Recorded by Josh Kay & Romulo Del Castillo
Designed by Josh Kay
Mastered by Dietrich Schoeneman
Fernando Subirats sings & plays tabla on Frendano  
Dogness contains samples from Kettel's "My Dogan" 

A Schematic / Detund joint-release
Catalog # SCH079 / DUCD02
© 2011, Schematic Music Company
Published by Light Of Man, BMI

Demissions limited digipak compact disc available from Detund on 7/14/11
Phoenecia - Good Man Bones EP (featuring an exclusive vinyl-only track) available from Detund on 7/7/11

Mushroom Cloud Over Miami

IV Port

Aunt Alice

Gesundheit

Frendano

Nostrum Remedium

Recorded by Josh Kay & Romulo Del Castillo
Designed by Josh Kay
Mastered by Dietrich Schoeneman
Fernando Subirats sings & plays tabla on Frendano  
Dogness contains samples from Kettel's "My Dogan" 

A Schematic / Detund joint-release
Catalog # SCH079 / DUCD02
© 2011, Schematic Music Company
Published by Light Of Man, BMI

Demissions limited digipak compact disc available from Detund on 7/14/11
Phoenecia - Good Man Bones EP (featuring an exclusive vinyl-only track) available from Detund on 7/7/11

Two-Part Invention For Bodhran & Computer

Livelihoods

Dogness

Reworked excerpts from Demissions, part of The Domino Effect, The Santa Fe Art Institute, 2004 curated by Keep Adding. Featuring: Glen Velez - overtone chanting, Jenna Balfe - guitar, Katherine Marks - cello.

Video installation directed by Melanie Patiram
http://vimeo.com/channels/phoenecia/9079601

Four Person Tank

Reworked excerpts from the soundtrack for How Long Is Forever, directed by Franco Gonzalez, 2006

Buy on Bandcamp

How Long Is Forever

PHOENECIA - ECHELON MALL
(81:14)

Although Phoenecia's Echelon Mall is the culmination of five years of exhibitions and film work, the project did not begin with their first commission, rather the moment the first revision was requested. Realizing that useful limbs were bound to be severed, and conversely, that music for film needs to undergo additional surgery to become good listening music, the artists tucked the idea of Echelon Mall away for safekeeping, adding bits and pieces as time passed. The sources could hardly be more diverse, one is a soundtrack for the opening ceremony for a fantasy play-land for children created by a group of toy makers, one is a film about Hispanic low-rider bicycle gang members battling one another with witchcraft, another is a starkly futuristic 5.1 installation with visuals interactively generated by the soundtrack itself, and then there's a two hour performance where the artists remixed, at random, sounds from 2,500 Christmas records. The result is a surprisingly fluid piece of work that plays like a contiguous, mood-driven soundtrack. Some tracks sit at the near end of biological chaos, some closer to clean & structural reason, nevertheless, each song seems to narrate a different chapter from the same story, never straying too far from the central theme. Echelon Mall is for the most part beat-less, but by no means is it ambient, it nimbly traverses the gaps between electro-acoustic, musique concrète, industrial and noise, all the while rarely reminding the listener that they are listening to electronic music. All of this makes it difficult to categorize, but not difficult to listen to, and though it seems well aware of it's influences, it's just too akward a child to sit comfortably beside any well established genre, camp, or collective. So if we must, we'll just call what it is, an album of visual accompaniments translated into song form: cinema for the ears.

TRACKLIST:
1. Four Person Tank (10:10)
Reworked excerpts from Demissions, part of The Domino Effect, The Santa Fe Art Institute, 2004 curated by Keep Adding. Featuring: Glen Velez - overtone chanting, Jenna Balfe - guitar, Katherine Marks - cello.
Video installation directed by Melanie Patiram

2. How Long Is Forever (9:17)
Reworked excerpts from the soundtrack for How Long Is Forever, directed by Franco Gonzalez, 2006

3. As Pergillus (8:39)
Reworked from excerpts of the soundtrack for As Pergillus, directed by Kevin Medal, 2008 Featuring Glen Velez - frame drum

4. Some Other (20:48)
Reworked excerpts from the soundtrack for Smother, directed by Luis Gispert, 2008

5 . Phobiaphilia (7:54)
Reworked excerpts from The Sounds Of Christmas with Christian Marclay, The Museum Of Contemporary Art Miami (MOCA) 2004

6. In The Domain Of Universal Modules (9:45)
Reworked from excerpts of Cyclic Redundancy (5.1 surround),
Directed by Melanie Patiram for the Phil Niblock Festival, Galleria Rachel Haferkamp, Cologne, Germany 2005

7. Fog Things Of Antiquity (7:18)
Reworked outtakes from Cloud City by Friends With You, Museum Of Contemporary Art Miami (MOCA), in cooperation with of Art Basel Miami 2005 Friends With You - Cloud City soundtrack available on Schematic (Catalog # SCH049)

8. SCHEMATIC.NET/ECHELON (7:07)

CREDITS:
Produced by Joshua Kay & Romulo Del Castillo between 2004-2009 at The Humidor (Miami) & Chronophage (Lake Lure) Mastered by Omar Clemetson at Metatronix (Miami)

For full details, videos, discography, links & more info, visit http://schematic.net/echelon

Schematic Catalog # SCH050 © 2009 Schematic Music Co.
Compact Disc available through Alphabasic 


3. As Pergillus

4. Smother

5. Phobiaphilia

6. In The Domain Of Universal Modules

7. Fog Things Of Antiquity

8. Schematic Dot Net Slash Echelon

Appropriating their name from the first culture of the old world to explore the new, Phoenecia, aka Josh Kay & Romulo Del Castillo, was inaugurated in Miami in 1997. The pair had previously recorded under the Soul Oddity moniker, releasing an album & a series of 12-inch singles for the US major label Astralwerks. In late 1996 they founded Schematic Music Company, a record label which would go on to carve a distinct niche in the landscape of modern music by debuting releases from some of the most notable & influential electronic musicians of the twentieth century. In 2001 they released a full-length album entitled Brownout, which in the words of the late Tim Haslett was "Phoenecia's magnum opus, the place where the ideas found in the preceding records are allowed to come to full fruition... the compositions are cinematic, in the respect that the tracks are heavily influenced by the sound design of film, as opposed to the score". This album marked a decisive break from Phoenecia's rhythmic past & set the trajectory for the sound they would continue to develop over the next decade in their most recent albums Echelon Mall & Demissions.

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