For this new song I have tried to add a new narrative dimension that I had not formalized until now, either because it was not the right moment or because this new song 'asked to speak' in a clearer way. What follows could be the remixed "lyrics" of the song, the outline of the multiple "lyrics" of this possible animist song, the outlines (songlines) of this interconnected digital song.

Sometimes I look for a specific album or territory where to look for a new piece of the remix, but most of the time the new pieces emerge randomly by sonic affinity. What follows is equal parts surprise, discovery and interpretation. These texts and links below are a sequence of the words and the origins of the messages that intertwine in this ['syncretic'] music (http://es.wikipedia.org/wiki/Sincretismo), in this sound collage called "Palabra Sortija":

ngi-warragarra-ilh-ara, ngri-rri-nhdhamarr-i
ngi-lhanguhadharrbi-na, ngi-rri-njgurami-na
ama-wiriyalyal, ngi-wulawulag-ana
ngi-walgirri, gurruwurwurwur
ngi-rlundu-wanjbaj, ngi-rlundu-wanjbaj
nimbirri-nga-yanjjang-ayi, yaa yaagila
ngi-lhanguhadharrbi-na, yaa yaagila
nimbirri-nga-yanjjang-ayi, yaa yaagila
a-garangarri-wala, yaa yaagila

(all-stand, come-behind / go-different-places, go-round / grass-nut, form-many-groups / calling-out-different-places, brolga-name / groups-different, groups-different / hear-each-other, here-coming / go-different-places, here-coming hear-each-other, here-coming / country-from-name, here-coming)

Colin Gamargadada, a [Nunggubuyu] speaker (http://en.wikipedia.org/wiki/Nunggubuyu_language), knew many of the local Brolga songs. The lyrics of these songs vary, but all refer to the habits of these birds that fly in flocks, "dance" together, feed on billabongs, and frequent familiar places in clan-owned territories. The brolga is a large gray crane that has totemic affiliations with the Nunggubuyu people. Ngardhangi is said to have been the first to introduce into the new brolga style the preliminary "cry" or vocalized opening glide. This "cry" was interpreted as the longing of the brolga bird for its homeland. notes: Alice M. Moyle

Colin Gamargadada recites about shamanic drums and sounds of the Ulchi and Udege peoples, and then a song Sangtam, a tribe of the Nagas, whose study for "[European observers]"(http://himalaya.socanth.cam.ac.uk/collections/naga/coll/4/xintroduction/detail/all/page_1.html) revealed clues to the great migrations of human history...

Clarence Tom Ashley sings an excerpt from The Wayfaring Stranger, an American spiritual supposedly originating in the early 19th century, but whose origin is lost in the complex fabric of unwritten memory.

I am a poor wayfaring pilgrim
I'm traveling through this world below
I have no sickness, toil or danger
In that bright world to which I go
I'm going there to meet my father
I'm going there no more to roam
I am just a-going over Jordan
I am just a-going over home

(I am a poor wandering pilgrim, traveling through this world beneath my feet, I have no ills, fatigue or danger, In that bright world towards which I'm heading, I go there to meet my father, I go there to stop wandering, I'm only going towards the Jordan, I'm just going home)

Shalom Katz sings "El malei rachamim", a funeral prayer of the Jewish community Ashkenazi

El Malei Rachamim shochein bamromim,
hamtzei menuchah nachonah tachas kanfei hashechinah

(God, full of mercy, Who dwells on high,
grant proper rest under the wings of the Divine Presence)

and over all that finally comes Lola Kiepja, from the land of the end of the world:

This recording collects 47 songs performed by the last true member of the Selk'nam group, Lola Kiepja. The Selk'nam had no musical instruments, so these songs have no accompaniment. The Selk'nam were the original inhabitants of the largest island of Tierra del Fuego, located a little south of the Strait of Magellan. When these recordings were collected in 1966, Lola was the only one among ten survivors of indigenous blood who was still a Selk'nam. She was the oldest of them all. She was born just before her culture was shattered, and died at the age of 90, four months after these recordings were made. Psychologically and emotionally she identified with her culture and never integrated as others did. She expressed herself in Spanish but preferred to speak in her native language. She was the last shaman of her group and therefore possessed a deep knowledge of their mystical traditions. Despite her tragic life, she laughed easily and was, I believe, happy when she sang.
(text: Anne Chapman)

Lola Kiepja, the last Shaman of the Selknam, could sing something like this:

here I am singing
the wind is carrying me
I am following in the footsteps of those who died
I have been allowed to come to the mountain of power
I have come to the great mountain range of the sky
the power of those who died is coming back to me
from infinity they have spoken to me

Lola Kiepja sings about many fragments, one of them by Alemayehu Eshete, Ethiopian musician, whose name is composed of two words "Alem" meaning 'the world or life' and "ayehu" meaning 'I have seen'. Its literal meaning is 'I have seen the world'. However in the context of a personal name, its actual meaning in the Amharic language is 'I have enjoyed life'.

la huerfanita de Canchis and her brother Casimiro Hihuallanca Mamani's Bandurria are in charge of sewing this story of diasporas, longing and pilgrimages with a Huayno, an Andean musical genre that would come from the Quechua word "huayñunakunay" which means to dance holding hands.

This piece is composed with 29 loops coming from 22 different songs Here you can see his collage and the discs where you can find them.