In Apichatpong Weerasethakul’s 2021 film Memoria, Tilda Swinton’s protagonist awakens in the middle of the night to a loud, startling sound with no clear source. The sound seems to follow her around in the days after, repeating at random intervals, but only she can hear it — a mystery that sends her on a journey deep into the Colombian jungle for answers. What she hears, a single note, is jarring and strangely physical, a sort of sonorous thud. It’s also a little musical, like industrial equipment accidentally clanking out a chord, shaking everything around it at a resonant frequency that’s more intriguing than terrifying. Similarly disruptive bass notes are all over Carmen Villain’s latest album, also called Memoria, which takes the bright, fourth-world…

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