ORIKI A SHANGÓ: KABIOSILE!  (2004-2020).excerpts
for amplified Flute/Piccolo, amplified Clarinet/Bass Clarinet in Bb/ Eb clarinet and percussion.
Flutes: Helene Navasse; Clarinets: Nathalie Harris; percussion: Mathias Reumert.  


Oriki a Shangó.Kabiosile! 2004-2020 (excerpts)

GLORIA (Bembé à la Nativité de mes Orishas)
fragmentes of a rehearsal
SOXXI percussion group. Castilla la Mancha. 2025

GLORIA. ENSAYO 5.FRAGMENTS

GLORIA (Bembé à la Nativité de mes Orishas)
REHEARSAL. FRAGMENTS.
Castilla La Mancha, 2025.
SOXXI

GLORIA. ENSAYO 7.FRAGMENTS (2025)

GLORIA 2024-2025
(Bembé à la Nativité de mes Orishas)
live recording at the NAK Festival, Pamplona, AUDITORIO BALUARTE, Spain.
SOXXI Percussion Group


GLORIA.excerpts.2025

YEMAYÁ-OLOKUN (2023.Rev.2024)
Live recording of the premiere of the revised version, at the OpenDays Festival 2025, DK.
Double bass: Ivan Medvedev; Piano: Maria Eshpai.
Picture: Louise Hansen.

YEMAYÁ-OLOKUN (2023.Rev.2024)

Del 305 al 212, volando con aché y ron.
Babaluaye bendice el viaje: fuego en la sangre, ciudad en los ojos y ritmo que no descansa.
Un puente entre Miami, Nueva York y la fe del bloque.

Mia 2 Nyc (Aché) [Babaluaye]

A person I work with is always trying to get me to do a cover of Red Hot Chili Peppers... but I'm not a fan & I have no desire to do it. However, Sublime seemed like a decent trade-off! So I told her I'd do a Sublime cover instead. I picked "Santeria". It's their biggest hit & it was super easy to translate into grunge/punk. An earlier original song I wrote called "A Punk Rock Sorta Love" already reminded me of Santeria, but it is a bit different. For this version I decided to do an all out, fast as fuck at 180 bpms version that just never puts on the brakes once it's past the little intro. I dig it! It's pretty snappy. For guitars I used my Schecter Omen Elite, my Samick JTR "Linda" & my High Performance Ibanez RGA. Bass used was the LTD. The final mix??? I hope so.

Santeria (Sublime Cover 2025)

Santeria

NSAMBI NDIGANGA II 2024
(Bembé au Saint-Sacrement)
Lyrics by Louis Franz Aguirre, inspired by anonymous Yoruba, Congo, and Latin prayers.
Commissioned by and written for Pilar Fontalba, Ramiro García, and Horia Dumitrache, with funds provided by the OpenDays Festival.
Liver recording of the premiere at the OpenDays Festival, Angars Kirke, Denmark.
IMUSIN ENSEMBLE (Pilar Fontalba:Oboe/Horia Dumitrache: Clarinets/Ramiro García Martín: Bassoon).

NSAMBI NDIGANGA II (2024).fragments

Crescent City Bound

TOQUE A OGGÚN Y SHANGÓ (2018)
excerpt from a rehearsal in DK with the Añá International Ensemble.
live recording. December 4, 2025

TOQUE A OGGÚN Y SHANGÓ.fragment.ensayo

TOQUE A OGGÚN Y SHANGÓ. fragment.ensayo.4

TOQUE A OGGÚN Y SHANGÓ (2018)
Live recording of the Danish premiere, on December 5th, 2025.
Añá International Ensemble 
Flutes: Liam Mallet, Clarinets: Horia Dumitrache, Saxophone: Henriette Jensen, Percussion: David Hildebrandt, Piano: Talvi Hunt. Guest conductor: Mathias Reumert.
Notes on TOQUE A OGGÚN Y SHANGÓ by Dr. Iván César Morales.
Algunos críticos han denominado la música de Aguirre como: “salida de los infiernos” y “no para los débiles de corazón”. “Toque a Oggún y Shangó” no es una excepción en el catálogo de Aguirre, y sigue ahondando en la exploración de uno de sus conceptos fundamentales: el “monodrama strumentale”. 
Su discurso musical es la expresión metafórica de un mundo (ir)real penetrante y transgresor de prodigiosa energía y eficacia comunicativa. En estrecha complicidad con sus intérpretes, siempre de probado virtuosismo y desenvolvimiento polivalente,  Aguirre conforma los trazos de un entorno sonoro-ritual multi y micro-sensorial. Aquí convergen,  bajo una densa mixtura polidireccional, complejos contrapuntos, intrincados diseños rítmicos, saturadas sonoridades microtonales y amplios espectros de alturas y ruidos (uso de técnicas extendidas), junto a una gama de recursos físicos gestuales de elevada riqueza sígnica.  Aguirre aprehende cuanto elemento encuentra a su alcance para hacer realidad en su obra los más velados y estrepitosos efectos que logran caracterizar, en paralelo, el mundo subjetivo (quasi psicodélico) y representacional de las ancestrales ceremonias afro-cubanas. Y es que “Toque a Oggún y Shangó” es una obra que está intrínsecamente relacionada con la esencia cosmogónica de los ritos afro-cubanos. Con la metafísica existencial del Eggun, del Orisha, del Mpungo –que son los espíritus contenidos en las fuerzas incontrolables de la naturaleza– y con toda su impredecibilidad, su energía descomunal y su pavor.

Some critics have characterized Aguirre’s music as “emerging from the depths of hell” and “not for the faint of heart.” “Toque a Oggún y Shangó” is no exception within Aguirre’s oeuvre and continues to develop one of his foundational concepts: the “monodrama strumentale.” His musical discourse constitutes a metaphorical expression of a penetrating and transgressive (ir)real world endowed with prodigious energy and communicative potency.
In close collaboration with his performers—consistently recognized for their virtuosity and polyvalent proficiency—Aguirre constructs the framework of a multi- and micro-sensorial sonic-ritual environment. Within this space, under a dense polydirectional amalgam, complex contrapuntal structures, intricate rhythmic configurations, saturated microtonal sonorities, and expansive spectra of pitches and noise (arising from the use of extended techniques) converge alongside a repertoire of physical and gestural resources of high semiotic richness.
Aguirre incorporates every element available to him in order to materialise within his work the most veiled as well as the most explosive effects—effects that concurrently evoke the subjective (quasi-psychedelic) and representational dimensions of ancestral Afro-Cuban ceremonial practices. Indeed, “Toque a Oggún y Shangó” is a composition intrinsically linked to the cosmogonic essence of Afro-Cuban rituals: to the existential metaphysics of the Eggun, the Orisha, and the Mpungo—spirits embedded in the uncontrollable forces of nature—together with their unpredictability, overwhelming energy, and awe-inducing presence.
Dr. Iván César Morales Flores. Profesor de la Universidad de Oviedo, España.

TOQUE A OGGÚN Y SHANGÓ (2018)

Yèyé Olókun

YALODDE V (Homage to Boulez) 2025-2026
II- MAGNIFICAT ANIMA MEA OBBATALÁ
Live recording of the premiere.
Denmark, March 1st, 2026.
H2Ø DUO
Percussion: David Hildebrandt
Accordion: Adam Ørvad

YALODDE V (MOV. II) 2025-2026

 YALODDE V (Homage to Boulez)  2025-2026
Mov. I- SALVE REGINA OSHÚN
percussion/singer: David Hildebrandt
accordion/singer: Adam Ørvad
H2Ø Duo
Live recording at the Langenæskirken, Århus, Denmark.

YALODDE V 2025-2026. Mov. I-Salve Regina Oshún

BEMBÉ (2008)
Live recording at the OpenDays Festival, Denmark.
SOXXI Percussion Group.

BEMBÉ (2008)

BEMBÉ A OBBATALÁ Y ODDÚA (2017-18)
In loving memory of Harold Gramatges, mentor, professor and friend.
percussion: David Hildebrandt & Athelas Sinfonietta Copenhagen.
Live recording of the premiere in KBH, February 25, 2018

BEMBÉ a OBBATALÁ y ODDÚA (2018)

We are NOIR GRIS GRIS, a music band of Fred STZ (composer) and Kipanga Cha Radi (lead vocal), passionate about pop music, world music and rock. Our music reflects the world before our eyes—its shades of beauty, pain, tenderness, and cruelty. We believe in music without borders, open to all influences from around the world. Join us for a unique and authentic musical journey!

I have played guitar since the age of 14 (around 1990 give or take) & I still play to this day... only now instead of playing live or seeking to be in a band, I record my own music at home! I use Audacity software (free!) & basically use a mic to record my guitars, bass & vocals through my various guitar amps. Drums I "program" by downloading tracks from youtube & chopping them up to suit my needs. I write my own music as well as record covers. I'm not a singer & all of my vocals are achieved by doing multiple vocal tracks to create a harmony that is otherwise lacking. Sometimes the results are ok, sometimes it sucks. Either way, making music & taking care of my cats are the 2 main reasons I am on this Earth. I hope you enjoy some of my stuff!

EL3MENDO — HIJO DEL FUEGO
Afro-Cuban Hardcore Hip-Hop ⚡🔥

Born where faith collides with survival.
Raised on batá drums, sirens, and cement.

I channel Yoruba mysticism, New York boom-bap,
and Miami street fire into ritual sound.

Bars are prayers.
Verses are commands.

⚡ From the block to the altar — Fire Gospel only.

#StreetRitual #AfroCubanRap #FuegoDelBloque

https://louisaguirre.cargo.site/
https://www.youtube.com/channel/UCpHP3DQe90w6q6uD_kY-UAw/featured?view_as=subscriber
Louis Aguirre (f. 1968) Cubansk komponist bosiddende i Danmark. Aguirre er uddannet som komponist i Cuba, Amsterdam, men fortsatte studierne efter han flyttede til Danmark i 2004, og afsluttede solistklassen i komposition ved Det jyske Musikkonservatorium i 2007. Aguirre er en stærk og original stemme i dansk musikliv. Hans værkliste, med mere end 200 værker, inkluderer: opera, orkester- og kammermusik, soloværker, vokalmusik, koral-, elektronisk- og didaktisk musik. Han er en aktiv del af musiklivet i Danmark og Nordjylland, bl.a. ved sit arbejde som medlem af komponistgruppen Snow Mask og som kunstnerisk leder af Snow Mask Ensemblet. En række af hans værker er inspirerede af den cubanske Santeria religion og de religiøse tekster fra området.

NZØ ÁȘĘ is more than a stage name; it is a sacred sonic dwelling a "House" (Nzo) built on the foundation of survival and the power to manifest (ÁȘĘ). Founded by Cristiam Wilhelmy , the project was born in the dark, cold vacuum of domestic violence and homelessness. When the reality of the world failed him and traditional painting could no longer soothe the depth of his anxiety and pain, Wilhelmy developed the proprietary RAFSLAW method.

Polished through rigorous education in attachment styles, family dynamics, cognitive distortion, and PTSD recovery, the RAFSLAW method allows Wilhelmy to alchemize heavy emotions into professional, high-fidelity soundscapes . With an expansive archive of over 65 tracks, the NZØ ÁȘĘ sound is defined by a "Dual-Drive" production style: blending atmospheric progressive depth with the rhythmic urgency of global House and EDM.

Despite its origins in darkness, NZØ ÁȘĘ is a project of defiant light. Rejecting the "depressed vibe" often found in trauma-based art, tracks like "IT IS MY HONEY," "IN THE DARK I FOUND YOU," and "TEARS AND RAIN" serve as uplifting vocal mantras designed for healing and purpose .

Step into the House of Power. Experience the manifestation.
SoundCloud Track Disclaimer (2026 Version)

This track is an independent release by NZØ Ashé.
All music is original and protected by copyright.

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© 2026 NZØ Ashé. All Rights Reserved.

Composer, musician, guitarist, violinist, vocalist.

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