Aguirre Records, Klaverstraat 27, Rotselaar (2026)

05/06/2026

Brannten Schnüre - Geträumt hab ich vom Martinszug LP (Green Transparent) (Aguirre, 2026)

Second edition of 500 on Green Transparent Vinyl.

Dich lieb ich, Erde! trauerst du doch mit mir!
Und unsre Trauer wandelt wie Kinderschmerz
In Schlummer sich und wie die Winde
Flattern und flüstern im Saitenspiele

The third stanza of Friedrich Hölderlin’s poem ‘Dem sonnengott’ evokes a narrator who is tortured by Spleen until slumber makes his childlike gloom disappear with music. Although today’s readers might judge these nineteenth century musings of the Imagination as mere stylistic platitudes, they also still speak beyond the grave as universal truths. A mere two hundred years later similar anxieties and hopes are still channeled through various art forms, with changing success and reverberation. Brannten Schnüre are one of those neo-romantic music experimentalists who add to a long tradition of celebrating folk tale and exoticism. Their meticulously crafted loops, hesitant melodies and heavily nostalgic lyricism could easily be translated to what the late philosopher and music critic Mark Fisher called ‘hauntology’, a postmodern longing for a lost future. To describe the beauty of ‘Geträumt hab’ ich vom Martinszug’, however, the term seems somewhat dissatisfying. Romanticism is a hard nut to crack in the Anthropocene, and Brannten Schnüre’s realms of the cerebral are too deeply ingrained in a German tradition of story telling to define them within popular paradigm.

‘Geträumt hab’ ich vom Martinszug’ was recorded in 2014 in Würzburg and functions as the autumn part of the band’s seasonal cycle quadrilogy (the other segments being ‘Aprilnacht’ (SicSic), ‘Sommer im Pfirsichhain’ (Aguirre) and ‘Durch unser zugedecktes Tal’ (Youdonthavetocallitmusic)). It deals with the Saint Martin’s parade, a mostly European tradition to celebrate the medieval spirit of Saint Martin of Tours, friend of children and patron of the poor. Around 11 November children come out on the streets with lanterns and sing ancient songs in exchange for sweets.

04/06/2026

Brannten Schnüre - Sommer Im Pfirsichhain lp (2026, Aguirre)

Second edition of 500 on red transparent vinyl.

Brannten Schnüre is an experimental dark folk group out of Würzburg, Germany. Christian Schoppik composed and played all the music, Katie Rich whispers, recites and sings. Together they make astoundingly beautiful folk with a rich instrumentation leaning towards the atonal spectrum. Instrumental wanderings stand alongside Nico-esque poetry tales. Christian plays the accordeon and in some songs guitar and flute. Inspired by hierophants like Nový Svět and David Jackman, solemn song fragments (a lot of old greek rembetiko-recordings) are modified and looped, with additional instruments and voices being integrated later on. His music has been described as “surreal folkcollage” and “german hauntology”.

With the emergence of Schoppik’s second project, a dada cabaret called Agnes Beil in 2010, Brannten Schnüre moved closer to the song structures of its frivolous sibling. The songs of Schoppik’s latest creation Sommer im Pfirsichhain are further accompanied by a female singing voice, lending the pieces the voluptuous quality of a stickily tense midsummer. Sommer Im Pfirsichhain (Summer In The Peachgrove) is the second part of a quartet of releases. The first being Aprilnacht which got released on Sic Sic Tapes last year. Part three Geträumt hab’ ich vom Martinszug and part four will follow later.

03/06/2026

Stella Kola - Stella Kola lp (2026, Aguirre)

Originally self-released in 2023, Stella Kola, the debut album from Beverly Ketch (Jow Jow, Weeping B**g Band) and Robert Thomas (Sunburned Hand of the Man, Dalthom), now returns in a renewed edition—bringing wider attention to a record that already felt like a quietly essential artefact from the moment it first appeared.

Given the pair’s respective roots—and the presence of collaborators drawn from across the Northeast experimental underground—one might expect “a brutal blast of acid swirl.” Instead, what emerges is something far more unexpected. The album is “steeped, not in noise and dissonance, but in the fragrant, captivating folk of Linda Perhacs, Judee Sill, Karen Dalton, and Bridget St John.”

From the opening moments, especially on “Rosa,” the record reveals its core sensibility: “a ballad that digs deep into the psychedelic-folk tradition until it takes root in a freshly sporous permaculture.” What follows is a set of songs that feel both carefully assembled and organically grown—delicate structures held together by a wide circle of contributing musicians, including Wednesday Knudsen (flute), P.G. Six (harp, guitars, keys), Gary War (synth), Jen Gellineau (viola, violin), Willie Lane, L. Gray, and others.

Rather than functioning as studio additions, these collaborators form a genuine collective presence. “The family affair feeds into the album’s charms,” and the feeling is unmistakably communal. Like many of the ‘60s folk records it echoes, Stella Kola carries “the feeling of community and camaraderie” at its core, shaping a warmth that runs through the entire release.

The album’s emotional palette leans toward a quiet, persistent melancholy: “the best records from that era also carried with them an inherent sadness and Stella Kola’s songs wash over the listener with a beautiful woe.” Its sound edges into the terrain of Fairport Convention and Pentangle, with references to “Beggar’s, Kings, Dark Damsels, and Tarot,” yet never settles into revivalism.

28/05/2026

Musica Mosaica - Clock In, Clock Out LP (Futura Resistenza, 2026)

Anatomy of Sound Lives

Musica Mosaica undertakes an experimental exploration of sounds, viewed not merely as simple acoustic phenomena, but as truly living realities. From this perspective, experimentation is by no means a convenient metaphor used to illustrate an intuitive or informal approach. On the contrary, it is meant literally — deliberate, almost scientific: each musical piece becomes a small laboratory where sounds are observed as animated entities, with their own morphology, with impulses that bring them closer or push them apart, and with an intensity that makes them vibrate, grow or fade. Xavier García Bardón and Emmanuel Gonay readily refer to a ‘vivarium’ to describe this artificial yet carefully constructed space, a recreated environment where these sonic beings are placed, moved and confronted with each other, allowing us to observe how they react, develop, transform and disappear.

For each piece, Musica Mosaica draws from these patiently accumulated collections, reanimates these sonic beings caught in distinct temporalities, brings them into relation, and confronts them with others to observe the unexpected effects they produce and the new dimensions they acquire through their interaction. Furthermore, any experimentation requires experimental protocols, rules — however minimal — that enable an experiment to proceed and, within this constrained space, allow for forms of improvisation that make space for the multiple contingencies of situations. The protocols may vary, and perhaps the type of protocol does not matter here, as long as a constraint is established, shared and negotiated, and allows each participant to intervene and co‐shape the sonic space as it comes into being.

22/05/2026

back in stock! Otomo Yoshihide’s New Jazz Orchestra
Out To Lunch 2xLP (Aguirre, 2022) ⏲️

First-time vinyl release. Old-style gatefold LP with liner notes by Kahimi Karie, Otomo Yoshihide & Tonoyama Taiji.

Eric Dolphy’s final studio album is hailed as one of the finest examples of mid-‘60s post bop. Its reputation is purely one of backwards significance. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. Though likely he never held a copy in his hands or heard any critical opinion of it, it marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would had moved past or away from the album in 1965, had he lived.

Though Dolphy should not be considered an avant-garde musician by the term’s most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final “Straight Up and Down, extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, down to the typeface and black-and-blue color scheme, although a photo taken by Daidō Moriyama inside Tokyo’s massive (and massively busy) Shinjuku railway station replaces the Dolphy’s album’s enigmatic “Will Be Back” sign, whose clock hands indicated no conventional time of expected return.

27/04/2026

Marion Brown - Awofofora lp (Aguirre, 2026)

First time reissue of JP / US free jazz rarity. Old-style Gatefold LP with rare photographs & liner notes by Ed Hazell. Edition of 1000

The 1970s were Marion Brown’s most searching decade, a period during which he sought to move beyond the free jazz of the previous era and find more personal approaches to structuring improvisation and composition. After leaving New York for Europe in 1967, Brown began reshaping his music into what he described as “a more deliberate kind of music that had more structure to it,” pacing it so that moods and modes could develop over time. Albums such as In Sommerhausen, Afternoon of a Georgia Faun, Geechee Recollections, and Sweet Earth Flying trace this evolution: rhythmic structures moved to the foreground, harmony receded, and composition became a matter of orchestrating interlocking rhythmic parts as one would polyphonic lines.

Released in 1976, Awofofora is an overlooked but crucial entry in that sequence. At the time, its use of funk and reggae beats, electric guitars, and grooves drawn from contemporary Black popular music led some to misread it as a jazz-rock detour. In retrospect, it is entirely consistent with Brown’s methodology. As he admired in the Art Ensemble of Chicago, the stimulus comes from within the community. Here Brown filters Afro-Caribbean rhythms and funk through his own sensibility, abstracting their structural qualities rather than adopting surface style.

26/02/2026

JS Donny - Death Folk lp (2026, Bamboo Shows) 🖤

24/12/2025

T h i s w a s 2 0 2 5 o n A g u i r r e

Jean-Marie Mercimek - Dans Le Camion De Marguerite Duras
CD3 - Rules For Living
The Ancients - The Ancients
Natural Information Society - Perseverance Flow
Akira Sakata / Giotis Damianidis - Adyton
Jef Mertens - Orchid Alto

17/12/2025

The obligatory year-end list of 2025. So much good music released this year. Happy to see the underground experimental music scene alive and well.

Arianne Churchman, Benedict Drew - The Tree Of The Left Hand
Oiro Pena - Béke
La Festa delle Rane - Il Lago è Il Cielo Del Bosco E Tutte Le Rane Cantano In Coro
Bòsc - Bòsc
Brannten Schnüre - Landschaft Aus Tränen
Shelter, Orion, Turner Williams Jr. - Krakatoa
Various - Lost Coast: Some Visionary Music from California, 1980–1992
Abel Ghekiere - In de verte, dit uitzicht
Eddie Marcon - Carpet Of Fallen Leaves
Carpet Of Fallen Leaves
Amateur Hour - Går I Kras
Karen Willems - A Fool's Guide To Reality
Big Hands - Thauma
Naoki Zushi - III
Half Asleep - The Minutes Hours / Les Heures Secondes
Nicolae Brînduș - Soliloque I / Soliloque IV / Match / Antifonia

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