B-Dot - Dream (The Star)

B-Dot - Scalp Collector

B-Dot - Tears of Diamond

B-Dot - Gift of Discernment

Ensemble 2 - Woolly Pianos - Xenia Xamanek

HISTORIA

a finales de 2023, una amiga nuestra tuvo la idea de pagarle a camioneteros para que pongan 'malandreo conceptual' en encavas en un pueblo de Guárico; la idea de trabajar con el sonido de una encava nos enganchó de sobremanera y empezamos a trabajar en base a ese concepto, que se convirtió en nuestro siguiente proyecto, Amor de Encava

solo teníamos en mente trabajar con la sensación de "malviajarse" estando en una camioneta por lo triste de las canciones que sonaban de fondo, cosa que se mantuvo hasta el día de hoy, pero hubo un agotamiento en nosotros con todo lo que ocurrió el año pasado en el país, y medio inconscientemente ibamos plasmando muchos de esos sentimientos en el disco. apropiándonos del sonido y la estética de la que nos estábamos inspirando, llevamos el proyecto a no solo tratar del desamor de los temas, sino también de lo solitario que se siente estar acá en Venezuela; una experiencia que tanto afecta a quienes se van como quienes se quedan

PRODUCCIÓN / ideas, influencias y estética final:

en el proyecto adjuntado mezclamos un montón de sonidos comunes de los autobuses, como, mayoritariamente, la salsa baúl, junto con géneros electrónicos aún predominantes en estos ambientes, ya sea la changa o el reggaetón, con ese toque de epic collage que sirve como pegamento de los temas; también se implementaron muchos pasajes con guitarras o pianos para buscar un sonido denso y surreal en toda la duración del proyecto; hay samples reminiscentes de los que se encuentran en los mixes de las camionetas como otros que sirven como ambiente.

parte importante de la inspiración del proyecto viene a proyectos que mezclan muchos elementos folclóricos latinos con producción glitcheada como Jueves de León Cordero, la escena del tropicanibalismo con todos los proyectos de Eblis Alvarez. junto con mixes de salsa baúl y proyectos de salsa más psicodélicos como Vigilante o Rican Struction; James Ferraro fue clara influencia para nosotros desde un principio por su importancia en la escena del Plunderphonics, acá también se nota por su uso de efectos y tags como en Cold Visions

la versión enviada es la más reciente que se tiene exportada, más no la versión final; ésta se encuentra sujeta a cambios ya pautados por los miembros del grupo (dígase vocales de DJsueldominimo como colector de la encava y el host de DJsingatumai, como en nuestro mixtape 'malandreo conceptual')


05. MALUCA

A phone call with a past mentor who at age 95 is still teaching piano, a memory of giggling at her transfixed mother photographing swans, a feeling of being floored whilst unearthing letters from her parents’ relationship. Exploring her most personal narratives to date, Laenz’s album ‘88 keys’ is suffused by the power of unwavering devotion - both towards others and towards lifelong study of music. Leaving behind the guilt of adolescent indignation and deviation from classical music towards fascination with leftfield dance music, the release circles back: a reverence to former piano teachers and the nurture they instilled in her.

Across ’88 keys’, loosely tethered memories and the intricate yet unpredictable sonic turns Laenz is known for are grounded through bass frequencies. On ’’11’ which samples recordings of Laenz’s last public performance of Bach’s ‘Chaconne in D minor’ arranged by Busoni, sustained solemnity is beset against misty, dubbed-out percussive explorations of piano acoustics. ’’24’ reminisces on lazy walks by Berlin canals, basslines ebbing hazily below spiralling hi-hats and caliginous melodies. ’9-30-91’ delicately re-casts one of the many love letters written by her father to her mother when they began dating, into a sonically distinct, tenderly stripped back vocal track. The lyrics read: ‘My dear, I miss you so much, I miss you deeply, from the bottom of my heart. Thoughts of you, occupy my whole heart, and every corner of my mind’.

Conversations, past performances, and archival recordings are run through iterations of radio transmission-reception, audio becoming irreversibly lost or altered into ambiguity. Each titled after a year, though not emotionally bound to it, the tracks are an aggregate of Laenz’s desire to calibrate them actively in her current memory—resisting any inevitable, obsolescent effects of time’s passing. In Laenz’s words ’88 keys’ ‘though a fraction of the appreciation I have for my parents, Carolyn Shaak, and Larry Graham, this project was from start to finish an ode to their impact. 

The singles ‘’11’ and ‘‘24’ are out on the 2nd and 9th May, ahead of the full album release on 16th May 2025.

Artist Bio:
Laenz is a producer based in Brooklyn, NY, working within radiophonic textures and caliginous dance music. Her work explores the sonification of indeterminate spaces, saturating abstract musical forms with intensely tender and personal observations. She uses vocals, radio equipment, and live processing in her performances, sonifying unknowable sounds into unsuspecting ears. She holds a Lot residency, and has released projects under Woozy, Early Reflex, Dance Data, and more.


An elegiac suspension through city landscapes in decay, weeds growing through vandalised ruins and fallen grandeur, BJ Holy’s debut album ‘Broken Horns’ offers an effusive take on endings, heartache and rebirth. Embracing solitude, rebuilding and the presence of what remains in the wake, euphoric beats tug below broody distillations of folkloric references and flugelhorn.

Opening with ‘Lowlanding’, a rework of 17th century sea shanty ballad ‘Lowlands’, the album blurs deeper and deeper into evocations of desire and ecstatic release. ‘Xo xo’ bids goodbye to broken hearts, whilst ‘Clean slate’ emerges as an airy counterpart to the subterranean emotional depths of ‘Earth sign’ (co-written with Virginia Waters). ‘DJ and I’m dancing’ is an angsty, industrial rumination on the alienating rotations of London’s side hustles. The album closes with ‘Anchored in love’, featuring Glasgow-based musician & choreographer, Magnus Westwell on strings. Returning again and again to a feeling of being fixed in romance through its cyclical, repetitive, looping composition, BJ Holy ushers in a hopeful glimpse of something new.

releases November 7, 2025

Written, performed, produced & mixed by BJ Holy
Mastered by Owen Pratt
'Hurt again' violin by Magnus Westwell

Hurt again (feat. Magnus Westwell)

An elegiac suspension through city landscapes in decay, weeds growing through vandalised ruins and fallen grandeur, BJ Holy’s debut album ‘Broken Horns’ offers an effusive take on endings, heartache and rebirth. Embracing solitude, rebuilding and the presence of what remains in the wake, euphoric beats tug below broody distillations of folkloric references and flugelhorn.

Opening with ‘Lowlanding’, a rework of 17th century sea shanty ballad ‘Lowlands’, the album blurs deeper and deeper into evocations of desire and ecstatic release. ‘Xo xo’ bids goodbye to broken hearts, whilst ‘Clean slate’ emerges as an airy counterpart to the subterranean emotional depths of ‘Earth sign’ (co-written with Virginia Waters). ‘DJ and I’m dancing’ is an angsty, industrial rumination on the alienating rotations of London’s side hustles. The album closes with ‘Anchored in love’, featuring Glasgow-based musician & choreographer, Magnus Westwell on strings. Returning again and again to a feeling of being fixed in romance through its cyclical, repetitive, looping composition, BJ Holy ushers in a hopeful glimpse of something new.

releases November 7, 2025

Written, performed, produced & mixed by BJ Holy
Mastered by Owen Pratt

DJ and I'm dancing

Cirrus

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