News

Starting your week with a look back on a year of Sussan Deyhim and Richard Horowitz’s The Invisible Road: Original Recordings, 1985-1990.

Deyhim and Horowitz’s decades-long partnership blossomed from a chance meeting at Noise New York, an intimate West 34th street studio housing the creative energies of Arthur Russell, Christian Marclay, and other downtown visionaries. though each hailed from drastically different worlds—Deyhim, a tehran-born vocalist who regularly graced Iranian television before studying ballet in Belgium, and Horowitz, a Buffalo-born composer immersed in Paris’ free jazz underground—the pair found common ground in a revolutionary vision of avant-pop.

Striving to create a body of music “free of any specific cultural reference, with a personal musical signature”, the pair crafted works that interlace Deyhim’s inimitable vocalizations with Horowitz’s daring compositions, each piece infused with the pair’s extensive engagement with both experimental music and globe-spanning musical traditions. The result is an extraordinary expression, music with a wholly singular sound.

In 2024, Deyhim, Horowitz, and Freedom To Spend unveiled The Invisible Road, a compilation of previously unheard recordings carefully selected from a valley storage space / treasure trove overflowing with decades of material. The collection stands as a tribute to an enduring creative and romantic partnership, and to the remarkable legacy of Horowitz’s life.

The next flame of Sister Irene O’Connor’s Fire of God’s Love ignites today with “Messe du Saint Esprit”.

A deeply devotional hymn channeled through a prism of modern psychedelic pop, “Messe du Saint Esprit” shimmers with gentle acoustic guitar strums and layers of sister Irene’s ethereal voice. Translating to “Mass of the Holy Spirit”, the song finds her singing in Latin and inviting all spiritual seekers to find the divine truth, regardless of race, religion, or creed.

A holy grail seeing renewed life with its first authorized reissue in 50 years, Fire of God’s Love is now available for pre-order in limited fire marbled LP, black LP, CD, and digital editions. Arriving November 14 on Freedom to Spend.

“Each Story” is the final transmission from Emily A. Sprague’s Cloud Time, arriving just before the album unfolds this Friday, October 10.

As the concluding track of Cloud Time, “Each Story” gently winds down the album’s deeply felt voyage in harmony with memory. Gathering the record’s full abundance into one final echo, it is flush with musing tones of reflection and acceptance, suspended in disbelief, and tinged a drop bittersweet.

Named after the Each Story festival in Nagano, Japan where Emily performed the final show of her Fall 2024 tour, the title “Each Story” also gracefully gestures back to the six long-form ambient expressions sequenced before it, each a specific tale in tender dialogue with time, city, space, and place of mind.

The final single emerges alongside another hypnotic visual by V. Haddad, and news of a Bandcamp listening party tomorrow, Wednesday, October 8 at 2 p.m. EDT. Visit the Cloud Time page on Bandcamp for more details, and to RSVP.

Cloud Time is available for preorder now in limited Cloudy Blue and Black LP, Japanese import CD, and digital editions.

Today, we welcome David Moore back to the RVNG family with “Pointe Nimbus,” his first widely shared piece of solo piano music in a score.

Known and revered for his atmospheric works with Bing & Ruth, and his collaborations with Steve Gunn and Cowboy Sadness, Moore’s live ensemble compositions helped reshape America’s musical landscape from the early aughts with their sublime spaciousness. Now, his new solo piano offering marks a full circle moment, a coming home to the radiant core of his artistry.

Moore describes “Pointe Nimbus” as a “simple song that gets stretched and pulled apart and put back together a few times – like a plastic Satie someone left melting and spinning in the microwave.” Its mythic title, alluding to both the graceful tip-toe practices of classical ballet and the divine halos of light seen in religious icons, captures the work’s serenely buoyant atmosphere, a space in which one can always take refuge.

Keep your head in the clouds of “Pointe Nimbus” now, and keep an eye out for more from Moore on the horizon. We’re so happy to have you home, David.

M. Sage’s Tender / Wading shimmers across landscapes today, a stroll through rediscovered terrain.

Tender / Wading sprouted from Matt’s return to Colorado after nearly a decade in Chicago, where he now nurtures a couple acres of neglected, overgrown space with his family thirty miles outside his hometown. Operating out of a DIY studio fashioned from a pole barn and nestled among deeply familiar foothills and pastures, Matt began tracing the footsteps of his former selves through the dirt-smeared lens of his present.

As a friend, Matt rarely fails to cross the RVNG mind each day, yet his presence as an artist continues to surprise us. Tender / Wading was not the album we were anticipating from Matt, but is the album we needed. Listening to Tender / Wading feels like a lingering walk across an open field, sometimes familiar and embedded with memories, sometimes entirely new. Each listen offers a different perceptual experience, revealing new layers of intimacy and abstraction.

So happy you’re home, Matt, and honored we can provide a second home, in tangible and intangible ways.

“I enjoy making mixes because they become statements of a moment—something I’m obsessed with and continue to be obsessed with.”

Lucrecia Dalt shares a rare mix for Resident Advisor, assembling an eclectic collage of inspirations residing outside the boundaries of era / mood / geography. From psychedelic jazz and somber downtempo to Korean pop and experimental rock, her selections offer a map of Lucrecia’s sonic world.

Conceived at LAX and realized in Lucrecia’s home studio, the mix also features work from A Danger to Ourselves collaborators David Sylvian and Juana Molina.

Listen to the mix and read Lucrecia’s interview at the Resident Advisor site.