{"title":"Rvng Intl","description":null,"products":[{"product_id":"contact-2","title":"Contact","description":"\u003cp\u003eGreg Fox’s \u003ci\u003eContact \u003c\/i\u003eis an extension and evolution of the multidisciplinary artist’s rigorous, virtuosic sound-making practices. On \u003ci\u003eContact\u003c\/i\u003e, the devoted performer, intrepid composer and avid collaborator channels an alchemy of influences and ideas through the kinetic exchange of human and percussive forms. Produced and mixed by Randall Dunn, \u003ci\u003eContact\u003c\/i\u003e sees Fox accessing ever more raw and ruminative states, processing the tumult of sentience into stick-hit-drum. \u003c\/p\u003e\u003cp\u003e2017’s \u003ci\u003eThe Gradual Progression\u003c\/i\u003e introduced Fox’s synergistic relationship with Sensory Percussion music technology, a conspiratorial force in developing his gestural jazz and metal mathematics into four-limbed polyphony. With Dunn tasked to further Fox’s gradual progress, the two focused their combined energy on the intricacies of sound design during an intense, immersive recording process. On the other end of the deep dive, the duo had yielded something ritualistic and minimalistic, both building on and stripping back Fox’s previous work while welcoming an honest and cathartic weight and collaboration. \u003c\/p\u003e\u003cp\u003eThroughout \u003ci\u003eContact\u003c\/i\u003e, melody-blossoming rhythm patterns are interceded by straight, unadorned drumming. The album grows silence into sound with its opener, \u003ci\u003eVedana\u003c\/i\u003e, a clamor of tuned percussion ringing out into space. By its third entry, the palpating \u003ci\u003eContact (sukha and somanassa)\u003c\/i\u003e, we are transported to an intimate situation, as if sitting on the drummer’s throne. Fox’s mesmeric playing is both technically impactful and electrically spontaneous from this vantage, which we return to again with a brusquer \u003ci\u003eContact (dukkha and domanassa)\u003c\/i\u003e and its liberated conclusion \u003ci\u003eContact (upekkhā)\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eTransformative manifestations of interior states are released between, in the epic rise and fall of \u003ci\u003eArising and Passing \u003c\/i\u003eand \u003ci\u003eFrom the Cessation of What,\u003c\/i\u003e where melodics arrive in spurts before flowing freely along with barreling percussion. And then there’s the slow deliberation of \u003ci\u003eCalming the Bodily Formation\u003c\/i\u003e, a simple resounding ostinato stabilizing fervent energies. \u003ci\u003eContact \u003c\/i\u003ewas delivered during a period of intense creative, emotional and spiritual growth. \u003c\/p\u003e\u003cp\u003eFox takes the concept of sensation and pushes it beyond its technical potential into philosophical realms. While a reference to the instrumental impact, \u003ci\u003eContact \u003c\/i\u003ealso embodies the phenomenon of sensation in lived experience, and Buddhist notions about painful and pleasant physical and mental sensations, from which one may be liberated through internal process. We are offered a close, confidential perspective on this process through \u003ci\u003eContact,\u003c\/i\u003e as Fox works through the impact before us. \u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"Blue | LP","offer_id":50390919348555,"sku":"1092293","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1a99dab4-4d83-44af-8e4c-a649d1a398e4_thumbnail_4096.jpg?v=1726396044"},{"product_id":"soaring-wayne-phoenix-story-the-earth-and-sky","title":"Soaring Wayne Phoenix Story the Earth and Sky","description":"\u003cp\u003e\u003ci\u003esoaring wayne phoenix story the earth and sky\u003c\/i\u003e is the debut album from multi-disciplinary British artist Wayne Phoenix. Originally conceived over a decade ago as one part of an elaborate project encompassing music, film, and performance, story the earth and sky is not only a profoundly personal and vulnerable expression unbound by Phoenix’s exploration of creative potential and mystery, but a bridge beyond the artificial boundaries that separate us all from an unfiltered voice within us all.\u003c\/p\u003e\u003cp\u003eThe impetus of this album formed around a musical improvisation that occurred in 2009 between Phoenix and Richard, a man who he was working with as a support client. Richard suffered from severe autism, and had been labeled as non-verbal. But as Wayne sat down to play the piano one day with Richard in the room, he was met with some surprising behavior. Richard began uttering some simple phrases over Wayne’s piano, his speech interplaying with the melancholic chords.\u003c\/p\u003e\u003cp\u003eMoved, if not transformed, by the event, Phoenix began developing a vocal style in tune with our natural, unmanufactured voice as a means to accomplish boundless interconnectivity. He searched for “the voice of the child within, which has no concept of the world it inhabits, nor any means to navigate that world.”\u003c\/p\u003e\u003cp\u003eThis realization spurred a deeply creative period for the artist, spanning nearly fourteen years to date. Originally conceived as one part of a multimedia project, soaring wayne phoenix story the earth and sky, communicates the core of the artist’s creative intentions. Phoenix says that “all these works to date are the by-product of something else, which has manifested as music and has been spread over various artistic formats, not limited to any one specific discipline.”\u003c\/p\u003e\u003cp\u003ePhoenix perpetuates this hazy aura of his work, stating “if it came to finding the converging principle that ties it all together, one could find oneself in a position similar to Rumi’s story of the elephant in the dark, in which each person felt a different part of the elephant and considered it to be the whole”\u003c\/p\u003e\u003cp\u003eMirroring this theme of subjectivity, the first half of story the earth and sky starts in abstract, words and thoughts left hanging in the ether. Phoenix’s broken, spoken word obscures itself in melodic white noise and distortion. As we reach the middle of the record, the smoky sound of the opening pieces begins to clear, making space for a melancholic yet musical manifestation of Phoenix’s work, that while still somewhat disarming, soars to higher heights. soaring wayne phoenix story the earth and sky focuses on the artist’s internal search and dissolves in the surrounding ambiance before eventually, and undeniably, arriving outside and beyond itself. A powerful, intentional debut from an artist determined to find and define a new form of expression.\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"Black LP","offer_id":50393026036043,"sku":"2046964","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/soaring_wayne_phoenix_story_the_earth_and_sky_68ac2144_thumbnail_4096.jpg?v=1726412759"},{"product_id":"tin-iso-and-the-dawn","title":"Tin Iso and the Dawn","description":"\u003cp\u003eAcross the arc of Tristan Allen’s epiphanic, four part journey, Tin Iso and the Dawn, the New York based composer and puppeteer brings sonic life to a fantastical realm of characters whose universal longings mirror our own. In the first release of this mythic trilogy, intricate sound design and spellbinding leitmotifs make sense of loss and what’s beyond.  \u003c\/p\u003e\u003cp\u003eFormative exposures by way of travel through Asia, studies in Gamelan, a paper mache Christmas angel, and their dad’s Bread and Puppet Theater artifacts formed a web of inspiration from which Tristan’s desire to combine puppetry and their fascination for the narrative power of instrumental music emerged. Years of synchronistic inspirational encounters with “guardian angels” in the form of music mentors and puppeteer masters incentivized Tristan to pursue a project where they could focus on sound and diverse instrumentation.  \u003c\/p\u003e\u003cp\u003eThrough this impulse, Tristan ceremoniously constructed the imaginary world of Tin Iso and the Dawn, loosely based on Wagner’s three act opera Tristan und Isolde. Composed and recorded between 2015 and 2022 across apartments from Boston to Brooklyn, with field recordings from locations of vivid sentiment: Upstate New York—where Tristan grew up, Quebec—where most of their close family lives, and Japan—where they lived briefly as a child, each moment of Tin Iso glimmers with nostalgic immediacy and the prescience of new voyages unfolding. \u003c\/p\u003e\u003cp\u003e By composing for acoustic instruments, arranging and processing electronically, and performing the music through puppetry, Tin Iso emerged as the project that could finally satisfy Tristan’s desire to consolidate and cohere wideranging musical interests and an unyielding fascination for fantasy and myth. Combining music and puppetry allowed Tristan to build an imaginary world from scratch. Channeling their awe of folklore through a love of storytelling and the liberatory potential of musical composition, Tin Iso quickly took shape as a creation myth, a fable of how things came to be for a world Tristan hopes to traverse for years to come.  \u003c\/p\u003e\u003cp\u003eMotivated by an intentional focus to compose sound beyond the familiar, Tristan’s four-part terrain opens with isolated piano, in contrast with the electronic interiority to come, as a portal through which to crawl towards fantastical adventure— then closes in piano again; such that the one way out of the album is the way one too must enter. The four-part symphonic structure invites total immersion into the shimmering splendor of Tin Iso’s mythic landscape. Moving swiftly through melodic fluctuations and buoyant sound design, each moment is an invitation to walk alongside the characters, deep in the woods, through a world of illuminated shadows, all culminating to a sunrise and life that begins anew—then stretches beyond. Tin Iso is Tristan’s attempt to make sense of everything in the dark once luminescence descends.  \u003c\/p\u003e\u003cp\u003eAs a live performance, Tin Iso and the Dawn is a transfixing display of mythical production. The album transmits every bit of this visual splendor through Tristan’s effortless compositional agility and surprising sound design. Tin Iso offers a chance to explore and conjure and project one’s own inner story onto fantastical realms-in-the-making. The many desolate and mesmerizing terrains of Tin and Iso’s world provide the listener the chance to be the protagonist of their own yet-untraversed worlds. Deified by a desire to discover their own journey and perceive what lies within and before them, characters Tin and Iso, carried by evocative melodies and brilliant tonal structures, journey through a land of shadowed instrumentation. A mini electronic homemade orchestra provides pathways of audial reverie, guiding the way through four acts of aberrant territories and ethereal arrivals.  \u003c\/p\u003e\u003cp\u003eTristan’s experimental mode of storytelling renders each act a rich expression of tonal possibilities and ritualistic splendor. “Puppeteers tell true lies, developing that craft feels like magic and is well worth the difficulty. It’s primal, raw, direct and makes people want to believe.” In the desolation of “Act III: Land and Growth,” sound is the light that illuminates and textures the narrative depths. Chiming distortion takes the shape of trees enshrouding every path, foresight is obscured by disharmonic haze as the journey continues onto “Act IV: Death and The Dawn” where life ends, then begins anew. Belief begins anew, populating the melodic spectrum once more.  \u003c\/p\u003e\u003cp\u003eEncompassing the breadth of a complex odyssey, each act delivers unparalleled, emotional singularity, careening as effortlessly as candle light gradients in flicker, radiating between iridescent symbologies of light and dark. 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A lush collection of transmissions from this warmly fading world, we hear a culture and ecology through the sentimental ear of their last witness.  \u003c\/p\u003e\u003cp\u003eDoran was an early collaborator in the making of \u003ci\u003eSeason\u003c\/i\u003e, helping define the game’s imaginary world and emotional tones. His past work in music has taken many forms including site-specific audio installations, compiling the acclaimed Kankyō Ongaku: Japanese Ambient, Environmental and New Age Music 1980-1990, and his own humanely futuristic work as half of Visible Cloaks. Each pursuit found relevance within the soundtrack of a video game that takes place in an invented culture living out its final days.  \u003c\/p\u003e\u003cp\u003e\u003ci\u003eSeason\u003c\/i\u003e is about what it feels like to be alive in a certain time and place, and to capture that feeling for the future. The protagonist of the story, Estelle, is a photographer and sound recordist, working with her microphone, camera, and journal to uncover the complexity of an environment facing erasure. This documentation is not mere salvage anthropology, but a key to understanding Estelle’s own past, and also a meditation on our present.  \u003c\/p\u003e\u003cp\u003eSound and music factor heavily into the interactive and narrative aspects of \u003ci\u003eSeason\u003c\/i\u003e; the character is equipped with a free-form audio recorder used to capture and playback any sound heard in the game and trigger revelations about the world around her. These sounds are at times musical, and we hear them interwoven with Doran’s score throughout the soundtrack: an organ played by mountain air, a ratchety mechanical music box echoing out communal “sleep music” for a village, an aeolian harp played by gusts of valley wind, imagined exotica cranked from the hi-fi of an old monk.  \u003c\/p\u003e\u003cp\u003eRather than simply composing songs and placing them into a 3D context, Doran worked with Season’s audio team to arrange the soundtrack for an abstract and evolving experience within Audiokinetic’s Wwise, a software designed for managing complex systems of audio for gaming platforms. Within \u003ci\u003eSeason\u003c\/i\u003e, the environmental music uses what Doran refers to as a “Venn Diagram model” for tonal layering, where “different modular layers of various pieces are dispersed across wide areas and overlap with each other as you traverse the landscape, with randomized elements creating continuously different combinations”.  \u003c\/p\u003e\u003cp\u003eThe score functions as “musical wind” – sound fragments that drift and swirl around with the same behavior as the acoustic biome of the landscape. As a composer writes for each instrument in an orchestra, Doran writes with the voices of landscapes, gusts of wind, esoteric imagined instruments, and drifting radio broadcasts. The music renders an unplaceable specificity of feeling, like German Fernweh or “far sickness”: a homesickness for somewhere you’ve never been before. We can hear the influence of early 20th century impressionism, Ravel, Satie, Debussy, Déodat de Séverac, particularly in the piano pieces. Elsewhere, other historical instruments are heard: viol, harp, flute, portable organ (petite orgue), celesta - all within the crisp hyper-real space Doran is known for exploring in Visible Cloaks.  \u003c\/p\u003e\u003cp\u003eBoundaries are blurred between the natural world and the non-diegetic score, functioning not as a superimposition on the sound world but rather an extension of it, drawing from composers that worked adjacent to the field of acoustic ecology like Hildegard Westerkamp and R. Murray Schafer, as well as research by Steven Feld and José Maceda about, according to Doran, “the mirrored reflections of the natural world heard within traditional music forms.”  \u003c\/p\u003e\u003cp\u003eCondensing these rich, changing networks of sound into a traditional soundtrack release presented a challenge to Doran, but this is music to live in and explore, regardless of the format it is expressed. The songs seep into your bones. 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The vinyl edition expands on the spirit of correspondence with poetry readings by Zoe Brezsny, Ivanna Baranova, Tessa Bolsover, Jessica Rae Elsaesser, and Luciá Hinojosa Gaxiola, assembled by Breszny and RVNG.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSalutations signals a series of meetings, greetings, group assemblies and exercises along the invisible plane created through correspondence. This is the inaugural compilation of new music from RVNG, inspired in part by a collaboration with Adult Swim. The question of how similar we are arises in the simple form of contact, and how we choose to embrace the potential of that moment and one another. Through correspondence, we connect, communicate, and form community. At first, correspondents with one another, and through the processes of collaboration and transmission, we correspond to parallel and intersecting collective cores.\u003cbr\u003e\u003cbr\u003eThis eternal network, perhaps informed (consciously or subconsciously) by some celestial or spiritual force, becomes a portal to practice social responsibility and an access point to a wider, inclusive universe of information. In turn, the network becomes a human phenomenon, as well as a potent demonstration of art and collectivism. As the world heals, and evolves through future changes, having this network in place provides a vessel to and grow \/ glow beyond our corporeal state.\u003c\/p\u003e\u003cp\u003eOn behalf of Salutations, a portion of the proceeds from this release will benefit A.B.O. Comix, a collective of creators and activists who work to amplify the voices of LGBTQ prisoners through art, and link them with freeworld penpal\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"Clear | LP","offer_id":50419026690379,"sku":"1145805","price":23.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/24b19e1f-43c6-41e4-b155-f47dde959d97_thumbnail_4096.jpg?v=1726745078"},{"product_id":"ay","title":"Ay!","description":"\u003cp\u003e\u003cb\u003e \u003c\/b\u003eLucrecia Dalt channels innate sensory echoes of growing up in Colombia on her new album\u003ci\u003e ¡Ay!\u003c\/i\u003e, where traditional instrumentation encounters adventurous impulse and sci-fi meditations on atemporality in an exclamation of liminal delight.\u003c\/p\u003e\u003cp\u003eDalt’s introspective approach to composition, last surfaced on her entrancing 2020 album \u003ci\u003eNo era Sólida\u003c\/i\u003e, refracts across\u003ci\u003e ¡Ay!\u003c\/i\u003e in a subconscious spectrum of the music genres she absorbed as a child. Treasured sounds and syncopations of bolero, mambo, salsa, and merengue rooted in Dalt’s early surroundings awaken on \u003ci\u003e¡Ay!\u003c\/i\u003e and give glow to the album’s contours. The intuitive melodic structures of this music, processed by memory and modular synths, led Dalt to a mirage of her creative origins and the album she has always wanted to make.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e¡Ay! \u003c\/i\u003eis a tincture of rich acoustic textures filtered through the warmth of Dalt’s signature machinic distortion, diffused of easily-defined edges as previously explored on No era sólida and her 2018 album \u003ci\u003eAnticlines\u003c\/i\u003e. Here, vivid incantations of upright bass, wind ensembles and brass form shimmers of harmonic motif, distilled across radiant rhythms. Dalt worked closely with friend and collaborator Alex Lázaro to cultivate new shapes and colors for slowed down tumbaos and bolero percussion patterns. Together they deconstructed the traditional drum kit into serpentine expansions of congas, bongos, temple blocks and timbales, all of which they tuned to dance among Lucrecia’s lucid vocal processions.\u003c\/p\u003e\u003cp\u003eInto this hallucinatory crossing of time and space, Dalt projects a sci-fi mythology rendered through theoretical exchanges with philosopher Miguel Prado. Their mutual interest in consciousness and atemporality summoned the tale of a metaphysical odyssey, cast by Dalt through silken lyrics in her native Spanish tongue. The lush musical world of\u003ci\u003e ¡Ay! \u003c\/i\u003eoffers a soft but obscure landing for an alien entity called Preta, who has gathered a body in the hydrosphere from evaporated dead skin. We follow her first experiences of containment and composure as she navigates our geology and earthly markers of love and time, in contrast with her state as a timeless entity.\u003c\/p\u003e\u003cp\u003eThrough Dalt’s soaring vocals, the intimate monologues of this ethereal being oscillate with the album’s vibrant instrumental arrangements. \u003ci\u003e¡Ay!\u003c\/i\u003e stages a rare encounter between tropical rhythms and sci-fi storytelling, where Dalt devises her amorphous character to explore love without the expected cliches of romantic genres. Dalt brings lightness and humor to the arc of this melodramatic tale, once again shedding the restraints of convention to break boundaries into abstract, fragmentary relics.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e¡Ay! \u003c\/i\u003eis an interjection through which Dalt enters a new dimension in her work – one which connects her legacy of electronic revelations with the moment she reaches a panoramic view of her musical source. In sound and spirit, ¡Ay! is a heliacal exploration of native place and environmental tuning, where Dalt reverses the spell of temporal containment. Through the spiraling tendencies of time and topography, Dalt has arrived where she began.\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"Red | LP","offer_id":50424953307467,"sku":"1158850","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50424952127819,"sku":"1158846","price":14.99,"currency_code":"GBP","in_stock":false},{"title":"LP","offer_id":50424952652107,"sku":"1158849","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/5d968b01-c67a-4280-9667-d1d67826046d_thumbnail_4096.png?v=1726784767"},{"product_id":"in-february","title":"In February","description":"\u003cp\u003eIsik Kural works like a photographer of sound, documenting the passing and returning of time as if material snapshots of life’s temporality. Across the album’s twelve songs, each composed from chance loops and cocooned within the soft container of Isik’s memorable voice and melody play, time is held on to hopefully, impossibly, eternally. \u003c\/p\u003e\u003cp\u003eBorn in Istanbul, Isik studied music engineering at the University of Miami, alighted in New York City, and eventually settled in Glasgow, immersing in a sound design masters and audiovisual practice. While these paths guided him between different projects and cities, a voice was simultaneously growing inside the artist, informed by a vision of the world in its everyday luminosity. This voice was expressed in the lyrical and instrumental waves of 2019's As Flurries, a cassette collection for Italian label Almost Halloween Records. \u003c\/p\u003e\u003cp\u003eIt was during a brief trip home to Istanbul in 2019 that the invisible details of in february were first exposed. While assisting on a session at his old haunt Babajim Recording Studios, Isik happened upon a beautiful piano, the kind “in which you hear a melody with the touch of a single note.” A looped segment from a recording of improvised tinkering on the instrument formed the basis “pillow of a thought,” which christens Isik’s new album. A bed for a passing notion, image, moment. \u003c\/p\u003e\u003cp\u003eAdopting this novel way of working, Isik produced another twelve passages made from loops of unexpected recordings, nothing over three minutes. Eschewing both compositional plans and live performance proclivities, which had informed previous creative explorations, Isik sought a more instantaneous effect. Minute nylon string refrains, lilting synthesizer hums, and a scrap of a chamber recital are collaged with sympathetic verse and synesthetic details captured around Glasgow and activated at Green Door Studios. \u003c\/p\u003e\u003cp\u003eLiterary images also accompany the sensory of in february, weaving wanderlust symbolism through these spiraling studio and field documents. At the center of the album, “lo si aspetta” and “che si aspetta,” are titled after a telling line from Pier Paolo Pasolini’s The Long Road of Sand. Other word works are yoked to this promise. A verse by Turkish poet Gulten Akin, which connects the weather to lost friendship, meets a translation of Sophokles by Anne Carson in “yeniden,” one of three collaborations with vocalist Stephanie Roxanne Ward, pka spefy, on in February. \u003c\/p\u003e\u003cp\u003eIsik treads lightly between the streams of poetry, sound and photography across in february, together impressing an imagistic lightness and immediacy. Although quick as the blink of a camera’s eye or the brush of two hands in passing, the brevity of these works should not be taken for granted: they whisper into each other with elaborate detail, intuitively papered over old and new stories of love and longing.\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"Black | LP","offer_id":50424976146763,"sku":"1142571","price":22.99,"currency_code":"GBP","in_stock":true},{"title":"Pink | LP","offer_id":50424976703819,"sku":"1142572","price":22.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50424975720779,"sku":"1142568","price":8.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/20693673-b874-427b-a709-63f788089941_thumbnail_4096.jpg?v=1726785006"},{"product_id":"bearings-soundtracks-for-the-bardos","title":"Bearings: Soundtracks For The Bardos","description":"\u003cp\u003eKa Baird returns with \u003ci\u003eBearings: Soundtracks for the Bardos\u003c\/i\u003e, an album that intertwines elements of the New York based vocalist, multi-instrumentalist, and composer’s ecstatic live performances within minimalistic, visceral compositions that expand in scope and sound through collaboration. 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Written and recorded over a period that encompassed the death of his father and the birth of his daughter, the album sees Wada reflecting inward to explore broad narratives being alive, mortality, finding one’s place in the world—through new modes of ecstatic, song-based expression. While the denser forms, stark contrasts, and overt surreality may carry a different weight than Wada’s earlier work, which elicited perceptual effects with minimal means, the heart of \u003ci\u003eWhat Is Not Strange?\u003c\/i\u003e is still in experimentation and unforeseen outcomes. \u003c\/p\u003e\u003cp\u003eWada refers to \u003ci\u003eWhat Is Not Strange?\u003c\/i\u003e as dream music, inhabiting “emotional states that are difficult to pinpoint” and “shapeshifting from moment to moment.” The search for innate truths by way of experiential knowledge of the self was influenced by Wada’s immersion in the writings of the American Surrealist poet Philip Lamantia. 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The album imagines a young musician named Green working in a future dawning era where lost signals and enduring impulses are unearthed from the sediments of technology and time. Across twelve compositions, Green becomes the compass in an epoch of transition; one shaded with pastoral patinas and studded with the fragments of allegorical ruin. As tattered as it is tender, \u003ci\u003eAtlas of Green\u003c\/i\u003e is a patchwork of scavenged relics and bygone hues, cast through the iridescent shimmers of a mid-future in flux.\u003c\/p\u003e\u003cp\u003eMapping new folds in the passage of time, \u003ci\u003eAtlas of Green\u003c\/i\u003e is traced with an aura of sonic urgency which arises through its process-led construction. 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The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment.\u003c\/p\u003e\u003cp\u003eAt the record’s inner core is “Shopping centre curfew,” a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies.\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"Black LP","offer_id":50949461180747,"sku":"2215680","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Throb_shiver_arrow_of_time_16de9ee2_thumbnail_4096.jpg?v=1733683689"},{"product_id":"cosa-rara","title":"Cosa Rara","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eA prolific and limitless musician, performer, composer, and sound artist, Lucrecia Dalt challenges both genre and form, pulling apart familiar elements of pop and experimental music and reassembling them in unexpected ways. Breaking through to a wider audience with her acclaimed 2022 album \u003cem\u003e¡Ay!,\u003c\/em\u003e Dalt has also made a name as a composer for film and TV, including her original, acclaimed score for HBO’s series The Baby and Cannes 2024 feature film winner On Becoming a Guinea Fowl.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eWith “cosa rara,” her new single featuring mixing, production, and a rare appearance by cult music legend David Sylvian, the subject of one’s self becomes an unlikely infatuation. Distilling the highs of love, and sonically translating with production precision and hyper focused clarity, “cosa rara” is a bold return for Dalt, inviting listeners on a thrilling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"7\" - Black","offer_id":51296912769355,"sku":"R0350-1859","price":9.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/click_75285b56-11d8-43a8-a383-a345cf4e1101.jpg?v=1739979521"},{"product_id":"a-danger-to-ourselves","title":"A Danger To Ourselves","description":"\u003cp\u003eLucrecia Dalt’s \u003cem\u003eA Danger to Ourselves\u003c\/em\u003e is a daring yet intimate reflection on the unfiltered complexities of human connection. Stripping away fictional narratives present on the artist’s last several album endeavours, \u003cem\u003eA Danger to Ourselves\u003c\/em\u003e arrives from a place of emotional sincerity.\u003c\/p\u003e\n\u003cp\u003eSonically unravelling like a deeply personal conversation, Dalt’s voice is focal, supported by a lush array of acoustic orchestration and percussive instrumentation, and an esteemed cast of collaborators.\u003c\/p\u003e\n\u003cp\u003eDalt, born in Pereira, Colombia, was raised in a family of music enthusiasts who encouraged her to pick up a guitar when she was nine. Dalt followed this creative impulse, becoming fascinated with computer-based production and leaving a burgeoning career as a civil engineer, moving from Medellín to Barcelona and ultimately Berlin, where she developed her distinctive, adventurous sound.\u003c\/p\u003e\n\u003cp\u003eHer work has spun into increasingly accomplished terrains with \u003cem\u003eAnticlines\u003c\/em\u003e (2018) and \u003cem\u003eNo era sólida\u003c\/em\u003e (2020), and notably, \u003cem\u003e¡Ay!\u003c\/em\u003e, Dalt’s 2022 breakthrough sci-fi bolero album. Along the way, Dalt expanded her practice into scoring for films like \u003cem\u003eOn Becoming a Guinea Fowl\u003c\/em\u003e (2024), HBO series \u003cem\u003eThe Baby\u003c\/em\u003e (2022), and the forthcoming psychological horror \u003cem\u003eRabbit Trap\u003c\/em\u003e, while creating sound installations and performances that showcase her luminous modulations and distinctive, evolving vocal approach.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Danger to Ourselves\u003c\/em\u003e emerged from fragmentary declarations Dalt scribbled while navigating life on tour for \u003cem\u003e¡Ay!\u003c\/em\u003e, and the formative moments of a new relationship. She began crystallising these intimate fragments into musical compositions in January 2024, giving gradual form to a purposeful constellation of songs.\u003c\/p\u003e\n\u003cp\u003eThe album’s sonic architecture builds upon dynamic drum loops provided by collaborator Alex Lázaro, whose percussive backbone, as on \u003cem\u003e¡Ay!\u003c\/em\u003e, became a canvas for Dalt’s layered vocals. Rather than following conventional melodic structures, the album generates musicality through the interplay of basslines, rhythms, and compositional design.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Danger to Ourselves\u003c\/em\u003e reveals Dalt’s uncompromising quest for sonic clarity, where bold production choices and meticulous recording techniques encourage both voice and instrument to harmonise with newfound depth and radiance. Distinctly anti-conceptual, \u003cem\u003eA Danger to Ourselves\u003c\/em\u003e is a poetic instinct by which Dalt ushers in an unobstructed focus on the music itself, using vocals that vibrate past the songs’ parameters, and observing the beaded echoes of primal, romantic thrill.\u003c\/p\u003e\n\u003cp\u003eLucid attention to detail is palpable in every measure, a dedication that spins in concentric circles, forming a field that unifies the personal and ethereal. Drawn from intuitive experiments, the album uses simple gestures and intricate compositions to weave wandering lines, as in “divina,” which moves between Spanish and English through elastic soundscapes and mesmerising auditory collage.\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"LP - White","offer_id":51871858426187,"sku":"R8585-5457","price":26.99,"currency_code":"GBP","in_stock":true},{"title":"LP - Black","offer_id":51871858393419,"sku":"R8585-2099","price":24.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":51871858360651,"sku":"R8585-4675","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/LucreciaDalt-ADangerToOurselves-Packshot_76d28a48-e21f-44ae-8ea8-9c67bb268d22.jpg?v=1752257218"},{"product_id":"tender-wading","title":"Tender \/ Wading","description":"\u003cp\u003eTender \/ Wading finds Matthew Sage, aka M. Sage, in the foothills and pastures of Colorado, writing, recording, and returning to a patch of his homeland and identity, one act of sympathetic care informing the next. Constructed primarily on piano and clarinet, and then embellished with guitar, modular synthesizer, percussion, and field recordings captured around the perimeter of his home, the album is a sweeping, serene vision of vitality, radical softness, and the reassuring sense of coming home, even if home has changed. Since the early 2010s, Sage has assembled an idiosyncratic catalog of music that sprawls in various sound directions, manifesting with releases on Geographic North, Orange Milk, and Moon Glyph, and garnering both critical attention and a loyal listenership present for each new turn. In 2023, Sage debuted on RVNG Intl. with Paradise Crick, which coincided with his ongoing output within the improvisatory ambient jazz quartet, Fuubutsushi, and he now delivers his next solo endeavor and direction. Tender \/ Wading follows Sage’s return to Colorado after nearly a decade in Chicago, now nurturing a couple acres of neglected space with his young family thirty miles outside his hometown. In a holistic contrast to Crick’s synthetic sound-world, Sage renders art from the act of stewarding new growth, questioning constructs of domestic life, and understanding the footsteps of his former self through the dirt-smeared, sweat-fogged lens of the present. The yield is his most autobiographical material to date, marked by time and changes in perception and meaningful details from Sage’s psychic search.\u003c\/p\u003e\n\u003cp\u003eSage likens the sensation of seeing different versions of yourself to the famous rabbit-duck theory from philosopher Ludwig Wittgenstein. “It’s the same drawing, but depending on who you are, where you are, and when you are, some people see a rabbit and some people see a duck, or both,” Sage explains. Here is the subject and viewer, back in familiar landscapes, a partner and parent, cutting back brush, humbled by invasives, infestations, and compacted clay soil, his priorities vastly changed. And still, that other self is there too; a wily academic who often thinks in memes and feels the tug of a cell phone in his pocket. “This album is about feeling out those perception changes, giving them room to do both: to hop and quack.” It is an inner child that leads Sage’s intermedia practice in his studio, a pole barn converted during home-wide DIY renovations after the big move in 2022. Inside, poems become drawings become backyard sculptures and beyond, and silly excursions into birdsong or enjoying the challenge of learning the clarinet give way to serious music. “I think what I’ve discovered is that there are these lines that tie it all together,” he says. “And for this album, there’s a lot of stubborn optimism and hope in it, but also being present with this late-stage moment that we’re in and trying to deal with the rhetoric of it.”\u003c\/p\u003e\n\u003cp\u003eFor Tender \/ Wading, Sage deploys a distinct sound: a pastoral kind of folk Kosmiche, contemplative electro-acoustic barn jazz for the Front Range, brimming with pale puddle blues and rusted oil drum reds. Most songs began on a 1910 Hamilton upright piano, curiously built in Chicago, left behind by the previous owners and inhabited by mice. The chance encounter with the instrument felt cosmic, not just for its link to the Windy City, but also given Sage’s evolving approach to songwriting after Fuubutsushi. He’s become more comfortable behind the keys and getting back behind the drum kit (his teenage love), and within a fittingly woodwind space, embracing the elemental and intentional, giving the music more structural heft and warmth from the onset. Tender’s M. Sage synthesizes the studio experimentation and improvisation of his past with a sharpened ear for melodic phrasings and chord changes, culling his usual bounty of demos down to a tight final nine. His world-building signatures remain, from woodhouse toads swimming in static to rustling grass and rain piddling in the gutters to waltzing constellations under the moonlight. Where Crick’s universe was born from magical realism and digital fantasy, Tender \/ Wading cuts from the human experience more directly. He’s quick to push back on notions of it being a highly conceptual record; “I’m just making the music that I would want to be playing in my headphones while weeding or whatever.” It could be both, as the rabbit and duck would assert, deeply personal and abstract, a fascinating and natural turn from a twenty-first-century experimental artist whose legacy continues to shape and grow in real-time\u003cbr\u003e\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"LP - Black","offer_id":52503761420619,"sku":"R8075-3974","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed-2025-06-24T151620.526.jpg?v=1750774588"},{"product_id":"room-for-the-moon-live","title":"Room for the Moon Live","description":"\u003cp\u003e\u003cem\u003eRoom for the Moon Live \u003c\/em\u003edocuments an ecstatic evening imagined by the prismatic producer and performer Kate NV. Recorded during a one-off show held a few years after the 2020 release of \u003cem\u003eRoom for the Moon\u003c\/em\u003e, the album finds NV coloring inside and outside of her solo persona’s expressionistic lines, fronting an eclectic eight piece band that picks up and expands upon material from her whimsical and endlessly intriguing sophomore album.\u003c\/p\u003e\n\u003cp\u003eFor NV, \u003cem\u003eRoom for the Moon Live\u003c\/em\u003e is more than just a yardstick marking the five years passed between the release of her sophomore album. The recording documents a vital, and since unrepeated, night when the combined sound and soul of the album and members of her musical inner circle provided a space of respite during a particularly heavy and isolating period. “The most important theme of the concert was being a team — together,” NV says, “Playing music and trying to spread joy during dark times. 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Built of drum machines, vocoder, sound collage, theremin, and electric guitar,\u003cem\u003e Remote Control\u003c\/em\u003e reconfigures the language of mass-produced electronics into a form of cybernetic pop.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRather than chase glossy innovation, Weihl reshapes the keyboard preset and drum machine default into something equally nostalgic and synthetic, accessible and experimental. A meditation on our contradictory moment in history, the album reflects on identity, perception, and mediation through sound and image.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLive visuals and music videos extend this inquiry, weaving together green screen, YouTube ephemera, vacation footage, and 3D renderings. 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Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on \u003cem\u003eCloud Time\u003c\/em\u003e held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, “the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by,” she says. “When I began preparing for the tour, I couldn’t shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. 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A collection of original folk spirituals written by and channelled through O’Connor with guitar, electric organ, drum machine and her angelic voice, the album was recorded and mixed in an astonishingly futuristic fashion by fellow nun and recording engineer Sister Marimil Lobregat. Freedom ToSpend offers the first authorised reissue of this holy grail since 1976; the album restored and remastered with care and consideration from the best available sources. As a young Roman Catholic nun in the Franciscan Missionaries of Mary order, Sister Irene’s forays into music began in 1953 when she moved from Sydney to a convent in Singapore and began teaching children with learning difficulties. Acquiring an acoustic guitar and learning three simple chords, Irene’s songs blossomed with the children’s enthusiasm. Serendipitously, a parent of one student worked at a commercial radio station in Singapore, and Irene was invited to the station to perform and record in its studio. She went along, wearing her habit and carrying her guitar, and cut her first original song there in 1965. Under the pseudonym Myiriam Frances, to maintain anonymity within her order (“Nuns didn’t do that kind of thing,” noted O’Connor), Phillips released a series of Sister Irene’s records at the tail end of the 1960s\u003c\/p\u003e\n\u003cp\u003eIt was at the convent in Singapore that Sister Irenemet Sister Marimil Lobregat, a fellow Franciscan nun who moved to the island from the Philippines in the early 1960s. More than a decade later, as if by divine intervention, they reconnected at another convent at Point Piper in Sydney. Marimil, also a musician and sound enthusiast, worked at the Catholic Radio and Television Centre in Homebush, in western Sydney, as an audio and visual technician. Sister Irene, faithfully honing her musical craft, and Sister Marimil hatched a plan to meet at the centre over a series of Sunday afternoons, and create the songs that would become Fire of God’s Love. The songs of Fire of God’s Love are sung in an angelic soprano by Sister Irene (with lyrics spanning English, Latin, and Malay) and produced by Sister Marimil, recorded on aTeac 3340S 4-track reel-to-reel. Marimil was instrumental in conjuring the uncanny otherworldliness that permeates the album. The crystalline fabric of Sister Irene’s voice is held exquisitely in a shimmering mosaic of reverb and analogue synthesiser hum, while momentously ringing out like a bell in the darkness, projecting until truth or the divine appears. Themes such as mercy, grace, light, and mystery are punctuated by a gentle acoustic guitar strum and eternal piano notes spinning slowly on a vibrating thread\u003c\/p\u003e\n\u003cp\u003eFor the songs with keyboards, Sister Irene played all the parts live in real time, including the bass pedals. The drum machine was generated by the same organ she played, and performed simultaneously. All of this lends to an atmosphere of heightened presence, an organic flash helmed deep from the subconscious. Originating from ideas created in a quiet convent and sequestered from worldly influence, the liturgical framework of the album is filtered through the intimate devotion of two Sisters — their own interpretation of pop music stripped of pretension and superficial glamour.\u003c\/p\u003e\n\u003cp\u003eThe album’s title, like many of its songs, stems from a Bible verse, in this case Luke 12:49. But Sisters Irene and Marimil ushered it into a space where all spiritualseekers can appreciate the transmission [Or: unusual hermeneutics]. The lyrics address universal needs, wants, and desires: everlasting love and affection, an end to loneliness, a new form of relief, and deliverance from the fear of death. Instead of hymnal forms, Sister Irene, perhaps inadvertently, utilises folk and psychedelia fashionable at the time to deliver a sermon that reads like love letters to a divine presence, speaking to the soul, beyond any formal religion. Fire of God’s Love is an inspiring archive of early electronic experimentation between two women friends and mystics, a documentation of their divine energy channelled in a disciplined way. Upon initial release, it was neither a flat-out success nor a failure, but was met mostly as a curiosity. The pair never made more music together, and in the 50 years since, their one-off collaboration continues to draw listeners in by way of record shop find (whether the original Phillips pressing or sonically superior 1976 reissue on AlbaHouse Communications) or more likely via YouTube, as a stumbled across and feverishly commented-on cult classic. Today, Sister Irene is living in Sydney, Australia, and is happy that new audiences are finding meaning in her music with Sister Marimil. Her story is a testament that you don’t need much to create a visionary, enduring album: a tape recorder, friendship, the Fire of God’s Love to ignite the pathway forward. 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Known for his atmospheric compositions with Bing and Ruth, as well as his collaborations with guitarist Steve Gunn and Cowboy Sadness, this marks Moore’s first widely shared solo piano album.\u003c\/p\u003e\n\u003cp\u003eLike the cover–a photograph that Moore embroidered by hand–the music abstracts personal experiences into transcendent impressions. Using his piano to meditatively inquire into the human condition, \u003cem\u003eGraze the Bellis\u003c\/em\u003e a sanctuary of sound . Across their numerous releases, Bing and Ruth frequently changed shape and sound, swelling to a fifteen-piece group and holistically arriving at atrio configuration. Their most recent album Species foregrounded Moore’s Farfisa playing, while a subsequent EP of the same name featured his solo interpretations of the record.\u003c\/p\u003e\n\u003cp\u003eThis long arc of distillation has always centered on Moore’s composition for, and comprehension of, the piano. After two decades of acclaimed ensemble work, Graze the Bell’s appearance is a full circle moment, a coming home—not simply to a place or time, but to a luminous center that transcends both. Some of the material on Graze the Bell was originally planned for a Bing \u0026amp; Ruth album, but it was ultimately reimagined as a solo undertaking. Using only the piano, Moore sought to expand upon the reliable methods he had developed over the years. “I want to keep growing,” he says, “and challenge dogmatic ways of thinking.”Actively embracing experimentation and seeking a deeper presence in his playing, he reassessed his relationship to the piano and to life. While Moore’s music is based on composed notations and draws from life experiences, the source of his inspiration remains more ineffable. Consciously nurturing the latter, he developed a natural ability to tune into a trance-like state. Moore can sit down with that intention, “and within a few seconds,” he is “totally there.”From the first note to the last, the album is grounded in the breathtaking tone of a “beastly” 1987 Hamburg Steinway Model D. This is partly to do with his subtle playing style, which at times touches upon silence. Moore’s graceful approach gives space to the sound, revealing hues of the piano that many players would habitually ignore. Such nuances were nurtured in the process of recording the album at the renowned Oktaven Audio in Mt. Vernon, New York. The tone of the studio’s Steinway was vividly captured by the production guidance of Grammy Award-winning Ben Kane with assistance from Owen Mulholland. Reinforcing Moore’s experimental approach, they creatively misused pitch-correcting software to orchestrate the different registers of the piano’s tonal profile.\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"LP - Black","offer_id":55932243804491,"sku":"R6397-9665","price":24.99,"currency_code":"GBP","in_stock":true},{"title":"LP - Sea Marbled","offer_id":56172746277195,"sku":"R6397-1494","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed_13_6ec642f4-821a-4f33-8eec-86fe251280de.jpg?v=1763478360"},{"product_id":"osni-the-flare","title":"Osni the Flare","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eIn \u003cem\u003eOsni the Flare\u003c\/em\u003e, the second chapter of Tristan Allen’s mythic trilogy, finds the composer, producer, and puppeteer following a mortal’s transformation into deity through the discovery of fire. Recorded over four years using wordless vocals, organs, ocarinas, an arsenal of toy instruments, and intricate sound design, \u003cem\u003eOsni the Flare\u003c\/em\u003e unfolds the origins of flame and temporality across four sonically and visually compelling acts. Weaving a creation myth that shifts between beauty, shadow, and wistful embers, Allen provides a portal to meticulously crafted, emotionally potent sound and story that echo through a fantastical realm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eBorn in Saratoga Springs, New York, with early childhood memories from his family’s tenure in Japan, Allen’s path wound through formative encounters including teacher Andy Iorio, who encouraged improvisational techniques in the young musician’s burgeoning interest and prowess at the piano, and Amanda Palmer, who discovered them at 16 during a Berklee summer program and crowdfunded their first release. After studying piano at Berklee, co-founding the live-electronics collective Nue, touring China with metal band Dent, and releasing two solo-piano EPs, Allen fled Boston for Brooklyn in 2018.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOsni the Flare traces a creation myth following the titular character who awakens in a garden and picks apples from a tree. Beckoned by a Loon, Osni sets forth to safeguard the tree from winter’s chill. When the Loon is devoured by a Dragon, Osni ventures into its belly and discovers embers. In offering these embers to the tree, it catches flame—the origin of fire itself. Iso, god of the sea, intervenes with a flood that drowns Osni’s garden. In death, Osni’s soul enters the shadow realm to join Tin and Iso, becoming the deity of fire—Osni the Flare.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecorded almost entirely with an Aston condenser mic in Allen’s Brooklyn apartment overlooking the Cypress Hills Cemetery, Osni the Flare was built from toy piano and flutes, ocarinas, harmonium, pump organ, electric and upright bass, gadgets, and extensive collections of music boxes and bells. \u003c\/span\u003e\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"LP - Black","offer_id":56297993699659,"sku":"R7964-2595","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/c8dc768d-5a59-b664-6c7f-f335ad6ce24e.png?v=1768319020"},{"product_id":"reflections-vol-3-water-poems","title":"Reflections Vol. 3: Water Poems","description":"\u003cp\u003eOn \u003cem\u003eReflections Vol. 3: Water Poems\u003c\/em\u003e, Félicia Atkinson and Christina Vantzou channel their friendship and atmospheric artistry into ceremonial focus. Spoken-word environments and orchestral imagination flow like tributaries into a unified stream, resulting in a collection of dreamlike songs and soundscapes anchored in sea, sky, and stone. Through electro-acoustic instrumentation, voice, and environmental sound, Water Poems invites listeners into a subconscious space somewhere between everyday intimacy and the oceanic enigma from which all life unfolds.\u003c\/p\u003e\n\u003cp\u003eHaving met in 2009, Atkinson and Vantzou have collaborated intermittently, but a 2019 concert at the Philharmonie in Paris catalyzed this endeavor. Now both living in coastal areas (Félicia by the Channel, Christina by the Mediterranean), the sea naturally became their muse. “The sea was not taken as a monolithic postcard,” Atkinson clarifies, “but more a person, per se; an energy, a mystery, a complex character we face every day, as human beings living by the sea.” In conversation with the land and shoreline, their language and sound-making took on a sacramental character. “A ceremonious feeling, a feeling of being in service, runs deep on this record,” Vantzou notes. “I’ve felt this before, but it’s stronger here in process with Félicia.”\u003c\/p\u003e\n\u003cp\u003eVoice, breath, and aqueous textures mark the tone of Water Poems’ maritime mystery. New in Vantzou’s practice and long a defining feature of Atkinson’s work, their spoken word gains relational intimacy here, addressing one another and the waterfront. The language was collaboratively assembled over two years. With radical innocence, it guides awareness to the hidden buoyancy and subconscious streams coursing through life: “How can a boat float? How can a plane fly? How can a body swim? How can a person dream?”\u003c\/p\u003e\n\u003cp\u003eWhat began with close-mic’d voices and field recordings grew to include synths, gongs and metallophones, piano, vibraphone, Rhodes, guitars, and Mellotron. The tidal piano of the opening track, “Film Still \/ The Sea,” draws us into the album’s subconscious waters. Included are field recordings Vantzou captured at Delphi, near the legendary oracle of Pythia—her Greek heritage adding another layer to this ancestral site. Voicing our geological heritage, this track, and Water Poems as a whole, call for coastal conservation and a deepening relationship with our coastlines—part of the album’s proceeds will go to Arion, a non-profit conservation program for the Greek Mediterranean Sea.\u003c\/p\u003e\n\u003cp\u003eLongtime friend and collaborator John Also Bennett contributed electric guitar, lap steel, and voice on “Scorpio Purple Skies,” the album’s cosmic finale. This lush instrumentation serves the album’s sci-fi vistas and ceremonial atmospheres.\u003c\/p\u003e\n\u003cp\u003eWater Poems was recorded at The Old Carpet Factory, an 18th-century mansion on the Greek island of Hydra; the 16th-century Villa Medici in Rome; and Les Dunes, Atkinson’s home studio in Normandy. More than the historic prestige of these sites, it was the palpable history of their landscape that shaped the music. Atkinson says they were drawn to “places with strange magnetisms.” At Villa Medici, “stones and minerals guided the spoken word element,” she notes. “We are both invested in feeling, atmosphere, and sound,” Vantzou adds, “what it evokes and invokes and what it is serving. In our case we are focused on the basic elements: water, air, rock, cosmos… all vital to life.”\u003c\/p\u003e\n\u003cp\u003eWorking from the island of Crete, Vantzou completed the final mix exchanging files with Atkinson. Still dialed into the coast, their mixing process was comfortably patient and shaped by vital pauses.\u003c\/p\u003e\n\u003cp\u003eWater Poems echoes what marine biologist Rachel Carson reminds us: “To stand at the edge of the sea… is to have knowledge of things that are as nearly eternal as any earthly life can be.” It ritually celebrates this oceanic feeling as a vital source of serenity and intelligence. 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Chang’s songs are an exercise in communication, probing the tension between idiosyncratic personal experience and the drive to understand, and be understood, through a collective language. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFor “I Can Feel the Waves,” Chang’s new single and debut on RVNG Intl., a piano-centric melody is ornamented with primitive electronics and poetic vocals. The track boldly demonstrates Chang’s strength for unconventional yet contagious songwriting, and pioneers a genre the artist refers to as “slacker prog”: roomy and playful, offbeat and occasionally jarring, brimming with spiritual and emotional resonance.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe b-side, “Marry,” is a rollicking yet laid-back composition, with undaunted wobbly kicks bubbling under pianistic textures until a dialogue, acted out between Chang and Sylvia Gorelick, takes the foreground in the final moments of the track. As the instrumental carries its freewheeling pulse forward, the conversation, inspired by films like Kenneth Lonergan’s Margaret and Catherine Breillat’s Fat Girl!, along with Broken Social Scene’s “Anthems for a Seventeen-Year Old Girl,” turns toward the relationship between internal subjectivity and the external necessity of “staying small.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhere is Frances headed from here? A piano is at the center, synths and strings swelling around its shoulders. A little less tension, a lot more production. Some shadows will be encountered, some forgotten skeletons unearthed. Music excavated from the subtler, deeper layers of cerebral and shared experiences. Music that is truly its own.\u003c\/span\u003e\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"7\" - Black","offer_id":56432629580107,"sku":"R3492-4657","price":9.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2000x2000bb_65ba2d5e-e58d-4333-9bd7-bbdd760391b8.jpg?v=1769871030"},{"product_id":"paradessence","title":"Paradessence","description":"\u003cp\u003e\u003cem\u003eParadessence\u003c\/em\u003e, Visible Cloaks’ third full length, is a work of emergence and illusion. The album’s fourteen songs shift, heave, and shimmer against a faintly luminous backdrop of night, a cavernous space shaped by sparse hyperreal representations of the natural world. The arrangements are simultaneously grandiose and fragile, both an inversion and culmination of what came before and as adventurous as anything they’ve produced so far.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eSince transforming from Cloaks to Visible Cloaks in 2014, Spencer Doran and Ryan Carlile have mapped a complex matrix of oppositional concepts: organic and artificial, chance and deliberate, authentic and replicated. The album title itself, drawn from author Alex Shakar’s satirical portmanteau of “paradoxical” and “essence,” reflects these tensions directly: the paradessence of consumer product is the “schismatic core” that gives rise to its desirability (in Shakar’s example, coffee is desired because it is both relaxing and stimulating simultaneously). The balancing act of Paradessence brings these strains into greater urgency as life in the 21st century is reordered by these same tensions.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eSilence is an important character in Paradessence, felt not only in the sculpting of sound but in the pressure it exerts on everything and what emerges. The group took influence from architectural theorist Christopher Alexander’s concept of “positive space,” an idea that the same degree of care can be given to the shape of the void around an object as the construction of the object itself. We hear how sounds carry their own silence, oscillating in and out of existence, running through life cycles like a microorganism.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThere is a collectivity to the instruments that underpin \u003cem\u003eParadessence\u003c\/em\u003e. They move like a herd, as when wind drifts over a field of leaves and the air becomes visible in the absence of motion; multiple species cohabit the same song, protruding, receding, and transforming over the course of several minutes. “Instead of creating pieces that function horizontally as environments,” says Doran, “we wanted to conceptualize them as living material changing in space, continually in flux.” Song-forms steer away from ambience towards pure abstraction. Utopianism hovers at the edges; a relationship to imagined futures which is neither naïve, cynical, nor nostalgic.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe world Visible Cloaks have built over time is often rendered physical by collaborators, a familiar cast of whom return for Paradessence. Motion Graphics (Joe Williams) makes an appearance on “synthetic woodwinds” and also co-mixed the album, contouring its shapes with his signature sheen. Interlinked pieces “Shapes” and “Thinking” were developed with environmental music innovators Yoshio Ojima and Satsuki Shibano, who also worked with the duo on the intergenerational FRKWYS collaboration serenitatem. The latter piece features a spoken text written by Ojima, read in Japanese by Shibano and in French by composer and longtime friend Félicia Atkinson.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eComponium Ensemble, Doran’s “indeterminate chamber music” project of self-playing software instruments, provides the infrastructure for “System” in a moment of Pessoa-ian heteronymity. The album also features Ioana Șelaru, a Romanian composer and violinist who lends her voice and string playing to “Intarsia.” Doran describes their collaboration as “an exercise in illusionary presence” which they jointly developed from “the idea of juxtaposing her real instrument playing with virtual instruments to blur the boundaries between synthetic string instruments and those existing in reality.”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eȘelaru’s charged performance on “Intarsia” is a clear demonstration of the dramatic core of Paradessence: an urgent sculptural undertaking, an instrument and a human voice modulated by a sea of synthetic growth. Doran describes how for him “this slippage between the real and the virtual captures something else entirely, something strange and ineffable that is an inherent aspect of life in digital modernity, both online and in real life.” It is electronic music which not only conjures an abstract representation of our current dream reality through its shifting forms but builds imagined spaces which are emotionally nuanced and rise to moments of grace.\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"LP - Silver","offer_id":56536513610059,"sku":"R9499-9559","price":23.99,"currency_code":"GBP","in_stock":true},{"title":"LP - Black","offer_id":56536513642827,"sku":"R9499-9171","price":22.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":56536513675595,"sku":"R9499-5022","price":11.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/CargoRecords-242115711252949-6470741246813929874-VisibleCloaks-Paradessence.png?v=1771338626"},{"product_id":"demand-to-be-taken-to-heaven-alive","title":"Demand to Be Taken to Heaven Alive!","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eThe music on Horse Lords’ \u003cem\u003eDemand to Be Taken to Heaven Alive!\u003c\/em\u003e feels both impossibly detailed and eminently human. The twelve pieces assembled are layered, interwoven, tonally and rhythmically complex - moiré-like patterns of interaction and tessellation that play out for both mind and body, full of sonic warrens with an inescapable groove. Artists aren’t necessarily scientists, logicians, or spiritual leaders, but through their personal understanding of order and experience, they provide experiential access to heightened states of both materiality and immateriality.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHorse Lords were founded in Baltimore in 2010; they evolved from another group called Teeth Mountain and began as a trio with guitarist Owen Gardner, bassist Max Eilbacher, drummer Sam Haberman, soon adding alto saxophonist Andrew Bernstein to the core ensemble. Though the quartet grew out of a fertile noise and experimental rock scene, a storied environment for artists and weirdos that has nurtured many an influential outsider band (Lungfish, Matmos), their approach across six albums, various collaborations and as a celebrated live act has been more omnivorous than the stippled rhythms of instrumental electric rock would indicate. For this outing, they are augmented by bass clarinetist Madison Greenstone, trombonist Weston Olencki, and in a first for Horse Lords, vocals courtesy Nina Guo and Evelyn Saylor.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe process of constructing D2BT2HA! involved geographic hurdles, as the unit’s four members have lived in different cities since 2021. Given sixteen years as a working band, their shared language transcends locale. German transplants Gardner, Eilbacher, and Bernstein met in Berlin for tracking sessions while Haberman put together drum parts in Baltimore. One would not necessarily know this from listening, nor is it rare these days to collectively create remotely. The band notes that “trusting each other’s concepts and visions was more important than repeatedly playing a section to see if the music worked, although this trust was only made possible through working very closely together.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhile D2BT2HA! isn’t a suite per se, the music influences and interacts with itself in complex linkages. Horse Lords observe that “we like the idea of art as a tool for changing your perspective, being able to rotate ideas and see\/hear\/feel them from a different vantage point.” Or to use a phrase attributed to Swami Satchidananda Saraswati, “understanding is standing under where you are already standing.” The opening piece, “Eureka 378-B,” is an arrangement of 19th century sacred harp music, lead by Guo and Saylor’s vocals; its melody flowers outward, setting a tonal launching pad for much of the music that follows. There are the brief “Rotations,” which isolate fragments from other pieces; and “a transformation algorithm was used to structure the title track, ‘Brain of the Firm,’ and part of ‘Second Galactic Utopia.’ This lends itself to a recursive approach where… the compositional scale becomes more ambiguous.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThere’s clearly a lot of weight in the language used to title pieces, and D2BTA2H! is no exception - transcendence and uplift are inherent in the music’s operation and if all art is political, Horse Lords’ leanings are optimistic and community-centered. Transformation and re-viewing are not just a compositional strategy but a philosophical outlook, given such themes as “A City Yet To Come,” the title track, or utopic references. As they put it, “we try to make music that challenges the status quo and offers a path toward liberation for the listener. The study and exploration of sound and music has a spiritual and ecstatic dimension, and we have a great reverence for its impact on the individual and the world.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe tension between striving for something beyond and what constitutes our lived reality is not lost, either, as “After the Last Sky” draws from poet Mahmoud Darwish’s “The Earth Is Closing in on Us,” which “uses the Palestinian case to problematize our utopian quest, acknowledging that this rests on a sense of security that is out of reach for many.” There are numerous sonic and conceptual layers in D2BTA2H!, but given the music’s undeniable power and humanity, the process of unpacking them is enthusiastic and deeply rewarding. 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Written while Weihl was simultaneously completing her sophomore album Quantum Web, the songs on Library Copy Do Not Remove reflect an expansive, inspirational state of both excitement and anxiety at the task of composing music for such a unique space. The songs themselves were shaped through Ambisonics, a specific format of spatial audio that is directional instead of being channel-based (like stereo), and were transmitted through a mosaic of 49 speakers. Because it was written for live performance, Library Copy Do Not Remove was never conceived as an album per se, but instead as a three-dimensional event. In this way the sonic staging mirrored how we perceive sound in our everyday lives: surrounding us from all directions. For this album release, Weihl mixed all of the songs again from the ground up with long time producer E\/T, reimagining and reworking the constellation of tracks for a stereo experience. Inspired by the work of James Gleick, LD Deutsch, Johannes Kepler and Jorges Luis Borges, Library Copy Do Not Remove explores the creative tension between reality and perception, information and mythology, harmony and disorder. Throughout the album, Weihl asks how we as humans come to understand the universe around us and the underlying code which animates it. What emerges is a sonic mythos that tells of spiraling digital universes, each nested within each other, in which every participatory agent is both a part, and the whole, of reality, at once. In this way, Library Copy Do Not Remove is a cyber- expression of perennial wisdom: instead of “as above, so below,” Weihl might suggest, “as with input, so with output.” Each track on Library Copy Do Not Remove reflects the larger themes in question. An audio representation of the Big Bang created by a physics professor is run through a vocoder, translating an astronomical origin story into a digital cosmogony: A universe born in a dial-up tone. Infinite libraries are conjured and reinforced by true mirrors and cosmic projections. Oceans of data create looped architectures that blur the line between the posthuman and the divine. Human consciousness reaches its upper limits, and then ascends even further. A tapestry of nature sounds is woven into an electronic field, infusing an aspect of intelligent hope back into the digital. A middle way opens up: natural, spiritual, technological. All songs on the album were written by Weihl, and co-written and c0produced by Lucas Chantre. Timo Bittner, who designed and installed the spatial audio sound system at the Zeiss-Groß Planetarium, and his colleague Andrew Rahman, provided Weihl with tutorials and support on how to compose for the unique sound system, guiding her through the process of composing with Ambisonics. Bittner and Rahman arranged the material for live interpretation, while Rahman mixed the album in spatial audio for the 2023 performance, and for wider release in Dolby Atmos. . Library Copy Do Not Remove tells an ancient secret in futuristic language: our perception of reality is the very thing that shapes it. Weihl reminds us that any understanding of Nature as a simulation must invert upon itself to recognize that even a simulated universe is contained within a larger Nature. And in much the same way, Weihl discloses that we too are catalogued, symbiotically, within a larger reality. 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Largely written on a hundred-year-old baby grand piano, the album situates the unbridled emotion of Chang’s DIY roots within a complex and poetic sonic landscape that interweaves orchestral arrangements with idiosyncratic, almost sculptural, electronic and analog interventions.\u003c\/p\u003e\n\u003cp\u003eThroughout \u003cem\u003ebeen thinking bout confession\u003c\/em\u003e, the lines between truth and untruth are blurred as the album’s “protagonist” alternately approaches and retreats from a clearer self-understanding. Floaty, alien vocals can turn crystal-clear and piercing in an instant, just as irreverent electronic arrangements can erupt amidst what began as a straightforward piano ballad. 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For the most part setting aside her usual guitar, Chang wrote these 11 songs on piano, an instrument she refers to as “the feminine root of my psyche.” The album’s uncanny meld of unconventionally deployed spring reverbs, older compressors and tube preamps against a distinctly contemporary digital backdrop forms a listening experience that seems to expand across the past, present and future at once.\u003c\/p\u003e","brand":"Rvng Intl","offers":[{"title":"LP - Black","offer_id":57457948885323,"sku":"R9827-4833","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/FrancesChang-beenthinkingboutconfession.jpg?v=1779960150"}],"url":"https:\/\/shop.roughtrade.com\/collections\/rvng-intl.oembed","provider":"Rough Trade","version":"1.0","type":"link"}