❊ Composed by Jihem Rita and mixed by Manuel Duval 
Vocals, acoustic and electronic percussion, rhythm box, organ, trumpet, harmonica and salad spinner played and recorded by Johann Mazé in Tabanac and Saint-Martory
❊ Violin on 'Hayton Fayon' played and recorded by Sourdure in Thiers
❊ Mixed with Manuel Duval at the Grange Cavale
❊ Mastering by Ernest Bergez (Sourdure)
❊ Artwork by Josué Confort ©

CD02_SPLIT

A1 - Jihem Rita - Hayton Fayon (avec Sourdure Au Violon)

WEATHER Z

CD PURCHA$E

PLIB020 - YEONG DIE - SEVERE CASES

The Blue Hour

Mondlane - Solstice

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)

by @saradecampos
https://www.instagram.com/saracampos.campos/

Sara Campos – sexual intellectual

Taken from AST156: People Skills - I Will Not Die c34

Digital / physical available here:
https://alteredstatestapes.bandcamp.com/album/i-will-not-die

People Skills - Blue Dusk

Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter’s most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter’s debut recording for Glasgow-based label, Night School.

On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music’s narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter’s vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume’s field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.

Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It’s a fitting metaphor for Winter’s work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter’s achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter’s presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe. 

While Proserpine references the myths and cults of the classical, pre-Christian era, Winter’s restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it’s an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter’s vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It’s an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelator

Teresa Winter - Flower Of The Mountain (from Proserpine, LSSN086)

Saand - Never Too Slow

Neon Forest

Smudged and sanguine, Pontiac Streator runs a warm ambient bath for Motion Ward.

'Triz' is out now on Motion Ward.

Buy: bit.ly/2ZzNJbO

@pontiacstreator
@motion-ward

Premiere: Pontiac Streator - Stuck In A Cave [Motion Ward]

Taken from I Stumble And Then I Fall, the first release in a new series of Intimations by A Colourful Storm. Out now on digital formats and December 30, 2020 on cassette.

Purchase: https://acolourfulstorm.bandcamp.com/album/i-stumble-and-then-i-fall

Teresa Winter - Flower Of The Mountain (from Proserpine, LSSN086)

Night School Records

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