GUESTMIX#32: Aghnie – EBM Leather Mix

Artwork by 2084russo


We’re glad to be back with our GUESTMIX series hosting a mixtape by Aghnie aka Ika Jojua, a Tbilisi-based sound and visual artist. His work compasses various facades of sound-related works: Aghnie’s early materials focused on recontextualizing religious and devotional forms of music, experimenting with them utilizing various electronic textures (as can be heard here). As the years went by, productions began to morph and tread on the territory of club music, namely mashing different electronic dance styles, juxtaposing diverse forms of club music, defining & re-defining and hybridizing. This is the case of the latest 8-track Club Envy EP out on the Prague-based Genot Centre May 2017 (limited edition of 55 c22 tapes coming with an artwork by DVDJ NNS). Truly one of the best EPs out last year, “these crystalline synth tones suggest a new idiom, a fluent musical mother tongue connecting the most unlikely of worlds: a long forgotten utopian civilisation to the immediacy of the club, the mythos and ancestral forms of the folk orchestra to a virtual wonderland of texture maps, mutating grains and realer-than-real instrument renderings” [via].



Before Club Envy, never quite comfortably standing on any particular sound territory, Aghnie released a bunch of materials, contributing to various sound-art projects, theater, exhibition, video & collaborative works and making mixes relentlessly for various radio and net-based magazines. Titled ‘EBM Leather Mix’, and spanning almost 1 hour, GUESTMIX#32 opens up to the new industrial / EBM / acid direction the Aghnie project will be taking in the immediate future. Push the button!

Follow Aghnie on FacebookSoundcloud, Tumblr, and Bandcamp.


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PAYNOMINDTOUS is a non-profit organization registered in December 2018, operating since late 2015 as a webzine and media website. In early 2017, we started our own event series in Turin, IT focused on arts, experimental, and dancefloor-oriented music. We reject every clumsy invocation to “the Future” meant as the signifier for capitalistic “progress” and “innovation”, fully embracing the Present instead; we renounce any reckless and ultimately arbitrary division between “high” and “low”, respectable and not respectable, “mind” and “body”; we support and invite musicians, artists, and performers having diverse backgrounds and expressing themselves via variegated artistic practices.