— — w/ Muqata’a ⟡ Lagoss ⟡ Ondness

Galeria Zé dos Bois

Paweł Zanio
© Clara Alice

The reason for the various releases by Discrepant, founded and managed by Gonçalo F. Cardoso a little over a decade ago, and its satellites (Sucata Tapes and Souk), is to build imagined scenarios for an undefined time: it can be either an imagined past or an uncreated future. This enables an invisible connection between its releases, whether they are ethereal explorations through the use of field recordings or dance music for a world without world music.
One Discrepant night moves along the same principles, with a myriad of ideas that both group together the finer places of hauntology and provide a raw guide to the present and future of exploratory music. At the same time, the label moves at the pace of Gonçalo F. Cardoso, if for years it was influenced by his experience in London, then by his sound tourism trips through Africa, Asia and South America, now it is governed by a freer structure driven by his residence in the Canary Islands. This is how you get to LAGOSS, a trio of unrealistic exotica coming from Tenerife, composed by Gonçalo, Daniel Garcia and Mladen Kurajica. In 2020 they edited Imaginary Island Music Vol.1: Canary Islands, a sound encyclopedia of shortcuts between exotica, library and the early days of electronic music, in a meeting between Mort Garson, John Carpenter and Spencer Clark.
From Ramallah, Palestine, a master at creating urgent beats and amalgamating different schools of hip hop and its variants. Muqata’a is a history of the local scene and over the last decade his work has become more visible in the rest of the world, especially in central Europe. In 2018 he was responsible for inaugurating the catalog of Souk, Discrepant’s sister label dedicated to Western unfiltered dance music, with the delirious and urgent instrumental album Inkanakuntu.
Rounding out the evening is Ondness, one of Bruno Silva’s many tentacles. Music active and alive in putting light in the darkest alleys of electronic music, either through the temptation of hauntology or by (increasingly) breaking bridges that connect genres of electronics and dance to periods of history, in a kaleidoscopic encounter between its past, present and future. AS

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