Side A [snippets]

“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)

Cloud rap dissolved into ambient drift

Q+A: www.lowendtheorists.com/theory-therapy-mixes/990x

@990x

Theory Therapy 84: 990x

Québecois producer Priori and New York–based artist James K join forces for a unique b2b. Priori, co-founder of NAFF Recordings, is known for his intricate, sci-fi–tinged techno, while James K has spent over a decade shaping ethereal, genre-blurring pop and electronic soundscapes. Together, they weave techno, pop, and experimental textures into an immersive journey.


Listen Festival w/ Priori & james K @ Kiosk Radio 09.11.2025

Transmissions from the Outer Rim/Inner Edge. “you know the gates themselves are made of flood.” -Nadia Marcus

From the host: _"this episode from DJ Eft, a central figure in the PNW who is part of the team which organises Osmosis In The Trees, an annual festival in Taklima OR"_ 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/3xl/episodes/3xl-10th-november-2025

3XL w/ DJ Eft 101125

https://ad93.lnk.to/Goodness

Illuminated with breathtaking vocals and uncanny poetics, ‘Goodness’ is an open, impressionistic assemblage of drone, ambient, experimental electronics, improvisational music and minimalist dance music.
Across protean forms and voices, feeo explores an ever-evolving counterpoint between connection and isolation, the city and the natural world, the external and the internal. Contrasting beauty with volatility, communion with disintegration, feeo creates an album of absorbing tension between distinct contrasts.

With eleven interconnected pieces of music, each engaged in symbiotic dialogue, ‘Goodness’ represents a sinuous yet uniform work. Each track is like a link in a chain, with each piece revealing its lustre when held up to the light.
feeo describes the album as “an exploration of simultaneous yet opposing states of being; darkness and lightness, obscurity and visibility and most fundamentally, solitude and togetherness. Each song is an adumbration; a partial sketch of one aspect of the LP - each finding its complete meaning when read in the context of the whole.”

Mirroring the push and pull of perception and contemporary experience, ‘Goodness’ oscillates between disparate moods and intensities, reflecting moments of interiority, intimacy, seclusion, collective experience and exterior turbulence.

‘Goodness’ marks an evolution in feeo’s artistic practice, both as her first full-length release, and as a product of wider collaboration after several years working independently. Welcoming close collaborators and select affiliates into the fold, the process of making ‘Goodness’ was very much like the record itself; a deeply personal, special convergence of expression and artistry. 

released October 10, 2025

Written, produced and performed by feeo
Caius Williams on baritone guitar (‘Here’ & ‘Night Forgives Those Black As Her’), bass guitar & electric guitar (‘Here’), and trombone (‘Requiem’)
Theo Guttenplan on drums (‘The Hammer Strikes The Bell’)
Trevor Laird reading ‘Days pt. 1’ & ‘Days pt. 2’
‘Here’ recorded at PRAH Foundation and engineered by Caius Williams
Mixed by feeo
Mastering and Cutting

Side A [snippets]

Quiet Control