Música para Plátanos takes its name — and much of its inspiration — from the group’s recording studio, situated in the heart of a banana plantation on the humid north shore of Tenerife, Canary Islands. The ever-present sight of the green, sun-drenched fields surrounding their weekly sessions seeped directly into the music: improvised jams that are playful, layered, and deeply connected to place.

This release gathers a distilled selection from those sessions — a kind of “greatest rotten hits” distinct from their ongoing Imaginary Island Music volumes. The album functions as a living archive bringing together a distilled selection of recordings spanning more than five years: from dusty, long-forgotten sessions to evolving tunes that have become staples of the band's live sets but have never before been committed to record. These long-form sessions served as a petri dish for the Lagoss sound, allowing their experiments to putrefy into their chaotic signature strain of cyber-exotica, unstable kosmische or heavily- corroded dub.

The title obvs nods to Brian Eno’s Music for Airports, but the logic is inverted. Instead of clean, ambient drift, the record inhabits a dense and fertile environment: polyrhythmic structures, Latin-infused electronics, and shifting counter-tempos that feel weighted by the local humidity. Ultimately, Música para Plátanos is as much about the process as it is the place. Like the plantation outside, the music is subject to the elements; the tracks change shape depending on the heat of the day, what we drank, what we ate. It’s an unstable, honest harvest of sound—shaped by the weather and the state(s) of mind alike.

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Itara is the debut solo album by Paul Pèrrim — guitarist, composer, and anthropologist — featuring a set of guitar-driven compositions that blend hallucinatory acid folk, abstract blues, mutant Eastern jazz, surreal ambient, and free improvisation into a vivid and distinctive sonic tapestry.

With a background in ethnomusicology and a degree in Music Education, Pèrrim’s work bridges popular and experimental music. He contrasts the acoustic guitar’s austerity with the expansive possibilities of the electric guitar, drawing from late ’60s folk traditions, contemporary fingerstyle, sound collage, drone, psychedelia, and improvisation.

A key figure in the Canary Islands’ experimental scene, he released two albums in the 2010s under The Transistor Arkestra, a Catalan collective merging free jazz and psychedelia. As Transistor Eye, his solo project, he merges analog electronics with guitar, using vintage synths and effects.

In 2022, Pèrrim gained wider recognition through his appearance on Manos Ocultas (Philatelia Records) and the international tribute Solstice: A Tribute to Steffen Basho- Junghans (Obsolete Recordings). That same year, he founded GUITARRACO, a contemporary guitar festival in Tarragona, where he has shared the stage with Joseba Irazoki, Buck Curran, and Raphael Roginski.

“While it’s common to call music cinematic these days, Pèrrim goes split-screen. One might say he composes econo, jamming scenes and sounds to psychedelic effect. But economy does not equate with poverty. Pèrrim draws upon a rich bank of musical notions, all of which he makes his own through the alchemy of recombination and transmutation.” - Bill Meyer, from liner notes

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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Listen: https://on.soundcloud.com/u24KHTonj5kq6CSr7

Salétile return to the Keroxen tenfold with their second long play of 60’s inspired psychedelia and neo shoegaze tunes.
With its members hailing from a particular area of northern Tenerife with its ever present “panza de burro” —a layer of insistent low clouds overcasting the region—, the tone and feel of Salétile’s music had to be naturally clouded and sombre. A periphery sound from the periphery then, a local approach of a popular sound with a calm and serene attitude.
While their first album, Humanoides del abismo (Humanoids of the Abyss), evoked an underwater journey, for their second outing Salétile emerge swiftly into the surface to continue their peculiar sound explorations of their precious surroundings, adding different layers of pressurisation.
A more pronounced melodic intention is present but without abandoning the care for textures and atmospheres that defined their debut, as well as the use of contemporary techniques such as looping and real-time processing, encompassing influences as diverse and timeless as classical music, 1950s R&B, 1960s pop, hip-hop, dub, 1990s English shoegaze, concrete music, slowcore or math rock.
A loopy pot of sources from a hermetic band that is not afraid of pushing their many influences to the foreground. Emerge!
Salétile are Daniel García, Elsa Mateu and Ruymán García
Mastered by Daniel García?Artwork by Gustavo García
Vinyl pressed in Spain



Tracks
1. New Trombone
2. Dürüm
3. Tingle Bells
4. Mr. Waiter
5. Fritolay
6. Suspenser
7. Brakefast
8. Tiburón 3
9. Atsivalatsah


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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Listen: https://on.soundcloud.com/pED5EWKLCp2bnwPQ6

With this new project, their fourth full-length work, Tupperwear completely departs from the "stylish" electronics and trends to delve into a profound exploration of the fundamentals of music.
It involves a quest or even a game through the extrapolation of geometry into various musical parameters, encom-passing classical aspects like pitch, timbre, rhythm, intensity, etc., as well as noise, textures, or the implicit mathemat-ics in natural or irrational elements.
Pentagonono delves into cosmology and nature. It is a musical approach without prejudices to basic numerology that unveils the universe, the harmonic scale, the number e, and logarithmic spirals. The golden ratio (phi) and the omni-present number pi are also explored. Geometric shapes, proportions, and divisions of vibrating elements are transmit-ted through the air, internalized by humans, and transformed into music.
Following in the footsteps of previous sound explorers from various spatial and temporal origins such as Gamelan mu-sic with its infinite polyrhythmic replication, Psychedelia, Serialism, Musique Concre?te, Bach, or J Dilla, this album pre-sents itself as a materialization of ideas and concerns that, while already present in the band's musical understanding, are now brought to the forefront as if it were a vital manifesto.
Artwork by Aristides Garci?a
Mastered by Daniel Baez
Pressed in Spain
LP TRACKLIST:
A1. Los Quasicristales
A2. Hipto?gono
A3. Armoniconono
A4. Montan?a Blanca
B1. Aguataca
B2. Primos Recall
B3. Taga Nano
B4. To Elo


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Listen: https://on.soundcloud.com/B4a7F


Presenting the second thematic volume on the "Aquapelagos" series - a collection of split LPs where selected artists offer their own take into water surrounded cultures and communities. After the initial release of the Anthology compila-tion Aquapelago in 2022 (Discrepant ,CREP91) and the split LP Atlantico by Lagoss & Banha da Cobra (Keroxen, KRXN027) we proudly introduce an unique collaboration in the series in the shape of no other than two improvising giants, Mike Cooper and Pierre Bastien.
This second volume blows the lid wide open with a sound journey inspired by the equally majestic and mysterious Indian Ocean, a wide space of open ocean bounded by Africa, to the west, Asia to the north and north-west and Aus-tralia, to the south west.
From Philip Hayward and Matt Hill's liner notes:
''The album opens with Return To Chagos by emphasising human presence in the oceanic space, opening with gen-tle percussive taps and distant looped male vocalisation that gradually come into sharper focus, layered and thick-ened, accompanied by thicker percussion and mouth harp. The sense of departure is taken up in Trincomalee, which lifts over the oceanic textures, opening with slow, struck and scraped metallic sounds before thick low pitched wind instrument sounds enter, oscillating around shifting microtonal frequencies. The shore returns on Side 2, with the min-iature epic of Nicobar elaborated over looped 'atmos' sounds of birds and insects over which tonal, slightly distorted electric guitar lines enter before looped high pitched feedback squeals join the texture. Summoning tropical storms and the disruption to the region caused by western intrusion, strong and startling brass accents appear, melding with the looping guitar feedback, creating eeriness and a sense of alarm. Tuangku is permeated by restrained dynamics and an expressive, breathy, low pitched, animalistic melodic voice that offers intermittent and ambiguous utterances, Cobra (Keroxen, KRXN027) we proudly introduce an unique collaboration in the series in the shape of no other than two improvising giants, Mike Cooper and Pierre Bastien.
This second volume blows the lid wide open with a sound journey inspired by the equally majestic and mysterious Indian Ocean, a wide space of open ocean bounded by Africa, to the west, Asia to the north and north-west and Aus-tralia, to the south west.
All songs by Mike Cooper & Pierre Bastien
Mike Cooper: Guitar, electronics
Pierre Bastien: Musical Robots, Trumpet

Artwork by Evan Crankshaw
Aquapelago concept by Phillip Wayward
Produced and Curated by Gonçalo F. Cardoso

Recorded at Espacio Cultural El Tanque, Santa Cruz de Tenerife by Jorge Lozano R.
Mastered & Cut by Kassian Troyer at D&M, Berlin

Part of the Aquapelago Residency Series for Keroxen 2022

Keroxen / Discrepant 2023


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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More