"...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.

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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.

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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).

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

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.

"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.

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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