Musician and filmmaker Domingæ is probably best known as the founder of experimental psych band Föllakzoid.
After the release of Föllakzoid’s latest album “I”, Domingæ traveled to Japan in preparation for a world tour with Föllakzoid and to play a handful of shows for the release of DJ Nobu’s remix LP. During her stay, she was commissioned to create the score for the new collection of Japanese designer Kozaburo.
Once there, she was also invited to stay in an artistic residence in the city of Yamaguchi where the composition of Æ started. Whilst residing at a minka (Japanese traditional farmhouse) in Yamaguchi she devised the structure and recorded the foundations of her debut solo EP. The spiritual retro-futuristic vibe resonating from the land awoke certain unused softwares in Domingæ.
With the start of the global pandemic, Domingæ had to make the decision to move to Mexico where she continued the recording process and has been residing ever since.
Written and recorded across different locations, her new debut solo album Æ has taken the decompositional system she devised for the band and added the depth of inner exploration and a symbiotic relationship with musical craft.
The resulting sound is as groovy and hypnotic as the best Föllakzoid tracks but with a seductive and darkening electronic texture. She has become a channel in which the shadows inhabit.
Domingae’s sounds and formats are articulated via depuration, expanding in time and space via the subtraction of shifting elements. The process of unlearning and uninstalling previously established creative softwares in order to achieve dissolution has always been a central focus in her creative pursuit.
Æ is a result of said experimentation, the dissolution of preconceived notions to create a minimal sound yet rich in textures.
“When music is channeled, a technological inter-dimensional platform is also created. This gathers the knowledge of our current times by articulating them with all the ancestral information stored in us that shape us bio-kinetically and by systematically unlearning all previous notions of structure and cognitive frames for it to be replicated in a timeless and eternal yet perceivable moment.
The spacetime gravitational modulation presented in Æ will also be replicable in another moment in time where for example high, mid and low frequencies will be replaced by luminous, thermal and tectonic modulations in other simultaneous dimensions that are, without knowing, resting the echo of the ages.
The sonic platform is also designed to perceive gravitational frequencies and modulate them in order to activate the crypto-chromatic (i.e. dark light particles) receptors in our eyes with the purpose of synchronizing the retro-cognition and the precognitive particles and information through the imagination, achieving a simultaneous state of matter and dissolution.
The holographic simultaneous dimensions, which realities are rooted in, have a gravitational gateway that has always been stored in our DNA, and by joining in being led by its force, we can access where the infinite becomes eternal.
Like all truths, something we were expecting from the outside but that was actually inside of us the whole time. Paradise is not a place but a deep state of consciousness.
The notion of individuals as part of a universe that is singular and separate from the whole is obsolete, as is solid matter and so on. We are deconstructed and dissolved into multividuals, parts, and whole of the multiverses that manifest as reality.
A concept explored time and time again is the question of whether it is us programming it or if it is it programming us, the answer being: both simultaneously; in times like these, a new format of music where the spectator is dissolved is a necessity.
Music that hears you, inside of Æ, you are the music hearing the relentless heartbeats of our decaying biotechnological avatars.”