Philosopher Jane Bennett’s concept of “microvisioning” describes Henry David Thoreau’s devotional practice of keenly observing and focusing on small details of the natural world. She explores this idea in her book, Thoreau’s Nature: Ethics, Politics, and the Wild. She writes that microvisioning transforms nature into something “beautiful, sublime, and Wild.”
Every summer I leave my home in New York City to return to my roots in the Midwest, where I am able to practice my own version of microvisioning. Armed with an array of microphones and different listening devices, summertime in the Midwest has allowed me to sonically engage different environments in a deep, meaningful, and wild way.
All of the recordings contained in this album were recorded across the Midwest during the summer of 2025.
It is yet another new artist joining the MiMi Records family.
In this strange space–time condition saturated with information, where the excess of data overrides sensory experience, the Anthropocene no longer presents itself as a future hypothesis but as an immediate, almost physical presence, breathing down our necks.
It is within this horizon of slow collapse — ecological, technological, and symbolic — that over the past decade Nuno Afonso, under the heteronym Falésia, has been searching for liminal sonic territories: landscapes at times volcanic, at times stratospheric, where beauty is still reassembled out of strangeness and deviation.
Música Pobre emerges as one of these singular microcosms: a technological reality that insists on remaining primitive, almost archaic, as if electronics were here less an instrument of progress and more a trace — a remainder, an active ruin.
Between echoes of Mark Fisher’s theoretical formulations, broadcasts from distant and exotic radios, and a panoply of electroacoustic devices, a piece takes shape, divided into two sides that are also two visions of the same world: a fracture, rather than an opposition.
About the track:
This composition was created for the “Stop all wars” compilation by “attenuation circuit” netlabel. You can listen to the entire compilation here emerge.bandcamp.com/album/–3
This track contains multiple field recordings such as me and my colleagues ignoring occasional air raid alert or me and my son discussing that air raids and explosions are over.
About the cover art:
I took this picture in Chernivtsi at the beginning of russian full-scale invasion. This was a time when many families were separated and these words resonated in me. The credit goes to whoever wrote this on the wall.
The Necrophile Hummingbird netlabel presents Altered Signal by Invisible Illusion.
“Mystical Post-Industrial Music for Experimental Music Lovers”
Sometime you need to go back to something more rough more free more spontaneous. This album was unplanned it just birth from one session using a lot my electric frequencies generator mix later with several field recordings. I chose to deal with my very outsider music voice on several tracks. And added a few of related single experiment to achieve them.
For the artwork I used a head paint by my great-grandfather and next I changed it for a portrait made in wax by him too, because in this album I dig the origin of my life and its singularity to understand why the lines between my monikers are tangling so much these days. I mean CorteX and Yoshiwaku as well as Invisible Illusion have no more any real difference… Perhaps it’s related to the longtime stuck with rADio eNd which was an attempt to eradicate all them.
My great-grandfather was an orthodox believer, he made a lot of icons is whole life during, but he was also studying hypnosis and magnetism already in the 1920s years, so I hope he understood before is death in 1978 that all churches are against spirituality. Religion is a plague, especially in Europe where so many people have been massacred during several centuries, just because of being different, or more human than these god’s bureaucrats, do I say, these mobsters addicted to power. My great-grandmother was organizing spiritism meetings at home. I’ve always seen them together till her death in 1981. My first years I thought he was very impressive despite being quite silent, like only watching the people and indeed later I learnt he was already dead before my birth. Now I’m running a museum with the handcraft and paints they did as well as my art. Because I enjoy self sabotage I wrote the handcraft room is still not open, but in reality it’s already set, so if you travel by france, feel very free to visit the place https://soloist.ai/atelierkol/musee-hors-norme
A shorter version of Makeshift Bandage is available on this album https://archive.org/details/Jeff_Sampson_Ed_End_Tian_Keng
Dedicated to those mediums who turn the signals they receive into music.
Acoustic violin: Dong Zhou
Voice: Vasiliki Stroli reading Joy Sorman, A La Folie in Greek (track 1)
Concept & Time Stretch: Peter W
Original pic by Peter W
:zoviet*france: – Hidden By The Wall (Wind Harp, Walltown Crags) – Peter W/Dong Zhou rework
This track is a reassembly of original field recordings made by :zoviet*france:, and used in their 2021 composition “Hidden by the Wall”. All of the source material was recorded by :zoviet*france:, and then reworked by Peter W for Dong Zhou.
notes:
posdomingo 02.10.2016
year: 2016
duration: 7.36
accordion: eva zöllner
format / info: work for accordion and 8 channels fixed media. this piece is only the fixed
media in stereo version.
incluye postre
year: 2016
duration: 7.52
format / info: 4 channels fixed media, this is a stereo version.
out of nowhere
year: 2016
duration: 1.00
format / info: fixed media (stereo) miniature.
todo a mil
year: 2015-2016
duration: 6.30
format / info: fixed media (stereo) soundscape.
a todo menos a nada
year: 2009
duration: 7.47
format / info: fixed media for 8 channels, this is a stereo version.
Ana María Romano G.
Compositora, artista sonora, docente, curadora e investigadora colombiana. Sus intereses creativos se sitúan en la intersección entre el sonido y la tecnología con preguntas desde la escucha, el espacio, el cuerpo, género y sexualidad, la improvisación y la experimentación, paisaje sonoro, ruido, relaciones interespecies, la erótica, los afectos y las dimensiones políticas en la creación. Sus búsquedas le han permitido trabajar los medios acústicos, electroacústicos y la creación en ámbitos como instalaciones, video, artes escénicas y radio. Sus más recientes creaciones plantean la posibilidad de expandirlas para que puedan tomar nuevos rumbos, así una obra puede ser instalación, repositorio, concierto, archivo, o desplegarse a las artes escénicas. En su vida son de gran estima los espacios para construir y compartir saberes de manera colectiva y colaborativa, así como los diálogos interdisciplinares e intergeneracionales y la creación de redes. En todas las esferas de su trabajo considera inseparables las dimensiones políticas en la creación. Suele compartir espacios colaborativos con artistas nacionales y de otros países.
Sus obras han sido publicadas, comisionadas, premiadas y presentadas en Colombia, Alemania, Argentina, Australia, Austria, Bélgica, Bolivia, Brasil, Canadá, Cuba, Chile, China, Ecuador, España, Estados Unidos, Francia, Grecia, Inglaterra, Italia, México, Perú, Rusia, Suecia, Suiza y Uruguay.
Su actividad docente se ha desarrollado ampliamente en espacios formales y no formales a nivel infantil, juvenil y universitario. Además, ha sido invitada como conferencista, curadora y jurado por diferentes instituciones académicas y culturales dentro y fuera de Colombia.
Ha desarrollado una profunda investigación sobre la compositora Jacqueline Nova, artista fundamental en la música electroacústica en Colombia, abriendo múltiples actividades para la difusión de su obra. Actualmente investiga sobre las protagonistas-referentes de la música electrónica latinoamericana y produce desde En Tiempo Real el proyecto “El lado B que también es el lado A”, que consiste en diálogos intergeneracionales entre compositoras latinoamericanas para reconocer el trabajo de quienes han estado presentes desde los inicios de la música electroacústica y fortalecer vínculos entre las artistas.
Ha participado como organizadora, colaboradora y expositora en múltiples proyectos en torno al paisaje sonoro con diferentes aproximaciones: medio ambiente y cambio climático, ecosistemas, relaciones interespecies, perspectivas sociopolíticas.
A lo largo de su carrera ha organizado eventos con miras a la difusión de la creación actual (conciertos, talleres, seminarios, encuentros, etc.) caracterizados por contar con la presencia de artistas locales, nacionales e internacionales.
Actualmente es docente en la Universidad El Bosque. Coordina la Plataforma Feminista En Tiempo Real, espacio que se construye sobre el tejido de redes en el trabajo colectivo y colaborativo y, gracias a 16 años de trabajo continuo, cuenta con el reconocimiento de la comunidad musical/sonora del país y de la región, lo que le ha merecido premios y le ha permitido establecer alianzas con numerosas organizaciones culturales y académicas en diferentes ciudades de Colombia y en otros países para desarrollar proyectos conjuntos tanto artísticos como de circulación y difusión.
Desarrolla su labor artística y docente dentro y fuera de Colombia.
Ana Maria Romano G.
Colombian composer, sound artist, teacher, curator, and researcher. Her creative interests lie at the intersection of sound and technology, exploring questions related to listening, space, the body, gender and sexuality, improvisation and experimentation, soundscape, noise, interspecies relationships, eroticism, affect, and the political dimensions of creation. Her research has allowed her to work with acoustic and electroacoustic media and to create in fields such as installations, video, performance arts, and radio. Her most recent creations raise the possibility of expanding them so that they can take new directions, allowing a work to be an installation, a repository, a concert, an archive, or to be deployed in the performing arts. In her life, she greatly values spaces for building and sharing knowledge collectively and collaboratively, as well as interdisciplinary and intergenerational dialogues and the creation of networks. In all spheres of her work, she considers the political dimensions of creation to be inseparable. She often shares collaborative spaces with artists from her own country and abroad.
Her works have been published, commissioned, awarded, and presented in Colombia, Germany, Argentina, Australia, Austria, Belgium, Bolivia, Brazil, Canada, Cuba, Chile, China, Ecuador, Spain, the United States, France, Greece, England, Italy, Mexico, Peru, Russia, Sweden, Switzerland, and Uruguay.
Her teaching activity has been extensively developed in formal and informal settings at the children’s, youth, and university levels. She has also been invited as a lecturer, curator, and jury member by various academic and cultural institutions both in Colombia and abroad.
She has conducted in-depth research on composer Jacqueline Nova, a key figure in electroacoustic music in Colombia, initiating numerous activities to promote her work. Ana Maria is currently researching the leading figures in Latin American electronic music and producing the project “El lado B que también es el lado A” (The B side that is also the A side) from En Tiempo Real Platform, which consists of intergenerational dialogues between Latin American composers to recognize the work of those who have been present since the beginnings of electroacoustic music and strengthen links between artists.
She has participated as an organizer, collaborator, and speaker in numerous projects related to the soundscape with different approaches: environment and climate change, ecosystems, interspecies relationships, and sociopolitical perspectives.
Throughout her career, she has organized events aimed at promoting contemporary creation (concerts, workshops, seminars, meetings, etc.), characterized by the presence of local, national, and international artists.
She currently teaches at El Bosque University. She coordinates the Plataforma Feminista En Tiempo Real (Real Time Feminist Platform), a space built on collective and collaborative work dedicated to the encounter between sound and technology focusing on women and sex and gender dissidences. Thanks to 16 years of continuous work, it has gained recognition from the music/sound community in the country and the region, which has earned the Platform several awards and allowed it to establish alliances with numerous cultural and academic organizations in different cities in Colombia and abroad to develop joint artistic projects, as well as projects for distribution and dissemination.
She carries out her artistic and teaching work both inside and outside Colombia.
Georgy Orlov-Davydovsky – synths, drums, loops, electro-acoustic,
tubes, mastering
Nikita Shihkin – field recordings, synths, loops
Cover art by Nikita Shihkin
En amont de cette cérémonie, les Moranis habilles de noir, peinture blanche sur le visage et plumes d’autruche sur la tête, vivent en reclus pendant 1 mois, assistés de leurs aines qui leurs enseignent traditions et règles a suivre pour leur apprentissage de guerrier.
Une dizaine de Moranis est alors au centre de toutes les attentions. Une grande partie du village s’affaire, chants et danses peuvent donc commencer. Les adolescents sont placés au milieu d’un cercle de chanteurs et danseurs, ceci jusque la tombée de la nuit. Ensuite, le chef du village emmènera les Moranis dans la savane pour une nuit de jeun. Les chants et danses dureront jusqu’au petit matin, jusqu’au retour des Moranis au terme duquel ces adolescents se feront circoncire.
Ce rituel se répète tous les 7 ans.
GoH-811: Void Gazer – Breath Of Rain
Heading from Germany dark ambient artist Void Gazer brings five pieces of truly sinister, cinematic horror atmosphere, where heavy, chilling drones meet ritual drumming and evocative field recordings. Get overwhelmed with visions of the terrifying wilderness and mysteries from it’s dark past…
Guillaume Beauron “Le respadou”
The sound work Le respadou uses one of the first recordings I made as a teenager, around 1993-94 with a walkman cassette recorder and a tiny microphone, no headphones. Please forgive some bad handling noises !
We visited with my family les Bru, a brother and a sister, farmers in Laveyron, in the South of France, where my family is from. I recorded the discussion in their house about the period of transition from patois/occitan to french language.
Various other soundscapes are being used with no treatments other than a bit of equalizing, mixing, and a touch of reverb here and there.
mundosonore.com/
Matías Ygielka “Twang”
Twang, a recording made in 2016 in the vicinity of a cathedral in Berlin.
instagram.com/serviciomagneticodeoccidente/
Philip Mill “Ant munching”
Ants Chewing, Communication, Walking, (background noise of cicadas and people talking)
a recording made in August 2019 in Athens, Greece.
soundcloud.com/phil-mill1
Cover art by Fritz Gessler
deviantart.com/fritzgessler
