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David Moore’s Graze the Bell marks the first widely shared solo piano album from the Bing & Ruth leader. A collection of soul-stirring, mesmerizing pieces that meditatively inquire into the human condition, Graze the Bell is a sanctuary of sound and the most distilled offering of David’s artistry to date.

Moore’s solo piano offering is not simply a return to any place or time, but to a luminous center that transcends both. Graze the Bell contains a hidden map of personal experiences, its entrancing melodic repetition navigating the way, stirring hidden feelings, and recalling us to our shared center.

Today we share “Rush Creek,” the benevolently haunting first chapter of Graze the Bell, and a taste of the album’s vivid spectrum of fluctuating emotions. The track’s title refers to a creak near Black Mountain, NC, where Moore lived during the deep uncertainty of the early pandemic. Like the creek, Moore’s playing rollicks and iridesces, evoking the impermanence of life with tender vim.

The single emerges today alongside a captivating video directed by the incomparable Derrick Belcham, capturing the entrancing repetition of Moore’s melodies in live performance.

To celebrate the release, Moore will perform at Brooklyn’s Roulette on February 12, 2026. An event, and experience, not to be missed.

A spiritual homecoming of sorts, Graze the Bell is available for pre-order now, direct from the RVNG webstore in LP, CD, and digital editions. The album emerges in its entirety on January 30, 2026.

After fifty years, Fire of God’s Love descends from the heavens into our orbit today, now available via the Freedom to Spend and RVNG web stores, and across all streaming platforms.

Among the records that have achieved legendary status over the years, some demand attention through sheer musicality, while others pique curiosity with a captivating story. Fire of God’s Love is one of those rare instances where both of these elements meet, intertwining to create an enduring experience that is both endlessly fascinating and musically rewarding.

As a bona fide holy grail (not just for collectors), Fire of God’s Love is also a documentation of the creative partnership between two women and mystics: Sister Irene O’Connor and Sister Marimil Lobregat, who channel their divine energy and devotion to god through electronic, echo-drenched experimentation. A precursor to many charming, spacey acts in the years and decades that followed, Fire of God’s Love remains an incomparable record that casts an irresistible spell.

For decades, Fire of God’s Love was discussed more often than heard, its presence restricted to the circulation of dubious bootlegs and the hands of crate-digging collectors. This release is the first time that this truly beguiling album has been officially licensed from the artist herself, who is alive and well, living in her native Australia at the young age of 93.

We feel truly honored to finally return Fire of God’s Love to this world with its first proper reissue, and to play a role in the ongoing story of this truly special and unique album.

Praise once more to Craig Calhoun and Matt McDermott for their help and guidance making this dream a reality.

Fire of God’s Love is available now in limited fire marbled and black vinyl, CD, and digital editions.

Emerging from the glow of The Vernon Spring’s Under a Familiar Sun comes a pair of radiant reimaginings from Rosie Lowe and Loa.

Rosie Lowe reshapes “Esrever Ni Rehtaf” into a lush dream-space of 808s, idiosyncratic piano stylings, and tranquil vocals. A passage through soulful, drum-driven corridors speckled with subtle euphoria, Lowe’s interpretation is a celebration of the here and now, and a serene serenade to the gift of birth.

Meanwhile, Loa adds their singular lyrical magic to “Requiem for Reem”, transforming the contemplative piano-based work into a shimmering vocal lullaby. Gentle horns slowly envelop their voices, cocooning the ambient-jazz composition in waves of peace and culminating in an atmosphere of contentment and calm.

Both reworks arrive today alongside a pair of deeply entrancing visuals from Aaron Anderson and Eric Timothy Carlson. Soon, The Vernon Spring will round out the year with a pair of shows in Spain and a special headlining show at London’s Queen Elizabeth Hall at Southbank Centre.

Keep an eye, and ear, out for more to come in 2026.

“Keshukoran” is the final chapter of Sister Irene O’Connor’s Fire of God’s Love before this holy grail sees its first authorized reissue in 50 years from Freedom to Spend on Friday, November 14.

As the devotional psych-pop closer to Sister Irene’s 1973 holy grail, “Keshukoran” (which translates from Malay as “Hardship”) embodies the uncanny otherworldliness that permeates the record. O’Connor’s prayer-like weavings are enshrined by the gentle thrum of a drum-machine beat, generated by the same organ she played simultaneously, all recorded live to a 4-track reel-to-reel.

The effect leaves a lasting impression, as evidenced by the cult legacy that these pastoral, spiritual, and singular folk songs have developed since their initial release.

Fire of God’s Love is now available for pre-order from Freedom to Spend in (dwindling) fire marbled LP, black LP, CD, and digital editions.

Tin Iso and the Dawn, the first installment of a mythic trilogy from Brooklyn-based composer and puppeteer Tristan Allen, emerged as both a full-length album and the original score to a live shadow puppet production.

Inspired by Wagner’s three act opera Tristan und Isolde, Tin Iso conjures an otherworldly cast of characters, chronicling a creation myth through mesmerizing production and ethereal instrumentation. A revelatory odyssey exploring the interplay of light / dark, Tin Iso stands as a singular piece of experimental storytelling, and an evocative moment in RVNG’s catalog.

Later his month, the next chapter of Tristan’s trilogy unfolds with the premiere of Osni the Flare, running November 20 – 23 at La MaMa in New York City. Created in conjunction with The Jim Henson Foundation, Osni tells the story of a dancing puppet who embarks on a quest to safeguard an apple tree from the imminent winter chill. An awe-inspiring journey through a multi-dimensional world, Osni the Flare is an experience not to be missed.

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.