Christian Schoppik's Läuten Der Seele project has long since stirred the anima within the hidden reverse of quotidian objects by looping and re-contextualising obscure and disparate sample sources. With the addition of Jota Solo, these often oneiric and impressionistic collages and story paintings now open up to a more expressive and direct colour scheme, quite literally as if Schoppik's sonic phantasmagorias have been ultimately given a real human voice to speak their mysteries. But whose voice is that? Jota has a long-running history traversing Austria's outsider art scene under a myriad of different pseudonyms, most notably in the group Novy Svêt, a duo he shared with Frl. Tost, formed in the late 90s in Vienna's seminal post-industrial underground. Often mislabeled as "neo-cabaret" or "combat-folk" for a lack of understanding the duo's immense genre-blind creativity, Novy Svêt always remained misfits in every scene they entered but garnered attention and cult following from a group of more open-minded listeners. For as long as he can remember, Schoppik's own work has been heavily influenced by the iridescent and protean microcosm of Novy Svêt, not so much in sound, as in spirit. Such is the extent of that inspiration, he has also helped introduce their music to a new and younger audience with the release of their long-lost Desde Infiernos de Flores album on his own Quirlschlängle imprint. In part, the first long-form collaboration between Christian and Jota hence resembles the framework of the FRKWYS inter-generational series, but there is nothing clinical or conceptual about this work. Instead, we're eavesdropping on a chance meeting of the two in what feels like the fragment of a shared dream, sublimating each other's spectral antics through spirals of noise and song.