Predominately working as a film director and visual artist, since the late 2000s Carlos Casas has occupied a remarkable double life with his work in sound, producing a handful of full lengths and EPs over the last ten years that span the worlds of musique concrète, electronic, electroacoustic, and ambient musical composition.

Casas’s contribution to the MMXX series, 1883 - Sound Model I - his second release with Matière Mémoire - is an uncanny electroacoustic composition that incorporates field recordings, synthesis, and acoustic sources. Building on a bedrock of material drawn from the natural world - bubbling water, birdsong, rain, environmental sounds - electronic pulses drive the work forward in hypnotic rhythm, before giving way to detain laden expanses of ambience, largely constructed from field recordings, that render surprisingly imagistic, abstract narratives of elastic potential.

Consuming, if not outright riveting, 1883 - Sound Model I is among Carlos Casas’s most ambitious and accomplished musical endeavors to date.  Casas has always been fascinated by the archaeology of sound, the idea that places hold acoustic memories that can be excavated and reconstituted through careful listening and creative transformation. With 1883 - Sound Model I, he pushes this concept to its limits, creating a work that feels genuinely haunted, populated by ghosts of sounds that may or may not have ever existed in quite this form. The result is a deeply immersive listening experience, layers of processed field recordings, synthesized tones, and unidentifiable textures combining into something that transcends conventional categories.