{"title":"Archival Releases","description":"","products":[{"product_id":"rervng07","title":"Savant - Artificial Dance","description":"\u003ch3\u003eCAT: ReRVNG07\u003c\/h3\u003e\n\u003cp\u003eRelease Date: September 4, 2015\u003c\/p\u003e\n\u003cp\u003eThe story of electronic music pioneer \u003cstrong\u003eKerry Leimer\u003c\/strong\u003e continues with a focus on his auteurist studio project \u003cstrong\u003eSavant\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eCompiling the standalone album, 1983's \u003cem\u003eThe Neo Realist (At Risk)\u003c\/em\u003e, with Savant's debut 12\" and a grip of compilation and unreleased tracks, \u003cem\u003eArtificial Dance\u003c\/em\u003e documents Leimer's complete collaborative venture into the unpredictable realities of music, exploring the gulf between what is expected by its creators and what is eventually - and eternally - committed to tape.\u003c\/p\u003e\n\u003cp\u003eSavant was designed by Leimer to tap into entropic truths, asserting an uncaged counterpart to the loop-based minimalism he produced in isolation (recently surveyed on RVNG Intl.’s \u003cem\u003eA Period of Review (1975-1983)\u003c\/em\u003e). Aligning himself with the Cage-ean principles of chance operations and musical contingency, Savant was a band sans jam. Allegorically, a blindfolded collaboration whose happenstance source music Leimer would sample, loop and sculpt at will.\u003c\/p\u003e\n\u003cp\u003eLeimer was creatively autonomous to the point of being a persona absentia in Seattle's 80s rock scene. Unconcerned by social status, Leimer enlisted musicians from experimental and post-punk groups in the area to come record as Savant at his home studio, Tactical. Among them were ambient composer \u003cstrong\u003eMarc Barreca\u003c\/strong\u003e, \u003cstrong\u003eJohn Foster\u003c\/strong\u003e (founder of Op Magazine - the experimental music publication), \u003cstrong\u003eJim\u003c\/strong\u003e and \u003cstrong\u003eDavid Keller\u003c\/strong\u003e of the \u003cstrong\u003eNew Flamingos\u003c\/strong\u003e, and their bandmate \u003cstrong\u003eAlex Petit\u003c\/strong\u003e. Others, like \u003cb\u003eRoy Finch\u003c\/b\u003e and \u003cstrong\u003eDennis Rea\u003c\/strong\u003e, came from a similar orbit.\u003c\/p\u003e\n\u003cp\u003eEven with these musicians at his beck and call, Leimer implemented a disarming musical strategy. Savant would have no fixed line up and often musicians would be asked to play instruments far outside their forté. Leimer would however give loose rhythmic direction for the musicians to develop spontaneously against click-tracks. When the performance locked in with Leimer listening at the controls, he'd capture it to tape. These moments became the soul of Savant and the combustive elements that would variegate its timbres.\u003c\/p\u003e\n\u003cp\u003eSavant tonally operates in a space between \u003cstrong\u003eThis Heat's\u003c\/strong\u003e dark primitivism and the found sound collage of \u003cstrong\u003eBrian Eno\u003c\/strong\u003e \u0026amp; \u003cstrong\u003eDavid Byrne's\u003c\/strong\u003e \u003cem\u003eMy Life in the Bush of Ghosts\u003c\/em\u003e. These analogies are simply stylistic, as the narrative behind \u003cem\u003eThe Neo-Realist’s\u003c\/em\u003e production makes clear Leimer was concocting via more alchemic means, avoiding genre aspirations by looking for accidental moments of musical intrigue and discovery. Leimer explains this process in the collection's liner notes: \"I was looking for flaws, for faults to act as the stand-out features of the music.”\u003c\/p\u003e\n\u003cp\u003eFar from a provisional stab at avant-garde sensibilities, Savant represents Leimer’s repudiation of ambient music's passive side. \u003cem\u003eArtificial Dance\u003c\/em\u003e embodies a perfectionist’s family portrait of outré musicians conforming to Leimer's nonconformist musical ethos. Fitting for its name, Leimer created conditions for asocial brilliance with Savant, materializing an outward offering from an inward studio and a collaboration of audacious invention.\u003c\/p\u003e\n\u003cp\u003eSavant’s \u003cem\u003eArtificial Dance\u003c\/em\u003e is available now as double LP set, CD, and digitally. Extensive liner notes and artist interviews were overseen by \u003cstrong\u003eAaron Leitko\u003c\/strong\u003e. The collection was assembled by RVNG and K. Leimer, who continues making music to this day.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/7ifWsyo6Dng\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003ciframe src=\"https:\/\/www.youtube.com\/embed\/N49yY6wzrN4\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"ReRVNG07","offers":[{"title":"DIGITAL - $10","offer_id":15167269765189,"sku":"ReRVNG07DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Ltd. Ed. DBL LP - $30","offer_id":13103304802373,"sku":"ReRVNG07LTDLP","price":30.0,"currency_code":"USD","in_stock":false},{"title":"DBL LP - $25","offer_id":13103304736837,"sku":"ReRVNG07LP","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD - $12","offer_id":13103304769605,"sku":"ReRVNG07CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-6061-ReRVNG07_560x560_f7237ba7-262c-437b-8c23-adc35546b9d5.png?v=1599774940"},{"product_id":"rervng05","title":"Ariel Kalma - An Evolutionary Music","description":"\u003ch3\u003eCAT: RERVNG05\u003c\/h3\u003e\n\u003cp\u003eDigital Release Date: November 18, 2014\u003cbr\u003e Physical Release Date: November 25, 2014\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIf your order contains a pre-order record, it will be held and shipped complete when pre-order stock arrives.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAn Evolutionary Music (Original Recordings: 1972 - 1979)\u003c\/em\u003e compiles unreleased recordings from the archives of multiversal artist \u003cb\u003eAriel Kalma\u003c\/b\u003e. Concerned as much with musicality as spiritual facility, Kalma’s work vibrates aside fellow travelers along the great rainbow in curved air of the 1970s avant-garde.\u003c\/p\u003e\n\u003cp\u003eAriel Kalma's boundary-blurring electronic music is heard here in radiant detail across a selection of work spanning his early free-jazz and spoken word trips to his infinite modular synthesizer and analogue rhythm machine meditations. Kalma’s story is one of world travel, musical discovery and ego-abandonment. Yet for an artist who often discarded public recognition in favor of the ascetic truths in music making, \u003cem\u003eAn Evolutionary Music\u003c\/em\u003e offers the imprint of an outright auteur.\u003c\/p\u003e\n\u003cp\u003eBorn in France, but rarely in one place for long, Ariel Kalma's 1970s migrations took flight through the decade's furthest spaces of musical and spiritual invention. As a hired horn for well-known French groups, the young musician toured as far as India in 1972, a place where Kalma found an antidote to rock n’ roll’s glitz and glamour in sacred music traditions. Kalma would later return to India and learn circular breathing techniques enabling him to sustain notes without pause against tape-looping harmonies configured through his homemade effects units.\u003c\/p\u003e\n\u003cp\u003eThose effects evolved from Kalma's loyalty to a beloved dual ReVox set-up— two tape machines “chained” together to form a primitive delay unit. Over looped saxophone melodies, Kalma would mix in all shades of polyphonic color, synthesizing fragments of poetry with ambient space or setting modal flute melodies to rippling drum machine patterns and starlit field recordings. The results collapse distinctions between \"electro-acoustic\", \"biomusicology\" and \"ambient\" categorization.\u003c\/p\u003e\n\u003cp\u003eIn France during the mid-1970s, Kalma was staffed as a technician at \u003cb\u003ePierre Henry's\u003c\/b\u003e legendary \u003cb\u003eInstitut National Audiovisuel, Groupe de Recherches Musicales (INA GRM)\u003c\/b\u003e studios - the same music concréte laboratory that spawned masterpieces by members \u003cb\u003eLuc Ferrari\u003c\/b\u003e, \u003cb\u003eIannis Xenakis\u003c\/b\u003e, and \u003cb\u003eBernard Parmegiani\u003c\/b\u003e. Like his predecessors and colleagues at INA GRM, Kalma's relationship to sound was both formal and non-hierarchical. To Kalma, all music existed as universal patterns, in perfect harmony with the people, places and environments it was created.\u003c\/p\u003e\n\u003cp\u003eKalma’s recorded output of the 1970s culminated in the now scarcely-available \u003cem\u003eLes Temps des Moissons\u003c\/em\u003e (trans. \u003cem\u003eThe Time of Harvest\u003c\/em\u003e) in 1975 and \u003cem\u003eOsmose\u003c\/em\u003e in 1978, a masterpiece of birdsong exploration. \u003cem\u003eOsmose\u003c\/em\u003e is double album featuring sculptor \u003cb\u003eRichard Tinti\u003c\/b\u003e, who had supplied Kalma with hours of field recordings from the rainforests of Borneo. With somber organ textures and wistful sax blended seamlessly into the wild of the forest sounds, \u003cem\u003eOsmose\u003c\/em\u003e avoids simple soundscaping through Kalma's careful arrangements, allowing each life form its own harmonic gravity.\u003c\/p\u003e\n\u003cp\u003eThe backdrop of \u003cem\u003eAn Evolutionary Music\u003c\/em\u003e depicts Kalma's adventures as a world traveller on the cosmic path of inner discovery and musical innovation. Coinciding with United States' bicentennial in 1976, Kalma made his way to New York to join the exclusive musical-spiritual collective \u003cstrong\u003eArica\u003c\/strong\u003e, and ended up crashing in the Cathedral of Saint John the Divine’s basement. At night, Ariel played the church's organ and ventured out to mix it up with like-minded musicians in the Village. It was here that he met a musical hero, \u003cstrong\u003eDon Cherry\u003c\/strong\u003e, an artist of much consequence and similarity to Kalma.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAn Evolutionary Music\u003c\/em\u003e harvests uncatalogued music made between Kalma's private press records and onward through the many small-batch cassette releases Kalma would tender. With this collection of musical hybridity and distinct genre-corrosion, Ariel Kalma's righteous bucking of both popular music trends and the academic tenets of the avant-garde falls squarely in the spirit of other renegades of sacred new-music such as \u003cstrong\u003eTerry Riley\u003c\/strong\u003e, \u003cstrong\u003eLa Monte Young\u003c\/strong\u003e, and \u003cstrong\u003eCharlemagne Palestine\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAriel Kalma’s \u003cem\u003eAn Evolutionary Music (Original Recordings: 1972 - 1979)\u003c\/em\u003e is available now as double LP and double CD sets and digitally on RVNG Intl. There is a limited edition pastel green vinyl version available in limited quantity (only 100 for the world!). Extensive liner notes and artist interviews were overseen by New York writer \u003cstrong\u003eJesse Jarnow\u003c\/strong\u003e. The collection was assembled by RVNG and Ariel Kalma himself, who continues making music to this day.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/l7RMs9OduI0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/uTk6LZfp9tY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"ReRVNG05","offers":[{"title":"DIGITAL - $12","offer_id":13103306244165,"sku":"ReRVNG05DIGI","price":12.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP Limited Pastel Green - $30","offer_id":13103306145861,"sku":"ReRVNG05LPLTD","price":30.0,"currency_code":"USD","in_stock":false},{"title":"DBL LP - $25","offer_id":13103306178629,"sku":"ReRVNG05LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"2xCD - $18","offer_id":13103306211397,"sku":"ReRVNG05CD","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5956-RERVNG05_COVER_500x500_4e7ff456-b7fe-4327-8203-55f9401ce273.jpg?v=1599774959"},{"product_id":"rervng12","title":"Michele Mercure - Beside Herself","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: ReRVNG12 \/ FTS011\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eNovember 09, 2018 (digital)\u003cbr\u003eNovember 09, 2018 (physical)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMichele Mercure\u003c\/b\u003e\u003cspan\u003e often dreams of music, and in her waking life, reclaims fragments of these fleeting, floating melodies in her compositions and sound art. \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, an anthology of Mercure’s self-produced and distributed cassettes released between 1983 and 1990, collects these dreamlike passages and lo-fi nocturnes, preserving the qualities of discovery and intimacy surrounding their genesis.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMercure’s sound is a porous electronic art that overlaps ambient, abstract, and industrial sensibilities – its spaciousness reveals an artist attuned cinematically rather than for radio play or public performance. She approached the latter theatrically, and rarely, disdaining most live shows as too serious, and bringing her music to bare on her audiences in playful, immersive contexts. On recordings, Mercure’s night lit synth music evokes non-confined environments, at once expressionistic and minimal and always aware of its surroundings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMercure was a busy collaborator during the years surveyed by \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, making music for theater, performance, film, and TV animation, yet it was through her self-released cassettes that she established her music among like-minded artists abroad. Circulated through tape-trading networks assisted by insightful reviews in \u003c\/span\u003e\u003cb\u003eEurock\u003c\/b\u003e\u003cspan\u003e, a seminal music magazine covering progressive rock and electronic music scenes, these album-length releases included \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eRogue and Mint\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1983), \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eA Cast of Shadows \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e(1984), \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eDreams Without Dreamers\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1985), and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eDreamplay\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1990). Though unvarnished in fidelity (and now scarcely seen), these tapes showcased Mercure’s transportive aptitude within and beyond the limited sound recording medium.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMercure’s artistic path never ran through creative meccas New York, San Francisco or Los Angeles. Raised in Springfield, Massachusetts, and then moving to Harrisburg, Pennsylvania, in her twenties, Mercure was already an adept musician when she encountered a local and lively theater scene, and was asked to score an unorthodox performance of \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eWaiting for Godot\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e. The experience was pivotal in marrying music and image for Mercure, and so she began making music for film, television, dance, and theater. It wasn’t until a long sojourn in Eindhoven, however, that she became transfixed by electronic music (ala \u003c\/span\u003e\u003cb\u003eConrad Schnitzler\u003c\/b\u003e\u003cspan\u003e, whom she would correspond with for years) that would inform her music to come.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcoustic elements such as voice and stringed instruments add a haunting lyricism to the non-tonal space unoccupied by electronic presence in Mercure’s music. The graduality of phrasing and measured sequence of tones also distinguish her music from the repetition and improvisation-heavy hallmarks of the Kosmische genre, a stylistic antecedent for the artist. Mercure’s fascination, or obsession, with new, consumer conscious music technology is demonstrated in her inventive sequencing and sampling, adding a mechanical, sometimes menacing, feel to \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMercure’s contemporaries became the kindred minds of the Eurock “scene” such as \u003c\/span\u003e\u003cb\u003eThe Nightcrawlers\u003c\/b\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003eLauri Paisley\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eDon Slepian\u003c\/b\u003e\u003cspan\u003e. It was in association with Paisley and \u003c\/span\u003e\u003cb\u003ePauline Anna Strom\u003c\/b\u003e\u003cspan\u003e that Eurock featured Mercure in an article titled “Women Synthesists” in 1986. The three artists all shared a bravura for homespun, self-produced electronic music that looked beyond pop conventions for a higher plane of avant-gardism or musical spirituality. Not long after the article went to print, Mercure offered \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEye Chant\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, her standalone vinyl album self-released in 1987.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e extends RVNG Intl.’s preservation efforts to sister label \u003c\/span\u003e\u003cb\u003eFreedom To Spend\u003c\/b\u003e\u003cspan\u003e who reissued \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEye Chant\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e in 2017, an occasion marking just over twenty years since its original release on Mercure’s own Quick Shower Music. (\u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEye Chant\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, and the cassettes surveyed on \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, were originally credited to Michelle Musser, the name which the artist used until a divorce in 1987).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe anthological scope of \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e joins \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEye Chant\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e to restore the canon of Mercure’s arresting dream-music, revisiting this anomalous creator’s breakthrough material.\u003c\/span\u003e\u003ci\u003e\u003cspan\u003e Beside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e will be released on double LP, CD, and digital formats on November 9, 2018. The set features liner notes by \u003c\/span\u003e\u003cb\u003eEmily Pothast\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eand an incredible array of unseen photography and ephemera of the era.\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/qr3QzXRRJ9o\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ZEQCxwMfQ0o\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/A2B-O6v5W_8\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"ReRVNG12","offers":[{"title":"DIGITAL - $10","offer_id":17650564726853,"sku":"RERVNG12DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP - $30","offer_id":13130827857989,"sku":"RERVNG12LP","price":30.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":13130827825221,"sku":"RERVNG12CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/RERVNG12_-_Digital_Cover_-_1500px.png?v=1539119262"},{"product_id":"rervng02","title":"Sensations Fix - Music Is Painting In The Air","description":"\u003ch3\u003eCAT #: ReRVNG02\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: September 25th, 2012\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eMusic Is Painting In the Air\u003c\/i\u003e is a collection of new mixes and unheard music from Sensations’ Fix’s prolific output between 1974 and 1977. Revered as one of the great articulations of progressive music, \u003ci\u003eMusic Is Painting In the Air\u003c\/i\u003e offers guide posts to those familiar with \u003cb\u003eSensations’ Fix’s\u003c\/b\u003e amorphous catalog and an approachable primer to those just journeying on the sensational trip.\u003c\/p\u003e\n\u003cp\u003eThe story of Sensations’ Fix begins - and never quite ends - with \u003cb\u003eFranco Falsini\u003c\/b\u003e. Born in Florence, Italy in 1948, Falsini became a teenage rock ‘n’ roll convert through a steady supply of 45s sent home by his London-based sister. Following his sister’s footsteps to swinging 60s London, Falsini put his love of music into practice, fronting a space blues trio that riffed its way from the UK back to Italy in a Ford Transit.Falsini became smitten by \u003cb\u003eVinnie Sherman\u003c\/b\u003e, an American woman, at a nightclub in Florence where Falsini was holding down a residency. The newlywed lovers made their way to Alexandria, Virginia in the summer of 1969. Arriving on August 15th, the first day of Woodstock, a spirit of freedom filled Falsini and fueled his creative proclivity.\u003c\/p\u003e\n\u003cp\u003eFalsini blazed a trail for home recording that has impressed upon inward resourcing and reflecting musicians and DIY enthusiasts in the decades since. A technology stalwart, Falsini employed a floor model MiniMoog and a tricked-out Teac 4-track machine to transform the Virginia basement of the house shared with Sherman into a cosmic conduit and launch pad for Sensations’ Fix.\u003c\/p\u003e\n\u003cp\u003eThe reach for space from a personal place is nowhere more apparent than on \u003ci\u003eFragments of Light\u003c\/i\u003e, early basement recordings solicited by Falsini as deal demos and surprisingly flipped into the first of six Sensations’ Fix albums released over the next five years. The up-close fidelity of Fragments - coupled with Falsini’s emotive guitar leads and sparse, sentimental vocals - creates a private quality that separates the album from other extravagant progressive rock productions contemporary to its 1974 release.\u003c\/p\u003e\n\u003cp\u003eRelocating back to Italy on the heels of \u003ci\u003eFragments’\u003c\/i\u003e release, Falsini, alongside drummer\u003cb\u003eKeith Edwards\u003c\/b\u003e and bassist \u003cb\u003eRichard Ursillo\u003c\/b\u003e (both American expats), charged through another two Sensations’ Fix albums, \u003ci\u003ePortable Madness\u003c\/i\u003e in 1974 and \u003ci\u003eFinest Finger\u003c\/i\u003e in 1976, and a stunning solo album \u003ci\u003eCold Nose (Naso Fredo)\u003c\/i\u003e in 1975. Without marketing or tour support to expose Sensations’ Fix to a wider European audience, Falsini and his band of psychedelic renegades left Italy for the golden shores of California and their possible salvation. In 1977, Sensations’ Fix released \u003ci\u003eVision’s Fugitive\u003c\/i\u003e on an independent label and fulfilled their major label obligation shortly after with \u003ci\u003eBoxes Paradise\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eFalsini spent the next couple decades between New York City and Paris, creatively contentedly creating above par electro-pop (\u003cb\u003eThe Antennas\u003c\/b\u003e) before returning to Florence to launch the \u003cb\u003eInteractive Test\u003c\/b\u003e dance music label. Meanwhile, the legend of Sensations’ Fix grew. On his 2002 album, \u003ci\u003eThe Private Press\u003c\/i\u003e, \u003cb\u003eDJ Shadow\u003c\/b\u003e sampled from two Sensations’ Fix songs. More recently, \u003cb\u003eSonic Youth\u003c\/b\u003e curated a career retrospective titled\u003ci\u003eSensational Fix\u003c\/i\u003e at Life Gallery in Saint-Nazaire France.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eFor Music is Painting in the Air\u003c\/i\u003e, Falsini and his son \u003cb\u003eJeyon\u003c\/b\u003e set forth on a year-long voyage to restore and revisit the original Sensations’ Fix analog tapes. Honoring Falsini’s tradition of autonomy, this collection, as with the majority of the Sensations’ Fix catalog, was mixed solely by Falsini. The sequence is chronologically defiant, encouraging the listener to free associate the recurring themes’ origins and immerse in the body of music as its own universe.\u003c\/p\u003e\n\u003cp\u003eOnce this celestial body suit is occupied, it becomes apparent why the forward-thinking yet emotionally-accessible quality of Sensations’ Fix’s music is still finding the universal audience for which its intended. 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Leimer - A Period of Review","description":"\u003ch3\u003eCAT #: ReRVNG03\u003c\/h3\u003e\n\u003cp\u003eRelease Date: May 13, 2014\u003c\/p\u003e\n\u003cp\u003eFor the third installment in RVNG Intl.’s archival series, the tape is wound back to 1970s Seattle, home place of ambient music savant \u003cb\u003eK. Leimer\u003c\/b\u003e. \u003cem\u003eA Period of Review (Original Recordings: 1975 - 1983)\u003c\/em\u003e unearths unreleased portions of Leimer’s vast archives and highlights the work of a self-taught visionary whose use of generative compositions ferried his music to infinite resonance.\u003c\/p\u003e\n\u003cp\u003eKerry Leimer was born in Winnipeg, Canada. He was raised in Chicago before his family permanently settled in Seattle in 1967. Kerry's teenage interests and artistic experiments blossomed from the seductively strange tendrils of Dadaism and Surrealism. In the early 70s, Leimer found musical parallels to these visual movements by studying backdated copies of \u003cem\u003eNME\u003c\/em\u003e and \u003cem\u003eMelody Maker\u003c\/em\u003e and inquiring with local record store clerks about the exotic descriptions he read of \u003cb\u003eCan\u003c\/b\u003e, \u003cb\u003eNeu!\u003c\/b\u003e and \u003cb\u003eFaust\u003c\/b\u003e - innovators who were bringing the wild dictates of 60s art-discourse into music.\u003c\/p\u003e\n\u003cp\u003eThe tape-manipulated serenity Leimer experienced with \u003cb\u003eCluster's\u003c\/b\u003e \u003cem\u003eII\u003c\/em\u003e was a key revelation. Leimer realized the potential to compose with minimal training and scoured pawnshops for cheap instruments and recording equipment to transpose his wayward musical instincts. Leimer’s sound palette and composition soon refined and heightened with the accessibility of dynamic equipment such as the Micromoog and TEAC multi-track tape machines.\u003c\/p\u003e\n\u003cp\u003eSynchronously, the \u003cb\u003eTerry Riley\u003c\/b\u003e indebted loop-based compositions of \u003cb\u003eRobert Fripp\u003c\/b\u003e and \u003cb\u003eBrian Eno's\u003c\/b\u003e \u003cem\u003eNo Pussyfooting\u003c\/em\u003e inspired Leimer to form recursive musical passages of bare timbre and melody that would become hallmarks of his sound. “The loop provided an instant structure - a sort of fatalism,” recollects Leimer in \u003cem\u003eA Period of Review’s\u003c\/em\u003e liner notes. “The participation of the tape machine in shaping and extending the music was a key to setting self-deterministic systems in motion and held a clear relationship to my interests in fine art.”\u003c\/p\u003e\n\u003cp\u003eThe underground music scene of Seattle-Olympia in late 70s was small but seeded. The vestiges of prog rock pompously pummeled the few clubs and record shops before punk and New Wave became the rage. Leimer sought to support a growing community of experimental composers by launching the Palace of Lights record label in 1979 with his wife \u003cb\u003eDorothy Cross\u003c\/b\u003e (this was years prior to the birth of regional titans K Records and Sub Pop).\u003c\/p\u003e\n\u003cp\u003ePalace of Lights took philosophical and logistical cues from the flourishing DIY cassette culture, but demonstrated a different elegance in its music and design. A testament to his independent and uncompromising spirit, all of Leimer’s recorded work would be released in varying formats and editions on Palace of Lights from ‘79 to ‘83.\u003c\/p\u003e\n\u003cp\u003eLeimer rarely performed live, averting the litmus of instant appreciation for his solitary studio pursuits. Tellingly, the \"K.\" that abbreviated Leimer's first name was a nod to Kafka's doomed pariah Josef K (from \u003cem\u003eThe Trial and The Castle\u003c\/em\u003e). This gives a sense of the reclusive and literary realm Leimer was fond of working in. Despite his reticence, Leimer’s debut 1980 album \u003cem\u003eClosed System Potentials\u003c\/em\u003e would reach a receptive audience, and eventually sell more than 3,000 copies thanks in part to Cross’s persistent advocation to independent distributors and magazines.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Period of Review\u003c\/em\u003e focuses on unheard material outside of the work Leimer offered on Palace of Lights, though even that music could be considered relatively “unheard.” The thirty tracks of \u003cem\u003eA Period of Review\u003c\/em\u003e may have remained a mystery on moldy reels until now, but Leimer’s entire catalog of generative music remains pristine in its absolute power.\u003c\/p\u003e\n\u003cp\u003eThe pieces of \u003cem\u003eA Period of Review\u003c\/em\u003e draw on many influences of the time, articulating gestures that embrace coolly composed stoicism, saturated fields of percolating beats, stark razed spaces and grave and gently developed glimpses of beauty. Overall, a genuine diversity of expression underscoring just how much range Leimer had at his disposal.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Period of Review\u003c\/em\u003e is a rewarding step into the canopied, unheard world of K. Leimer and necessarily grand in scope. With its hypnotic, arcadian terraces and nearly narcotic glacial beauty, \u003cem\u003eA Period of Review\u003c\/em\u003e has a rightful place in the canon of pioneering ambient music.\u003c\/p\u003e\n\u003cp\u003eK. Leimer’s \u003cem\u003eA Period of Review (Original Recordings: 1975 - 1983)\u003c\/em\u003e is available now as a double LP set, CD and digitally via RVNG Intl. Liner notes were crafted by Seattle writer \u003cb\u003eDavid Segal\u003c\/b\u003e. 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It is the sound and document of \u003cb\u003eAnna Homler\u003c\/b\u003e divining speech, lyrical fragments, and melody for music composed, mixed, and engineered by \u003cb\u003eSteve Moshier\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eIt’s 1982 and Anna is driving an ocean blue classic Cadillac to meet renowned poet and playwright \u003cb\u003eDeena Metzger\u003c\/b\u003e in Topanga Canyon, Los Angeles. Passing a non-descript desert patch where tall wheat and mustard flowers grow, Anna opens her mouth and sings in a salient stream of rhythmic, melodic sound.\u003c\/p\u003e\n\u003cp\u003eBreadwoman is born, but not by immaculate conception. For Homler, performance art had recently become \"a form big enough to contain everything happening” during her studies with \u003cstrong\u003eRachel Rosenthal\u003c\/strong\u003e at Otis College of Art and Design. As this performative freedom fed into the enchanted vocalese, the character of Breadwoman emerged.\u003c\/p\u003e\n\u003cp\u003eHomler tread the same multi-disciplinary waters where Steve Moshier and the Cartesian Reunion Memorial Orchestra (CRMO), a communal avant-garde urban chamber music ensemble formed in LA in 1979, floated. When their currents connected, it was clear Homler and Moshier were kin, crossing genres through intensely physical de-significations of music: quasi-theatrical, fully mythic, ritualistic performances.\u003c\/p\u003e\n\u003cp\u003eInstead of confining Anna as “a vocalist,” Moshier recognized Anna’s voice as a sonic element. To accomplish the recordings of this collection, Moshier chose the least song-like material from Homler’s handheld cassette transcriptions and composed music considerately. Anna would then record chants and song variations which Steve would tweak for final touches through his arsenal of analog equipment.\u003c\/p\u003e\n\u003cp\u003eAlthough Breadwoman stands outside of time, she is is rich in the ingredients of 1980s Los Angeles performance art, renegade DIY punk, gallery culture, galvanized jazz, underground cassette-trading culture, drag extravaganzas, and esoteric meaning-making mysticism.\u003c\/p\u003e\n\u003cp\u003eBreadwoman is a storyteller — she's so very old she's turned into bread. Breadwoman says: If you don't try to understand, you will. She is the voice, and the voice is cosmic reality’s musicality. Through \u003cem\u003eBreadwoman \u0026amp; Other Tales\u003c\/em\u003e, we hear material meet mythos.\u003c\/p\u003e\n\u003cp\u003eAnna Homler and Steve Moshier’s \u003cem\u003eBreadwoman \u0026amp; Other Tales\u003c\/em\u003e is available now on LP, CD, and digital formats. 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All three were young veterans of the Toronto creative scene by the beginning of 1970. LSD played a supporting role in their artistic pursuits, but equal guidance also came from Mills-Cockell’s studies at the University of Toronto and Royal Conservatory of Music, where he established an ad-hoc, DIY electronic music course in the school’s basement.\u003c\/p\u003e\n\u003cp\u003eBefore long, Mills-Cockell was an accomplished young composer and an important conspirator in \u003cstrong\u003eIntersystems\u003c\/strong\u003e, a rogue, multimedia ensemble that intersected heterogenous artists and musicians via the Toronto underground. In this freeform environment, Mills-Cockell’s compositions found alert ears, among them his primary collaborator Doug Pringle, a wily wind player, and producer \u003cstrong\u003eFelix Pappalardi\u003c\/strong\u003e, whose credits include \u003cstrong\u003eCream’s\u003c\/strong\u003e \u003cem\u003eDisraeli Gears\u003c\/em\u003e and who helped John land an album deal with True North Columbia.\u003c\/p\u003e\n\u003cp\u003eAfter Intersystems dissolution, Mills-Cockell journeyed to Canada’s west coast to work on an album of original synth-based compositions using his multi-suitcase Moog as the primary instrument. Pringle was enlisted to color outside the music’s already adventurous lines, his sinuous, signal-processed saxophone adding another electrifying voice to Syrinx’s signature sound. A sound that hybridized chamber music dynamics with wild, yet tuneful electronic melodicism. With Alan Wells’ understated percussion rolled into the fold, what started as a solo venture for Mills-Cockell became a new kind of collective.\u003c\/p\u003e\n\u003cp\u003eFrom these coastal sessions were conjured exemplary pieces like “Journey Tree” and “Hollywood Dream Trip,” both plaintive and serene expressions of Mills-Cockell’s economical arrangements, and also Syrinx’s restrained and expert use of their electronic resources. “Hollywood Dream Trip” alone presents a theme so memorable and melancholic that it calls to mind \u003cstrong\u003eErik Satie\u003c\/strong\u003e, \u003cstrong\u003eJohn Cage’s\u003c\/strong\u003e early piano works, and the cinematic power of Golden Age soundtrack music. Syrinx’s self-titled debut arrived in 1970, followed in 1971 by \u003cem\u003eLong Lost Relatives\u003c\/em\u003e, which is highlighted as the first album on \u003cem\u003eTumblers From The Vault\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eBetween the two albums, Syrinx became a vital part of the Toronto music scene, with Doug Pringle’s loft serving as the central node for impromptu performances and the group’s collaborative activities. Syrinx also started receiving high profile work, first for television, film, and dance, and then for orchestra. One commission culminated commercially in \"Tillicum\", the unforgettable theme music for pioneering reality television show \u003cem\u003eHere Come the Seventies\u003c\/em\u003e. As a standalone single, \"Tillicum\" would climb to #38 on Canada's RPM charts. The most eventful assignment came from the Toronto Repertory Ensemble’s conductor and composer \u003cstrong\u003eMilton Barnes\u003c\/strong\u003e, whose solicitation inspired the powerful orchestral suite \u003cem\u003eStringspace\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe studio version of \u003cem\u003eStringspace\u003c\/em\u003e for \u003cem\u003eLong Lost Relatives\u003c\/em\u003e is a near faithful version to the live performance, the Toronto Repertory Ensemble offering the same sweeping, deeply engrossing symphonic support. 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Another task is to simply have this music heard again, which is an endeavor made less difficult by the fact that the most defining quality of Syrinx’s music is its timelessness and agency.\u003c\/p\u003e\n\u003cp\u003eUnlike so many turn of the ‘60s experiments fusing rock and pop music language with new technology, Syrinx was never excessive in expressing their vision of what electronic music could offer. Instead, they blended these sounds in a holistic way, allowing the acoustic and electronic textures to create one organic voice. They opted to foreground the lyrical and poetic content of their compositions rather than their innovative techniques.\u003c\/p\u003e\n\u003cp\u003eIt’s a tribute to John Mills-Cockell’s compositions, and his comrades Doug Pringle and Alan Wells, that the tangential path of Syrinx remains as present, exploratory and inviting as ever.\u003c\/p\u003e\n\u003cp\u003eSyrinx’s \u003cem\u003eTumblers From The Vault\u003c\/em\u003e will be released on October 14, 2016 in digital format and October 28, 2016 as a triple LP set and double CD. 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An economic mantra for the mind to spin, like the many loops on this recording, or churn, as gears of some godhead machine. From the pool of playful compositions, a social subtext appears - a somewhat sardonic riposte to the commercial and cynical abuse of music and musicians. The work profits the listener over industry. Said another way, its motivations are more generative than lucrative.\u003c\/p\u003e\n\u003cp\u003eNo longer than four minutes, no shorter than two, each piece on \u003cem\u003eMWFI\u003c\/em\u003e is a fragment of modern life. Propaganda transmitted between the click of the remote or the turn of the dial. Friend and collaborator \u003cstrong\u003eK. 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An experiment fabricated in the synth and tape studio at the artist-run alternative space \u003cstrong\u003eand\/or\u003c\/strong\u003e (Seattle’s version of NYC’s \u003cstrong\u003eThe Kitchen\u003c\/strong\u003e), Barreca manipulates dynamic sound sources into tidy, minimal arrangements using synthesizers, modified instruments, tape looped voices, and melodic, metallic phrases.\u003c\/p\u003e\n\u003cp\u003eTo start, “Community Life” strews these elements across the assembly line to meet their maker. The album continues with “Shopping,” countering ominous, mechanical sounds with light, playful tones, perhaps representative of the clash of production versus exchange values. On “Hotcake” we hear men’s voices, chains, and hissing steam in a methodical but urgent progression that could soundtrack \u003cstrong\u003eFritz Lang’s\u003c\/strong\u003e silent film, \u003cem\u003eMetropolis\u003c\/em\u003e. A woman seductively intones “Nerve Roots Are Uncontrollable” on the track of the same name. “Organized Labor” also incorporates a voice, speaking the acronym I.W.W. - International Workers of the World, also known as the Wobblies - as the music falls in line and wobbles along.\u003c\/p\u003e\n\u003cp\u003eThe cover of \u003cem\u003eMWFI\u003c\/em\u003e features a black and white photo of a figure in silhouette, backlit at a window, softened with curtains and plants. Maybe this is the room where the music was made: a private space, a refuge from some industrial work or at least the dubious fruits of this labor. In a way, listening to the music is entering a space without work, an apple to pluck and eat without wage or taxation.\u003c\/p\u003e\n\u003cp\u003eOne can imagine photographer \u003cstrong\u003eChauncey Hare\u003c\/strong\u003e listening to \u003cem\u003eMusic Works for Industry\u003c\/em\u003e as he moved from documenting domestic interiors to the bleek efficiency of American offices. His black and white portraits of workers, isolated and obscured by cubicles and files, and published in \u003cem\u003eThis Was Corporate America\u003c\/em\u003e, led to Hare’s disillusionment with the art market. Not wanting to sell images, he left photography, and become a therapist: publishing the self-help book, \u003cem\u003eWork Abuse\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003ePerhaps peering into the music industry led to Barreca’s eventual career, and a similar impulse to more directly touch those at the effects of economic systems. While exploring the cassette version of \u003cem\u003eMusic Works For Industry\u003c\/em\u003e, we found a business card tucked inside: Marc Barreca—bankruptcy judge in Seattle. Material traces of the cassette are evident in the record’s packaging, the album format a newly manufactured form for Barreca’s work.\u003c\/p\u003e\n\u003cp\u003eEven in post-industrial times, Barreca’s music offers listeners easily consumable musings on current work conditions. Freedom To Spend accepts your hard-earned and fortuitously won money in exchange for these morsels, but also believes that you need not invest unless pressed.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Wmo3EDwiSUI\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"FTS002","offers":[{"title":"DIGITAL - $10","offer_id":13131009392709,"sku":"FTS002DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13131009425477,"sku":"FTS002LP","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS002-Marc-Barreca-Music-Works-For-Industry-Digital-500x500.jpg?v=1535219452"},{"product_id":"fts001","title":"Michele Mercure - Eye Chant","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: FTS001\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eMarch 3, 2017 (digital)\u003cbr\u003eFebruary 3, 2017 (physical)\u003c\/p\u003e\n\u003cp\u003eYou can see the sounds her voice makes. The literal depiction of this, a photograph of \u003cstrong style=\"font-size: 15px;\"\u003eMichele Mercure\u003c\/strong\u003e\u003cspan style=\"font-size: 15px;\"\u003e with an eyeball in her mouth, is removed in the updated album art. The original graphic elements are left to suspend, speak, and sing across time. In the absence of the decade-specific portraits, the redesigned edition is dislocated from a particular or linear history. Our initial point of encounter is artifactual; a trace in place of a scar.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAccordingly, Michele’s true image and body is sound. \u003cem\u003eEye Chant\u003c\/em\u003e, as a whole, offers meditations of sound as material. Her instruments are voice and synthesizer, the former following the machine’s lead and language of patterns. Machine sounds become abstract words. The human voice is pulled apart, dislodged from context; a tactile, textured quality appears to reconfigure the body and machine presently or permanently.\u003c\/p\u003e\n\u003cp\u003eThe natural and the mechanical elements of \u003cem\u003eEye Chant\u003c\/em\u003e commingle with the ease of a musician well-versed in the social-material entanglements of life. Like the lacework referenced in one track, Mercure's record alludes to interconnections and their unraveling. Her married name formerly attached to \u003cem\u003eEye Chant\u003c\/em\u003e has been shed for this iteration. As her electronic kin, \u003cstrong\u003eEliane Rodigue\u003c\/strong\u003e and \u003cstrong\u003eSuzanne Ciani\u003c\/strong\u003e would attest, it’s all raw material for the musician to give form. \u003cstrong\u003eDonna Haraway\u003c\/strong\u003e and \u003cstrong\u003eLucy Suchman\u003c\/strong\u003e may have been listening.\u003c\/p\u003e\n\u003cp\u003eMichele offers a tender mechanics to attune to. Atmospheres expand and contract within a song, sometimes reappearing in the album - the economy of means appreciated from another vantage. Loops and undulating rhythms build up a particular kind of surface, one that places the listener in the present moment, to notice and extend that time of being here.\u003c\/p\u003e\n\u003cp\u003eTo get a sense of the space Mercure’s work occupies: compositions on this album were part of a PBS special and a performance artist’s production. The most narrative moments of \u003cem\u003eEye Chant\u003c\/em\u003e, these commissioned pieces, “Proteus and the Marlin” and “100% Bridal Illusion,” are hyper feminine tracks made up of choirs of birds, breath, baby cries, waves, and poetry read just above a whisper.\u003c\/p\u003e\n\u003cp\u003eThe title track, “Eye Chant,” is a single vocal sample that’s sequenced and melodically layered upon itself. A perfect minimal composition, where there’s no excess blurring how it was made and its final crystalline form. “Too Much” closes the album with some danceability. We have traveled far from the start — “Tour de France,” where the synthesizer resembles a faucet drip and we reset — to the pace of our heart and breath.\u003c\/p\u003e\n\u003cp\u003eWhen focused on the moment the mind wanders as it likes. It feels as though there's a collective and urgent need to decelerate. Rather than chasing the new sound or accelerating discovery, deceleration allows us to pay heed to what's less heard. Finding our time in continuum with others’ might be one of many impulses for reissues.\u003c\/p\u003e\n\u003cp\u003eOne way to interpret the name, Freedom to Spend, is an abundance of freedom that needs to be shared. In that spirit, the free thinking \/ art of Michele Mercure is recirculated. \u003cem\u003eEye Chant\u003c\/em\u003e is available February 3, 2017.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/yvH4QYIQ9pA\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"FTS001","offers":[{"title":"DIGITAL - $10","offer_id":13131017420869,"sku":"FTS001DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13131017388101,"sku":"FTS001LP","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS001_COVER_600x600_9c576977-c6c9-4ae6-a7c5-241580ac54cf.jpg?v=1535219466"},{"product_id":"fts003","title":"Pep Llopis - Poiemusia La Nau Dels Argonautes","description":"\u003ch3\u003eCAT: FTS003\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003e June 16, 2017\u003c\/p\u003e\n\u003cp\u003eThis record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Valencian artist, \u003cstrong\u003ePep Llopis\u003c\/strong\u003e, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self.\u003c\/p\u003e\n\u003cp\u003eWhile \u003cem\u003ePoiemusia La Nau Dels Argonautes\u003c\/em\u003e materializes at this moment as an album, another object suits Pep’s project: \u003cstrong\u003eLewis Carroll’s\u003c\/strong\u003e “Map of the Ocean” from his \u003cem\u003eThe Hunting of the Snark\u003c\/em\u003e. It’s a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, \u003cem\u003ePoiemusia\u003c\/em\u003e offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music.\u003c\/p\u003e\n\u003cp\u003eLlopis, who often composed for dance, originally wrote \u003cem\u003ePoiemusia\u003c\/em\u003e for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, \u003cstrong\u003eCarles Santos\u003c\/strong\u003e and \u003cstrong\u003eWim Mertens\u003c\/strong\u003e, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, \u003cstrong\u003eSalvador Jàfer\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIn the studio presentation of \u003cem\u003ePoiemusia\u003c\/em\u003e, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by \u003cstrong\u003eMontse Anfruns’\u003c\/strong\u003e vaporous voice. She extends the roll of her \u003cem\u003er\u003c\/em\u003e’s and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.\u003c\/p\u003e\n\u003cp\u003eLlopis was influenced by minimal American composers like \u003cstrong\u003eSteve Reich\u003c\/strong\u003e and \u003cstrong\u003eLa Monte Young\u003c\/strong\u003e. He embraces the melodic sides of these masters in the winds of “El Vell Rei De La Serp” and the tender piano on “Nits de cristall.” You will find yourself submerged in tonality on tracks like “Jardins Aquàtics” and “La Nau Dels Argonautes” which have a kinship to \u003cstrong\u003ePhilip Glass\u003c\/strong\u003e or \u003cstrong\u003eDaniel Lentz\u003c\/strong\u003e. 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Interspersed with other instruments and ideas, like echo delayed Moroccan drumming and self-made magic, these elements deal in duality like the ever-shifting characteristics of the composer: the Hollywood Horowitz who scores films like \u003cem\u003eThe Sheltering Sky\u003c\/em\u003e and \u003cem\u003eAny Given Sunday\u003c\/em\u003e, and the Morocco Horowitz who founded the Gnaoua Festival in Mogador, attended by 500,000 people every year.\u003c\/p\u003e\n\u003cp\u003eWorking in natural succession from end to beginning, “Elephant Dance” demonstrates the central synth and \u003cem\u003eney\u003c\/em\u003e node to explore energetic sound patterns Horowitz imagined to be played in the 16th century on the island of Java, around the time Sufi’s may have arrived in Indonesia. Delicately trampling the twenty minute mark, the piece offers an immersive climate of microtones that might, with the primordial matter of love, alter DNA. “Baby Elephant Magic” is “Elephant Dance” but sped up— producing digital baubles that sound less like an Indonesian forest, more like an urban hive of mechanical insect interaction.\u003c\/p\u003e\n\u003cp\u003eThe piano on “23\/8 for Conlon Nancarrow,” with John Cage technique at play, is played “as fast as possible by a human.” The sounds are driven to derail from the space time continuum. On “Never Tech No Foreign Answer,” a cheap cassette recorder microphone captures the Prophet-5 left to the devices of its master’s inner clock, taking on a frenzied sound form that vibrates in place before bouncing off the tape case walls. Chaos is concentric.\u003c\/p\u003e\n\u003cp\u003e“Queen of Saba” incorporates the vocals of long-time collaborator, \u003cstrong\u003eSussan Deyhim\u003c\/strong\u003e. Described as one of Iran’s most potent voices in exile, Deyhim’s work is in both the tradition of Sufis and the late feminist poet, \u003cstrong\u003eForough Farrokhzad\u003c\/strong\u003e. Recently Deyhim and Horowitz worked together on a multi-media performance based upon Forrokhzad’s Iranian New Wave film, \u003cem\u003eThe House Is Black\u003c\/em\u003e. Here Deyhim performs a taḥrīr where vocals go low to high without any semantically meaningful words. Horowitz’s associations with great cultural icons of the Middle East, like these women, soften (in)appropriations.\u003c\/p\u003e\n\u003cp\u003eLess aggressive than its predecessors, “Eros Never Stops Dreaming” introduces the bendir frame drum, the feathery wind of the \u003cem\u003eney\u003c\/em\u003e floating above its bowing rhythm with effortless mathematics. “Bandit Nrah Master of Rajasthan” begins where the album ends, an ode to Shakuhachi flute players known to indulge in both trance-inducing circular breathing and espionage.\u003c\/p\u003e\n\u003cp\u003eHorowitz is linked with the worldly sound seeking circles of minimalist and avant-garde New York City musicians, especially \u003cstrong\u003eLou Harrison\u003c\/strong\u003e and \u003cstrong\u003eLa Monte Young\u003c\/strong\u003e, with whom Horowitz shared Shandar as a record label momentarily. He recorded and toured with \u003cstrong\u003eJon Hassell\u003c\/strong\u003e and collaborated with \u003cstrong\u003eDavid Byrne\u003c\/strong\u003e and \u003cstrong\u003eBrian Eno\u003c\/strong\u003e, \u003cstrong\u003eJean-Philippe Rykie\u003c\/strong\u003e, and \u003cstrong\u003eBill Laswell\u003c\/strong\u003e. Along his travels he befriended \u003cstrong\u003eBrion Gysin\u003c\/strong\u003e and \u003cstrong\u003ePaul Bowles\u003c\/strong\u003e, the latter whom mentored Horowitz over decades of correspondence, some of which documents the making of \u003cem\u003eEros\u003c\/em\u003e and comes quite \u003cem\u003eliterally\u003c\/em\u003e with this edition.\u003c\/p\u003e\n\u003cp\u003eA record of physical and intellectual love for Arabia, FTS extends this flowing forward and backward - a shimmer that reverses the backward spelling of \u003cem\u003eZtiworoh\u003c\/em\u003e. \u003cem\u003eEros\u003c\/em\u003e is presented in the ever present. 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Leon’s production was pivotal in realizing the debut recordings by \u003cb\u003eRamones\u003c\/b\u003e, \u003cb\u003eBlondie\u003c\/b\u003e, \u003cb\u003eRichard Hell\u003c\/b\u003e and \u003cb\u003eSuicide\u003c\/b\u003e. While those albums broke ground in new worlds of sound, Leon's own debut album was arguably, if not literally, more alien.\u003c\/p\u003e\n\u003cp\u003eIn 1973, the Brooklyn Museum hosted a comprehensive collection of sculptures by the Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections of a visit from an extraterrestrial species they named Nommos. Years after experiencing the exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was presented and a challenge in place: what would music sound like if handed down from an ancient alien species? And how best to imagine it?\u003c\/p\u003e\n\u003cp\u003eUpon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to employ the latest and greatest synthesizer technology available. An avant empathist and eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint. After a secluded week in an Austin, Texas studio with his partner, wife and collaborator \u003cb\u003eCassell Webb\u003c\/b\u003e, Leon returned with a collection of incorporeal melodies generated by the Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms programmed on a prototype of \u003cb\u003eRoger Linn's\u003c\/b\u003e nascent drum-machine, the LM-1.\u003c\/p\u003e\n\u003cp\u003eIssued by Fahey with zero expectation of the same radio airplay Leon accomplished with his pop productions, \u003cem\u003eNommos\u003c\/em\u003e now stands as an innovative example of cosmic-synth composition that wasn’t made for its time or any other. For this edition, Leon has in fact re-animated \u003cem\u003eNommos\u003c\/em\u003e by \u003cem\u003ere-recording\u003c\/em\u003e the exact audio signals as preserved in the album's original studio notes. Every patch, tape-delay speed and outboard setting was transcribed as first scored, materializing the best possible audio of an album whose masters were unaccessible to Leon due to a major label merger milieu from years ago.\u003c\/p\u003e\n\u003cp\u003eAdditionally, the re-master of \u003cem\u003eVisiting\u003c\/em\u003e was supervised firsthand by Leon. As its title suggests, \u003cem\u003eVisiting\u003c\/em\u003e materialized in 1982 as a conceptual continuation of \u003cem\u003eNommos\u003c\/em\u003e. The album is in equal measure more improvisatory and constructed than its predecessor. Both albums were intended to be listened to as a set in the first volume of Leon’s \u003cem\u003eAnthology of Interplanetary Folk Music\u003c\/em\u003e (the title was an homage to \u003cb\u003eHarry Smith's\u003c\/b\u003e influential collection of folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and compositional additions to both albums to enhance the connectivity and encourage infinite interpretation.\u003c\/p\u003e\n\u003cp\u003eWhile reissues and bootlegs have appeared to relieve the demand for these records, this collection will stand as definitive versions authorized by Craig Leon himself. The vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by Leon. The first tells the complete story of the stargazing Dogon people and their prescient understanding of cosmology. 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Originally released by \u003cb\u003eSky Records\u003c\/b\u003e in 1980, RVNG Intl. celebrates the 30th year anniversary with this newly mastered and packaged reissue.\u003c\/p\u003e\n\u003cp\u003eBerlin, Germany, summer of 1979, Harald Grosskopf, then 30 years old, was at a personal and creative crossroads. His girlfriend just left him, and \u003cb\u003eAshra\u003c\/b\u003e (\u003cb\u003eManuel Göttsching's\u003c\/b\u003e \"solo\" project) was on temporary hiatus. Harald always considered himself a rhythmic accomplice to his numerous collaborators' lead, until prompted by some fellow musician friends to pursue a singular creative vision.\u003c\/p\u003e\n\u003cp\u003eArmed with a MiniMoog and Revox reel-to-reel, Grosskopf set off for the West German countryside that fall and isolated himself in a home studio for almost two months to record \u003ci\u003eSynthesist\u003c\/i\u003e. The temperamental analog synthesizer and sequencing technology created a long learning curve eventually resulting in a harmonious union of man and machine.\u003c\/p\u003e\n\u003cp\u003eThe human response undeniably colors the eight songs of \u003ci\u003eSynthesist\u003c\/i\u003e and aligns the album with some of the more melodic output of the \u003cb\u003eBerlin School of Electronic Music\u003c\/b\u003e. The title track and \"Transcendental Overdrive\" almost take on pop qualities. Harald's live percussion opens up tracks like \"So Weit, So Gut\" and \"Emphasis\" for jammed out exploration. Where the album veers into the ambient space clusters of \"B. 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It's about sharing Harald's story and celebrating an album musically accomplished and compelling from start to end.\u003c\/p\u003e\n\u003cp\u003eThe \u003ci\u003eSynthesist\u003c\/i\u003e LP comes as a deluxe package on post-consumer recycled goods, including a unique reverse bound record jacket and full color liner notes by Harald Grosskopf in English and German. 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Strom’s solicitation into the unknown continued through a half dozen more stellar releases during the decade, which, despite their singularity and mastery, slipped into the more obscure annals of want lists and bootleg editions.\u003c\/p\u003e\n\u003cp\u003eThough Strom’s work developed during the dawn of San Francisco’s influential new age and ambient scenes, her music remains non-programmatic, an adventurous tangent diverting from the era’s ideological tropes. The artist’s own path to creative maturation was atypical. Raised by her Catholic family in Louisiana and Kentucky, she was tragically deprived of sight due to complications from a premature birth. This impairment would sensitize her to listenable worlds with great acuity and creative engagement, the loss becoming a formative aspect of Strom’s spiritualist take on the power of music.\u003c\/p\u003e\n\u003cp\u003eRecalling her youth, Strom says she was “a loner and heretic.” Seeking solace and solidarity, she moved to the mecca of California’s counter culture with her husband, a G.I., who was assigned duty in the Bay Area during the decline of the Vietnam War. Having dabbled with piano as a teen, Pauline’s passion for music reignited when synthesizers became central to the serene scene of San Fran FM radio in the mid-70s. Inspired by the electronic music of the instrument’s early ambassadors (\u003cstrong\u003eKlaus Schulze\u003c\/strong\u003e, \u003cstrong\u003eBrian Eno\u003c\/strong\u003e, \u003cstrong\u003eTangerine Dream\u003c\/strong\u003e), Strom purchased a Tascam 4-track recorder and a small array of synths (Yamaha DX7, TX816, CS-10) to navigate her own universe of space music.\u003c\/p\u003e\n\u003cp\u003eAs she gained confidence to share her creations beyond the walls of the apartment where she meticulously crafted under headphones day and night, Strom took on the artistic identity of the ‘consort,’ spiriting listeners through epochs described by her evocative musical passages. From this moment and represented within \u003cem\u003eTrans-Millenia Music\u003c\/em\u003e, Strom proves to be a delicate melodist and meticulous colorist, as well as a sound designer of great drama and inspired energy. The celestial sounds evoke the uncertainty of pre-physical and primordial elements, creating an impression of a world beyond access that Strom has always felt was hers. In the collection’s liner notes Strom recounts, “I have always been in touch with the past more than the present.”\u003c\/p\u003e\n\u003cp\u003eApart from its mysteries, Strom’s curiosity for the non-present was also suffused with a social bent. She believed that humanity was confined by its inability to access the people of the future, therefore suffering in a kind of group solipsism. Designing a world of music that rooted itself in all times but the present, Strom’s alter ego, the Trans-Millenia Consort, became a musical activist for triggering this state of heightened consciousness.\u003c\/p\u003e\n\u003cp\u003eExemplary passages highlighted in \u003cem\u003eTrans-Millenia Music\u003c\/em\u003e were selected from the three full-lengths originally issued on vinyl in addition to a group of four full-lengths self-released on cassette. This substantive body of work challenges the canonization of new age and ambient music as one-size-fits-all categories. Strom’s music induces a dynamic range of listening that captivates and intrigues, a cinematic experience rather than a meditation for passive listening.\u003c\/p\u003e\n\u003cp\u003eAn open invitation to earlier worlds and a trans-temporal philosophy for living, Pauline Anna Strom’s \u003cem\u003eTrans-Millenia Music\u003c\/em\u003e is available November 10, 2017 on double LP, CD, and digital formats. 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Growing up on his family farm, he became a young acolyte of the British exports hitting not-so-distant Baltimore record store shelves in 1979 \/ 1980 and was baited by an area musician-wanted ad declaring \u003cstrong\u003eUltravox\u003c\/strong\u003e a primary touchstone.\u003c\/p\u003e\n\u003cp\u003eThis nascent band and a pair of other group experiments flamed out under the typical totem of despotism. In their ashes Renner began recording independently around 1983 with a portable four-track, electric guitar, and classic Casio CZ101 synthesizer. Aside from \u003cstrong\u003eJohn Foxx\u003c\/strong\u003e-era Ultravox, Renner’s process was inspired by the period’s electronic pioneers venturing into deeper, romantic pop pastures: \u003cstrong\u003eYellow Magic Orchestra\u003c\/strong\u003e, \u003cstrong\u003eBill Nelson\u003c\/strong\u003e, \u003cstrong\u003eThe Associates\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eWith his tools and teachers in place, the blueprints for Renner’s sound were laid out – metronomic, skeletal rhythms built on sturdy yet singular drum machines supporting luminescent guitar and synth lines, Renner’s reverent voice guiding the fables and construction.\u003c\/p\u003e\n\u003cp\u003eMost directly influential, Renner’s enthusiasm for \u003cem\u003eDays in Europa\u003c\/em\u003e, the third album by Scottish new wave band \u003cstrong\u003eSkids\u003c\/strong\u003e, would lead to a correspondence and long-distance tutorship with \u003cstrong\u003eStuart Adamson\u003c\/strong\u003e. 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(Mark is \u003cem\u003estill\u003c\/em\u003e active making music and painting) The instrumental explorations remain on par with the great ambient adventurers of the period (\u003cstrong\u003eBrian Eno\u003c\/strong\u003e, \u003cstrong\u003eHarold Budd\u003c\/strong\u003e, \u003cstrong\u003eRoedelius\u003c\/strong\u003e), while the vocal and guitar-centric songs crystalize across similar terrains being transversed by \u003cstrong\u003eCocteau Twins\u003c\/strong\u003e and \u003cstrong\u003eThe Chills\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFew Traces\u003c\/em\u003e highlights in intuitive sequence gems from Renner’s scarce discography and archive: the self-released debut \u003cem\u003eAll Walks of This Life\u003c\/em\u003e (1986), the aptly titled follow-up \u003cem\u003ePainter’s Joy\u003c\/em\u003e (1988), plus early singles, compilation tracks, and exemplary songs that saw no original release. 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In the novel, the story of Stone Telling, a young woman of the Kesh, is woven within a larger anthropological folklore and fantasy.\u003c\/p\u003e\n\u003cp\u003eThe ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet (Le Guin’s conlang, so she could write non-English lyrics), and with early editions, a cassette of “field recordings” and indigenous song. Le Guin wanted to hear the people she’d imagined; she embarked on an elaborate process with her friend \u003cstrong\u003eTodd Barton\u003c\/strong\u003e to invoke their spirit and tradition.\u003c\/p\u003e\n\u003cp\u003eFor \u003cem\u003eMusic and Poetry of the Kesh\u003c\/em\u003e, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist (the two worked together previously on public radio projects). 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For instance, “The River Song” description reads, “The prominent rhythm instrument is the doubure binga, a set of nine brass bowls struck with cloth-covered wooden mallets, here played by Ready.”\u003c\/p\u003e\n\u003cp\u003eAccording to writer and long-time friend of LeGuin, \u003cstrong\u003eMoe Bowstern\u003c\/strong\u003e (who pens the liners for the Freedom To Spend edition of \u003cem\u003eKesh\u003c\/em\u003e), Barton built and then taught himself to play several instruments of Le Guin’s design, among them “the seven-foot horn known to the Kesh as the \u003cem\u003eHoumbúta\u003c\/em\u003e and the \u003cem\u003eWéosai Medoud Teyahi\u003c\/em\u003e bone flute.” Barton’s crafting of original instruments lends an other-worldly texture to the recordings of the Kesh, not unlike fellow builders \u003cstrong\u003eBobby Brown\u003c\/strong\u003e and \u003cstrong\u003eLonnie Holley\u003c\/strong\u003e. Bowstern notes, “Other musician \/ makers have crafted their own Kesh instruments after encountering the earlier cassette recordings that accompanied some editions of the book.”\u003c\/p\u003e\n\u003cp\u003eBoth Barton and Le Guin are sensitive to the sovereignty of indigenous Californians and were careful not to trample the traditions of the Tolowa people who lived in the valley long before the Kesh. “You research deeply, and then you bring your own voice to the table,” said Barton. Within the Kesh culture, the numbers four and five shape the lives, society and rituals. Barton composed loosely around these numbers, patiently listening to the land of Napa Valley for signs and audio signals from the natural elements. Todd incorporated ambient sounds of the creek by Le Guin’s house and a campfire they built together.\u003c\/p\u003e\n\u003cp\u003eThe songs of Kesh are joyful, soothing and meditative, while the instrumental works drift far past the imaginary lands. “Heron Dance” is an uplifting first track, featuring a \u003cem\u003eWéosai Medoud Teyahi\u003c\/em\u003e (made from a deer or lamb thigh bone with a cattail reed) and the great \u003cem\u003eHoumbúta\u003c\/em\u003e (used for theatre and ceremony). “A Music of the Eighth House” sends gossamer waves of the faintest sounds to “float on the wind.” Like the languages invented in the vocal work of \u003cstrong\u003eAnna Homler\u003c\/strong\u003e, \u003cstrong\u003eMeredith Monk\u003c\/strong\u003e, and \u003cstrong\u003eElizabeth Fraser\u003c\/strong\u003e, the Kesh songs and poems play with the shape of voice.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eMusic and Poetry of the Kesh\u003c\/em\u003e cassette was meant to accompany and enhance the experience of reading \u003cem\u003eAlways Coming Home\u003c\/em\u003e. Presented in this edition as a long-playing album, where only traces of the book linger (the jacket offers some of Le Guin’s illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport—offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures.\u003c\/p\u003e\n\u003cp\u003eA line from \"Sun Dance Poem\" reminds us, “We are nothing much without one another.” Freedom To Spend gives new life to the recordings of the Kesh people in the first ever vinyl edition of \u003cem\u003eMusic and Poetry of the Kesh\u003c\/em\u003e also availably on digital formats on March 23, 2018. 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Canvas Packaging): September 21, 2018 (digital \/ physical)\u003cbr\u003eFTS008BOX2 (Ltd. Print Edition): June 21, 2019 \u003cspan\u003e(digital \/ physical)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFreedom To Spend’s first catalog wide deep dive into an artist’s career focuses on four albums from \u003cstrong\u003eRimarimba\u003c\/strong\u003e, beginning with 1983’s \u003cem\u003eBelow The Horizon\u003c\/em\u003e, followed by 1984’s \u003cem\u003eOn Dry Land\u003c\/em\u003e, 1985’s \u003cem\u003eIn The Woods\u003c\/em\u003e, and finally, the once-imagined, now-realized assembly of 1988’s \u003cem\u003eLight Metabolism Number Prague\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eSomewhere out there around the turn of the 1980s, to the left of the post-punk crew, to the right of the minimalists, and surfacing with a friendlier face than the dour industrialists of the time – there existed, seemingly unbidden, an entire, networked, tape-trading community; a community that crossed continents and oceans, that relied on the postal service to do its bidding; a community full of humble visionaries and lost, misunderstood, or just plain ignored home steeped genius.\u003c\/p\u003e\n\u003cp\u003eExploring that thicket of weirdness in the UK wild, you’d likely stumble across labels like \u003cstrong\u003eCordelia\u003c\/strong\u003e, \u003cstrong\u003eHamster\u003c\/strong\u003e, and \u003cstrong\u003eUnlikely\u003c\/strong\u003e; compilations like the should-be-legendary \u003cem\u003eObscure Independent Classics\u003c\/em\u003e series, or the \u003cem\u003eReal Time\u003c\/em\u003e cassettes; and inexplicable one-offs like \u003cstrong\u003eThe Deep Freeze Mice\u003c\/strong\u003e, \u003cstrong\u003eJody \u0026amp; The Creams\u003c\/strong\u003e, \u003cstrong\u003eR. Stevie Moore\u003c\/strong\u003e, \u003cstrong\u003eLeven Signs\u003c\/strong\u003e, \u003cstrong\u003eJung Analysts\u003c\/strong\u003e, and Rimarimba.\u003c\/p\u003e\n\u003cp\u003eRimarimba was the project of \u003cstrong\u003eRobert Cox\u003c\/strong\u003e, based in Felixstowe, on the seaside in Suffolk, UK. Rimarimba was not Cox’s first entry into the world of recorded music, but was the first time he explored, most perceptively, the parameters of a particular musical mode: one where minimalism is removed from its “high-art” mantle, Cox inveigling its practices in amongst the do-it-yourself creativity of a burgeoning and beguiling underground, letting the music breathe – and most importantly, letting it play, gifting it with imagination.\u003c\/p\u003e\n\u003cp\u003eThat sense of play is writ large across the four Rimarimba albums being circulated again, or in \u003cem\u003eLight Metabolism Number Prague’s\u003c\/em\u003e case, being made newly available. There’s an unaffected, warm-hearted joy to be heard in Cox’s music, hypnotic patterns unspooling from a Pandora’s-box of mass-produced and home built musical instruments, intertwining, tangling up in each other, and then riding out the road until they’ve said their piece, often parking somewhere surprisingly unfamiliar to where they started. Sometimes, it’s as though Cox is channelling preconscious phrases, tunes that exist in some kind of primordial soup of music, the storehouse of melody that we call upon in our most hallucinatory, incantatory moments.\u003c\/p\u003e\n\u003cp\u003eYou can certainly hear some familiar names as precursors or as covering similar terrain – there’s a touch of \u003cstrong\u003eBrian Eno\u003c\/strong\u003e, who attended the same school as Cox, a dab of the process orientations of early \u003cstrong\u003eSteve Reich\u003c\/strong\u003e, the shifting, sub rosa patterning of \u003cstrong\u003ePhilip Glass\u003c\/strong\u003e. But just as equally, Cox alights on less predictable touchstones: \u003cstrong\u003eMoondog\u003c\/strong\u003e might not immediately come to mind, but he’s a significant influence, something that comes clear as you listen further and hear aspects of The Viking of 6th Avenue’s “snaketime,” his ornery take on rhythm, in Cox’s constructions. He’s also a fan of the fantasias of \u003cstrong\u003eJohn Fahey\u003c\/strong\u003e, whose mercurial spirit and galaxy-gobbling musical open-mindedness finds a home in Cox’s questing to experiment, to make new, and to find unexpected treasure in the communion of the musical moment.\u003c\/p\u003e\n\u003cp\u003eEach Rimarimba album is a functional objects in and of itself; a fully contained world of trash and treasure, play and precarity. But they might be best experienced when taken en masse. It’s a heroic dose, but as with the structures of the music itself, listening to Rimarimba seems to work in a cumulative fashion, and the deeper you go into Cox’s singularity, the more you discover, the more lightbulb moments click into place, and you end up eddying in a pool of all sound; that Rimarimba moment has caught you.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis coming June 21, Freedom To Spend will come full circle with Rimarimba offering all four albums in a second collection edition of 150 with another “Certificate of Absurdity” from Robert Cox. The collection will feature a new, multi-hued art print and will be the only opportunity to access \u003c\/span\u003e\u003cem\u003eLight Metabolism Number Prague. On Dry Land \u003c\/em\u003e\u003cspan\u003eand \u003c\/span\u003e\u003cem\u003eIn The Woods\u003c\/em\u003e\u003cspan\u003e will be released concurrently in a one-time editions of 750 copies. Each album features artwork reinterpreted from its original edition by \u003c\/span\u003e\u003cstrong\u003eWill Work For Good\u003c\/strong\u003e\u003cspan\u003e, and accompanying written abstracts by \u003c\/span\u003e\u003cstrong\u003eJon Dale\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Ivd-dQtdOHU\"\u003e\u003c\/iframe\u003e \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Ei_7bOWZiOQ\"\u003e\u003c\/iframe\u003e \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/lV9SUn2pg1s\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/3Coq4aQYOXg\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"FTS008","offers":[{"title":"The Rimarimba Collection - DIGITAL - $35","offer_id":19670565748805,"sku":"FTS008DIGI","price":35.0,"currency_code":"USD","in_stock":true},{"title":"The Rimarimba Collection - 4xLP Box Set (Ltd. 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There’s a pleasure in hearing how he feels out the parameters of his aesthetic, here – there’s a boxy minimalism, slightly clunky and charming with it, that reflects the home-spun, improvisatory tenor of the compositions. It’s ambitious music, though, wanting to do the most and the best it can with its limited resources. Cox himself admits to not being “pre-wired” to making this music, but that only makes it more compelling: “Were I to be properly musical, it wouldn’t actually work as well in some ways; it’d be just another album of contemporary clattery music.”\u003c\/span\u003e\u003c\/p\u003e","brand":"FTS005","offers":[{"title":"DIGITAL - $10","offer_id":18630208389189,"sku":"FTS005DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":16058799030341,"sku":"FTS005LP","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS005_-_Digital_Cover_-_1500px.png?v=1599774838"},{"product_id":"june-chikuma-les-archives","title":"June Chikuma - Les Archives","description":"\u003ch3\u003eCAT: FTS010\u003c\/h3\u003e\n\u003cp\u003eRelease Date: March 22, 2019 \u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis composed, arranged, and produced by the elusive Japanese artist \u003c\/span\u003e\u003cb\u003eJune Chikuma\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. While \u003c\/span\u003e\u003cb\u003eFreedom To Spend’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e reinvented edition bares little visual evidence of its origins in the composer’s name, title, or sleeve design, the album, a whooping gonzo of synthesizers, samplers, drum machines, and a mysterious string quartet, remains \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eas vibrant now as it did when released on \u003c\/span\u003e\u003cb\u003eToru Hatano’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e Picture Label as \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDivertimento\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e in 1986. In fact, the music of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e now glows with a different purpose; one that revises the past while maintaining, and finally elevating, its hidden influence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA woman of multiple disciplines and identities, June Chikuma (竹間 淳, Chikuma Jun) has composed for TV, film, and video games over the past thirty plus years. Her proto-techno and drum and bass soundtracks for Nintendo’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBomberman\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e franchise in the 80s and 90s is an oeuvre unto itself. In more recent years her musical focus has turned toward classic Arabic and Egyptian music. Chikuma studies Arabic nay, playing and performing with \u003c\/span\u003e\u003cb\u003eLe Club Bachraf \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eensemble. In a melding of June’s contrasting, colorful worlds, Le Club Bachraf composed part of the original score for the 2007 video game \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSonic and The Secret Rings\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Chikuma constructed a sonic stage to animate her imaginings as a one-person show. The primary props, a KORG SDD-3000 digital delay, an audible, overt display of unclassified drum machines and samplers, and a litany of literary references. Following the original album’s sequence, “Broadcast Profanity Delay” bursts onto \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives’\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e first scene full of buoyant energy and fluttering atmospheric pressure. The composition was conceived by Chikuma for a make-believe marimba ensemble, and in this shapeshifting form, takes on its own mutant life. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Pataphysique” is a term for the study of an imaginary realm additional to metaphysics, and the track on \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003emost conducive to dancing (even if those movements might conjure the herkiest, jerkiest imagery). “Divertimento,” the heretofore title track of the album, brandishes a tough electro exoskeleton with a molten 18th century orchestral interlude nine minutes into the nearly thirteen minute piece. Chikuma dedicates “Divertimento” to composers \u003c\/span\u003e\u003cb\u003eWolfgang Amadeus Mozart\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003cb\u003ePaul Hindemith\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e for his alignment with the New Objectivity movement. By the composition’s conclusion the object’s particles have been completely obliterated and assembled again. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe cacophony of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e parts to reveal a clearing with “Climb-Down,” Chikuma’s tribute to \u003c\/span\u003e\u003cb\u003eErik Satie’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e Furniture music (\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003emusique d’ameublement\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e). The \u003c\/span\u003e\u003cb\u003eMichiyo Toda String Quartet’s \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003esomber string interpretation of June’s composition offers a grace unlike the Rube Goldberg of punchy programming and found sound on the surrounding electronic machination. After this acoustic respite the electricity is switched on again. “Dual Use” repurposes the constitution of “Divertimento” as a slight samba, complete with Godzilla samples.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRecorded during the original \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDivertimento\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e sessions at Hugh Studio in Tokyo but excluded from the original album release, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003epresents two unheard pieces. “Mujo to Ifukoto” works as interspecies smalltalk between synthetic instruments and environmental samples. Lush strings interrupt synth sweeps, said sweeps giving way to a concrète concert of crickets and church bells. Countering the title’s claim of dispassionate decision-making in the midst of crisis, “Oddman Hypothesis” is deliberately restrained, aside from the shatter marking the start, and resembles the City Pop and fusion movements that defined Japan’s musical landscape in the 80s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eChiikuma’s neon-vibrant aesthetic would be at home soundtracking films like \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAfter Hours\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e or \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTeknolust\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. 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It’s an enchanting album, one which, at times, seems to comment on its own practice; a picture of everyday life in the hobbyist’s, or part-time musician’s, recording studio. Some moments point towards the tourist-explorer aesthetic that would eventually coalesce under the banner of Fourth World music. Other moments where Cox seems to be channelling an otherness, a kind of hauntological reverie, the feeling of music that gives us an uncanny sense of déjà vu. Writer \u003cstrong\u003eDavid Keenan’s\u003c\/strong\u003e description of Japanese naïve-pop group \u003cstrong\u003eMaher Shalal Hash Baz’s\u003c\/strong\u003e music, that it “feels like sketches of places where we once were, places now made poignant by our absence” feels like an alternate take\u003cem\u003e On Dry Land.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/lV9SUn2pg1s\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"FTS006","offers":[{"title":"DIGITAL - $10","offer_id":19657853927493,"sku":"FTS006DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":19657853894725,"sku":"FTS006LP","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS006_-_Digital_Cover_-_1500px.png?v=1599761170"},{"product_id":"rimarimba-in-the-woods","title":"Rimarimba - In The Woods","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: FTS007\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eFTS007: June 21, 2019 (digital \/ physical)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn \u003c\/span\u003e\u003cb\u003eRimarimba’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e 1985 album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn The Woods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eRobert Cox \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003ehas made his music kit, an odd assortment of new and old technologies, lately fixated on the digital delay, and programming technologies, sing his own song at its most articulate clip. The songs seem more developed, fluent, like mini-suites in some sense.  By his third album, it’s clear Cox has recognised just how liberating technology can be – “All these intricate layers of things that I was trying to play, and didn’t have the musical ability to play, I could suddenly program them” – but he also recognises that if you head too far down that road, dull perfection is your bitter reward. Human music intoxicated and lurching through a new forest of machinery.\u003c\/span\u003e\u003c\/p\u003e","brand":"FTS007","offers":[{"title":"DIGITAL - $10","offer_id":19657854484549,"sku":"FTS007DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":19657854451781,"sku":"FTS007LP","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS007_-_Digital_Cover_-_1500px.png?v=1599761075"},{"product_id":"ernest-hood-neighborhoods","title":"Ernest Hood - Neighborhoods","description":"\u003ch3\u003eCAT: FTS014\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003e October 11, 2019\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eErnest Hood’s\u003c\/strong\u003e \u003cem\u003eNeighborhoods\u003c\/em\u003e was released some two decades after the Portland, Oregon born and raised musician’s first forays into field recordings. These very recordings, and those captured over intervening years, define the universal sound and aural images of childhood, a theme memorialized by Hood’s privately-pressed opus of 1975.\u003cbr\u003e\u003cbr\u003eSprawling through a haze of zither, synthesizer melodies, and foraged pedestrian sound, \u003cem\u003eNeighborhoods\u003c\/em\u003e is both a score and documentary composed and directed by Hood to offer, in his words, joy in reminiscence. Hood’s nostalgic impulse ran parallel to the developments of other artists, writers, and filmmakers of the 1970s who were looking back to the 1950s to convey a collective memory of childhood. Unlike some of the widely embraced work of this nature, the music of \u003cem\u003eNeighborhoods\u003c\/em\u003e eschews irony or detachment for lucidity, striving above all for a dream-like return to the details of sensory memory.\u003cbr\u003e\u003cbr\u003eBorn into a musical lineage, Hood’s early, promising career as a guitarist in a globe-trotting jazz outfit was cut short when he contracted polio in his late twenties. Moving from guitar to less physically-demanding stringed instruments in the late 1940s, Hood first began implementing field recordings in his jazz ensemble collaborations as early as 1956. In 1961, Hood and trumpeter \u003cstrong\u003eJim Smith\u003c\/strong\u003e collaborated on a local Portland television program, with their large, tight ensemble providing breakneck contemporary jazz for an action painting by famed West Coast modernist painter \u003cstrong\u003eLouis Bunce\u003c\/strong\u003e. Hood incorporated his own field-recorded sounds of birds in the performance – an element that would resurface in \u003cem\u003eNeighborhoods\u003c\/em\u003e with great abundance among other found sounds.\u003cbr\u003e\u003cbr\u003eWhether using environmental sounds or instruments, a sense of musical narration is the central component of \u003cem\u003eNeighborhoods\u003c\/em\u003e, a strategy Hood tellingly referred to as “musical cinematography” in his original liner notes. Instead of using the picture frame, Hood broadcasts melodies and sounds from his beloved Portland surroundings to transport listeners to the story’s scene. Remarkably, \u003cem\u003eNeighborhoods\u003c\/em\u003e never falls into the sentimentality trap. Hood’s music augments its indeterminate, “anecdotal” sounds with a blend of zither and synthesizer melodies reminiscent of golden age cinema soundtracks.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eNeighborhoods\u003c\/em\u003e is an unusual hybrid––not quite an “ambient” record nor a collection of pure field recordings. The identifiable sounds (screen doors opening and closing, passing motorists, crickets chirping, children playing) feel both universal and highly specific, like a bulletin of Hood’s private geography from the middle of the last century. There’s something instructive – if not reparative – about time traveling into the bucolic dimension of \u003cem\u003eNeighborhoods\u003c\/em\u003e in 2019. If Hood were presenting the album today, he might invite listeners to unplug while locating that joy in reminiscence. \u003cbr\u003e\u003cbr\u003eIn the end, the concerns of \u003cem\u003eNeighborhoods\u003c\/em\u003e are poetic not formal, as Hood’s own summary of the album sounds a lot like \u003cstrong\u003eWalt Whitman\u003c\/strong\u003e: “It hardly matters in which neighborhood you sprouted. The games we played, the mocks, the terminology and the feelings we experienced as youngsters are tantalizingly familiar.” And later, hitting a grand note, “How familiar, how indelible the pictures are: aromas of soft velvet days, strong friendships, fears, hates, loves... If the music seems a little bittersweet, well... isn’t that the taste of nostalgia?”\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFreedom to Spend\u003c\/strong\u003e has restored Ernest Hood’s nostalgic masterpiece with the same care with which he viewed his source material, offering a remastered version of \u003cem\u003eNeighborhoods\u003c\/em\u003e transferred from the original tapes, expanded across four vinyl sides (the original version was crammed on two). The new edition reproduces Hood’s celebratory liner notes in full, alongside new liner notes by \u003cem\u003eMichael Klausman\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eA portion of proceeds from this release will be donated \u003cstrong\u003eKBOO FM\u003c\/strong\u003e, a volunteer-powered, non-commercial, listener-sponsored, community radio station for Portland, Oregon, the Pacific Northwest, \u0026amp; the World, founded in part by Ernest Hood. Come! Mend! \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/nggOT7tdTPE\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/bVI01Iiuwvk\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"FTS014","offers":[{"title":"DIGITAL - $12","offer_id":29429194195013,"sku":"FTS014DIGI","price":12.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP LTD - SOLD OUT","offer_id":29429258387525,"sku":"FTS014LTDLP","price":30.0,"currency_code":"USD","in_stock":false},{"title":"DBL LP - $30 (2022 Repress) (pre-order)","offer_id":29429194162245,"sku":"FTS014LP","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD - $15 (2022 Repress) (pre-order)","offer_id":29436273819717,"sku":"FTS014CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/Ernest_Hood_-_Neighborhoods_-_FTS014_-_4000px.png?v=1606935708"},{"product_id":"peter-ivers-becoming-peter-ivers","title":"Peter Ivers - Becoming Peter Ivers","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: ReRVNG09\u003c\/h3\u003e\n\u003cp\u003eRelease Date: \u003cbr\u003eNovember 9, 2019\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e tells the story of the late \u003cstrong\u003ePeter Ivers\u003c\/strong\u003e, a virtuosic songwriter and musician whose antics bridged not just 60s counterculture and New Wave music but also film, theater, and music television. \u003cbr\u003e\u003cbr\u003eWritten and recorded in Los Angeles in the mid-to-late-1970s, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e raises the curtain on this mischievous master of ceremonies, who, harmonica in hand, rarely missed a chance to light up an audience. Since his untimely death in 1983, Ivers' short but storied life has been the subject of much research and remembrance. \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e is the most expansive effort yet to collect his archival recordings.\u003cbr\u003e\u003cbr\u003e“Demos are often better than records,” Ivers wrote. “More energy, more soul, more guts.” The statement anticipates the appearance of \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e, which was assembled from a trove of demo cassettes and reel-to-reel tapes that Ivers recorded variously at his home in Laurel Canyon, Los Angeles, and Hollywood studios for a pair of major label albums in 1974 and 1976. While the two commercially released albums feature the resources of session musicians and state-of-the-art studio detail, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e highlights the private moments of Ivers’ musical energy, frequently pared down to piano, drum machine, harmonica, and Peter’s ageless voice.\u003cbr\u003e\u003cbr\u003eThough technically not Ivers’ debut album (in 1969 Epic Records released \u003cem\u003eKnight Of The Blue Communion\u003c\/em\u003e, Peter’s psychedelic jazz odyssey of sorts), \u003cem\u003eTerminal Love\u003c\/em\u003e was the A\u0026amp;R brainchild of music legend \u003cstrong\u003eVan Dyke Parks\u003c\/strong\u003e. Already a masterful harmonica player (respectively mentored by blues legend \u003cstrong\u003eLittle Walter\u003c\/strong\u003e and jazz bassist \u003cstrong\u003eBuell Neidlinger\u003c\/strong\u003e while he was a student at Harvard in the late 60s), Ivers wove his harp melodies through the sensuously colored but unconventionally arranged pop compositions of Terminal Love and its self-titled follow up, which, like the \u003cstrong\u003eNew York Dolls\u003c\/strong\u003e at the same time, explored the libidinous, ironic, and artful possibilities of the rock template.\u003cbr\u003e\u003cbr\u003eA studious artist, Ivers recorded hundreds of writing and rehearsal sessions onto reel-to-reel and cassette tapes, but notes were either scarcely kept or have since been lost. RVNG Intl. collaborated with Ivers’ friend and supporter \u003cstrong\u003eSteven Martin\u003c\/strong\u003e under guidance from his longtime girlfriend \u003cstrong\u003eLucy Fisher\u003c\/strong\u003e, to tell an intimate story of Peter’s creative journey through this untold music. The collection includes tracks that recurred in Ivers’ ouvre over the years; “Alpha Centauri,” “Eighteen And Dreaming,” “Miraculous Weekend.” And, of course, “In Heaven” – the song co-written with \u003cstrong\u003eDavid Lynch\u003c\/strong\u003e and commissioned by the filmmaker to be featured in a now-iconic scene of \u003cem\u003eEraserhead\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eAn accomplished Yogi by the late 70s, Ivers was as spiritual as he was playful. Accentuated by his cherubic face and compact height, Ivers’ vitality and curiosity became a part of his poetic sensibility, a quality that also characterizes his singing voice. Fisher remembers Ivers calling his days holed up in the studio as “snowy days,” as if he had been cut from school and let free to roam on his own. “No one knows what Peter Ivers does on a snowy day,” he would say. \u003cbr\u003e\u003cbr\u003eIn 1980, Ivers became involved with the Los Angeles-area public access show \u003cem\u003eNew Wave Theatre\u003c\/em\u003e, serving as its host and paternal misfit. Ivers would introduce a new generation of groups like \u003cstrong\u003eFear\u003c\/strong\u003e, \u003cstrong\u003eDead Kennedys\u003c\/strong\u003e, and \u003cstrong\u003eSuburban Lawns\u003c\/strong\u003e while playing a kind-of “straight” man, deliberately baiting the punks with square questions and frocked fashion. His signature question to guests was delivered deadpan: “What is the meaning of life?\" \u003cbr\u003e\u003cbr\u003eIvers died, tragically, the victim of a violent homicide in 1983 that remains unsolved. A shock to his community, his death all but fazed the LAPD, who treated the investigation with less than minimum care.\u003cbr\u003e\u003cbr\u003eA labor of love that took RVNG Intl. over five years to complete, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e re-frames Peter’s music as the centerpiece of his captivating story, concentrating on the work he made during his numerous retreats into art, or, as he put it, during his snowy days. Available as a double LP, CD, and digitally, \u003cem\u003eBecoming Peter Ivers\u003c\/em\u003e includes liner notes by \u003cstrong\u003eSam Lefebvre\u003c\/strong\u003e and Steven Martin and an array of unseen ephemera from Peter’s life and times.\u003cbr\u003e\u003cbr\u003eOn behalf of the estate of Peter Ivers, a portion of the proceeds from this release will benefit \u003ca href=\"https:\/\/homeboyindustries.org\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eHomeboy Industries\u003c\/a\u003e, a rehabilitation organization run by Father Greg Boyle to assist previously incarcerated former gang members with counseling, legal services, and work training programs. \u003ca href=\"https:\/\/commendnyc.com\/come-mend\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eCome! Mend!\u003c\/a\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/2X4xR360z_U\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/wLaGyXHkQEM\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"ReRVNG09","offers":[{"title":"DIGITAL - $15","offer_id":29481839525957,"sku":"ReRVNG09DIGI","price":15.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP + LTD 7\" - $34","offer_id":29492750876741,"sku":"ReRVNG09LTDDBLLP","price":34.0,"currency_code":"USD","in_stock":false},{"title":"DBL LP - $30","offer_id":29481839460421,"sku":"ReRVNG09LP","price":30.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":29481839493189,"sku":"ReRVNG09CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/RERVNG09-Digital-Cover-1500px_e0ec519a-0e0c-40ee-a6bd-a615e42085a2.png?v=1606241305"},{"product_id":"michele-mercure-pictures-of-echoes","title":"Michele Mercure - Pictures of Echoes","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: ReRVNG16 \/ FTS016\u003c\/h3\u003e\n\u003cp\u003eRelease Date: May 8, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e Pictures of Echoes\u003c\/em\u003e is an intimate answer to \u003cem\u003eBeside Herself\u003c\/em\u003e, the 2018 anthology of music from \u003cstrong\u003eMichele Mercure’s\u003c\/strong\u003e self-produced and distributed cassettes. \u003cem\u003ePictures of Echoes\u003c\/em\u003e picks up where \u003cem\u003eBeside Herself\u003c\/em\u003e left off, collecting key moments from Mercure’s solo releases and collaborative, cross-disciplinary work, and restoring the recordings for a new digital age while employing the medium which originally transported these sounds. \u003cbr\u003e\u003cbr\u003eSurveying the efforts of a decade, from passages of her 1983 debut \u003cem\u003eRouge \u0026amp; Mint\u003c\/em\u003e to themes from her score for \u003cstrong\u003eMary Haverstick's\u003c\/strong\u003e 1993 film \u003cem\u003eShades of Black\u003c\/em\u003e, \u003cem\u003ePictures\u003c\/em\u003e places brooding instrumental sketches next to ceremonious and cinematic compositions, sculpted from an arsenal of beloved synthesizers, drum machines, and samplers, live acoustic accompaniments, and her trusty Atari ST. \u003cbr\u003e\u003cbr\u003e\u003cem\u003ePictures of Echoes\u003c\/em\u003e is a word painting for the technological transposition from analogue memory into digital collection, a process of reimagining the past and giving new life to earlier work. Mercure’s creative evolution has been led by loyalty to homespun and DIY practices, to self and collaborative production and the embrace of eccentricity and unorthodoxy. \u003cbr\u003e\u003cbr\u003eFinding a foundation on the fringe, her work merges sound and image in the site of community, composing music for films, dance collaborations and avant garde theater productions as well as her own editions. Projects from each of these corners are present in this supplementary survey, which moves from counter Kosmische to experimental expressionism. \u003cbr\u003e\u003cbr\u003eAvailable as a cassette or digital experience under the joint \u003cstrong\u003eRVNG\u003c\/strong\u003e and \u003cstrong\u003eFreedom to Spend\u003c\/strong\u003e banner, \u003cem\u003ePictures of Echoes\u003c\/em\u003e is an integral part of the mercurial journey through Michele’s archive, which began with FTS’s 2017 reissue of \u003cem\u003eEye Chant\u003c\/em\u003e, the label’s inaugural release.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/aTZVjDyzLmM\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"ReRVNG16","offers":[{"title":"DIGITAL - $9","offer_id":32222158946367,"sku":"ReRVNG16DIGI","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Pin - $12 - Sold Out","offer_id":32222177394751,"sku":"ReRVNG16CS","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/RERVNG16-FTS016-Digital-Cover-1500px.png?v=1586903160"},{"product_id":"v-a-new-neighborhoods","title":"V\/A - New Neighborhoods","description":"\u003ch3\u003eCAT: FTS015\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003e October 2, 2020 (physical \/ bandcamp)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eIn recognizing and celebrating mutual communities, and with ambition to both envision a better world and hold onto precious local histories, \u003c\/span\u003e\u003cb\u003eFreedom To Spend \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eshares \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew Neighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, a collection of sixteen new works by an international, intergenerational cast of artists acknowledging, and pushing forward, the sonic path traveled by \u003c\/span\u003e\u003cb\u003eErnest Hood\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, the musician and field recordist from Portland, Oregon responsible for the 1975 “joy in reminiscence” \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNeighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eFor \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew Neighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, artists from different vantages around the world were invited to contribute sound works incorporating field recordings from their immediate and dreamed surroundings as a focal, but not necessarily primary, component. The composers who volunteered their services include \u003c\/span\u003e\u003cb\u003eTodd Barton\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eFelicia Atkinson,\u003c\/b\u003e \u003cb\u003eKa Baird\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eCV \u0026amp; JAB\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003cb\u003e Lieven Martens\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eSpace Afrika\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eNailah Hunter\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003cb\u003e Jefre-Cantu Ledesma\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003ebookworms\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eMelanie Velarde\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003cb\u003e Roberto Carlos Lange\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e (\u003c\/span\u003e\u003cb\u003eHelado Negro\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e), \u003c\/span\u003e\u003cb\u003eBarraco Barner\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eDylan Moon\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eJ D Emmanuel\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eSugai Ken\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003cb\u003eLike A Villain\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe liner notes for the original edition of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNeighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e clarify that the album “is a rather personal thing to be reflected up (as musical cinematography) alone.” \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew Neighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e nurtures a similar independence that slowly ignites sensory tinder in its poetic unfolding. The composers’ interior terrains interact with their adjacent landscapes, from Harlem to The Hague, compelled by a mysterious, unconscious force. The sounds captured and considered in this collection shimmer under the intimate, extraordinary depiction of everyday life.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eThere is a sensitivity to detail in the artists’ submissions, which are neither strictly field recordings or ambient music, but rather an environmental tapestry of both. While many of the songs were composed in solitude, they invite the listener to imagine being there, exploring a parallel environment familiar yet obscured. As a whole, the collection suspends sound in lucidity; the dream-reality of these recordings unravel and then immediately rewind before the listener, encouraging new rituals of perception. \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eAll proceeds from the first edition of this collection will benefit the A\u003cstrong\u003essociation for Neighborhood and Housing Development\u003c\/strong\u003e (\u003cstrong\u003eANHD\u003c\/strong\u003e)\u003cstrong\u003e’s\u003c\/strong\u003e \u003cstrong\u003eCenter for Community Leadership\u003c\/strong\u003e (\u003cstrong\u003eCCL\u003c\/strong\u003e) program, one of New York City’s longest-running organizer training programs, providing grassroots leaders and organizations with the skills, resources, and community necessary to advance sustainable political change on a local and regional level. ANHD is a coalition of community groups across New York City using research, advocacy, and grassroots to build equity and justice in their neighborhoods and citywide. ANHD’s mission supports lower income and working-class communities by developing affordable housing, an essential effort during the COVID-19 pandemic, where low-income, BIPOC communities have been hit the hardest. Member organizations of ANHD have provided 80,000 units to this date, and homes for almost 100,000 people.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew Neighborhoods \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eis a dose of awakening, extracted by a group of artists who share their inner process with us and from us. A new kind of togetherness. A limited cassette edition of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew Neighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e will be made available on October 2, 2020 from Freedom To Spend and RVNG Intl\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e alongside digital formats. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/DF1U2-1Y1LA\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"FTS015","offers":[{"title":"DIGITAL - $12","offer_id":33078206791743,"sku":"FTS015DIGI","price":12.0,"currency_code":"USD","in_stock":true},{"title":"CS - $20","offer_id":33078206758975,"sku":"FTS015CS","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS015-Digi-Cover-1500px.png?v=1606244571"},{"product_id":"tiziano-popoli-burn-the-night-bruciare-la-notte-original-recordings-1983-1989","title":"Tiziano Popoli - Burn the Night \/ Bruciare la Notte: Original Recordings, 1983–1989","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: ReRVNG13 \/ FTS012\u003c\/h3\u003e\n\u003cp\u003eRelease Date: January 22, 2021\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTiziano Popoli’s \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night \/ Bruciare la Notte: Original Recordings, 1983–1989\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is an anthology collected from scores, soundtracks, and commissions that blossomed out of the artist’s independent \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eexplorations\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e and collaborations in and around Bologna, Italy. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eexamines\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e Popoli’s unusual musical meshing of minimalism and instrumental pop, a distinct form embracing the gravity of negative space to contrast color, tone, and the phantom sounds of lyrical, human expression.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eBorn in the small village of Vignola in 1955, Popoli grew up with music in his family, and, in the late 1970s, it became his life’s pursuit, enrolling in the Conservatorio Giovanni Battista Martini in Bologna after a brief detour as a law student. Identifying with the Italian counterculture’s rejection of the bourgeoisie, but skeptical of its actors’ preoccupation with drugs and misguided debauchery, Popoli’s own moral compass found direction during a post-graduation trip to India in 1979. Arriving by car through the Khyber Pass, Popoli recalled a journey full of “confirmations and illuminations, but also of disillusion and, I believe, of personal growth” informed by his lone encounters with \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eunderserved\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003ecommunities. \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eUtilizing his relative privilege for good upon returning to Bologna, Popoli promoted the potential of music as a community-building agent, and advocated for the perception shifting advantages of its avant-garde. Exposed to the canon of 20th century new music while at the conservatory, and more importantly, the advancements of western minimalists such as \u003c\/span\u003e\u003cb\u003eSteve Reich\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003ePhilip Glass\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003cb\u003eTerry Riley\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Popoli aligned himself with a network of composers such as \u003c\/span\u003e\u003cb\u003eFranco Battiato\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eLino Capra Vaccina\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003cb\u003eGiusto Pio\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e to establish a new era of radical music, ethos, and innovation in Italian music. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eNo such minimalist scene existed by name at the time though; the tag retroactively pinned to Popoli and his peers’ unassuming position on the periphery of the avant-garde. \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eTechnology played a pivotal role within this anti-movement, and Popoli’s desire to evolve sound and technique was fulfilled with the arrival of the Yamaha DX7 synthesizer in 1983. With the advent of MIDI protocol, Popoli was able to program raw, melodic patterns on a Roland TR-909 \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003edrum machine\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e and voice them through the DX7’s range of polyphonic and timbrical possibilities. This process is heard prominently on many of the fourteen tracks collected for \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eScorie\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Popoli’s first major recording. \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eScorie\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, the 1985 album created by Popoli with composer, conservatory colleague, and friend \u003c\/span\u003e\u003cb\u003eMarco Dalpane,\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e was a meeting of like minds designed for the stage. It was also the first of several collaborations between Popoli and the Koiné Theater Company. As with \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eScorie\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, the music of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e features similar accompaniments for peers within broader creative contexts, namely the photographers \u003c\/span\u003e\u003cb\u003eMassimo Trenti \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003cb\u003eRoberto Monari\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, whose exhibitions Popoli created pop minimalist settings for. \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Pop music is something that––somehow––made its way into my music, even the [music] I write today,” explains Popoli. “What attracts me about this ‘genre,’ or rather, ‘attitude’ is probably the simplicity of its formal structure.” Popoli’s curiosity of pop music is explored at various lengths throughout \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, but never without a dose of the avant-garde for a particular potency. If you can imagine in this melee turning the dial to Radio \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eCittà\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e Bologna in 1983 and hearing “Blues Padani,” its strange, punctuated rhythms and patent, manipulated vocal samples, you would find yourself at the beginning of a burgeoning, unclassifiable musical subculture.\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eEven if the fourteen tracks of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e complicate the easy categorization of Popoli’s music, the broad impact of his stark melodies­­ and sharply rendered sounds end up both accessible and radical. Popoli never sought to jettison these sounds to an exclusive realm of listeners, but he did recognize a possibility in popularizing the avant-garde. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night \/ Bruciare la Notte: Original Recordings, 1993–1989\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e transmits Popoli’s music to modern airwaves tuned to distinct voices, and brings a playful display of spiraling lines and humanist speech. 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