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

"The CD is scratched.” A saying from the early millennium, it describes the phenomenon of skipping music on a damaged CD, the locked, repetitive groove. For nearly a decade, Fossilized Wilderness has been experimenting with a peculiar modification to CDJ equipment, birthed by long hours sorting through promotional CDs sent to a radio station. In embracing choppiness, a body of abrasive but bright ambient work has been constructed from the refuse of musical commodification.

The CD skip is both rhythm and tone on this LP, but if you expect the monotonous motions of a concept album, don’t: The moods here are just as granular. The six tracks shift from digital euphoria to shoegazing sentimentalism, a balanced mix of terror, plaintiveness, and joy, an impressive feat considering that the scratch of a CD produces potent nostalgia as well as Pavlovian irritation for many—a drive to eject the thing and fix the problem.

For those not growing up with it, the scratched CD is a relic phenomenon, something that happened with an artifact format. But just because it’s an artifact doesn’t mean it’s obsolete. On this LP, Fossilized Wilderness uses a sonic palette of subtly-shifting broken loops to create something new: delirious spectres rising from an ocean of plastic.

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Fossilized Wilderness is Ryan Martin, a pillar of the North Carolina underground music and arts scene. His most active artistic alias is Secret Boyfriend, with numerous cassette, vinyl, and CD releases on labels such as Blackest Ever Black and his own long-running DIY-informed imprint, Hot Releases. 

releases April 5, 2021

mastered :: Nathan Taylor

Fossilized Wilderness - 4 (ENMB07)

With snowmelt, a vast forgotten place has reemerged. Rumors started circulating amongst people in the city nearby, and a few decided to go. These pilgrims could access the place only by moonlight, down long dirt paths. Amongst the ruins of this partial town, they found a funhouse, tavern, and cathedral. One of the visitors later described them as three different structures. Another swore it was a single space. The only certainty was that the structures shared a bright, blue-green mold.

On "Waiting + Remixes", two compositions by Emily Berregaard bookend five remixes. Each artist redraws a map from Berregaard’s: the areas where glacial expanse meets the heat of touch. These documents are devout as they are erotic, mirror images of the prayerful originals. The two tracks by Berregaard—extended abstractions of voice and saxophone, with dashes of textural field recordings—sourced from the artist's archives—are treated differently by each interlocutor.

Wilted Woman adds rhythm, darkly carnivalesque. Florian T M Zeisig, a celestial scrim. Angelo Harmsworth’s interpretation sees the place as a factory for affect, while Glyn Maier provides an asynchronous almanac. Alie draws an absorbing series of loops, a lacy garland made of Berregaard’s dreamy cantos.

released July 21, 2021

“Come Inside” originally released via lathe cut 7” by Primitive Languages (now psychicliberation.bandcamp.com) in 2018

Audio finalized by Glyn Maier

Waiting + Remixes

Emily Berregaard - Waiting (ENMB08)

In his book 𝑇ℎ𝑒 𝑊𝑒𝑖𝑟𝑑 𝑎𝑛𝑑 𝑡ℎ𝑒 𝐸𝑒𝑟𝑖𝑒, Mark Fisher wrote about the two notions: While the weird is something present where it doesn’t belong—something from outside found on the inside—the eerie has to do specifically with outside space. Something is eerie when there are unanswered questions about agency: Who or what is responsible for the abandonment of this zone? Who or what is crying out in the distance?

Katharina Schmidt’s 𝑇𝑒𝑛𝑛𝑖𝑠 𝐶𝑜𝑢𝑟𝑡𝑠 𝑖𝑛 𝑡ℎ𝑒 𝐻𝑎𝑙𝑓 𝐿𝑖𝑔ℎ𝑡, a single, longform track stretching to a near half hour, deftly captures this spatial sense of the eerie. The evolving drone is like coming upon a ruin, circling it, and being drawn inside. There are no surprises, no sudden horrors, just the strange pull of oscillating waveforms that paint a bleak yet soothing landscape.

In certain kinds of listeners, empty, abandoned spaces produce a pleasurable dejection. Maybe this is because spaces where human life is evacuated represent the end result of capital. (It seems to have withered away, but is in fact off to find another shell for its home.) What we’re left with is something new to inhabit, a new infrastructure for freedom. The subtle changes in Schmidt’s recording have less to do with melody and rhythm, more to do with accumulating color and texture of space. And so the half hour can feel like five minutes, or an eternity—time and scale exist differently here.

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After years of playing drums and piano in various bands, Katharina Schmidt's solo work is influenced by indie, experimental, and improvised music. Exploring interests in storytelling, sonic topographies, and generative techniques, her music uses electronics, field recordings, and self-built interfaces alongside acoustic instruments. From sonifications to lullabies, her work is poised between formal experimentation and narratives cued by literature and pop culture, and can be heard in installations, film music, and radiophonic pieces, as well as releases on labels such as Flag Day Recordings, Slaapwel Records, and Focused Silence.

Katharina holds a master’s degree in Sound Studies from the Berlin University of the Arts and hosts resident shows at Cashmere Radio and SVS Radio.

katharina-schmidt.net
katharinaschmidt.bandcamp.com  

artwork by Stefan Lingg
audio finalized by Glyn Maier

all proceeds to The Homeless Period Project (Greenville, SC, US) - www.homelessperiodproject.org

Tennis Courts in the Half Light

Katharina Schmidt - Tennis Courts In The Half Light [Excerpt] (ENMD03)

If nostalgia is unrequited love for the past, what kind of love do we harbor for the present? This lathe-cut LP of eight tracks by Yeong Die explores the ever-unfolding prism of the now. An eclectic series of productions difficult to pin down—ambient trap? Underwater disco? Appalachian boom bap?— Yeong Die values artistic agency over cultural inheritance, action over contemplation. In the artist’s words, “Today and tomorrow are accidental and as distant as eternity. I want to remind all of us it's now or never.”

The grooves and palettes of Tomorrow? are not free of reference, but the references seem to come from an alternate universe. With a sense of humor, the Seoul-based Yeong Die goes places others shy away from. Integrating her work as a sound and visual artist, these electronic pieces contain a rhythmic functionalism, but are highly imagistic and heartfelt. Industrial and digital currents wade into each other, and traditional instruments occasionally rise to the surface, resulting in an open question about what tomorrow may bring, and what yesterday may mean.

Buy via: https://enmossed.bandcamp.com/album/tomorrow

https://soundcloud.com/enmossed
https://soundcloud.com/yeongdie

Premiere: Yeong Die - Po [enmossed]

On 𝐶𝑜𝑙𝑜𝑟𝑠 𝑜𝑓 𝐷𝑖𝑠𝑡𝑎𝑛𝑐𝑒, Philadelphia-based Alene Marie sprawls into pastoral, synth-pad laden compositions falling somewhere between the work of private press American new agers and the psychedelic essence of Kraut-y synthscapes, with underlying hints of acid house. Recorded during the pandemic, an emotional affect hovers over the sentimentality of the material. Whereas Marie’s club music stylings as Liquid Asset rely on the relational in a larger social utility, 𝐶𝑜𝑙𝑜𝑟𝑠 𝑜𝑓 𝐷𝑖𝑠𝑡𝑎𝑛𝑐𝑒 leans into a hefty supply of collaboration and an intimate scaling of the interpersonal. Key collaborators Fanciulla Gentille, Nihar, and Glyn Maier provide the connective tissue for Marie’s material here. These are recordings of, in Marie's words, "closeness, separation, and love over distance."

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Alene Marie has been a stalwart of the United States underground music community for over a decade, humbly developing a spectrum of synthesizer-based recordings and performances utilizing analog and digital synthesizers, often built herself. Under various aliases, Marie’s work has been highlighted internationally by labels PL, Jacktone, Mélodies Souterraines, Hot Releases, Schmerf, and more.

---

insert photo and text by Alene Marie
audio mastered by Glyn Maier
all proceeds to a friend in need

Colors of Distance

Alene Marie - Can't Take the Meadow Off Her Mind (ENMB-10)

A. Campbell Payne dives deeply into the crystalline chimes and resonant bells of FM synthesis for the six tracks of 𝑻𝒓𝒂𝒊𝒍𝒔 + 𝑺𝒕𝒂𝒕𝒊𝒐𝒏𝒔. Swirling polyrhythms and ambiguous modal harmonies convey their feelings during a fitful period of recording during 2020-1. Payne says, “Living between two places[…], going through the motions of travel while not going anywhere new created a restless atmosphere for performing this music,” which is reflected by cyclic structures both within and between tracks.

In contrast to the sparkling timbres of 𝑻𝒓𝒂𝒊𝒍𝒔 + 𝑺𝒕𝒂𝒕𝒊𝒐𝒏𝒔, subtle compositional instabilities imply an underlying unease. But as a complete suite, it is intended as “an aide in processing feelings of dread, anxiety, and hopelessness”, and Payne continues: “I encourage you to listen to this while on a hike or in other contemplative, open settings.”

releases October 17, 2022

recorded and mastered by A. Campbell Payne
insert photo by A. Campbell Payne
all proceeds to Fund Texas Choice (Austin, TX) - fundtexaschoice.org 

buy: https://enmossed.bandcamp.com/album/trails-stations

Trails + Stations

A. Campbell Payne - Field (ENMB-09)

"Florian T M Zeisig’s splendid debut 𝘠𝘰𝘶 𝘓𝘰𝘰𝘬 𝘚𝘰 𝘚𝘦𝘳𝘪𝘰𝘶𝘴 was constructed out of 426 tape loops from Enya’s 𝘞𝘢𝘵𝘦𝘳𝘮𝘢𝘳𝘬. 𝑻𝒉𝒆 𝒔𝒖𝒏 𝒔𝒑𝒆𝒂𝒌𝒔 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒘𝒂𝒕𝒆𝒓 𝒂𝒔 𝒕𝒉𝒆 𝒔𝒌𝒚 𝒕𝒓𝒂𝒗𝒆𝒍𝒔 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒔𝒐𝒖𝒏𝒅. Using up to eight pitch-able tape players, the artist cut these loops and reassembled them, crafting captivating sound dialogues whose unforeseen and precise beauty emerges from a sense of curiosity and awe in the layered relationship between fragments. 𝑻𝒉𝒆 𝒈𝒆𝒂𝒓 𝒕𝒓𝒂𝒊𝒏 𝒐𝒇 𝒂 𝒄𝒍𝒐𝒄𝒌 𝒈𝒆𝒕𝒔 𝒓𝒆𝒂𝒓𝒓𝒂𝒏𝒈𝒆𝒅, 𝒓𝒆𝒔𝒉𝒂𝒑𝒊𝒏𝒈 𝒕𝒊𝒎𝒆 𝒊𝒏𝒕𝒐 𝒂 𝒃𝒓𝒂𝒏𝒅 𝒏𝒆𝒘 𝒓𝒆𝒄𝒐𝒈𝒏𝒊𝒕𝒊𝒐𝒏.

For the 5th anniversary of this work, Zeisig revisited the original archive of loops and created an absorbingly introspective second volume with loops that had not been previously used, following the same approach. 𝑨 𝒓𝒐𝒄𝒌 𝒇𝒂𝒍𝒍𝒔 𝒊𝒏𝒕𝒐 𝒕𝒉𝒆 𝒍𝒂𝒌𝒆, 𝒕𝒉𝒆 𝒘𝒂𝒕𝒆𝒓 𝒓𝒖𝒔𝒉𝒆𝒔 𝒃𝒂𝒄𝒌 𝒕𝒐 𝒇𝒊𝒍𝒍 𝒊𝒏 𝒕𝒉𝒆 𝒆𝒎𝒑𝒕𝒊𝒏𝒆𝒔𝒔 𝒍𝒆𝒇𝒕 𝒃𝒆𝒉𝒊𝒏𝒅.

𝘠𝘰𝘶 𝘓𝘰𝘰𝘬 𝘚𝘰 𝘚𝘦𝘳𝘪𝘰𝘶𝘴 was largely focused on technique and conceptual elaboration, but 𝘠𝘰𝘶 𝘓𝘰𝘰𝘬 𝘚𝘰 𝘚𝘦𝘳𝘪𝘰𝘶𝘴 𝘐𝘐 is not so preoccupied with an overly intellectual quest. 𝑩𝒂𝒓𝒆𝒇𝒐𝒐𝒕 𝒖𝒑𝒐𝒏 𝒔𝒑𝒂𝒓𝒌𝒍𝒊𝒏𝒈 𝒎𝒊𝒄𝒂 𝒄𝒉𝒊𝒑𝒔, 𝒘𝒆 𝒔𝒕𝒂𝒏𝒅 𝒖𝒑𝒐𝒏 𝒂𝒏 𝒆𝒂𝒓𝒕𝒉 𝒆𝒏𝒄𝒓𝒖𝒔𝒕𝒆𝒅 𝒘𝒊𝒕𝒉 𝒘𝒉𝒂𝒕 𝒘𝒆 𝒔𝒉𝒆𝒅. 𝑶𝒖𝒓 𝒓𝒐𝒐𝒕𝒔 𝒂𝒏 𝒊𝒏𝒗𝒆𝒓𝒕𝒆𝒅 𝒈𝒓𝒐𝒘𝒕𝒉 𝒘𝒉𝒆𝒓𝒆 𝒑𝒐𝒔𝒔𝒊𝒃𝒊𝒍𝒊𝒕𝒚 𝒊𝒔 𝒄𝒊𝒑𝒉𝒆𝒓𝒆𝒅.

Freeing itself from formal concerns as a guiding principle, the second volume unravels from a deeply emotional impulse towards artistic and personal honesty. 𝑨 𝒔𝒆𝒄𝒓𝒆𝒕 𝒕𝒉𝒂𝒕 𝒆𝒗𝒂𝒑𝒐𝒓𝒂𝒕𝒆𝒔 𝒂𝒔 𝒔𝒐𝒐𝒏 𝒂𝒔 𝒊𝒕 𝒊𝒔 𝒖𝒏𝒅𝒆𝒓𝒔𝒕𝒐𝒐𝒅. 𝑰𝒕𝒔 𝒆𝒄𝒉𝒐 𝒌𝒆𝒆𝒑𝒔 𝒐𝒏 𝒕𝒓𝒊𝒄𝒌𝒍𝒊𝒏𝒈 𝒅𝒐𝒘𝒏 𝒐𝒖𝒓 𝒔𝒌𝒊𝒏. 𝑻𝒉𝒆 𝒎𝒚𝒔𝒕𝒆𝒓𝒚 𝒕𝒓𝒂𝒏𝒔𝒇𝒐𝒓𝒎𝒔, 𝒊𝒕 𝒔𝒆𝒆𝒑𝒔 𝒊𝒏𝒕𝒐 𝒐𝒖𝒓 𝒐𝒓𝒈𝒂𝒏𝒔. 𝑻𝒉𝒆 𝒎𝒚𝒔𝒕𝒆𝒓𝒚 𝒊𝒔 𝒎𝒆𝒕𝒂𝒃𝒐𝒍𝒊𝒛𝒆𝒅 𝒊𝒏𝒕𝒐 𝒘𝒉𝒂𝒕 𝒘𝒆 𝒅𝒐𝒏’𝒕 𝒆𝒙𝒑𝒆𝒄𝒕.

While the first volume opened up spaces of unprecedented wonder, the second not only expands these spaces and stretches them out into landscapes: more importantly, it also dares to inhabit them. 𝑰 𝒘𝒊𝒍𝒍 𝒃𝒖𝒊𝒍𝒅 𝒂 𝒉𝒐𝒖𝒔𝒆 𝒘𝒊𝒕𝒉 𝒎𝒚 𝒗𝒐𝒊𝒄𝒆 𝒔𝒐 𝒚𝒐𝒖 𝒄𝒂𝒏 𝒉𝒂𝒖𝒏𝒕 𝒊𝒕 𝒊𝒏 𝒚𝒐𝒖𝒓 𝒅𝒓𝒆𝒂𝒎𝒔. A liberation from the mandate that artworks need to be “about something,” 𝘠𝘰𝘶 𝘓𝘰𝘰𝘬 𝘚𝘰 𝘚𝘦𝘳𝘪𝘰𝘶𝘴 𝘐𝘐 stands as a mirror made of memories, offering a meaningful reflection of the last five years of the artist’s life. 𝑲𝒏𝒐𝒄𝒌𝒊𝒏𝒈 𝒕𝒉𝒆 𝒅𝒐𝒐𝒓 𝒐𝒇 𝒂𝒏 𝒐𝒎𝒏𝒊𝒑𝒓𝒆𝒔𝒆𝒏𝒕 𝒈𝒐𝒐𝒅𝒃𝒚𝒆: 𝒕𝒉𝒆 𝒇𝒂𝒓𝒕𝒉𝒆𝒔𝒕 𝒂𝒘𝒂𝒚 𝒔𝒐𝒖𝒏𝒅 𝒊𝒔 𝒂𝒍𝒘𝒂𝒚𝒔 𝒕𝒓𝒚𝒊𝒏𝒈 𝒕𝒐 𝒓𝒆𝒕𝒖𝒓𝒏."

- Marta Núñez Pouzols

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Florian T M Zeisig is an artist, producer, and musician. He has worked with such visionary artists as Kelela, Loraine James, More Eaze, and John Daniel, amongst many others.

His solo and collaborative work has been released by the labels Warp, enmossed, 3XL, Métron Records, ENXPL, anòmia, Important Records, Constellation Tatsu, and more.

I-VIII recorded in 2017
i-x recorded in 2022
audio finalized by Glyn Maier
design by Joe Bastardo
special thanks to Industrial Coast

You Look So Serious I + II

Florian T M Zeisig - x (ENMB-06-II)

"...As a rigorous listener, Gallagher has observed a multitude of sonic vocabularies in a relatively rearview acknowledgement of contemporary sound production and distilled them succinctly in his latest offering for Enmossed, titled “e.78”. Gallagher showcases his attention to detail and devotion to the craft of synthesis over two side long sections on the LP. It is clear that Gallagher is aware of how to situate his listening and furthering of the conversation around computer music in a post Peter Rehberg world by balancing sonic tropes from a golden era output of labels like Editions Mego, Entr’acte, Presto!?, or IDEAL. Tactfully, he showcases his ability to parcel distinct moments of clarity and sonic obfuscation. His abstractions are intentional, his ambience exacting, and his chaos undeterred..."

-Nick Klein

Patrick Gallagher is a sound artist currently based in Philadelphia, PA (US). With a formal education in mathematics, Gallagher employs generative/algorithmic processes, guided improvisation, and intuitive sound collage in an effort to weave evocative and evolving sonic narratives. Exploring the various developments of 20th century composition and contemporary computer music, he seeks to fuse that technicality with the cathartic and rapturous nature of the DIY noise underground.

Previous works employed a wide range of sound sources - synthesizers, field recordings, tabletop guitar, etc. - however, Gallagher currently focuses almost entirely on digital synthesis, particularly additive and granular techniques.

Gallagher has released albums on cassette and vinyl through ENXPL (enmossed x Psychic Liberation), Hot Releases, Refulgent Sepulchre, Tone Log, and other independent labels. 

Audio mastered by Glyn Maier
Cover sculpture and photo by Lauren Pakradooni
Design by Joe Bastardo

e.78

Patrick Gallagher - e.78 (Side A Excerpt)

READ > https://inverted-audio.com/premiere-florian-t-m-zeisig-vi

With its heart wrenching granular loops that have been stretched and contorted into oblivion, 'vi' is our pick from @floriantmzeisig magnum opus 'You Look So Serious I + II'. Spanning 4 minutes and 34 seconds of dextrous avant-garde bliss, this is music of the highest order. File next to William Basinski 'The Disintegration Loops'. Out now via @enmossed & @industrialcoast.

Buy Vinyl on Inverted Audio Store: https://bit.ly/3WpmyvP

You Look So Serious (I + II)

Florian T M Zeisig - vi [enmossed & Industrial Coast]

Incredibly glad to be premiering the a-side of Pat's latest offering on enmossed; an LP which nascent sounds we had the opportunity to host in 2022 at OCCII in Amsterdam. At times an unapologetic outburst against the system, e.78 holds the listener captive as it paints a sonic picture of the society we have become.

---
Order via: https://enmossed.bandcamp.com/album/e78

Credits:
Audio mastered by Glyn Maier
Cover sculpture and photo by Lauren Pakradooni
Design by Joe Bastardo

LP limited to 100 copies, black vinyl, with bespoke hemp paper jackets silkscreened by Mark Rice (Goatmother Industrial) using black + silver ink

https://soundcloud.com/enmossed

Premiere: Patrick Gallagher - e.78 (side A) [enmossed]

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.”

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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)

"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

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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)

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]

from forthcoming 'Coatcheck Remixes' compilation, comes out 30 October on Enmossed (https://enmossed.bandcamp.com)

 :)

@floriantmzeisig
@enmossed

Florian TM Zeisig - Aspire (exael remix)

'Coatcheck' remixes - released October 30, 2020

https://enmossed.bandcamp.com/album/coatcheck-remixes
@FlorianTMZeisig
released by @enmossed

Love

Florian T M Zeisig - Only Textures (Alie Remix)

"The sounds on Florian T M Zeisig's 'Coatcheck' are little like the experience of stereotypical clubbing. Likewise, these remixes are meant for the club of the future, or perhaps, the non-club of the present: a place emphasizing organic flows instead of machinic rhythms, a place of distanced, isolated collectivity at a time of transition to something different. Many of these remixes have resulted in entirely new compositions, more like collaborations than reinterpretations.

Joanna Pope—Berlin-based independent researcher, writer, composer, and producer—conjures a gorgeous pastoral composition based upon Zeisig’s filtered textures on “First Version.” Montreal-based Patrick Holland takes “Only Textures,” originally a swirling miasma, and sculpts it into dub burner perfection. Meanwhile, Exael’s breakbeat treatment of “Aspire,” reinserts the track into a more recognizable dance lineage. Forest Management, the moniker of Chicago-based John Daniel, strips out the low end of the cheekily titled “Ambient Middle Part” and hones in on its vacillating, verdant undergrowth.

In addition to the remixes, 3 bonus tracks from Florian T M Zeisig are included in this release. They were recorded during the same sessions as 'Coatcheck' but were not included on the LP due to time and space constraints."

releases October 30, 2020

order :: enmossed.bandcamp.com/album/coatcheck-remixes

artwork :: Sam Lubicz ~ www.instagram.com/slubicz

mastering :: Glyn Maier

Coatcheck Remixes

Joanna Pope - First Version [Remix] (ENMD01)

*** 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)

Osawa Tome is the ‘cosmic Appalachia’ alias of multi-instrumentalist, electronic producer, and North Carolina underground music scene veteran, Zeke Graves (Cold Sides, Datahata, Kinoeye, Northgate Syndicate, Ezekiel Graves, etc.).

Drawing on the vernacular traditions of the region, a love of minimalist and experimental composers, and a deep curiosity towards sound-generating technologies, Graves fashions a unique take on ‘folk music’ that wanders through ambient, drone, and new age territories. In true nomadic style, Graves declines permanent residence in any of these genres, instead opening up a meditative and transitory space where sounds can come and go, structures evolve and decay, and time just as easily run backwards as forwards.

Astute listeners will note the undeniable sway of creative beacons such as Terry Riley, John Fahey, Laurie Spiegel, and Roedelius. However, 'Mountain Minor' is primarily inspired by the Western North Carolina land where Graves was raised. Listen closely for the creek washing over the rocks, the insects chanting on a summer night, and the trees creaking in the winter winds. Take some time on the pathways of 'Mountain Minor' and hear for yourself. 

released January 1, 2021

mastering :: glyn maier

all proceeds to North Carolina Community Bail Fund of Durham :: nccbailfund.org

buy :: https://enmossed.bandcamp.com/album/mountain-minor

Mountain Minor

Osawa Tome - Fern Knee (ENMD02)

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