Friday, 7 May 2021

ODG142 : Madrid Solo / Autres Directions


Cover art by Gustavo Madrid

ODG142 : Madrid Solo / Autres Directions

Gustavo Madrid is the creative force behind several musical projects since his school days: No Mercy, Black Velvet, Maten al Disc-Jockey, Su Real Orden, 69 am, Mutantes Melancólicos (see ODG034), Asustados Unidos, NO:ID., Ensamble Desmembrado (see ODG118) and finally Madrid Solo.

Singer. Guitar player. Sometimes, keyboard player. With a certain interest in digital instruments, where he finds versatility and the possibility of breaking through. Always, songwriter and composer of a music hard to put a label on.


Even though he's got soft manners and a good education, he´s rampant, stubborn and untameable. He can be bored of his successes, but he's never bored when he explores and experiments new ways of making music. He prefers a song composed on a single loop rather than a song that repeats past accomplishments.
On his lyrics he doesn't want to tell stories; he leaves that to a short story or to a novel. For his songs, he prefers sentences that act like lashes, images, ideas; that are musical, without a complete or obvious sense and, if it's possible, the ones that can awaken questions to be left unanswered. 

Madrid owns an enviable record collection. He listens to music since he wakes up in the morning until he goes back to bed at night. He has been collecting records since his teenage years. He affirms that when he didn't have enough money to buy new records he tried hard to get onto busses or subways without paying the fare; so he could save, within a couple of weeks, some money to buy another record. 

One of his passions is record cover art. He believes that the moment he takes out the record from the sleeve to put it on the audio system is pure magic and that most of that magic comes from the graphic art giving sense to the whole oeuvre.
In 2020, during the pandemic lock-down, he started recollecting some writings on his experiences with music listening, music creation and record collecting on the blog.

For this new project, Gustavo Madrid took on a new challenge: create a remix album. Instead of choosing isolated songs from his discography, he decided to produce a companion album for a previously published one and change as he could the concept of its songs.

The album that offered more possibilities on reworking the songs was Side Lane. It has been entirely recorded using a computer, each instrument was isolated and assigned to a sole track, sounds and arrangements could be manipulated individually.

As it was an album where there was not a single percussion track nor other instrument than guitars, he imagined he could start by filling those gaps with drum loops and samples taken from his vast jazz record collection, keyboard arrangements and found sounds that matched the spirit of the project.

Finally, 13 of the 15 songs on Side Lane were remixed and redirected. They were shortened looking for new nuances and distinct atmospheres from the original versions.

Both projects are complementary as they came out of the same source material. Side Lane and Autres Directions stand alone independently because each one of them aim different sensations offering unexpected turns arising from the original sounds.

Astro Chueco:


Failing Beat:

Read his blog here.


Composed, performed, edited, programmed, recorded, mixed and produced by Gustavo Madrid at El Rosario, Buenos AIres, Argentina, April / July 2020. To rework these new versions of the songs, several elements were taken from the recording sessions of the following albums: Side Lane (MRCD011), Cuenta (MRCD010), Silence (MRCD009), Ojalá pudiera (MRCD004), Cuarenta y ocho azotes (MRCD012). Some sequences programmed in Montréal, Québec, Canada back in 2004 and some vocals taken from demo versions of the songs recorded in 2009 were also used. New arrangements were included and other instrument tracks were recorded with organ, electric piano, synthesiser, trumpet and found sounds. All the instruments were played by Madrid Solo, who also sang all the vocal parts except for the chorus on “Danse Immobile” where Aluh y Jorge Pablo Almejún made their singing contribution. There were other collaborators to this project even if they never knew about its existence: Omar Scavone, Félix D`Argento, Leo Kaplan and Marcelo Pérez. 

This album is dedicated to Felipe Madrid and Patricia Raimundini who during 2020´s pandemic lock-down witnessed the evolution of this project listening to each and every song countless times with tireless patience. 



- Voom voom va hell la (MAD RIDE RECORDS) (1993)

- Mataron a las mujeres, violaron a los caballos (MAD RIDE RECORDS) (1993)

- La vida no les sonríe (MAD RIDE RECORDS) (1994)

- Ojalá pudiera (MAD RIDE RECORDS) (1995)

- Mi reloj biológico no necesita cuerda (MAD RIDE RECORDS / OFF) (1996)

- Malditos, errantes, marginales, desplazados, olvidados, abandonados (MAD RIDE RECORDS) (2011)


- AaUu (MAD RIDE RECORDS) (1996)




- Silence. (MAD RIDE RECORDS / CALAR MUSIC) (2003)

- Acoustic. (MAD RIDE RECORDS / CALAR MUSIC) (2011)


- Cuenta (MAD RIDE RECORDS) (2000)


- Side Lane (MAD RIDE RECORDS) (2014)

- Autres Directions (Side Lane revisited, reworked, remixed, revamped & redirected) (MAD RIDE RECORDS / OFF) (2020)

Digital release on the 7th of May 2021.

Track listing with Gustavo comment on each song:

1: Amarga Espina

The melody for this song was written in Montréal in 2005. I remember myself thinking that I was stuck in the song style I used for the album “Silence” by NO:ID., so, I decided to stop making music for some time to find a new path. I think it was worth it. 

2: Densa Danza

I started playing tirelessly the main guitar riff on this song in September 2008 when I relocated myself back to Buenos Aires after living in Montréal for more than five years. I liked it so much that I couldn't stop playing it even if it could have been enough for my new neighbours, who claimed for silence desperately.

3: Misère Cachée

I recorded the first ideas for this song in Montréal in 2007 using a bass guitar and a loop station to improvise three different bass lines that intertwine to build what later became a musically solid loop.

4: Stop Dead

To create this song I decided to overlay riffs to create a sound collage. I used several ideas taken from improvisations I've recorded in Montréal to create arrangements that offered different points of view. I wanted every part to sound as it belonged to another song.

5: Failing Beat

On this song I used some arrangements that I´ve written for “Densa Danza”. Even if the two songs are intimately related it is hard to find this relationship on the final versions without losing the pure joy of the music you are listening to. 

6: Weeping Road

I started writing this song in December 2011, the same week my son was born. I recall myself singing the refrain to him while he was sleeping. Perhaps that's the reason why he likes the music I make. Who knows?

7: Life Ahead

I've always loved the rhythm guitar I played on the song “Próxima Vida” by Mutantes Melancólicos, back in 1996. I decided to record it again with some new arrangements. From the original song, only the lyrics and some chords were left. Who cares? I found a new path for the song. A new life ahead. A way out.

8: Icy Blue

The three main arpeggios on this song were written in Buenos Aires in 2008 in order to create some kind of mantric loop that never got to be relaxing. The spanish lyrics were taken from a song I´ve started to write in Montréal some years before, perhaps in 2005. Some kind of tango with too many words that I managed to cut out and synthesise to keep just a few words of interest that made up some nonsense.

9: Danse Immobile

The first sketches for this song were born in 2009 while I was trying to create arrangements for some lyrics a friend of mine has written. He wanted me to write the music for his songs. Back in 1998, when I wrote the song “Fix”, recorded by NO:ID. a year later, this same friend has given me other texts to help him create the music. Unfortunately, none of his songs were finished but, in the process, some of the discarded elements I've written helped me to give birth to two of my own songs.

10: Stagnant Tears

This is the third reinterpretation of the melody I´ve used on the songs “Lágrimas Artificiales” and “Gotas de Lágrimas Artificiales”, both recorded by Mutantes Melancólicos. This time, some verses of the song were written in french. The next version, will it be written in spanish?

11: Astro Chueco

This is one the first songs I've written in Montréal in 2003. It took me a great effort to clean up the spirit that attached its first versions to my previous album “Silence”. This is a song that resists mutations and that's what I love about it. Don´t be surprised if I decide to transform it again and again.

12: Mutantes Melancólicos

I wrote the first and original version of this song back in 1992. Years later, in 1995, I recorded a different version for the album “Ojalá Pudiera” by Mutantes Melancólicos only using three instruments: electric piano, trumpet and slide guitar. On this third version, I´ve tried to preserve some of the original ideas. Just a few of them.

13: Hollow Breeze 

In 2010, while I was listening to the tapes I´ve been recording with my different projects all over the years to start with the mastering process in order to press the CD versions of my old albums, I found a rehearsal recording with the first version of this song. I recall that for the album “Silence”, I wanted to record and include several short songs that only lasted one chorus. Born out of this idea, “Breeze” was written in 2002. After so many years waiting to find its place, it evolved: two new verses were written and the sound grew up to become devastating.

And on Bandcamp:

Friday, 30 April 2021

OVD045 : Pierre Vervloesem / Don't


Cover art by Pierre Vervloesem

OVD045 : Pierre Vervloesem / Don't

'Don't' is the album that demonstrates what Pierre can do with a bucket, a dictaphone, a guitar, a bass and a fascination for Jon Hassel. 

6 tracks that will open a lot of unravels pads in your brain! Have a nice journey!

Digital release on the 30th of April 2021.

Track listing:

1: Don't
2: Wild Boar Dance
3: Catania
4: Bite One's Tail
5: The Makay Formation
6: Empty Stomach

And on Bandcamp:

Friday, 23 April 2021

OMT010 : Tchala's Band / Coexistência


Cover art by A.L.

OMT010 : Tchala's Band / Coexistência

Tchala's Band  was formed a few years ago around the compositions and endearing personality of its singer, Tchala Almeida. 

This Cape Verdean singer, composer and great cavaquinho player, transmits in his music all the warmth of the Cape Verde Islands. He played, among others, alongside Césaria Evora. The group of excellent musicians who surround it strives to bring this typical music from the island of Cape Verde to life, festive and mixed, while mixing it with a certain jazz colour.

‘Coexistência’ is the meeting between Cape Verdean music and jazz, the tradition of cavaquinho and rowboat rhythms embellished with a little improvisation. 

It’s also the music of a crossbreeding between everything that makes the identity of Cape Verde and Tchala’s various encounters in Europe.

Tchala’s texts are a variety of little stories telling about Leginha beach, day to day life in Sao Vincente, the search of a job, the encounters of friends at the end of the week or the political problems of the system in Cape verde.

Tchala Almeida

The band


Mosca Rondera:

Marcelino 'Tchala' Almeida  - Singing and Cavaquinho
Benjamin Ramos - Double bass
Désiré Somé - Guitar
David De Vrieze- Trombone
Nicolas Kummert - Sax
Alexandre Cavalière - Electric violin
Marc Derbaix - Percussion
Octave Agbekpenou - Percussion

Recorded by Antoniio Pujante at La Playa Studio - Brussels

Digital releaseon the 23rd of April 2021.

Track listing:

1. Mosca Rondera

2. Testôd

3. Laginha

4. Coladura

5. Fim De Semana

6. Na Nha Sombra

7. Zidorinha

8. Fim Do Mundo

And on Bandcamp:

Friday, 16 April 2021

OJP056: Alfred 23 Harth - Nicola Hein - Joshua Weitzel / Schraubensuche in Tokio


OJP056: Alfred 23 Harth - Nicola Hein - Joshua Weitzel / Schraubensuche in Tokio

In the summer of 2017, the three German musicians Nicola Hein (back then based in New York) and Joshua Weitzel (back then based in Japan) were on a small tour in Japan. For a few concerts and sessions they were joined by Alfred 23 Harth, who came over from South Korea. 
The days they spent together are filled with quirky anecdotes about searching and finding, which themselves find their way into the music. The first day Nicola and Joshua were late, and supposed to meet Alfred at Tower records, but while searching Joshua lost Nicola and found Jim O’Rourke instead. Later and re-united the trio played in a brutally loud venue full of Aquariums, accompanied by a European colleague who went on a journey across town to find a g-string. 
Alfred and Nicola also went on a discovery expedition in Shibuya with Ken Ikeda. 
The next day the trio came together, it had trouble finding each other due to problems with the communication infrastructure. The resulting late start in Studio Pit Inn was compensated by the next discovery in the form of a time-extension. 
While playing, Alfred lost a tiny screw from his bass clarinet and as a result three people searched the small studio room but without success. Luckily in the same building, there was a Yanagisawa Workshop that provided instant help. It was there, where the three also found Ned Rothenberg who happened to be around too. 

Schraubensuche in Tokio (German for „searching for a screw in Tokyo”) is a musical document of this time. 

Alfred 23 Harth is a musician and multi-media artist who has been active since the 1960s in well-known groups such as Just Music, Duo Goebbels/Harth,, Cassiber, Vladimir Estragon, Otomo Yoshihide New Jazz Orchestra or his duo with Carl Stone. Originally from Frankfurt/M, he is based in Seoul for the last decades, which awarded him honorary citizenship.  

Nicola L. Hein is a guitarist, sound artist, composer and researcher in music and aesthetics. He plays the guitar with physical and electronic extensions, aiming to transcend existing sonic paradigms. As a sound artist, composer and media artist he works with sound installations, instrument building, conceptual composition and integrates philosophical theories into his artistic practice. Inter-media works with video art, dance, literature and other art forms constitute another focus of his practice. 

Joshua Weitzel is mostly active in the field of experimental music, jazz and the grey areas in-between. His instruments of choice are guitar (acoustic and electric) and shamisen, which he plays both employing traditional and extended/invented playing techniques such as using circular breathing on stringed instruments, preparations and scordatura. His music is primarily concerned with spaces, contrast, harmony, timbre and interaction between players.

Tokyo boys!

Alfred 23 Harth – Bass Clarinet and Clarinet

Nicola Hein – Electric Guitar

Joshua Weitzel – Electric Guitar and Shamisen
Recorded in July 2017 at Studio Pit Inn, Shinjuku. 
Mastered by Joshua Weitzel.
photos by A23H

Digital Bandcamp only release on the 16th of April 2021.


1: Futari
2: Issho
3: Tower Aquarium

And on Bandcamp:

Wednesday, 14 April 2021

OJP055 : Ayako Ogawa / Sanatorium


Cover art by Ayako Ogawa

OJP055 : Ayako Ogawa / Sanatorium

Ayako lost her husband and her father in a short sequence of time and had just recovered from her sadness while painting pictures and making music.

Daisuke, lived near Lake Toya but for half a year traveled to climb mountains and do pilgrimage and had just returned from Switzerland because of the covid situation.

Yowichi lives a self sufficient life in a place called Oshamambe, a name derived from the Ainu people of Japan.


The idea behind recording the album was to remember, whatever the difficulties encountered, to go ahead and live your life fully. It was recorded in the quiet environment of Yowhichi’s place.

Aya Ogawa, born in Japan in 1962, spent her early childhood education learning about nature and art and did (and still does) a lot of picture book paintings.

She’s a voice piano improviser and performer, touring a lot in Europe from 2016 to 2019 and in Poland in February 2020 for a  Butoh Techno tour celebrating the 100th anniversary of diplomatic relations between Japan and Poland.

Ayako Ogawa

Daisuke Watanabe, born in Japan. in 1974, is a guitarist, pakwaj and sitar player, devoted to Indian classical music since 2012. He learned pakwaj under the teaching of Tetsuya Kaneko and travelled in 2017 to train and learn more in India.

He performs a lot with a huge variety of instrumental players.


Yowichi, born in Japan in 1970, is a bio farmer / percussionist who plays with lots of pro or amateur bands when he is not farming in the countryside.


Digital release on Bandcamp only on the 14th of April 2021.

Track listing:

This is a brief explanation of each song by Ayako:

1: Sanatorium -  depicts the image of cheerful sick people.

2: Tori (bird) - 


  爪を脱いで Tume o nuide

  指を脱いで    Yubi o nuide

  手を脱いで    Te o nuide

  身体を脱いで Karada o nuide

  とうとう 鳥になりました    Toutou tori ni narimashita.    


   Take off nails

   Take off finger

   Take off hands

           Take off body

           Finally, I became a bird

3: Singing bowl - singing bowls are usually used for Buddhist preys, but we used them as musical instruments.  Daisuke hits the bowl with a stick and bring his mouth close and open to make it resonate. Yowichi plays the drums and Ayako sings this short and simple song.


4: Red snake   






 (看護婦 ささやくようにセリフ)










     (One kid in pajamas sings while tracing the drops on the window

    One red snake is jumping on the grass

     (One nurse is whispering)

  Look carefully

  Don’t fall

  There is sanatorium over there 

  I dreamed of a jungle

  Insect pillar standing

  How is your condition?


Tuesday, 13 April 2021

New Spotify Off playlist: The Best Belgian Music from Off


Finally an Off playlist with almost 50 tracks from the best Belgian acts from Off for your pleasure! 
Subscribe, it's free or listen non stop in your bedroom, at work, in your car! Share a max!

Friday, 9 April 2021

ODG139 : Domenico Solazzo / Deadend


Cover art by Domenico Solazzo

ODG139 : Domenico Solazzo / Deadend

First album released by talented and obsessive Belgian musician Domenico Solazzo (see also his sumptuous album 'Kino' ODG113), 'Deadend' originally published in 2009, is an obscure concept album about God and death. 

At times dark but also bright (The Day of My Rebirth is a perfect pop song), it finds Domenico playing all the instruments but the saxes, empowering all his forces and energy in what could have been maybe his first and last album! Definitely worth checking out.

Nice reviews in gutsofdarkness and RifRaf.

Recorded at Goddess Studio, Brussels, Belgium,
November 2008 - December 2008
All songs and lyrics credited to Domenico Solazzo

Domenico Solazzo: ballaphon, bass, bells, keyboard, drums, e-bow, electric guitar,
electronica, grand piano, keyboards, korg ds-10, mellotron, organ,percussions, samples, shakers, tambourine, vocals.

Jean-Jacques Duerinckx: baryton and sopranino saxophones

Matthieu Duvault: mastering

Digital release on the 9th of April 2021.

Track listing:

1: Mr. Kewl

2: Length of Time

3: Mulunde

4: WWW Help Coma

5: Too Many Suns in My Sky

6: Mescaline

7: In the Womb

8: The Day of My Rebirth

9: God's Evil Machinery

10: March

And on Bandcamp: