass Point devotees - producers and musicians alike who were enthralled by the sound of the Bahamas studio and drew on the detached cool of Grace Jones - as heard in the music of Juicy Fruits, and the disco noir of Casablanca-signed femme fatale Yuki Nakayamate. Sometimes, as was the case with Risa Minami, the J-reggae influence said more about Japan than it did about Jamaica.

But where Tokyo Riddim Vol. 1 focused on the city pop sound, this compilation goes further, digging out the more experimental collaborations and hybrids exemplified by Tomoko Aran, who in working with Yusuaki Shimizu and Mariah emphasised just how far reggae had travelled to be recast into something entirely new on the other side of the world.

Perhaps more than anything, in connecting the dots between Tokyo and Kingston, between Jamaica and Japan, the Japanese reggae was building a musical language that existed outside of the paradigms of US and European cultural hegemony - an encounter shaped by commerce, capital and creativity that is now being recognised more broadly for the first time.

The idea of putting together songs like impressions of a feeling rather than a collection of recordings from a certain decade or style or genre was at the heart of a discussion I had with Norman in 2019. It was a warm July day on the Riviera. I had just finished putting together the sound system for our first and only festival. “It should paint a picture”...

We began a work of compiling. Norm would send tracks and we would try to situate them on the spectrum of a large “carte postale” encompassing in one corner the kitsch resort balneaire, in the other the sail boat in a Caribbean creek, with sandy beaches and glimmering waves in between. With the certainty that the French only seem to possess in matters of taste (my wife Emma is the same), Norm would go: “ah ca c’est 100% Blue Wave” or not at all.

Shortly after, I was introduced by Norm to Charles. The two had been exchanging on references for a while and they had agreed to work together. I was over the moon of course. Our souls had been sucked to Club Meduse shortly prior, and was an inspiration for our aspirations.

The timeline here gets blurry. I lost a bunch of money in the Lebanese crisis and the local economy melted down. Covid hit. The second edition of Pocket of Light Cote d’Azur got cancelled. Movements restrained. Lovers separated. And then the Beirut Port Explosion happened.

I won’t meander long in self pity, but at this very moment in time, the beach seemed so far away, like a forgotten paid reservation at my dream holiday destination. It took me a while to shake that feeling off. Sometimes it still catches me.

We convened to meet in Dusseldorf. We had a party at the Paradise Now. The next day, we had cold tea and cake. Charles walked us through a part of his collection. Every record like a layover on the way to where I left off in my head.

At this moment, seeing Norm and Charles moving to the sound, I remembered that we were up to something golden.

A couple years later here we are. I am thankful for the patience of my collaborators and thrilled to present to you this volume of Transcoastal.

A reminder to keep sailing on that capricious sea despite the weather. Not too far off after the horizon, a gentle vision of paradise awaits.

We went out of our ways, we hope you go out of yours.

Love, light and sand in your shoes,

Mario

Vinyl-only for the time being.

SONIC TRANSITS Electronic and Tape Music by Peruvian Composers (1964-1984) This compilation offers a first overview of the early works of electronic and tape music created by Peruvians between 1964 and 1984. This period marks a technical and aesthetic evolution that allows us to understand the development of electronic music in the Peruvian context, from an initially internationalist model to a more situaded one. The first phase occurs in the 1960s, when many composers migrated outside Peru in search of advanced training and access to knowledge and infrastructure that the academic music scene in Peru could not provide. During these specialization trips, Peruvian composers gained access to the languages of the international avant-garde of the post-war period. César Bolaños traveled to Argentina, to the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the Instituto Di Tella, where he produced an extensive body of work, including "Intensidad y Altura" (1964) for magnetic tape, the first electronic work produced in the CLAEM electronic music laboratory. Similarly, Edgar Valcárcel was a CLAEM fellow and also spent time at the Columbia-Princeton Electronic Music Center in New York, where he composed, among other works, "Invención" (1967) for magnetic tape. Enrique Pinilla also passed through there, composing "Prisma" (1967) for magnetic tape. Alejandro Núñez Allauca was another CLAEM fellow, where he composed "Gravitación Humana" (1970) for magnetic tape. However, several Peruvian composers faced the dilemma of how to continue these sonic explorations locally without relying solely on specialization trips to access the infrastructure of major international laboratories. Due to the inability to establish a laboratory for electronic music production in Peru during these early decades, given the weak institutional framework of the academic music circuit and the absence of budget allocations for the National Conservatory, it was rather private initiatives in recording studios that paved the way for the sustained production of experimental pieces with electronic setups and media, largely oriented towards the production of music for film and dance. This was accompanied by a notable interest in utilizing the sounds of native Peruvian instruments. This also marked a shift from an internationalist model of electroacoustic music towards an openness to other types of sonic experimentation. Composers such as Arturo Ruiz del Pozo, Luis David Aguilar, and Corina Bartra belong to this new period, which also marks the emergence of an initial scene of experimental music and free improvisation. Ruiz del Pozo pursued a Master's in Electronic and Film Music at the Royal College of Music in London, where he composed "Selvynas" (1978), part of his series "Composiciones Nativas," concrete music pieces based on native Peruvian instruments. Upon returning to Lima, he continued producing music for films using electronic sounds and setups. Luis David Aguilar also became involved in music for film and television, composing, among other works, "Hombres de viento" (1978), the soundtrack for José Antonio Portugal's film, which mixes native and Western instruments amplified and processed electronically. He would be one of the first to have a private recording studio. Corina Bartra, after being part of various improvisation ensembles alongside musicians such as Ruiz del Pozo and Aguilar, traveled to London where she took courses in composition and electronic music, composing the mixed work "Aves en vuelo al sur" for voice, instruments, and tape in a private studio. Sonic Transits: Electronic and Tape Music by Peruvian Composers (1964-1984) is part of the Essential Sounds Collection series produced by Buh Records for Centro del Sonido, a website set up as a digital archive of Peruvian experimental music and sound art. The compilation has been curated by Luis Alvarado and is published in a limited edition of 300 copies in double vinyl format. It includes extensive notes and visual documentation. Mastered by Alberto Cendra. Art and desig by Gonzalo de Montreuil.

Triángulos De Luz Y Espacios De Sombra (Triangles of Light and Spaces of Shadow) is a collection of visionary Mexican electronic music sourced from obscure cassettes, CDs, private pressings, and personal archives, presented by Séance Centre and Smiling C. These works trace an expansive scene of prescient musicians who created a unique speculative cosmology, forging Mesoamerican mythologies with innovative sonic technologies. From the mid-80s through the 90s, a network of Mexican musicians embarked on a journey to craft a musical expression distinct from the mainstream musical culture that dominated the airwaves and record industry. Based around practices of collaboration, ethnomusicology, electronic experimentation and home-recording, these artists traversed territories at the very edges of genre and musical form. Myth-scientists Antonio Zepeda, José Luis Fernández Ledesma, Jorge Reyes, Isaac Alva, and La Fábula venture into the periphery of the new age, incorporating Pre-Columbian rhythms and melodies into their dream-like compositions. Vistas Fijas, Armando Velasco, Eblen Macari, and Gabo move through radical new wave territories, utilizing guitars and drum machines to map their musical chronicles. Germán Bringas and Eugenio Toussaint traverse the jazz landscape, blending horns with electronics, improvising long uncharted expeditions. Pinning down a unified sound for these artists is challenging, yet they collectively cohabitate the capacious space of "ambient," employing diverse expressions through various imaginative modalities. What distinguishes these artists is a distinctly transhistorical approach which vividly imagines sonic possible worlds. In an attempt to situate themselves within a culturally and historically complex landscape, many of the artists on the compilation reactivate ancient Mesoamerican music traditions, those of the Aztecs, Maya, and Olmecs. Their electronic compositions are intricate tapestries woven with the haunting melodies of pre-Hispanic flutes and ocarinas, resonating alongside the echoes of ancient percussive marvels like the teponaztli and huéhuetl. Ritualistic chants, undulating synths, and atavistic rhythms intertwine, conjuring a hypnotic mosaic of chimeric sound. Natural and acoustic sounds are juxtaposed within a synthetic habitat, as if towering skyscrapers cast a shadow across ancient pyramids. Rather than longing for an impossible past, these works evoke fantastical visions suspended in dreams, glimpses into the mythical realm of the hummingbirds. The title "Triángulos De Luz Y Espacios De Sombra" (Triangles of Light and Spaces of Shadow) is inspired by a public access TV show of the same name that showcased several artists featured in this compilation. Imagining triangular prisms of light superimposed on otherworldly shadows feels apt for these illusory and phantasmagoric sounds. The space between these two opposing but interdependent images is the resonant juncture where these artists create their auditory oracles. This compilation highlights the prophetic luminaries of this underground community of musicians, with many of these songs previously unreleased or only available on fugitive formats until now. This double LP release features 17 tracks remastered from reel-to-reel, DAT, and cassette masters. It includes two inserts with an essay by Mexico City based music journalist David Cortés on both Spanish and English, accompanied by archival photos of the artists and artifacts featured on the compilation. The first edition comes adorned in a luminescent sticker illustrating a solar eclipse. RIYL: Outro Tempo, Durutti Column, Jon Hassell, Música Esporádica, Finis Africae