“textural digital sound design for mental distress and time / spatial obfuscation 

micro bounced buoyancy 

stream of consciousness fluids”

released March 25, 2021 

Mastering by Shy aka Special Guest DJ 
Album cover rendering by 3D bergsonist 
Individual track artwork by pent

panic compress

organ fluid - glue

hyper compulsive

plastic discharge

Riven sounds like the speed of regenerating, desperately and orderly. A beautiful quality of air traveling inside an enclose space, inner echoes and droplets.

I feel water, the tightness and looseness of organic architectures. Intensities of light; at some point light glimmers over water, at others there are rays seeping into-and-out undergrounds, sometimes more somber and breathless. 

I see dawns throughout the album, resonating with a twilight of the gods, with patterns of night to day. Any rupture can be sealed again. Floating pieces attract. Who is left to speak when things split apart, and a world grows anew?

-Mayra Rodríguez Castro

The engine is starting. The engine is a pulse powering an escalator that’s moving upward to a public park. Smells like rubber, like burnout leaving traces in the air. You can sense the center amongst the rubble imagining highways of elastic or condensation as new life. 

Irregular heart morphs into two bodies and beats like reverberations off walls.  I glance over my shoulder like a spy. I’m tossing my heartbeat into the room for you to catch. 

-Erika Ceruzzi

Riven

Floating Pieces Attract

Regenerate

Baby Blue

Rubber

2 Body Beat

Glass Escalator

Flare

During the making of this record I was primarily concerned with the anxieties of postmodern existence. Living with constant information connects us but ultimately drives us apart as powerful institutions use information and disinformation to manipulate the public and manufacture consent. As a first generation Chinese immigrant raised in the west, I am interested in the process of sampling from ethnically diverse, "foreign" origins as well as local, familiar sources and seeing how they interplay with each other in startling new ways. Sampling is an old artform, a foundation of electronic music, and we are learning as a new generation how to utilize this tradition under changing ethical standards. Stylistically this record was made with the intention of using a lot of disparate samples from politically-incongruous places: European colonialist films, a white Mormon indie rock band, Japanese kabuki, traditional Chinese hand percussion, Nixon's speeches, vocals from both American and Cantonese pop icons, an experimental record about the Vietnam war, etc., and combine them in ways that are unexpected, non-fetishistic, and nuanced. As post-millennial people, we enjoy greater access to cultural artifacts ("samples") than ever before which can lead to great artistic works if used with respect to context, meaning, and cultural significance. This EP was an attempt to explore that. 
-Ciel (@cl_lit)

Thanks For Enlightening Me

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