Vitayu

For seven months Russia has been waging a disgusting war in Ukraine. Constantly, we learn new horrific truths about what the occupiers have done on the land, that they proclaim is theirs. We believe Ukraine will be free again and rightful judgement will be brought upon those, who hide their violent, genocidal intentions behind the mask of lies.

With our first compilation - ‘Soteria’ - we want to aid the fight for freedom, that is still ongoing. We at Xpone stand strongly in support of the Ukranian people and against the Russian terrorist regime. We don’t acknowledge the new territories annexed by the occupier, nor the old, and condemn the blatantly fake "referendums" that took place from 23-27 September 2022 on the territories of self-proclaimed “DNR”, “LNR”, and the occupied Zaporizhzhia and Kherson regions.

All proceeds from this release will go to Livyj Bereh — a volunteer organisation, which helps to rebuild the homes of those affected by the Russian invasion, as well as provides constant aid for the Ukranian military.

We thank everybody, who participated and all those, who are willing to support the cause.

Design by lovvlifer
Mastering by qwqwqwqwa

XCOMP01

mu tate - Almost Loosing Control

mastering by @bswalk
cover by ratx.cc

@mx-tune

k1nd4

mxtune - ddd_2

“[....]
This record highlights the Secret Boyfriend that obscures didacticism by highlighting output that opens up for more challenging catharsis and emotive signal processing. It provides an entry to the materialism of a cultural field full of ecstatic complexity and beautiful inconsistency. In these muted moments Secret Boyfriend has given us over his career we have an argument for evolving languages that further challenge our notions of what is supposed to happen and how it is supposed to be presented. In his more song oriented expansiveness, we can punctuate the ability to think in new modalities. Listening to these recordings reminds me of the polarity of sitting in the record store as a kid and understanding that His Name Is Alive is on 4AD and (gasp!) timeSTEREO. This trite early impression that nothing is really as different as our imaginations might want them to be, and that we can do whatever we want mostly within the creative realms we work through is an important filter to look through Secret Boyfriend as a project and a vessel. If we can achieve abandon and vulnerability through our artistic endeavors, then we have a sound model for, 𝗺𝗮𝘆𝗯𝗲, new potentialities. If that’s too much projection, or just complete liberal bullshit, I am fine with that. Secret Boyfriend's oeuvre at best offers us moments of reprieve to ponder these complexities, or at least a moment to zone out on a drive through North Carolina Highway 54.

You have one pocket of life that you must do whatever you want to inside of. Secret Boyfriend does it affectionately, in a variety of forms, and always with deep sentimentality. These recordings are a wonderful set of songs to begin further investigation from. Thank you Ryan for allowing as many avenues as possible to continue a broad cultural exchange and conversation that intersect and refract while being the kind of artist that is brave enough to not phone in the effort.”

- excerpt of essay by Nick Klein, May 2024

Casio, guitars, bass, percussion, no-input mixer, synth, tapes, and voice by Ryan A Martin, recorded at Meadows of Dan & Cathedral II
Audio finalized by Glyn Maier
Artwork by Ryan A Martin

Listener's Guide

Secret Boyfriend - Treil (ENMB-16)

gold digger dub

Session #9 - Cesins

YouTube Streaming | youtube.com/live/uFws0qXttoQ

Flaty B2b OL | Kivach Radio x Gost Zvuk | 21.07.24

Hugo Esquinca offers his debut album format release, DOCUMENTO_UNO, for Psychic Liberation stating:

“DOCUMENTO_UNO [2014-2024] is a -mis-selection of bastardized personal archival material containing actions, installations, induced DSP corruption, after-hours field recordings and direct documentation of audio equipment degradation. With the intention to dispose rather than preserve, all files utilized for the production of this CD have been permanently deleted after usage.”

Copious libations and long, long walks around metropolitan sprawl are part of the process material that cultivate the contained audio within DOCUMENTO_UNO. Esquinca posits a formal conundrum, skewing the perceptual intake of the organic and inorganic aurality in a collaged twenty-nine minutes and thirty-nine seconds of Esquinca’s auto-documentarian efforts. Something about weighted city environments, places like Mexico City or Berlin or Glasgow, and how they interrelate with weather extremities, finances, alcohol, and one's personhood are embedded in DOCUMENTO_UNO. At the end of the day, you are not at home.

Esquinca is known for large scale audio works that take on the extremity of amplification to incite situations and circumstances that become ruminations on what is impenetrable or absent* yet consequently disruptive**. For DOCUMENTO_UNO a similar through line to materiality and ephemeral outcome is observed. The pushing of a recording device to its furthest capabilities and the harmonic damages that follow through as a result. The unwavering compositional directive to keep finding the threshold of the audio space, first in capturing from life and then later from processing and arranging. This is Esquincas first album effort.

The truth is that Esquinca is exhausted by Sound and its orbiting cultural sphere. His multifaceted work as an artist, researcher, and writer continually exhibits a perspective in extremity that manifests a perspective a politer audience recoils in facing. Esquinca though is no brute, nor looking for cheap tactics to elicit canonized pearl-clutching responses to the vulgarity of our times. DOCUMENTO_UNO complexly collages confrontation in formal, mechanistic, or actionable methods to unsettle your stereo and effectively not save your world.

In many ways, this release is a family affair for Esquinca. DOCUMENTO_UNO is the result of many nights of long talks and beverage consumption with friend and collaborator Nick Klein. Additionally, a selection of the original source material has been remixed by Russell Haswell, a longtime collaborator and friend of Esquinca.


* See works done at EMPAC in Troy, New York, where an entire auditorium's multi-channel sound system was played at maximum volume after hours with no one allowed in the building, leaving only the vibratory sensation of the architecture to speak to the idea of absence for the viewer.
** See Esquincas latest work, as part of a festival dedicated to Alvin Lucier, where the artist reinterprets Luciers “Sound On Paper”. Here Esquinca trades paper for architectural glass, focusing thousands of watts of amplification onto the glass to more caustically illustrate Luciers paper observations. 
credits
releases November 30, 2024

Edition of 100 Compact Discs
Each copy has been individually numbered, stamped, marked and wrapped in 50 liter garbage bags.

Recorded and arranged by Hugo Esquinca
Mastered by Russell Haswell
Designed and assembled by Hugo Esquinca
Product Photography by Gustavo Saiegh
Artist Photography by Dominique Saiegh

DOCUMENTO_UNO

ALBUM PURCHA$E

PLIB066 - HUGO ESQUINCA - DOCUMENTO_UNO (EXCERPT)

Halfway between there and here, a thin surface floats on the hum of its own paradox. Neon mycelia pulse above-beneath the surface,
spelling out the names of all the selves you incinerated
to keep the illusion of sides and continuities alive.
What happens to an echo in a sealed space?
The ripples feed themselves. 

It learns that a mirror is not a mirror.
Reality insists on its brittle dichotomies—
subject/object, self/other, solid/void—
but the glass grins,
and the glass remembers:
THERE IS NO OTHER SIDE
THERE IS NO SIDE AT ALL.

Maybe when you touch the mirror,
it is the universe that reaches back,
finger to finger, and every atom in your body, a shard of borrowed light,
realigns at the speed of doubt,
As you look at your past through the veil of your configuration.

There are no mirrors.
Only doors wearing the masks of walls.
Now, look closer at the mirror.
The echo is someone else waiting in the silver,
holding a dagger made of every question you've ever swallowed.

What happens to ripples in a sealed space?
They become architecture.
They become a god that eats itself.

The face you wear is a 7th-dimensional hepteract,
folded and refolded by the hands of a god who forgot their name.

-------------------------------------------------------------------

Voice by Andrew Howell AKA Deadpedal
https://www.instagram.com/deadpedal.official
https://www.tiktok.com/@deadpedal

MIRROR LP

OUTRO (VO by Andrew Howell Deadpedal)

Track 2 from the 'Lullabies for Parasomniacs' album by Disco Outcast.

Ghost in the algorithm

when the formless creature swallows the sky
it's eyes, what we call stars, open and drowns the world in it's vision
an undeniable truth, a champion of impartiality
all returns to the night

TRACKLIST:
1. ANSWERS IN GASHES
2. RIBCAGE MELODY
3. GLASS SKIN
4. REVEALING MY INTENT

REALM OF YOKAI
TRUE DISCIPLE

NIGHT'S GLARE

community of the local exp music scene enthusiasts

yo2: audiodrag, pepgaffe, vowel, apipad

mxtune - ddd_2

ejekt

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