Umor Rex

Vrindavan 1982 Ustad Zia Mohiuddin Dagar (excerpt)

Sam Dunscombe - Two Forests - Oceanic (excerpt)

David Jackman - 石碑老鳥 (excerpt)

Kakuhan - LIVE 0 (excerpt)

Mark Fell, Rian Treanor, Kakuhan – Promo (excerpt)

Nicolás Melmann — Música Aperta

Umor Rex, catalog UR154
Vinyl LP, digital and streaming 
Release date: April 4, 2025

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.

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

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


VINYL LP
A1  Música Aperta I  — (06:30)
A2  Música Aperta II  — (11:17)
B3  Música Aperta III — (18:36)

Umor Rex records 2025 / UPC: 796520479937
Press & general inquiries: editor@umor-rex.com 
Worldwide distributed by Morr Music Distribution GmbH 
Anklamer Str. 30, 10115 Berlin  /  order@morrmusic.com

Música Aperta

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Nicolás Melmann - Música Aperta II

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.

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.

El Sol de los Muertos

cassette or digital

Los Ecos de las Voces del Silencio

"Still Forms in Air" is the debut album by Italian composer Francesca Marongiu under her own name. It draws inspiration from mid-1980s Japanese ambient music — Hiroshi Yoshimura, Satoshi Ashikawa, Takashi Kokubo — and, more subtly, from Italian experimental echoes rooted in both personal and cultural memory.

The album unfolds like suspended time, like architecture that quietly bears witness to the shifts that have shaped our cities and the ways we live in them. These tracks reflect an emotional and urban landscape, shaped by a gaze cast upon the mid-1980s and early ’90s — a time of subtle yet lasting changes in the form and meaning of shared space. That period marked a delicate turning point, later described as les années d’hiver: the slow onset of fragmentation beneath a surface of creative openness.

"Still Forms in Air" doesn’t dwell in nostalgia (though it draws from it), but reimagines that duality through a contemporary lens. Its sound blends memory and presence, layering ambient textures with a refined spatial sensitivity. It is a dialogue across decades — clear-eyed, affectionate, and quietly luminous.


Written, arranged and recorded by Francesca Marongiu in Rome and Pistoia between May 2024 and March 2025. Francesca Marongiu: electronics, synthesizers, vocals, sound objects. Antonio Gallucci: wind arrangements on track 1 and 4, bass and sound objects on track 3, drums on track 3 and 4. Mixed by Francesca Marongiu and Antonio Gallucci. Mastered by Antonio Gallucci at Mercurial Mastering in Pistoia. Artist photo by Elisabetta Scarpini. Artwork by Daniel Castrejón




cassette & digital

A Dome Under The Pines

Yogi Ramsuratkumar Ashram, Tiruvannamalai 4th August 2017

Kara-Lis Coverdale and LXV - Disney (James Place RMX / Home Version)

Phantom Horse - Different Forces

Rafael Anton Irisarri from "The Shameless Years"
Available in LP & Digital
www.umor-rex.org © 2017 Umor Rex Records

Post-minimalist American composer Rafael Anton Irisarri makes his Umor Rex debut with bold new album, The Shameless Years. Inspired by a troubled socio-political climate, buried melodies punch their way through a bleak cover of noisy drones, periodically veering into some of Irisarri’s most eerily pertinent music to date.

One of Rafael Anton Irisarri’s most thematically and sonically cohesive records to date The Shameless Years came together in a relatively short burst of creativity starting at the end of 2016. Rediscovering some relatively older tools - namely Native Instruments’ Reaktor, Absynth, and Kontakt software - Irisarri combined them with his collection of guitars, pedals, amps, and analogue processing gear, turning his Black Knoll Studio north of NYC into a powerful writing tool. Completed quickly by Irisarri’s standards, let alone during a period of social upheaval in American society, the record faces down several key personal themes. The title, suggests Irisarri, could in fact be seen as a reflection of the era of shamelessness we’re currently living in; a time of fake news and alternative facts.

Two tracks were completely remotely between Irisarri in New York and Umor Rex veteran Siavash Amini from his home in Tehran, Iran. This music came together at the peak of all the anti-Muslim and anti-immigrant rhetoric happening in the USA, not to mention the banning of Iranians from entering the country, explains Irisarri. The diptych with Amini, ‘Karma Krama’ and ‘The Faithless’, seems bathed in additional waves of sorrow and dread. The wash of symphonic stormclouds of synth drones and processed notes on the latter gradually appears and disappears over the course of thirteen mournful minutes.

‘Rh Negative’ marches gigantic guitars through towering valleys of scarred ambient noise dealing with Irisarri’s own heritage, many of his ancestors having come to America to escape poverty and oppression. The refusal of modern America to extend similar sanctuary to refugees escaping turmoil weighs heavily on the composer. Elsewhere an emotional onslaught of notes buried in mounds of greyscale noise on ‘Sky Burial’ aims to deal with Irisarri’s very own mortality – something he was recently confronted with following health scares, an accident, and a near-death experience in 2016. Pushing 40 as this album was being made, the composer is constantly aware that he’s already outlived his own father, who died at the age of 32. Facing down both intolerance and the void, the epic soundscapes of The Shameless Years are a vast cry of emotion from Irisarri. The clock is ticking - gotta make the most out of it while you still can.

All songs written and performed by Rafael Anton Irisarri, except #5 & #6 written and performed with Siavash Amini. Design by Daniel Castrejón, photos by Camilo Christen. Mastered by James Plotkin.

The Shameless Years

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Rafael Anton Irisarri — RH Negative

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Kara-Lis Coverdale and LXV - Disney (James Place RMX / Home Version)

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