Discography

Line-up // Terrie “Ex” Hessels - electric guitar; Arnold de Boer - electric guitar; & vocals; Andy Moor - electric guitar; Juliana Venter - voice; Thomas Johansson - trumpet; Signe Emmeluth - alto saxophone; Kalle Moberg - accordion; Christian Meaas Svendsen - electric and acoustic bass; Paal Nilssen-Love - drums & percussion.

CD and Digital Album: https://pnlrecords.bandcamp.com/album/paal-nilssen-love-circus-with-the-ex-guitars-turn-thy-loose

I Had Wanted a Quiet Testament (2024) emerged from a close collaboration between performers Kalle Moberg and Håkon Thelin, and composer Jonas Lie Skaarud. The work thoroughly explores playing techniques and soundscapes unique to the two performers on their respective instruments — accordion and double bass.

The collaboration stems from Kalle Moberg’s doctoral research project Extended Expectations (2021–2025) at the Norwegian Academy of Music, which investigates entirely new playing techniques for the accordion. This piece represents an attempt to implement the groundbreaking findings from his research into composed and notated music.

The 50-minute work draws upon adaptations, reinterpretations, and quotations from Guillaume de Machaut’s Kyrie from the mass Messe de Nostre Dame (c. 1360). More specifically, it is inspired by Ensemble Organum's interpretation, which blends Corsican singing style - characterized especially by nasal resonance — into Machaut's work. Skaarud has sought to transfer (or “translate”) the Corsican singing technique to the accordion and integrate the innovations Moberg developed for his instrument, allowing microtones, “split-tone multiphonics,” “stifled tones,” extreme bending, poly-timbrality, and multi-layered beatings on the accordion.

The two instruments — accordion and double bass — function as one large instrument, a singular body or organism: a super-instrument. The double bass feeds the accordion's timbre by mimicking accordion-like techniques, drawing heavily from methods Thelin developed during his doctoral project A New World of Sounds — Recent Advancements in Contemporary Double Bass Techniques (2007–2011). These techniques include noisy, chordal-sounding multiphonics and extensive use of harmonics that resonate brightly and shimmeringly. Additionally, the double bass is retuned to clash with the accordion’s tuning, creating psychoacoustic phenomena such as beatings and combination tones.

I Had Wanted a Quiet Testament has no real dramaturgical development, almost no modulations; it is stagnant, repetitive, and ethereal. Chords, sounds, and even entire sections are repeated relentlessly over and over, as though nothing ever develops, nothing ever moves toward a destination — but remains suspended, vibrating endlessly in one place.

CD/Vinyl and Digital Album: https://kamorecords.bandcamp.com/album/i-had-wanted-a-quiet-testament-2

Antigone is Eiko Ishibashi’s latest musical masterwork, one rife with chilling speculations for the future calling from inside her own head. Out March 28th, it marks Eiko’s first “traditional” songcraft album — that is, with lyrics and singing — since 2018’s acclaimed The Dream My Bones Dream, arriving on the heels of her celebrated soundtracks for Ryusuke Hamaguchi’s films. Within Antigone, Eiko teases out images from a dystopia not unlike the one we’ve already got. Hers is suffused with a ‘scene missing’ quality, its continuity laced with sudden, odd details sprung like traps from within her music’s smooth, expansive sound.

Interlocking her new songs in seamless long-play flow with the compositional ambitions of her acclaimed soundtrack work, Eiko’s expressions are epic and intimate. Her early song-based albums — 2013’s sci-fi-themed Imitation of Life and 2014’s poptastic Car and Freezer — suggested an album-oriented direction; 2018’s conceptually-united The Dream My Bones Dream allowed Eiko to tell stories closer to home. Her instrumental works since then — 2022’s For McCoy (Black Truffle) and her celebrated soundtracks for Ryusuke Hamaguchi’s films, Drive My Car and Evil Does Not Exist — have seen her diversity of musical ideas operating in an increasingly integrated long-form presentation. With these transformative encounters in hand, Eiko and her band — drummer Tatsuhisa Yamamoto, bassist Marty Holoubek, Norwegian accordionist Kalle Moberg, ermhoi on backing vocals, Joe Talia playing percussion, and Jim O’Rourke on Bass VI, synths, etc. — bring a wide array of sounds and moods to Antigone, referencing pop, funk and jazz, ambient, electronic and musique concrète in a seamless flow.

Antigone is a bittersweet look at our already-alternate reality, Eiko’s jarringly personal vision glimpsed through a latticework of ambitious compositions and on-lock production techniques. At last! 

LP/Vinyl and Digital Album: https://eikoishibashi.bandcamp.com/album/antigone

SOFA is delighted to announce the Italian musician and composer Andrea Giordano (b. 1995)’s Àlea, a suite for large mixed ensemble in which Giordano also performs as vocalist and multi-instrumentalist. Dedicated to Giordano’s friend and mentor, the Italian jazz musician and pedagogue Alessandro Giachero, who died unexpectedly in 2020, Àlea is at once a lament and testament to Giordano’s multifarious musicianship. In dense, rending orchestration, the artist shows us the multidimensionality of grief, then a way to swim through it.

Àlea dates from the start of Giordano’s master’s degree at the Norwegian Academy of Music in Oslo, where, after discussions with her professor Sidsel Endresen, Giordano began to develop songs towards an album of ensemble music that would allow her to come to terms with Giachero’s passing. She then decided upon the ensemble’s constituents, aiming for a mix of instruments with similar sounds and timbres that could blend seamlessly.

As Giordano describes, the tracks, recorded separately at the Norwegian Academy of Music in 2022 and assembled later, are like separate rooms (“stansias”) within the same house, each an individual expression of tension, repetition, and ceremony. We begin with an ominous percussion-backed chorale introducing a pensive duo lament for harp and voice, which evaporates into upward scales. A piercing cyclical motive for flutes grows into a flailing organ chorale, atop which Giordano sings a second text as a keening lament. The last section is sparse and enigmatic, riddled with small bumps of activity that finally wilt away.

Critical to the project was Giordano’s ongoing research, from 2018, into a dialect of Piedmontese—a Gallo-Romance language spoken primarily in Piedmont, in northwest Italy—that is endemic to her native city of Cuneo. Giordano had previously sung librettos of poetry in the predominant Piedmontese dialect, a process she describes as “an attempt to be honest with my roots.” For Àlea, she sought an even more personal approach, hoping to convey the Piedmontese she’d grown up speaking with her grandmother. She commissioned Vieri Cervelli Montel, a composer and friend of both Giordano and Giachero, to write two imagetic texts in Italian that she and Montel then translated together into her hometown dialect based on her interviews with scholars and family.

The album’s title has tripartite origins: it is a reference to the Italian for “to Alessandro” (“à Ale” tweaked as “Àlea”) a nod to the aleatoric nature of his death, and an epithet of the Greek goddess Athena, chosen to express Giachero’s wisdom reverberating through future generations—of which Àlea is clear evidence.

Line-up // Andrea Giordano - compositions, voice, organetto;
Alessandra Rombolà - flutes;
Cosimo Fiaschi - soprano saxophone;
Ferdinand Schwarz - trumpet;
Joel Ring - cello;
Kalle Moberg - accordion;
Emanuele Guadagno - guitar;
Lara Macrì - harp;
Ingrid Hjerpseth - organ;
Christian Meaas Svendsen - double bass;
Nicholas Remondino - percussion and Gran Cassa;
Ingar Zach: percussion - Gran Cassa and vibrating membranes;
lyrics by Vieri Cervelli Montel.

CD and Digital Album: https://sofamusic.bandcamp.com/album/lea

Reading Group, in collaboration with Braddock, PA-based imprint Huner Francis, is pleased to present "Spatial Data Management (Original Score)" by Ulla E. Straus and John Andrew Wilhite, a beautiful score to an equally beautiful film by Philadelphia-based artist Greyory Blake.

The score to Spatial Data Management (2021) is a contemplative and referential ambient work. It provides the backdrop for the essay film’s exploration of how stolen value and the contemporary predicaments of AI technologies mirror problems wrestled with by Baroque thinkers.

Wilhite began the compositional process by compiling a series of excerpts from old tapes and sessions with accordionist Kalle Moberg. He blended their muffled recordings of Giovanni Battista Pergolesi’s Sabat Mater (1736), a devotion to Mary in medieval Latin, with droning soundscapes of birds, bees, and sirens, and didn’t whittle away atmospherics. François Couperin’s Les Barricades Mystérieuses (1717) for harpsichord wax and wane between organ and synthesizer as alternating translations of analog to digital. The movement calls to mind the film’s themes of how contemporary technologies change our relationship to what we think is
natural, what we refer to as the source. Straus then mixed the fragments Wilhite assembled, focusing them through what might be described as acts of musical grace, knowing without stealing.

www.readinggroup.co
huner-francis.info
www.greyory.com
ullastraus.bandcamp.com
johnandrew.no

credits

released May 14, 2024

Ulla E. Straus & John Andrew Wilhite
Spatial Data Management (Original Score)
Instruments:
Greyory Blake,
Kalle Moberg,
Ulla E. Straus,
John Andrew Wilhite
Mix: Ulla E. Straus
Master: Derek Baron
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Published and distributed by Huner Francis (HNR/F-14) & Reading Group (RG26), 2024.
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Characters originally voiced by J. Daniel Bickett & Kelsey Knotts.

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Typefaces
Default Sans Book, Scott Vander Zee
Default Sans Book Mono, Scott Vander Zee

CD and Digital Album:https://readinggroupcompany.bandcamp.com/album/spatial-data-management-original-score

Line-up // “Yema ” - lead vocals; Eyuel Mengistu - producer, composer, recording engineer, bassist; ጎላ ጎሕ / Golla Goh - Lyricist; Yilma Gebreab - lyricist; Endris Hassen - masinqo and toom; Teferi Assefa - drums and percussion; Jose Braima Galissa - kora; Kalle Moberg - accordion; Bas Gaakeer - guitar; Dr. Ezra Abate - piano and keyboard; Tasew Wendem - washint; Hanne De Backer - baritone sax; Signe Emmeluth - alto sax; Aklilu Zewdie - tenor and alto sax; Aba Jorga Mesfine - tenor sax; Dr. Will Porter - trombone; Ricardo J. Martins - Lisbon and Coimbra guitar; The Gamos - accapella group; Biniam Birhanu - guitar; Musa Mati - guitar; Eden Abucher - backing vocals.

Yedega Sew is a musical project that connects seven countries from three continents of the world, Including Ethiopia, Guinea Bissau, Portugal, Norway, Belgium, Netherlands, and the US. We are excited to bring together a diverse range of musical influences and showcase the beauty of cross-cultural collaboration. The concept of the album revolves around various folk poetic themes and musical composition ideas associated with ethiopian highlands. The music is a mixture of ethiopian, west african, jazz, and underground music. It  is categorized under the world music genera and has got 12 music tracks, with a total duration of one hour.

Recorded by Eyuel Mengisto at Jared School of Music in 2022 - 2023.

Webpage: https://yemamuziqa.com/

Line-up // Ananta Roosens - alto stringed violin, trumpet; Quentin Manfroy - flute & bass flute; Niels Van Heertum - euphonium; Stan Maris -accordeon; Kalle Moberg - accordeon; Manolo Cabras - acoustic bass; Giovanni Di Domenico - piano.

In 2010 Giovanni Di Domenico formed a band called “Mo(ve)ments Ensemble” and released a CD on Belgian independent label Spocus The concept and repertoire of that band reflected Di Domenico’s love for subtle orchestration and chamber music sensibilities, the basic idea behind it being the dissertation of the organic elements that form the instruments involved (in that case the wood of the strings and clarinet) and the re-construction of them by means of musical ideas (again: the orchestration, the particular ‘colour’ of those instruments).

After more then 10 years Di Domenico is forming a New Mo(ve)ments Ensemble: the line-up changed as the focus now will not be on organic elements (not only strings: the line-up this time mixes much more those elements, with brass, aerophone and percussion instruments added) but rather on the melodic/harmonic interaction between those instruments and on the timbral characteristics of each of those instruments, all tied together by Di Domenico’s arrangements and sensibilities.

All music by Giovanni Di Domenico, played by the New Mo(ve)ments Ensemble:

Recorded by Christophe Albertijn at Werktplaats Walter, Brussels, february 2021. Mixed & mastered by Giovanni Di Domenico at The Nest Cellar, Brussels, 2021/2022.

CD and Digital Album: https://cantimagnetici.bandcamp.com/album/branes

Line-up // David Hveem - composer and conductor; Andrea Moby Røreng - piccolo, flute and alto flute; Camilla Hole - soprano saxophone; Oskar G. Lindberget - alto saxophone; Sigrid Aftret - tenor saxophone; Tina Lægreid Olsen - baritone saxophone and bass clarinet; Lyder Øvreås Røed - trumpet and flugelhorn; Axel Tinus Simensen - horn; Magnus Murphy Joelson - trombone; Magnus Breivik Løvseth - tuba; Matias Jentoft - violin; Larissa Terešcenko - violin; Sunniva Tønnesen Norberg - viola; Andrine Dyblie Erdal - cello; Kalle Moberg - accordion; Petter Asbjørnsen - double bass; Åsmund Moen - vibraphone and percussion; Christian Løken - drums.

Recorded in Newtone Studio by Aksel Jensen Mixed in Athletic Sound by Dag Erik Johansen Mastered in Klokkereint Studio by Sven Andréen Filmed and edited by Antero Hein

Webpage: https://www.klokkereint.no/nyheter-blog/david-hveem-jazzfonietta-albumslipp

Line-up // Giovanni di Domenico - piano; Kalle Moberg - accordion.

‘Pangrams’ documents the first meeting between Brussels based Italian pianist Giovanni Di Domenico and the Norwegian accordionist Kalle Moberg. A year into the COVID-19 pandemic, the two encountered each other for a residency with a septet at De Singer in Rijkevorsel. The confrontation between these remarkable improvisers in the ensemble sparked off some fascinating duo interactions, which they decided to explore straightaway. In an empty De Singer – concerts were still limited to online events only – Di Domenico and Moberg made recordings on the spot that capture the strange mixture of emotions that defined that dark period in recent history.

The stylistic diversity and the wide range of emotions this duo manages to evoke on ‘Pangrams’ with piano and accordion is nothing short of spectacular. In the gloomy and restless ‘Sensitive Spirit’, only a glimmer of hope shines through in an otherwise pitch-black musical landscape. Yet it is the same musicians who pour out their hearts in the lyrical ‘Secret Passion’, a beautiful piece of free improvisation evoking a magical folky atmosphere. While listening to the four pieces on ‘Pangrams’, the listener is confronted with a myriad of impressions. This way the duo captivates from start to finish on...  more

Recorded by Kris Roevens at De Singer/Oorstof, Rijkevorsel February 21, 2021.
Edited, mixed and mastered by Giovanni Di Domenico, Brussels 2021.
Produced by Giovanni Di Domenico and Kalle Moberg.
All music by Di Domenico / Moberg.
Live concert produced by Sound in Motion – Soundinmotion.be
Cover design & layout by Pascal Cools.
Executive producers Koen Vandenhoudt & Christel Kumpen.

LP and Digital Album: https://dropadisc.bandcamp.com/album/pangrams-2

Line-up // Klaus Ellerhusen Holm - alto saxophone, Bb clarinet, compositions; Kalle Moberg - accordion; Kim Johannesen - guitar, banjo; Ola Høyer - doublebass; Erik Nylander - drums, percussion, roland tr-77.

Recorded by Erik Nylander at Monkeybar studio, Skarnes, December 2020 and June 2021. Mixed and mastered by Christian Obermayer spring 2022.

All tacks composed by Klaus Ellerhusen Holm (Tono) and arranged by Honest John.

CD and Digital Album: https://honestjohn6.bandcamp.com/album/sweet-travels

Line-up // Frode Gjerstad - alto saxophone, alto flute, Bb clarinet; Kalle Moberg - accordion; Paal Nilssen-Love - paiste gongs & percussion.

Recorded at Gamle Aker Kirke, Oslo on May 10th 2021
Recorded, mixed and mastered by Frode Gjerstad
Produced by Gjerstad, Moberg, Nilssen-Love
Photo by Paal Nilssen-Love
Cover by Lasse Marhaug
Thanks to Ferdinand Bergstrøm

all music by Gjerstad, Moberg, Nilssen-Love (TONO)

CD and Digital Album: https://pnlrecords.bandcamp.com/album/time-sound-shape

Line-up // Marthe Lea – penny whistle and tenor saxophone; Klaus Ellerhusen Holm – Bb clarinet, alto and baritone saxophone; Kristoffer Berre Alberts – alto, tenor and baritone saxophone; Richard Köster – trumpet; Mats Äleklint – trombone; Per Åke Holmlander – tuba; Ketil Gutvik – electric guitar; Lotte Krüger – harp; Kalle Moberg – accordion; Tommi Keränen – electronics; Jon Rune Strøm – double bass; Christian Meaas Svendsen – double bass; Celio de Carvalho – percussion; Andreas Wildhagen – drums and percussion; Paal Nilssen-Love – drums, percussion, Paiste gongs and cymbals.

Recorded 22–24th September 2021 at Studio Paradiso, Oslo Norway.
Recorded and mixed by Christian Engfelt. Mastered by Christian Obermayer.
Harp overdubs recorded by Saimi Ester Kortelainen at NMH in Oslo, Norway.
Electronics overdubs recorded by Juho Lukkalainen at Cable Factory in Helsinki, Finland.
Produced by Paal Nilssen-Love. Co-produced by Christian Engfelt.
Band photo by Christian Engfelt. Cover design by Lasse Marhaug.
All music by Paal Nilssen-Love (TONO).

CD and Digital Album: https://pnlrecords.bandcamp.com/album/new-map

Line-up // Marthe Lea – penny whistle and tenor saxophone; Klaus Ellerhusen Holm – Bb clarinet, alto and baritone saxophone; Kristoffer Berre Alberts – alto, tenor and baritone saxophone; Richard Köster – trumpet; Mats Äleklint – trombone; Per Åke Holmlander – tuba; Ketil Gutvik – electric guitar; Lotte Krüger – harp; Kalle Moberg – accordion; Tommi Keränen – electronics; Jon Rune Strøm – double bass; Christian Meaas Svendsen – double bass; Celio de Carvalho – percussion; Andreas Wildhagen – drums and percussion; Paal Nilssen-Love – drums, percussion, Paiste gongs and cymbals.

Recorded 22–24th September 2021 at Studio Paradiso, Oslo Norway.
Recorded and mixed by Christian Engfelt. Mastered by Christian Obermayer.
Harp overdubs recorded by Saimi Ester Kortelainen at NMH in Oslo, Norway.
Electronics overdubs recorded by Juho Lukkalainen at Cable Factory in Helsinki, Finland.
Produced by Paal Nilssen-Love. Co-produced by Christian Engfelt.
Band photo by Christian Engfelt. Cover design by Lasse Marhaug.
All music by Paal Nilssen-Love (TONO).

CD and Digital Album: https://pnlrecords.bandcamp.com/album/clusterfuck

Line-up // Juliana Venter - voice; Thomas Johansson - trumpet; Signe Emmeluth - alto saxophone; Kalle Moberg - accordion; Oddrun Lilja - electric guitar; Christian Meaas Svendsen - electric and acoustic bass; Paal Nilssen-Love - drums & percussion.

“Pairs of Three” is the debut album of Paal Nilssen-Love’s new band: Circus. Of course, in the area of music that Nilssen-Love (freely) moves in having a new act isn’t always big news (however good the music is), and at first glance this new act could look like a smaller scale off-shot from the now well established Large Unit flagship – perhaps a spontaneous side-project to explore some ideas discovered within the mothership – it certainly wouldn’t be wrong to assume this, as the majority of the members in Circus have served or currently serve time within the ranks of Large Unit. And that would have been a totally welcome and enjoyable addition to the ever-expanding world of Large Unit.

But, no. Circus is its own beast. This is Nilssen-Love fully immersing himself in his love for the music of Brazil. This comes as no surprise, as there have been several links in the past, like the “New Brazilian Funk” album, a high-octane live recordings with Brazilian musicians made at the Roskilde festival in 2018. But the line-up of Circus is a Scandinavian-based one, and clearly the musicians Nilssen-Love’s has picked shares his passion for this music, as this is music driven by a BAND.

The biggest surprise in the line-up is probably South-African vocalist Juliana Venter, adding a refreshing element to a discography that is in large instrumental based. Venter has her own style, but it wouldn’t be off to say that her energy and intense focus evokes that of Elza Soares. Throughout the album she displayes a wide range and is crucial in making everything come together.

“Pairs of Three” really takes the listener for a ride to the world of Brazilian music – from Mestre André’s samba school drums and the north-eastern baião by Luiz Gonzaga, to Jackson do Pandeiro and Hermeto Paschoal, with links to the melodies of Edu Lobo and Milton Nascimento, via the horns and drums of the Maracatu sambada.

Of course this is no record-collector appropriation pastiche, Circus takes the music they love and do the right thing: acknowledging the influence and origins, but making their completely own take on the ideas. There are many elements on the album that is clearly coming from Nilssen-Love’s diverse palette of expression and exploration. And this ability to mixing things up is why a new project from him is always good news. “Pairs of Three” is a complex, moving and intense debut album. In November of 2022 you could do much worse than joining this Circus.

CD and Digital Album: https://pnlrecords.bandcamp.com/album/pairs-of-three

Line-up // Heidi Bayer - trumpet, flugelhorn, compositions; Sven Decker - bass clarinet, tenor saxophone; Kalle Moberg - accordion; Robert Landfermann - doublebass; Oliver Steidle - drums.

Recorded by Christian Heck at Maarwegstudio2, Cologne Aug 21
Mixed by Christian Heck
Masterd by Reinhard Kobialka
Photo by Patrick Essex
Artwork by Holger Risse

CD and Digital Album: https://heidibayer.bandcamp.com/album/korsh

Line-up // Mat Maneri - Viola; Kalle Moberg - Accordion; Ingebrigt Håker Flaten - Double bass.

Text by Chris Cogburn – Founder & Executive/Artistic Director, No Idea Festival.
May, 2021:

Recorded on the cusp of our voyage into isolation, Wordless Voices sings songs from the collective unwinding at the heart of improvised music. The 4 tracks traverse, intertwine and disentangle myriad territories of microtonality, pulse, melody, and noise and present an incorruptible expression of group improvisation and, just as significant, a remembrance of collective listening shared by audience and performer.

The disc documents Moberg’s 4th formal release on his KAMO label — pairing the young, pioneering accordionist with microtonal maestro Mat Maneri and fellow Norwegian and double bassist Ingebrigt Håker Flaten. Recorded February 2020 at No Idea Festival in Austin, Texas, Wordless Voices captures two distinct sets: a Friday night trio performance (Track 4) in a roadside church-turned-event-space (Ana Lark Center) and an intimate Saturday afternoon duo concert (Tracks 1-3) inside a corrugated metal quonset hut on Austin’s East Side (Cloud Tree Studios & Gallery).

Both sets share a music animated by the tensions of a first meeting in the live concert setting met with the urgency of sympathetic practices put into dialogue with one another. The Friday concert’s exceptional amalgam of microtonality and pulse results in 30 minutes of freely improvised trio music refracting through a fortuitous unity to create a seemingly endless spectrum of colors and forms. Maneri and Kalle continued their work together the following afternoon, diving deep into a vulnerable, melancholic playing rare in the field of improvised music. The duo’s bending microtonality seamlessly shifts between the complementary and course to produce fluent, voice-like qualities; the integrity of their individual artistic practices are revealed to open limitless paths of collective enunciation.

How did this music come to be?… I met Kalle in Mexico City in September 2019 while he was on tour with Paal Nilssen-Love’s Large Unit. It was the Saturday afternoon concert at Casa del Lago - where the Unit had broken into smaller ensembles to perform as duos, trios and quartets - where I first heard Kalle’s reconceptualization of the acoustic accordion. It’s more and more rare to hear sonic innovations on acoustic instruments and hearing Kalle’s all-embracing palette of microtonality, noise, and timbral intelligence grounded in a profound musicality and a barrage of novel techniques (without implements!) left the audience and myself awestruck.

The Large Unit’s week-long residency in Mexico allowed me to get to know Kalle a little. His inquisitive, kind nature was the icing on the cake—he had to come to No Idea! When curating the festival I aim to assemble artists whose work activates a full-spectrum of the music while, just as important, also embody a generous spirit and an openness to collaboration. Kalle was the first invited and confirmed artist for No Idea 2020 and, in many ways, set the tone and direction of the festival that year.

With origins from Kalle’s trip to Mexico City, it is fitting that Wordless Voices’ cover art is by the fantastic Mexican artist Lucía Aragón. Unbeknownst to Kalle, Lucía (whom Kalle also collaborates with in live performance in Oslo) is old friends with Danae Silva, one of the organizers of elnicho—the organization that presented Paal’s Large Unit in Mexico City back in 2019. Entitled Su Persona, the artwork’s fragmented fluidity is an eloquent expression of the merging of personalities, creative energies and community responsible for bringing this important work to life—a series of intersecting moments affirming the friendships, trust and camaraderie continually guiding us towards our chaotic, lucid utopia.

CD and Digital Album: https://kamorecords.bandcamp.com/album/wordless-voices

The Tokyo Sessions Volume 2: Twist by Kalle Moberg, Marty Holoubek, Joe Talia & Tatsuhisa Yamamoto, released 23 October 2020 1. Twisting 2. Fighting The Long Defeat 3. Slanting 4. A Treacherously Bright Morning 5. Crash And Burn This record is the second release from the recordings made by Kalle Moberg and Jim O'Rourke in February 2019 - the second volume of "The Tokyo sessions".

The Tokyo Sessions Volume 1: Unheard-of by Kalle Moberg, released 24 March 2020 1. Delphic Dance 2. Wish Upon A Satellite 3. Untimely Night 4. Skinned Alive By A Blunt Spoon 5. Tarrying 6.

EthioBraz by Large Unit, released 13 December 2019 1. Zelesegna 2. Capoeira Mata Um 3. Anbessa 4. Fluku 5. Gue 6. Shellele 7. Nargi 8. Gonder 9. Hay Loga 10. Tezeta "Ethiobraz" documents the meeting of Paal Nilssen-Love's Large Unit big band and Ethiopian dance/music ensemble Fendika at Molde Jazz Festival in 2018.

More Fun Please by Extra Large Unit, released 13 April 2018 1. More Fun Please With a cast of 27 members, 'More Fun Please' more than doubles the Large Unit ensemble in size. This piece was commissioned for the Only Connect festival in Oslo and marks PNL Records' 40th release.