What’s the difference between ‘mengenang’ (to reminisce) and ‘mengingat’ (to remember)? Why do we love to ‘reminisce’ about the past, but hesitate to ‘remember’ things that are ‘long gone’? We say that ‘memories’ or ‘nostalgic moments’ often ambush us suddenly, while ‘remembrance’ must be nurtured and fought for. The songs on Lucy Freia (Aya)’s debut album, in my view, take us on a mental journey in and out of these two modes.
Some friends agree that this album is highly cinematic: it evokes visual imagery of particular scenes. As for the genre of that cinema, I’d say it leans toward horror or thriller—territory that is not new for Aya. As a female composer actively creating music for string ensembles and orchestras, she has previously explored phenomena such as sleep paralysis (Ketindihan), the Sundel Bolong (a ghost in Indonesian folklore, in Anakku Mana), and ‘dreams’ as a space between sleep and wakefulness (30 Seconds Before Waking Up).
This time, however, the sonic elements she uses to craft these soundscapes have expanded: there are samples of fragmented news broadcasts, clips from childhood animated films, the sound of bells, and creeping-swelling piano/synth melodies layered over dark pads. Distortion effects and spatial audio techniques are also employed to immerse the listener’s body even deeper into each scene.
Occasionally, the crackle of a radio serves as a bridge between scenes—as if guiding us to tune in and out of familiar and unfamiliar sounds blended throughout the composition. This fusion might just be Aya’s special method for concocting ‘disruptive nostalgia’. The comfort of memories + the disturbance of recollections that surface during nostalgic moments = an experience of memory reproduction that is never as simple as we think. Enjoy getting lost in this dark and restless space. — Leilani Hermiasih
Lucy Freia is a composer based in Bandung, Indonesia. In 2022–2023, she studied composition privately with Matius Shanboone, and from 2023 to 2025 she continued her studies at the Royal College of Music, London, under the guidance of Kenneth Hesketh.
Freia is an active member of Perempuan Komponis and the Puantronik Study Club, and was also part of the Electronica Society at the Royal College of Music during her Master’s studies. Since 2018, she has been actively writing works in both contemporary classical and non-classical genres, influenced by 20th- and 21st-century composers, rock music subgenres, and electronic music. Since 2022, Freia has delved into electronic music and has written several works in fixed-media format, installations—presented at Electric Dreams: Constellation at the Royal College of Music—as well as acoustic-electronic hybrid pieces—performed by the Acacia Youth String Orchestra at Selasar Sunaryo in 2025 and at Museum MACAN in 2026.
So-Called Solutions To The Human Predicament
by Charles Rice Goff III
1 Alex In Wonderland
2 Degeneration Blues
3 The Shriek The Shape The Stare
4 Pay The Subscription
5 Trapped Again By The Weather Merchants
6 Holy Psychedelics
7 So-Called Solutions To The Human Predicament
8 A Permanent Coffee Break
9 I Am Your Analgesic
Goff created the recordings for “So-Called Solutions To The Human Predicament” during the first half of 2026 at the Taped Rugs Studio in Kansas City, Kansas, USA. This collection explores some edges of composition that can be achieved with outdated technologies and an attitude unconcerned with established genres of music. No artificial intelligence ( AI ) was employed in sculpting the recordings presented here.
INSTRUMENTATION :
Voice
Korg R3 Vocoder/Synthesizer
Yamaha VSS-30 Sampler/Synthesizer
Artiphon Orba
Casio AP-24 Electric Piano
Micromoog Analog Synthesizer (original, 1977)
Sounds Sampled From Various Pre-Recorded Cassettes
Hello Kitty Squire Strat Electronic Guitar
Stylophone
Boss RC 20X Loop Station Loop Duplicator
Panasonic Portable Cassette Tape Recorder
Canon Digital Camera Recorder
Diane The Mannequin Hand
SOFTWARE :
Amazing MIDI Wave-To-MIDI Converter
Polysoft MIDI to Mp3 Converter
Musescore MIDI Scorewriter (Version 0.9.6-0.7, 2011)
Roxio 2011 Sound Recorder
Cool Edit Pro II Multitrack Recorder
Audacity Multitrack Recorder (Version 2.1.2, 2015)
Several Plug-In Audio Sound Effects
Microsoft Talk It (1997)
NOTES:
1 Alex Butler helped inspire Track 1: “Alex In Wonderland.” Goff produced a video to accompany this recording in February, 2026. This video and its background story are posted at the link below:
https://archive.org/details/AlexInWonderland
2 Special thanks to original –Ing percussionist: Dennis Briggs, who unknowingly helped create Track 6: “Holy Psychedelics,” by providing Goff with a guitar strap that allowed Goff to limit neck and shoulder pain while picking and strumming.
This colleciton is available on CDR and cassette.
Performance/Engineering/Production
by Charles Rice Goff III
Copyright 2026 by Taped Rugs Productions
www.tapedrugs.com
How does lightning reach the ground?
Inexorably and without repetition, it follows a critical path. Where resistance is least, it descends – and consumes.
Featuring orchestral strings and brass, percussion, detuned piano, electric guitar, drum kit, organ, alto flute, boys’ choir, synth, and effects.
Patagonia, the region where I live, is a vast territory at the edge of the world, shared by Chile and Argentina. It has a low population density and hosts unique ecosystems, with a wide range of landscapes including rain-soaked forested archipelagos, mountains, ice fields, lake basins, and immense steppes.
It is no secret that it has been—and continues to be—subject to extractivism. Nor that its original inhabitants, the Southern Indigenous Peoples, were subjected to massacres and displacement in order to exploit their ancestral lands. What I present here is not just an album. It is also an exercise in memory and a reflection on the degradation of nature in the name of economic growth and employment—processes that ultimately benefit a few external interests.
It addresses both past and present actions that have severely damaged Patagonian ecosystems: the whaling industry, the introduction of beavers, and salmon farming. It reflects on disasters such as the oil spill of the tanker “Metula” in the Strait of Magellan, and the passage of a ghost fishing fleet through our waters. It also considers the invasion of “Didymo”, an exotic microalgae species that infests our rivers and lakes.
It speaks to the widely promoted hydrogen–ammonia industry, labeled as “green”, yet posing a threat to the biological integrity of the steppe and the Magellanic maritime territory. And to the wildfires that ravage our forests year after year, often under uncertain and troubling circumstances.
This album does not seek to soothe or provide comfort. Rather, through sound, it conveys my concern for the future of Patagonia—my place in the world, which I recognize as my home. A place that must remain a sanctuary for natural and human life, increasingly under threat on a global scale.
Rafael Cheuquelaf
(Punta Arenas, Chile. April 2026)
The original soundtrack we made for Ioana Nicoară & Sergiu Negulici (Reniform) and Cinty Ionescu (Asociația Narative)’s “Ne/Re-văzut Muscel” project.
These are not songs, but background sonic illustrations, meant to play along with AR 3D animations and people telling their stories. Normally, they are designed to play continuously: there are 3 looped audio tracks, of different length, for each “song” – when played together, the overall sense of repetition is less obvious.
Here you can listen to short, ~3m rendered demos. We strongly advise you to download the album, find the 3 images included in the archive, install the Reniform app on your smartphone and use it to see the whole thing. The texts / vocal tracks are Romanian only.
–ͫ̔͂̐̅-̗͙̦̯̙͈̻̐ͫ͋͂͌͌̌–̻̱̦̯̈̃ͭͫ-̪ͥ-̱̗̼͔–ͫͧ̇ͨͯ-͇́-̥-̰̻̰͚̃͗͛̂̌̃ͅͅ-̞-̣͛-͓͕̦͙͒̀̓̂-̼͇ͤ́-̦̪̘̮̝͚̄͌͌̆̑ͪ-̻̟͚͎͙̈ͣ̔́̚-̆̊-͌̿ͤͤͥ̊̚-͓̮̤̥͖–̲̟͙̞͕͙-͓̤͙̫͒͑̈́ͪ-̈́̽ͮ̾̐ͦ-̗̥̼̣͖̳-ͬͨ̎̉–̪̗̙̙̜̮̓͐ͥ͒̐ͦ̋ͅ-̭̘̈́̍-̘ͦ-͑-̳̱̓̿-͚̈́̚ͅ-̤͓̯ͅ–̩͉̠̟̯̘-̟̹͓̥̠͎̘̾͑͐͛̃͐ͮ–͖̙̀͆̚ͅ-̪͕̒ͭ-ͅ—-̯͇̟̙ͯ͛̈́͆-͕͔͕̬͔̙ͅ-̥̦͉̓́̇-̾ͦ-̦̼̱̞̘̬̆̆͂ͨͦͬ-̖̻̟̯̮̫̘̎͌ͪ̆ͮ̒̊-͑ͥͭ̓ͦ-̩̯͙ͣͪ̓-͖̯̣̹-̻̠̼͕̻̬̥ͬ̈́͐ͣͬͦ̅–̦̳-̜͉͚̺͇̠̥-̥̗͈̮͚̝-̫̞-͈̭̤͓ͨ͆ͫ͒̋ͅ-͙͖͚̥̻̘̩͛͒ͮͧ͛͒̎-̪̖͕̣̻ͥ̊͊́̀—̩͍̹͌̋̈́–̈́ͨ̏ͭ̽̚̚-͇̳̜̒̔̈́-̬̰̙̠–̰̭͈͖̹͈ͩ̿̽̀͂̐-ͧ-̩͊–̱̙̹͔͑̑ͦ̋-̬̫̳-̬͌–̫̥̦̗͎̦̄͐̀̍̓̇–͖-͍̭̫͕̬̽ͬ̋̒͌-̱̠̼-͖͓̅̅-͎̜̺̊ͦ͐-͙̻͕̼̬̜ͧ͂ͧ͛̓ͤ-̻̮̅ͯ-̑ͪ͆-ͧ͋͒-
Nouă instalații AR inserate în spațiul urban transformă orașul într-o arhivă vie. Fiecare punct de intervenție devine o poartă către povești personale și memorie colectivă. Cu ajutorul tehnologiei, aceste lucrări nu doar adaugă un strat vizual, ci deschid un altfel de dialog cu orașul în care privirea încetinește, iar memoria se reactivează pornind de la teme actuale identitarului colectiv. Cele 9 lucrări AR se construiesc pornind de la povești ale orașului, reprezentative pentru identitarul colectiv, atent selecționate și desprinse din arhiva artistei multimedia Cinty Ionescu. Aceste istorii sunt recontextualizate de artiștii vizuali Ioana Nicoară și Sergiu Negulici prin animații 3D și sunt incorporate în compoziții audio originale realizate de artiștii de sunet Makunouchi Bento, Sorin Păun și Alex Bălă. Lucrările AR au fost disponibile locuitorilor și vizitatorilor orașului prin folosirea unei aplicații gratuite instalate pe telefonul propriu. Amplasarea lucrărilor în spații publice sau neconvenționale ale orașului a fost însoțită de evenimente, activări și este inclusă pe o hartă fizică și digitală în catalogul interactiv NE/RE-VĂZUT: Muscel.
~
Nine AR installations embedded in the urban space transform the city into a living archive. Each intervention point becomes a gateway to personal stories and collective memory. Through the use of technology, these works do more than add a visual layer—they open up a different kind of dialogue with the city, one in which the gaze slows down and memory is reactivated through themes that resonate with contemporary collective identity.
The nine AR works are built around stories of the city that are representative of its collective identity, carefully selected and drawn from the archive of multimedia artist Cinty Ionescu. These stories are recontextualized by visual artists Ioana Nicoară and Sergiu Negulici through 3D animations and are embedded within original audio compositions created by sound artists Makunouchi Bento, Sorin Păun, and Alex Bălă.
The AR works were made available to residents and visitors through a free application installed on their personal smartphones. Their placement in public or unconventional urban spaces was accompanied by events and activations and is documented on both a physical and digital map included in the interactive catalogue NE/RE-VĂZUT: Muscel.
~
www.narative.ro/ne-re-vazut-muscel/
Written, produced, mixed and mastered by Felix Petrescu and Valentin Toma (Makunouchi Bento)
makunouchibento.org
When one fears the unknown, the only solution is to investigate – and there’s only one operative for the job. The name’s Craft – Lovecraft. Otherworldly affairs and supernatural concerns are their specialty. Be thankful for what you don’t know you don’t know.
Featuring synthesizer, strings, choir, piano, drums, guitar, church bell, laughter, and effects.
“Afectos del Desastre” (Affects of Disaster) was an immersive performance installation created in 2023 by DESARTES, the Arts and Disasters Unit of CIGIDEN (Research Center for Integrated Disaster Risk Management, Chile). Its objective was to delve into the emotional dimension of the human experience in the face of socio-environmental disasters related to economic practices. The installation combined live performance with new media elements to convey the experiences of three disasters that occurred in Chile, based on social research conducted by CIGIDEN: the fires in Santa Olga (consequence of the practices of the timber industry), the pollution in Puchuncaví, and the drought in Quillagua (both consequences of the mining industry’s practices). Each event was explored through a specific tunnel within the installation, offering a unique perspective on the performance. A quadraphonic acousmatic composition related to the addressed case was presented in each tunnel (which interacted with the performance), along with texts of testimonies from those who experienced these disasters firsthand. The music’s structure included a random distribution of some materials, allowing different versions to emerge each time. This album is, therefore, one of the many possible versions of the work.
From outside the installation, one could hear the three quadraphonic environments interweaving into a 12-channel sonic whole, an experience I attempted to replicate in the final track of this album, titled “Afectos del Desastre” (Affects of Disaster).
The papers related with the research carried out by CIGIDEN mentioned above are the following:
1) Puchuncaví: Tironi, M. (2018). Hypo-interventions: Intimate activism in toxic environments. Social Studies of Science, 48(3), 438-455.
2) Quillagua: Acuña, V., & Tironi, M. (2022). Extractivist droughts: Indigenous hydrosocial endurance in Quillagua, Chile. The Extractive Industries and Society, 9, 101027.
3) Santa Olga: González Gálvez, M., Gallegos, F., & Turén, V. (2021). Unfinished extinction and the velocities of capitalist sacrifices in the woodlands of central Chile. Tapuya: Latin American Science, Technology and Society, 4(1), 1939491.
José Miguel Candela
(Santiago, Chile. Septiembre / September 2025)
GoH-837: GIMLET – Harming One or Another, Who is Keeping Count?
MGI’s side project GIMLET strikes back with a crushing work of ultimate harsh noise brutality including metal junk abuse and violent blasting suddenly sinking into the blurry, dark ambient drone parts filled with sampled spoken word material to comment the present reality of war, violence, addictions and cultural decay of the western world. All this concluded with final opus of dark cinematic ambient. A masterpiece not to discuss with.
GoH-828: Sonic Archaeology – The Chaining of Cerberus
Mythology-themed organic ambience, where synth drones mix with restless distorted guitar and object improvisations melted into two long pieces placed somewhere in a crossroad of meditative distraction, storytelling fever and ceremonial awe. A very special conceptual album of it’s very own quality.
ML-055: The Ambient Hermit – Lauda Sion (Reinterpreted)
A dark, sacral ambient reinterpretation of the Eucharistic hymn of Lauda Sion, written for the feast of Corpus Christi by St. Thomas Aquinas with a melody borrowed from the eleventh-century sequence Laetabundi Iubilemus attributed to Adam of Saint Victor. An incredible, over two and half hour long journey into the heavenly realms.
The Panther Running Loose
by Charles Rice Goff III
1 The Coal Dust On The Noose
2 Hip Lip Rip
3 A Wooden Stake For The Heart Of AI
4 Pillows For Neverland
5 Discothequeno
6 Refining The Effluent
7 Baby Break My Circuit
8 The Sanguinary Hacking Of Torakusu Yamaha
9 Rockin’ The Hey Wagon
10 Open To The Public
BACKGROUND :
Goff created the recordings for “The Panther Running Loose” between 2023 and 2025. None, except “The Sanguinary Hacking Of Torakusu Yamaha” has ever previously been released by Taped Rugs Productions (see specifics below). This collection was produced in cooperation with Netlabel Radio Day, July, 2025, at the following link:
https://netlabelday.org .
No artificial intelligence (AI) was employed in molding this presentation.
Tracks 2, 5, 7, and 9 all first appeared on the Herby Records release of a seven inch vinyl record entitled “Discothequeno” in December, 2024, at the following link:
https://herbyrecords.bandcamp.com/album/discothequeno .
Goff produced a collection of videos to accompany these four recordings, released in January, 2025, at the following link:
https://archive.org/details/DiscothequenoVideos .
Track 3 first appeared on the Aural Films online collection: “Horror Films 2024” in October, 2024, at the following link:
https://thismusicplantstrees.bandcamp.com/album/horror-films-2024 .
Track 8 first appeared on the Aural Films online collection: “Horror Films 2023” in October, 2023,
at the following link:
https://auralfilms1.bandcamp.com/album/horror-films-2023 .
The reference to Torakusu Yamaha in the title is a nod to how the creation of the piece involved original methods of playing (ie: “hacking”) a Yamaha VSS-30 Sampler/Synthesizer (Torakusu was the 19th Century founder of Yamaha technologies). The piece was later renamed and included in Goff’s “Calumet” collection, released by Taped Rugs in early 2024.
Tracks 1, 4, 6, and 10 have never previously been released by any label, including Taped Rugs.
INSTRUMENTATION :
Voice
Korg R3 Vocoder/Synthesizer
Yamaha VSS-30 Sampler/Synthesizer
Artiphon Orba
Casio AP-24 Electric Piano
Le Mega IR 1 Internet Radio
Original Sound Samples
Musescore MIDI Scorewriter
Kikkerland “Make Your Own Music Box” Kit
Aklot Electro-Acoustic Soprano Ukulele
Ibanez DM 1000 Digital Delay
Boss RC 20X Loop Station Loop Duplicator
Panasonic Portable Cassette Tape Recorder
Canon Digital Camera Recorder
SOFTWARE :
Amazing MIDI Wave-To-MIDI Converter
Polysoft MIDI to Mp3 Converter
Musescore MIDI Scorewriter
Roxio 2011 Sound Recorder
Cool Edit Pro II Multitrack Recorder
Audacity Multitrack Recorder
Several Plug-In Audio Sound Effects
GoH-819: Fritz Gessler – POLYPHEM
Based on the story of Ulisses, Fritz Gessler waives a conceptal dark ambient worked filled dreadful atmosphere reflecting the encounter of the cyclope Poliphem. A complex, opening composition shifts into progressive, hypnotic minimalism of completing it zyklopian lullaby. Nearly an hour of dreamy, dark pleasures to be best served with a headset during a nap.
GoH-746: Mass Graven Image – Crime Meridian
Two massive tracks filled with heavy industrial drones, distorted speech samples, dark, cinematic ambience and crushing waves of electronic noise. Mass Graven Image, as usual paints a pessimist reflection of the modern reality filled with soulless mechanization washed of the foundation of primordial spark, that used to make us human beings. A grim testimony of the last days – no need to say more, get this!
Unplanned, it begins. Unstructured, it continues. Unknown, it develops. Yet as time passes, it takes shape.
Featuring string orchestra, flute, piano, french horn, trumpet, clarinet, and oboe.
music for interactive theater performance “how to perform resistance”
by the youth club of Junges Theater Augsburg
@ City Club Augsburg, 17.05.25, as part of 375 years of the festival of peace Augsburg
concept, voice recording, directed by Harald Volker Sommer
composition, recording, mastering, photo, design by EMERGE
V/A Compilation inspired in 2000’s Horror Movies. A new century of Horror.-
Compiled, cover collage artwork by Sábila Orbe.
Each track composed by the respective artists. Links:
– Topi Reta: archive.org/search?query=kermesse+records
– Blix Six: blixsix.bandcamp.com/ // soundcloud.com/blixsix-1
– Noxpox: noxpox.bandcamp.com/
– Filmy Ghost: freemusicarchive.org/music/Filmy_Ghost
– Morpheus Project: morpheusproject.bandcamp.com/
– IRÎS: www.facebook.com/sonical70911
– el_masmore: elmasmore.bandcamp.com/
– Pillars of Golden Misery: www.instagram.com/pillarsofgoldenmisery/
– Gothwitch: insatiablevoid.bandcamp.com/
– Yoshiwaku: yoshiwaku.bandcamp.com/
– PIRATE Tapes: www.horsnorme.org
– RDKPL: rdkpl.bandcamp.com/
– Mean Flow: meanflow.bandcamp.com/
– Humanfobia: humanfobia-official.bandcamp.com/
Transition Transmission
by Charles Rice Goff III
1 Of Pomp And Pulpit
2 I Was Saved By God To Make America Great Again
Process:
Goff produced the recordings presented in this collection from unrehearsed improvisations recorded on January 20, 2025, during the second inauguration of American President Donald John Trump. Using a variety of sound technologies and musical instruments, Goff augmented and embellished the audio feed from Pacifica Radio (KPFA, Berkeley, California) live, as it was being broadcasted. No recorded materials were added nor deleted from the pieces presented here.
“Of Pomp And Pulpit” was captured and mixed on a 4 Track cassette tape. It features political speeches from senators Amy Klobuchar and Deb Fischer, invocations of deities from Timothy Dolan and Franklin Graham, and the swearing of Trump and Vice President James David (JD) Vance by Supreme Court Justices Brett Kavanaugh and John Roberts.
“I Was Saved By God To Make America Great Again” was recorded and mixed on computer software. Donald Trump is the exclusive speaker in this piece, sprinkled with occasional commentary from the Pacifica broadcasters who covered the event.
There is no authorized interpretation of this presentation.
No artificial intelligence was employed in molding this presentation.
All performances, editing, production, cover art, etc. by Charles Rice Goff III.
Instrumentation:
Korg R3 Vocoder/Synthesizer
Micromoog Analog Synthesizer (original 1977)
Yamaha VSS-30 Sampler/Synthesizer
Stylophone
Le Mega IR 1 Internet Radio
Merchsource Sound Generator
Diane The Mannequin Hand
Ibanez DM 1000 Digital Delay
Yamaha FX 500 Effects Unit
Boss RC 20X Loop Station Loop Duplicator
Tascam 424MKIII 4-Track Cassette Recorder
Software:
Cool Edit Pro II Multitrack Recorder
Audacity Multitrack Recorder
Several Plug-In Audio Sound Effects
Copyright 2025 by Taped Rugs Productions
www.tapedrugs.com
……………
Let the sounds speak, it seems to suggest; sounds do not speak, it replies, they simply present themselves in their purest state. Forms break, disintegrate, and approach a point where, up close, everything begins to feel distant. “I have nothing to say, and I am saying it, and that is poetry” (Cage), it insists once more. Vigil could also be the dream of a dormant, heavy hand falling into randomness, only to emerge light and fragile amid the stillness of the elements. Who speaks and who answers becomes an unfolding idea in a game: being both fish and bait, imagining an event that never arrives, that roams freely, interpreting the depths and the abyss as it teeters on the edge of falling.
Before the body submerges: inhale, swell, inspire. Music is perhaps a language in which images and sounds drift—a deep well of the mind, of time and sequence, creating only what music itself can construct. On the surface, tiny fish; in the depths, the golden fish (Lynch). To break the restricted circle, to conquer infinite variety (Russolo), to dive deep to recover fragments—small images attempting to reconstruct a night, a possible space where the vast and the intimate transform into symbols, into abstraction rooted in instinct and the promise of translating depth.
The sounds in vigil fall onto the surface, explode over the water, traverse spatial volumes, transgress contours and textures, pierce the eardrum, and reveal an unreal landscape—an uninhabited atmosphere, an impassable, inhospitable night that is at once sensual, erotic, and veiled. The sounds and their vigil tremble on the surface of the water, attempting to sustain the impossible: images that help us understand the world—or perhaps just our own world—in its vastness, inscrutability, strangeness, and mystery.
In the depths of vigil lie the means to construct intimacy and emotion, the methods of understanding that bring balance and coherence to desire and the forms that exceed it. In this imbalance—between the murky, abyssal middle ground—new languages begin to emerge: textures, frequencies, forms, and deformations capable of disrupting the uniformity of water, the liquid metaphor that envisions the unpredictable, the invention of an abstract sound—intangible, impossible to stop or destroy.
In vigil, scattered without order or rule, sounds unfold with free will, coexisting with other equally complex forms that, in their recognition, articulate an elusive difference—neither immediate, visible, nor objectifiable. In the depths of vigil, sounds create their own strategies and lay the foundation for their reinterpretation: they mobilize change, challenge order, and construct intimacy. In the abyssal vigil lie sounds that die into silence, unprecedented in their form, depth, and amplitude, only to resurface later, just as the sun begins to rise—unexpected, unpredictable, and, above all, pristine on the surface of the unknown.
Tiago Morais’s latest work is a bold exploration of minimalist and contemporary classical music, drawing deeply from the influences of iconic composers Philip Glass and Terry Riley. With an intricate and meditative approach, the album traverses a landscape of minimalist patterns, cyclical rhythms, and rich harmonic textures. This release is a culmination of Morais’s profound connection to classical traditions, fused with his ongoing experimentation with new sonic possibilities.
The album is a showcase of varied instrumentation, combining string quartets with solo violin performances and experimental re-interpretations of modern classics. Across its eight tracks, Tiago Morais presents a sophisticated interplay between structure and intuition, offering both technical brilliance and emotive depth.
This album is not just a reflection of Tiago Morais’s influences but also a statement of his evolving artistic identity. Drawing from the minimalist masters like Glass and Riley, he creates a sound that is both meditative and immersive. The inclusion of pieces by contemporary artists Nick Cave and Michael Gira adds a layer of modern resonance, bridging the gap between classical tradition and modern experimentalism.
Tiago Morais’s approach seeks to break the boundaries of traditional classical forms, offering listeners an opportunity to engage with music on a deeper, more personal level. Whether through the tightly interwoven lines of the string quartets or the raw intimacy of the solo violin pieces, this album resonates with the spirit of contemporary minimalism while pushing it toward new emotional and intellectual heights.
Parallel worlds, unsuspected and also longed for within this often amorphous reality.
Near and new sounds… rhythm and longing.
Solid ground and the universe.
A human journey.
Infinite images, questions and answers that multiply.
Love and humor beyond this life.
Ángela Acuña (@musicadeangela)
(Santiago, Chile. Julio / July 2024)
“Horizontes en Fuga” (Horizons in Flight) is an album extracted from the audiovisual project of the same name by the Delight Lab collective, in collaboration with Marco Martínez and Chris Manhey, who manage the immersive audio devices.
The album is a true space-time journey, utilizing diverse sonorities that merge into an inseparable whole. It blends sonic textures ranging from the earthy and abyssal—using the low frequencies of idiophones like gongs from traditional Asian music, along with the euphonic, another metallophone linked to experimental electroacoustic music that occupies the sonic space— and with digitally processed human voices that evoke a sense of ancestral ritual translated into the futuristic language of electronic bits and music concreté. Melodic elements and tempered harmony are also present in timbres generated by synthesizers.
All of this creates an infinite sum of harmonics covering the entire audible frequency spectrum in a web of suggestive vibrations that provoke synesthetic sensations where the auditory evokes the visual. Beyond the fact that the group works in both perceptual realms within an immersive audiovisual project, the album alone bridges both universes through the sense of hearing, complemented by tactile sensations, as frequencies penetrate the entire body, engaging each cell in the experience.
The combination of sounds and textures from such diverse sources gives it a timeless and universal quality, where the past, present, and future converge, similar to how starlight from a remote past reaches our current experience, somehow signaling the future.
The sonic timbres overlap transiently and gradually, giving the sensation of moving through an ever-evolving and transfiguring acoustic landscape. This evokes a sense of journey through an infinite geography of stimuli suggesting mystery, trance, ritual, magic, and the transcendental nature of human existence.
Cuti Aste (@cuti_aste)
(Santiago, Chile. Julio / July 2024)
Collaboration between Black Market Brains & Humanfobia duo.
This is an EP inspired on the classic horror film: “INFERNO” (1980) directed by Dario Argento.-
tracks 1 & 5 by Humanfobia.
drums stems, electronic beats tracks 2,3,4,6 & 7: Black Market Brains.
vocals only on track 2, all tracks mixed, cover artwork: Sábila Orbe.
vocals on tracks 3,4 & 6, model in the cover: Mist Spectra.-
Black Market Brains is an horror synth, dark electronic composer from US. For more of his music visit:
soundcloud.com/blackmarketbrains
www.youtube.com/@jessfrancofan/videos
Humanfobia is a dark experimental, witch house duo from Chile.
For more music visit:
humanfobia-official.bandcamp.com/
https://open.spotify.com/intl-es/artist/04WVEhq4UDRTKpWEfMSeZT
hearthis.at/humanfobia/
