Illusion of Time

Each track from Olive Shadow captures a quiet conversation between oud and violin - a moment where melody drifts between melancholy and calm. Recorded close and dry, these pieces breathe through subtle pulse and open space, evoking reflection rather than movement.

This music is meant for quiet hours and thoughtful listening - here emotion lingers softly, and every tone fades into stillness.

هذا الألبوم بعنوان ظل الزيتون يجمع مقطوعات موسيقية حزينة وهادئة بآلة العود والكمان، تم تسجيلها بأسلوب بسيط وجاف لإبراز التفاصيل الدقيقة في الصوت. تمتزج فيها أنغام العود الحزينة مع دفء الكمان وإيقاعات خفيفة تعكس طابعاً تأملياً ووجدانياً. هذه المقطوعات مناسبة للحظات الهدوء والتفكير العميق، حيث يلتقي الحزن بالجمال في موسيقى شرقية هادئة.

Olive Duet · Melancholic Instrumental · Oud lead, violin counterline, firm pulse

Collocutor, FYI Chris, Al Dobson Jr, Black Classical, Group As Salaam, Petwo Evans, BodyMoves, Antoine Abayomi (Emanative) and Red Snapper's Rich Thair. Not the usual remix project but a narrative of the best collaborations from On the Corner's two years of giving space to new eclectic and forward thinking sounds.
The release will be up for orders during the pre-release party at Rye Wax on November 29th (where advance copies and promo wax will be available). 

Al Dobson Jr Vs. Collocutor  (Agama Indica Remix)

Alternate cuts from the LPs we used to compile NUM058 Cosmic American Music.



Cosmic American Alternate Universe

Roberto Musci - A Tale For C (03:28)

Kema (aka Giulia Alessandroni) 
Alle Sorgenti Delle Civilta
19CACK (10"/MP3)

The first-ever dedicated album release by pioneering female Italian film music composer/arranger/multi-instrumentalist Giulia De Muittis (aka Mrs. Alessandro Alessandroni). Rare undercover pseudo-ethnological studio sessions made under her experimental alter ego Kema (The Pawnshop/Abnormal Sensations) combining the ethos of Can’s Ethnological Forgery Series (EFS) with the studio trickery of Delia Derbyshire and unshakable credentials as one of the founding figures of Giallo film music and Italian psych soundtracks.

Perhaps best known amongst fans of Italian production music and Giallo movie soundtracks as the wife of the legendary Alessandro Alessandroni, composer, vocalist and multi-instrumentalist Giulia De Muittis was an equally formidable force who emerged from the formative years of the aforementioned anti-genres and rose to a monarchic status within the country’s vibrant, and seldom rivalled musical secret society. The cliché “behind every successful man, there is a strong woman” might not do Alessandro and Giulia’s long-running creative unison justice but one thing that rings true that in the shadows of Senor Alessandroni’s limelight (illuminated by his work with Ennio Morricone for the films of Sergio Leone and Dario Argento) remained a darker musical feminine force which in time has come to represent the duo’s finest and most sought after sonic artifacts. In a career that spanned four decades until her untimely death in 1984 Giulia’s collaborative work as a reliable creative all-rounder and pop polymath has stood the unshakable test of time like few other musicians resulting in projects like The Pawnshop, Femina Ridens, Revolver, Questo Sporco Mondo Meraviglioso, The Night Evelyn Came Out Of The Tomb, Angoscia, Inchiesta Giudiziaria and Witchcraft ‘70 (Angeli bianchi Angeli neri) earning increasing “Most Wanted” status on the collectors’ market. It is of no coincidence that Giulia’s nom de plumes, Kema and De Muittis, have in recent, more educated years, become trusted seals of approval which connect top choice composers such as Raskovich (aka Sorgini), Stelvio Cipriani, Morricone, Braen (aka Alessandroni) Amedeo Tomassi, Piero Umiliani and Bruno Nicolai amongst select others. It is, however, De Muittis’ seldom heard self-initiated solo work for small independent Italian library music imprints that reveal a unique multi-instrumentalist female composer working at her most intimate and uncompromised best.

www.finderskeepersrecords.com

Alle Sorgenti Delle Civilta

Soledad

Kema (aka Giulia Alessandroni) - Soledad

from the album 'semblance' available on kranky 07/20

Semblance

forma 'three-two'

LP preview:  Random Gods: Gazulo à Estronca da Santosa

from Antologia de Música Atípica Portuguesa Vol2 more info at https://www.discrepant.net/product/various-antologia-de-musica-atipica-portuguesa-vol2/

Antologia de Música Atípica Portuguesa Vol2

Various - Antologia de Música Atípica Portuguesa Vol2 (LP preview feat. Random Gods)

Descomposiciones is a series of parametric experiments with digitla degradation of analog sounds. A compositional method based on the decomposition and breakdown of existing structures. Like a grated carrot. Temporary moments of stasis on the path to silent, total dissapearance. The source material for the degradations comes from personal analog tapes, used cassettes, failed projects, and devastated records spinning for their last time, but it is also composed of synthetic forests, unexpected lullabyes, crowds of nostalgia dossolving, into a convolution of parts.

at its core this tape is an attempt at non linar music, an ambient space in which to reside, if only for a moment. anti stories, the breaking of narratives into processes. the untanglement of story, into not word, but letters, or even particles of ink turned to moist and luscious dust. 

This tape is about process. about composing through destruction, and decay. about reducing something to its atomic components, and building something else, something totally distinct out of its atoms. It is about mesmerizing detail. Its about change. Its a sound compost, that by decomposing, enriches the topsoils of our future endeavors. 

Descomposiciones is the first Ambient album by Ecuadorian sound maker Quixosis. It was produced between 2016-2018 and will be released officially on June 15th in a live presentation in Vienna.

Descomposiciones

Buy Cassette

Cascada

Balafon A (ft Seth Sutton)

New album out 29 January!

Nahawa Doumbia’s new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N’gou Bagayoko. 

The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia’s daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on “Adjorobena,” a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song “Foliwilen” to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in “Djougoh” to talk about lazy people; and, in “Ndiagneko” she advises people to ignore critics, just do you.  

Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. “The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. But I ask them why do they leave their country? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. That’s why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs.”

Kanawa

Nahawa Doumbia - Kanawa

PLEASE DON'T SEND DEMOS

www.musicfrommemory.com

Amsterdam based record label releasing visionary electronic music from both past and present.

Sublabel: @secondcircle

Roberto Musci - A Tale For C (03:28)

Music From Memory