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“Act IV: Everglow” is the final window into Tristan Allen’s Osni the Flare, emerging into our world just before the album arrives in full this Friday, March 27.

Opening with a stretched, wavering hum that scorches like brushfire—discordant and searing—“Act IV: Everglow” brings Osni’s journey to its final act. Its main chords recorded on a basement pump organ, the track carries reluctant acceptance, building into a melodic sequence that offers sublime resolution.

As the enchanting melody descends, accompanied by the cough of Allen’s apartment radiator, the song veers into a somber atmosphere: transformation brought to fruition. Involuntary whistling emerges from shadow as the act closes—a human trace lingering as Osni’s soul departs the mortal realm

The final single emerges with a video skillfully documented, as always, by Travis Hood and Ross Mayfield. Osni the Flare arrives in its entrancing entirety this Friday, available in artist and black vinyl, Japanese import CD via Plancha, and digital editions.

The next flare from Visible Cloaks’ forthcoming album Paradessence arrives today in the form of “Thinking / Shapes,” featuring Felicia Atkinson, Yoshio Ojima, and Satsuki Shibano.

An extended diptych existing in the center of Paradessence, “Thinking / Shapes” was initially developed as a quartet during the 2019 serenitatem world tour with Ojima and Shibano. “Shapes” weaves a pulsating sequence of gossamer pads into a nest, gently catching virtual horns, distant vocals, and Satsuki’s shimmering piano shards.

“Thinking” is structured around a poetic text—written by Ojima, read by Shibano in Japanese, and subsequently translated into French by Atkinson. As the lines roll out, the space between words fills up with wavering blue layers of sound, flares of dim light, reflections off distant surfaces.

“Thinking / Shapes” arrives accompanied by a hyperreal video by London-based photogrammerist Grade Eterna. The singles emerge alongside the announcement of a string of US shows this June in Los Angeles, San Francisco, and New York City.

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

Demand to Be Taken to Heaven Alive! is Horse Lords’ sixth studio album, an electrifying leap forward for the band’s shared language.

The music on Demand to Be Taken to Heaven Alive! feels both impossibly detailed and eminently human. The twelve pieces assembled here 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.

Today we set the stage with two propulsive selections. “Eureka 378-B,” the album’s opening track, is an arrangement of a nineteenth century hymn from The Sacred Harp. Utterly transformed by auto-tune and modulation, though the voices of guest vocalists Nina Guo and Evelyn Saylor remain clear. On “Brain of the Firm,” polyphonic and wordless voices dance around pulsing bass, slinky guitar phrases, keyboard bloops, and fleet kit work. Teeming with spiritual resonance, the songs mark an ecstatic return for the adventurous quartet.

These first tracks arrive with a pair of brain-bending videos by visual artist and gallerist Scott Kiernan.

Horse Lords’ Demand to Be Taken to Heaven Alive! is available for pre-order now, and will be released on June 12, 2026 in vinyl, CD, and digital editions.

The second offering from Tristan Allen’s Osni the Flare arrives today with “Act III: Rite.”

“Act III: Rite” spirals around a low, looping bass-driven melody, catching embers with each rotation. A street-found pump organ and harmonium provide foundation, their air mechanisms mimicking the breath of the dragon who leads this scene.

Eventually, “Rite” careens into a gentle, epiphanic shimmer—ethereal and hollow. What begins as a grounded ritual transforms into something unmoored and visionary, providing invocation as fire draws attention to a familiar world fractured.

The single is accompanied by another fantastical video by Travis Hood and Ross Mayfield documenting Tristan’s new puppet symphony. Listen, and look now.

Paradessence is the third full length from acclaimed electronic duo Visible Cloaks, a work of emergence and illusion.

Conjuring an abstract representation of our dream reality through shifting forms, Paradessence builds imagined spaces that are emotionally nuanced and rise to moments of grace. Over fourteen songs that persistently shift, heave, and shimmer against a faintly luminous backdrop of night, a cavernous space is shaped by sparse hyperreal representations of natural world.

Since transforming into 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. Paradessence directly reflects these oppositional concepts: its arrangements are grandiose and fragile, both an inversion and culmination of what came before, and as adventurous as anything the duo have produced so far.

“Disque,” the album’s first single featuring Motion Graphics, is a series of increasingly beautiful exhalations. The track emerges alongside a video made with photogrammetrist Grade Eterna, navigating and contorting a “point cloud” of an unnamed London greenhouse.

This week, Visible Cloaks will perform two shows in Portland and Seattle as part of the Age of Reflections event series. With a mind-altering lightshow of projection-mapped graphics, these nights are not to be missed.

Visible Cloaks’ Paradessence will be released on May 22, 2026 on in vinyl, CD, and digital editions, with a Japanese CD version from Plancha.

“Will We Be There” is the final meditation from David Moore’s Graze the Bell before the album takes flight for eternal skies this Friday, January 30.

Tolling its tender bell, the slow meditation of “Will We Be There” awakens the interior. Its lowest notes hit soft and deep, melting the demands of the day and surveying the soul like a dousing rod. Its hypnotic refrain signals a sweet longing for the unattainable, a palpable, transcendental melancholy.

As Moore channels his inquiry into the human condition at the piano, the unanswerability of the title stirs secret emotions into awareness. And though the answers remain elusive, the music offers solace at an intimate level.

“Will We Be There” arrives today alongside a video by french filmmaker and longtime collaborator and friend Sébastian Cros.