No matter who is actually present in the same physical space while Oakland-based experimental artist and field recordist Kathryn Mohr records or performs, she is always alone. Even when her music’s turns toward intense claustrophobia — writhing over a stifled ability to connect with another body in the room — her work aims to convince any ears against the wall that they are catching the last set of layered voices bearing down over the last fuzz-ridden guitar remaining on the face of the earth. There’s no stillness in her isolation either, as 2025’s Waiting Room, her critical breakthrough and debut release with The Flenser, proved. Even in its more muted acoustic meditations, there is the suggestion of boots scuffing against each other to…