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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.

“Dap” and “On Glass II” are the final vibrant vignettes from Larrison’s Connecters Vol. 1: Original Recordings, 1992-1999 before this curious collection of music releases in full on Friday via Freedom to Spend.

“Dap” absorbs some twang from the Austin landscape where Larrison spent many of his formative years making music. Noodling strings ping-pong across a tastefully primitive beat, only to be shepherded toward a culminating build-up by an hearty, authoritative bassline.

Next, “On Glass II” commences with a beachy synth foraying delicately over fleeting percussion, creating a piece of music not out of place in an undersea documentary. An ebullient, entrancing keyboard tune in a colorful world of its own, the track is a score for the everyday, an anthem for experiencing the tranquility of time passing.

“Dap” and “On Glass II" arrive alongside two contagious videos by A.M. Galek. Connecters Vol. 1 vinyl is shipping now from RVNG HQ; digital editions will fully unfurl on April 3, 2026.

From the shimmer of The Vernon Spring’s Under A Familiar Sun comes “Roaring Flame of The Sun,” a blissful reimagining of the album’s title track from partner-in-shine Saoirse-Juno.

Inspired by the opening pages of Rachel L. Carlson’s The Sea Around Us, the lyrics of  “Roaring Flame of The Sun” narrate the birth of the Earth, emerging from a solar flare, hurtling through space and producing the Moon. Saorise-Juno’s delicate voice floats through the air over an ambient collage of layered piano loops and delicate field recordings, before meditatively dissolving into sea spray.

“Roaring Flame of The Sun” arrives today accompanied by a slow glowing video by Saoirse. Lend an ear, and keep an eye out for more to come, just over the horizon.

Tristan Allen’s Osni the Flare manifests in this realm today–a world of an album, embedded in human and fantastical spirits.

From the moment our paths serendipitously crossed, Tristan held a deeply ambitious vision: to complete a trilogy of stories synthesizing music and puppetry, unfolding a timeless creation myth. As RVNG began work on Allen's debut, Tin Iso and the Dawn, the origins of Osni the Flare were already materializing, steadily taking shape through their boundless creative impulses. Thus, when they submitted the music of Osni, the album arrived without conceptual or logistical surprise.

The surprise lied in the magnitude of Tristan’s ambition, in both its musical and theatrical qualities. Osni furthers their exploration of minimalist composition, navigating new territory while churning their textures and palette into a patent sound. Allen's music is unmistakably and entirely their own; the ambience is immediate and immersive, inviting you inside their narrative, making you ache, coloring your waking dream. 

Seeing Tristan enact their puppet ballet live only adds to the magnitude, bringing dramatic new dimensions to their practice and performance. The puppets, each meticulously handmade and lifelike, bordering on haunted, exist not in the shadows but as sculptural manifestations. Allen choreographs the experience alone, magically in sync within each scene and sound, blurring the lines between puppet and puppeteer.

While one might be lucky enough to see Tristan perform Osni the Flare live, the sonic world they have built does not rely on this. In a day and age where skepticism holds control, you need only to surrender to imagination to appreciate this most incredible work of art. Perhaps there is an entirely different world awaiting, welcoming you when you listen to Osni.

Osni the Flare is available now in artist and black vinyl, a beautiful artist edition with prints, Japanese import CD via Plancha, and digital editions. all available via the RVNG webstore, Bandcamp, and streaming across all platforms.

“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.