Tresor Records is proud to announce 333 Mirrors from Torus, the artist alias of Joeri Woudstra. Coupled with its catalogue number 333, it indicates the large-scale conceptual thoughts behind the record, typical of Woudstra's practice. As an artist, he sets out to frame re-interpretable references that trigger some subconscious recognition in listeners, with no set way to interpret them but leading to singular feelings and thought processes. The effect, a combination of static electronic sounds and looser field recordings, speaks to each listener differently. 

333 Mirrors is, in part, the continuation of a project called These Cars Do Not Exist, made with videographer Mark Prendergast during the Covid-19 limbo. The live performed short film sold out selected popup cinemas in 2020 in a short sprint of shows. Two of the tracks on that project, Sound of the Drums and Chroniko, are re-imagined on 333 Mirrors, emanating as versions created in live performances. Set to be released as a single, Chroniko VIP will be accompanied by an enduring theme from that project, the three-winged bird, this time deceased. On 333 Mirrors, in exploring the ambient, stretched sonic universe of this project more, Woudstra moves from these three-winged birds to the phoenix, finding a rebirth on the b-side with tracks that inhabit a similar sound as Deep Mid, Torus's inclusion on the recent Tresor 30 compilation. 

The sound of Torus places importance on the multi-faceted approach to sampling, pushing the idea behind the practice beyond usual boundaries. How to break the unwritten rules? Woudstra looks within by resampling previous Torus releases and reverse-engineering the sounds of the most revered pop and electronic musicians alive today, references that trigger recognition, melancholy and nostalgia in the listener. 

3000 Mirrors features a staccato arpeggiating rigid pattern, the sonic effect of standing in front of a strobe until it becomes the anchor. Silence and interruption are used as a device to explore the physically uncomfortable, more the central compositional tool than the disrupted harmonic structures.

Woudstra has never stepped foot in Tresor, so when writing this record, an enduring question spoke to him, what is Tresor when you have never been? How do you sample the essence of an unknown location? The closing track, Omnia, is the sound of anticipation, where the rave beckons. This imagined industrial space is calling for you.

Torus - Omnia

Smoky loops, transparent abstractions, glitchy lines - all as one crafted by @bswalk.

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HANT
www.20ftradio.net

bsw948 @ 20ft Radio - 09/07/2023

Waiting Everytime 
by Skunk York vs  @sablemik

Музыка ждущих людей

Music Speech
Little J
Red Bone
White Bone

06.09.23

art by IG:  @nussprinz

SKUNK YORK vs SABLEMIK - WHITE BONE

bassoska

исследуем московский дворик на наличие приятной атмосферы с @klotho00

подкаст также доступен на YouTube - https://youtu.be/dSs5FW7u4Wc

klotho oknocast for dvorik

In the new episode of the Made in UA show Ann Mysochka invites Illia Krueger, Kyiv based DJ and producer who reflects on autumn vibes with its ups and downs. Mostly unreleased and forthcoming stuff from favorite Ukrainian producers and communities inside. 


Made in UA w/ I.Krueger (27/09/24)

Hugo Esquinca offers his debut album format release, DOCUMENTO_UNO, for Psychic Liberation stating:

“DOCUMENTO_UNO [2014-2024] is a -mis-selection of bastardized personal archival material containing actions, installations, induced DSP corruption, after-hours field recordings and direct documentation of audio equipment degradation. With the intention to dispose rather than preserve, all files utilized for the production of this CD have been permanently deleted after usage.”

Copious libations and long, long walks around metropolitan sprawl are part of the process material that cultivate the contained audio within DOCUMENTO_UNO. Esquinca posits a formal conundrum, skewing the perceptual intake of the organic and inorganic aurality in a collaged twenty-nine minutes and thirty-nine seconds of Esquinca’s auto-documentarian efforts. Something about weighted city environments, places like Mexico City or Berlin or Glasgow, and how they interrelate with weather extremities, finances, alcohol, and one's personhood are embedded in DOCUMENTO_UNO. At the end of the day, you are not at home.

Esquinca is known for large scale audio works that take on the extremity of amplification to incite situations and circumstances that become ruminations on what is impenetrable or absent* yet consequently disruptive**. For DOCUMENTO_UNO a similar through line to materiality and ephemeral outcome is observed. The pushing of a recording device to its furthest capabilities and the harmonic damages that follow through as a result. The unwavering compositional directive to keep finding the threshold of the audio space, first in capturing from life and then later from processing and arranging. This is Esquincas first album effort.

The truth is that Esquinca is exhausted by Sound and its orbiting cultural sphere. His multifaceted work as an artist, researcher, and writer continually exhibits a perspective in extremity that manifests a perspective a politer audience recoils in facing. Esquinca though is no brute, nor looking for cheap tactics to elicit canonized pearl-clutching responses to the vulgarity of our times. DOCUMENTO_UNO complexly collages confrontation in formal, mechanistic, or actionable methods to unsettle your stereo and effectively not save your world.

In many ways, this release is a family affair for Esquinca. DOCUMENTO_UNO is the result of many nights of long talks and beverage consumption with friend and collaborator Nick Klein. Additionally, a selection of the original source material has been remixed by Russell Haswell, a longtime collaborator and friend of Esquinca.


* See works done at EMPAC in Troy, New York, where an entire auditorium's multi-channel sound system was played at maximum volume after hours with no one allowed in the building, leaving only the vibratory sensation of the architecture to speak to the idea of absence for the viewer.
** See Esquincas latest work, as part of a festival dedicated to Alvin Lucier, where the artist reinterprets Luciers “Sound On Paper”. Here Esquinca trades paper for architectural glass, focusing thousands of watts of amplification onto the glass to more caustically illustrate Luciers paper observations. 
credits
releases November 30, 2024

Edition of 100 Compact Discs
Each copy has been individually numbered, stamped, marked and wrapped in 50 liter garbage bags.

Recorded and arranged by Hugo Esquinca
Mastered by Russell Haswell
Designed and assembled by Hugo Esquinca
Product Photography by Gustavo Saiegh
Artist Photography by Dominique Saiegh

DOCUMENTO_UNO

ALBUM PURCHA$E

PLIB066 - HUGO ESQUINCA - DOCUMENTO_UNO (EXCERPT)

https://soundcloud.com/amdience

https://www.retreatradio.net/lost-in-transition

Listen 24/7 at www.retreatradio.net

Unknown Album

Lost In Transition #19 w/ Amdience (31/10/24)

PODCAST-020-MINKMEKKO

terra & oceans

Equiknoxx are one of the hottest, most innovative dancehall squads from Jamaica right now; Bird Sound Power is their debut collective show of strength, packing 12 avant, crooked riddims by core members Gavsborg and Time Cow, plus Bobby Blackbird and Kofi Knoxx, with vocals by Kemikal, Shanique Marie and J.O.E. (R.I.P).
The set was parsed and pieced together by Jon K & Demdike Stare , and now thanks to link ups via Swing Ting’s Balraj Samrai (a longtime livicated supporter), it is issued on Demdike’s DDS imprint, replete with Jon K’s sleeve design.
Easily identified by the squawking bird idents peppering their cuts, Equiknoxx productions have been big in the dance since Gavin Blair a.k.a. Gavsborg produced Busy Signal’s billboard hit Step Out in 2005, followed by key instrumentals for Beenie Man, Aidonia, Masicka, and T.O.K. - with many released on 7” thru their Equiknoxx Musiq label, and some of which, such as Aidonia’s Negative, are included in this set.
Bird Sound Power arguably marks up the most striking riddim album you’ll hear from JA in 2016, weighted with the potential to open up perceptions of current dancehall thanks to the mad character and broad reference points of its producers, encompassing King Jammy’s foundational digi-dub and Dave Kelly’s Mad House sound as much as rugged New York hip hop and the wigged-out, feminine pressure of Virginia Beach’s Timbaland or The Neptunes.
The oldest tune inside dates to 2009, but the rest are relatively recent dancehall mutations, including a number of exclusives produced in the last 12 months. Each one reps for Equiknoxx’s unique aspects, such as Jordan Chung a.k.a. Time Cow’s brilliantly bizarre, layered arrangements of film samples, sawn-off hooks and digi-tight beats, whilst also a result of as their distinguished family vibe,
Bird Sound Power exists in a paradox, contemporary but classic, and with as much potential to turn new heads onto current JA sounds as Mowax’s Now Thing set back in 2001, which remains a key touchstone for all fwd looking producers..

Bird Sound Power

Clunk

respect the spirit & follow the white dog
𓃗

terra & oceans

settima tacca

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