From the album: "Music for Unknown Rituals"

Umor Rex, catalog UR149
Presented in 2xLP vinyl in 4 panel gatefold limited edition of 300 copies, digital and streaming.
Release date: November 17, 2023

After two years, Carl and Andreas present their second album, and once again, it opens up a wide associative space for us. What strikes us initially is the uncommon instrumentation: a church organ, harpsichord, glass tubes, and more. Like their first album (The Aporias of Futurism), it is mysterious and dark. But it also carries a strong touch of rebellion and adrenaline, sometimes quite pointedly. The pieces are now shorter and feature intricate yet irresistible rhythms. The impact is immediate, yet it maintains a sense of solemnity and ceremony. The Apollonian complexity of the rhythms and subtle melodic interweavings is transformed into a Dionysian, ecstatic, hypnotic, and at times tribal context. "Music for Unknown Rituals" oscillates between primitive instincts and avant-garde intrigues.

The process began in Döblitz, a small village on the Saale river in Germany, inside an old church that houses an organ built in 1886 by Johann Adolph Ibach. Carl and Andreas gained access and secluded themselves there for a few days, accompanied by the organ, an instrument made of glass tubes, and a set of modular synthesizers. After recording the basic tracks in Döblitz, the work continued in Munich and Berlin. Carl played electric guitars, harpsichord, bass, metallophone, xylophone, Indian harmonium, and various percussive instruments. Andreas added layers of electronic sounds, noises, and atmospheric drones. He also created percussive structures extracted and derived from recorded material of technical and industrial noises, which contrasted with the acoustic drums played by Carl. The antithetical approach continues with the dichotomous arrangement of the instruments, often panned hard left and right in the stereo field, creating an antiphonic communication. Some parts, especially the use of the electric guitar, evoke memories of the psychedelic sixties. However, this is anything but a nostalgic album—these musical references are merely remnants, set pieces, and fragments used from a contemporary, post-modern, post-youth-cultural, and post-romantic perspective.

Although Andreas and Carl continue on their chosen path of composing music with an almost literary narrative structure, this album is conceptually and formally completely different from their first effort. If “The Aporias of Futurism” was a revolutionary manifesto (in a pataphysical sense), "Music for Unknown Rituals" is more like the implementation in action; it is the practical application of the previous statement. To put it another way, if "The Aporias of Futurism” was the conceptual manifesto of a dark utopia of modernity, "Music for Unknown Rituals" is the staging of free will surrendering to the myths and catharsis of a Greek tragedy. And in response to this, the artwork features a leitmotif of histrionics with hands, the hands being the first and intuitive part of the body to express something: a ritual, a prayer, a defeat...

— Andreas Gerth is one half of Driftmachine, and Carl Osterhelt is part of F.S.K and collaborates with Hans-Joachim Irmler of Faust. Both became connected through their participation in the Tied & Tickled Trio.

Music for Unknown Rituals

Andreas Gerth and Carl Oesterhelt — The Alphabet Of Steps

AAAA — X Scroll Era
Umor Rex / catalog UR152 
LP vinyl, digital and streaming 
Release date: September 13, 2024 

Through X Scroll Era, Gabo Barranco, aka AAAA, conducts a rigorous overhaul of the aesthetics and statements of low-profile IDM, trance, and progressive-acid music typical of the early 2000’s. In addition to this inherent and undeniable veneration for the era, the pieces on this album — which originated from recordings and experimental exercises with gear and accidentally became an album — serve also as a kind of retrospective inspection of Mexico City's suburbs (Lomas de Sotelo), with landscapes full of indiscriminate concrete, highways of two and three levels, factories, and parking lots that have supplanted nature with their own detached beauty. It is a sound memory, a specific melancholy that praises skate squads of the area, friends from the past, parties, and substances. It reviews the decline of rave culture but also its resilience and capacity for transformation. What AAAA offers us with X Scroll Era is an almost multigenerational soundtrack, a memory that feels collective and recollects euphoria, ecstasy, and nostalgia.
After several LPs and EPs (Acid Test, Omnidisc, Janushoved) and several years active in the dance and contemplative electronic music circuit (MUTEK, BERGHAIN, iii Points, RBMA), X Scroll Era is the first album by Gabo Barranco, aka AAAA, published on the Mexican label Umor Rex.

All music composed, produced and mixed by Gabo Barranco aka AAAA in Centro Histórico, Mexico City, between January and April 2024. Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY.
Photos by Mateo Barbuzzi. Design by Daniel Castrejón.

Umor Rex Records © Mexico 2024 / UPC: 796520479906  
Press & general inquiries: editor@umor-rex.com 
Worldwide distributed by Morr Music Distribution GmbH

X Scroll Era

AAAA - X Scroll Era

Driftmachine & Ammer — Sonic Behaviour
Vinyl LP LTD + DIGITAL
CATALOG UR151 — RELEASED MAY 2024

All music composed by Andreas Ammer, Andreas Gerth, Florian Zimmer; Berlin & Berg 2022—2023. Andreas Gerth / Florian Zimmer: electronics Andreas Ammer: sirens. “Song to Noise” words by Deryn Rees-Jones, taken from Signs Round a Dead Body (Seren) 1998; german translation by Birgit Kreipe; voices: Deryn Rees-Jones & Alexander Hacke “The Siren is a simple device” & “Sonic sculpture” words by Andreas Ammer; voice: Ted Milton. Artwork by Daniel Castrejón. Mastered by John Tejada.

Sonic Behaviour

Driftmachine - Song To Noise (Version)

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

Record label based in Mexico City, distributed worldwide by Morr Music.

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