“Tres Muscae Consummunt Cadaver Equi Aeque Cito Ac Leo”.
We never met each other and we barely heard of each others solo music. Just a quick and brief e-mail exchange and month later we had an incredible piece of work that stands as one of one of my most graceful and elegant recordings to ever be a part of. I allowed Andrew Liles to mix and compose because I wanted to see how my sounds and noise could be utilized in a more song/musical fashion. When I first heard this recording I almost cried it was so beautiful. Once we were strangers to each other and now friends thanks to this recording. – Daniel Menche, May 21, 2013
Acoustic instrument sounds and noise by Daniel Menche. Additional instruments and electronic treatments by Andrew Liles. composition and mixing by Andrew Liles.
Mixed by Andrew Liles Recorded 2006-2007 in Portland, USA and at the Bear Den, Brighton, East Sussex, UK.
This Bandcamp release is %100 approved by Andrew Liles. Please run to his site and listen and support his work! www.andrewliles.com
A note from Cleared Our approach to making records has always involved an exchange of individually created sounds, which are joined together through live improvisation, studio recording, and the use of diagrammatic visual scores. Over the last several years, we have been interested in expanding very small fragments of these discreet pieces of audio into long-form compositions. This process has resulted in a new approach to how we build tracks from the ground up. In this particular workflow, one of us is largely responsible for supplying the main cache of sounds, and the other is responsible for the processing and sequencing of those sounds.
As we developed this kind of working relationship, the nature of the material has ventured into a palette that is more electronic. This is perhaps a result of the “collage” aspect of how the audio is arranged inside of a digital environment, as well as our continued discovery and use of new digital processing tools. We are constantly attempting to extract as much as possible out of an initial collection of audio, which typically includes field recordings, synthesis experiments, bits of acoustic instrumentation, and found sounds. In many instances the original sounds are manipulated far beyond their recognizable characteristics, which creates new and unexpected results.
We also share a great personal interest in utilizing sounds with different levels of fidelity, as we both enjoy the unique traits inherent in various recording formats. The artifacts and destructive compression of antiquated digital recorders, and the pristine qualities of modern studio technology both contain, in different ways, our own intimate relationships to such devices and spaces. We believe this is reflective of how we associate and remember sound, which is through the peripherals of its delivery. In the context of Cleared, this interest is pursued to further the poetic and gestural features of our music, and to create records that are infused with visual imagery, memory, and the physical environments in which we find inspiration.
Lustres is the most detailed and refined output of our studio practice using this method of exchanging sound material. The four tracks present a mood that, for us, is indicative of a kind of rolling celestial atmosphere. Simultaneously, there exists both a subterranean and starlit quality about the music. To us, it is not unlike the imagined terrain of a distant meteor or orbiting asteroid, alternating between the extremes of light and temperature as its path is slowly carved in a dark vacuum. It is music for contemplation and quiet reflection, as these are the states of listening we have come to greatly appreciate in our personal lives, and as the space in which we are most happy to have our music experienced. Lustres is a document being released as we near 15 years of the Cleared collaboration, and we hope it offers listeners a chapter of our story that, while rooted in our past material, advances the core discipline of what we have always pursued as our central theme: Patience.
All sounds by Steven Hess and Michael Vallera Arranged and mixed by Michael Vallera Mastered by Lawrence English at Negative Space Photography by MIchael Vallera Design by Traianos Pakioufakis
Wave Frequency is a collection of songs written across 2023 and 2024 that attempt to capture a variety of moods that shift seasonally throughout the year. An Energetic summer leading to an Indulgent fall harvest season, then into the Anxieties of the winter months and finally into a Regenerative spring, and repeating all over again. This is the first release as SANFORD that Daniel Sanford has made, though you might be familiar with his older work as Douibyorthst.
Written, performed, and produced by SANFORD Cover art by SANFORD
“Instante” is the debut recording by the trio formed by José Lencastre (saxophones), based in Lisbon, and Clara Lai (piano) and Àlex Reviriego (electronics), both based in Barcelona.
Their music transports us to new and unexpected sonic spaces. The more organic sounds of the piano and saxophone both contrast with and symbiotically merge with the artificiality of electronics. The electronics place the improvisational style of the piano and saxophone in new perspectives. As with the sound of these instruments, the breath, the spaces, the timbral landscapes, the harmonies, and the natural harmonics, among other elements, move the electronics away from more typical noise or electronic territories, inviting us to stylistically recontextualize each of them, individually and collectively.
Rooted in free improvisation and embedded in a continuously evolving contemporary language, the three instruments meet, diverge and explore, through attentive listening, how far this interaction can expand their respective instrumental possibilities, in the pursuit of a single and unique sound.
This album is dedicated to the ever-renewed experience of being present, in connection with each instant.
Àlex Reviriego – electronics Clara Lai – piano José Lencastre – alto and tenor saxophones
Clara Lai and José Lencastre recorded at Louva-a-Deus, Lisboa, by Afonso Cabral on May 31st 2024. Àlex Reviriego recorded at Premià de Mar on June 26th 2024
Mixed by Jan Valls Miralles Mastered by Ary at Toolate Studio
Graphic Design by Tània Gumbau Cover photo by José Lencastre
All music by Àlex Reviriego, Clara Lai and José Lencastre
“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
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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
Echoes of Loneliness unfolds like an intimate film without words — a journey through light, silence, and memory. Under the name Heÿkla, French composer Thomas Méreur shapes an ambient universe where every sound becomes a fragment of story. His voice and piano, once central, now dissolve into layers of textures, distant echoes, and fragile harmonies.
The result is both cinematic and minimalistic: wide sonic landscapes filled with space and emotion, where subtle changes in tone evoke movement more than melody. Each track evolves slowly, like an image coming into focus, revealing its own poetic atmosphere — sometimes tender, sometimes unsettling, always human. Echoes of Loneliness invites the listener to drift through invisible places, to feel rather than understand, and to discover beauty in quiet transformation.
Music For The Rest Of Us 