enxpl series [collaboration with PSYCHIC LIBERATION]

mixes

enmf [flexi] + enmd [digital] + enmb [lp] series

procure

enms + enmx + enxevp series [cassette]

enm series [lp]

+all tracks from enmossed and enmossed x psychic liberation (enxpl) catalogues, including some upcoming/unreleased

+debuted April 29 2021 by 00185fm (https://www.newweirditalia.eu/00185fm) as part of Misto Mame collective's anniversary (https://www.newweirditalia.eu/misto-mame)

+tracklisting
MARV - Stable Mate
Osawa Tome - Fern Knee (ENXPL)
Horoscope - Magenta (ENXPL)
Secret Boyfriend - Ladies Who (ENXPL)
Russian Tsarlag - Partially Recycled (ENXPL)
Sachi Kobayashi - Don't Fall Asleep Again At The Hotel In The Morning (ENXPL)
Glyn Maier - Vale Apotheosis (Chaperone Remix 3) (unreleased)
Yeong Die - Statue 19
Nazanin Noori - IMAGINE ALL IN A HALL (excerpt)
David Wesley Sutton - In Suspension Of The Other (excerpt)
Julien Malaussena -  Concerning articulated sound energy

enmossed mix for 00185fm

There’s a body of water in the woods near Carrboro. Dappled light on the trail leads you to it. Crunch of leaves underfoot. A river feeds the swimming hole where people plunge, naked and alive. On a chair you sit reminiscing about the future. After a dip, you lay on a big smooth rock - let the sun bake you dry. Then you walk further into the woods.

Like coming upon some keyboardists situated at the mouth of a cave, the entreaties on this record are calming but enigmatic, tinged with melancholy and reflection. Recurring motifs are given room to grow—there’s much space, and the progressions percolate, an auditory mapping of emotional crevices. Sentimentalism given a rougher edge. It lures you in; an orb appears, bright and buzzing. It motions for you to continue. As you do, a fragrance floats through the cave and fills your psyche, like a thousand roses hidden in the dark.

On "Keyboard Suite Vol. 1", MARV imbues analog subtractive and FM synthesis with a distinct physicality. Dub studio techniques and rigorously hand-played performances create an 'environmental' keyboard masterpiece strongly connected to the lineage of 1970s-80s private press ambient and electronic recordings-- but elegantly modern sound design and production methods center the album in the present day. A timeless quality pervades "Keyboard Suite Vol. 1", allowing for easy repeats, marinating the subconscious ache of loss with a dreamily resolute hope.

keyboards and effects ~ Geoff Schilling and Nathan Taylor
french horn (A2) ~ Aaron Smithers
mixdown assistance ~ Glyn Maier
audio finalization ~ Nathan Taylor
design and layout ~ Joe Bastardo (www.josephbastardo.com)

all proceeds to Carolina Abortion Fund (Durham, NC) ~ www.carolinaabortionfund.org

ALSO WILL BE STOCKED BY:

Tobira Records (JP)
All Day Records (US)
Commend (US)
Boomkat (UK)
Industrial Coast (UK)

LP details ~
black vinyl, printed center labels
lacquer cut ~ Amy Dragon
recycled black paper jackets ~ Middle Press
silkscreened with water/soy-based ink ~ Goatmother Industrial
recycled plantable seed paper insert ~ Greenfield Paper, debossed with Braille text* ~ Middle Press
custom scent ~ Meadow Maker Apothecary (www.instagram.com/_meadowmakers_/)

*may not be readable due to paper thickness and texture

*ALL LPS WILL BE SHIPPED OUTSIDE OF JACKET FOR SAFETY*

Keyboard Suite I

MARV - Stable Mate (ENM10)

A mix for movement...

𝑇ℎ𝑒 𝑠ℎ𝑜𝑟𝑡 𝑠𝑡𝑜𝑟𝑦 𝑏𝑒𝑙𝑜𝑤 𝑤𝑎𝑠 𝑤𝑟𝑖𝑡𝑡𝑒𝑛 𝑏𝑦 𝑅𝑜𝑏 𝐺𝑜𝑦𝑎𝑛𝑒𝑠 𝑤ℎ𝑖𝑙𝑒 𝑙𝑖𝑠𝑡𝑒𝑛𝑖𝑛𝑔:

As a child, Aggy liked to steal their parents’ phones and send texts to random numbers. The messages Aggy sent were kindhearted and peculiar. Sometimes, Aggy would text complex questions of a spiritual nature. Kids’ radical lack of filters is what makes them wise, but also very annoying, is what the parents repeatedly agreed whenever Aggy did this. The strangers’ replies, which always arrived after the parents had their phones back, were usually bemused, and rarely, but sometimes, they were belligerent. Disciplining Aggy for this behavior wasn’t simple.

“Aggy, honey, you can’t keep doing this,” said one of the parents. “We know you’re not being mean, but it could be dangerous, talking to strangers like this.”

“No phone for a week,” the other said.

Aggy took these haranguings gracefully. As the verdict was read out a subversive crack appeared at the edges of Aggy’s mouth. Once communicated, Aggy accepted these punishments with a tiny but steadfast stoicism.

A young adult now, Aggy was on a bus to a faraway place.... [FULL STORY AVAILABLE AT: https://enmossed.bandcamp.com/album/walking-mix]

---

Florian T M Zeisig makes music, has OCD, recently completed studies in composition with Carsten Nicolai, and is currently trying to re-connect with himself.

artwork by Florian T M Zeisig and Glyn Maier.

all proceeds to Dounia Moussalli (𝘧𝘰𝘳 𝘩𝘦𝘳 𝘤𝘰𝘮𝘮𝘶𝘯𝘪𝘵𝘺 𝘦𝘧𝘧𝘰𝘳𝘵𝘴 𝘪𝘯 𝘵𝘩𝘦 𝘌𝘴𝘴𝘢𝘰𝘶𝘪𝘳𝘢 𝘢𝘳𝘦𝘢, 𝘔𝘰𝘳𝘰𝘤𝘤𝘰. 𝘚𝘩𝘦'𝘴 𝘣𝘦𝘦𝘯 𝘸𝘰𝘳𝘬𝘪𝘯𝘨 𝘧𝘢𝘤𝘦 𝘵𝘰 𝘧𝘢𝘤𝘦 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘤𝘰𝘮𝘮𝘶𝘯𝘪𝘵𝘺 𝘵𝘰𝘸𝘢𝘳𝘥𝘴 𝘣𝘶𝘪𝘭𝘥𝘪𝘯𝘨 𝘴𝘶𝘴𝘵𝘢𝘪𝘯𝘢𝘣𝘭𝘦 𝘢𝘯𝘥 𝘪𝘯𝘥𝘪𝘷𝘪𝘥𝘶𝘢𝘭 𝘴𝘰𝘭𝘶𝘵𝘪𝘰𝘯𝘴. 𝘛𝘩𝘪𝘴 𝘪𝘯𝘤𝘭𝘶𝘥𝘦𝘴 𝘦𝘯𝘷𝘪𝘳𝘰𝘯𝘮𝘦𝘯𝘵𝘢𝘭 𝘦𝘥𝘶𝘤𝘢𝘵𝘪𝘰𝘯 𝘪𝘯 𝘴𝘤𝘩𝘰𝘰𝘭𝘴, 𝘧𝘪𝘹𝘪𝘯𝘨 𝘩𝘰𝘶𝘴𝘦𝘴, 𝘪𝘯𝘴𝘵𝘢𝘭𝘭𝘪𝘯𝘨 𝘸𝘢𝘵𝘦𝘳 𝘱𝘪𝘱𝘦𝘴, 𝘧𝘰𝘰𝘥 𝘱𝘢𝘤𝘬𝘢𝘨𝘦𝘴 𝘢𝘯𝘥 𝘩𝘦𝘭𝘱𝘪𝘯𝘨 𝘧𝘢𝘮𝘪𝘭𝘪𝘦𝘴 𝘸𝘪𝘵𝘩 𝘧𝘶𝘳𝘵𝘩𝘦𝘳 𝘦𝘹𝘱𝘦𝘯𝘴𝘦𝘴.)

Walking Mix

Florian T M Zeisig - Walking Mix [Side A Excerpt] (ENMX15)

Composed during a whirlwind period of touring and sound engineering in 2019, 𝑂𝑛𝑙𝑦 functions as both a tranquil refuge and as a heartfelt appreciation for the source instruments' timbres. Berlin-based Bridget Ferrill crystallizes her professional recording experience and artist residencies into a singular focus on Buchla modular, harp, zither, and viola da gamba. Rather than an exercise in technical mastery, Ferrill's careful arrangements invite us to linger with each instrument; in her words, fulfilling the longing to "listen a little longer, a little slower". Every contour of the instruments is lovingly traced, a warm invite for us to join her in the exuberance of exploring their inner life.

---

Bridget Ferrill (USA/DE) is a producer and composer of electronic music whose work plays between pattern and noise, exploring augmented instruments, handmade electronics, and experimental computer music. She has participated in residencies at EMS in Stockholm, LungA in Iceland, and the Dirt Palace in Providence, Rhode Island. Recent projects include composing for Staatstheater Cottbus, engineering and performing electronics for Bendik Giske’s live show, designing the Anglerfish drone synthesizer for Common Ground, and creating multimedia installations with composer Áslaug Magnúsdóttir.

Ferrill is also a live and studio engineer with experience working in studios and venues such as Greenhouse Studios in Reykjavik, Machines with Magnets in Providence RI, and at Real Surreal, her own mixing and mastering studio in Berlin.

Only

Bridget Ferrill - Viola da Gamba (ENXPL10)

With a steady drip of releases from labels such as Great Circles, L.I.E.S., and Jack Dept., Philadephia-based M//R (Billy Werner) has carved out a uniquely penumbral club zone. Informed by a lifetime in various underground music spheres and sharpened by steady DJ gigs across the eastern US, 𝑨𝒏𝒙𝒊𝒐𝒖𝒔 𝑴𝒆𝒅𝒊𝒕𝒂𝒕𝒊𝒐𝒏 delivers Werner's deepest cuts to date. Heavy influence from classic dubs intersects with modern bass centric genres to deliver four tracks of floating pads and faveolatic percussion, simmering atop magmatic sub-bass rhythms. The center label reads "33-45 RPM" -- due to the analog nature of the recordings, it can be pitched down to languorous BPMs; every tempo and pitch offering new vistas for home listening or (hopefully soon) dancefloor revelations.


𝐼𝑛𝑠𝑡𝑒𝑎𝑑 𝑜𝑓 𝑠𝑖𝑛𝑘𝑖𝑛𝑔 𝑖𝑛𝑡𝑜 𝑛𝑜𝑡ℎ𝑖𝑛𝑔𝑛𝑒𝑠𝑠
𝑇ℎ𝑒 𝑚𝑜𝑛𝑘 𝑛𝑒𝑟𝑣𝑜𝑢𝑠𝑙𝑦 𝑒𝑦𝑒𝑠 ℎ𝑒𝑟 𝑤𝑟𝑖𝑠𝑡𝑤𝑎𝑡𝑐ℎ.
𝑆ℎ𝑢𝑡𝑠 𝑡ℎ𝑒𝑚 𝑡𝑖𝑔ℎ𝑡 𝑎𝑔𝑎𝑖𝑛, 𝑐𝑢𝑟𝑠𝑒𝑠 𝑡ℎ𝑒𝑚,
𝐻𝑒𝑟 𝑚𝑖𝑛𝑑 𝑡𝑜𝑜 𝑡ℎ𝑖𝑐𝑘 𝑤𝑖𝑡ℎ 𝑡ℎ𝑜𝑢𝑔ℎ𝑡.
𝑆ℎ𝑒 𝑠𝑙𝑖𝑝𝑝𝑒𝑟𝑠 𝑎𝑐𝑟𝑜𝑠𝑠 𝑡ℎ𝑒 𝑟𝑜𝑜𝑚, 𝑟𝑜𝑏𝑒𝑠
𝐶𝑙𝑢𝑡𝑐ℎ𝑒𝑑 𝑎𝑛𝑑 𝑏𝑟𝑜𝑤 𝑓𝑢𝑟𝑟𝑜𝑤𝑒𝑑,
𝐴 𝑠𝑖𝑛𝑔𝑙𝑒 𝑚𝑜𝑡𝑖𝑜𝑛, 𝑠𝑡𝑒𝑟𝑒𝑜 𝑜𝑛,
𝐺𝑙𝑖𝑠𝑠𝑎𝑛𝑡𝑖𝑛𝑔 𝑏𝑎𝑠𝑠, 𝑛𝑎𝑔 𝑐ℎ𝑎𝑚𝑝𝑎 𝑐𝑙𝑜𝑢𝑑𝑠
𝑃𝑢𝑙𝑠𝑎𝑡𝑖𝑛𝑔. 𝐸𝑣𝑒𝑟𝑦𝑡ℎ𝑖𝑛𝑔 𝑎 𝑠𝑙𝑜𝑤
𝑅𝑒𝑣𝑒𝑟𝑏𝑒𝑟𝑎𝑡𝑖𝑛𝑔 𝑠ℎ𝑖𝑣𝑒𝑟, 𝑤𝑎𝑘𝑒 𝑢𝑝,
𝑆𝑎𝑖𝑙𝑖𝑛𝑔 𝑎𝑐𝑟𝑜𝑠𝑠 𝑡ℎ𝑒 𝑟𝑜𝑜𝑚 𝑎𝑛𝑑 𝑎𝑟𝑚𝑠
𝑇ℎ𝑟𝑎𝑠ℎ𝑖𝑛𝑔 𝑎𝑠 𝑖𝑓 𝑡𝑟𝑦𝑖𝑛𝑔
𝑇𝑜 𝑐𝑎𝑡𝑐ℎ 𝑒𝑣𝑒𝑟𝑦 𝑙𝑎𝑠𝑡 𝑒𝑐ℎ𝑜.



Buy via: https://enmossed.bandcamp.com/album/anxious-meditation 

https://soundcloud.com/m-r-127
https://soundcloud.com/enmossed

Premiere: M//R - Arquatic Gesture [enmossed]

In anticipation of our upcoming collaborative event at OCCII, Amsterdam (July 23rd), glyn maier presents a special offering to warm us up.

"Mostly older LPs, all played with at least 25% pitch down, recorded on a humid spring night in the Appalachian Mountains..."

Annea Lockwood - Immersion + Tiger Balm (Glyn Maier edit)
Patti Tassini - Hula Om
Thomas P Heckmann - 08-36-29
Midori Hirano - Patterns
Terry Fox - Ether
Audubon Survey 1968, Hawaii
Dan Gibson - Solitudes Vol. 4
Morton Feldman - String Quartet II
Phill Niblock - A Third Trombone
Iannis Xenakis - Polytope De Cluny
Jon Gibson - Melody IV
Joyul - Backstroke
Annette Brisette - Feeling Dub

Event page: https://www.facebook.com/events/728942481749073

https://soundcloud.com/enmossed
https://soundcloud.com/glynmaier

glyn maier presents: Paludal Heath Mix

Holding the tension of opposites is a theme running throughout the work of Angelo Harmsworth, and the six pieces comprising Vent are no exception. Inspired by the different and oftentimes clashing forces comprising our weather systems, the New Mexico-born but now Berlin-based musician and producer envisioned his “compositions as micro-ecologies,” wherein “powerful waves push off one another.” The patterns emerging from this captivating music represent some of Harmsworth’s most complex to date. Swells of foreboding frequencies and jarring maximalist textures may bear down on listeners, yet an undercurrent of bliss–so deeply submerged it borders on the subliminal–manages to infuse even the most tumultuous moments of Vent with a calming groundedness.

And also like the climate, especially in the age of the Anthropocene, this cassette unfolds in ways that are profoundly unpredictable. An artist known for his ability to span the divides separating underground noise, sound design, ambient and industrial, Harmsworth ensures that each successive piece makes a radical break from what preceded it. This quality becomes particularly apparent when contrasting sides. The nearly harsh-noise, distortion-charged moments punctuating Side A are nowhere to be found on Side B, which reveals moments of vast, spectral beauty that reflect his roots in the desert landscapes of the American Southwest.

Of course, this kind of sonic breadth only comes with experience, of which Harmsworth has plenty. Steadily recording and releasing experimental music since the early 2010s, he has worked with some of the sub-underground’s stand-out imprints, including Angoisse, Bathetic Records, Total Black, and Opal Tapes. Placed in the context of his impressive catalog, Vent can be seen as both a continuation of what came before and a bold new development.

---

Angelo Harmsworth is a musician & sound artist whose works tends to fluctuate between austerity and decadence. Currently based in Germany, he has been published by a network of experimental labels in addition to his own imprint, Lime Lodge. 

releases July 26, 2022

Recorded by Angelo Harmsworth
Audio finalized by Glyn Maier
Artwork by Angelo Harmsworth
Design by RJM Vanderheyden

Vent

Angelo Harmsworth - Drag Net Capture (ENXPL15)

Following his live performance with us at SOUP Manchester, Glyn Maier of Enmossed has kindly contributed a mix of soothing vapour for our third in the OT series.

All tracks ripped from vinyl 15-35% pitch down, digitally mixed on a train from Berlin to Amsterdam during the hottest day of summer 2022.

GLYN MAIER - OTMIX #3

Enmossed and Psychic Liberation are pleased to present the first vinyl album in their ongoing collaborative series 𝑬𝑵𝒙𝑷𝑳, focusing on new music spanning the globe, utilizing high-end and recycled materials. Transatlantic duo Unt gifts us with 𝑪𝒍𝒊𝒑𝒔 𝒐𝒇 𝑷𝒆𝒓𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆, synthesizing a multiplicity of genres - ranging from dub techno to screwed hiphop instrumentals, with hints of jazz, avant-garde composition, and new age music - into a personal conversation.

Unt is a collaboration between Chicago-based drummer and improviser John Daniel (FKA Forest Management) and artist, producer, and musician Florian T M Zeisig.

The pair began working together in early 2020, just before lockdowns, during Daniel’s last European tour performing as Forest Management. Starting as a jam session in Zeisig’s bedroom, 𝑪𝒍𝒊𝒑𝒔 𝒐𝒇 𝑷𝒆𝒓𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆 is their debut effort, combining both artists’ engagement with free-form electronic music. The album is the result of a growing friendship and sharing of each other's perspectives. Daniel and Zeisig recorded the tracks in an iterative manner - constantly adding and replacing ideas both metaphorically and literally - in conversation as well as separately.

As an expression of exploring the meaning of collaboration from different perspectives - in terms of listening to each other and musical language - 𝑪𝒍𝒊𝒑𝒔 𝒐𝒇 𝑷𝒆𝒓𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆 ultimately reflects on exchange in its many forms.

𝑪𝒍𝒊𝒑𝒔 𝒐𝒇 𝑷𝒆𝒓𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆 also results from an ongoing process of personal development - breaking negative cyclical patterns, and realizing the depth and beauty of self by uncovering and unfolding one’s mind and personality beyond our current societal cues. 

releases November 8, 2022

audio finalized by Glyn Maier
artwork by Jason Graf
design by RJM Vanderheyden 

pre-order: https://enmossed.bandcamp.com/album/clips-of-perspective

Clips of Perspective

Unt - 55 Insomnia (ENXPL20)

“The tangibility of humidity.

Approaching, parting of the air in front of you with your hands.

Long stretches of baked concrete, cracking with lush plant overgrowth.

Taking time and admiring the resilience of bushes and trees; in Florida, the sun is present in your lap.

Humidity doesn’t only work in its subtle physical form, it also operates as metaphor for experience while living in Florida. With disparity between air conditioning and an insatiable jealousy by the sun, experiences take on a humid modality. Major cities and the thinkers in them survey creative and social space hauntologically, marking fault lines in change within a feedback loop of the zeitgeist. In Miami, change is more difficult to demarcate as those identifiable changes exist compressed, stacked on top of each other creating endless visual and cultural variables. Stasis exists seasonally, you sit with one season effectively/affectively all year long. You see the Sun in the new car, the ocean twinkling reflections towards you, thrift stores, shopping malls, old furniture, overpasses, charred skin, you see the sun in faces. You experience them through a low pass filter with an experiential humidity. Serene and perverse, sublime and abject; you are living through this humidity as you learn to sweat.

𝑺𝒐𝒇𝒕 𝑹𝒆𝒂𝒄𝒕𝒊𝒐𝒏𝒔 𝑰𝒏 𝑻𝒉𝒆 𝑺𝒖𝒏 is the debut of Orchid Dealer, via enmossed. The LP is filled with this humidity, manifested compositionally, tonally, and emotively. The material exists in a diffuse focus, staring down a scorching street, finding solace in the shadows of a palm tree over a sidewalk. Clean wooden floors and marijuana wafts through rooms where the lights don’t turn on because the windows are wide open, overexposing the scene. With these recordings Orchid Dealer helps you smell the ocean, gives you a hint of breeze on your shirtless skin, and is the flip-flop clacking against your heel and the ground. You head over a bridge with your hand acting a visor for your eyes, and a bell jingles from a gated glass convenience store door. 𝑺𝒐𝒇𝒕 𝑹𝒆𝒂𝒄𝒕𝒊𝒐𝒏𝒔 𝑰𝒏 𝑻𝒉𝒆 𝑺𝒖𝒏 feels like you are in the interstitial space of listening, living, and adapting to humidity, and the Sun. Some music exists to inspire growth and change. Here, Orchid Dealer grants you the privilege of pausing and observing, of radically supplanting yourself in the present.”

-Nick Klein

Visual artist and sound designer Orchid Dealer, currently based in North Carolina, fuses elements of expressionism and the lush vegetation that surrounded their home in south Florida, creating fever dream-like zones sprinkled with moments from their everyday life.

Recorded by Orchid Dealer
Mastered by Shy (Special Guest DJ)
Artwork by Angelina Nonaj
Design by Joe Bastardo

Soft Reactions in the Sun

Orchid Dealer - Night Fragments (ENM-12)

With 𝑽𝒂𝒏𝒊𝒔𝒉𝒊𝒏𝒈 𝑨𝒄𝒕, exael’s offering to the ENXPL series, the artist furthers their exploration of what they refer to as “the jester’s gaze”, wherein a variable array of emotions of the fool are less than obvious to decode. In this emotively charged interzonal reflection point, exael probes these psychedelic anxieties through eight varying tracks of accomplished electronic music production. Excavating the root role of the jester and it’s cosmic objecthood, exael takes on a synchronous identity; human and computer, jester and virus, superimposed. Far from a glistening ambient escapism, or sentimental shoegaze meditations, or obligatory club tropes, exael has created a sonic terrain unique to their own narrative and positionality as an artist. Side A of 𝑽𝒂𝒏𝒊𝒔𝒉𝒊𝒏𝒈 𝑨𝒄𝒕 showcases exael’s comfort in fast tempo constructions, while the B side offers slower tempoed ventures with guest vocal duties by writer Zoe Darsee moving between trip-hop and industrial affectations.

---

exael is an alias of Naemi, an artist residing in Berlin. Their work under this moniker aims to upend elements of divergent sonic aesthetics and musical styles, reassembling them with the intent to create diffuse, mulitfunctional contexts. Utilizing exael as an avatar, Naemi attempts to access a collective subconscious via their own, externally processing the sounds and images that permeate contemporary life. Thus, highlighting the ways in which people merge and re-combine with culture on a molecular level as a result of this near-constant immersion. They present stimulating, lysergic sounds in an organic and explorative manner instead of the sometimes exhausting vibe of highly-calculated, experimental club music.

Audio finalized by Glyn Maier
Design by RJM Vanderheyden 

@exael

Vanishing Act

exael - Acid Hiccup (ENXPL18)

The manifold artistic roles of Lisbon Portugal-based usof - producer, DJ, label-runner, visual artist - matches his multifaceted audio output. usof has been at the forefront of the accelerating expansion of "ambient" into an increasingly liminal space, twisting and morphing the genre origins of meditative and background music into unsettling, fantastically detailed compositions. ENXPL is proud to present 𝑾𝒊𝒔𝒉 𝒀𝒐𝒖 𝑾𝒆𝒓𝒆 𝑵𝒊𝒄𝒆𝒓, usof's latest album, which draws from 20th century composition, dub soundsystems, 1990s club/rave culture, cinematic sound design, post-cybernetic dreams, and the hauntological ache underlying much of 21st century discourse.

Between the exacting technicality and heady conceptual underpinnings of 𝑾𝒊𝒔𝒉 𝒀𝒐𝒖 𝑾𝒆𝒓𝒆 𝑵𝒊𝒄𝒆𝒓, usof also makes room for playfulness and humor. On 𝘉𝘳𝘢𝘵, electronic gurgles and croaks converse above synth pads which would not be out of place on cassettes with titles like "Dolphin Magic" or "The Fairy Ring" that litter dusty corners of thrift stores. The dub bass theatrics on the title track are inflated to an absurd degree. These excursions from more formal and contemplative ambiances demonstrate usof's fully-realized world building skills. The breadth and depth of 𝑾𝒊𝒔𝒉 𝒀𝒐𝒖 𝑾𝒆𝒓𝒆 𝑵𝒊𝒄𝒆𝒓's 30+ minutes invite many listenings.

"listening to yourself between kid and future point ideas,
that evolution that obsessive always me

lmaooo looking back on the passing of time, family, friends,
when it was already sometimes good but somehow

when you, us, them, we, where, were, you when we bridged

feeling already like you might be making what I’m thinking" - Seán Being

---

usof (b. 1998, Almada, Portugal) is a musician, visual artist, DJ and event promoter transversally focused on ambient and immersive music.

His work dives into a vulnerable ephemerality of sounds in "amniotic suspension", materializing a space of fragility, collective reflection and shared anxiety. The landscape is built from sensitive improvisational exercises with electronic composition and manipulation of textures and atmospheres. Besides exploring the connections between music and other disciplines such as contemporary dance, visual art and cinema, he develops ideas on how music itself can be used to invent new concepts and sensations.

He is also the co-founder of Rotten \ Fresh, a label recognized as a reference of contemporary and experimental music, and also responsible for the netlabel surf, with an increasing roster of forward thinking producers from all over the world. usof has released singles, remixes and mixtapes on labels like Yunque, International Winners, enmossed, WET, nodisk, and Mizuha. With the Living Room collective, he promotes a series of mixtapes and monthly events in Lisbon, where they connect local and international artists and, lastly, hosts the program "for 0" at Quântica Online-Radio station, dedicated to the outwards fringes of sound art.


Audio finalized by Glyn Maier
Design by RJM Vanderheyden 

@usofusofusofusof

Wish You Were Nicer

usof - Wish You Were Nicer (ENXPL19)

Glyn Maier is a sound artist and field recordist living in Pisgah Forest, North Carolina. Non-city outdoor spaces are essential to Maier’s practice. With a formal education in physics and
music composition, Maier’s preoccupations with natural objects, landscapes, and their social histories guide his recordings, which are then integrated into electronic works utilizing organic rhythms and complex timbres. Maier’s abstract synthesis work is deeply informed by sound design, but his larger focus is on the agency of both machine and environment. Another facet of Maier’s sonic practice is enmossed, the label he founded in 2017. Dedicated to contemporary sound, all profits are donated to positive causes of the artist’s choice, and materials for the tapes and records are hand-constructed out of recycled materials. Its catalogue is distributed internationally by shops such as Boomkat (UK), Rope Editions (Korea), and Tobira Records (Japan).

About the mix
The backbone of the mix is a segment of a longer vinyl DJ set I recorded utilizing a +/- 50% pitch range between two turntables recorded live on Halloween 2022. With an aim towards stretching sounds and favoring extended blends of tracks, the crossroads of fall and winter/past and future were melded into one, on a night deemed especially conducive to the intertwining of material and spirit.

That recording has found a new life through a dialogue with doris dana. In addition to editing the mix to fit the time-constraints of a radio program, dana also added live improvisations, dialogue snippets, and a few additional tracks.  dana has elevated this mix into a perennial listen, seasons stacked in superposition. The wheel is always turning, but this mix may place us at its hub for a moment.

Artists included in this edit of the vinyl mix include: Arthur Russell, RJ Miller Trio, Gossiwor, Sam McClellan, Brent Snyder, Cupol, Glyn Maier, Javier Segura, Harold Budd, Tapiolan Yhteiskoulun Kuoro, Eliane Radigue, Steve Roach and Tarawangsawelas.

Doris Dana w/ Glyn Maier Special 13/08/23

Watch the music video here: https://www.youtube.com/watch?v=kJEos2XfIiE

listen/buy the full album,  𝑾𝒊𝒔𝒉 𝒀𝒐𝒖 𝑾𝒆𝒓𝒆 𝑵𝒊𝒄𝒆𝒓 [ENXPL19]:
https://enmossed.bandcamp.com/album/wish-you-were-nicer
https://psychicliberation.bandcamp.com/album/enxpl19-wish-you-were-nicer

Video by Adriana João
Sound by usof
Audio finalized by Glyn Maier

https://adrianajoao.com
https://linktr.ee/usofusofusofusof
https://enmossed.org
https://nickklein.work

Wish You Were Nice

watch

Brat [ENXPL19]

An array of commonplace metal objects - chains, pans, a bicycle, a chair - recorded by Ross Alexander at home in Berlin during the pandemic comprise the source material of 11 𝑮𝒂𝒕𝒆𝒔. Functioning as a temporal and mnemonic exploration into the nature and conception of “home”, the album evokes Alexander’s earliest memories and broader hauntological perspectives of post-industrial England:

“Growing up in South Yorkshire in the 1980s and 90s was an existence haunted with the ghosts of a heavy manufacturing industry which once thrived in the region. On both a visceral and sensorial level it might be considered equally as impossible to escape the nostalgic stories of mines and steelworks as it was to escape the smell of molten metal in the air drifting from the Don Valley.”

The improvised metallic scrapes, bangs, and bowings recorded by Alexander were further abstracted in live performances using granular sampling techniques, creating a new and extrinsic world to which subconscious thoughts can flee, sonically and contextually. The results are both dreamy and unpredictable, fusing the immediacy of acoustic percussion with the billowing resonances imbued by granular synthesis.

“On tracing back through distant memories of my formative years for sound-objects which represented to me the essential idea of ‘being from’ as opposed to ‘being a visitor’ I related to a pervasive association with the sounds of metal and metallic objects, mostly in respect to how certain structural properties relate to haptic and resonant nature and the manifestation of those properties as sonic results. I feel this is the result of growing up in a place where heavy industry, or at least the remnant of which, was central to society, community and everyday life.”

---

Ross Alexander is an artist, producer and curator based in Berlin working in the context of expansive trans-disciplinary practice and non-individualist ideals. His broad ranging body of work as an artist has encompassed music, performance, sound art, visual arts, installation, radio art, digital media, augmented reality, intervention, social practice and education. Ross has presented and performed at such institutions as ICA London, Transmediale Festival, Nyege Nyege Festival, Documenta Kassel and Martin-Gropius Bau Berlin.

As a curator and organizer his experimental and diverse practice has seen him work with Transmediale festival, Maerzmusik, Glastonbury Festival, Cashmere Radio, Nyege Nyege Festival Uganda and extensively with his own Salon Oblique production collective.

rossalexanderpayne.com
instagram.com/o0rossalexander0o
rossalexanderworks.bandcamp.com
mixcloud.com/rossalexandermix

11 Gates

Ross Alexander - Piece 2 (ENMD-04)

Jiyoung Wi is a multi-faceted artist from Seoul, Korea currently residing in The Hague, Netherlands. Jiyoung’s work can be situated within fictional literature, improvised music, field recording, and is interested in juxtaposing or disjointing these fields of practice through her sonic and literary methodologies. Jiyoung’s debut album 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔, is a concise body of work that punctuates a beginning point to her work within the 12” LP format. The recording serves as one of the two releases concluding the three year sonic endeavor that is the ENXPL (Enmossed X Psychic Liberation) series. Having previously released recordings on compilations for labels like Mirae Arts, Eastern Nurseries, and Psychic Liberation, here Jiyoung hones a cinematic-like structure that exemplifies the biome within her craft. While presently Jiyoung is performing the systematic dismantling of a violin in her live improvisations paired with approachable boutique synthesizers, 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔 is a pairing of the inimitable Korg MS-20 and field recordings staged or captured by Jiyoung in Seoul and Busan, South Korea.

With three scenes per side, Jiyoung walks us through different geographical and spatial intimacies. Public spaces and intimate conversations are obscured and reconstructed.
Glass elevators, an unknown hotel lobby piano recital, office toilet rants, window side night bus travels, and multiple languages interplay with staged and unstaged conversations to transmogrify themselves into a world of Jiyoung’s view. Money, sex, relationships, and cultural parameters are at once idiosyncratic as well as disorientingly familiar to the listener.

As an extension of the series coined by Jiyoung as “Sound Fiction”, the album feels crisp, pressurized, and at times funny, at other times melancholic. As language, space, and viewing perspective shift, Jiyoung’s succinct album invites the listener to an aural world uniquely of her own viewpoint. While collecting source material relying on the outside world (conversations, elders, the closing track featuring Sungeun Lee), we have a listening experience that deeply illustrates Jiyoung’s perspective. The disjointed experience of someone maneuvering internationally to further develop a practice is encapsulated brilliantly here by Jiyoung with 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔. Alongside Makoto Oshiro’s 𝑺𝒕𝒂𝒄𝒌𝒆𝒅, it is a perfect bookend to the ENXPL series.

Jiyoung Wi is a writer and musician based in Seoul and The Hague. She writes fiction in-between institutional and non-institutional contexts, and works with sounds in-between clubs and art museums. Her methodology involves building and breaking sonic narratives by arranging and re-contextualizing disparate sound sources ranging from field recordings to fragmented anonymous dialogue. She approaches sound and text as invisible experiences and phenomena, and is interested in the narrative symptoms that emerge when both are juxtaposed on the same axis. In a series entitled ‘Sound Fiction,’ she explores these symptoms operating within and without the art space. She has been co-organizing an experimental/leftfield listening event ‘Sorrow Club Seoul’ since 2019.

ACCEPT ALL COOKIES

PURCHA$E

ENXPL22 - JIYOUNG WI - A3. SWIPE LEFT

Makoto Oshiro, from Okinawa and now based in Berlin, has developed an artistic practice spanning sound, site installation, field recording, language, instrument design, and more for over a decade. His performances and installations have spanned the globe, regularly appearing in Japan, China, Taiwan, Germany, England, the US, and further - often collaborating with other artists, most recently with Nick Klein on the album 𝑺𝒑𝒂𝒄𝒆𝒅 released by the cult Italian label Superpang last year.

𝑺𝒕𝒂𝒄𝒌𝒆𝒅 documents four live and studio performances from 2020-2023 in Tokyo and Berlin, and marks Oshiro’s first solo album since 2014. Small electro-mechanical devices made by Oshiro, which he calls 𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪𝘴, are coaxed into physically generating sound by rapidly opening and closing relays. The speed of the relays is controlled by Oshiro, producing a distinctive clicking (“𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪…”) at lower speeds - then bursting into squeals, squawks, and drones at their maximal activity, occasionally creating sympathetic harmonics with the surface they have been placed upon. Functioning as acoustic oscillators, numerous 𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪𝘴 build a richly layered environment, approaching sonic phenomenon at its most fundamental aspects.

These recordings bridge installation and performance, machine and organism, abstract and physical, subconscious and rapture - especially on the title track 𝑺𝒕𝒂𝒄𝒌𝒆𝒅, with over 40 minutes of densely unfolding square waves and their superpositions.

Listen loud, lay down, walk around, meditate, stretch, and wander through the void.

STACKED

ENXPL21 - MAKOTO OSHIRO - A1. TALK TALK TALK

“Skin-grafting — a process of making an opening in the skin, in two places, and holding the wounds together. The supple skin of an inner arm heals to the sore on the cheek or neck, replacing cursed tissues with the untarnished. The difference of texture is visible for life in both places. A kind of scar, but built from the healthy body, a transferal of a wound from one place to the next; healed, at the price of a permanent disfigurement. 

Skin-graft a wry smile onto a laugh bridging mirth and mourning, and you're entering the territory of 𝑬𝒎𝒐𝒕𝒊𝒐𝒏 𝑯𝒐𝒔𝒑𝒊𝒄𝒆. 

2020 the Merciless — its dangers were clocked ahead of time in a sarcastic prelude text to an album which couldn't know the venom of its own truths. 

Chaperone grasped at the future in '19 with fingers bluntened by exhaustion, and God only knows how much was shrewd foresight, how much was heaven-sent premonition, and how much of reality was forged from the sacrilege of looking forward with such a scornful gaze.

Was it the dream of one, or of many? That future was shaped somehow — is collective pessimism to blame for the inevitable and colourless future? 

𝑬𝒎𝒐𝒕𝒊𝒐𝒏 𝑯𝒐𝒔𝒑𝒊𝒄𝒆 bears its scars in static. Some seem old, personal, borne on the body, while some seem to be phantoms of pain not yet felt by anyone. "Yet", the inevitable; "yet", the certainly uncertain. "Yet" will come for us all.

[....]"

Excerpt of writing by Freddie Hudson (April 2023). 

𝘊𝘰𝘮𝘱𝘭𝘦𝘵𝘦 𝘦𝘴𝘴𝘢𝘺 𝘪𝘴 𝘱𝘳𝘪𝘯𝘵𝘦𝘥 𝘰𝘯 𝘤𝘢𝘴𝘴𝘦𝘵𝘵𝘦 𝘫-𝘤𝘢𝘳𝘥 𝘢𝘯𝘥 𝘪𝘴 𝘢𝘭𝘴𝘰 𝘢𝘷𝘢𝘪𝘭𝘢𝘣𝘭𝘦 𝘢𝘴 𝘢 𝘗𝘋𝘍 𝘸𝘪𝘵𝘩𝘪𝘯 𝘵𝘩𝘦 𝘥𝘪𝘨𝘪𝘵𝘢𝘭 𝘥𝘰𝘸𝘯𝘭𝘰𝘢𝘥 (𝘻𝘪𝘱) 𝘧𝘪𝘭𝘦.

---

David Coccagna (Chaperone) is a Philadelphia-based writer and musician focusing primarily on transgressive human behavior, poverty, class division, and addiction. Born and raised in Philadelphia, the principle imagery and sonic influences of the depressed Northeast neighborhood Lawncrest has served as the palette and canvas Coccagna works upon. He has worked with labels Great Circles, Jungle Gym, Con.apt, and Minor Adjustments, with more recent focuses leaning into repetitive sound and theme. He is an avid cyclist and has two cats.

---

Recorded in Philadelphia, Montesportali, and Richmond by David Coccagna (𝘢𝘯𝘹𝘪𝘦𝘵𝘺 𝘪𝘯𝘵𝘦𝘳𝘭𝘶𝘥𝘦 written in collaboration with André Altrez) between 2017-2019
Remastered by Glyn Maier in 2023
Artwork by R. Inez
Design and layout by Joe Bastardo

Emotion Hospice

Chaperone - Ash Wednesday, The Triage (ENXEVP02)

"Tumble into the dark kitchen, stub your toe and your necklace gives its beads to the floor. Each bead finds a completely separate trajectory. The second you turn on the lights one of them suddenly stops in the middle of the room. This bead wants to go unnoticed, and possibly merge with the fluorescent buzz. It looks like a secret sorry roach in an alien bright savannah. It’s convinced that lack of movement grants an invisibility cloak against predators and spectators. You respect the bead and don’t pick it up. With time it becomes as fixed as furniture.

One day you’re watching the news. There is a volcano waking up on screen. The camera zooms into the slowest lump of lava and you notice the bead has been changing. Cheek against cold tile to look closer: the bead is growing spores. Your pupils widen like a circle of water made by a rock falling into a dim black pond."

- Marta Núñez Pouzols

---

David Coccagna (Chaperone) is a Philadelphia-based writer and musician focusing primarily on transgressive human behavior, poverty, class division, and addiction. Born and raised in Philadelphia, the principle imagery and sonic influences of the depressed Northeast neighborhood Lawncrest has served as the palette and canvas Coccagna works upon. He has worked with labels Great Circles, Jungle Gym, Con.apt, and Minor Adjustments, with more recent focuses leaning into repetitive sound and theme. He is an avid cyclist and has two cats.

motion like catching balance on the moving train

Chaperone feat. Nazanin Noori - motion like catching balance on the moving train [Excerpt] (ENMF-03)

Makoto Oshiro, from Okinawa and now based in Berlin, has developed an artistic practice spanning sound, site installation, field recording, language, instrument design, and more for over a decade. His performances and installations have spanned the globe, regularly appearing across Asia, Europe, North America, and further - often collaborating with other artists, most recently with Nick Klein on the album 𝑺𝒑𝒂𝒄𝒆𝒅 released by the cult Italian label Superpang last year.

𝑺𝒕𝒂𝒄𝒌𝒆𝒅 documents four live and studio performances from 2020-2023 in Tokyo and Berlin, and marks Oshiro’s first solo album since 2014. Small electro-mechanical devices made by Oshiro, which he calls 𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪𝘴, are coaxed into physically generating sound by rapidly opening and closing relays. The speed of the relays is controlled by Oshiro, producing a distinctive clicking (“𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪…”) at lower speeds - then bursting into squeals, squawks, and drones at their maximal activity, occasionally creating sympathetic harmonics with the surface they have been placed upon. Functioning as acoustic oscillators, numerous 𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪𝘴 build a richly layered environment, approaching sonic phenomenon at its most fundamental aspects.

These recordings bridge installation and performance, machine and organism, abstract and physical, subconscious and rapture - especially on the title track 𝑺𝒕𝒂𝒄𝒌𝒆𝒅, with over 40 minutes of densely unfolding square waves and their superpositions.

Listen loud, lay down, walk around, meditate, stretch, and wander through the void.

𝑻𝒂𝒍𝒌 𝑻𝒂𝒍𝒌 𝑻𝒂𝒍𝒌 and 𝑵𝒆𝒘 𝑷𝒉𝒂𝒔𝒆 recorded at UdK Berlin Sound Studies and Sonic Arts Studio in 2022.
𝑾𝒂𝒏𝒅𝒆𝒓 𝑻𝒉𝒓𝒐𝒖𝒈𝒉 𝒕𝒉𝒆 𝑽𝒐𝒊𝒅 recorded at Morphine Raum (Berlin) in 2023.
𝑺𝒕𝒂𝒄𝒌𝒆𝒅 recorded at Permian (Tokyo) in 2020.

–--

Makoto Oshiro is a Berlin-Tokyo based performer and artist. His primary medium is sound, but he also combines other elements including light, electricity and movement of objects. In live performances, he uses self-made tools and instruments that are based on electronic devices, every day materials, and junk. His installation work handles sound as a physical and auditory phenomenon, and focuses on characteristics such as vibration and interference.

He is also a member of the live installation / performance group The Great △(夏の大△) with Takahiro Kawaguchi and Satoshi Yashiro, and runs the label Basic Function. 

---

Audio finalized by Glyn Maier
Design by Dominique S

Stacked

Makoto Oshiro - Wander Through The Void (ENXPL21)

Jiyoung Wi is a multi-faceted artist from Seoul, Korea currently residing in The Hague, Netherlands. Jiyoung’s work can be situated within fictional literature, improvised music, field recording, with an interest in juxtaposing or disjointing these fields of practice through her sonic and literary methodologies. Jiyoung’s debut album 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔, is a concise body of work that punctuates a beginning point to her work within the 12” LP format. The recording serves as one of the two releases concluding the three year sonic endeavor that is the ENXPL (Enmossed X Psychic Liberation) series.

Having previously released recordings on compilations for labels like Mirae Arts, Eastern Nurseries, and Psychic Liberation, here Jiyoung hones a cinematic-like structure that exemplifies the biome within her craft. While presently Jiyoung is performing the systematic dismantling of a violin in her live improvisations paired with approachable boutique synthesizers, 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔 is a pairing of the inimitable Korg MS-20 and field recordings staged or captured by Jiyoung in Seoul and Busan, South Korea.

With three scenes per side, Jiyoung walks us through different geographical and spatial intimacies. Public spaces and intimate conversations are obscured and reconstructed. Glass elevators, an unknown hotel lobby piano recital, office toilet rants, windowside night bus travels, and multiple languages interplay with staged and unstaged conversations to transmogrify themselves into a world of Jiyoung’s view. Money, sex, relationships, and cultural parameters are at once idiosyncratic as well as disorientingly familiar to the listener.

As an extension of the series coined by Jiyoung as 𝘚𝘰𝘶𝘯𝘥 𝘍𝘪𝘤𝘵𝘪𝘰𝘯, the album feels crisp, pressurized, and at times funny, at other times melancholic. As language, space, and viewing perspective shift, Jiyoung’s succinct album invites the listener to an aural world uniquely of her own viewpoint. While collecting source material relying on the outside world (conversations, elders, the closing track featuring Sungeun Lee), we have a listening experience that deeply illustrates Jiyoung’s perspective. The disjointed experience of someone maneuvering internationally to further develop a practice is encapsulated brilliantly here by Jiyoung with 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔. Alongside Makoto Oshiro’s 𝑺𝒕𝒂𝒄𝒌𝒆𝒅, it is a perfect bookend to the ENXPL series.

---

Jiyoung Wi is a writer and musician based in Seoul and The Hague. She writes fiction in-between institutional and non-institutional contexts, and works with sounds in-between clubs and art museums. Her methodology involves building and breaking sonic narratives by arranging and re-contextualizing disparate sound sources ranging from field recordings to fragmented anonymous dialogue.

She approaches sound and text as invisible experiences and phenomena, and is interested in the narrative symptoms that emerge when both are juxtaposed on the same axis. In a series entitled 𝘚𝘰𝘶𝘯𝘥 𝘍𝘪𝘤𝘵𝘪𝘰𝘯, she explores these symptoms operating within and without the art space. She has been co-organizing an experimental/leftfield listening event 𝘚𝘰𝘳𝘳𝘰𝘸 𝘊𝘭𝘶𝘣 𝘚𝘦𝘰𝘶𝘭 since 2019. 

---

Voices by Windy Kim, Carl G., Schang09
Piano by Sungeun Lee
Audio finalized by Glyn Maier
Design by Dominique S

Accept All Cookies

Jiyoung Wi - Walking Tumor (ENXPL22)

𝘳𝘦𝘮𝘦𝘮𝘣𝘦𝘳 𝘵𝘩𝘪𝘴 𝘱𝘰𝘳𝘰𝘶𝘴 𝘣𝘰𝘥𝘺,
𝘢𝘯 𝘢𝘯𝘤𝘪𝘦𝘯𝘵 𝘴𝘪𝘵𝘦 — 𝘢 𝘭𝘪𝘷𝘪𝘯𝘨, 𝘣𝘳𝘦𝘢𝘵𝘩𝘪𝘯𝘨 𝘢𝘭𝘵𝘢𝘳
𝘵𝘰 𝘰𝘶𝘳 𝘰𝘭𝘥𝘦𝘴𝘵 𝘧𝘦𝘢𝘳𝘴 𝘢𝘯𝘥 𝘥𝘦𝘦𝘱𝘦𝘴𝘵 𝘥𝘦𝘴𝘪𝘳𝘦𝘴.
𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘰 𝘵𝘩𝘦 𝘩𝘦𝘢𝘳𝘵 𝘪𝘴 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦 𝘸𝘪𝘭𝘥𝘦𝘳𝘯𝘦𝘴𝘴.

- Kristen Soller, April 2022

“In the back of the throat there is a subterranean river that holds you, humming towards the cave’s end. This end is a liminal mirror reflecting the contours of your voice. The mirror shows how —when brought to certain aquatic depths— unheard of limbs and wondrous branches are prone to sprout from your voice. Blind sibyls, your voice’s branches climb towards the surface, in search of light and warmth. After the great drought, your voice’s limbs persevere. They stand naked, pulsating in the purple that lies underneath grey. Your voice’s limbs erect themselves as monuments to air, kin among the deafening night. The water level is now only tall enough to keep your voice’s core below. Your voice, fed by the swamp, cradled by duckweed, wrapped in horse tail, has become a secret organ. Your voice palpitates and releases twin echoes that undulate, to smoke’s rhythm, in the afterglow. Intricately connected by labyrinth to soil and moon, through the water lilies’ roots, your voice weaves an underweb that flickers like the eye of a flame. Your voice sediments the entwined veils of miracle and prayer.”

- Marta Núñez Pouzols, October 2023

---

taupe set xl is the devotional sound project of Kristen Soller, a Miami-based artist and hypnotist of the Philippine diaspora. Kristen illuminates the subterranean and oneiric landscapes of imagination, spirit, and memory — giving voice to the personal and ancestral stories of grief and desire that emerge in the process.

All music by Kristen Soller
Audio finalized by Glyn Maier
Cover photo by Jenn Huynh
Design by Joe Bastardo

All proceeds to:
Love the Everglades Movement (www.lovetheeverglades.org)
Union of Agricultural Work Committees, Palestine (https://uawc-pal.org)

swamp prayer

taupe set xl - dissolving forms (ENMB-15)

𝘳𝘦𝘮𝘦𝘮𝘣𝘦𝘳 𝘵𝘩𝘪𝘴 𝘱𝘰𝘳𝘰𝘶𝘴 𝘣𝘰𝘥𝘺,

𝘢𝘯 𝘢𝘯𝘤𝘪𝘦𝘯𝘵 𝘴𝘪𝘵𝘦 — 𝘢 𝘭𝘪𝘷𝘪𝘯𝘨, 𝘣𝘳𝘦𝘢𝘵𝘩𝘪𝘯𝘨 𝘢𝘭𝘵𝘢𝘳

𝘵𝘰 𝘰𝘶𝘳 𝘰𝘭𝘥𝘦𝘴𝘵 𝘧𝘦𝘢𝘳𝘴 𝘢𝘯𝘥 𝘥𝘦𝘦𝘱𝘦𝘴𝘵 𝘥𝘦𝘴𝘪𝘳𝘦𝘴.

𝘵𝘩𝘦 𝘱𝘢𝘵𝘩 𝘵𝘰 𝘵𝘩𝘦 𝘩𝘦𝘢𝘳𝘵 𝘪𝘴 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦 𝘸𝘪𝘭𝘥𝘦𝘳𝘯𝘦𝘴𝘴.

- Kristen Soller, April 2022


“In the back of the throat there is a subterranean river that holds you, humming towards the cave’s end. This end is a liminal mirror reflecting the contours of your voice. The mirror shows how —when brought to certain aquatic depths— unheard of limbs and wondrous branches are prone to sprout from your voice. Blind sibyls, your voice’s branches climb towards the surface, in search of light and warmth. After the great drought, your voice’s limbs persevere. They stand naked, pulsating in the purple that lies underneath grey. Your voice’s limbs erect themselves as monuments to air, kin among the deafening night. The water level is now only tall enough to keep your voice’s core below. Your voice, fed by the swamp, cradled by duckweed, wrapped in horse tail, has become a secret organ. Your voice palpitates and releases twin echoes that undulate, to smoke’s rhythm, in the afterglow. Intricately connected by labyrinth to soil and moon, through the water lilies’ roots, your voice weaves an underweb that flickers like the eye of a flame. Your voice sediments the entwined veils of miracle and prayer.”

- Marta Núñez Pouzols, October 2023All music by Kristen Soller

Audio finalized by Glyn Maier
Cover photo by Jenn Huynh
Design by Joe Bastardo

All proceeds to:
Love the Everglades Movement (https://www.lovetheeverglades.org/)
Union of Agricultural Work Committees, Palestine (https://uawc-pal.org/)

Premiere: taupe set xl - Iridescence [enmossed]

“giant reptile tongue slowly u n f u r l s toward a looming cloud
home of spicy drops that pierce the air into tiny peepholes

these taste buds widen like pink pupils
they get bigger to let more flavor in
receiving is both greedy and generous
a will to be shaped by sensation
and the knowledge it leaves behind
a snail’s trail pointing to the exits in this ship

this tasty cloud swims over us
changing the color in everything
lips kind of blue, asphalt’s sparkle metallic
skin becomes oyster, translucent
taking in the light and giving it back
in the form of something that slides down
the way sweat may fall in a straight line
or make a turn to drive
around the temple

this cloud abducts the earth
by sudden temperature change
lack of sun makes plants and rocks turn inward
the sky now a sheltering vault
distributing the heavy weight of what’s above”

- Marta Núñez Pouzols

---

Sachi Kobayashi began making house music in 2017 but in recent years has shifted her focus towards ambient and experimental sounds. Kobayashi has sung in choirs since childhood, drawing from those experiences in her current focus in making harmonic ambient music. The liturgical aspects of her history in choirs is present in her work, which explores the theme of "the conflict between the sacred and the secular". Kobayashi also takes inspiration from nature and her surrounding environment of Saitama, Japan. Ever-broadening her artistic pallet, she has recently been developing and recording harsher sounds in the realm of noise music. 

---

Source photos for design by Sachi Kobayashi
Interview by Rob Goyanes
Audio and design finalization by Glyn Maier

Clouds in the Sky

Sachi Kobayashi - Clouds in the Sky V (ENMS-03)

Somewhere between the ears and the eyes is a bridge of imaginary light. Somewhere in a dark room a bright cone of photons connects a slide projector to a wall. Dust motes drift like plankton in the glow. One thought overtakes another as the carousel clicks forward, shuffles; a new piece of celluloid drops into the projection slot, a new image illuminates the wall — visions of a recent past, filtered through what Mark Templeton calls the 'pink hue of mystery...' The ten compositions on Templeton's INNER LIGHT are reel-to-reel tape loop arrangements based on some 70s- and 80s-era meditation cassettes (found in a church library, with an archive of photographic slides which reappear in Templeton's supplementary photobook, A GUIDE TO INNER LIGHT).

Originally made to foster relaxation and well-being in a liturgical setting, the recordings now have a lysergic skew, as if heard underwater during the immersion of a baptism — a sonic lustration... An electric fan blows air onto an incandescent bulb hidden inside the machine. We hum along as the filament burns and we puzzle together a fantasy. We hear the inner light before we see it. The ears tell the eyes where to look, and the eyes look inward.”

- Mike Slack

Mark Templeton is a Canadian media artist and the founder of Graphical, an audiovisual label dedicated to publishing his own musical and image based experiments. Mark’s audio compositions are constructed from reel-to-reel tape loops and sampled cassettes that are contrasted with contemporary sound techniques. In his published photobooks, he incorporates his own 35mm pictures and found images, focusing on intangible fantasies and realities. During his audiovisual performances, he utilizes digital instruments while projecting his own photographs, VHS footage, Super 8 film, and other sampled video.

Since 2007, he has released material on various international record labels and photobook publishers, both as a solo artist and in collaboration with other artists.

Templeton has performed live and exhibited his work at art galleries, festivals and alternative spaces throughout North America, Europe, United Kingdom and China. 

---

Written and produced by Mark Templeton 2020-2023
Audio finalized by Glyn Maier
Photographs found and edited by Mark Templeton
Essay by Mike Slack
Design by Joe Bastardo

Inner Light

Mark Templeton - Languages (ENXEVP03)

Moody cacophonies, sonic dispatches from Japan, crystalline breakbeats that are more environment than rhythm: Jake Muir’s 𝒆𝒏𝒎𝒊𝒙𝒆𝒅, described by Muir as a “(re)mixtape,” is a mind-bending deep dive into the enmossed archive. Besides reflecting the history of the label, Muir’s mix is a production in its own right. A Los Angeles native based in Berlin, Muir is a DJ and field recordist who “sees mixes as a vehicle to explore narratives outside of the album format.” 

In 𝑩𝒂𝒕𝒉𝒉𝒐𝒖𝒔𝒆 𝑩𝒍𝒖𝒆𝒔 (2023), where Muir sampled various sources to explore gay cruising culture and sensuality, his more expansive, conceptual approach to the form is illuminated. Mixes are not just a linear succession of tracks with transitions—they’re excavations that also result in the creation of new audio artifacts. Inspired by the psychedelic impulses of illbient, Muir uses DJ and sound engineering techniques to melt down genre distinctions and create alien atmospheres.

From the enmossed community, Muir pulls from artists like bad lsd trips, Angelo Harmsworth, Nick Klein, Tetsuya Nakayama, and Patrick Gallagher to coalesce a super-compendium of the global sonic underground, all viewed through his own unique lens. Muir takes major liberties with processing and effects automation to carve new worlds from the soil of these preexisting works. Some of the tracks and material on 𝒆𝒏𝒎𝒊𝒙𝒆𝒅 are heavily edited, emphasizing specific harmonics or bass frequencies, and some portions contain three or four layers, putting artists in direct conversation with each other. 

This heady approach—using the tools of both mixtape and remix—results in a super textual and dense palimpsest of the enmossed catalog. “Because mixes are more open- source,” Muir says, “it’s easier to express some ideas since there is more material to pull from.”

- Rob Goyanes

---

Berlin based sound artist, DJ and field recordist Jake Muir was infatuated with sound from an early age, surrounded by California's buzzing, whirring sonic landscape and his father's collection of beachfront rock LPs. So it wasn't surprising when, as he developed his ear, Muir was drawn to work that dexterously manipulated these elements, particularly musique concrète, field recording and experimental turntablism. He approaches his practice as a listener first, carefully choosing, layering and processing sounds that help him deconstruct and contextualize his lived experiences and influences. Using investigative software methodologies, DJ techniques and the engineering skills he acquired while studying, Muir makes deeply personal sonic art that fluidly traverses genre membranes, encouraging reflection and sometimes prompting psychedelic states.

---

Artwork source photo by Jake Muir
Design by Glyn Maier
All proceeds to Cadus (Berlin, DE): https://www.cadus.org

enmixed

Jake Muir - enmixed [Side B Excerpt] (ENMX-xb)

“[....]
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)

“On 𝑹𝒆𝒕𝒖𝒓𝒏 𝒕𝒐 𝑴𝒂𝒅𝒂𝒅𝒆𝒏𝒊, Expugnantis brings to Enmossed a compendium of nine dubs of minimal, crystalline excellence. Reflecting on “foggy” memories of a long car ride from the uKhahlamba-Drakensberg portion of the Great Escarpment, the album texturalizes Expugnantis’s grainy sentimental remembrance. The aquatic production is filtered through cloudy synth pads and plucky percussion. Here the expanse sits in the gestures of the minimal, not hampering the listener with dense maximalism or dramatics, but evoking focus through precise and considered repetition.

While the rooting of the compositions is hypersomnic and sentimental, they are filtered through the geographical contexts of recording and operating in the isolatory confines within Columbia, South Carolina. The murk of the percussion is the architectural foundation for the recordings, the pivoting agent between what Expugnantis thinks of as the immersive aquatic field and the game of going within and out. Emotive but not cliche, driving but not oppressive; Expugnantis takes us to Madadeni or somewhere akin.”

- Nick Klein, June 2024

---

Marcus Mtshali is a producer and DJ based out of Columbia, South Carolina.

Recorded by Marcus Mtshali
Audio and design finalized by Glyn Maier
Interview by Rob Goyanes

Return to Madadeni

Expugnantis - Configure (ENMS-04)

Florian TM Zeisig returns to enmossed with an LP of new material, 𝑴𝒐𝒔𝒔𝒆𝒅 𝑪𝒂𝒑𝒂𝒃𝒍𝒆 𝑶𝒇 𝑩𝒆𝒊𝒏𝒈 𝑶𝒃𝒔𝒆𝒓𝒗𝒂𝒏𝒕 under a new moniker, Angel R. On this latest sonic offering, Angel R arranges the recordings with an undertone of hope, letting the aural dramaturgy unfold sans forced melancholia typical of the genres contemporary cliches. Zeisig’s signature attention to the circular gravity of the loop is again showcased, but Angel R takes the dynamic to another plane for 𝑴𝒐𝒔𝒔𝒆𝒅 𝑪𝒂𝒑𝒂𝒃𝒍𝒆 𝑶𝒇 𝑩𝒆𝒊𝒏𝒈 𝑶𝒃𝒔𝒆𝒓𝒗𝒂𝒏𝒕 and allows for a swaying and staggered syncopation through choice album selections.

Filtered samples bounce off each other as they rain atop muted synth pads. Familiar sounds of nature become redefined through bit reduction, where grain illuminates new beauty in the re-examination of the sources. Angel R uses delay as a method of recall and deterioration, at once creating the new and delineating the end of the passages provided. At times reserved, at other moments bold and declarative, the album takes on the gamut of emotive signals to take the listeners through a narrative of complexity.

---

@floriantmzeisig is an artist, producer and musician.

---

Proceeds to western NC hurricane relief.

---

recorded by Florian TM Zeisig
audio finalized by Glyn Maier
artwork by Sam Lubicz
obi design by Joe Bastardo
insert photo by Florian TM Zeisig
insert design and silkscreening by Mark Rice

Mossed Capable of Being Observant

Angel R - Dreams (ENM-13)

all vinyl for marta and mónica's birthday

Fossilized Wilderness b2b Glyn Maier 09 21 24

Mix made with 95 % exclusively prev unreleased original materials - edits, outtakes, versions, takes + oneoffs from recording sessions over the past few years.

Made with stems from recent projects and collaborators, including: raw nug tape recordings + snippets Jordan playing flute in a waterfall cave (the one i used in 'Night') + drum edits, live recordings from decks mixing sessions, Róisín's harp and vocal takes from upcoming project, track with more eaze, remix for Felipe’s well frozen piano album, Etienne de Lavaulx zither improv mixed from youtube, demos, outtakes and voice memo type field recordings, unreleased track with Joel, unreleased edit of guitar part from JQ,+ outtake from Planet Inc sessions

Trax Versions

"The aquatic is a concentric point of reflection within the latest release for Enmossed, procured as the split pairing of compositions by Finnish artists Kati Roover and J Koho. Both artists cull medial studies, collaborative processes, field recording, and geographically informed identitarian positionings in the audio works cultivated for cassette. Kati Roover’s aphotic meditations span across one side of the cassette, chiefly mirroring reflections on her Izhorian heritage, hydrofeminism thinking, and whale song captures. For the other side of the cassette, J Koho takes frameworks from Sound Studies paradigms to apply within his processed field recording efforts. Here, both artists service the latest edition of Enmossed’s ENMS catalog with mediated field recordings and sculpted isolatory liquidity formalism. Somewhere inside, the listener can be positioned enveloped in the dewy, aqueous sonorous realm of these two Finnish composers."

- Nick Klein

Kati Roover is a Helsinki-based, multidisciplinary artist. Her practice spans across the mediums of moving image, sound, photography, text and installations, draws upon and addresses a broad range of topics that are connected - from human, place and elemental interactions, mythopoetics, animisms and hydrofeminism, to the natural sciences and ecology.

J. Koho works extensively with sound and acts in many different roles in the field of sound art. Koho’s listening based artistic practice combines the methods, techniques and theories of acoustic, concrete, electronic, electroacoustic music and improvisation and simultaneously looks for meaningful and more sustainable ways to keep on working in this often technology-oriented and resource-intensive field. 

design template by RJM Vanderheyden
audio finalized by Glyn Maier for PLEN Audio
interview by Rob Goyanes

Split

J. Koho - Sijainteja [Excerpt] (ENMS-05)

"𝘪𝘯 𝘦𝘴𝘴𝘦𝘯𝘤𝘦 is an affirmation of communion. An invitation to contemplate that we are threaded by the same material traces, imprinting us —first through our senses, then through the distillation of experience into memory and its gifts: perspective, continuity, belonging. An analog photograph contains traces of the light that touched who or what was pictured. A body of water is the link between anything that was ever in it, no matter whether it leaves or stays. Words, tarot cards, and any other signs are portals to all the previous and future times they emerge. The walls of a room in a gallery or a house are coated with what happened inside it. A harp string disrupts the elements with the same vibration that travels and interacts with our bones. 𝘪𝘯 𝘦𝘴𝘴𝘦𝘯𝘤𝘦 is an invocation of the tangible as encounter, of the shared object as a site that refracts punctual experience into a new kind of collective knowledge. A portrait and a prayer that suture the wound between body and instrument, between voice and name."

- Marta Núñez Pouzols

A1 Marta Núñez Pouzols and Glyn Maier - Space Regained
A2 tremella and RJ Gitter - asifaflower (reflections)
A3 Secret Boyfriend - Total Eclipse (edit)
A4 Lotta Petronella - Somewhere
A5 Tether - Harnesses
A6 Unguent - Entozoon-glossalalia
A7 White Gourd - Last Breaths of the Ovenbird
A8 Virusse - smokedance

B1 Danielle Vogel - the sacred same
B2 Chaperone - Hypoglycemia For Tivoli Radio
B3 Ana Cristina - Así Se Levantan y Danzan con la Lluvia
B4 Jessika Fancy - let’s go live where wild figs grow
B5 Iruka María Toro - Golden Light Flower
B6 Lily Herman - I have come to you with your names
B7 Yanara Friedland - from planetary rupture
B8 Cornelius F. Van Stafrin III - Resonant Essence Senses
B9 Kelli Frances Corrado feat. M.Sauder on bass - Cry Wild
B10 Liz Migliorelli - The Singing Fir Tree

Individual tracks and booklet included in album download. 

curation, photo, and poem by Chanelle Allesandre
drawing by Gelsey Amelia
design and layout by Joe Bastardo
mixed by Glyn Maier
mastered by Nathan Taylor

in essence

in essence [Side B Excerpt] (ENXEVP04)

I.

𝘣𝘢𝘥 𝘭𝘴𝘥 𝘵𝘳𝘪𝘱𝘴 is the collaborative duo of makers doris dana and domingo castillo flores. Respectively the two have fostered practices that have sprawled out through various approaches and, whether in the lanes of the musical or the contemporary arts, the phenomenology of the social and inclusive prevails. On 𝘶𝘭𝘵𝘳𝘢𝘧𝘦𝘴𝘵, this motif continues through the psychedelia of its eight time-defying recordings, welcoming the listener into an open temporal architecture of the stereo field as a signifier of environment. It is worth noting that the group began collaborating in Miami, Florida with longer form improvisations recorded to a stereo cassette deck. In these recordings, the paved geographical sprawl and oceanic view permeated the approach to amassing long swaths of sound material. Listening back on that work at the time of this writing, each track feels as though one is walking into an active space, arriving to an event already in full swing and finding your place inside of it. On 𝘶𝘭𝘵𝘳𝘢𝘧𝘦𝘴𝘵 (this album) something different occurs. The space and events are built around you as you move through the record.

.... [please see https://enmossed.bandcamp.com/album/ultrafest for full description]

- Nick Klein, February 10, 2025

all songs recorded and arranged between Miami and New York by doris dana and domingo castillo flores in 2023
audio finalized by Glyn Maier
artwork by Dominique Saiegh
short story by Natalia Zuluaga
design by Joe Bastardo
silkscreening by Mark Rice
all proceeds to Palestine Children's Relief Fund

ultrafest

bad lsd trips - aventura sonidera (ENMB-17)

originally aired at https://www.dublab.com/archive/peak-oil-w-enmossed-tipping-point-02-28-25

artists in order of appearance:

MARV*
Glyn Maier**
Jake Muir*
Ned Milligan
Irv Teibel
Eduardo Polonio
Nick Klein
Sumire Yoshihara
Kara-Lis Coverdale + LXV
bad lsd trips*
Beatriz Ferreyra
Patrick Gallagher
若山胤雄社中 (Wakayama Taneo’s Bayashi Ensemble)
Hiroyuki Onogawa
Gafael*
Satsuki Shibano plays Erik Satie
Oscilation Circuit
Spool***

* = from upcoming enmossed release
** = field recordings from La Palma + Tenerife appear throughout the mix
*** = demo version from upcoming Somewhere Press release

glyn maier - enmossed mix for dublab peak oil -  02.28.25

bad lsd trips - ultrafest (ENMB-17)
Excerpts below from the extended album description by Nick Klein, written February 10, 2025.

I. 

𝘣𝘢𝘥 𝘭𝘴𝘥 𝘵𝘳𝘪𝘱𝘴 is the collaborative duo of makers doris dana and domingo castillo flores. Respectively the two have fostered practices that have sprawled out through various approaches and, whether in the lanes of the musical or the contemporary arts, the phenomenology of the social and inclusive prevails. On 𝘶𝘭𝘵𝘳𝘢𝘧𝘦𝘴𝘵, this motif continues through the psychedelia of its eight time-defying recordings, welcoming the listener into an open temporal architecture of the stereo field as a signifier of environment. It is worth noting that the group began collaborating in Miami, Florida with longer form improvisations recorded to a stereo cassette deck. In these recordings, the paved geographical sprawl and oceanic view permeated the approach to amassing long swaths of sound material. Listening back on that work at the time of this writing, each track feels as though one is walking into an active space, arriving to an event already in full swing and finding your place inside of it. On 𝘶𝘭𝘵𝘳𝘢𝘧𝘦𝘴𝘵 (this album) something different occurs. The space and events are built around you as you move through the record.

IV.

𝘶𝘭𝘵𝘳𝘢𝘧𝘦𝘴𝘵 mirrors the balance of the temporal interiority and exteriority of the previously referenced chemical compounds when applied to the body for recreational psychedelic experiences. The jubilation of the slack jawed festival attendee, the gallop of the horse upon the earthen ground, the stagnation of humidity on the body, the sprawl of unkempt concrete through Florida cities, the aroma of bleach in a bar bathroom. On this album, the band illustrates the territories when you almost have your grounding; the moment when you are on the pivot between the real and the intoxicated, or even the really intoxicated. These spaces are the softening and hardening of light on your eyes, they are the gripping of a porcelain sink between moments staring in the bathroom mirror.

In an era where so much tremendous creative energy is put into a softer, safer space through ambient music to respond (negligently) or (worse?) take shelter from the hellish global condition of late capitalism; 𝘣𝘢𝘥 𝘭𝘴𝘥 𝘵𝘳𝘪𝘱𝘴 takes your hand into the murkier moments of reflection awarded to the listener in the genre. The resolution is not carved out for you, and what truly sits suspended in the ambiance of the now is an unfiltered view of where the world has come to through centuries of civilization. It’s a brutal landscape with an ill-determined end result. Where other practitioners of the sonic gesture of ambient are sheltering within a glistening plasticene blanket of clicks and rustlings with low pass filters of melancholic chord structures, this album burrows itself comfortably in the formless chaos of true psychedelia and reminds me 𝘵𝘩𝘢𝘵 is truly what our unfortunate ambiance is today. The album reflects joy and terror, and it longs and leans towards finding something in the midst of sonic exploration. Passivity nullified, ambient beyond indulgence and evasion.

releases February 25, 2025

all songs recorded and arranged between Miami and New York by doris dana and domingo castillo flores in 2023
audio finalized by Glyn Maier for PLEN Audio
artwork by Dominique Saiegh
short story by Natalia Zuluaga
design by Joe Bastardo
silkscreening by Mark Rice

https://soundcloud.com/enmossed
https://soundcloud.com/dorisdana
https://soundcloud.com/nick-klein


Digi still available

Premiere: bad lsd trips - steaming mescaline (extended mix) [enmossed]

A synapse-popping electro-acoustic soundwalk around Western Europe's cathedrals, chapels and churches, 𝑪𝒂𝒎𝒑𝒂𝒏𝒂 𝑺𝒐𝒏𝒂𝒏𝒔 skews recognizable sacred soundscapes, proposing a contemporary mythology that muddles the past, present and future. Following on from his critically-acclaimed 𝑩𝒂𝒕𝒉𝒉𝒐𝒖𝒔𝒆 𝑩𝒍𝒖𝒆𝒔 full-length, American sound artist Jake Muir familiarizes himself with German and British sonic architecture by studying some of the medieval shadows that still hang over Europe's streets, even as they continue to evolve. Manipulating environmental recordings captured in Germany and England, Muir presents an impressionistic juxtaposition of parallel cultures: the UK's distinctive "change ringing" technique, where a team of bell-ringers play long varied sequences on a set of tuned bells; and Germany's more sober style, with monotonous peals that add rhythm to daily life.

When Muir moved from Los Angeles to Berlin back in 2019, it wasn't just the German capital's damp weather and long, dark winters that came as a surprise. He was immediately struck by the city's anomalous acoustics, and one particular element stood out: the resonant church bells that echo around Berlin throughout the day to mark time, and for 10 minutes on Sundays as a call for mass. Gathering his field recording equipment, Muir acquainted himself with his new home by following the sonorous clangs, wandering from kiez to kiez to capture each church's distinct auditory flavor. And the more material he collected, the more engrossed he became in the history of bell ringing, prompting a deep dive that would shuttle him across Germany and into Italy, Belgium and the UK.

On 𝑪𝒂𝒎𝒑𝒂𝒏𝒂 𝑺𝒐𝒏𝒂𝒏𝒔, Muir trains his focus on Berlin, where his journey began, and on England, where he encountered the most elaborate bell ringing practice. 𝘌𝘳𝘻𝘬𝘭𝘢𝘯𝘨 is a hypnotic lattice of sounds recorded all over the German capital: at Parochialkirche, a reformed church in Mitte; at evangelical church St. Matthäus, at Sophienkirche, another Mitte landmark; and at St. Mathias, a Roman Catholic church just in front of the Potsdam Gate. By fusing the liturgical chimes with snippets of local ambiance - traffic, chattering tourists and birdsong, for example -  Muir takes a blurry snapshot of the city, queering its idiosyncratic color spectrum with his various digital processes. Using reverb to replicate the acoustic properties of both the streets and the church interiors, he subtly disturbs the timeline, stretching out brief peals into long, mesmerizing drones and turning garbled voices into ghostly babble.

The environment alters considerably on 𝘊𝘩𝘢𝘯𝘨𝘦𝘴; Muir uses the same technique and applies it to recordings made at the 1000-year-old St. Oswald church in Oswestry, St. Bartholomew's, Edgbaston and Holy Trinity in Stratford-Upon-Avon, home to Shakespeare’s final resting place. Here, Muir methodically untangles the change-ringing process, linking back to 𝘌𝘳𝘻𝘬𝘭𝘢𝘯𝘨 with a single bell tone before moving inside the church itself and documenting the ringers' shouted instructions, blending the calls with the bells' mathematical cyclic patterns. Muir memorializes what in 2025 is a dying art-form - a community skill that's disappearing worryingly quickly as young Brits lose interest in the church and its rituals. Unsettling distortions bite into the undulating sequences and underneath the noise, Muir highlights the music's latent euphoria, drawing out its most celestial tonalities.

File under: devotional music.

---

recorded by Jake Muir
audio finalized by Glyn Maier
photography by Jake Muir
design template by Joe Bastardo

Campana Sonans

Erzklang [Preview Clip] (ENM-14)

s cycle is a sun wheel
a finger tip knows to hover
rotary dials the alphabet
and back spells a swing return.
This key warns a habit,
a rite opening up in practice:
flower that comes back as flesh

*

Wire worms up
grows back a hole
needless to pierce the night
into melting stars of blur.
The heat of light
shines in the after rain and
the sky of an eye forever soars.
Pupil echoes a lightning
bug’s glowing sound.
It bursts and
it fades and
it bursts and
yes—pupil reflects
what approaches

*

Rooftop footsteps
dust ice on deck.
Underneath
plank and bones
we are hidden passengers.
Down we hear
the reverse of an alarm.

*

Curtain of static.
Behind
the flickering surface of
laughter
bounces on mirrors
and lands on mouth.
Laughter
feeds
back.

- Marta Núñez Pouzols 

Geoff Schilling and Nathan Taylor: keyboards, effects, microphones
Dan Partridge: bowed saw (B3)
Glyn Maier: mastering
Joe Bastardo: design and layout
All proceeds to Carolina Abortion Fund (NC, USA)

ENM-10-II / SFRC004 

Laughing (ENM-10-II / SFRC004)

excerpt from :: https://enmossed.bandcamp.com/album/northeastern-meditations

Chaperone - Life Without Air - Condition (ENM03)

Exercising abstention and reduction, Jin Mustafa and Robin Smeds Mattila – Karabasan Drane – finds collaborative purpose in aesthetic refinement. Their debut album Crystalline State (EN X PL, 2020) purposefully conceives a sharp and distinct sonic world, a collage of shaded dreams and imaginations in xeroxed high-contrast. 

 With little or no haste, the music of Karabasan Drane still maintains an eerie urgency. The reason might be found innately: it was all written for upcoming live performances. What began in rehearsed live compositions for sparse electronics has now come together on record, documenting material for live performances of the past half-decade. Notable occurrences include Norbergfestival in Sweden and Herrensauna in Berlin. 

Jin Mustafa is a DJ, electronic musician and visual artist based in Stockholm. Her work is of shifting media, often taking form in moving images, sculptures and sound. She is interested in notions of liminality and technology, and the relationships of personal and collective memory.

Robin Smeds Mattila is an electronic musician and graphic artist based in Stockholm. Under the guise of Human Rays, his musical works carry remnants of techno culture and ambient memorabilia, clothed in coarse patches of textural noise and drone.

"Crystalline State" marks a new path of collaboration between Glyn Maier and Nick Klein. Having previously released collaborative recorded Klein/Lack efforts , they now focus both of their label practices to produce the tape series "EN X PL".

Karabasan Drane - Crystalline State (ENXPL01)

releases November 20, 2020
mastering and lacquer cut :: Mike Grinser (Dubplates + Mastering, Berlin)
mixing assistance on "An Indefinite Lattice" :: Nathan Taylor

all proceeds to NHLC (Honolulu, HI) :: nativehawaiianlegalcorp.org

"Indefinite Lattices, the new 12-inch record by Glyn Maier, is rock music of a very different order. During visits to two mineral-rich sites, Maier collected field recordings of these environments which were then re-synthesized into four extended compositions. At Ringing Rocks in Pennsylvania, a field of boulders make bell-like tones when struck, as well as low-frequency tones that are unhearable by humans. (Scientists have yet to discern why the rocks ring, but believe it may have to do with the freeze-thaw cycle that produced them.) The other site visited by Maier—the fairly remote Kaʻena Point on the coast of O’ahu, Hawaii—was believed to be the departure point for souls leaving this world.

The unstable rhythmic patterns from these spaces, as well as Maier’s tappings, scrapes, and footsteps throughout the two sites, are paired with lullabilic progressions and ghostly effects. Instead of the artist’s personal expressions, the tracks on Indefinite Lattices are envisioned as lithic formations in their own right, as things grown rather than produced. They seem to have peaceful but complex lives of their own. Guided by notions of deep ecology—and an anti-colonialism that recognizes the bloody histories of these two sites—Maier refashions the instrumental utility of electronic music so that the agency of environments is emphasized.

Like watching rocks fall down a cliffside and splashing into a stream, or the humbling calm of a thunderstorm, one is left wondering whether this record is the result of human intention or a combination of natural forces. Treading the line between traditional and experimental approaches to ambient music, Maier edits the contingency of his gear’s electrical signals and the recorded environments into tightly conceived compositions. Indefinite Lattices is documentation of moments in the geological process, but also illustrates the geologic nature of art itself.

---

Glyn Maier is a sound & field recordist and conservationist living in the Unorganized Territory of South Oxford, Maine. He previously released music under the alias Lack. "

Indefinite Lattices

Glyn Maier - An Indefinite Lattice (ENM08)

*** DOUBLE LP WITH REPRESS + ADD'L TRACKS *** enmossed.bandcamp.com/album/you-look-so-serious-i-ii

"'You Look So Serious' engages with Enya's 'Watermark' Album from 1988. Based on a copy of her album on cassette tape, Florian T M Zeisig reconstructs and remixes her album of 39:42 minutes. 'You Look So Serious' is the result of a painstaking process, cutting 'Watermark' into 426, four second long cassette tape loops. Loops were chosen, arranged and mixed together to re-compose the material in order to translate and reinterpret Enya's hyper-produced and widespread success."

Originally released on cassette by Cassauna in 2018.

releases December 4, 2020

remastered :: Glyn Maier
insert image :: Florian T M Zeisig

You Look So Serious

Florian T M Zeisig - I (ENMB06)

Originally composed for livestreaming events during the ongoing lockdown of 2020, Felisha Ledesma presents two extended pieces as a debut album, “Sweet Hour”. Ledesma’s first full length release arrives after much experience in creating collaborative works with artists such as Isabella and Angelo Harmsworth, site-specific installations, and high-profile festival performances.

Both pieces were realized using a new software synthesizer, called “AMQR”, which Ledesma built for personal use in collaboration with Ess Mattisson. Contrary to many digitally-based compositions, a distinctly warm and organic palette pervades these recordings. An almost playful leisurely pace is employed, engaging the listener to listen deeper; the pieces gracefully evolve with special attention to subtle shifts in stereo field and sonic coloration.

The time-of-day titles illustrate the two distinct moods conveyed: "7:00 AM" integrates field recordings and a hardware modular synthesizer, taking the listener through a psycho-acoustic journey exploring various nooks and crannies of subdued auditory rivulets: perhaps a hidden woodland brook, a sunny glen, a crunchy gravel walkway. "2:00 AM" harkens to the memories of nightclubs, opening with a synthesized arpeggio which could lead into a dancefloor-ready stomper. But instead, Ledesma steps back, allowing the arpeggio to develop into an encompassing ASMR-like timbral massage. The two compositions are united in a slightly melancholic grasping for connection; are they unfolding or are they unraveling? Ledesma does not answer the question outright, but instead finds joy in superposition and sublimation - while creating a space for the listener to inhabit, to live in, and to re-connect.

---

Felisha Ledesma is a multi-disciplinary artist currently based in Berlin, GER. In Portland, OR, Ledesma co-founded and directed numerous organizations focused on experimental sound and community engagement such as S1 (an artist-run space) and the Synth Library (a lending library for electronic music equipment). Most recently Felisha co-founded Fors (fors.fm), creating "novel instruments that are elegant to use and adventurous in sound" in collaboration with Ess Mattisson and is studying sonic arts at Universität der Künste, Berlin. 

releases January 29, 2021

mastering :: Ess Mattisson

cover artwork :: Felisha Ledesma

design ++ layout :: Robin JM Vanderheyden

all proceeds to Equitable Giving Circle :: www.equitablegivingcircle.org

Sweet Hour

Felisha Ledesma - 7:00 AM [Excerpt] (ENXPL04)

§ focused on contemporary sound and growth
✔ hand-constructed out of recycled materials as possible
♥ all proceeds to positive endeavors

enmossed

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