enxpl series [collaboration with PSYCHIC LIBERATION]

13---34

playlist1

Felisha Ledesma

ENMOSSED X PSYCHIC LIBERATION

Releases

Taken from 'Fringe' LP/Download (E064, Ecstatic 03/09/2021)

A gorgeous swell of intimate soundscaping from Felisha Ledesma on this simmering stunner for Ecstatic, despatching two extended, richly absorbing pieces weft from everyday detritius; synths, strings, voicemail, found sounds - hitting a similar spot for us as Ulla’s diaristic 'inside means inside me’ but with a more defined play of sound-as-light that gently and memorably tugs at the earlobes and heartstrings. 

Exploring a music of presence and ultra subtle inference, ‘Fringe’ is the 2nd release by Ledesma, student of Berlin's estimable Universität der Künste, following from a debut for Enmossed x Psychic Liberation earlier this year. Using AMQR - a software synthesiser built by Ledesma together with Ess Mattisson - both pieces here shimmer with elusive timbres that occupy a realm that feels lost between worlds - neither electronic nor acoustic, but more a sort of observational sound that radiates togetherness and warmth. 

Operating at insightful levels of synaesthesia, Ledesma poetically turns ostensibly humdrum sources into clouds of smoke - emails, voicenotes, walking along the water, a poem attached to an email, walking alone in New York during lockdown, going for a swim at sunset in the desert - all turn into a smudge of memory. When ‘Beamsplitters’ opens with a tangible human presence - a voicemail from a friend - it startles with its earthly pull, eventually getting lost in a tangled spool of found sound leaving just a trace of iridescent, intimate reverie. 

On ‘Golden Mirror’ Felisha gently diffracts a lonesome guitar phrase into a humming thizz with a steeply uncanny ability to jog the memory in a similar way to how olfactory stimulus can conjure feelings of nostalgia. It’s a trick familiar from an emergent new realm of lower case composers creating something like submerged, small scale symphonies that work counter to notions of classical excess or anodyne ambient, instead focusing on microcosmic, highly peronalised sort of worldbuilding that’s impenetrable, yet somehow entirely open.

Felisha Ledesma - Golden Mirror [E064]

Felisha Ledesma - big waves of light

"Watering The Steel Flowers" on enmossed x Psychic Liberation

@enmossed
@psychicliberation

Seems To Be Good

Playing music at the ocean, an infinite mirror curls upward towards you. Picturesque and perverse, cracked enamel castings sit in lazy but unsettled sands. Something is just right, having once stirred beneath the surface it now hovers misting at eye level. You can put your hand through it; pushing humidity around like a furry catkins flake in a tepid wind.

BAD LSD TRIPS is a collaboration between artists Domingo Castillo and doris dana. Working through the process of developing sounds during the pandemic, the duo amassed large swaths of recordings on a weekly basis from 2020 and 2021 in Miami, Florida. The debut recording of "bad LSD trips" for the ENXPL series is documentation of improvising and honing a sonic vocabulary that is rooted in the tradition of early industrial, dark ambient and tape music. The backdrop of the recorded effort is a geographical conundrum of a city worn threadbare by candied advertising, tourism, and aesthetics. BAD LSD TRIPS inverts the spectacle of their locale with psychedelic meditations searching for, and occasionally digging inside of, a place of ease.

BAD LSD TRIPS is a collaboration between artists Domingo Castillo and doris dana. Working through the process of developing sounds during the pandemic, the duo amassed large swaths of recordings on a weekly basis from 2020 and 2021 in Miami, Florida.


Limited 125 copies
Copper foil print on recycled paper
Recycled cassette shells and cases 
credits
releases March 29, 2022

Recorded by Domingo Castillo and doris dana
LAZY HIDEAWAY contains elements of Zabelle Panosian - Groung
Audio finalized by Glyn Maier
Source material for design from 'Smiley Face Om'
Design by RJM Vanderheyden

BAD LSD TRIPS

HARD COPY PURCHA$E

ENXPL12 - BAD LSD TRIPS - A1. CONSCIOUSNESS BURNOUT

Playing music at the ocean, an infinite mirror curls upward towards you. Picturesque and perverse, cracked enamel castings sit in lazy but unsettled sands. Something is just right, having once stirred beneath the surface it now hovers misting at eye level. You can put your hand through it; pushing humidity around like a furry catkins flake in a tepid wind.

𝑏𝑎𝑑 𝐿𝑆𝐷 𝑡𝑟𝑖𝑝𝑠 is a collaboration between artists Domingo Castillo and doris dana. Working through the process of developing sounds during the pandemic, the duo amassed large swaths of recordings on a weekly basis from 2020 and 2021 in Miami, Florida. The debut recording of 𝑏𝑎𝑑 𝐿𝑆𝐷 𝑡𝑟𝑖𝑝𝑠 for the ENXPL series is documentation of improvising and honing a sonic vocabulary that is rooted in the tradition of early industrial, dark ambient and tape music. The backdrop of the recorded effort is a geographical conundrum of a city worn threadbare by candied advertising, tourism, and aesthetics. 𝑏𝑎𝑑 𝐿𝑆𝐷 𝑡𝑟𝑖𝑝𝑠 inverts the spectacle of their locale with psychedelic meditations searching for, and occasionally digging inside of, a place of ease.

Recorded by Domingo Castillo and doris dana
𝐿𝐴𝑍𝑌 𝐻𝐼𝐷𝐸𝐴𝑊𝐴𝑌 contains elements of Zabelle Panosian - Groung
Audio finalized by Glyn Maier
Source material for design from 𝑆𝑚𝑖𝑙𝑒𝑦 𝐹𝑎𝑐𝑒 𝑂𝑚
Design by RJM Vanderheyden

bad lsd trips

bad lsd trips - Lavadora Levitando (ENXPL12)

Forest Kelley's debut album, 𝑆𝑖𝑙𝑡, is the culmination of a decade-long sonic realization of a singular vision: nematoda, annelida, and other abyssal worms inhabiting the aphotic depths, sensing each other without light. Living and cavorting amongst a carpet of compressed dust and organic matter, as unaware of our existence as we are of theirs. To create this 'soundscape ecology', Kelley began developing custom software in 2018. It allows for sounds to function as organisms: to be born, express themselves, change through friction with their world, and then dissipate, transcend, or die. 𝑆𝑖𝑙𝑡 represents a snapshot of this world; the raw material for this particular instance includes guitar-based recordings dating from 2004 in collaboration with Jacob Uretsky. Through Kelley's exacting and intuitive selection of the results, we are presented with an ever-evolving selection of sounds. On their surface perhaps intersecting with ambient dub techno tropes, but 𝑆𝑖𝑙𝑡 draws the listener ever deeper into the zone with its organically shifting textures and events.

---

Forest Kelley is an artist, electronic musician, and experimental composer based in Lexington, Kentucky. In 2018, he contributed music to the score for the Academy Award-nominated and Criterion Collection-selected documentary 'Hale County This Morning, This Evening ' along with composers Alex Somers and Scott Alario.

composed, recorded, and mastered by Forest Kelley in 2021.
source guitar by Jacob Uretsky.
audio finalized for cassette tape by Glyn Maier.
design by RJM Vanderheyden.

Silt

Forest Kelley - Silt, No. 001 [Excerpt] (ENXPL13)

Forest Kelley's debut album, Silt, is the culmination of a decade-long sonic realization of a singular vision: nematoda, annelida, and other abyssal worms inhabiting the aphotic depths, sensing each other without light. Living and cavorting amongst a carpet of compressed dust and organic matter, as unaware of our existence as we are of theirs. To create this 'soundscape ecology', Kelley began developing custom software in 2018. It allows for sounds to function as organisms: to be born, express themselves, change through friction with their world, and then dissipate, transcend, or die. Silt represents a snapshot of this world; the raw material for this particular instance includes guitar-based recordings dating from 2004 in collaboration with Jacob Uretsky. Through Kelley's exacting and intuitive selection of the results, we are presented with an ever-evolving selection of sounds. On their surface perhaps intersecting with ambient dub techno tropes, but Silt draws the listener ever deeper into the zone with its organically shifting textures and events.

Forest Kelley is an artist, electronic musician, and experimental composer based in Lexington, Kentucky. In 2018, he contributed music to the score for the Academy Award-nominated and Criterion Collection-selected documentary 'Hale County This Morning, This Evening ' along with composers Alex Somers and Scott Alario.


Limited 125 copies
Holographic silver foil print on metallic paper
Recycled cassette shells and cases 
credits
releases March 29, 2022

Composed, recorded, and mastered by Forest Kelley in 2021.
Source guitar by Jacob Uretsky.
Audio finalized for cassette tape by Glyn Maier.
Design by RJM Vanderheyden.

SILT

"SILT" CASSETTE

ENXPL13 - FOREST KELLEY- SIDE B EXCERPT FROM "SILT"

Watch the music video here: https://www.youtube.com/watch?v=kJEos2XfIiE

listen/buy the full album,  𝑾𝒊𝒔𝒉 𝒀𝒐𝒖 𝑾𝒆𝒓𝒆 𝑵𝒊𝒄𝒆𝒓 [ENXPL19]:
https://enmossed.bandcamp.com/album/wish-you-were-nicer
https://psychicliberation.bandcamp.com/album/enxpl19-wish-you-were-nicer

Video by Adriana João
Sound by usof
Audio finalized by Glyn Maier

https://adrianajoao.com
https://linktr.ee/usofusofusofusof
https://enmossed.org
https://nickklein.work

Wish You Were Nice

watch

Brat [ENXPL19]

Radian Verses Howe Gelb - Return To Picacho Peak

Radian Verses Howe Gelb - From Birth To Mortician

Radian Verses Howe Gelb - Saturated

Pensive melodies from Malmö.

"I needed to make something to reset, something for the new year." - Felisha Ledesma. 

Interview: www.lowendtheorists.com/theory-therapy-mixes/felisha-ledesma

Theory Therapy 60: Felisha Ledesma

Jiyoung Wi is a multi-faceted artist from Seoul, Korea currently residing in The Hague, Netherlands. Jiyoung’s work can be situated within fictional literature, improvised music, field recording, and is interested in juxtaposing or disjointing these fields of practice through her sonic and literary methodologies. Jiyoung’s debut album 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔, is a concise body of work that punctuates a beginning point to her work within the 12” LP format. The recording serves as one of the two releases concluding the three year sonic endeavor that is the ENXPL (Enmossed X Psychic Liberation) series. Having previously released recordings on compilations for labels like Mirae Arts, Eastern Nurseries, and Psychic Liberation, here Jiyoung hones a cinematic-like structure that exemplifies the biome within her craft. While presently Jiyoung is performing the systematic dismantling of a violin in her live improvisations paired with approachable boutique synthesizers, 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔 is a pairing of the inimitable Korg MS-20 and field recordings staged or captured by Jiyoung in Seoul and Busan, South Korea.

With three scenes per side, Jiyoung walks us through different geographical and spatial intimacies. Public spaces and intimate conversations are obscured and reconstructed.
Glass elevators, an unknown hotel lobby piano recital, office toilet rants, window side night bus travels, and multiple languages interplay with staged and unstaged conversations to transmogrify themselves into a world of Jiyoung’s view. Money, sex, relationships, and cultural parameters are at once idiosyncratic as well as disorientingly familiar to the listener.

As an extension of the series coined by Jiyoung as “Sound Fiction”, the album feels crisp, pressurized, and at times funny, at other times melancholic. As language, space, and viewing perspective shift, Jiyoung’s succinct album invites the listener to an aural world uniquely of her own viewpoint. While collecting source material relying on the outside world (conversations, elders, the closing track featuring Sungeun Lee), we have a listening experience that deeply illustrates Jiyoung’s perspective. The disjointed experience of someone maneuvering internationally to further develop a practice is encapsulated brilliantly here by Jiyoung with 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔. Alongside Makoto Oshiro’s 𝑺𝒕𝒂𝒄𝒌𝒆𝒅, it is a perfect bookend to the ENXPL series.

Jiyoung Wi is a writer and musician based in Seoul and The Hague. She writes fiction in-between institutional and non-institutional contexts, and works with sounds in-between clubs and art museums. Her methodology involves building and breaking sonic narratives by arranging and re-contextualizing disparate sound sources ranging from field recordings to fragmented anonymous dialogue. She approaches sound and text as invisible experiences and phenomena, and is interested in the narrative symptoms that emerge when both are juxtaposed on the same axis. In a series entitled ‘Sound Fiction,’ she explores these symptoms operating within and without the art space. She has been co-organizing an experimental/leftfield listening event ‘Sorrow Club Seoul’ since 2019.

ACCEPT ALL COOKIES

PURCHA$E

ENXPL22 - JIYOUNG WI - A3. SWIPE LEFT

Makoto Oshiro, from Okinawa and now based in Berlin, has developed an artistic practice spanning sound, site installation, field recording, language, instrument design, and more for over a decade. His performances and installations have spanned the globe, regularly appearing in Japan, China, Taiwan, Germany, England, the US, and further - often collaborating with other artists, most recently with Nick Klein on the album 𝑺𝒑𝒂𝒄𝒆𝒅 released by the cult Italian label Superpang last year.

𝑺𝒕𝒂𝒄𝒌𝒆𝒅 documents four live and studio performances from 2020-2023 in Tokyo and Berlin, and marks Oshiro’s first solo album since 2014. Small electro-mechanical devices made by Oshiro, which he calls 𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪𝘴, are coaxed into physically generating sound by rapidly opening and closing relays. The speed of the relays is controlled by Oshiro, producing a distinctive clicking (“𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪…”) at lower speeds - then bursting into squeals, squawks, and drones at their maximal activity, occasionally creating sympathetic harmonics with the surface they have been placed upon. Functioning as acoustic oscillators, numerous 𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪𝘴 build a richly layered environment, approaching sonic phenomenon at its most fundamental aspects.

These recordings bridge installation and performance, machine and organism, abstract and physical, subconscious and rapture - especially on the title track 𝑺𝒕𝒂𝒄𝒌𝒆𝒅, with over 40 minutes of densely unfolding square waves and their superpositions.

Listen loud, lay down, walk around, meditate, stretch, and wander through the void.

STACKED

ENXPL21 - MAKOTO OSHIRO - A1. TALK TALK TALK

Makoto Oshiro, from Okinawa and now based in Berlin, has developed an artistic practice spanning sound, site installation, field recording, language, instrument design, and more for over a decade. His performances and installations have spanned the globe, regularly appearing across Asia, Europe, North America, and further - often collaborating with other artists, most recently with Nick Klein on the album 𝑺𝒑𝒂𝒄𝒆𝒅 released by the cult Italian label Superpang last year.

𝑺𝒕𝒂𝒄𝒌𝒆𝒅 documents four live and studio performances from 2020-2023 in Tokyo and Berlin, and marks Oshiro’s first solo album since 2014. Small electro-mechanical devices made by Oshiro, which he calls 𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪𝘴, are coaxed into physically generating sound by rapidly opening and closing relays. The speed of the relays is controlled by Oshiro, producing a distinctive clicking (“𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪…”) at lower speeds - then bursting into squeals, squawks, and drones at their maximal activity, occasionally creating sympathetic harmonics with the surface they have been placed upon. Functioning as acoustic oscillators, numerous 𝘬𝘢𝘤𝘩𝘪-𝘬𝘢𝘤𝘩𝘪𝘴 build a richly layered environment, approaching sonic phenomenon at its most fundamental aspects.

These recordings bridge installation and performance, machine and organism, abstract and physical, subconscious and rapture - especially on the title track 𝑺𝒕𝒂𝒄𝒌𝒆𝒅, with over 40 minutes of densely unfolding square waves and their superpositions.

Listen loud, lay down, walk around, meditate, stretch, and wander through the void.

𝑻𝒂𝒍𝒌 𝑻𝒂𝒍𝒌 𝑻𝒂𝒍𝒌 and 𝑵𝒆𝒘 𝑷𝒉𝒂𝒔𝒆 recorded at UdK Berlin Sound Studies and Sonic Arts Studio in 2022.
𝑾𝒂𝒏𝒅𝒆𝒓 𝑻𝒉𝒓𝒐𝒖𝒈𝒉 𝒕𝒉𝒆 𝑽𝒐𝒊𝒅 recorded at Morphine Raum (Berlin) in 2023.
𝑺𝒕𝒂𝒄𝒌𝒆𝒅 recorded at Permian (Tokyo) in 2020.

–--

Makoto Oshiro is a Berlin-Tokyo based performer and artist. His primary medium is sound, but he also combines other elements including light, electricity and movement of objects. In live performances, he uses self-made tools and instruments that are based on electronic devices, every day materials, and junk. His installation work handles sound as a physical and auditory phenomenon, and focuses on characteristics such as vibration and interference.

He is also a member of the live installation / performance group The Great △(夏の大△) with Takahiro Kawaguchi and Satoshi Yashiro, and runs the label Basic Function. 

---

Audio finalized by Glyn Maier
Design by Dominique S

Stacked

Makoto Oshiro - Wander Through The Void (ENXPL21)

Jiyoung Wi is a multi-faceted artist from Seoul, Korea currently residing in The Hague, Netherlands. Jiyoung’s work can be situated within fictional literature, improvised music, field recording, with an interest in juxtaposing or disjointing these fields of practice through her sonic and literary methodologies. Jiyoung’s debut album 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔, is a concise body of work that punctuates a beginning point to her work within the 12” LP format. The recording serves as one of the two releases concluding the three year sonic endeavor that is the ENXPL (Enmossed X Psychic Liberation) series.

Having previously released recordings on compilations for labels like Mirae Arts, Eastern Nurseries, and Psychic Liberation, here Jiyoung hones a cinematic-like structure that exemplifies the biome within her craft. While presently Jiyoung is performing the systematic dismantling of a violin in her live improvisations paired with approachable boutique synthesizers, 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔 is a pairing of the inimitable Korg MS-20 and field recordings staged or captured by Jiyoung in Seoul and Busan, South Korea.

With three scenes per side, Jiyoung walks us through different geographical and spatial intimacies. Public spaces and intimate conversations are obscured and reconstructed. Glass elevators, an unknown hotel lobby piano recital, office toilet rants, windowside night bus travels, and multiple languages interplay with staged and unstaged conversations to transmogrify themselves into a world of Jiyoung’s view. Money, sex, relationships, and cultural parameters are at once idiosyncratic as well as disorientingly familiar to the listener.

As an extension of the series coined by Jiyoung as 𝘚𝘰𝘶𝘯𝘥 𝘍𝘪𝘤𝘵𝘪𝘰𝘯, the album feels crisp, pressurized, and at times funny, at other times melancholic. As language, space, and viewing perspective shift, Jiyoung’s succinct album invites the listener to an aural world uniquely of her own viewpoint. While collecting source material relying on the outside world (conversations, elders, the closing track featuring Sungeun Lee), we have a listening experience that deeply illustrates Jiyoung’s perspective. The disjointed experience of someone maneuvering internationally to further develop a practice is encapsulated brilliantly here by Jiyoung with 𝑨𝒄𝒄𝒆𝒑𝒕 𝑨𝒍𝒍 𝑪𝒐𝒐𝒌𝒊𝒆𝒔. Alongside Makoto Oshiro’s 𝑺𝒕𝒂𝒄𝒌𝒆𝒅, it is a perfect bookend to the ENXPL series.

---

Jiyoung Wi is a writer and musician based in Seoul and The Hague. She writes fiction in-between institutional and non-institutional contexts, and works with sounds in-between clubs and art museums. Her methodology involves building and breaking sonic narratives by arranging and re-contextualizing disparate sound sources ranging from field recordings to fragmented anonymous dialogue.

She approaches sound and text as invisible experiences and phenomena, and is interested in the narrative symptoms that emerge when both are juxtaposed on the same axis. In a series entitled 𝘚𝘰𝘶𝘯𝘥 𝘍𝘪𝘤𝘵𝘪𝘰𝘯, she explores these symptoms operating within and without the art space. She has been co-organizing an experimental/leftfield listening event 𝘚𝘰𝘳𝘳𝘰𝘸 𝘊𝘭𝘶𝘣 𝘚𝘦𝘰𝘶𝘭 since 2019. 

---

Voices by Windy Kim, Carl G., Schang09
Piano by Sungeun Lee
Audio finalized by Glyn Maier
Design by Dominique S

Accept All Cookies

Jiyoung Wi - Walking Tumor (ENXPL22)

Splinter ft. Felisha Ledesma

Jeux vocaux des bords de Dronne - 2015

Micr0lab - Gaffer Records - Loubards Pédés - Animal Biscuit
AnarchoFreaksProduction - Grabuge - La République des Granges
Les Disques du Grangousier - Tomaturj

Vallée des tartes

Concert au Terminus (Rennes) - 28 août 2009
Larsen Commercial 003

Mr Labrador - serre musicale
Manuel Duval - machines/guitare/saxophone
Arno Bruil - platines/machines
Johann Mazé - batterie/effets

https://www.discogs.com/fr/4-Semaines-Sylvie-4-Semaines-Sylvie/release/8420891

4 Semaines Sylvie

Felisha Ledesma Live with 16mm projections by Mia Ferm 
Sarah Davachi Live at S1
Christina Kubisch 

@sarahdavachi @christina-kubisch @s1portland @n10-as

cyanescens 333

info: https://radio.syg.ma/episodes/erotika-25-felisha-ledesma
https://www.instagram.com/felishaledesma
https://soundcloud.com/felishaledesma

EROTIKA 25 – Felisha Ledesma

cyanescens airs every 4th thursday on @n10-as
tracklist: 

Dino Spiluttini - Rainbow Bridge @dino-spiluttini
Lyra Pramuk - Scrytch @lyra_songs
7038634357 - Balance Beam @neo_petal
Isabella & Felisha Ledesma  - Hypnic Jerk (first draft) @networkerror
Les Tempes Barbares - Un Velo, Un Mar Negro @lestempsbarbares
Angelo Harmsworth - Auctioneer @angeloharmsworth
Omeed Norouzi - lil stems  @omeednorouzi
Ssaliva - 2drown @ssaliva
Not Waving - Level 2 Importance @notwaving 
Felisha Ledesma - stems & whispers 
Klein - 99
Mica Levi & Oliver Coates -  Bless Our Toes @ollycoates @micachu-music
Felisha Ledesma - kiss (Isabella grain) 
KYO w/ Jeuru - To All My Future Lovers

cyanescens: end of

ZERO IS MORE THAN NOTHING - VARIOUS ARTISTS
@ecstaticrecordings @angeloharmsworth

https://ecstaticrecordings.bandcamp.com/album/zero-is-more-than-nothing

Felisha Ledesma & Angelo Harmsworth - PDA (ECSTATIC 057)

Originally composed for livestreaming events during the ongoing lockdown of 2020, Felisha Ledesma presents two extended pieces as a debut album, “Sweet Hour”. Ledesma’s first full length release arrives after much experience in creating collaborative works with artists such as Isabella and Angelo Harmsworth, site-specific installations, and high-profile festival performances.

Both pieces were realized using a new software synthesizer, called “AMQR”, which Ledesma built for personal use in collaboration with Ess Mattisson. Contrary to many digitally-based compositions, a distinctly warm and organic palette pervades these recordings. An almost playful leisurely pace is employed, engaging the listener to listen deeper; the pieces gracefully evolve with special attention to subtle shifts in stereo field and sonic coloration.

The time-of-day titles illustrate the two distinct moods conveyed: "7:00 AM" integrates field recordings and a hardware modular synthesizer, taking the listener through a psycho-acoustic journey exploring various nooks and crannies of subdued auditory rivulets: perhaps a hidden woodland brook, a sunny glen, a crunchy gravel walkway. "2:00 AM" harkens to the memories of nightclubs, opening with a synthesized arpeggio which could lead into a dancefloor-ready stomper. But instead, Ledesma steps back, allowing the arpeggio to develop into an encompassing ASMR-like timbral massage. The two compositions are united in a slightly melancholic grasping for connection; are they unfolding or are they unraveling? Ledesma does not answer the question outright, but instead finds joy in superposition and sublimation - while creating a space for the listener to inhabit, to live in, and to re-connect.

---

Felisha Ledesma is a multi-disciplinary artist currently based in Berlin, GER. In Portland, OR, Ledesma co-founded and directed numerous organizations focused on experimental sound and community engagement such as S1 (an artist-run space) and the Synth Library (a lending library for electronic music equipment). Most recently Felisha co-founded Fors (fors.fm), creating "novel instruments that are elegant to use and adventurous in sound" in collaboration with Ess Mattisson and is studying sonic arts at Universität der Künste, Berlin. 

releases January 29, 2021

mastering :: Ess Mattisson

cover artwork :: Felisha Ledesma

design ++ layout :: Robin JM Vanderheyden

all proceeds to Equitable Giving Circle :: www.equitablegivingcircle.org

Sweet Hour

Felisha Ledesma - 7:00 AM [Excerpt] (ENXPL04)

Originally composed for livestreaming events during the ongoing lockdown of 2020, Felisha Ledesma presents two extended pieces as a debut album, “Sweet Hour”. Ledesma’s first full length release arrives after much experience in creating collaborative works with artists such as Isabella and Angelo Harmsworth, site-specific installations, and high-profile festival performances.

Both pieces were realized using a new software synthesizer, called “AMQR”, which Ledesma built for personal use in collaboration with Ess Mattisson. Contrary to many digitally-based compositions, a distinctly warm and organic palette pervades these recordings. An almost playful leisurely pace is employed, engaging the listener to listen deeper; the pieces gracefully evolve with special attention to subtle shifts in stereo field and sonic coloration.

The time-of-day titles illustrate the two distinct moods conveyed: "7:00 AM" integrates field recordings and a hardware modular synthesizer, taking the listener through a psycho-acoustic journey exploring various nooks and crannies of subdued auditory rivulets: perhaps a hidden woodland brook, a sunny glen, a crunchy gravel walkway. "2:00 AM" harkens to the memories of nightclubs, opening with a synthesized arpeggio which could lead into a dancefloor-ready stomper. But instead, Ledesma steps back, allowing the arpeggio to develop into an encompassing ASMR-like timbral massage. The two compositions are united in a slightly melancholic grasping for connection; are they unfolding or are they unraveling? Ledesma does not answer the question outright, but instead finds joy in superposition and sublimation - while creating a space for the listener to inhabit, to live in, and to re-connect. 
credits
releases January 29, 2021

ENXPL04 - FELISHA LEDESMA - 2 AM (SIDE B)

Label ran by @nick-klein
contact: psychicliberation@gmail.com

For the physical and digital purchasing of PSYCHIC LIBERATION/PRIMITIVE LANGUAGES :

www.psychicliberation.bandcamp.com

ENXPL04 - FELISHA LEDESMA - 2 AM (SIDE B)

PL/PSYCHIC LIBERATION/PAIN LIBERATION