Berlin based sound artist, DJ and field recordist Jake Muir was infatuated with sound from an early age, surrounded by California's buzzing, whirring sonic landscape and his father's collection of beachfront rock LPs. So it wasn't surprising when, as he developed his ear, Muir was drawn to work that dexterously manipulated these elements, particularly musique concrète, field recording and experimental turntablism. He approaches his practice as a listener first, carefully choosing, layering and processing sounds that help him deconstruct and contextualize his lived experiences and influences. Using investigative software methodologies, DJ techniques and the engineering skills he acquired while studying in Berlin, Muir makes deeply personal sonic art that fluidly traverses genre membranes, encouraging reflection and sometimes prompting psychedelic states.

In 2018, on the acclaimed, Sferic-released 'Lady's Mantle', Muir heavily manipulated sampled elements from classic surf-rock tracks, paying tribute to his upbringing in Los Angeles. Turning these familiar sounds into billowing textures and syrupy hallucinogenic drones, he began to form a unique sonic signature that he's been refining ever since. And with 2021's 'Mana', released on Munich's cult Ilian Tape label, he embraced the misunderstood "illbient" sub-genre - a New York City born style that fused hip-hop and dub elements with industrial and experimental sounds - repurposing its hallmarks to consider the relevance of those concepts in a new era of musical hybridity. Not willing to be pigeonholed, Muir formed an unlikely partnership with guitarist and producer Evan Caminiti a year later. Applying his sound design experience to Caminiti's death metal-inspired improvisations, he sculpted gusty soundscapes on 'Talisman', an album described by Boomkat as "anti-ambient".

Muir devised his most personal statement yet in 2023, examining gay cruising culture and its implications with 'Bathhouse Blues'. Inspired by a series of lengthy mixtapes that Muir pieced together to evoke the sensuality of the gay bathhouse experience, the album itself was birthed after an invitation from Paris's GRM to perform at their 'FOCUS #4' concert. Muir took this opportunity to examine the cultural undercurrents within the gay lifestyle and its implied pleasures, sourcing his sounds from vintage porn soundtracks and turning them into viscous concrète environments that challenge and arouse in equal measures. Struck through with his mischievous sense of humor, the material is a testament to Muir's dedication to self-observation and constant research, a distinctive statement that promotes deep listening without ever forcing it.