aƒ83 is an assemblage of email exchanges and attachments shared between contributors from 2018 to 2019

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✰ midi-flex 222 ✰ is a more current accompaniment to an ongoing volley of new music that has begun to emerge this year ⥄ a mini-LP formed of 7 parts, it was recorded according to a collection of NON-sensical laws established under lockdown ↓ April 2020 ↓ where ‘flash across the intervals’ and ‘multiply the sides’ [the pair of albums released concurrently in May] are schizoid in their promotion of disjunctions and abrupt about-turns, midi-flex 222 progresses as a single flow or synthetic mass ❏ it inflates and deflates, contracts and expands ❏ as it travels across 7 segmented parts and 23 min 38 sec of time.

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▷ aƒ2 is the first ☀︎ H!-sensitive ☀︎ film distributed via a ƒolder ↯ created ↯ by michael amstad and marte eknæs ➜ conceived in divergent di⭐︎logue with original-length carb⊛nated composition by powell ➜ multi-conducts of time ↩︎ a revolving door that spins across alternate actual / √irtual planes ↱ in this responsive state, deflation leads to liberation

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nine-page image ⨧ text contribution to Zweikommsieben magazine #21
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▷ aƒ34 is the second ☀︎ H!-sensitive ☀︎ film distributed via a ƒolder ↯ created ↯ by michael amstad and marte eknæs ⨳ entangled ⨳ with hYper-ac⦿ustic music by powell

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flash across the intervals is the first new powell LP since 2016’s Sport on XL Recordings ⨧ the first music available physically since his 2018 collaboration with Turner-Prize winning artist Wolfgang Tillmans ➬ oscar [powell] wanted it known that this is not intended as a definitive album ↪︎ the realisation/release of some bold new statement, a singular mark of identity or triumphant elucidation of years of valiant work ↩︎ rather, it is simply 35 minutes of music segmented from an overall flow of stuff ⥄ a variable torrent of hyper-synthetic composition brought about by entirely other things ⇩ circumstances that relate in no way to a previous life led within the toxic/capitalist bubble of taste, music, entertainment and ‘community’ ▷ as René Char once wrote, ‘no bird has the heart to sing in a thicket of questions’, and so it was that oscar found himself bereft of courage, stripped of any enduring connection to his work, dissociated from many of the fragile and reactionary structures that had previously held him up. when your own distributor won’t answer your emails ☀︎ when the illusion of reality dissolves around you ☀︎ how can you not think as Leibniz once did: ‘we thought we had arrived at port, but found ourselves thrown back out on the open sea.’ it is easy to be moulded by a contemporary space that leaves you with no possibility of creating anything at all; in a kind of zero state of expression that inevitably forces you to look elsewhere ↙︎ to pursue a Deleuzian line of escape out towards a horizon line that never draws closer. here at least, out on the waves, new cartographies can be traced and new connections formed. this album thus functions as a message in a bottle: cast from unknown coordinates, it maps some of these connections, not least in its close relationship with the visual work of michael amstad and marte eknæs ➔ their imagery fills this music ➔ oscar’s music inflates their films. what emerges from the fog is a luminous three-headed constellation of melodic lines in non-sensical interplay with one another ⥄ here on record, though, spinning at a speed of your choosing, and with eyes closed and no imagery to hand, the feeling remains of a profound decentring, music discontinuously carb✲nated by an alternate geography of relations, the depths of which are only just beginning to be explored. 

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this is the second album of carb✻nated computer music from powell ☆ made available via a ƒolder ◎ aƒ19 could be read/misunderstood as a twin to aƒ18 ➜ hence their proximity in a non-chronological catalogue ↙︎ each is the same ❊ equally, each is completely different. here ➜ outside-time rhythmic conflations captured in moments of clear sight; there ➜ hYper-ac⊛ustic lines of flight ± aberrant synthetic entanglements ⨳ please note: trk 3, ‘☆ difference, for nik ☆’, is dedicated to Nik Powell, whose life and legacy will continue to inspire ✰ spec!al request ✰ play/view contents 👁‍🗨 loud or quiet on hI-vis ☀︎ please support the artists in difficult times ☀︎

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in an inflated state, as a live physical or virtual performance, a ƒolder absorbs the real-time processing sys⨧ems and virtual multiplication of artist and researcher Mathias Gmachl ➜ each live entanglement ⨳ functions as a multi-sensory overload, an unstable assemblage that folds and unfolds across time, actual / √irtual space and alternate planes of reference ❏ in this networked state, its borders remain open, even when traditional borders are closed ⤵︎ 

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