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Emily A. Sprague returns with the Double Moon EP, a turning point in her prolific composition.

Lead track “Double Moon” traces psychic and tangible landscapes as parallel realms. Through incantatory repetition and instinctual precision, Sprague reveals sensorial breadth with modular intricacy and lyrical foresight.

Marked by patched gradients, frosted angles, and warm ripples, each sound revolves around the next, appearing and vanishing across a gripping sonic arc. Featuring V. Haddad’s translucid backing vocals, the track moves in iridescent subtlety—night’s color drawn across the sky, illuminating the silhouettes it renders possible.

“Double Moon” rises today alongside a mesmerizing visual by V. Haddad, inviting listeners to experience true sensorial immersion–audial, visual, ineffable.

The track is available now digitally, and as a 7” featuring a dub of “Double Moon” by label fave Andras and an extra-special, extra-exclusive cut “Dusk (How to Fly).” Tune into the tides now.

“Intarsia” is the next sign of light from Visible Cloaks’ forthcoming album Paradessence.

“Intarsia” opens with what might be a cello, the friction of bow on strings heightened into the realm of the synthetic. The voice of Romanian composer Ioana Şelaru echoes off the instrument in reams of overtone; the arrangement deepens as melodies fill the silence between figures.

As Şelaru's violin enters alongside stacks of instruments, doubled and mimicking each other, tonal sources grow unclear: any might be virtual, real, or perhaps fed into another. Nevertheless, the immediate effect of the piece is one of deep emotional heft.

Once again, “Intarsia” is paired with a “gaussian splat” video crafted in close collaboration with photogrammetrist Grade Eterna.

Visible Cloaks’ Paradessence will be released on May 22, 2026 in vinyl, CD, and digital editions.

“These are offerings to send to the sea. These are water poems.”

Félicia Atkinson and Christina Vantzou’s Water Poems flows from the tides to the listening shore today.

When they first met in 2009, Atkinson and Vantzou quickly felt an intuitive kinship—two artists living parallel paths, holding a mutual fascination with the sea, the stars, the relationship between nature and music. In 2017, the seeds of their collaboration took  root with the pair’s first performance at RVNG’s own Commend, but a 2019 concert at Paris’ Philharmonie catalyzed the endeavor.

Now both living in coastal areas (Félicia by the Channel in Belgium, Christina by the Mediterranean in France), the sea naturally became their aqueous muse. Their shared sound-sculpting took on a sacramental character: “A ceremonious feeling, a feeling of being in service, runs deep on this record,” Vantzou reflected. “I’ve felt this before, but it’s stronger here in process with Félicia.”

The duo’s conversation and creation expanded over time, and what began with close-mic’d vocal improvisations and field recordings soon enveloped synths, gongs and metallophones, piano, vibraphone, rhodes, guitars, and mellotron. Yet the album’s theme always cycled back to the sea, the coastline, the elemental power of stones and minerals.

Assembled from musings and recorded in places imbued with a strange magnetism, Water Poems is a celebration of the elemental, a collection of music invested in feeling, atmosphere and sound. A love letter to the sea, it’s also a tender document of a friendship, of a sisterhood, of the sonic correspondence between two truly inimitable artists.

Water Poems is out now, available in various vinyl, Japanese CD import via Plancha, and digital editions.

“Scorpio Purple Skies” is the last offering from Felicia Atkinson and Christina Vantzou’s Water Poems before the album emerges in its oceanic entirety this Friday, April 10.

“Saturn, Neptune, dry Earth...an eternal space…near the water” — open fragments of language softly populate the tender ambience of this closing track. Anchored by the hypnotizing guitar work of John Also Bennett, the piece begins with a ceremonial air—part monastic liturgy, part spaghetti western—before expanding into stretches of soft drones, tolling bells, and hushed voices. “For a while,” Vantzou softly proclaims, “we dream together.”

“Scorpio Purple Skies” arrives with an atmospheric video directed and edited by Vantzou. Filmed in the mystic, megalithic woods of Belgium, under the influence of the stone structures, dancers Stav Yeini and Siet Phorae move with the surrounding elements, bending time and space in the process. Listen, and look, now.

Library Copy Do Not Remove is the next transmission from Discovery Zone’s JJ Weihl — a digital enchantment of reality, a reflection from the infinite mirror that lies at the boundary of the known universe.

Originally produced for spatial sound for the Zeiss-Groß Planetarium in Berlin, Library Copy Do Not Remove is a creation mythology for a simulated universe. braiding together the material and the non-material, Weihl reveals that they are, in fact, one and the same.

In Weihl’s world, nature and technology are not enemies, but instead create each other in an infinite dance of meaning and mirroring. In this way, weihl engages an ambient alchemy, calling for a grand reconciliation of nature and the technological, while asking us to consider how and where the experience of transcendent human consciousness might exist between them.

Today we share “Dusk,” the first single from Library Copy Do Not Remove. A probing, hypnotic track, the song’s strong current flows deep into the grooves of our simulated reality. As bass and synth trail each other in smooth, ever-expanding spirals, ethereal voices call out to each other over a digital landscape, colliding together into one bright cyber-celestial event.

“Dusk” emerges today alongside a hypnotizing video by Mark Dorf. Discovery Zone’s Library Copy Do Not Remove arrives May 15, 2026 in vinyl, Japanese CD import via Plancha, and digital editions.

Larrison’s Connecters Vol. 1: Original Recordings, 1992-1999 surfaces today on Freedom to Spend, evading obscurity and transcending time.

Many music obsessives hold fantasies of locating that forgotten, inimitable record, one that makes the years and years of crate digging worthwhile. when Jed Bindeman of Freedom to Spend purchased the entire review archive of the Austin based fringe sound fanzine ND, he held strong this dream, hoping for a grail to materialize. Hundreds upon hundreds of tapes later, many bordering on unlistenable, the fatigue set in.

Enter Larrison. Without a single reference point, and little info on the cassette bearing Larrison's name, Jed pressed play and immediately knew it was something special. A casually melodic sensibility permeated the music, with little synth patterns bouncing around for a minute or two before fading away, as quickly as they had begun. Each track painted an idiosyncratic vignette, fleshed out with a charm and ease that only manifests with limited intentions and resources. Jed soon established contact with Larrison, and after learning that his tape was the only copy ever created, Connecters was born.

Connecters is a testament to an artistic vision unfettered by limitation and unafraid of informality. These recordings engage the wonders of auditory imagination—a bridge between visual memory, emotional resonance, and the boundless possibility of making music. We’re so delighted to be the first to invite you, at last, into the world of Larrison.

Connecters Vol. 1 is available now in vinyl and digital editions.