procure

enms + enmx + enxevp series [cassette]

This two-hour mixtape by Taylor Bratches—not only her first for enmossed, but her first physical release period—is a creature that slowly but radically evolves. Sometimes it’s left-field spa, others it’s more 7 a.m. dancefloor. The folkish string arrangements and big-room shoegaze make this tape an expansive and daring foray, with few pauses and natural transitions from one idea to the next. Optimistic and buoyant no matter the genre, Bratches explores the range of her musical interests with a lightness that also floats the listener.

This doesn’t mean there aren’t heavier moments, where bass is employed to move bodies. Ambient pads get laced with knotty breakbeats, while nearly everything is drenched in finely tuned reverbs. Bratches’ poetry and dance practices inform Lift & Kismet, making physical impressions on its hybridic sound. Her formal arts education and work as a music journalist may have something to do with the scope of her vision, but it’s Bratches’ emotional intuition that guides this infectiously positive, cathartic release.

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Taylor Bratches (she/they) seeks to explore and transmit an emotional experience through sound. A lifelong poet and dancer, her relationship to sound is intimate and ever-evolving. Her sets aim to fuse genres and find hybrid spaces. She aims to move people physically and spiritually, creating a dance floor experience that is both terrestrial and extraterrestrial. Sharing music comes from a need to express and experience emotional catharsis, and to connect with the body. 

releases April 2, 2021

artwork :: Joe Bastardo

all proceeds to Chab Dai - chabdai.org

purchase :: https://enmossed.bandcamp.com/album/lift-kismet

Taylor Bratches -  Lift & Kismet [Side A Excerpt] (ENMX13)

An interaction designer by day, Vicki Siolos uses her DJ work to cast aside her day job’s focus on creating seamless systems for online and IRL environments. Instead, embracing the cracks of a world and its users, made more visible than ever by the Covid-19 pandemic, this mix by Siolos is inspired by the resilience of imperfection. The Japanese joinery technique of kintsugi—using gold or other precious metals to mend broken pottery, which emphasizes its fractures rather than concealing them—was on Siolos’ mind as she formed this two-hour mix.

Siolos’ research into the history of sound design, experimental composition, and the headier corners of electronic music results in an eclectic mixtape, a primer on the forms. From a 1970s piece by electroacoustic pioneer, critic, and anti-nuclear activist Pierre Schaeffer, to the out-there rhythms and cut-up voice of Soundwalk Collective, to the canonical Autechre, Siolos weaves tracks that are sonically and conceptually disparate but which arise from a similar impulse. The glitch, ambient, IDM, and cinematic sounds found on this mix fully let go of function. Siolos, instead, curates tracks that operate between disciplines.

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Vicki Siolos is a DJ and interaction designer from New York City. Her career focuses around creating seamless experiences for broad audiences, using trusted methods and casting personal bias aside. Her mixes are intended as the complete opposite, heard each month on her radio show Bright Patterns: a freeform exploration of internal absolutes among endless options. Each recording is an attempt to capture life in the moment, inviting everything to the surface to show itself as it wants to be seen. 

releases April 2, 2021

design :: Sopelkin / Vicki Siolos

all proceeds to Second Chance Studios (NYC, NY) - www.secondchancestudios.org/mission 

purchase :: https://enmossed.bandcamp.com/album/kintsugi

Vicki Siolos - Kintsugi [Side A Excerpt] (ENMX14)

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)

The rhythms of sleep are unknown to the sleeper. Usually, only with interruption, or dreams, or through wakeful observation, are we made aware of them. And even then, only somewhat. On this cassette, Zenxen uses his research into the cycles of sleep and rest to explore and recreate the phenomenon of neural oscillations. 

The tracks sound as if they’re composed of water, vapor, and dust. Trails of percussive events and simple melodic gestures accompany low end sculpting that moves like water, vapor, and dust. Like a tour of the body’s rhythmic structures, these are the waves within, crashing on interior shores. The electrical activity of the brain’s neurons are measured in hertz—cycles per second. Using a range of sampling techniques, Zenxen recreates alpha, theta, and delta waves to construct sonic models of the brain in various states.

Collaging other compositional elements into the works, such as field recordings of whispering voices, and the rise and fall of cicadas, Zenxen forms a tapestry that resembles autonomic processes, like a breath, or a secreting gland. Lullabies in one sense—these tracks were composed for an overnight drone event in the artist’s hometown of Berlin—in another they are intensely awakening, serving as activations of specific frequency windows. 𝐼𝑛 𝑊𝑎𝑣𝑒𝑠 is a sonically cavernous descent, down into the brain’s most mysterious and rejuvenating depths.  

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Zenxen [ˈzɛn ˈdʒɛn] is an interdisciplinary ambient project from Benedikt Ellebrecht, combining academic studies in sociology, literature, and philosophy, time spent playing in post-punk bands, and ongoing participation in the underground electronic music scene in Berlin, Germany. 

Starting with experimentation with sample-based techniques, Ellebrecht has developed Zenxen into a digital musique concrète. He processes and reassembles field recordings from his immediate physical surroundings as well as drawing from virtual spaces such as the internet and videogames. As Zenxen, he has self-released 2 EPs and regularly performs live. 

Ellebrecht also contributes sound design for theatre and performance pieces, including at Ruhrtriennale Essen 2016 and at Staatstheater Darmstadt 2019 in collaboration with Niels Wehr. And in 2017, he co-founded the multimedia label No Disk (https://www.instagram.com/nodisk_/) with Joel AS (Arad Acid).

In Waves

Zenxen - Mesh Of Nodes (ENMX16)

𝐼𝑛 𝑡ℎ𝑒 𝑏𝑜𝑢𝑛𝑑𝑙𝑒𝑠𝑠 𝑜𝑐𝑒𝑎𝑛
𝑜𝑓 𝑚𝑦 𝑏𝑒𝑖𝑛𝑔
𝑡ℎ𝑒 𝑤𝑖𝑛𝑑 𝑜𝑓 𝑡ℎ𝑒 𝑚𝑖𝑛𝑑
𝑑𝑖𝑒𝑠 𝑑𝑜𝑤𝑛

For 𝑊ℎ𝑜𝑙𝑒, Berlin-based Alie illustrates a selection from the Ashtavakra Gita with a sprawling excursion of narration-infused ambient and pointed club music selections. Alie’s recorded output and sound practice is a multifocal one: a body of generously considerate DJ mixes, appearances on Angelo Harmsworth’s Lime Lodge label, multiple remixes throughout the enmossed catalog, and the new recording project Awa Awa. 𝑊ℎ𝑜𝑙𝑒 is a subtextual primer to the recorded output Alie has amassed to date. Alie’s attention to momentum on 𝑊ℎ𝑜𝑙𝑒 is prescient as the selections expand over the generous seventy-two minutes of listening experience over sides A and B. 𝑊ℎ𝑜𝑙𝑒 provides joyous catharsis through well-earned reflection.

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Alie functions as a channel, space and expression of sounds, frequencies and vibrations. These may materialize in form of tracks, sound pieces or co-creations, ready to be transmitted to all - vibrating on a resonant frequency. When playing records, Alie’s focus creates an oscillating flow between ambient, experimental and fast forward sounds.

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recorded by Alie
audio finalized by Glyn Maier
artwork by Alban Rosenberger
all proceeds to Viveka Hermitage - vivekahermitage.com

Whole

Alie - Whole [Side A Excerpt] (ENMX-17)

For the past five years, Glyn Maier has developed a curatorial agenda for his enmossed label with an emphasis on recyclable and sustainable materials while living and recording within secluded natural environments. His level of dedicated praxis is illustrated with his latest 𝐸𝑛𝑣𝑖𝑟𝑜𝑛𝑚𝑒𝑛𝑡𝑠 𝑀𝑖𝑥, concluding a dense output of 19 long-form listening cassettes. Capping the ENMX series run, 𝐸𝑛𝑣𝑖𝑟𝑜𝑛𝑚𝑒𝑛𝑡𝑠 𝑀𝑖𝑥 is a deep distillation of the sonic agenda within the series and the label more broadly. Maier is keenly attentive to pace and spatial context, allowing for time to stretch, interweaving lush field recordings and emotive new age passages. All audio in this mix, just shy of the two hour mark, is culled from cassette recordings of classic 1970-80s field recording series (𝐸𝑛𝑣𝑖𝑟𝑜𝑛𝑚𝑒𝑛𝑡𝑠, 𝑆𝑜𝑙𝑖𝑡𝑢𝑑𝑒𝑠, 𝑇ℎ𝑒 𝑂𝑐𝑒𝑎𝑛'𝑠 𝑅𝑒𝑙𝑎𝑥𝑖𝑛𝑔 𝑆𝑢𝑟𝑓, etc) with their core utility being to invoke relaxation. Maier’s intentional recycling of materiality is an homage to respect for the environment, and in turn he is rewarded with bountiful environmental sonics to reshape. As the formal attributes of his selection process are in lockstep congruence with his lifestyle and production output, so does this chapter of the label's output come full circle.

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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 ambient 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.

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recorded by Glyn Maier
audio finalized by Glyn Maier
cover photo by Osamu Sueyoshi
all proceeds to Carolina Abortion Fund (Durham, NC) - https://www.carolinaabortionfund.org/

Environments Mix

Glyn Maier - Environments Mix [Side B Excerpt] (ENMX-19)

After nearly a decade of building his sonic practice between numerous releases on labels such as L.I.E.S., Viewlexx, Alter, and iDEAL, and curating his own eclectic imprint Psychic Liberation, Nick Klein delivers a long-form masterwork via 𝑺𝒍𝒊𝒑𝒑𝒊𝒏 𝑶𝒖𝒕. Some previously-released tracks hinted at Klein's interest in the durational aspects of performance and listening, but after nearly three years of recording, 𝑺𝒍𝒊𝒑𝒑𝒊𝒏 𝑶𝒖𝒕 fully conceptualizes those proclivities.

Traversing diverse timbres and structures over 90 minutes across four tracks, Klein draws upon his cross-disciplinary experience in the totemic physicality of sculpture and installation. Beginning with intense waves of modulating oscillators, creating a vista of ghostly interferences and superpositions, Klein seamlessly transitions to a looping vocal, ascending the listener to higher planes - pure mana for the ears. Side B opens with a more muted excursion, excavating somber glassy canyons before ending with concrete-esque tape manipulations, and finally, several minutes of silence.

Klein also delves deeply into the personal, dedicating the album to "all the friends lost caught up slippin out." A direct line is drawn between the despair of late-stage capitalism and the allure of "slippin out", especially for those most susceptible. As loss impacts his patchwork of networks and community, @nick-klein reflects on who is left to share with. 𝑺𝒍𝒊𝒑𝒑𝒊𝒏 𝑶𝒖𝒕 is the documentation of that study.

releases November 17, 2022

audio finalized by Glyn Maier

Slippin Out

Nick Klein - Slippin Out (ENMX-18)

enmossed is pleased to present 𝑬𝑵𝑴𝑺, a new cassette series curated by artist and perfumer Daisy Paradise, Florian T M Zeisig, and Glyn Maier. Releases consist of pairing an artist’s album with a plant of their choice and feature an interview - spoken or written - connected to the chosen plant. RJM Vanderheyden realized the series design beautifully with UV-etched, and color-matched cassettes and cases made from recycled materials, drawing upon a collection of rare botanical illustrations.

In the works for over a year, we are delighted to debut the first album of the series from long-time enmossed associate Chaperone - 𝑳𝒆𝒂𝒇𝒍𝒆𝒕 𝑴𝒖𝒔𝒊𝒄, paired with chamomile and a chat between Daisy Paradise and Suzanne Belle Stone of Moon of Hyldemoer Herbals.

“Daisy Paradise tells us that when a plant is taken out of its comfort zone, its growth adapts to new and challenging conditions. Its properties change: they incorporate the difficulty and beauty of its foreign surroundings. Chaperone trawls the dusty grooves of bossa nova LPs, extracting forgotten melodies and re-contextualizing them into an indeterminate industrial churn. A boscagic echo rendered into a miniature plastic flower, partially submerged in a puddle alongside crumbling asphalt.

Suzanne Belle Stone reminds us that, while we obsess over the rare, we fail to honor and celebrate the gifts of the common - that’s why we tend to undermine the strength and the subtlety of the ever-present chamomile. Chaperone repeats a sound, looping it, making it common. An abundance of multiplicities that create a new temporality, helping us quiet our mind. Chamomile is quiet, chamomile listens. A flower that likes to grow in large groups, in community, surrounded by its own repetitions.

𝑳𝒆𝒂𝒇𝒍𝒆𝒕 𝑴𝒖𝒔𝒊𝒄 is a dense hive of loops spreading their subtleties and becoming common through the air, a rooting system weaving an all-enveloping sea of electric dust under which we listen, as in a dream, to the static effervescence of a swarm of chamomile seeds. Each of these seeds contains a tiny sun and a tiny moon. Plants come to you when you need them.”
- Marta Núñez Pouzols

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David Coccagna (Chaperone) is a Queens-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 released 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 by Chaperone
interview by Daisy Paradise
assistance by Florian T M Zeisig
audio finalized by Glyn Maier
design and artwork by RJM Vanderheyden

Leaflet Music

Chaperone - A Puddle With No Origin (ENMS-01)

enmossed is pleased to present 𝑬𝑵𝑴𝑺, a new cassette series curated by artist and perfumer Daisy Paradise, Florian T M Zeisig, and Glyn Maier. Releases consist of pairing an artist’s album with a plant of their choice and feature an interview - spoken or written - connected to the chosen plant. RJM Vanderheyden realized the series design beautifully with UV-etched, and color-matched cassettes and cases made from recycled materials, drawing upon a collection of rare botanical illustrations.

"I live in a message you left. The mountain’s silhouette is your face’s profile. The leaves wrestle under the wind just like your days did. This river a bloodstream retracing you over the ground that swallowed you whole. From the other shore, a red spider lily glistens with warning. It grows and glides along the pathway. Soon they are many: their petals are scissors of the air. At night you can hear the silver threads connecting voices in a web. I let myself fall and listen. I help the lilies spin the web: if it’s cloudy you stayed inside the mountain, if it’s clear you’re out and about. You communicate through every sound. The forest is your song."
- Marta Núñez Pouzols

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Tetsuya Nakayama is a producer based in Chiba, Japan, creating sound with a focus on field recording and influenced by how to interpret environmental sound in every era.

recorded by Tetsuya Nakayama
interview by Daisy Paradise
assistance by Florian T M Zeisig
audio finalized by Glyn Maier
design and artwork by RJM Vanderheyden

Vestige

Tetsuya Nakayama - 500 Years Later (ENMS-02)

“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.

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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.

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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)

“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

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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. 

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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. 

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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

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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.

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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)

“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

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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)

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)

releases November 20, 2020
mastering :: A Campbell Payne
additional mastering on 'Edouard' :: Glyn Maier

all proceeds to Friends of the Nanticoke Lenni-Lenape (Bridgeton, NJ) - nanticoke-lenape.info/friends.htm

"Like entering a palatial hall of mirrors, LXV’s A Screen Memory opens with a baroque, choral synthesis. There are seraphs atop gilded plinths, chandeliers overhead. You’re ushered through an ornate, jeweled backdoor, and outside, it’s a beautiful bright day. Down a mossy path the calm patter of rain begins. A brook gurgles. There are voices too, though indiscernible. You arrive at a well brimming with crystalline data. But then a fog descends from behind. And down you go.

The place you arrive in appears familiar, but something is off. Strange transmissions travel the air. Anomalies all around. Paradox reigns. Notions such as backwards and forwards lose meaning as do sender and receiver. The landscape is littered with softwares, broken bells. Looking up, there, some things in the shrouded distance: sonic objects, unidentified, glowing, you squint to get a good look, but before you can comprehend, the brain change concludes, and your paranoia turns to coursing pleasure.

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LXV is the most prolific alias of David Sutton, a sound arranger and independent researcher from Philadelphia, Pennsylvania. He also records under the monikers Heaven Copy, Temporal Movement, as well as his full name, David Wesley Sutton.

A Screen Memory

LXV - Edouard (ENMX12)

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