Introducing the latest auditory journey curated by Lola de la Mata for CLOT Magazine's mixtape series. Delving into the mysterious realms of sound, the experimental composer presents a meticulously crafted selection of tracks that traverse the boundless landscapes of sonic exploration. Lola de la Mata, a London-born French/Spanish conceptual sound artist, composer, curator, and musician (violin/voice/theremin), boasts a diverse practice spanning performance art, installation, community projects, and electroacoustic composition. Her first release, the feminist concept album REMISE EN BOUCHE (Pan y Rosas Discos 2018), was followed by The Embalmer (Nonclassical 2021) and KOH—Klee—uh (SA Recordings 2022), laying the groundwork for her latest album, Oceans on Azimuth, set for release on May 8th. Currently, Lola’s artistic focus centres around listening and hearing practices, tinnitus and aural diversity, and chronic illness experiences, something she focused on after experiencing a trauma episode herself. Rather than giving up music after developing severe tinnitus and vertigo, as she was told, she decided to listen with a new ear and dive deep into the world of tinnitus to cope with the isolating condition and facilitate the connection between sufferers. For Oceans on Azimuth, she reached out to A.J. Hudspeth in New York who runs the sensory cell lab where they study the cochlea. There, she found collaborators in biophysicists who offered her the unique experience of recording her tinnitus. Drawing inspiration from the intricate forms of the cochlea and the inner ear, Lola's compositions emerge as avant-garde sonic tapestries, woven from the rhythmic pulsations of heartbeats and the ethereal whispers of tinnitus, transmuted through an array of innovative instruments. Metal, glass, ceramic, and ice converge to birth otherworldly timbres, while field recordings and traditional string instruments intertwine with inventions like the Claravox theremin and an ear canal-shaped gong. On the other hand, the artist's influence also extends far beyond the realm of composition. As a multifaceted artist, curator, and musician, her tireless advocacy for inclusivity and representation reverberates through her work. From collaborations with fellow artists (musicians, dancers and queer performance artists, most recently with Eve Stainton to a PhD pursuit in tinnitus research. For this mix, she mentions: I treated the mix as a sonic collection of some of the artists I met and who inspired me along my project journey. With the exception of AYA and Tomoko Sauvage, whom I haven’t (yet?) had the chance to meet, some were chance meetings. Stephan Crasneanscki, founder of Soundwalk Collective and Maria Chávez at Rewire last year, for bagpipe player and composer Lise Barkas and I, it was mutual curiosity sitting by the Niki de Saint Phalle fountain outside IRCAM in Paris; while others such as Kepla are supporters of me and my work, and in Mira Calix’s case, whom this record is dedicated to, she adopted me as her mentee for two years before she passed. The other dedication on the record is to Anneka Swann - a friend who will retain part of my soul…with May 8th, the album release date marking one year since I last held her. Just as sombreness infused with respite flows through my body and left ear. The mix is imbued with grief, reflection and recalibration. Tracklist 1. Left Ear - Lola de la Mata 2. Stereocilia - Lola de la Mata 3. Lo Becat - Lise Barkas & Lisa Käuffert 4. Mummer Love - Soundwalk Collective with Patti Smith 5. ASLEEP-AWAKE-EKAWA-PEELSA, Spring 2021 - Maria Chávez 6. Sinew (Mira Calix Remix) - House of Bedlam 7. Silence - Keeley Forsyth 8. A Clearing, Spectre in Autumn - Kepla 9. Whorling - Lola de la Mata 10. Icky Dream - Valentina Magaletti & Marlene Ribero 11. Pearl Reservoir - Lola de la Mata 12. Clepsydra -Tomoko Sauvage 13. what if i should fall asleep and slipp - AYA 14. Right Ear - Lola de la Mata
