procure

enms + enmx + enxevp series [cassette]

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)

“Not nostalgia, but memory.

Do the warped boleros on water-damaged tape sound the same in Saigon as they do in Havana? Is it the trait of memory or the Romance of dancing cheek to cheek that is the real undercurrent of boleros, or is it the sleeping warmth of memory being invented by the synesthesia of a true listener?

I believe these are some of the questions raised and cryptically answered by doris dana’s 𝒏𝒐𝒔𝒕𝒂𝒍𝒈𝒊𝒂 mixtape. Mónica Mesa, the Colombian sound artist who now works out of North Carolina, conjures up imagery so vibrant and familiar that to say it is “cinematic” would not do justice to the narrative the music produces. Through field recordings, indistinct chatter, and the bolero music itself, Mesa invents a new form of the genre, much like the permutation of boleros in Vietnam, which are slower in tempo.

Mesa recalls the sounds of their parents and grandparents and how she associates the ever-present musical style throughout their life. In this hour-long mixtape, we share in her imperfections to recall memory as we slog through the haze of what is remembered, what we are fed in culture as memory, and how we interact with others to clarify recollection. Where nostalgia seeks to implant memory in your mind and heart for the purpose of selling you a past that glosses over imperfection, true memory is foggy, left-handed, and rubbed dark with eraser marks of corrections made and made again.

A depiction of one’s own recollection is often brightened and polished for consumption, but this mixtape truly shows the cracks in our foundations. Not unlike a Frank O’Hara poem, in which trying to remember which day or month it is enters the lines of the poetry, or how in Calvino’s 𝑰𝒏𝒗𝒊𝒔𝒊𝒃𝒍𝒆 𝑪𝒊𝒕𝒊𝒆𝒔, Marco Polo begins recalling billboards and discarded refrigerators in his tale of the Orient to Kublai Khan, showing that the narrator is faulty in further presenting memories of another’s memories. This complexity draws you in, and you are rewarded with a sonic envisioning that many have attempted but few have achieved so deftly as doris dana.”

- David Coccagna, September 2025

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doris dana is the sound project of Colombian-born artist Mónica Mesa, exploring the emotional tonalities of liminal spaces through field recordings, slow-moving drones, whispered vocals, and sparse, reverb-soaked electro-acoustic instruments. Named after Gabriela Mistral’s editor and confidante, doris dana gestures toward the study of quiet forms of intimacy and memory in sound.

Their latest album, 𝒓𝒆𝒗𝒆𝒓𝒊𝒆𝒔 (Somewhere Press, 2024), offers a meditative, immersive listening experience. Mesa is also one half of the duo bad lsd trips, whose self-titled album and most recent release, 𝒖𝒍𝒕𝒓𝒂𝒇𝒆𝒔𝒕 (enmossed, 2025), expand on similarly experimental sonic territories.

In addition, she hosts No era sólida on Radio TNP—an hour-long mix series delving into the most introspective edges of sound, featuring experimental, cinematic, and free-form compositions that invite deep emotional engagement. 

recorded by Mónica Mesa
audio finalized by Glyn Maier 

lado b [Preview Clip] (ENMX-xe)

"How does one listen to the ocean or look into a coming fog with any predictability or sense of measure? Is it foolish to quantify and attempt to time what happens in nature and how we observe it? Carl Ritger believes it futile.

𝑻𝒉𝒆 𝑴𝒆𝒂𝒔𝒖𝒓𝒆𝒔 title refers to the R Murray Schafer essay on soundscapes and our inability to tune and anticipate what will happen next, sonically and visually, in nature. Similarly, Ritger’s two long-form pieces develop on anticipation that can change at little notice. When I personally heard the material first performed live at the Great Circles event in partnership with enmossed in 2021, the music changed moment to moment from natural atmosphere to chittering electronics within minutes and seconds. Dizzying as it was (perhaps because of the oppressive heat), it made for a synesthesia of muted landscapes, hidden behind a smoke of gothic motifs. Ritger himself said that the sound hearkens to writers like Mary Shelley and the half-darkness her language imbues.

It has taken 4 years to realize this album, with ongoing conversations between myself, Carl, and Glyn Maier. As is often the case, you try to time things to perfection. If we have learned anything from the measures of nature and the process of this album, timing is never on your side."

- David Coccagna, October 2025

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Carl Ritger [FKA Radere; b.1984] is an improviser, composer, and sound artist hailing from Philadelphia, Pennsylvania. Currently living and working on Colorado's Front Range, his work draws from the languages of drone, noise, and musique concrète to composite entropic sonic environments from acoustic, synthetic, and found sound sources. His recordings have been published via many independent labels, including Great Circles, Full Spectrum, Moodgadget, and Going In, among others. 

recorded, edited, & mixed by Carl Ritger
mastered by Andrew Weathers
artwork and design by Joe Bastardo 

Mal De Mer [Preview Clip] (ENXEVP05)

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