DMA2

About

From the heart of Bordeaux, DMA2 thrived in the interstitial spaces of sound and vision from 1984 to 1988. Not merely a label but a crucible for the French underground, DMA2 sculpted a liminal landscape where cassette culture intertwined with the tactile realm of print and photography. Eleven releases, each a node in a fractal network of creative energies. Anne Gillis, a sculptor of sound, emerged from the folds of DMA2 with her visually charged "Anne Gillis at Divergences Divisions 5" (1988). The release, a convergence of auditory and visual stimuli, stood as a testament to the label's interdisciplinary ethos. Meanwhile, "Collaboration Through The Mail 83/84" (1987), a tape by Jean-Louis Houchard and Masami Akita, exemplified DMA2's commitment to process-driven artistry, a dialogue between continents rendered on magnetic tape. DMA2's aesthetic was processual, a series of creative experiments embodied in the diverse formats of its output: seven cassettes, two magazines, a solitary LP, and a photograph. "Le Sens Positif" (1987) by Étant Donnés, captured on vinyl, resonated with the raw energy of Bordeaux's experimental current, while "Confessions D'Un Masque" (1985) by DZ Lectric & Anthon Shield echoed through the compact hiss of a C60 tape. The label's catalog was a collaborative tapestry, where regional influence and DIY ethos intersected, crafting a space for voices like Conditions Extr;M: in "Organisations Sonores" (1987) and various artists in "Un Destin Si Funeste" (1986). These releases, like the whispers of an era, remain resonant artifacts in the archive of experimental music.