Jake Muir flexes his selector's skills on 'enmixed', pulling nebulous gems from the enmossed label catalogue from the likes of Florian T M Zeisig, Exael, Felisha Ledesma and many others into a hallucinatory 80-minute perambulation full of his own treatments and processes. RIYL DJ Olive, Jan Jelinek, Purelink, earliest Huume-era Vladislav Delay.
An accomplished DJ as well as a sound designer and field recordist, Berlin-based LA transplant Muir has been quietly dreaming up surging, narrative-driven mixes for years now. Often focusing on the under-represented illbient era, his popular 'Bathhouse Blues' series of mixes fed into a subsequent album of the same name, and he takes a similar approach with this lengthy love-letter to North Carolina-based imprint enmossed. Combing its deepest crevices for tracks that harmonise with his psychotropic fantasies, he tweaks and processes them until they form a dense, heady and polychromatic 80 minute trip into the aether.
Muir starts as he means to go on, sanding away congealed rhythms from Philly producer M/R's 'Anxious Meditation' leaving only hovering pads as he fades in soused textures from ARMA's remix of Florian T M Zeisig. Elements of Nick Klein and Glyn Maier appear next, pulled from the micro-club into a vast subterranean canyon muddled with noises from Angelo Harmsworth's sputtering productions. It's hard to fully distinguish where each track begins and ends; Muir uses the label archive like a sample library, tweezing out the oddest textures and waviest pads and glueing them into a fresh chronicle.
Throughout the mix, sections appear and re-appear like a fever dream: elements from Patrick Gallagher's 'Set in the Bardo' feature on side A of Muir's mix, while the flipside's crescendo is used as a finale; and ARMA's undulatory 'First Version' rework materialises again in the back half, blended into exael's jerky, dubwise 'Something Out Of It'. At its best, 'enmixed' doesn't sound like a mixtape at all, rather a sequence of whispers and traces that mutate into something else entirely - in line with Muir’s own exquisitely paced and softly screwed catalogue.
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80 minutes long, edition of 100 copies, comes with a download. Silver foil printed j-cards on heavyweight iridescent ('Lapis Lazuli') recycled paper Duplicated at a carbon-neutral facility
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Jake Muir flexes his selector's skills on 'enmixed', pulling nebulous gems from the enmossed label catalogue from the likes of Florian T M Zeisig, Exael, Felisha Ledesma and many others into a hallucinatory 80-minute perambulation full of his own treatments and processes. RIYL DJ Olive, Jan Jelinek, Purelink, earliest Huume-era Vladislav Delay.
An accomplished DJ as well as a sound designer and field recordist, Berlin-based LA transplant Muir has been quietly dreaming up surging, narrative-driven mixes for years now. Often focusing on the under-represented illbient era, his popular 'Bathhouse Blues' series of mixes fed into a subsequent album of the same name, and he takes a similar approach with this lengthy love-letter to North Carolina-based imprint enmossed. Combing its deepest crevices for tracks that harmonise with his psychotropic fantasies, he tweaks and processes them until they form a dense, heady and polychromatic 80 minute trip into the aether.
Muir starts as he means to go on, sanding away congealed rhythms from Philly producer M/R's 'Anxious Meditation' leaving only hovering pads as he fades in soused textures from ARMA's remix of Florian T M Zeisig. Elements of Nick Klein and Glyn Maier appear next, pulled from the micro-club into a vast subterranean canyon muddled with noises from Angelo Harmsworth's sputtering productions. It's hard to fully distinguish where each track begins and ends; Muir uses the label archive like a sample library, tweezing out the oddest textures and waviest pads and glueing them into a fresh chronicle.
Throughout the mix, sections appear and re-appear like a fever dream: elements from Patrick Gallagher's 'Set in the Bardo' feature on side A of Muir's mix, while the flipside's crescendo is used as a finale; and ARMA's undulatory 'First Version' rework materialises again in the back half, blended into exael's jerky, dubwise 'Something Out Of It'. At its best, 'enmixed' doesn't sound like a mixtape at all, rather a sequence of whispers and traces that mutate into something else entirely - in line with Muir’s own exquisitely paced and softly screwed catalogue.