“Francisco Meirino is a Spanish sound artist based in Switzerland. His music explores the tension between programmable material and the potential for its failure. His interest lies primarily in what is not supposed to be recorded: the end of life of electronic devices, electrostatic noise, magnetic fields and the unconventional use of music hardware and sound systems and how to exploit these sonic failures in radically different ways in his sound pieces. His music combines intricate textures, sonic precision, wide spatial panning and is fascinating by its physical intensity and detail precision. He mostly uses the modular synthesizer (Eurorack-Serge), various microphones, the computer, the field recorder, tape recorders and tape echoes, EMF detectors and various home-made electro-acoustic devices”. (Misanthropic Agenda) 

“A multitude of processes, techniques, and forms unfold and unfurl within the work of Méryll Ampe, an intermedia artist from Paris working through sound, sculpture, and installation using a wide assortment of materials. What is immediately striking about Ampe’s work is the vibrant, non-linear approach to electro-acoustic composition. Here on the debut for Misanthropic Agenda, Ampe liberally reconfigures / deconstructs / genetically mutates all sources: hydrophone recordings of vibrations through skin, analog synths, tape machinations, sequencing programmed through algorithmic variability, and plenty of digital processing

This multi-dimensional overlay through composition telescopes in and out of the body (not necessarily always a human body, it should be noted), through a connectivity with technology that can influence psychological states of being. The work addresses liminality, transitory slippages, and quantum theories of a particle being the two separate places at the same time. If that can occur at the atomic level, why not through sound? W7E stands as a dynamic, polydactyl album reflective of the aesthetics (if not concepts) of Keith Fullerton Whitman, Francisco Meirino, and Bernard Parmegiani.” (Jim Haynes)

Porträt © Bérangère Fromont

“Through the vocabulary of modern noise into the ether of the distorted and fucked, hours of source material were shaped into a concentrated six piece album. Years of friendship, foehood, shit talk and gushing led to this auditory thesis on the state and history of noise. On Prerequisite the olde folk theory “Incapacitants are just distorted fontana mix” gets tested and proven very right and very wrong. Don’t worry, noise can take it. An explosively modern look at America’s great noise Prerequisite.” (Network Glass und Jason Crumer)

@ Misanthropic Agenda

“this album is dedicated to death. i don’t mean death the spectre that installs horror and fear in many (in the western world), nor death the enemy of the (western) for-profit medical system, but death as part of a cycle, like birth. death the only certainty in life. dying, like living, as something that can be done well – or not. death also something that can be a release, a relief, a liberation, the end of suffering, a freedom. this album is inspired by my father’s illness, deterioration and death, and my being his carer for the 15 last months of his life. recording this album started 6 months into that journey, from october 2020 on. it was my father’s wish to die at home, and my siblings and i granted him that wish. the album was sent off to press early June 2021, when my father died.” -dp

@ Misanthropic Agenda