A gentle soprano voice filled the harsh, open concrete-and-cinderblock performance space at Austin’s dadaLab.

The moment marked another Me-Mer-Mo Monday at the East Austin studio and performance space on May 18.

The recurring series features performances by some of the city’s most experimental artists. This installment centered on Hexpartner, a project from Grace Sydney Pham, who offered a blend of choral vocal technique and electronic textures.

While the artist’s traditional singing voice evoked images of the past, the digital-forward instrumentation placed the work firmly in the present — if not beyond.

The multi-instrumentalist’s most recent release, Requiem, is a collection of choral music accompanied by harp and electronic textures, self-described as neoclassical darkwave. Haunting and enchanting in equal measure, the music resides in a dark corner just out of reach of a dim candle’s glow.

The album builds on three full-length releases Pham has issued since October 2023, establishing a distinct sonic palette that shapes a musical identity conjuring images of abandoned palaces and vast, empty landscapes in the quiet of night.

Pham brought that atmosphere into the stark space with the help of dadaLab’s audio-visual setup — a full lighting rig and multi-projector system casting shifting textures across the room — while remaining anchored to a complex array of synthesizers.

“I used to play harp, but then I got injured, so I make electronic music, I guess,” Pham told the audience.

Hexpartner’s gentle presence gave way to the immense volume and thunderous resonance of Ara Cristina Hernandez.

Hernandez’s compositions blend electronic, industrial and shoegaze elements, creating dense, heavy works that sit in direct contrast to Pham’s more delicate, ethereal sound.

The Mexican American producer, songwriter and visual artist — who releases music under her own name as well as Hojascirculares — has said she is “interested in extracting truth from touching the unknown.”

Listeners were guided toward that idea through a series of wall-of-sound compositions that enveloped the room in echoing vocals, droning guitar and swirling synthesizers, edging closer to the unknown.

“I have been working on these songs for a very long time, and I am excited to share them,” Hernandez said during the performance.

The audience responded warmly.

With visuals by DRIP//CUTS, the two sets were further connected through a shared lighting design and projected imagery that carried a cohesive aesthetic across the night.

Together, the performances by Pham and Hernandez formed a kind of musical rhyme, offering listeners a way to begin the week — attentive, present and open to possibility.

Organized by Melissa Seely, Me-Mer-Mo Monday serves as a weekly gathering for experimental, improvised and electronic music, typically featuring live performances, visual art and DJs.

Hosted regularly at dadaLab, the series functions as an intimate, all-ages incubator for Austin’s fringe, modular synth and new music communities.

Both the venue and the event operate as a modern salon, offering a welcoming space where artists can step beyond the bounds of convention.