enmossed

Named after the tendency to impose familiar likenesses, such as faces, on random - usually inanimate - objects, 𝑷𝒂𝒓𝒆𝒊𝒅𝒐𝒍𝒊𝒂 is Jake Muir's way of interpreting the consonances between so-called “ambient” music and extreme heavy metal. Extracting the headiest, most atmospheric sections from hundreds of death metal and black metal tracks, Muir plays the role of both DJ and electroacoustic composer, concocting a lysergic elixir of fractal distortions and prolonged, decelerated riffs that slowly evaporates into iridescent vapor. If there's any trace of the original sources left, Muir makes sure that residue is subtly bewildering, like clouds in the sky that form imposing, larger than life images, or trampled bracken that falls into the shape of “trve kvlt” insignia. The idea for the album materialized when Muir was working on 2022's 𝑻𝒂𝒍𝒊𝒔𝒎𝒂𝒏, his collaborative album with multi-instrumentalist Evan Caminiti. Processing guitar for the first time, Muir began to unpack his long relationship with rock music and its Escher-like maze of sub-genres, from the tech metal he obsessed over as a teenager to Loop and Main's drone-y, textured variants. Scraping the internet for unconventional contemporary metal albums, he stumbled across music that seemed to hover between different realms, merging its frenetic, noisy sections with psychedelic interludes that harmonize with classic industrial and avant-garde music, material like :zoviet*france:, Nocturnal Emissions and Z'EV. Muir fixates on this semi-permeable membrane on 𝑷𝒂𝒓𝒆𝒊𝒅𝒐𝒍𝒊𝒂, infusing his pitch-skewed weightless drones with gravel and aerating his archive of rasping samples with a sense of euphoria that might seem contradictory at first. Evocative creaks and rainfall sounds create layers of noise around a staccato pluck on 𝘖𝘣𝘭𝘪𝘷𝘪𝘰𝘯 and Muir's theme begins to crystallize. The inherent rhythm forms a slow, ritualistic thump and the additional sounds - celestial wails and goosebump-inducing harmonic rattles - form an imposing, painterly backdrop. On 𝘌𝘢𝘤𝘩 𝘜𝘪𝘴𝘨𝘦 meanwhile, the high pitched guitar sounds cascade over gorgeous choral pads, while dissociated vocal pops and cracks vanish into the darkness. 𝑷𝒂𝒓𝒆𝒊𝒅𝒐𝒍𝒊𝒂 is an album that plays like an optical illusion: 𝘜𝘯𝘩𝘰𝘭𝘺 𝘈𝘱𝘱𝘢𝘳𝘪𝘵𝘪𝘰𝘯𝘴 transforms bone-rattling foley sounds and unnerving groans into woozy, psychedelic textures and 𝘈𝘯𝘪𝘮𝘢 steams doomy riffs and haunted clanks until they float like the erotic soundscapes that curled through Muir's breakout 𝑩𝒂𝒕𝒉𝒉𝒐𝒖𝒔𝒆 𝑩𝒍𝒖𝒆𝒔. It's an act of sonic sleight of hand that feels fittingly disorienting. Heavy doesn't need to be deafening. --- Jake Muir is an LA-based artist, DJ, and field recordist working with found sound. He approaches his practice as a listener first, carefully curating, layering and processing sounds that help him deconstruct and contextualize his lived experiences and influences. Using investigative software methodologies, DJ techniques, and dextrous engineering, Muir makes deeply personal sonic art that fluidly traverses genre, encouraging reflection, and sometimes prompting psychedelic states. Recorded and mixed by Jake Muir Mastered by Glyn Maier for PLEN Audio Photography by Jake Muir Design template by Joe Bastardo

A synapse-popping electro-acoustic soundwalk around Western Europe's cathedrals, chapels and churches, 𝑪𝒂𝒎𝒑𝒂𝒏𝒂 𝑺𝒐𝒏𝒂𝒏𝒔 skews recognizable sacred soundscapes, proposing a contemporary mythology that muddles the past, present and future. Following on from his critically-acclaimed 𝑩𝒂𝒕𝒉𝒉𝒐𝒖𝒔𝒆 𝑩𝒍𝒖𝒆𝒔 full-length, American sound artist Jake Muir familiarizes himself with German and British sonic architecture by studying some of the medieval shadows that still hang over Europe's streets, even as they continue to evolve. Manipulating environmental recordings captured in Germany and England, Muir presents an impressionistic juxtaposition of parallel cultures: the UK's distinctive "change ringing" technique, where a team of bell-ringers play long varied sequences on a set of tuned bells; and Germany's more sober style, with monotonous peals that add rhythm to daily life. When Muir moved from Los Angeles to Berlin back in 2019, it wasn't just the German capital's damp weather and long, dark winters that came as a surprise. He was immediately struck by the city's anomalous acoustics, and one particular element stood out: the resonant church bells that echo around Berlin throughout the day to mark time, and for 10 minutes on Sundays as a call for mass. Gathering his field recording equipment, Muir acquainted himself with his new home by following the sonorous clangs, wandering from kiez to kiez to capture each church's distinct auditory flavor. And the more material he collected, the more engrossed he became in the history of bell ringing, prompting a deep dive that would shuttle him across Germany and into Italy, Belgium and the UK. On 𝑪𝒂𝒎𝒑𝒂𝒏𝒂 𝑺𝒐𝒏𝒂𝒏𝒔, Muir trains his focus on Berlin, where his journey began, and on England, where he encountered the most elaborate bell ringing practice. 𝘌𝘳𝘻𝘬𝘭𝘢𝘯𝘨 is a hypnotic lattice of sounds recorded all over the German capital: at Parochialkirche, a reformed church in Mitte; at evangelical church St. Matthäus, at Sophienkirche, another Mitte landmark; and at St. Mathias, a Roman Catholic church just in front of the Potsdam Gate. By fusing the liturgical chimes with snippets of local ambiance - traffic, chattering tourists and birdsong, for example - Muir takes a blurry snapshot of the city, queering its idiosyncratic color spectrum with his various digital processes. Using reverb to replicate the acoustic properties of both the streets and the church interiors, he subtly disturbs the timeline, stretching out brief peals into long, mesmerizing drones and turning garbled voices into ghostly babble. The environment alters considerably on 𝘊𝘩𝘢𝘯𝘨𝘦𝘴; Muir uses the same technique and applies it to recordings made at the 1000-year-old St. Oswald church in Oswestry, St. Bartholomew's, Edgbaston and Holy Trinity in Stratford-Upon-Avon, home to Shakespeare’s final resting place. Here, Muir methodically untangles the change-ringing process, linking back to 𝘌𝘳𝘻𝘬𝘭𝘢𝘯𝘨 with a single bell tone before moving inside the church itself and documenting the ringers' shouted instructions, blending the calls with the bells' mathematical cyclic patterns. Muir memorializes what in 2025 is a dying art-form - a community skill that's disappearing worryingly quickly as young Brits lose interest in the church and its rituals. Unsettling distortions bite into the undulating sequences and underneath the noise, Muir highlights the music's latent euphoria, drawing out its most celestial tonalities. File under: devotional music. --- recorded by Jake Muir audio finalized by Glyn Maier photography by Jake Muir design template by Joe Bastardo

mixed by Glyn Maier during Nick Klein's "BRING THE FLOWERS TO THE THEATRE", a program hosted by SARA'S (April 2023 New York, NY) . > artists included in this mix: Toshifumi Hinata Etelin Arturo Ruiz Del Pozo Harold Budd KMRU Alva Noto + Ryuichi Sakamoto Andrew Thomas Wilson Angelo Harmsworth Bloedneus & de Snuitkever Sa Pa Deepchord Maxime Denuc Greg Davis Interior You'll Never Get To Heaven Sam Mallet Water Melon Group

“Joe Fujinoki centered the compositions of his latest album 𝑮𝒍𝒂𝒔𝒔 𝑻𝒐𝒓𝒔𝒐 around the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process. Fujinoki recorded 𝑮𝒍𝒂𝒔𝒔 𝑻𝒐𝒓𝒔𝒐 exclusively with analog synthesizers, stumbling in and out of structural loops to find space for accidental discoveries. The ten pieces of recorded material feel somewhere on the edge of typified form, feeling like a vascular system pumping in and out its undulating liquidities. Maybe this is the hollowed space held together by Fujinoki’s notion of the torso where you hear a microscopic world, dubby and generative. Fujinoki is adept at organizing this realm of subtle sound sources, giving proper considerations of shared tonal space. Seemingly, this handling of the precarity of sonic material elucidates Fujinoki’s mature attention to detail. Ambient music genre tropes often affirm the listeners vessel for escape and dissociation. It provides an intoxicating allure by respite from an overwhelming exterior reality far outside the listeners controls. Here this space becomes apolitical, or its protest vocabulary softer and subtle. Fujinoki does not aim to tackle hyperobject topics on how to course correct the world, but he does something increasingly rarer to come across. On 𝑮𝒍𝒂𝒔𝒔 𝑻𝒐𝒓𝒔𝒐 an alternative space is created not as shelter, but as a meditation on negotiation and compromise. This twenty eight minutes of audio lays down a foundation for imagination, for imagining how to negotiate the fragility of the self. Zoomed out, the implications of his negotiative sonics can be a playground for broader reflections on distributive care and attention. Fujinoki says he feels “alert” to his physicality and placement in the world amidst vast digital cultures creating impositions on him and his surroundings. On 𝑮𝒍𝒂𝒔𝒔 𝑻𝒐𝒓𝒔𝒐 he creates a concretized space on a vinyl record, where the virtual and the tangible antagonize one another that create the spectacle of the listening experience. This spectacle is a soft one, a considered one, and an utmost enjoyable one. Fujinoki juggles opposing forces brilliantly, and formulates an exquisite palette of soft passing music so he can also help the listener with the exquisite burden of their own 𝑮𝒍𝒂𝒔𝒔 𝑻𝒐𝒓𝒔𝒐.” - Nick Klein, January 2026 --- Joe Fujinoki is a Tokyo-based musician, composer, and synthesist. He constructs physical, non-linear patterns from textures that blur the line between the organic and the inorganic. Written & produced by Joe Fujinoki Audio finalized by Glyn Maier for PLEN Audio Artwork by Asta Gröting Art direction by Ross Alexander Payne

Intrinsically entwined with the landscapes of Hokkaido, Japan, 𝑾𝒉𝒊𝒔𝒑𝒆𝒓𝒔 𝒐𝒇 𝒕𝒉𝒆 𝑫𝒊𝒔𝒕𝒂𝒏𝒕 𝑷𝒂𝒔𝒕 is a meditation on transience and nostalgia. Yuki Aizawa’s first physical release acts as a vessel to preserve and reflect on the fading vestiges of childhood. This emotional core is rooted in Aizawa's memories of vast fields of lavender in Furano, an endless purple horizon acting as a calming yet melancholic backdrop to the passing of time. The soundscapes of 𝑾𝒉𝒊𝒔𝒑𝒆𝒓𝒔 𝒐𝒇 𝒕𝒉𝒆 𝑫𝒊𝒔𝒕𝒂𝒏𝒕 𝑷𝒂𝒔𝒕 were built through the intricate layering of guitar volume and feedback swells. Aizawa then sculpted the resulting textures into living spaces using a variety of treatments and effects, flecked with field recordings of rivers and wildlife captured in Maruyama Park, just outside of his home city of Sapporo. Final track sequencing was a largely improvisational affair, treating the emergent melodies from processed reverberations as an act of "collecting small, precious pieces of the past." It also weaves together Aizawa’s life experiences, ranging from numerous early guitar sketches to a rediscovered cassette featuring his own infant cries alongside the voices of his family. The resulting album is a mirage-like collage of personal artifacts, bridging memory and dream, becoming an invitation into Aizawa’s visions of lavender-tinged sunsets. --- Yuki Aizawa is a Sapporo-based producer crafting sacred-tinged soundscapes that drift within deep reverberations, grounded in memory, water, and nostalgia. Through field recordings, improvised performances, and layers of guitar swells woven with ethereal textures, he explores the expansion of space, recollection, a sense of solace, and the interplay between sound and memory. --- Recorded by Yuki Aizawa Audio finalized by Glyn Maier for PLEN Audio Design template by RJM Vanderheyden Interview by Rob Goyanes

On 𝑺𝒚𝒓𝒆𝒏, Gafael’s extensive field recording archive of the waters of northern Wales are iteratively processed into hazy, extended chords. The tactility of crashing waves, trickling streams, and coursing rivers is the foundation of the album, functioning as a hermetic reflection of the physicality of littoral ecology and its emotional resonances, centered on the push/pull of danger and seduction. While the album’s title 𝑺𝒚𝒓𝒆𝒏 alludes to Homeric mythology, it is firmly rooted in Gafael’s wanderings through the austere beauty of Welsh coastline rather than addressing any Hellenic texts directly. Similarly, while the album’s sound gestures towards ‘ambient dub techno’, its sonic atmosphere is decidedly field recording. Split into two movements, the first side of 𝑺𝒚𝒓𝒆𝒏, 𝘚𝘶𝘣𝘮𝘦𝘳𝘨𝘦, brings us into dark, oceanic depths, echoing the working title for the album, 𝘔𝘶𝘴𝘪𝘤 𝘧𝘰𝘳 𝘋𝘳𝘰𝘸𝘯𝘪𝘯𝘨. The other side, 𝘌𝘮𝘦𝘳𝘨𝘦, serves as the journey home, pulling us out of the waves and cast onto the shore. This arc also reflects Gafael’s own history, tracing his complicated relationship with Welsh and English languages, and coming to embrace his immediate physical landscape and its history while eschewing nationalistic implications. --- Matthew Ridgway is from North Wales, is dad of 3, and has released music as Gafael and noreply@. --- Recorded by Matthew Ridgway Audio finalized by Glyn Maier for PLEN Audio Design template by RJM Vanderheyden Interview by Rob Goyanes

"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 --- 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

“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 --- 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

“Nicholas Remondino’s project LAMIEE. presents his latest album, 𝑳𝑼𝑴, for enmossed. Over the course of 10 electroacoustic excursions, iterative implementations of mechanistic rattling and vibrating expand the utility of the percussive surface of a snare drum. As overtones and harmonics swell in reverberation, Remondino carves an almost ecclesiastical sonic environment built on motors, one prepared snare drum, vocal samples, and feedback. Inverting the didacticism of battery percussion as a musical tool, Remondino's stretched drum head takes on a metallic resonance in consistently modulated flux. 𝑳𝑼𝑴 at times envelopes the listener into cavernous subterraneity, and at others articulates itself in muted golden candle light piercing through dense incense smoke. A psychedelically pious album, the dulled weight of stained glass windows pours through into the listening experience as frankincense and myrrh waft through the nostrils and transcendence moves in multi-plane directionality. 𝑳𝑼𝑴 sits as another chapter in enmossed’s advanced catalog of finely curated sonic meditations.” - Nick Klein, October 2025 --- LAMIEE. is a project by Nicholas Remondino. It debuted in 2021 with the release of 𝑭𝑰𝑺𝑰𝑪𝑨 and 𝑶𝑳𝑻𝑹𝑨 𝑳𝑨𝑴𝑬𝑵𝑻, both born out of a concept inspired by the Italian Piedmontese tradition of masche. Published by US-based labels (Dinzu Artefacts and Never Anything Records), they were the first two chapters of a framework that was completed with the release of 𝑻𝒉𝒆 𝒅𝒆𝒂𝒇𝒆𝒏𝒊𝒏𝒈 𝒎𝒐𝒎𝒆𝒏𝒕 𝒐𝒇 𝒕𝒉𝒆 𝒘𝒉𝒊𝒔𝒕𝒍𝒆 𝒂𝒇𝒕𝒆𝒓 𝒕𝒉𝒆 𝒏𝒐𝒊𝒔𝒆, published by the Portuguese label Shhpuma in June 2022, which was recorded with the valuable contributions of the Dròlo Ensemble. After the first three albums, the project continues to explore new forms. A slew of additional recordings have been released on labels such as Audio.Visual.Atmosphere (Belgium), Jungle Gym Records (US), and Breton Cassette (Norway). Remondino also regularly collaborates with other artists for live performances across Italy and Europe. prepared snare drum, speakers, voice, sampler: Nicholas Remondino recorded and mixed by Nicholas Remondino mastered by Glyn Maier for PLEN Audio source photo by Anna Vezzosi cover artwork by Giacomo Mondino text by Natalia Rogantini layout by Joe Bastardo

s cycle is a sun wheel a finger tip knows to hover rotary dials the alphabet and back spells a swing return. This key warns a habit, a rite opening up in practice: flower that comes back as flesh * Wire worms up grows back a hole needless to pierce the night into melting stars of blur. The heat of light shines in the after rain and the sky of an eye forever soars. Pupil echoes a lightning bug’s glowing sound. It bursts and it fades and it bursts and yes—pupil reflects what approaches * Rooftop footsteps dust ice on deck. Underneath plank and bones we are hidden passengers. Down we hear the reverse of an alarm. * Curtain of static. Behind the flickering surface of laughter bounces on mirrors and lands on mouth. Laughter feeds back. - Marta Núñez Pouzols Geoff Schilling and Nathan Taylor: keyboards, effects, microphones Dan Partridge: bowed saw (B3) Glyn Maier: mastering Joe Bastardo: design and layout All proceeds to Carolina Abortion Fund (NC, USA) ENM-10-II / SFRC004

originally aired at https://www.dublab.com/archive/peak-oil-w-enmossed-tipping-point-02-28-25 artists in order of appearance: MARV* Glyn Maier** Jake Muir* Ned Milligan Irv Teibel Eduardo Polonio Nick Klein Sumire Yoshihara Kara-Lis Coverdale + LXV bad lsd trips* Beatriz Ferreyra Patrick Gallagher 若山胤雄社中 (Wakayama Taneo’s Bayashi Ensemble) Hiroyuki Onogawa Gafael* Satsuki Shibano plays Erik Satie Oscilation Circuit Spool*** * = from upcoming enmossed release ** = field recordings from La Palma + Tenerife appear throughout the mix *** = demo version from upcoming Somewhere Press release

“On 𝑹𝒆𝒕𝒖𝒓𝒏 𝒕𝒐 𝑴𝒂𝒅𝒂𝒅𝒆𝒏𝒊, Expugnantis brings to Enmossed a compendium of nine dubs of minimal, crystalline excellence. Reflecting on “foggy” memories of a long car ride from the uKhahlamba-Drakensberg portion of the Great Escarpment, the album texturalizes Expugnantis’s grainy sentimental remembrance. The aquatic production is filtered through cloudy synth pads and plucky percussion. Here the expanse sits in the gestures of the minimal, not hampering the listener with dense maximalism or dramatics, but evoking focus through precise and considered repetition. While the rooting of the compositions is hypersomnic and sentimental, they are filtered through the geographical contexts of recording and operating in the isolatory confines within Columbia, South Carolina. The murk of the percussion is the architectural foundation for the recordings, the pivoting agent between what Expugnantis thinks of as the immersive aquatic field and the game of going within and out. Emotive but not cliche, driving but not oppressive; Expugnantis takes us to Madadeni or somewhere akin.” - Nick Klein, June 2024 --- Marcus Mtshali is a producer and DJ based out of Columbia, South Carolina. Recorded by Marcus Mtshali Audio and design finalized by Glyn Maier Interview by Rob Goyanes

Moody cacophonies, sonic dispatches from Japan, crystalline breakbeats that are more environment than rhythm: Jake Muir’s 𝒆𝒏𝒎𝒊𝒙𝒆𝒅, described by Muir as a “(re)mixtape,” is a mind-bending deep dive into the enmossed archive. Besides reflecting the history of the label, Muir’s mix is a production in its own right. A Los Angeles native based in Berlin, Muir is a DJ and field recordist who “sees mixes as a vehicle to explore narratives outside of the album format.” In 𝑩𝒂𝒕𝒉𝒉𝒐𝒖𝒔𝒆 𝑩𝒍𝒖𝒆𝒔 (2023), where Muir sampled various sources to explore gay cruising culture and sensuality, his more expansive, conceptual approach to the form is illuminated. Mixes are not just a linear succession of tracks with transitions—they’re excavations that also result in the creation of new audio artifacts. Inspired by the psychedelic impulses of illbient, Muir uses DJ and sound engineering techniques to melt down genre distinctions and create alien atmospheres. From the enmossed community, Muir pulls from artists like bad lsd trips, Angelo Harmsworth, Nick Klein, Tetsuya Nakayama, and Patrick Gallagher to coalesce a super-compendium of the global sonic underground, all viewed through his own unique lens. Muir takes major liberties with processing and effects automation to carve new worlds from the soil of these preexisting works. Some of the tracks and material on 𝒆𝒏𝒎𝒊𝒙𝒆𝒅 are heavily edited, emphasizing specific harmonics or bass frequencies, and some portions contain three or four layers, putting artists in direct conversation with each other. This heady approach—using the tools of both mixtape and remix—results in a super textual and dense palimpsest of the enmossed catalog. “Because mixes are more open- source,” Muir says, “it’s easier to express some ideas since there is more material to pull from.” - Rob Goyanes --- Berlin based sound artist, DJ and field recordist Jake Muir was infatuated with sound from an early age, surrounded by California's buzzing, whirring sonic landscape and his father's collection of beachfront rock LPs. So it wasn't surprising when, as he developed his ear, Muir was drawn to work that dexterously manipulated these elements, particularly musique concrète, field recording and experimental turntablism. He approaches his practice as a listener first, carefully choosing, layering and processing sounds that help him deconstruct and contextualize his lived experiences and influences. Using investigative software methodologies, DJ techniques and the engineering skills he acquired while studying, Muir makes deeply personal sonic art that fluidly traverses genre membranes, encouraging reflection and sometimes prompting psychedelic states. --- Artwork source photo by Jake Muir Design by Glyn Maier All proceeds to Cadus (Berlin, DE): https://www.cadus.org

“[....] This record highlights the Secret Boyfriend that obscures didacticism by highlighting output that opens up for more challenging catharsis and emotive signal processing. It provides an entry to the materialism of a cultural field full of ecstatic complexity and beautiful inconsistency. In these muted moments Secret Boyfriend has given us over his career we have an argument for evolving languages that further challenge our notions of what is supposed to happen and how it is supposed to be presented. In his more song oriented expansiveness, we can punctuate the ability to think in new modalities. Listening to these recordings reminds me of the polarity of sitting in the record store as a kid and understanding that His Name Is Alive is on 4AD and (gasp!) timeSTEREO. This trite early impression that nothing is really as different as our imaginations might want them to be, and that we can do whatever we want mostly within the creative realms we work through is an important filter to look through Secret Boyfriend as a project and a vessel. If we can achieve abandon and vulnerability through our artistic endeavors, then we have a sound model for, 𝗺𝗮𝘆𝗯𝗲, new potentialities. If that’s too much projection, or just complete liberal bullshit, I am fine with that. Secret Boyfriend's oeuvre at best offers us moments of reprieve to ponder these complexities, or at least a moment to zone out on a drive through North Carolina Highway 54. You have one pocket of life that you must do whatever you want to inside of. Secret Boyfriend does it affectionately, in a variety of forms, and always with deep sentimentality. These recordings are a wonderful set of songs to begin further investigation from. Thank you Ryan for allowing as many avenues as possible to continue a broad cultural exchange and conversation that intersect and refract while being the kind of artist that is brave enough to not phone in the effort.” - excerpt of essay by Nick Klein, May 2024 Casio, guitars, bass, percussion, no-input mixer, synth, tapes, and voice by Ryan A Martin, recorded at Meadows of Dan & Cathedral II Audio finalized by Glyn Maier Artwork by Ryan A Martin

Originally posted by Silk House Publishing as "Silk House Sunday 16". Recorded with two turntables with +/- 50% pitch control in darkness facing a coelcerth (bonfire) as the leaves fall at the end of summer 2021 and we present an offering for our departed. Many thanks to Ryan Martin for organizing a fitting ritual for noson galan gaeaf / samhain / halloween with spectacular performances by Allesandre, Karl Raymar, Cevra, and Cornelius F. Van Stafrin III. Blessings to all. Artists featured... Nat Baldwin Harold Budd Carl Stone Tod Dockstader Jessica Ekomane Dan Gibson Morton Feldman Beatriz Ferreyra The Harmonic Choir Mary Qarjjurarjuk Aemili Takatak + Nelli Apaqaq Elijah Pudloo Mageeta + Napache Samaejuk Pootoogook Mari Apaqaq + Soria Eyituk Napache Etidloie Toonoo + Qaunak Martha Meekeega Secret Boyfriend Peter Zinovieff Xth Réflexion Arvo Pärt Kaspars Kurdeko + Rūdolfs Macats + Kaspars Vizulis Ann McMillan Brad Miller Begoña Olavide Phill Niblock

"...As a rigorous listener, Gallagher has observed a multitude of sonic vocabularies in a relatively rearview acknowledgement of contemporary sound production and distilled them succinctly in his latest offering for Enmossed, titled “e.78”. Gallagher showcases his attention to detail and devotion to the craft of synthesis over two side long sections on the LP. It is clear that Gallagher is aware of how to situate his listening and furthering of the conversation around computer music in a post Peter Rehberg world by balancing sonic tropes from a golden era output of labels like Editions Mego, Entr’acte, Presto!?, or IDEAL. Tactfully, he showcases his ability to parcel distinct moments of clarity and sonic obfuscation. His abstractions are intentional, his ambience exacting, and his chaos undeterred..." -Nick Klein Patrick Gallagher is a sound artist currently based in Philadelphia, PA (US). With a formal education in mathematics, Gallagher employs generative/algorithmic processes, guided improvisation, and intuitive sound collage in an effort to weave evocative and evolving sonic narratives. Exploring the various developments of 20th century composition and contemporary computer music, he seeks to fuse that technicality with the cathartic and rapturous nature of the DIY noise underground. Previous works employed a wide range of sound sources - synthesizers, field recordings, tabletop guitar, etc. - however, Gallagher currently focuses almost entirely on digital synthesis, particularly additive and granular techniques. Gallagher has released albums on cassette and vinyl through ENXPL (enmossed x Psychic Liberation), Hot Releases, Refulgent Sepulchre, Tone Log, and other independent labels. Audio mastered by Glyn Maier Cover sculpture and photo by Lauren Pakradooni Design by Joe Bastardo

Enmossed and Psychic Liberation are pleased to present the first vinyl album in their ongoing collaborative series 𝑬𝑵𝒙𝑷𝑳, focusing on new music spanning the globe, utilizing high-end and recycled materials. Transatlantic duo Unt gifts us with 𝑪𝒍𝒊𝒑𝒔 𝒐𝒇 𝑷𝒆𝒓𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆, synthesizing a multiplicity of genres - ranging from dub techno to screwed hiphop instrumentals, with hints of jazz, avant-garde composition, and new age music - into a personal conversation. Unt is a collaboration between Chicago-based drummer and improviser John Daniel (FKA Forest Management) and artist, producer, and musician Florian T M Zeisig. The pair began working together in early 2020, just before lockdowns, during Daniel’s last European tour performing as Forest Management. Starting as a jam session in Zeisig’s bedroom, 𝑪𝒍𝒊𝒑𝒔 𝒐𝒇 𝑷𝒆𝒓𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆 is their debut effort, combining both artists’ engagement with free-form electronic music. The album is the result of a growing friendship and sharing of each other's perspectives. Daniel and Zeisig recorded the tracks in an iterative manner - constantly adding and replacing ideas both metaphorically and literally - in conversation as well as separately. As an expression of exploring the meaning of collaboration from different perspectives - in terms of listening to each other and musical language - 𝑪𝒍𝒊𝒑𝒔 𝒐𝒇 𝑷𝒆𝒓𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆 ultimately reflects on exchange in its many forms. 𝑪𝒍𝒊𝒑𝒔 𝒐𝒇 𝑷𝒆𝒓𝒔𝒑𝒆𝒄𝒕𝒊𝒗𝒆 also results from an ongoing process of personal development - breaking negative cyclical patterns, and realizing the depth and beauty of self by uncovering and unfolding one’s mind and personality beyond our current societal cues. releases November 8, 2022 audio finalized by Glyn Maier artwork by Jason Graf design by RJM Vanderheyden pre-order: https://enmossed.bandcamp.com/album/clips-of-perspective

A. Campbell Payne dives deeply into the crystalline chimes and resonant bells of FM synthesis for the six tracks of 𝑻𝒓𝒂𝒊𝒍𝒔 + 𝑺𝒕𝒂𝒕𝒊𝒐𝒏𝒔. Swirling polyrhythms and ambiguous modal harmonies convey their feelings during a fitful period of recording during 2020-1. Payne says, “Living between two places[…], going through the motions of travel while not going anywhere new created a restless atmosphere for performing this music,” which is reflected by cyclic structures both within and between tracks. In contrast to the sparkling timbres of 𝑻𝒓𝒂𝒊𝒍𝒔 + 𝑺𝒕𝒂𝒕𝒊𝒐𝒏𝒔, subtle compositional instabilities imply an underlying unease. But as a complete suite, it is intended as “an aide in processing feelings of dread, anxiety, and hopelessness”, and Payne continues: “I encourage you to listen to this while on a hike or in other contemplative, open settings.” releases October 17, 2022 recorded and mastered by A. Campbell Payne insert photo by A. Campbell Payne all proceeds to Fund Texas Choice (Austin, TX) - fundtexaschoice.org buy: https://enmossed.bandcamp.com/album/trails-stations

Holding the tension of opposites is a theme running throughout the work of Angelo Harmsworth, and the six pieces comprising Vent are 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

The rhythms of sleep are unknown to the sleeper. Usually, only with interruption, or dreams, or through wakeful observation, are we made aware of them. And even then, only somewhat. On this cassette, Zenxen uses his research into the cycles of sleep and rest to explore and recreate the phenomenon of neural oscillations. The tracks sound as if they’re composed of water, vapor, and dust. Trails of percussive events and simple melodic gestures accompany low end sculpting that moves like water, vapor, and dust. Like a tour of the body’s rhythmic structures, these are the waves within, crashing on interior shores. The electrical activity of the brain’s neurons are measured in hertz—cycles per second. Using a range of sampling techniques, Zenxen recreates alpha, theta, and delta waves to construct sonic models of the brain in various states. Collaging other compositional elements into the works, such as field recordings of whispering voices, and the rise and fall of cicadas, Zenxen forms a tapestry that resembles autonomic processes, like a breath, or a secreting gland. Lullabies in one sense—these tracks were composed for an overnight drone event in the artist’s hometown of Berlin—in another they are intensely awakening, serving as activations of specific frequency windows. 𝐼𝑛 𝑊𝑎𝑣𝑒𝑠 is a sonically cavernous descent, down into the brain’s most mysterious and rejuvenating depths. --- Zenxen [ˈzɛn ˈdʒɛn] is an interdisciplinary ambient project from Benedikt Ellebrecht, combining academic studies in sociology, literature, and philosophy, time spent playing in post-punk bands, and ongoing participation in the underground electronic music scene in Berlin, Germany. Starting with experimentation with sample-based techniques, Ellebrecht has developed Zenxen into a digital musique concrète. He processes and reassembles field recordings from his immediate physical surroundings as well as drawing from virtual spaces such as the internet and videogames. As Zenxen, he has self-released 2 EPs and regularly performs live. Ellebrecht also contributes sound design for theatre and performance pieces, including at Ruhrtriennale Essen 2016 and at Staatstheater Darmstadt 2019 in collaboration with Niels Wehr. And in 2017, he co-founded the multimedia label No Disk (https://www.instagram.com/nodisk_/) with Joel AS (Arad Acid).

Tokyo-based producer Sachi Kobayashi composed 𝐼𝑚𝑎𝑔𝑖𝑛𝑎𝑟𝑦 𝑇𝑟𝑖𝑝 as a travelogue: in her words, "[to] help listeners to imagine various aspects of Japan". Primarily recorded at her home studio, Kobayashi leisurely but exactingly dis- and re-assembles minute sounds; magnifying dust motes drifting by a sun-lit window. 𝐼𝑚𝑎𝑔𝑖𝑛𝑎𝑟𝑦 𝑇𝑟𝑖𝑝 also highlights minimalist melodies informed by choral training, adding a gentle gauze. Combined with surgical sound design, the album is as much a hallucinatory inner journey as a terrestrial one - which the b-side emphasizes with alternate (dub?) versions of each track: a dream within a dream. releases September 15, 2021 recorded by Sachi Kobayashi at home - Saitama, Japan, Oct. 2020 audio finalized by Glyn Maier artwork by Joe Bastardo design by RJM Vanderheyden

Russian Tsarlag and Secret Boyfriend are two of the most distinct and inimitable makers in the canon of the contemporary American “DIY” underground. In 2013, the two artists released an untitled split 12” on Ryan Martin’s (Secret Boyfriend) prolific 𝐻𝑜𝑡 𝑅𝑒𝑙𝑒𝑎𝑠𝑒𝑠 label. It’s a pleasure to host their reunion as a part of the ENXPL series, sharing new work. Russian Tsarlag’s side A is gorgeously trudging and despondent; these syrup drenched ballads and collages sit amongst some of his finest work, (see his most recent self released work through his Wasp Video Roadhouse imprint). Side B is the domain of Secret Boyfriend. The effort hosts an eclectic batch of dense and emotive ambient passages, live recording, and bedroom shoe-gaze. Martin’s Secret Boyfriend project allows for a fluidity in form and content, mastering longing through a myriad of languages. releases September 15, 2021 "Live at Cold Spring Hollow, Belchertown MA 10 02 19" recorded by Sam Hodge audio finalized by Glyn Maier artwork by Carlos Gonzales and Ryan Martin design by RJM Vanderheyden

Russian Tsarlag and Secret Boyfriend are two of the most distinct and inimitable makers in the canon of the contemporary American “DIY” underground. In 2013, the two artists released an untitled split 12” on Ryan Martin’s (Secret Boyfriend) prolific 𝐻𝑜𝑡 𝑅𝑒𝑙𝑒𝑎𝑠𝑒𝑠 label. It’s a pleasure to host their reunion as a part of the ENXPL series, sharing new work. Russian Tsarlag’s side A is gorgeously trudging and despondent; these syrup drenched ballads and collages sit amongst some of his finest work, (see his most recent self released work through his Wasp Video Roadhouse imprint). Side B is the domain of Secret Boyfriend. The effort hosts an eclectic batch of dense and emotive ambient passages, live recording, and bedroom shoe-gaze. Martin’s Secret Boyfriend project allows for a fluidity in form and content, mastering longing through a myriad of languages. "Live at Cold Spring Hollow, Belchertown MA 10 02 19" recorded by Sam Hodge audio finalized by Glyn Maier artwork by Carlos Gonzales and Ryan Martin design by RJM Vanderheyden

In his book 𝑇ℎ𝑒 𝑊𝑒𝑖𝑟𝑑 𝑎𝑛𝑑 𝑡ℎ𝑒 𝐸𝑒𝑟𝑖𝑒, Mark Fisher wrote about the two notions: While the weird is something present where it doesn’t belong—something from outside found on the inside—the eerie has to do specifically with outside space. Something is eerie when there are unanswered questions about agency: Who or what is responsible for the abandonment of this zone? Who or what is crying out in the distance? Katharina Schmidt’s 𝑇𝑒𝑛𝑛𝑖𝑠 𝐶𝑜𝑢𝑟𝑡𝑠 𝑖𝑛 𝑡ℎ𝑒 𝐻𝑎𝑙𝑓 𝐿𝑖𝑔ℎ𝑡, a single, longform track stretching to a near half hour, deftly captures this spatial sense of the eerie. The evolving drone is like coming upon a ruin, circling it, and being drawn inside. There are no surprises, no sudden horrors, just the strange pull of oscillating waveforms that paint a bleak yet soothing landscape. In certain kinds of listeners, empty, abandoned spaces produce a pleasurable dejection. Maybe this is because spaces where human life is evacuated represent the end result of capital. (It seems to have withered away, but is in fact off to find another shell for its home.) What we’re left with is something new to inhabit, a new infrastructure for freedom. The subtle changes in Schmidt’s recording have less to do with melody and rhythm, more to do with accumulating color and texture of space. And so the half hour can feel like five minutes, or an eternity—time and scale exist differently here. --- After years of playing drums and piano in various bands, Katharina Schmidt's solo work is influenced by indie, experimental, and improvised music. Exploring interests in storytelling, sonic topographies, and generative techniques, her music uses electronics, field recordings, and self-built interfaces alongside acoustic instruments. From sonifications to lullabies, her work is poised between formal experimentation and narratives cued by literature and pop culture, and can be heard in installations, film music, and radiophonic pieces, as well as releases on labels such as Flag Day Recordings, Slaapwel Records, and Focused Silence. Katharina holds a master’s degree in Sound Studies from the Berlin University of the Arts and hosts resident shows at Cashmere Radio and SVS Radio. katharina-schmidt.net katharinaschmidt.bandcamp.com artwork by Stefan Lingg audio finalized by Glyn Maier all proceeds to The Homeless Period Project (Greenville, SC, US) - www.homelessperiodproject.org

Enmossed x Psychic Liberation (ENXPL) is pleased to present the first section of "Micro", a trittico (three-part operatic suite) by Afro-Belgian, Italy-based musician, composer, sound designer and music art therapist Marie Rose Sarri. With extensive academic training and now helming the well-equipped studio FixInTheMix LABS, Marie Rose creates music in "a 360° mode". Sarri expresses a cultivated sonic curiosity across commissioned pieces for radio, television, film, installations, and festivals, as well as through a variety of monikers (Marie e le Rose, Moon RA, MonoLogue, and more) in the form of numerous releases for labels worldwide. "Controvento" is a 40-minute electro-acoustic surround-sound composition marked by meticulous sound design and elegant progression. Combining modern computer-based composition methods with traditional analog processing, the stereo mixdown presentation of "Controvento" is warmly inviting, floating the listener across breezy vistas. A subtle foreboding provides a counterpoint to playful whispers and whooshes, harkening to both Groupe de Recherches Musicales (GRM) and basement ambient tapers of the latter half of the 20th century. But Marie Rose's masterful execution places "Controvento" in a class of its own, a singular piece centered in the present day. The track was created on the occasion of one of the composer's two electroacoustic composition exams and it was performed, in its quadraphonic version, in the "L. Cherubini" Conservatory in Florence in 2019. releases July 2, 2021 Composed, recorded, and digital mastering by Marie Rose Sarri Mastering for cassette tape by Glyn Maier Design and Layout by RJM Vanderheyden https://enmossed.bandcamp.com/album/controvento

Rene J. Nunez Cabrera is a New York City-based artist and composer operating through various monikers: Begun in 2013, Horoscope is central to his orbit of output. “1 Play Morose” is the latest installment of material from that project, pulling from cinematic tropes and building upon Cabrera’s broader approach to production processes. At his most balanced articulation of unease and bliss, “1 Play Morose” scores the actions of a young woman’s repetitious banalities through the pandemic lockdown in New York City. Originally set to soundtrack a black-and-white film, difficulties in production derailed the project's development. Nonetheless Cabrera kept the recordings, his most serene and sublime to date. --- Rene J. Nunez Cabrera (b. 10/08/84, Miami FL) records sounds and creates multimedia projects as Horoscope, Moist, and under his own name. Cabrera’s live performances are as much a raw, uncensored vehicle of personal catharsis as they are a ritualistic forecast of what the future may hold. With numerous cassette and vinyl releases on labels such as LIES Records, Ascetic House, and Wharf Cat as well as tours with a wide range of artists, Horoscope has been a fixture in North American and European contemporary noise and electronic music circles. His last three albums (“Carne”, “Poems e on magnetic tape”, and “Moist 96”) are all different studies on nostalgia told through sound. His next steps, including “1 Play Morose”, are moving forward rather than looking backwards. releases July 2, 2021 Composed and recorded by Rene J. Nunez Cabrera Mastering by Glyn Maier Design and Layout by RJM Vanderheyden https://enmossed.bandcamp.com/album/1-play-morose

"The CD is scratched.” A saying from the early millennium, it describes the phenomenon of skipping music on a damaged CD, the locked, repetitive groove. For nearly a decade, Fossilized Wilderness has been experimenting with a peculiar modification to CDJ equipment, birthed by long hours sorting through promotional CDs sent to a radio station. In embracing choppiness, a body of abrasive but bright ambient work has been constructed from the refuse of musical commodification. The CD skip is both rhythm and tone on this LP, but if you expect the monotonous motions of a concept album, don’t: The moods here are just as granular. The six tracks shift from digital euphoria to shoegazing sentimentalism, a balanced mix of terror, plaintiveness, and joy, an impressive feat considering that the scratch of a CD produces potent nostalgia as well as Pavlovian irritation for many—a drive to eject the thing and fix the problem. For those not growing up with it, the scratched CD is a relic phenomenon, something that happened with an artifact format. But just because it’s an artifact doesn’t mean it’s obsolete. On this LP, Fossilized Wilderness uses a sonic palette of subtly-shifting broken loops to create something new: delirious spectres rising from an ocean of plastic. --- Fossilized Wilderness is Ryan Martin, a pillar of the North Carolina underground music and arts scene. His most active artistic alias is Secret Boyfriend, with numerous cassette, vinyl, and CD releases on labels such as Blackest Ever Black and his own long-running DIY-informed imprint, Hot Releases. releases April 5, 2021 mastered :: Nathan Taylor

"The sounds on Florian T M Zeisig's 'Coatcheck' are little like the experience of stereotypical clubbing. Likewise, these remixes are meant for the club of the future, or perhaps, the non-club of the present: a place emphasizing organic flows instead of machinic rhythms, a place of distanced, isolated collectivity at a time of transition to something different. Many of these remixes have resulted in entirely new compositions, more like collaborations than reinterpretations. Joanna Pope—Berlin-based independent researcher, writer, composer, and producer—conjures a gorgeous pastoral composition based upon Zeisig’s filtered textures on “First Version.” Montreal-based Patrick Holland takes “Only Textures,” originally a swirling miasma, and sculpts it into dub burner perfection. Meanwhile, Exael’s breakbeat treatment of “Aspire,” reinserts the track into a more recognizable dance lineage. Forest Management, the moniker of Chicago-based John Daniel, strips out the low end of the cheekily titled “Ambient Middle Part” and hones in on its vacillating, verdant undergrowth. In addition to the remixes, 3 bonus tracks from Florian T M Zeisig are included in this release. They were recorded during the same sessions as 'Coatcheck' but were not included on the LP due to time and space constraints." releases October 30, 2020 order :: enmossed.bandcamp.com/album/coatcheck-remixes artwork :: Sam Lubicz ~ www.instagram.com/slubicz mastering :: Glyn Maier

exclusive mix of upcoming//unreleased tracks for Montez Press Radio (https://radio.montezpress.com) --- 01 - Chaperone - I Cannot Describe an Illustration of How I Sit 02 - Florian T M Zeisig - Aspire 03 - M//R - Drum Dub 1 (Haze Mix) 04 - Horaflora - Motorcycles Were Suddenly Observed At All Hours 05 - Nazanin Noori - IMAGINE ALL THAT FALL | IN A POTHOLE | ON A BEAUTIFUL DAY 06 - Karabasan Drane - Crystalline State 07 - Yeong Die - WORSTWARD HO 08 - LXV - Edouard 09 - Lauren Tosswill - shape note 10 - Léo Hoffsaes - Une vipère vient de filer sur le rivage 11 - Taylor Bratches & Grant Aaron - Subtle Body 12 - Glyn Maier - semel dolerite 13 - Nicholas Maloney - Lignum Muzek 2 14 - LXV & Lack - Strand 15 - Julien Malaussena - Odd Music 16 - Housefire - Untitled Dub 17 - Emily Berregaard - Crumbs In Your Sheets 18 - Cornelius F. Van Stafrin III - Bird Of Praise Return 19 - Bobby Flan - Cage of Windchimes 20 - Chaperone - Swapping Contacts 21 - Fossilized Wilderness - Drive #2 22 - Nick Klein & Lack - ii-a3 23 - Emily Berregaard - Yucca

:: through brackish water to promised bogs; vital stillness :: Patrick Chaney's Solid State Entity alias has steadily carved a unique path in the hypnotic spaces intersecting techno, ambient, field recording, and meditation. Ostensibly using a club-friendly sonic palette, his intricate polyrhythmic percussion patterns become embodied mantras. On "Dystonia Mix", Chaney uses three turntables and several effects pedals to present a mixtape that is expansive in source material, timbres, and various "post-psychedelic" states. Artwork :: Solid State Entity Mastering :: Glyn Maier Silkscreening :: Thomas Sara all proceeds to MAPS :: maps.org buy :: https://enmossed.bandcamp.com/album/dystonia-mix

:: verdigris shadows etching, brilliant absentia; liminal paths :: Paris (FR)-based composer Léo Hoffsaes deftly nestles neo-classical chamber pieces into wide-open spaces on his debut solo album "J’ai pour eux cet amour..." While the strong compositions alert listeners to his education and background, Hoffsaes eschews any particular theoretical or stylistic mode. Smoothly modulating chords are blended with expansive field recordings, creating hazy, gauzey, breathing "sound moments" for the listener to rebuild their own worlds. With an intentionally open concept and sound, "J’ai pour eux cet amour..." is stellar modern environmental music. Recorded in 2019 :: 43°20'10.3"N 1°08'36.1"E Mathilde Vrech :: Viola, Violin Marylou Mayniel :: Cello Nicolas Rode :: Soprano Saxophone, Alto Saxophone Léo Hoffsaes :: Guitar, Bass, Piano Tony Marie (Loto Retina) :: Organ on ''Il fait nuit depuis une heure maintenant - je m’avance dans la forêt" Marion Molle :: Cover art Thomas Sara :: Silkscreening Nathan Taylor :: Mastering all proceeds to Peace Ridge Sanctuary :: peaceridgesanctuary.org buy :: https://enmossed.bandcamp.com/album/j-ai-pour-eux-cet-amour-qui-ne-passe-jamais-qui-ne-faiblit-pas

"Seasonless, herbless, treeless, manless, lifeless— A lump of death— a chaos of hard clay." recorded on Jan 20, 2019 in one take direct to cassette using 2x Technics 1200s and a Bozak CMA-10 mixer. -- DJ and labelhead legend Mike Simonetti (Pale Blue, 2MR) returns to his "At the Juncture of Light & Dark" mix series after a 4 year hiatus. Enmossed is pleased to present "Volume 8", recorded in the dead of winter and accompanied by a characteristically grim snippet from Lord Byron's "Darkness". Using choice selections of Simonetti's vast record collection, "Volume 8" does not remain solely in 'darkness'; it meanders through the underbelly of krautrock, psychedelic synth, crude post punk, and even a few bebop and jazz burners. An expansive journey, "Volume 8" gives us a peek into a deep collector's cold night. mastering :: Lack artwork :: Joe Bastardo silkscreening :: Thomas Sara all proceeds to Planned Parenthood Northern New England :: plannedparenthood.org/planned-parenthood-northern-new-england

:: tracing each step, taken aback as consideration promotes our alteritive auspices :: Bobby Flan, alias of Rob Goyanes, moves between the club, academy, and love letter. Drawing upon Goyanes' work as an art critic, Bobby Flan engages the histories and qualities of (dys)functional dance music and sonic abstraction. Conceived as a long-form, long-term mixtape, the 15 tracks of 'We Take a Look But Give a Listen' were recorded over a five-year period, from 2014 to 2019. They represent the arcs of Flan's music from its beginnings in Miami, Florida, to its current state in New York City. Nasty techno tracks, heartfelt ambient compositions, and syncopated sketches comprise this release of numerous styles and traditions, providing us with snapshots of his artistic development. But it is far from an introverted diary—Bobby Flan connects with an ongoing conversation on form and purpose. mastering :: Patrick Chaney cassette mix :: Lack artwork :: Alex Swing silkscreening :: Paul Benson all proceeds to Alianza Ceibo :: https://www.alianzaceibo.org/