Holding the tension of opposites is a theme running throughout the work of Angelo Harmsworth, and the six pieces comprising Vent are certainly no exception. Inspired by the different and oftentimes clashing forces comprising our weather systems, the New Mexico-born but now Berlin-based musician and producer envisioned his “compositions as micro-ecologies,” wherein “powerful waves push off one another.” The patterns emerging from this captivating music represent some of Harmsworth’s most complex to date. Swells of foreboding frequencies and jarring maximalist textures may bear down on listeners, yet an undercurrent of bliss–so deeply submerged it borders on the subliminal–manages to infuse even the most tumultuous moments of Vent with a calming groundedness.


And also like the climate, especially in the age of the Anthropocene, this cassette unfolds in ways that are profoundly unpredictable. An artist known for his ability to span the divides separating underground noise, sound design, ambient and industrial, Harmsworth ensures that each successive piece makes a radical break from what preceded it. This quality becomes particularly apparent when contrasting sides. The nearly harsh-noise, distortion-charged moments punctuating Side A are nowhere to be found on Side B, which reveals moments of vast, spectral beauty that reflect his roots in the desert landscapes of the American Southwest.


Of course, this kind of sonic breadth only comes with experience, of which Harmsworth has plenty. Steadily recording and releasing experimental music since the early 2010s, he has worked with some of the sub-underground’s stand-out imprints, including Angoisse, Bathetic Records, Total Black, and Opal Tapes. Placed in the context of his impressive catalog, Vent can be seen as both a continuation of what came before and a bold new development.



Angelo Harmsworth is a musician & sound artist whose works tends to fluctuate between austerity and decadence. Currently based in Germany, he has been published by a network of experimental labels in addition to his own imprint, Lime Lodge.

releases July 26, 2022

Recorded by Angelo Harmsworth
Audio finalized by Glyn Maier
Artwork by Angelo Harmsworth
Design by RJM Vanderheyden
Text by Justin Farrar

VENT

ENXPL15- ANGELO HARMSWORTH - A1. AEROSOL

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i was going somewhere but i lost it and it’s gone half volume music

I Feel So Close 2 U Right Now

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@tatiaumiel @nudotxmx

Tati au Miel introduces their latest birthing 'Carousel'. This EP showcases a fusion of electronic and experimental melodies, featuring collaborations with Cecilia, Embaci, and the group Nudo. The auditory experience is complemented by a collection of sculptures crafted by the visual artist Lacra. The essence of 'Carousel' draws its inspiration from Tati au Miel's lived experiences and personal reflections, delving into concepts such as nomadism, migration, nostalgia, and the Haitian spiralism movement. These themes found expression during Tati's artist residency at Echo Correspondence, where the seeds of 'The Tale of The Vagabond': a fictive inter-disciplinary narrative revolving around a hybrid human-bird character known as 'The Vagabond'. The sounds initially created for this narrative have now evolved into 'Carousel', a 5-track EP that captures the playful yet eerie essence of its origins.

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Tati au Miel & nudo - Carousel

lyrics?  

neva 2 be known 
neva 2 be known 

it's a gift, to be swallowed 
to be to be known

neva 2 be known 

I ache for the day you say 
I ache for the day you say 
I ache for the day you say 
I ache for the day you say 

I see you 
but I like you 
so I can't get to close to you

written, performed, and produced by  Deuén
Mixed by Tom O Donell

Somewhere on 1301 Crossing Place, The Dust Made Me Reconsider Time

D!ANA always moves me but this time it’s inward. Contemplation is also a dance. Reflection is a murkier pool. Looking at and in and back and up—we’re facing something. Perhaps the huge spiral down which we’ve tumbled and now must claw back up. Perhaps a great cloud of garbled messages stuck on loop, on a broken machine (the mind is a broken machine, and thus a perfect one). 

Feels desolate when any answer is, in an instant, undone by another. When water tastes like metal questions clang through hard pipes. Like, how to move forward when stuck in the mud of perpetual regret? Wonder. Am I moving forward or circling some far off conclusion? Delineation. What space is there, suspended here: a tear for bliss, a haunting.

-Natalia Panzer

Concept, cover and booklet design by D!ANA
Mastering by Swan Meat
Disc and jewel case pringing and music transferring by Natalia Panzer
Drawings by hideousarmor
Funded by Lynn & No Catharsis

D!ANA - slowly (ft. natalia)

The Sleeping Cave w/ Sonia Surma - 13/06/2023

https://soundcloud.com/t_u_n_a

pictures projected
as they flicker through the leaves
an afterglow of spring
sets the soil in motion
–Julian Schäfer

Fairy-esque synths, digital strings and spectral atmospherics combine to lure you into tuna's “Object Permanence”, out via NYC's Altamira Records on June 14th, 2024. In the release, tuna, real name Julian Schäfer, evokes fractals that combine his glossy audio productions with the lushness of the boreal world.

Represented through a mixture of auditory synthesis and fantastical themes, “Object Permanence” ponders, and then objects to, the idea of immutability. The natural world serves as a metaphor for the concept. An appropriated painting of a shoreline on the EP's cover may seem like a representative moment of nature's beauty and order, but through evaporation, tides, human intervention, and the life and death of millions of organisms that live within, a seemingly static frame is actually representative of a continually changing environment.

The closing song, “Melt Like Water,” encapsulates this theme with a quote by a tribal community elder from Vanuatu in Werner Herzog’s 2016 documentary, "Into the Inferno." “Everything will melt, the stones, the trees, everything, like water.” In our crumbling world, how can one expect any permanence?

All tracks written by Julian Schäfer
Piano on "let's just rest on the floor and watch the dust settle" by Theresa Worm
Artwork by Alex van Dorp
Drawings by Melanie Nguyên Pietsch, Julian Schäfer
Mastered by Christoff Reidel (https://soundcloud.com/riedelchristoff)

tuna - a haunting

fuckprevail - interlude

☆

by @specialguest-dj

booking inquiries 💌 refillmadness@gmail.com

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