JH1.FS3 is the duo of Frederikke Hoffmeier and Jesse Sanes. Though each figures heavily in the now-generation of power electronics – as Puce Mary and Leibestod respectively – JH1.FS3 delineates a more subtle “cinema of the ear.” Here, their words are spoken amidst a savvy re-assembly of 20th century avant-sonics: music concrète, technique extension, and pure electronic sound. Indeed, their live sets - and forthcoming LP on Sweden's iDEAL Recordings - utilize hypnotic material they synthesized while in residence at Stockholm's Elektronmusikstudion EMS and hi-res field recordings that they somehow managed to smuggle out of REM sleep.
Atop beats that fracture and crunch, K. Reinshagen has issued tattered tones and squelch via a sequence of pseudonyms including Men of Bissau, Liable, and LFA. Though these skins have been shed, his obscurantist approach still keeps heads curious; His sonic process – like the visual aesthetic of his Nostelivo label – embraces artifact and ambiguity as the raw material to assemble "striations of electronic electronics." In Snakeland, the hiss fits.
With her analog rig and an array of ‘smart’ lights, Sam Rowell unfurls an abstract soundscape of fuzz and pulse, covering the walls with cascades of color and volleys of flash. In this perceptual interzone – brainwaves re-align and distant transmissions are received.
UNICA actions of late have gripped dim rooms with a shadow play of allegory and sound. With her own idiom of movement, Maria Garcia channels a slow flow through a liminal space where identity is constructed and considered. Nial Morgan also engages the existential drama, creating a sonic counterpoint by corralling a loose cache of incidental recordings. Tension builds, even if resolution is fleeting.
Images by Jacob Weiss