AOS was, initially, to be the second 12", and the third entry, in Ediciones Danza Negra's catalog. Three years went by, however, and after sorting through the challenges - financial, logistic and existential - of running an independent label in the South American context, and several iterations later, the release finally took shape: the fourth of our modest catalog, and the first to be recorded on tape.

Why? What for? More-than-three years is enough time for those questions to appear, time and time again. It's enough time to cultivate the elusive humility that helps question if these records should be heard, or not. In Junn's case, we think it is.

The problem with exoticising locality is to comodify music's origin as a shortcut for visibility in foreign markets, flags as beacons in an impenetrable ocean of music, instead of feeding back to the dynamics that birthed it. South America is inherent to the EDNA project not as a narrative crouch, but as a target: a space to occupy, mouths to feed, nights to agitate. AOS is precisely that, a collection of music made in Colombian soil, a signal asking for an echo from its streets and from its people, an invitation to the trance of the dancefloors that gave it its embrionary spark.

Across 9 tracks Junn synthesizes (ha!) a sound that conjures images of a desolate and labyrinthic Bogotá, ambiguous rhythms that march in stasis while longing textures pulsate without finding the other. The tape includes revisions from fellow bogotanos Juanpablo and Lunate (the latter almost entirely responsible for the 3 year delay), who join Junn, and the choir of others who translate in audio their passing through the continent.