{"title":"CD","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. 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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. 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While rooted in academia, Borden's minimalist compositions deal in natural themes, evoking expansive environments.\u003c\/p\u003e\n\u003cp\u003eThe idea to grow the project to include additional collaborators was inspired both by Borden's accomplishments in ensemble improvisation and by a basic desire for collective energy and levity. \u003cb\u003eAtlantic Sound Studio\u003c\/b\u003e in DUMBO, Brooklyn became the meeting destination for Lopatin and Borden, alongside musicians Halo, Godin, and Ferraro.\u003c\/p\u003e\n\u003cp\u003eOver two days in August 2010, the ensemble played infinitely. During tour breaks the following fall and winter, the endless hours of recordings were paired down to the selections of FRKWYS Vol. 7. The music of the album represents full session takes, edited only for time. The cosmically dense but dynamic nature of the recording reveals the diverse ingredients seasoning the spatial stew. \"People of Wind\" Parts 1 and 2 were amongst first takes from the two-day session. The pieces exhibit the ensemble in early harmony, allowing each other textural counterpoint play while avoiding rigidity. \"Internet Gospel\" Parts 1 and 2 demonstrate the players at ease and taking turns at solo accompaniments, ending in a Fourth World freak out. \"Twilight Pacific\" and \"Just a Little Pollution\" are compiled from middle points of the session - structured statements in solidarity.\u003c\/p\u003e\n\u003cp\u003eThe limited edition LP version of FRKWYS Vol. 7 is packaged in thick black jackets with a two-color adhesive wrap. 50 subscriber LPs come in leatherette jackets. The CD resembles a miniature version of the LP. Both LP and CD will be available July 17th, and digital download will be available July 30th at igetrvng.com and through the usual storefront suspects.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRKWYS07","offers":[{"title":"DIGITAL - $10","offer_id":13130860593221,"sku":"FRKWYS07DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13130860527685,"sku":"FRKWYS07LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD - $15","offer_id":13130860560453,"sku":"FRKWYS07CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5552-103_frkwys07_500x500_4667ce1e-999e-421b-98cd-f22fbce24e78.gif?v=1535219018"},{"product_id":"frkwys08","title":"FRKWYS Vol. 8: Blues Control \u0026 Laraaji","description":"\u003ch3\u003eCAT #: FRKWYS08\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: November 15th, 2011\u003c\/div\u003e\n\u003cp\u003e \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\u003eVolume 8 in the ongoing \u003cb\u003eFRKWYS\u003c\/b\u003e series on \u003cb\u003eRVNG Intl.\u003c\/b\u003e is a double album-length collaboration between \u003cb\u003eBlues Control\u003c\/b\u003e and \u003cb\u003eLaraaji\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eFollowing the \"fodder first\" tradition of previous FRKWYS installments, Vol. 8 was birthed over e-mail dialogue between RVNG and \u003cb\u003eRuss Waterhouse\u003c\/b\u003e and \u003cb\u003eLea Cho\u003c\/b\u003e of Blues Control. Blues Control's evolved output gracefully arcs with influence and innovation that gleams electronic, New Age, and hard rock terrains. Laraaji's name came up early in that conversation and felt intrinsic to Waterhouse and Cho's own musical calling.\u003c\/p\u003e\n\u003cp\u003eAfter learning various instruments in his formative years and studying composition at Howard University, Laraaji eventually found his musical conduit in an electronically-modified zither. Laraaji's 1979 album \u003ci\u003eCelestial Vibration\u003c\/i\u003e (recorded as \u003cb\u003eEdward Larry Gordon\u003c\/b\u003e) places the stringed instrument at the forefront on two side-length excursions in rhythmic ambiance. The 1980 album \u003ci\u003eAmbient 3: Day of Radiance\u003c\/i\u003e, produced by \u003cb\u003eBrian Eno\u003c\/b\u003e for his ambient record series, further documented Laraaji's zither explorations alongside Eno's soundscaping. Laraaji continues to pursue music both in its recorded form and as a healing tool.\u003c\/p\u003e\n\u003cp\u003eBlues Control and Laraaji convened at \u003cb\u003eBlack Dirt Studio\u003c\/b\u003e in upstate New York on December 9th, 2010. Over the course of a single studio day, the three musicians (accompanied on certain jams by Laraaji's \"musical friend\" \u003cb\u003eArji Cakouros\u003c\/b\u003e) improvised on several themes, providing nearly four hours of material and the basis for FRKWYS Vol. 8. After meticulous note taking, sharing, and rough edits among Blues Control and Laraaji, the album was fully fleshed out.\u003c\/p\u003e\n\u003cp\u003eWithout context, it's hard to imagine that these musicians never creatively collaborated before this juncture. The dynamic breadth (and breath) of the album feels both effortless and epic, a line usually straddled only after years of playing together. It's clear a cosmic force is at play, and that this playfulness is the creative mediator of the music.\u003c\/p\u003e\n\u003cp\u003eOver two album sides, the listener is transported from the urban sound garden of \"Awakening Day,\" through the soulful yow of \"Light Ships,\" into the texture bliss of \"City of Love,\" and finally the reflective pool of \"Freeflow\". The first bonus track \"Somebody Scream\" demonstrates Laraaji's dexterous zither-playing over thirty-five minutes of music, while the second, \"Astral Jam,\" starts with a Wu-like beat (courtesy of Laraaji) and warps into a rolling snare trance.\u003c\/p\u003e\n\u003cp\u003eThe limited edition LP version of FRKWYS Vol. 8 is packaged in thick black jackets with a two-color adhesive wrap, both printed on post-consumer goods papers at Stumptown Printers. 50 subscriber LPs come packaged in leatherette jackets. 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After graduation and stints apart in Oakland and NYC, Haar and Steinman regrouped in Berlin where Blondes was born, eventually settling on Brooklyn for home base.Blondes quickly evolved from a home studio project to a live experience built around a tactile assemblage of synthesizers, sequencers, and drum machines. The Touched EP (Merok, 2010) demonstrates Haar and Steinman's early interest in an improvisational process that remains embedded in their creative approach, while touching upon their adoration of German composer \u003cstrong\u003eManuel Göttsching\u003c\/strong\u003e and his seminal \u003ci\u003eE2-E4\u003c\/i\u003e album.\u003c\/p\u003e\n\u003cp\u003eThe basement and warehouse venues that curiously welcomed Blondes' syrupy, space-case dance music provided a reactive environment for the duo to develop their sound and work ethic. But as they started playing at nightclubs renowned for their sound systems and ecstatic dance floors, Haar and Steinman realized a potential for their music to resonate at a higher fidelity and deeper frequency, both sonically and spiritually. Blondes' heart aligned with house music in its most liquid form.\u003c\/p\u003e\n\u003cp\u003eA 12\" series on RVNG Intl. was initiated in 2011 to document Blondes' evolution. Each record contains a pair of tracks that explore the concept of duality through a personal lens intensely focused on moving the body. The a-side of \u003ci\u003eLover \/ Hater\u003c\/i\u003e is centered upon a \u003cb\u003eMeredith Monk\u003c\/b\u003e sample, a primal scream signaling Blondes' rebirth.\u003ci\u003eBusiness \/ Pleasure\u003c\/i\u003e confronts the struggle of sustaining individuality in a sinister commercial world and stylistically references Blondes' time spent in the UK. The final 12\", \u003ci\u003eWine \/ Water\u003c\/i\u003e, swings on pendulum between excess and restraint while exhibiting the duo's most melodic and mature work thus far.\u003c\/p\u003e\n\u003cp\u003eAvailable as limited edition vinyl pressings, these six tracks are collected together in album form along with two new offerings, \u003ci\u003eGold\u003c\/i\u003e and \u003ci\u003eAmber\u003c\/i\u003e. Almost entirely improvised and recorded in single takes, \u003ci\u003eGold\u003c\/i\u003e and \u003ci\u003eAmber\u003c\/i\u003e are inspired by complexity and purity, which manifests in the manic energy and bliss of the parallel tracks.\u003c\/p\u003e\n\u003cp\u003eBlondes journey of musical discovery is reflected in a companion disc featuring eleven remixes by friends, peers, and heroes including \u003cb\u003eJD Twitch\u003c\/b\u003e of \u003cb\u003eOptimo\u003c\/b\u003e, \u003cb\u003eDungeon Acid\u003c\/b\u003e,\u003cb\u003eSFV Acid\u003c\/b\u003e, \u003cb\u003eJohn Roberts\u003c\/b\u003e, \u003cb\u003eAndy Stott\u003c\/b\u003e, \u003cb\u003eTeengirl Fantasy\u003c\/b\u003e, \u003cb\u003eBicep\u003c\/b\u003e, \u003cb\u003eTraxx\u003c\/b\u003e, \u003cb\u003eLaurel Halo\u003c\/b\u003e,\u003cb\u003eRene Hell\u003c\/b\u003e, and \u003cb\u003eRobert Miles\u003c\/b\u003e, whose remix of \"Pleasure\" is exclusively available on the digital version of the album set.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eBlondes\u003c\/i\u003e is available now as 2xCD and on digital format via RVNG Intl.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/ejIjohgBsiU\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/9Tr4mGR36RQ\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/CiBWBCgH8Ok\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/lopxp1yw3Qo\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL12","offers":[{"title":"DIGITAL - $10","offer_id":13130867802181,"sku":"RVNGNL12DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"2xCD - $15","offer_id":13130867769413,"sku":"RVNGNL12CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5616-115_rvngnl12_cover_500x500_0170a535-e472-49dc-adf9-b3d785b6a72d.jpg?v=1535219043"},{"product_id":"frkwys09","title":"FRKWYS Vol. 9: Sun Araw \u0026 M. Geddes Gengras Meet The Congos","description":"\u003ch3\u003eCAT #: FRKWYS09\u003c\/h3\u003e\n\u003cdiv\u003e\u003cb\u003eRelease date: April 17th, 2012\u003c\/b\u003e\u003c\/div\u003e\n\u003cp\u003e \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\u003eFor the ninth volume of \u003cb\u003eFRKWYS\u003c\/b\u003e, a music and film series pairing contemporary artists with those that may have preceded them in style and \/ or approach, \u003cb\u003eSun Araw\u003c\/b\u003e and \u003cb\u003eM. Geddes Gengras\u003c\/b\u003e meet legendary dub reggae group \u003cb\u003eThe Congos\u003c\/b\u003e in St. Catherine, Jamaica and create the full-length album, \u003ci\u003eICON GIVE THANK\u003c\/i\u003e. In conjunction, RVNG will release \u003ci\u003eICON EYE\u003c\/i\u003e, a feature film documenting the young musicians’ time spent living and learning The Congos way.\u003c\/p\u003e\n\u003cp\u003eIn hindsight, the FRKWYS Vol. 9 timeline takes on dream-like qualities. In a matter of months, the idea for the collaboration was divinely inspired, The Congos reassembled in their original formation, and Sun Araw (earthly name \u003cb\u003eCameron Stallones\u003c\/b\u003e), Gengras, alongside filmmakers \u003cb\u003eTony Lowe\u003c\/b\u003e and \u003cb\u003eSam Fleischner\u003c\/b\u003e, traveled to St. Catherine, Jamaica (45 minutes outside of Kingston) for ten days to undertake the unknown.\u003c\/p\u003e\n\u003cp\u003eWhat events would transpire in the Portmore neighborhood of St. Catherine can only be described as blessed. The gates opened wide and warmly, the musicians and filmmakers ate, slept, and smoked at The Congos headquarters, their mural-emblazoned studio, home, and spiritual compound. An environment steeped in the Ital lifestyle, Rastafarian reflection and meditation, and a rich community bubbling with musical energy, both young and old artist would learn an unspoken creative language.\u003c\/p\u003e\n\u003cp\u003eHaving recorded some loose musical themes in LA to help inspire the creative process, Stallones and Gengras could only count on the shared respect for the sacrament of music to guide their work with The Congos. This respect is the foundation upon which Sun Araw \u0026amp; M. Geddes Gengras meet The Congos - \u003ci\u003eICON GIVE THANK\u003c\/i\u003e is built.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGIVE THANK\u003c\/i\u003e is not a dub reggae album, though it shares some of the genre's production characteristics. 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The four kings of the The Congos share the vocal throne over the course of\u003ci\u003eGIVE THANK\u003c\/i\u003e. \u003cb\u003e\"Congo Ashanti\" Roy Johnson\u003c\/b\u003e tenor, \u003cb\u003eCedric \"Bongo\" Myton's\u003c\/b\u003efalsetto, \u003cb\u003eWatty Burnett\u003c\/b\u003e baritone, and \u003cb\u003eKenroy \"Tallash\" Fyffe\u003c\/b\u003e cosmic vocal glue command singularity and create an essence combined.\u003c\/p\u003e\n\u003cp\u003eThe visual companion to the musical fruit of \u003ci\u003eGIVE THANK\u003c\/i\u003e is \u003ci\u003eICON EYE\u003c\/i\u003e, a feature-length travelogue executively produced by \u003cb\u003eChristine Vachon\u003c\/b\u003e (\u003cb\u003eKiller Films\u003c\/b\u003e) and \u003cb\u003eRandall Poster\u003c\/b\u003e \u0026amp; \u003cb\u003eGelya Robb\u003c\/b\u003e (\u003cb\u003eSearch Party Music\u003c\/b\u003e). Shot by Lowe and Fleischner, \u003ci\u003eICON EYE\u003c\/i\u003eevokes a musical and cultural intersection through refracted atmospheres and a feeling of magical, rhythmic synchronicity. \u003ci\u003eICON EYE\u003c\/i\u003e shares dubbed-out editing techniques inherent in the reggae sub-genre, rendering a visual \"version\" of the album.\u003c\/p\u003e\n\u003cp\u003eThrough the diaristic yet cinematic lens of handheld HD cameras, secret moments from the studio, fishing villages, late night dances, abandoned hotels and The Congos' yard are blended into a strange tapestry. Musicians, computers, children, and food reveal mystical resonance. \u003ci\u003eICON EYE\u003c\/i\u003e is the first RVNG Intl. film production. Director \/ editor \/ cinematographer Lowe and producer \/ cinematographer Fleischner previously collaborated on \u003ci\u003eBelow the Brain\u003c\/i\u003e (2011), a documentary about Brooklyn Carnival.\u003c\/p\u003e\n\u003cp\u003eThe FRKWYS Vol. 9 - \u003cb\u003eSun Araw \u0026amp; M. 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For several years, Herndon lived and learned techno music as party dweller and performer, eventually returning wide-minded to the States to pursue a Masters in Electronic Music at Mills College. Under the guidance of network pioneer \u003cb\u003eJohn Bischoff\u003c\/b\u003e, \u003cb\u003eRoscoe Mitchell\u003c\/b\u003e, and \u003cb\u003eMaggi Payne\u003c\/b\u003e, Herndon pursued her experiments with processed voice and explored embodiment in electronic music, earning the Elizabeth Mills Crothers award for best composer in 2011.\u003c\/p\u003e\n\u003cp\u003eStarted at the end of Herndon’s studies, \u003ci\u003eMovement\u003c\/i\u003e is a test chamber that hybridizes her modern composition training and undying devotion to club music. To this extent, the influences of \u003cb\u003eMaryanne Amacher\u003c\/b\u003e and \u003cb\u003eGalina Ustvolskaya\u003c\/b\u003e are as prevalent in Herndon’s music as \u003cb\u003ePan Sonic\u003c\/b\u003e and Berlin and Birmingham 90s techno. Still, in line with pop deconstructionists \u003cb\u003eLaurie Anderson\u003c\/b\u003e and \u003cb\u003eArt of Noise\u003c\/b\u003e, \u003ci\u003eMovement\u003c\/i\u003e is purposefully positioned to reach new ears beyond a niche.\u003c\/p\u003e\n\u003cp\u003eHonoring a strong tradition of computer composition from \u003cb\u003eStockhausen\u003c\/b\u003e to \u003cb\u003eFlorian Hecker\u003c\/b\u003e, Herndon is unapologetic about using a machine as her primary instrument. She builds most of her own instruments and vocal effects in the visual programming language Max\/MSP, and sees it as a principled part of her practice to push the most modern processors to their limits.\u003c\/p\u003e\n\u003cp\u003e\"The laptop is the most intimate instrument we have at our disposal, engaging and absorbing our confessions and inspirations\" says Herndon. \"Its influence has both devastated and invigorated music as we know it. We've only just begun unlocking the possibilities at our fingertips. Those possibilities are what I work towards and against.\"\u003c\/p\u003e\n\u003cp\u003eIncorporating themes of presence and physicality \/ flux and futurity within said musical expressions and tool set, \u003ci\u003eMovement\u003c\/i\u003e translates the Avant-Garde into what Herndon fundamentally considers “life practice”. \u003cem\u003eMovement\u003c\/em\u003e opens with the malfunctioning hum and cyborg stutter of “Terminal”. “Breathe”, a minimalist articulation of data complexity within the human voice, informs the processing of Herndon’s own vocal melodies in the syncopated house track “Fade”.\u003c\/p\u003e\n\u003cp\u003eThe collection’s centerpiece “Movement” is about human-computer symbiosis and musically re-imagines what is perceived as “natural” atop a vigilant acid grind. “Dilato” drifts the live baritone vocal stream of \u003cb\u003eBruce Rameker\u003c\/b\u003e through a slight digital process to curious mortal frays.\u003c\/p\u003e\n\u003cp\u003eHerndon’s ability to sharp turn from synthetic psychosis to hard-coded human sensuality allows Movement approachability for any listener knowingly or unknowingly seeking technological enlightenment. For those listeners escaping grid integration for holistic antiquity, keep a copy of \u003ci\u003eMovement\u003c\/i\u003e handy. 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A background wound around MC skills and a side hustle DJ’ing disco, Dunbar first tried his fingers at programming hip hop beats, eventually introducing his rogue breed of house music to the dance world via 2010’s \u003cem\u003eCool Water\u003c\/em\u003e. Crafted with skeletal kick patterns and dark, head nodding beats, the album and surrounding 12s simmered under sparsely placed, shadowy samples.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHOW\u003c\/em\u003e counters \u003cem\u003eCool Water’s\u003c\/em\u003e darkness with shimmering, dazzling light. \u003cem\u003eHOW\u003c\/em\u003e is a pure blast of bliss inspired by Dunbar’s deeply rooted relationship with his girlfriend. Themes of their devotion never appear lyrically on \u003cem\u003eHOW\u003c\/em\u003e, but they ebb in the album’s emotional flow. The couple even collaborated on the \u003cem\u003eWoo\u003c\/em\u003e 12\" b-side \"Shampoo,” the last track recorded after two months of sessions at their home.\u003c\/p\u003e\n\u003cp\u003eSays Dunbar, “My girlfriend and I would listen to the tracks in the studio at our old place, laying back in chairs and letting them play over and over for hours.\"\u003c\/p\u003e\n\u003cp\u003eWhile star-crossing coats \u003cem\u003eHOW\u003c\/em\u003e in a newly born, warm glow, Dunbar’s signature slam takes the album out of the domestic setting and onto the dance floor. Aligned with a community of dance deconstructionists including Beautiful Swimmers label mates \u003cb\u003eProtect-U\u003c\/b\u003e, \u003cb\u003eL.I.E.S.\u003c\/b\u003e institution \u003cb\u003eRon Morelli\u003c\/b\u003e, and Dutch compatriots \u003cb\u003eJuJu and Jordash\u003c\/b\u003e, Dunbar abstracts his tracks rather than grinding them into grids.\u003c\/p\u003e\n\u003cp\u003e“I make a lot of tracks by sticking on a loop forever, letting it live and breathe as long as it needs to,” says Dunbar. “I keep all of the pieces I’m working on balanced, floating in the air. If it doesn't take minutes to stand up, it takes weeks.\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHOW’s\u003c\/em\u003e architecture is free of fabricated rigidity, but it does bare structural resemblance to some of dance music’s outer limit moments. \u003cb\u003eTheo Parrish’s\u003c\/b\u003e narrative masterpiece \u003cem\u003eParallel Dimensions\u003c\/em\u003e is touchstone on a track like “Coins For The Canopy,” while the cerebral techno of \u003cb\u003eNewworldaquarium\u003c\/b\u003e takes moving, grooving form on “The Figurine” and album namesake “Woo.”\u003c\/p\u003e\n\u003cp\u003eIn percussive corners throughout \u003cem\u003eHOW\u003c\/em\u003e, Dunbar drums up native DC Go-Go spirits and skitters into Jersey swing on tracks like “Ice Room Graffiti”. Dunbar deviates even further from his blueprint on \"For Mozy\" and \"Kangaroo,” pieces that haunt \u003cem\u003eHouse of Woo\u003c\/em\u003e with their spectral, synthetic wash outs.\u003c\/p\u003e\n\u003cp\u003eWhether showing respect and love for his influences, his peers, or those even nearer and dearer, Dunbar stands in the doorway waiting with a warm invitation to anyone ready to dance, embrace, and inhabit forever the \u003cem\u003eHouse of Woo\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eMaxmillion Dunbar’s House of Woo will be released on February 19th, 2013 on RVNG Intl. as a double LP, CD, and in digital format.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/scti2ywZysI\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL17","offers":[{"title":"DIGITAL - $10","offer_id":13980282650693,"sku":"RVNGNL17DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP - $32","offer_id":13130884317253,"sku":"RVNGNL17LP","price":32.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":13130884350021,"sku":"RVNGNL17CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5715-rvngnl17.jpg?v=1535219087"},{"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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Physical formats come housed in elaborate packaging, including a unique reverse bound record jacket and full color liner notes by Franco Falsini and Joshua da Costa.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/oYSkJNCMtKI\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"ReRVNG02","offers":[{"title":"DIGITAL - $12","offer_id":13130887331909,"sku":"ReRVNG02DIGI","price":12.0,"currency_code":"USD","in_stock":true},{"title":"2xLP - $25","offer_id":13130887266373,"sku":"ReRVNG02LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"2xCD - $18","offer_id":13130887299141,"sku":"ReRVNG02CD","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/rervng02.jpg?v=1606347921"},{"product_id":"secret-circuit-tactile-galactics","title":"Secret Circuit - Tactile Galactics","description":"\u003ch3\u003eCAT #: BIS006\u003c\/h3\u003e\n\u003cp\u003eRelease date: April 30th, 2013\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\u003eDelivered from its celestial womb to the human world for inevitable elevation, \u003cem\u003eTactile Galactics\u003c\/em\u003e is the new album by \u003cb\u003eSecret Circuit\u003c\/b\u003e and first full-length release from \u003cb\u003eBeats In Space Records\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eSecret Circuit is the guise of \u003cb\u003eEddie Ruscha\u003c\/b\u003e (né Edward Joseph Ruscha V), a sometimes sage known and beloved throughout the Los Angeles creative community. Amongst his earliest musical endeavors, Ruscha co-founded \u003cb\u003eMedicine\u003c\/b\u003e, an overlooked (until \u003cb\u003eCaptured Tracks\u003c\/b\u003e’ comprehensive 2012 reissue project) four piece whose sinister, snarling take on shoegaze landed them as the first American signing to \u003cb\u003eCreation Records\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eAfter leaving Medicine without a bad taste in his mouth, Ruscha’s focus shifted from his shoes to the endless array of LA music stores housing analog synthesizers, drum machines and effect units forsaken at the advent of digital technology. The early experiments were documented to a Tascam 424 four track, seeping into LA soil when Ruscha would slip a dub-infused Secret Circuit production on the PA at his \u003cb\u003eDub Club\u003c\/b\u003e mainstay.\u003c\/p\u003e\n\u003cp\u003eDetouring momentarily from the Secret Circuit motherboard, Ruscha joined \u003cb\u003eThomas Bullock\u003c\/b\u003e of \u003cb\u003eRub n’ Tug\u003c\/b\u003e to record a ludicrously limited edition disco sleaze rock masterpiece as \u003cb\u003eLaughing Light of Plenty\u003c\/b\u003e. 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A faithful leap into the infinite beat, \u003cem\u003eJoy One Mile\u003c\/em\u003e is the most forward-reaching effort by Stellar OM Source yet.\u003c\/p\u003e\n\u003cp\u003eStellar OM Source originated from \u003cstrong\u003eChristelle Gualdi’s\u003c\/strong\u003e desire to unhinge from her academic musical upbringing. A double bassist in the Konigin Katharina Stift Schulorchester and a student of music theory at Université Paris VIII, Gualdi completed her studies in electro-acoustic composition at the Conservatoire de Paris after earning an architecture degree.\u003c\/p\u003e\n\u003cp\u003eThe process of Gualdi’s “unlearning” began in experimental ensemble settings, and it became more recognizable as she moved toward solo performance. Stellar OM Source’s name is fittingly inspired in part by the pathway to higher consciousness and cosmos via one’s own voice.\u003c\/p\u003e\n\u003cp\u003eGualdi was also inspired by - and also an integral member of - the late aughts DIY synthesizer community. Alongside \u003cstrong\u003eOneohtrix Point Never\u003c\/strong\u003e, \u003cstrong\u003eEmeralds\u003c\/strong\u003e and \u003cstrong\u003eJames Ferraro\u003c\/strong\u003e, Stellar OM Source’s stream of self-released CDRs defined a zeitgeist of artists trending away from their noisy roots via polyphonic escapism.\u003c\/p\u003e\n\u003cp\u003eBased many miles away from her US counterparts in The Hague, South Holland, Gualdi received a prophetic sign in 2010 when a regional eBay seller offered her a mint Roland TB-303 for a mere €25 - or $33. The instantly identifiable sounds of the analog bass synthesizer began appearing in Gualdi’s studio and live practices. More importantly, the pattern possibilities propelled Stellar OM Source toward its future foundation - a planet still floating in the synth universe, but orbiting light years away on a rhythmically revolving axis.\u003c\/p\u003e\n\u003cp\u003eHalfway through 2012, Gualdi settled into record seven of twelve songs played intensely over a year of gigging throughout Europe. Using performance as her primary production technique, Gualdi tracked each of the songs live and without overdubs, improvised limitations or consequence.\u003c\/p\u003e\n\u003cp\u003eBy virtue of her many aspirations and the array of hardware that Gualdi brought to the table, \u003cem\u003eJoy One Mile\u003c\/em\u003e took form in chaos. Where this disorder might cripple others, Gualdi’s response was energetically and emotionally charged. While recording, each corner of \u003cem\u003eJoy One Mile\u003c\/em\u003e became draped in dramatic ornamentation, the mood rarely varying from frantic to frenetic.\u003c\/p\u003e\n\u003cp\u003eThe freedom from form that Gualdi sought with \u003cem\u003eJoy One Mile\u003c\/em\u003e was ultimately obtained, but the severe surge of the finished recordings left her over stimulated. Striking a dialogue with Gunnar Wendel (aka Kassem Mosse), Gualdi realized an objective opinion and arrangement know how would allow clarity and an even greater freedom -- that from her own music. Confident the tracks stood strong, Gualdi gave little guidance to Wendel, relying instead on their mutual sonic and structural appreciations to steer the end goal.\u003c\/p\u003e\n\u003cp\u003eFrom the vantage point of the finish line, \u003cem\u003eJoy One Mile\u003c\/em\u003e bares no straight club tracks, but it depends upon a percussive propulsion nevertheless. The singularity of Gualdi’s compositions, when pulled back and recalibrated even slightly, resemble early era Warp Records, and, by that admission, the wayward electro of early-90s Detroit. The abstractions in Gualdi’s programming and mutant melodies is what keeps \u003cem\u003eJoy One Mile\u003c\/em\u003e perfectly relegated to outsider status, akin to the primitive techno of \u003cstrong\u003eEsplendor Geometrico\u003c\/strong\u003e and \u003cstrong\u003eChris \u0026amp; Cosey\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e“Sometimes you feel that you're getting really close to what being alive means, be it learning about distant planets or being grounded by life's occasionally heavy burden,” notes Gualdi. “\u003cem\u003eJoy One Mile\u003c\/em\u003e grew from the consciousness of such moments. When I listen to it, I see myself walking through a pouring rain at night with headphones on, embracing both the misery and ecstasy.”\u003c\/p\u003e\n\u003cp\u003eStellar OM Source’s \u003cem\u003eJoy One Mile\u003c\/em\u003e is available now on RVNG Intl. as a limited edition 2xLP, CD and digitally.\u003c\/p\u003e\n\u003cp\u003eMusic by Stellar Om Source.\u003cbr\u003e Vocals on “Par Amour” from Lovie’s “Motions Of Love (Accapella)”\u003cbr\u003e Mix and arrangements by Gunnar Wendel.\u003cbr\u003e Mastered by Rashad Becker at Dubplates \u0026amp; Mastering, Berlin.\u003cbr\u003e Art direction by Will Work For Good. 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Tracks were titled with conceptual dualisms, released on opposing 12” sides prior to album compilation and gleaned house and techno rudiments with spiritually escapist split ends.\u003c\/p\u003e\n\u003cp\u003eAround the release of \u003ci\u003eBlondes\u003c\/i\u003e, Haar and Steinman advocated the humanistic side of dance culture, mentioning the meditative potential of electronic music as channeled through their interest in the physicality of music making, such as hardware instrumentation and improvisation. At the same time, Blondes’ live performances steadily flared up in various types of venues, mostly outside of the DIY spaces the duo got their start: the traditional club, the art museum, the open air festival, and some of the best sound systems throughout Europe.\u003c\/p\u003e\n\u003cp\u003eThe evolution of sound systems on which Blondes played created a curve along which Haar and Steinman built a universally impactful sonic experience. After rehauling their gear and settling into a new studio space, Blondes’ busy year ended in an intensely focused production period during which Haar and Steinman sculpted the boldly detailed \u003ci\u003eSwisher\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSwisher\u003c\/i\u003e unfolds as a series of mini-epics rather than a string of banging cuts. Still, the allegiance to the groove remains absolute. Percussive elements are most notably honed on \u003ci\u003eSwisher\u003c\/i\u003e, drawing a sharp contrast between the rich timbres and vaporous synth sounds that seep throughout the album. Centerpiece \"Andrew\" and closer \"Elise\" enhance the melodic concerns of Blondes early material, mantled now in a maturity that favors gradual force.\u003c\/p\u003e\n\u003cp\u003eBy focusing on process rather than protocol, Haar and Steinman allow space in each track for dramatically immersive environments. Most tracks on \u003cem\u003eSwisher\u003c\/em\u003e tread beyond the five minute mark, but always absorb rather than indulge. This cosmic scope aligns Blondes not only with the German synth masters of the 70s (who have been a guiding inspiration for the duo since the onset), but also the slow burning dub techno of later day Germany - though ramped up several bpms.\u003c\/p\u003e\n\u003cp\u003eThe heterogeneous textures throughout \u003ci\u003eSwisher\u003c\/i\u003e often brood, but ultimately make for a considerate and cathartic brand of dance music. \u003ci\u003eSwisher’s\u003c\/i\u003e foundation is its tremendously crafted percussive core, and its architecture is the elemental beauty hinted at in prior Blondes work, offered now in lucid detail.\u003c\/p\u003e\n\u003cp\u003eBlondes’ \u003ci\u003eSwisher\u003c\/i\u003e is available now digitally and as a limited edition 2xLP and CD via RVNG Intl.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/vAkQ6su1CN0\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/8H3PSgrMojc\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/1IK61nxWWBY\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL21","offers":[{"title":"DIGITAL - $10","offer_id":13130895589445,"sku":"RVNGNL21DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Marbled DBL LP","offer_id":13130895654981,"sku":"RVNGNL21LTDLP","price":30.0,"currency_code":"USD","in_stock":false},{"title":"DBL LP - $32","offer_id":13130895687749,"sku":"RVNGNL21LP","price":32.0,"currency_code":"USD","in_stock":true},{"title":"CD - $15","offer_id":13130895622213,"sku":"RVNGNL21CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5776-RVNGNL21_COVER_500x500_ade13d59-7f52-4308-b5c2-114e09596a18.jpg?v=1599778015"},{"product_id":"rvngnl23","title":"Gardland - Syndrome Syndrome","description":"\u003ch3\u003eCAT #: RVNGNL23\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date: October 29, 2013\u003c\/strong\u003e\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\u003ci\u003eSyndrome Syndrome\u003c\/i\u003e is \u003cb\u003eGardland's\u003c\/b\u003e debut full-length album. Its timely release captures the fever pitch of Gardland's off-kilter electronic music at the tail end of the group's first year.\u003c\/p\u003e\n\u003cp\u003eAssertive, though \"elegantly wasted,\" as they describe it, Gardland is the laboriously cracked energy exchange of \u003cb\u003eAlex Murray\u003c\/b\u003e and \u003cb\u003eMark Smith\u003c\/b\u003e. The duo solidified the young partnership during a psychedelic desert excursion far from their urban dwellings in Sydney, Australia. Over a ten-day stretch, Murray and Smith recorded hardware based wigouts with neither boundary nor fear of judgment from the godheads that loomed ominously over the lysergic liturgy.\u003c\/p\u003e\n\u003cp\u003eGardland shared a swathe of this desert delirium as the first release via their newly formed \u003cb\u003eHunter Gatherers\u003c\/b\u003e label. With this gesture, they posed a new paradigm for Sydney's sometimes-static social-musical consciousness by delivering uncompromising electronic music rife with rigor and real-deal feel.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSyndrome Syndrome\u003c\/i\u003e was written and recorded in a small room over a series of slavishly inspired sessions. Living within earshot of each other, Murray and Smith bucked the unconventional confab this comfort allows in favor of a workingman’s deftness. In the middle of this process, Gardland’s primary synthesizers were stolen at a gig. Impervious and industrious, the blank slate catalyzed their creative flow instead of stunting it, eventually filling to the frame with the eleven uneasy pieces of \u003ci\u003eSyndrome Syndrome\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eIf linearity in techno \/ house is the convention, \u003ci\u003eSyndrome Syndrome\u003c\/i\u003e avoids flat-lining in its spiral and fractal formations. The beats here don't \"drop\", they appear erratically in uncertain quantum logic. The harmonic architecture forms cavernous canopies in place of metronomic melodies, while the convulsive human hand lays tonal tile that may or may not crumble on contact.\u003c\/p\u003e\n\u003cp\u003e\"Nothing But Not Zero\" is a lunatic’s altar in the volatile temple of \u003ci\u003eSyndrome Syndrome\u003c\/i\u003e. An overdriven percussive pattern pitched to the tenor bass of a steel pan drum distorts and sputters as if it were transmitted by a decaying satellite. The dual voices that drift the forlorn track ultimately cohere as Smith and Murray tradeoff activating phantom tones and re-animating beats that have slipped into other dimensions.\u003c\/p\u003e\n\u003cp\u003eThe rhythmic thrust of \u003ci\u003eSyndrome Syndrome\u003c\/i\u003e is nowhere more provocative than in \"Magicville.\" Its warped bass signals and sonic strobes of orange and sepia forge a pulsing dark funk. Title track \"Syndrome Syndrome\" melds organic and mechanized tones, highlighting a paradoxical unity, while the same dichotomy of human \/ inhuman, presence \/ absence gives \"Katarakt\" and \"Hell Flur\" their deranged power.\u003c\/p\u003e\n\u003cp\u003ePerhaps the most revelatory aspect to Murray and Smith's desert quest was their willing submission to co-exist with disorder -- to have and to stranglehold for better or for worse. That transcendence only explains the psychosomatic palettes of \u003ci\u003eSyndrome Syndrome\u003c\/i\u003e though. The distinct other-ness of Gardland's reach succeeds by laying waste to compositional cliché, by mining the full contour and imperfections of electronic music shapes, and by allowing ghost narratives back into aperture to cause chaos and a spot of fun.\u003c\/p\u003e\n\u003cp\u003eGardland’s \u003ci\u003eSyndrome Syndrome\u003c\/i\u003e is available now as a limited edition 2xLP, CD and digitally via RVNG Intl.\u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\"\u003eVideos\u003c\/h3\u003e\n\u003cp align=\"center\"\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/QGSL2KXuxos\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/NsGVlQ8Y8I0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/ruM9pCnudnc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/dq7MSDGo8wc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/4Fn-uH1U-bI\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL23","offers":[{"title":"DIGITAL - $12","offer_id":13130902437957,"sku":"RVNGNL23DIGI","price":12.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP Limited (Clear Vinyl)","offer_id":13130902339653,"sku":"RVNGNL23LPLTD","price":30.0,"currency_code":"USD","in_stock":false},{"title":"DBL LP - $32","offer_id":13130902503493,"sku":"RVNGNL23LP","price":32.0,"currency_code":"USD","in_stock":true},{"title":"CD - $15","offer_id":13130902405189,"sku":"RVNGNL23CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5798-RVNGNL23_COVER_1500x1500_f0617807-3157-4333-bc0d-9c6c6c4d7636.jpg?v=1599777981"},{"product_id":"rervng03","title":"K. 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. Top-tier mastering was done by \u003cb\u003eGreg Davis\u003c\/b\u003e, who produced the compilation with Palace of Lights artist \u003cb\u003eRobert Carlberg\u003c\/b\u003e, \u003cb\u003eRVNG\u003c\/b\u003e and \u003cb\u003eKerry Leimer\u003c\/b\u003e himself, who continues making music to this day.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/ZDSFmaIvZOU\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"ReRVNG03","offers":[{"title":"DIGITAL - $11","offer_id":13980871819333,"sku":"ReRVNG03DIGI","price":11.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP - $25","offer_id":13130908401733,"sku":"ReRVNG03LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD - $12","offer_id":13130908434501,"sku":"ReRVNG03CD","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5892-RERVNG03_COVER_1500x1500_4ab0971e-a1f4-40a2-8a9d-0c35f45b763a.jpg?v=1599777957"},{"product_id":"frkwys11","title":"FRKWYS Vol. 11: Steve Gunn \u0026 Mike Cooper - Cantos De Lisboa","description":"\u003ch3\u003eCAT #: FRKWYS11\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eRelease Date: June 24, 2014\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eFor the the eleventh volume of \u003cb\u003eFRKWYS\u003c\/b\u003e, an unrestricted series pairing contemporary artists with their influential predecessors, gifted guitar squire \u003cem\u003eSteve Gunn\u003c\/em\u003e meets roving, radiating legend \u003cem\u003eMike Cooper\u003c\/em\u003e in Lisbon, Portugal.\u003c\/p\u003e\n\u003cp\u003eSharing their vision over lengthy living room guitar sessions and evenings of cold wine in Fado taverns, Gunn and Cooper created \u003cem\u003eCantos de Lisboa\u003c\/em\u003e, an album with variable vernacular shades and musical forms from Portugal’s antiquity.\u003c\/p\u003e\n\u003cp\u003eCantos means \"corner\" in Portuguese, as well as \"chant” or \"song\" (this latter meaning evolved from the Latin antecedent referring to stanzas of verse in poetry). For two artists whose roots lie in the country blues and its subverted offshoots, the proverbial \"corner\" is actually home, the undisturbed spot where music can flourish.\u003c\/p\u003e\n\u003cp\u003eA tranquil interlude for these two travelers to create off-guard improvisations in their shared style of deconstructed guitar music, \u003cem\u003eCantos de Lisboa\u003c\/em\u003e is a curious detail in the periphery of this snapshot of Portugal.\u003c\/p\u003e\n\u003cp\u003eIn his fifty-year-plus career, Cooper's global ventures have transported his music to exotic locales parallel to Lisbon. 2004's \u003cem\u003eRayon Hula\u003c\/em\u003e musically translated the patterned flora of aloha shirts (Cooper's signature garment) as looped samples of famed Hawaiian vibraphone player \u003cb\u003eArthur Lyman\u003c\/b\u003e for an avant vivified form of exotica.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRayon Hula\u003c\/em\u003e signaled Cooper's vital re-emergence as a dexterous alchemist of slide guitar. Cooper’s discography is colored with similar instances of casually conceptual, improvisatory guitar music, including his 1970 masterpiece \u003cem\u003eTrout Steel\u003c\/em\u003e (an album Gunn recalls in \u003cem\u003eCantos de Lisboa’s\u003c\/em\u003e liner notes as shaping his own ambitions and music).\u003c\/p\u003e\n\u003cp\u003eFor his part, Gunn's path to Portugal was compelled by his kinship to Cooper and his ilk's experimentation with guitar-picked country blues and 70s British folk. Gunn’s extracurricular immersion in free jazz and psychedelia, no doubt influenced by his Philadelphia upbringing and surroundings, ensures his playing never grits or grids and always soars to ecstatic heights.\u003c\/p\u003e\n\u003cp\u003eThese musical emblems were gracefully memorialized on Gunn's celebrated \u003cem\u003eTime Off\u003c\/em\u003e (Paradise of Bachelors, 2013) and across a substantial catalog of solo, duo and ensemble work that resembles that of a veteran player more than a young guitar slinger.\u003c\/p\u003e\n\u003cp\u003eOn \u003cem\u003eCantos de Lisboa\u003c\/em\u003e, Gunn and Cooper take emotive cues from Fado, the regional music of Portugal, which is in close plaintive spirit to the blues. A melancholy seeps into the music of \u003cem\u003eCantos de Lisboa\u003c\/em\u003e, while steering a wide berth from any bummer notes or pastiche. Cooper's sparse effects toolkit and stately, gliding cadences are nimbly employed, while Gunn's ashen voice and steady strum lend an intensely organic feel to the album's improvisatory portraits.\u003c\/p\u003e\n\u003cp\u003eThe latter half of \u003cem\u003eCantos de Lisboa\u003c\/em\u003e echoes the \"saudade\" theme as referenced in the blissful opening track, Cooper's howl spiriting the Portuguese word that translates roughly into \"loss\" or \"longing.\" Saudade is said to be the core feature of Fado music. In \u003cem\u003eCantos de Lisboa\u003c\/em\u003e, Saudade becomes a spirit inhabiting the album’s corners, but never disrupting the musicians’ collaborative evocations.\u003c\/p\u003e\n\u003cp\u003eIn the hands of these two limitless guitarists, \u003cem\u003eCantos de Lisboa\u003c\/em\u003e convenes in an abstract, almost field recorded take on lap-steel and American Primitive guitar styles. 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Written and conducted by pianist \u003cb\u003eDavid Moore\u003c\/b\u003e, \u003cem\u003eTomorrow Was the Golden Age\u003c\/em\u003e is a halcyonic journey to a neverending place, where music waxes, wanes and drifts imperceptibly from silence to grand, glowing sound.\u003c\/p\u003e\n\u003cp\u003eFormed in the mid-aughts among music student friends at New York City’s New School, Bing \u0026amp; Ruth's lineup has shifted with the scope of each recording. For \u003cem\u003eTomorrow Was the Golden Age\u003c\/em\u003e, the group whittled down from the eleven players on their first album, \u003cem\u003eCity Lake\u003c\/em\u003e, to seven: two upright bassists, two clarinetists, a cellist and a tape delay tech, all supporting David Moore's sublime yet resonant piano scores.\u003c\/p\u003e\n\u003cp\u003eMoore is responsible for the compelling melodies mediating the overarching ambience of \u003cem\u003eTomorrow Was the Golden Age\u003c\/em\u003e. Outside of Bing \u0026amp; Ruth, Moore is also a multi-faceted composer, scoring under his own name and for old-time fiddle groups, which he describes as “drone-based with a lessened concern for perfect intonation.” These ventures illustrate Moore's unpretentious devotion to various musical traditions, yet Bing \u0026amp; Ruth remains Moore's principal project, where form ventures even further beyond recognition.\u003c\/p\u003e\n\u003cp\u003eWith untethered textures inspired by the indeterminate music of \u003cb\u003eMorton Feldman\u003c\/b\u003e and later torch bearer \u003cb\u003eGavin Bryars\u003c\/b\u003e, \u003cem\u003eTomorrow Was the Golden Age\u003c\/em\u003e achieves canon-level quality for instrumental music. Within the piece’s extended passages, Bing \u0026amp; Ruth wander through gradient fields of color, illuminated by a delicate architecture of slowly developing microtonal harmonies, \u003cb\u003eSteve Reich\u003c\/b\u003e-ian piano lines and the same analog tape delay that launched both \u003cb\u003eBrian Eno\u003c\/b\u003e's \u003cem\u003eApollo\u003c\/em\u003e and the greatest dub reggae engineers into the unknown.\u003c\/p\u003e\n\u003cp\u003eMoore employed fundamental contrasts as the conceptual mode for \u003cem\u003eTomorrow Was the Golden Age\u003c\/em\u003e. “I wanted to take something from the darkness to the light and observe what that process would result in,” states Moore. Daybreak offered one contrast, with its untraceable hues from dawn to sunrise. Silence and its intrinsic gift of listening offered another. The emergence of \u003cem\u003eTomorrow Was the Golden Age\u003c\/em\u003e from the two is Bing \u0026amp; Ruth's epic and ultimate reprisal.\u003c\/p\u003e\n\u003cp\u003eThe players on \u003cem\u003eTomorrow Was the Golden Age\u003c\/em\u003e are David Moore on piano, \u003cb\u003eJeremy Viner\u003c\/b\u003e on clarinet, \u003cb\u003ePatrick Breiner\u003c\/b\u003e on clarinet, \u003cb\u003eMike Effenberger\u003c\/b\u003e operating tape delay, \u003cb\u003eLeigh Stuart\u003c\/b\u003e on cello, and \u003cb\u003eJeff Ratner\u003c\/b\u003e and \u003cb\u003eGreg Chudzik\u003c\/b\u003e on bass, respectively. The album was recorded in Yonkers, New York and mixed in Brooklyn, with \u003cb\u003eBrian Bender\u003c\/b\u003e and Moore at the controls.\u003c\/p\u003e\n\u003cp\u003eIntended to be experienced at both high and low volumes, \u003cem\u003eTomorrow Was the Golden Age\u003c\/em\u003e is perfectly calibrated for meditative backdrops, burrowed headphone listening and utter captivation when performed live. Its sonorous palette inspires emotional response across a dynamic field, welcoming a journey to and beyond tomorrow’s promise.\u003c\/p\u003e\n\u003cp\u003eBing \u0026amp; Ruth's \u003cem\u003eTomorrow Was the Golden Age\u003c\/em\u003e is available now on double LP, CD and digital formats via RVNG Intl.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/ri5h_vMGmH8\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/2xgcnaqKxoI\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/Q-VWqDOCCfI\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/uJfGvWkxn38\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL27","offers":[{"title":"DIGITAL - $10","offer_id":13130919018565,"sku":"RVNGNL27DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP + T-Shirt Bundle","offer_id":13130919149637,"sku":"SKU-3305-659","price":35.0,"currency_code":"USD","in_stock":false},{"title":"DBL LP (Color Vinyl)","offer_id":13130919116869,"sku":"RVNGNL27LTD","price":34.0,"currency_code":"USD","in_stock":false},{"title":"DBL LP - $32","offer_id":13130918985797,"sku":"RVNGNL27LP","price":32.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":13130919051333,"sku":"RVNGNL27CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5933-RVNGNL27_COVER_500x500_f1fb83ea-af7e-4716-8d61-c7efee834218.png?v=1535219201"},{"product_id":"frkwys12","title":"FRKWYS Vol. 12: Robert Aiki Aubrey Lowe \u0026 Ariel Kalma - We Know Each Other Somehow","description":"\u003ch3\u003eCAT: FRKWYS12\u003c\/h3\u003e\n\u003cp\u003eRelease Date: April 14, 2015\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e is the twelfth volume of FRKWYS, the music, film, and event series celebrating intergenerational collaboration. For this installment, RVNG Intl. offers a collection of original compositions by \u003cstrong\u003eRobert Aiki Aubrey Lowe\u003c\/strong\u003e and \u003cstrong\u003eAriel Kalma\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eRecorded just outside of Mullimbimby, a remote community on the eastern Australian coast, \u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e pairs two electronic synth voyagers for six extended evocations of environmental ambience and entrancing naturalism.\u003c\/p\u003e\n\u003cp\u003eIn the four decades since Ariel Kalma’s debut album, the privately pressed \u003cem\u003eLe Temps des Moissons\u003c\/em\u003e, the French-born musician has circulated corners of culture now legend: intrepid excursions as a spiritual explorer through India and New York in the 1970s, a studio staff position at the \u003cb\u003eGroupe de Researches Musicales\u003c\/b\u003e (\u003cb\u003ePierre Henry's\u003c\/b\u003e famous musique-concrète laboratory at \u003cb\u003eINA\u003c\/b\u003e studios), and training with music \/ mind \/ meditation institute \u003cb\u003eArica\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eThe genesis of this FRKWYS collaboration was inspired in part by Robert Aiki Aubrey Lowe's first release under his own name, the widely regarded full-length \u003cem\u003eTimon Irnok Manta\u003c\/em\u003e, released for Type in 2012. The album paired two strobing, drone-oriented pieces in an uncategorizable combine of ambient synthesizer-music and pulsing rhythms. Lowe also performs his vocal-based compositions as \u003cb\u003eLichens\u003c\/b\u003e and is a frequent collaborator with \u003cb\u003eOm\u003c\/b\u003e and \u003cb\u003eNurse With Wound\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eChance travel landed Lowe and Kalma in San Francisco at the same time shortly after the collaboration idea was seeded. Upon meeting, Kalma was endeared by Lowe's unique set-up, a portable modular synth unit housed in a vintage luggage case. Kalma recalled his own adventures when he traveled with just a Revox tape-delay machine and saxophone.\u003c\/p\u003e\n\u003cp\u003ePlans were soon settled to record in Kalma’s home studio in Main Arm around Lowe’s serendipitous Australian tour dates with Om. The pastoral life that Kalma had settled into eons earlier vastly informed the character of the recording. Similarly mined by Ariel Kalma in his 1978 album \u003cem\u003eOsmose\u003c\/em\u003e, itself a collaboration with sculptor \u003cb\u003eRichard Tinti\u003c\/b\u003e, field recordings are embraced throughout \u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e as a key harmonic and timbral element with which to adorn.\u003c\/p\u003e\n\u003cp\u003eDescribed by Lowe in the liner notes as the \"collective voice,\" these birdsongs, creeks, tributaries and other ambient sonics of Main Arm appear throughout the album in processed and pure form. Wind instruments and signal sources are modulated, modified and sustained ad infinitum, cohering the choir of mother earth with the collaborators' own.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e is accompanied by a feature length exploratory documentary based on the collaboration. Titled \u003cem\u003eSunshine Soup\u003c\/em\u003e and directed by multitalented designers \/ artists \u003cb\u003eMisha Hollenbach\u003c\/b\u003e and \u003cb\u003eJohann Rashid\u003c\/b\u003e, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma.\u003c\/p\u003e\n\u003cp\u003eHollenbach and Rashid captured extensive footage surrounding the recording of \u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e. Using handheld HD and 8 mm cameras, they later processed the images with a Fairlight Computer Video Instrument (CVI). With its responsive, meditative perspectives and refracted, sun-bleached compositions, Sunshine Soup becomes the visual companion to the transformative musical principles explored throughout the collaborative album.\u003c\/p\u003e\n\u003cp\u003eFollowing up his 2014 archival collection \u003cem\u003eAn Evolutionary Music (Original Recordings 1972 - 1979)\u003c\/em\u003e, Kalma found an ideal collaborator in Lowe and an ideal opportunity to innovate in the field of modularly synthesized electronic music which he helped pioneer. Voyaging along parallel paths until now, \u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.\u003c\/p\u003e\n\u003cp\u003eRobert Aiki Aubrey Lowe and Ariel Kalma’s \u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e and \u003cem\u003eSunshine Soup\u003c\/em\u003e will be released on April 13 (UK) and April 14 (US \/ ROW) on 2xLP \/ DVD, CD \/ DVD and digital formats. 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Initially pressed in an unusually limited edition five years ago, the ensemble’s stunning full-length debut is now released in simultaneously refined and expanded form. With bonus tracks and new, visceral mastering, the album gleams all the more and signals a spree of live performances this fall revisiting the material.\u003c\/p\u003e\n\u003cp\u003eAs the principal leader of Bing \u0026amp; Ruth, \u003cstrong\u003eDavid Moore\u003c\/strong\u003e assembles his orchestral roster according to the scope of each piece and recording setting. For City Lake, Bing \u0026amp; Ruth consisted of eleven members: two clarinetists (\u003cstrong\u003eJeremy Viner\u003c\/strong\u003e and \u003cstrong\u003ePatrick Breiner\u003c\/strong\u003e), two cellists (\u003cstrong\u003eGreg Heffernan\u003c\/strong\u003e and \u003cstrong\u003eLeigh Stuart\u003c\/strong\u003e), two vocalists (\u003cstrong\u003eBecca Stevens\u003c\/strong\u003e and \u003cstrong\u003eJean Rohe\u003c\/strong\u003e), a bassist (\u003cstrong\u003eJeff Ratner\u003c\/strong\u003e), a lap-steel player (\u003cstrong\u003eMyk Freedman\u003c\/strong\u003e), a faithful tape-delay engineer (\u003cstrong\u003eMike Effenberger\u003c\/strong\u003e), a percussionist (\u003cstrong\u003eChris Berry\u003c\/strong\u003e), and Moore on piano.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCity Lake\u003c\/em\u003e is shepherded into concrete pastures by Moore's weightless piano melodies, immersed as they are in grand shapes of breath-like horn, string and voice phrases. Augmented with more percussive proclivity than \u003cem\u003eTWTGA\u003c\/em\u003e, \u003cem\u003eCity Lake\u003c\/em\u003e establishes Bing \u0026amp; Ruth’s ambient brand through a greater gamut of material mediums. If \u003cem\u003eTWTGA\u003c\/em\u003e opened its shutter to the imperceptible shifts of transitions between darkness and light, \u003cem\u003eCity Lake\u003c\/em\u003e was composed to be less ethereal, instead embodying a group-oriented musicality and physicality.\u003c\/p\u003e\n\u003cp\u003eOn \u003cem\u003eCity Lake\u003c\/em\u003e, there are instances of Reich-ian excitement with the hand clapped rhythms of \"Rails\" and a seance of sorts excorsized by the brush-tapped \"Put Your Weight Into It.\" Dual track \"City Lake \/ Tu Sei Uwe\" culminates the urbanized form of ambience with tonal elements in free-fall, piling-up in a harsh denouement of the album's title piece. Further into the program David Moore's intrigue with \u003cstrong\u003eGavin Bryars\u003c\/strong\u003e and \u003cstrong\u003eThomas Newman\u003c\/strong\u003e finds delicate voice in the hibernative \"Here's What Your Missin,\" a track redolent of all the narcotic power of which Bing \u0026amp; Ruth are capable.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eCity Lake\u003c\/em\u003e sets the standard met by Bing \u0026amp; Ruth's sonorous sophomore journey \u003cem\u003eTomorrow Was The Golden Age\u003c\/em\u003e. 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It is an airborne exchange of information between celestial host and terrestrial audience. Radio is a medium which configures collective cognition through mass media, harmonizing voice and anonymous ear. The magic of radio exists in its connectivity.\u003c\/p\u003e\n\u003cp\u003eFor many in their formative years, this connection occurs within the emancipated preserve of college radio. Beats in Space began and perseveres in this preserve, though its reach now extends beyond campus to wider culture. As a student, \u003cstrong\u003eTim Sweeney\u003c\/strong\u003e began broadcasting on WNYU in 1999. Twelve years later, Sweeney created a label under the same name, preserving waveform memories permanently to wax.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eParadis\u003c\/strong\u003e’ “La Ballade de Jim,” the first release represented on BIS: 001 - 020, a compilation surveying the first twenty Beats In Space Records releases, embodies the consideration and sophistication a twelve year history lends a label. A driving, memorable bassline; blurred, drifting keys over an interminable sequencer, presented with crystal clear production. Decisively understated, it offers an overwhelming possibility of what is to come.\u003c\/p\u003e\n\u003cp\u003eThe bounty of releases beyond range from aquatic slow burners (\u003cstrong\u003eDukes of Chutney’s\u003c\/strong\u003e “The Smiling Cheshire”) to sweeping Balearic compositions (\u003cstrong\u003eTornado Wallace’s\u003c\/strong\u003e “Desperate Pleasures”), to outrageous expressions of club-generated sublimity (\u003cstrong\u003eCrystal \u0026amp; S. 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After pioneering commercial sound design for Madison Avenue (including the ubiquitous Coca-Cola \"Pop ‘n Pour\" sound effect), Ciani was able to finance her debut album \u003cem\u003eSeven Waves\u003c\/em\u003e, a suite of original compositions orchestrated electronically and connected by Buchla-designed ocean sounds, and start her uniformly spirited label, Seventh Wave.\u003c\/p\u003e\n\u003cp\u003eSince its 1982 release, \u003cem\u003eSeven Waves\u003c\/em\u003e has become an important chapter of the ambient canon within which contemporary artists like Smith have developed their own synth syntax. Smith was born just a few years after the appearance of \u003cem\u003eSeven Waves\u003c\/em\u003e, growing up in Orcas Island, Washington. A place of profound natural beauty, the islands would inform \u003cem\u003eTides\u003c\/em\u003e, her first instrumental collection from 2014. Smith composed \u003cem\u003eTides\u003c\/em\u003e as an accompaniment for Yoga classes, ultimately freeing her from conventional songwriting into the exploratory, synth-based compositions demonstrated in ecstatic variety on 2016’s \u003cem\u003eEars\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eDespite the serene setting where \u003cem\u003eSunergy\u003c\/em\u003e was realized, the album does not romanticize a complete oneness with nature. Smith and Ciani use their collaborative ground to reflect on the unstable forces at play across the Bolinas horizon. \u003cem\u003eSunergy\u003c\/em\u003e takes stock of Bolinas in the 21st century, a once-thriving artist’s refuge now vulnerable to real estate pressure extending from affluent San Francisco, and more irreparably, the specter of climate change erasing its many waterfront habitats.\u003c\/p\u003e\n\u003cp\u003eA diametric dynamic is present in \u003cem\u003eSunergy\u003c\/em\u003e; a somber meditation amidst the intense cultural and solar forces transforming the landscape, and a hopeful assertion of the surviving creative culture of Bolinas. 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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. 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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. 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This truth is not exploited by Lange but used as a platform to examine fluidity in love and amongst various genders. Singing “porque soy una mujer, porque sigo siendo tu hombre”, (“because I’m a woman, because I’m still your man”), on \u003cem\u003ePrivate Energy’s\u003c\/em\u003e opening track “Tartamudo,” Lange subverts the expectations of the “latino man,” embracing instead a genderless expression of affection and sexuality. And yet the title “Tartamudo” means to stutter; Lange acknowledges the challenge of articulating one's progressive ideals and the personal demands of stewarding the Helado Negro project.\u003c\/p\u003e\n\u003cp\u003e“Transmission Listen” is another exemplary selection from \u003cem\u003ePrivate Energy\u003c\/em\u003e, a song so effortlessly tuneful and seductive it sounds beamed in from the radio waves of an outer world. Or alternately, an inner world. Speckled and reverberant, it’s a love song as much as a purely joyful sonic experience. “Young, Latin, and Proud” and “It’s My Brown Skin” are prideful lyrically but complicated texturally, fusing restrained synthesizer voicings with sparse percussion and an interpolation of rhythmic tones. Here, as elsewhere, though, Lange’s distinct voice is the spine of the music’s ambulatory energy.\u003c\/p\u003e\n\u003cp\u003eThough Helado Negro is essentially a solo project, the contributors to \u003cem\u003ePrivate Energy\u003c\/em\u003e were numerous, demonstrating Lange’s compassion for community and collaboration. In line, the lyrics to “It’s My Brown Skin” work as a central tenet of \u003cem\u003ePrivate Energy\u003c\/em\u003e and an intimate invitation to the varied cast involved and surrounding. Identity is celebrated as a possible personal shelter of sorts, yet complicated and humbly inclusive within abstract territories - i.e. the real and surreal worlds, inhabited by fellow humans and those that don’t identify as human alike.\u003c\/p\u003e\n\u003cp\u003e“My brown me is the shade that’s just for me \/ I’m never not missing anything but me\", the song’s lyrics state, offering insight into the infinite possible variations for individuality and self-invention that animates the music and ethos of \u003cem\u003ePrivate Energy\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHelado Negro’s\u003c\/strong\u003e \u003cem\u003ePrivate Energy\u003c\/em\u003e will be re-introduced to the public via RVNG Intl. in expanded form on May 5, 2017, appearing on vinyl for the first time alongside new CD and digital editions. 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The seven pieces of \u003cem\u003eThe Gradual Progression\u003c\/em\u003e activate spiritual states through physical means, Fox’s rigorous inner rhythms the mandalic vessel for unbound expression and arrangement. \u003cem\u003eTGP\u003c\/em\u003e signals both a reconciliation of disparate musical ventures and a new nirvanic stage in the artist’s oeuvre.\u003c\/p\u003e\n\u003cp\u003eFox views \u003cem\u003eTGP\u003c\/em\u003e as an exploration of selfhood, and more specifically, the search for his true voice as an artist. Though such a journey is by nature ongoing, if not essentially elusive, the discoveries along the path are the musical riches of \u003cem\u003eTGP\u003c\/em\u003e. For his second solo album, Fox employs new methods of externalizing his polyrhythmic virtuosity into non-physical realms.\u003c\/p\u003e\n\u003cp\u003eThis transfer of energy is achieved through responsive environments tethered to various aspects of the performance. Sensors attached to Fox’s drum kit trigger tonal palettes, or virtual instruments invented for each piece, which Fox communes with in the post-Free Jazz manner. That is, locating and emphasizing states of universal resonance in solo and ensemble settings in place of demonstrating individual ability.\u003c\/p\u003e\n\u003cp\u003eThis is where the album’s canonic influences - and inventors - are most recognizable. \u003cstrong\u003ePharoah Sanders’\u003c\/strong\u003e \u003cem\u003eElevation\u003c\/em\u003e and \u003cstrong\u003eDon Cherry’s\u003c\/strong\u003e \u003cem\u003eOrganic Music Society\u003c\/em\u003e come to mind, though the guidance of master drummer and holistic healer \u003cstrong\u003eMilford Graves\u003c\/strong\u003e ultimately made \u003cem\u003eTGP\u003c\/em\u003e possible. For Fox’s astonishing 2014 album \u003cem\u003eMitral Transmissions\u003c\/em\u003e, Graves assisted Fox in adapting software that translated output signals from biological sources to virtual instruments. For \u003cem\u003eTGP\u003c\/em\u003e, Fox again used percussion to initiate passages whose intensity and vibrancy match Fox’s energetic presence and focus.\u003c\/p\u003e\n\u003cp\u003eAdapting the ‘intuitive gesture’ of action painting, and other responsive means of art-making, Fox developed a musical language constructed to isolate its most emotional and felt states for exploration. The subjective themes that inspired these deep spaces of TGP are numerous: personal loss, self-improvement, and artistic struggle, to name a few.\u003c\/p\u003e\n\u003cp\u003eAnother theme, hiding in plain sight, is Fox’s drumming. Years of supplying spin in collaborative bodies (\u003cstrong\u003eGuardian Alien\u003c\/strong\u003e, \u003cstrong\u003eEx Eye\u003c\/strong\u003e, \u003cstrong\u003eLiturgy\u003c\/strong\u003e, \u003cstrong\u003eZs\u003c\/strong\u003e) becomes a symbol of materiality on \u003cem\u003eTGP\u003c\/em\u003e, of organic animated energy seeking beyond its boundaries. Fox describes this tactile element as “sensing the emotionality and physicality of the world with the senses and through mental processes––about touching the walls of a pitch black room.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTGP\u003c\/em\u003e includes contributions from musicians \u003cstrong\u003eCurtis Santiago\u003c\/strong\u003e, \u003cstrong\u003eMichael Beharie\u003c\/strong\u003e, \u003cstrong\u003eMaria Kim Grand\u003c\/strong\u003e, and \u003cstrong\u003eJustin Frye\u003c\/strong\u003e, all lending various voices through instrument and from within. Fox considers the power of Sensory Percussion, the software program developed by \u003cstrong\u003eTlacael Esparza\u003c\/strong\u003e that helped facilitate the vision for \u003cem\u003eTGP\u003c\/em\u003e, unprecedented - something akin to magic.\u003c\/p\u003e\n\u003cp\u003eThough \u003cem\u003eTGP\u003c\/em\u003e tackles technical challenges, the inspirational core is the humanist goal of social progress and its parallel pursuit of self-knowledge. Fox strives for a new musical paradigm that focuses less on his drumming and more on its untapped potential as one element in a polyphonic unity. This dissolution of the self into a wider melodic abstraction signifies Fox’s real artistic accomplishment in \u003cem\u003eThe Gradual Progression\u003c\/em\u003e, rendering percussion’s dark matter as an invisible but essential element between rhythm and life.\u003c\/p\u003e\n\u003cp\u003eGreg Fox’s \u003cem\u003eThe Gradual Progression\u003c\/em\u003e is available September 8, 2017 on LP, CD, and digital formats. 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Hugo's foray as Palmbomen II makes its debut on Beats In Space Records with the eponymous full-length \u003cem\u003ePalmbomen II\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eGuided by voices hardwired into machines of house productions past, Hugo found his footing on the road most travelled by pioneering dance producers by following a spontaneous ethos to create \u003cem\u003ePalmbomen II\u003c\/em\u003e. The live ideology applied to Palmbomen's 2013 album \u003cem\u003eNight Flight Europa\u003c\/em\u003e guides this path, yet the true vehicle of \u003cem\u003ePalmbomen II\u003c\/em\u003e is optimized with a single driver-seat.\u003c\/p\u003e\n\u003cp\u003eRecorded during a summer lockdown in his mother's attic in their hometown of Breda, The Netherlands, Hugo monastically set forth making \u003cem\u003ePalmbomen II\u003c\/em\u003e with tools of a seemingly distant trade: machines - to program and to play - and tape - to record the results. By reversing the perceived potential in hardware versus software production, Hugo returned to the creative core sometimes blinded by too much screen glow: make good music and the rest will follow.\u003c\/p\u003e\n\u003cp\u003e\"Program the rhythms, arrange the harmonies, play these together, and record to tape. That's it,\" says Hugo. By virtue of Hugo's reductive approach, \u003cem\u003ePalmbomen II\u003c\/em\u003e is flagrant with moments that fall outside an \"ideal\" mix. The album is imbued with a literal human touch. One hears Hugo riding Oberheim DX faders in real time, improvising Arp 2600 patches at the turn of a track, and dripping sweat across Roland TR-909 keys.\u003c\/p\u003e\n\u003cp\u003eBeyond the process of \u003cem\u003ePalmbomen II\u003c\/em\u003e, the album adheres to two metaphysical atmospheres: his mother's attic and The X-Files. The attic's liminality inspired a routine practice of tracking four songs a day for a solid week throughout different parts of the summer. A solitary binge of sorts, the fourteen tracks of the album represent only a portion of the escapist trove Hugo yielded.\u003c\/p\u003e\n\u003cp\u003eSimultaneously, Hugo's binge-watching of the 90s \/ early aughts sci-fi television show colored characteristics in his music. Set in Vancouver, \u003cem\u003eThe X-Files'\u003c\/em\u003e early seasons are felt in the wave-crashing, deep forest melodies of \"Cindy Savalas\" and \"John Lee Roche\", while the languid rhythms of \"Carina Sayles\" mirrors the human condition as morphed by the show's extraterrestrial encounters.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePalmbomen II\u003c\/em\u003e possesses the qualities of an artist slowly slipping from one reality to the next, yet it welcomes listeners to experience this transcendence in tandem. 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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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On \u003cem\u003eMOC\u003c\/em\u003e vocals appear as a primary component of and conduit to a stranger, haunted space. Whether contributing to the narrative as spoken word or morose melodies, it’s as disquieting as the echoed vaults from which they come that some other voice is now guiding Kai’s vessel.\u003c\/p\u003e\n\u003cp\u003eThis voice and world is Cindy's, the paradigm depicted in Hugo's self-scripted and directed videos and films. Hugo’s visual practice provides a separate view of the Palmbomen II venture: a surreal, neo noir-ish California dislocated by the no-frills aesthetic of its music, and the tragicomedy of its imagined characters. The word “palmbomen” is in fact Dutch for palm trees. 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A meaningful moment along an artist’s transcendent path of self-discovery, and meaningful music to those who identify with a conscious universe.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWho Are You\u003c\/em\u003e is the first full-length release by \u003cstrong\u003eEddie Ruscha\u003c\/strong\u003e under his given name since donning the \u003cstrong\u003eSecret Circuit\u003c\/strong\u003e guise in 2010 to administer an electronic antidote to the psychedelic \/ shoegaze dirge that dominated his formative music-making. Between Secret Circuit’s two 12” EPs and a colossal full length, \u003cem\u003eTactile Galactics\u003c\/em\u003e, on Beats In Space in 2013 and now, Ruscha has remained wildly prolific producing unfathomable four-on-the-floor formulas for the best and brightest labels outside of Space.\u003c\/p\u003e\n\u003cp\u003eThe Secret Circuit hiatus suggests a return to self and an unmasked, untethered musical language, an approach Ruscha describes as “exploring melody that can mutate as different shades of beauty.” Rhythm plays a supporting role on \u003cem\u003eWho Are You\u003c\/em\u003e, an album with less concern over club constrictions and more contemplation of open, unbound spaces, areas in which Ruscha sees the music capturing “the feeling of a lost day.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWho Are You\u003c\/em\u003e further pares down the dub, tropicalia, and Afro \/ cosmic influences that have historically placed Secret Circuit at the dance music fringe, repurposing them as concerted instrumentals whose melodic themes are so lyrical they appear song-like, expressive without words. Brought to mind are similar instrumentalists such as \u003cstrong\u003eVini Reilly\u003c\/strong\u003e, \u003cstrong\u003eWally Badarou\u003c\/strong\u003e, \u003cstrong\u003eMark\u003c\/strong\u003e and \u003cstrong\u003eClive Ives\u003c\/strong\u003e of \u003cstrong\u003eWoo\u003c\/strong\u003e, and contemporaries such as \u003cstrong\u003eGaussian Curve\u003c\/strong\u003e and \u003cstrong\u003eSuzanne Kraft\u003c\/strong\u003e, a collaborator of Eddie’s.\u003c\/p\u003e\n\u003cp\u003eA blend of electronic instruments with added emphasis on the ‘human touch’ of indigenous strings and guitar creates a parallel universe to \u003cem\u003eWAY\u003c\/em\u003e. On one track, the Yamaha CS-80 synthesizer adds an immersive, score-like quality to the music, reanimating the romantic sides of the album’s retrospective influences without vintage fetishization. On the other, ECM jazz chords velcro to percussive patterns in compositions that feel simultaneously open-ended and total. The exploratory quality of the tracks when intersected embraces a sense of wandering and the album’s intentional ‘lostness.’\u003c\/p\u003e\n\u003cp\u003eRuscha describes \u003cem\u003eWho Are You\u003c\/em\u003e as spanning states “from calm to ecstatic but mostly in-between these.” Though it’s an elliptical view, the description points toward the liminal atmospherics of the music, which dispose of the many hallmark genre traces that informed Secret Circuit’s galactic journeying. 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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. Before Adamson would achieve worldwide success co-founding the group \u003cstrong\u003eBig Country\u003c\/strong\u003e, a chance friendship with Renner would impart great confidence in the young musician from Maryland, who, after a visit in Edinburgh, would then travel to London to demo an early version of “Half A Heart” featured in its final form on \u003cem\u003eFew Traces\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe sum of Renner’s music is one-part literary, one-part painterly. The artist cites the individualism of \u003cstrong\u003eHerman Hesse\u003c\/strong\u003e as a guiding force, and there are overt references to \u003cstrong\u003eW. B. Yeats\u003c\/strong\u003e and \u003cstrong\u003eJohn Greanleaf Whittier\u003c\/strong\u003e among other authors. Lyrical themes evoke the presence of the ancient past, much like early \u003cstrong\u003eFelt\u003c\/strong\u003e songs or the spiritual visions of \u003cstrong\u003eVan Morrison\u003c\/strong\u003e. (Tellingly, Renner cites Morrison’s 1980s albums made between \u003cem\u003eInarticulate Speech of the Heart\u003c\/em\u003e and \u003cem\u003eNo Guru, No Method, No Teacher\u003c\/em\u003e as musical influences.)\u003c\/p\u003e\n\u003cp\u003eApart from his writing, Renner explored music as a complement to visual language: many of the dream-like instrumental passages presented across \u003cem\u003eFew Traces\u003c\/em\u003e were originally implemented as sound elements for exhibitions of his paintings. Renner pursued wordless music as a pure aesthetic in its own right, pristinely balanced segues and open-ended compositions that lead to pasture but not without shepherd.\u003c\/p\u003e\n\u003cp\u003eCompiled three decades after the music was originally put to tape, \u003cem\u003eFew Traces\u003c\/em\u003e collects Mark Renner’s early music but strives not to simplify or reframe it. (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). But the cassette notes credit the sounds and voices to the world of the Kesh, making origins ambiguous. 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. 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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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Rich in symbolism, appearing as floating, formless reflections and poignant pop statements, musician and visual artist \u003cstrong\u003eJD Walsh’s\u003c\/strong\u003e sophomore album offers new perspectives on time and transition, the emotional tides of experience, and the joy of the journey.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMidnight Marker\u003c\/em\u003e is dedicated in part to understanding these transitions. Like a coming-of-age story in reverse, the album explores the reorganization of time and space against a new now: a today imbued, rather than riddled, with the idiosyncrasies of yesterday. The album is not a wrought reality check, however; instead, a spirited survey of genre, imagery, and meaning bathed in familiarity and ineffable emotion.\u003c\/p\u003e\n\u003cp\u003eThroughout \u003cem\u003eMidnight Marker\u003c\/em\u003e, Walsh shares the comfort of composing within the newfound atmospheres of Atlanta having lived in NYC for many moons. Apart from having more space to stretch out and create, Walsh cites modular synthesis as a muse for much of \u003cem\u003eMidnight Marker\u003c\/em\u003e. Using spontaneous modes to blossom chance beauty in favor of conventional composition, Walsh’s songwriting almost feels happy-go-lucky instead of happenstance. A perfect analog to Walsh’s affable, optimistic spirit beyond his music.\u003c\/p\u003e\n\u003cp\u003eIn a similar spirit a spontaneity, Walsh invited vocalists whom he didn’t know personally, but respected their talents, to perform on the album. The “let’s see what happens” expectation set an open tone while recording that reflects in the positively impressionistic lyrics and sense of shared experience that gives \u003cem\u003eMidnight Marker\u003c\/em\u003e its inviting glow. As with his visual art, Walsh’s sense of scale, texture, and color ensures these contributions and surrounding sounds work communally and considerately.\u003c\/p\u003e\n\u003cp\u003eThe slower, linear development of \u003cem\u003eMidnight Marker’s\u003c\/em\u003e songs suggests an organic sensibility that wasn’t quite as apparent on the pattern-based compositions of Walsh’s 2016 self-titled debut album. Walsh cites the cerebral pop of \u003cstrong\u003eWally Badarou\u003c\/strong\u003e, \u003cstrong\u003eArthur Russell\u003c\/strong\u003e, and \u003cem\u003eAnother Green World\u003c\/em\u003e as influences, but his equal love for \u003cstrong\u003eLuther Vandross\u003c\/strong\u003e digs deep, reflective milestones throughout \u003cem\u003eMidnight Marker\u003c\/em\u003e. It’s sophisticated while being soulfully, through not righteously, self-aware.\u003c\/p\u003e\n\u003cp\u003eSo, while there is a softness, a shyness to \u003cem\u003eMidnight Marker\u003c\/em\u003e, there is clarity and wisdom, too. The layers of the past and the experiences which collect together to become age, place, and being are pulled back to reveal a different sense of self. 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It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres.\u003c\/p\u003e\n\u003cp\u003eA former geotechnical engineer from Colombia currently residing in Berlin, Dalt’s concern with boundaries and edges shape the lyrics and music of \u003cem\u003eAnticlines\u003c\/em\u003e, her sixth album. Paying careful attention to pace, breath, and texture, Dalt microtonally shifts the distance between speech and song while using traditional South American rhythms to support her contemporary electronic composition.\u003c\/p\u003e\n\u003cp\u003eLucrecia arrived at the atmosphere of \u003cem\u003eAnticlines\u003c\/em\u003e after several months of studying and creating new patches for the Clavia Nord Modular, forming a rhythmic feedback flow with it, a Moogerfooger MuRF, and her voice. The overall effect of cavernous space backdroping Dalt’s intimate vocal phrasing rewards contemplation, supported in the physical formats of \u003cem\u003eAnticlines\u003c\/em\u003e by a lyric booklet documenting Lucrecia’s collaboration with Australian artist \u003cstrong\u003eHenry Andersen\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe album opens with “Edge,” bordering on a pathological circlusion of self upon other. The lyrics depart from the Colombian myth of El Boraro, an Amazonian monster who turns its victims insides to pulp before sucking them dry and inflating their bodies like balloons to lifelessly float away. “Tar” ponders human dependence on earth at the boundary of the heliopause, where to inhale might be like breathing tar. Dalt’s distant and obscured vocals end with, “we touched only as atmospheres touch.”\u003c\/p\u003e\n\u003cp\u003eThe sonic rise and fall of “Analogue Mountains” is inspired by martian traces found in Antarctica embedded by meteorite ALH84001, suggesting that “we might well be living in mountains transferred from Mars.” The steadily winding music on “Concentric Nothings” descends with the lyrical exercise of dissolution “let my touch be indistinct and instinctive.”\u003c\/p\u003e\n\u003cp\u003eInterspersed with the lyrical pieces of \u003cem\u003eAnticlines\u003c\/em\u003e are instrumental interstitials that demonstrate preceding concepts — as if to say, “this is what antiforms sound like, and this is what the universe’s indifference sounds like.” Dalt’s ongoing experiments with visual artist \u003cstrong\u003eRegina de Miguel\u003c\/strong\u003e support these ideas, their practice allowing the objects of their attention to slip in and out of being.\u003c\/p\u003e\n\u003cp\u003eMystic of matter, Lucrecia Dalt has previously performed and worked with \u003cstrong\u003eJulia Holter\u003c\/strong\u003e and \u003cstrong\u003eGudrun Gut\u003c\/strong\u003e, her slippery spoken word and performative nature recalling the work of \u003cstrong\u003eLaurie Anderson\u003c\/strong\u003e, \u003cstrong\u003eRobert Ashley\u003c\/strong\u003e, \u003cstrong\u003eAsmus Tietchens\u003c\/strong\u003e, or \u003cstrong\u003eLena Platonos\u003c\/strong\u003e. While touching stones, \u003cem\u003eThe Thing\u003c\/em\u003e by \u003cstrong\u003eDylan Trigg\u003c\/strong\u003e, \u003cem\u003eCascade Experiment\u003c\/em\u003e by \u003cstrong\u003eAlice Fulton\u003c\/strong\u003e, and \u003cem\u003eWretched of the Screen\u003c\/em\u003e by \u003cstrong\u003eHito Steyerl\u003c\/strong\u003e are but a few formative scripts that support Dalt’s exploration of the betwixt and between.\u003c\/p\u003e\n\u003cp\u003eIn preparing a live set for \u003cem\u003eAnticlines\u003c\/em\u003e, Dalt plans to stage an uninterrupted configuration, like a kind of alienated lecture, aiming for “gestures that create tensions with non-existent objects.” Dalt intends “to provide meaning and a place for the listener to meditate or relate to the concerns and ideas” she presents.\u003c\/p\u003e\n\u003cp\u003eLucrecia Dalt’s \u003cem\u003eAnticlines\u003c\/em\u003e is available May 4, 2018 on LP, CD, and digital formats. 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Open ears can peer down hidden aux channel corridors, while melodic patterns present two-way mirrors to rooms of other retinal colors. An endless euphoria is just beneath the dance floorboards of \u003cem\u003eShelley’s\u003c\/em\u003e, and an inquisitiveness unencumbered by the institution of knowledge surrounding its frame and inhabitants.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eShelley’s on Zenn-La\u003c\/em\u003e was made between the Elephant and Castle neighborhood of London and a future dreamscape. In this realm out of time and space, Shelley’s (Laserdome) - a once-legendary late 80s \/ early 90s nightclub in the industrial town of Stoke-on-Trent in the north of England - can simultaneously exist on the fictional planet of Zenn-La, and can house a devotional, alien ritual of early UK rave culture, pioneering IDM, and deep minimalism.\u003c\/p\u003e\n\u003cp\u003eMuch of the album’s construction extends from specific, self-imposed ambitions; particular palettes applied to individual creative ideas. These limitations become limitless manifestations of theme: two bass lines running in parallel (one cello, one synth), synthesized waveforms phasing with bowed acoustic drones and chords, synth sequences in nonstandard tuning sitting against folk melody in standard tuning. Coates made a lot of the music for \u003cem\u003eShelley’s\u003c\/em\u003e in Renoise, composing drum sequences in hexadecimal numbers and pencil drawn waveforms and cementing specificity in the intricate, intelligent dance machinations.\u003c\/p\u003e\n\u003cp\u003eSome of \u003cem\u003eShelley’s\u003c\/em\u003e tracks veer into and across FM synthesis. “I like hearing how one tone is enriched by another tone modulating the first, resulting in gleaming sets of new harmonics,” says Coates, “I started thinking about placing live cello playing into a chain of antagonism resulting in sounds I found beautiful.\" This instinct to poetically process sounds in real life (“sitting on the tube, thinking: I'd remove the low end on that, compress that, add reverb to that”) give \u003cem\u003eShelley’s\u003c\/em\u003e an exploratory feel, both guided and unbound, autodidactic by undoing.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eShelley’s\u003c\/em\u003e opens with “Faraday Monument,” matching the enigmatic precedent of the Brutalist box in London the track is named after. \u003cstrong\u003echrysanthemum bear’s\u003c\/strong\u003e vocals oscillate over “A Church” singing lyrics to melt metal and minds. Large spaces adjacent to small enclosed ones house the voice of \u003cstrong\u003eMalibu\u003c\/strong\u003e reading poetry within “Norrin Radd Dreaming.” “Cello Renoise” is built upon the image of two drummers playing to one click track as if in different booths. The great flautist, \u003cstrong\u003eKathryn Williams\u003c\/strong\u003e, recreated midi parts to end \u003cem\u003eShelley’s\u003c\/em\u003e as a “Perfect Apple With Silver Mark.”\u003c\/p\u003e\n\u003cp\u003eCellist, composer, and producer Oliver Coates has been an artist in residency at London’s Southbank Centre, and received the Royal Philharmonic Society Young Artist Award. Coates has contributed to the recordings of \u003cstrong\u003eRadiohead\u003c\/strong\u003e, and collaborated with \u003cstrong\u003eLaurie Spiegel\u003c\/strong\u003e and \u003cstrong\u003eJohn Luther Adams\u003c\/strong\u003e. He has also been commissioned for string and electronic arrangements by visual artist \u003cstrong\u003eLawrence Lek\u003c\/strong\u003e, recorded with composer \u003cstrong\u003eJonny Greenwood\u003c\/strong\u003e on the scores for \u003cstrong\u003ePaul Thomas Anderson’s\u003c\/strong\u003e \u003cem\u003eThe Master\u003c\/em\u003e and \u003cem\u003ePhantom Thread\u003c\/em\u003e and collaborated with musician \u003cstrong\u003eMica Levi\u003c\/strong\u003e on the 2016 album \u003cem\u003eRemain Calm\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eOliver Coates’ \u003cem\u003eShelley’s on Zenn-La\u003c\/em\u003e is available September 7, 2018 on LP, CD, and digital formats.\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/g75mYV6lHdo\" 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\/p0AX8cWZ414\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/IfL5Fy2mW6g\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL43","offers":[{"title":"DIGITAL - $10","offer_id":16607838437445,"sku":"RVNGNL43DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13131130929221,"sku":"RVNGNL43LP","price":24.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":13131130961989,"sku":"RVNGNL43CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/RVNGNL43-Digital-Cover-4000px.png?v=1535219832"},{"product_id":"frkwys14","title":"FRKWYS Vol. 14: Tashi Wada with Yoshi Wada and Friends - Nue","description":"\u003ch3\u003eCAT: FRKWYS14\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003e September 28, 2018 (digital)\u003cbr\u003e September 28, 2018 (physical)\u003c\/p\u003e\n\u003cp\u003eComposer \u003cstrong\u003eTashi Wada\u003c\/strong\u003e has performed for years with his father \u003cstrong\u003eYoshi Wada\u003c\/strong\u003e—artist, composer, and early member of the Fluxus movement. However, they have rarely appeared together in studio settings. \u003cem\u003eNue\u003c\/em\u003e, the fourteenth entry in RVNG Intl.’s intergenerational FRKWYS series, finally brings Tashi and Yoshi, along with an eclectic group of close friends and extended family, together on tape.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNue\u003c\/em\u003e draws on aspects of Tashi’s background for his widest vision to date—among them the minimalist bagpipe music of Yoshi, who co-composed three of the tracks, the psychoacoustic and perceptual explorations of his mentor, composer \u003cstrong\u003eJames Tenney\u003c\/strong\u003e, and reimagined forms of ancient and devotional music. The album, however, is not a tribute to the past or a recapitulation of familiar sounds. Instead, \u003cem\u003eNue\u003c\/em\u003e is an intertwining of people and ideas as a means of growing, of looking inward to move outward, and of looking back to move forward.\u003c\/p\u003e\n\u003cp\u003eTo achieve this growth, Tashi assembled a core group of fellow travelers, including Yoshi, composer \u003cstrong\u003eJulia Holter\u003c\/strong\u003e, producer \u003cstrong\u003eCole MGN\u003c\/strong\u003e, and percussionist \u003cstrong\u003eCorey Fogel\u003c\/strong\u003e, to give life to this multifaceted suite. As an experience, \u003cem\u003eNue\u003c\/em\u003e subtly navigates the interactions, intimacy and spaciousness of this group.\u003c\/p\u003e\n\u003cp\u003eThe album’s title itself is a nod to Tashi’s abiding interest in duality and the unknown: \u003cem\u003enue\u003c\/em\u003e is a mythological Japanese chimera with the face of a monkey, the legs of a tiger, and a snake for a tail, a composite form, at once disturbing and otherworldly. But, as the composer points out, nue is also French for naked—stripped of complexity, bare and exposed, but also raw and essential.\u003c\/p\u003e\n\u003cp\u003eFrom the doubling of tones—and the world of harmonic nuances such an action produces—to the rich interplay between individual musicians, all baring their own personalities and experiences through shared performance, Tashi’s compositions allow space for these elements to join and grow. The multipartite creature that is an ensemble melds in the simplicity and purity of the music itself.\u003c\/p\u003e\n\u003cp\u003eAs explained by Tashi, each part was written with an individual in mind, not simply an instrument. And each individual performer makes their mark, from Holter’s vocal performances on the cresting, oceanic “Mutable Signs” and “Ondine” with guest vocalists \u003cstrong\u003eSimone Forti\u003c\/strong\u003e, \u003cstrong\u003eJessika Kenney\u003c\/strong\u003e and \u003cstrong\u003eLaura Steenberge\u003c\/strong\u003e, to Fogel’s resonant, precise percussion on “Bottom of the Sky.” Producer Cole MGN, who has worked extensively with artists like \u003cstrong\u003eBeck\u003c\/strong\u003e and \u003cstrong\u003eAriel Pink\u003c\/strong\u003e, helped to create a world of sound with minimal yet multi-dimensional materials. Like many of its influences, \u003cem\u003eNue\u003c\/em\u003e uses deceivingly simple means to create complex, coherent worlds and narratives.\u003c\/p\u003e\n\u003cp\u003eTashi notes the influence of legendary Brazilian writer \u003cstrong\u003eClarice Lispector\u003c\/strong\u003e, whose work looked inward, investigating memory and emotion and dream, to understand the often overwhelming world outside the self. Like Lispector’s classic novel \u003cem\u003eNear to the Wild Heart\u003c\/em\u003e, \u003cem\u003eNue\u003c\/em\u003e cleaves these archetypal dualities—world\/self, old\/new, complex\/simple—to create a work that allows them to coalesce into something singular.\u003c\/p\u003e\n\u003cp\u003eAs Tashi states in his liner notes: “My desire was to create something both old and new sounding—ancient and futuristic—and ultimately something of its own world and other. \u003cem\u003eNue\u003c\/em\u003e is a vision, an endless night of dreams, and a personal history of sorts, full of joys and demons.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTashi Wada with Yoshi Wada and Friends’\u003c\/strong\u003e \u003cem\u003eNue\u003c\/em\u003e was released on September 28, 2018 on LP, CD, and digital formats. \u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/files\/updated_-_Tashi_Wada_Group_-_Spring_2019-01_large.png?v=1553541454\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Ovuv96LY15M\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/5QguWBOE5oc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ogWuAWXy8Do\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"FRKWYS14","offers":[{"title":"DIGITAL - $9","offer_id":16607424675909,"sku":"FRKWYS14DIGI","price":9.0,"currency_code":"USD","in_stock":true},{"title":"LP - $25","offer_id":13131136892997,"sku":"FRKWYS14LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":13131136958533,"sku":"FRKWYS14CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FRKWYS14-Digital-Cover-500px.png?v=1535219844"},{"product_id":"helado-negro-this-is-how-you-smile","title":"Helado Negro - This Is How You Smile","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch3\u003e\n\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 1.4em;\"\u003eCAT: RVNGNL54\u003c\/span\u003e\u003cbr\u003e\n\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eMarch 8, 2019 (digital)\u003cbr\u003eMarch 8, 2019 (physical)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHelado Negro\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e returns with\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e This Is How You Smile\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, an album that freely flickers between clarity and obscurity, past and present geographies, bright and unhurried seasons. Miami-born, New York-based artist \u003c\/span\u003e\u003cb\u003eRoberto Carlos Lange \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eembraces a personal and universal exploration of aura – seen, felt, emitted – on his sixth album and second for RVNG Intl.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHelado Negro’s 2016 album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePrivate Energy\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, re-released as \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePrivate Energy (Expanded)\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e in 2017, is an urgent affirmation of self-love and solidarity driven by Lange’s personal response to sanctioned violence towards people of color. The widely embraced album furthered the artist’s visibility beyond a community of fans long established through a rigorous recording and touring career, with moments like “Young, Latin and Proud” and “It’s My Brown Skin” aligning with a larger social demand for basic rights amongst marginalized people and the universal imperative to love, be loved, and thrive.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis Is How You Smile’s \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eopener “Please Won’t Please,” a call back to \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePrivate Energy\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, finds vitality in turning the privacy dial further inward. Setting the scene with a spare drumbeat that moves the music forward in a more maligned than militant march, Lange’s voice tenderly permits himself weariness: “We light ourselves on fire, just to see if anyone believes.” Something must be reserved, “will anyone rescue what’s left of me.” Diving into glimmering spirals, the remainder of the album takes leave of the broader “we” and mines intimate pairings - siblings, parent \/ child relationships, partnership, and old friends.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe story of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis Is How You Smile\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e includes a jaunty, head-nodding walk with his brother on hot pavement to the community pool of his childhood neighborhood in Florida. Such days end with a welcome fatigue and chlorine blurred reveries in “Seen My Aura.” The confidence and security of youth, moves away from family, across years and regions, to a bleak winter of “Imagining What to Do,” and loving partners deciding to make each other smile, while waiting for the sun to return.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis Is How You Smile \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ederives from Jamaica Kincaid’s “Girl,” a story she wrote in the form of a mother’s sole, complicated, but loving voice, speaking a “How to” litany of advice ranging from domestic chores to what a daughter, an immigrant and young woman of color, must do to protect herself in a world that was not designed by or for her. This is how joy, or its visage, at turns comforts, constricts, or becomes armor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eContemplating a parental voice, or its absence, becomes a question of where one may choose to return or depart. The lyrics of “Running,” seem to retrace the cyclical path of pop’s familiar obsessions, addressing the unrequited, fickle, or feared lover, “I feel you in my mind, all the time… you got me running, running…” Instead, the repetition of fleeing breaks with a languid laugh of recognition, that the lives of those who came before are within one’s own, even when we diverge, “I see you in my hands… just like you.” The song may also be read beyond seeing the humanity of self and parent, to the ever more visible global failures of patriarchal structures, and those moments when one sees their traces in self and those dear.\u003c\/p\u003e\n\u003cp\u003eLange describes the album as the soundtrack of a person approaching you, slowly, for 40 minutes. In “Fantasma Vaga,” one of the first songs he wrote that set his approach for the album, a ghost wanders in from the low end, building a fuller form with each shaking step. Whirring, stops and starts of an eco espectral, may be musician trying to imitate, synthesize, the sound of a haunting, or a ghost itself trying to render the human voice. Lange often visualizes meeting strange beings, the odd encounters that occur in the creative process, a sound form of manipulation, in which who, or what is changing whom, becomes unclear.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis Is How You Smile\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e invites listeners on a walk through the changing colors of early mornings and evenings, writing, recording, or hearing a friend, a figure emerges, and there you are. The album will be released across various formats on March 9, 2019, with Helado Negro ever present on stages around the world in support.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cspan\u003eOn behalf of Helado Negro, a portion of the proceeds from \u003c\/span\u003e\u003cem\u003eThis Is How You Smile\u003c\/em\u003e\u003cspan\u003e will be donated to \u003c\/span\u003e\u003ca href=\"https:\/\/unitedwedream.org\/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eUnited We Dream\u003c\/a\u003e\u003cspan\u003e, an organization supporting immigrant rights, under \u003c\/span\u003e\u003ca href=\"https:\/\/commendnyc.com\/come-mend\/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eCome! Mend!\u003c\/a\u003e\u003cspan\u003e, an initiative bridging RVNG's work and interest supporting non-profit organizations and charities.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/u4mof-W6ggI\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/HaOfenje23Y\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/hqzvxWeRU4g\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"RVNGNL54","offers":[{"title":"DIGITAL - $10","offer_id":19315206848581,"sku":"RVNGNL54DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"2024 Edition LP (Translucent Blue) - $26","offer_id":41238122692671,"sku":"RVNGNL54ELP-C1","price":26.0,"currency_code":"USD","in_stock":true},{"title":"2024 Edition LP - $24","offer_id":41238121709631,"sku":"RVNGNL54ELP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"2024 Expanded Edition CD - $16","offer_id":41238124462143,"sku":"RVNGNL54ECD","price":16.0,"currency_code":"USD","in_stock":false},{"title":"Limited Edition Screenprinted LP w\/ bumper sticker","offer_id":17883790180421,"sku":"RVNGNL54LTD","price":22.0,"currency_code":"USD","in_stock":false},{"title":"Limited Edition LP Bundle (w\/ all three colors \u0026 three bumper stickers)","offer_id":17883790147653,"sku":"RVNGNL54LTDBUN","price":60.0,"currency_code":"USD","in_stock":false},{"title":"LP - $24","offer_id":17881033834565,"sku":"RVNGNL54LP","price":24.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":17883790114885,"sku":"RVNGNL54CD","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Red, Green, or Blue – Randomly Selected Sticker - $3","offer_id":17918222663749,"sku":"RVNGNL54STICKER","price":3.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/files\/RVNGNL54_2024_1500px.png?v=1727974901"},{"product_id":"v-a-powder-in-space","title":"V\/A - Powder In Space","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: BIS036\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eFebruary 15, 2019 (digital)\u003cbr\u003e\u003cspan\u003eFebruary\u003c\/span\u003e\u003cspan\u003e 15, 2019\u003c\/span\u003e (physical)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePowder\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e is an alchemist of time. Her ceremonious DJ sets invite listeners and dancers to extend their imaginations to abstracted spaces, while allowing the body to vessel the voyage in free, flowing style. Playful, thoughtful, and natural without knowing, Powder’s crates encourage abandonment of arbitrary boundaries and expectations surrounding genre, movement, schedule, and societal convention to revel, spirited and harmonious, in the passage of time. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMomoko Goto\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e relocated from her hometown of Nagasaki, Japan to Tokyo in 2011. This is where the story of Powder, as the international dance music community knows her, begins. With the change in location came a change in lifestyle, where a balance of 9-to-5 office life and sacred, nocturnalo recording sessions invited Moko to reflect on music’s unique ability to “stop the clock” and “expand or shrink our sense of time.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWhile many workers across the world feel the pressure of artificially controlled measurements of time, Moko’s musical mission to transcend these weighty associations, to shed light on the positive possibilities of passing time, resonates far past her island’s shores. Experiencing the pleasure that comes from physical and emotional transformation. Creating and nurturing memories. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn embracing these positive properties of time, Powder uses the hypnotic language of patterns to communicate with listener-dancers. Patterns represent the meter by which bodies are compelled to move; they also represent a method for collection and organization of sound, where the cohesive stylistic and historical narrative of different pieces of music are laid over one another transforming both intimate and universal moments into a dreamy, experiential, and endlessly interpretable whole. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMoko notes that patterns, “are always ancillary and never playing the leading part of things, and the patterns themselves recognize this fact and act low-key.” This interpretation of sound and rhythm mirrors critical aspects of underground club culture, such as collective energy-making and protection, togetherness over spectacle, the layering of multiple bodies, and narratives upon one another in ecstasy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eSince her debut release on Born Free Records, 2015’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSpray\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Powder’s sound has flirted with numerous unconventional dance institutions and outlets, releasing on ESP Institute, Wichelroede and the Cocktail D’amore imprint, as well as regularly contributing to the latter’s illustrious mega parties. For her \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePowder in Space\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e mix, Moko presents two new songs that were created within a new schedule, with summers spent touring Europe and North America, welcoming the unique experiences offered by each location. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“New Tribe” toasts the global community Powder’s connected during her travels. Marching-band snares, breathy ostinatos, motivating chords, springy auxiliary percussion and bouncy melodic details - all Powder trademarks, coalescing into one of her most celebratory offerings yet. “Gift” is a subtler jam, shuffling and twinkling in perfect balance. Reminiscent of “Spray,” it sustains a retrofuturistic groove that defies the house \/ techno categorical binary. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn the the EP, Powder’s two new originals sit alongside \u003c\/span\u003e\u003cb\u003eDaphne’s \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e“When You Love Someone (Groove Instrumental),” a sultry, twirling vibraphone deep house number from 1993; and the first ever release of \u003c\/span\u003e\u003cb\u003eSamo DJ and Hidden Operator’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e atmospheric scene setter, “Захват Сзади Rox.” For the CD and digital mix release, these four originals weave within an impeccable mix of memories from Moko’s travels and experiences over the past years touring and sharing with new friends. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePowder In Space\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e marks the first in a new series exploring dance music’s form and informality from \u003c\/span\u003e\u003cb\u003eTim Sweeney’s Beats In Space Records\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. The friendly voice behind the longstanding Beats In Space radio show and a formidable DJ to dance floors around the world, the \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e...In Space\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e series, like the rest of the label’s eclectic catalog, is testament to Tim’s trust in the selector and vice versa.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePowder in Space\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is available now in mix CD and mixed \/ unmixed digital forms. Powder’s two original tracks, alongside Samo DJ and Daphne’s contributions to her mix, will be available in DJ-ready forms on 12\" vinyl. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/zJE1HoHabMw\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"BIS036","offers":[{"title":"DIGITAL - $10","offer_id":18476923322437,"sku":"BIS036DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $18","offer_id":18476896813125,"sku":"BIS036LP","price":18.0,"currency_code":"USD","in_stock":false},{"title":"CD - $13","offer_id":18476896911429,"sku":"BIS036CD","price":13.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/BIS036_-_ep_-_Digital_Cover_-_1500px.png?v=1599774156"},{"product_id":"visible-cloaks-yoshio-ojima-satsuki-shibano-frkwys-vol-15-serenitatem","title":"FRKWYS Vol. 15: Visible Cloaks, Yoshio Ojima \u0026 Satsuki Shibano - serenitatem","description":"\u003cp\u003e\u003cem\u003eserenitatem\u003c\/em\u003e, the fifteenth installment of RVNG’s intergenerational FRKWYS series, joins \u003cstrong\u003eVisible Cloaks\u003c\/strong\u003e with \u003cstrong\u003eYoshio Ojima\u003c\/strong\u003e and \u003cstrong\u003eSatsuki Shibano\u003c\/strong\u003e, trailblazers of the Japanese ambient music scene in the 1980s and 90s. While the music excels on an environmental level familiar in the collective’s individual works, serenitatem reaches unseen stratums — a pure synthesis of artistic vision, technological sophistication, futurist ambition, and, occasionally, ancient polyphony.\u003c\/p\u003e","brand":"FRKWYS15","offers":[{"title":"DIGITAL - $10","offer_id":19143564951621,"sku":"FRKWYS15DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $25","offer_id":19143564886085,"sku":"FRKWYS15LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":19143564918853,"sku":"FRKWYS15CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FRKWYS15-Digital-Cover-1500px.png?v=1556034595"},{"product_id":"craig-leon-anthology-of-interplanetary-folk-music-vol-2","title":"Craig Leon - Anthology of Interplanetary Folk Music Vol. 2: The Canon","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: RVNGNL55\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eMay 10, 2019 (digital)\u003cbr\u003eMay 10, 2019 (physical)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCraig Leon\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e revisits the extraterrestrial origins of civilization in \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnthology of Interplanetary Folk Music Vol. 2: The Canon\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, a continuing chronicle of his early 80s albums \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNommos\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVisiting\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. Exploring the cosmic lore of Leon’s earlier work, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Canon\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e expands upon the conceptual cycle based on the alien and mathematical relationships that backbone the creation of art, architecture, science, and music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn 1981, producer and composer Craig Leon, known in the downtown New York zeitgeist for his production on \u003c\/span\u003e\u003cb\u003eThe Ramones\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003cb\u003eSuicide’s \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003edebut albums, released \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNommos\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, a minimal, primitive electronic exploration based on a speculative, wildly imaginative anthropology. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAfter viewing an exhibition of Dogon art at the Brooklyn Museum in 1973, Leon remained fascinated by the Mali tribe’s creation myth that the Earth was visited in ancient times by the Nommos, a semi-amphibious alien race who travelled from the white dwarf Sirius B to impart their wisdom to mankind. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNommos, \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ecuriously released on \u003c\/span\u003e\u003cb\u003eJohn Fahey’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e Takoma Records, manifested Leon’s obsession and investigation: an abstract, ascendent collection of music that could have soundtracked the interstellar visitors’ journey to Earth. Shimmering, mechanical, and anchored by an entrancing pulse of the Dogon’s ceremonial music, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNommos\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and its sequel, the privately pressed 1982 album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVisiting\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, careened into obscurity. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn the intervening years, while Leon pursued his career as a successful producer, cult interest in the albums grew, culminating in the \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnthology of Interplanetary Folk Music Vol. 1\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e., the 2014 archival collection which presented \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNommos\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVisiting\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e as they were intended to be heard, two sides of the same coin. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Canon\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e picks up where \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNommos\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVisiting\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e left off, tracing the path of ancient wisdom imparted by the Dogon’s alien visitors spreading from Mali into Egypt and across the water to Greece as imagined in \u003c\/span\u003e\u003cb\u003eWilliam Stirling’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e \"The Canon,\" an anonymous exposition of cosmic law published in a nearly invisible print edition in 1897.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThough the music - propulsive and spacious - is clearly of a part with \u003ci\u003eNommos\u003c\/i\u003e and \u003ci\u003eVisiting\u003c\/i\u003e, the alien sounds of the Nommos become more familiar to western ears and musical vocabulary as the album narrative thrusts forward. \u003ci\u003eThe Canon\u003c\/i\u003e implies - through ecstatic, contemporary sound and synthesis - that the origins of Western thought, and civilization itself, lie in the great beyond.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNearly four decades since their first collaboration on \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNommos \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eand\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Visiting\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Leon is once again joined by his partner \u003c\/span\u003e\u003cb\u003eCassell Webb\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e on vocals and album production. Leon composed, and both he and Cassell performed, and produced all of the music of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe Canon\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, consciously engaging many of the same synthesizers and programs of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnthology of Interplanetary Folk Music Vol. 1\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e for \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eVol. 2\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe duo are touring \u003ci\u003eThe Canon\u003c\/i\u003e with an expanded ensemble throughout 2019 and 2020. Though Leon has performed \u003ci\u003eNommos\u003c\/i\u003e and \u003ci\u003eVisiting\u003c\/i\u003e with orchestral accompaniment over the years, this will be the first time the live cast will also include instrumentalists steeped in the Dogon and Mediterranean musical traditions that infuse both volumes of \u003ci\u003eAnthology of Interplanetary Folk Music.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eCraig Leon’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAnthology of Interplanetary Folk Music Vol. 2: The Canon \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ewill be available May 10, 2019 on LP, CD, and digital formats.\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/rPqnHRFdQ5U\" 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\/YhT2oS3JPKQ\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"RVNGNL55","offers":[{"title":"DIGITAL - $10","offer_id":19314911051845,"sku":"RVNGNL55DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":19235510812741,"sku":"RVNGNL55LP","price":24.0,"currency_code":"USD","in_stock":false},{"title":"LP Bundle + MP3 - $35","offer_id":19578163855429,"sku":"RVNGNL55BUNDLE-LP","price":35.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":19235510845509,"sku":"RVNGNL55CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/RVNGNL55-Digital-Cover-1500px.png?v=1599774132"},{"product_id":"emily-a-sprague-water-memory-mount-vision","title":"Emily A. Sprague - Water Memory \/ Mount Vision","description":"\u003cp\u003e\u003cb\u003eEmily A. Sprague’s\u003c\/b\u003e \u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWater Memory\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMount Vision \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ealbums are presented in new and complete detail. Emily’s work concerns the connectedness of all things, giving living, core form to the mysterious forces that guide earthly activity and human contact with them. Memory and vision, ocean and mountains, question and answer, emotions and infinity. Sunshine, lizard, sea salt.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThrough sound and poetry, Emily focuses on fleeting moments of crystalline clarity\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e and meditates on expanded lifetimes of intricate meaning-making. This vision is unfalteringly beautiful, gently profound. But, as \u003c\/span\u003e\u003cb\u003eUrsula K. Le Guin \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eintuits in her translation of the Tao Te Ching, “In poetry, beauty is no ornament; it is the meaning. It is the truth.”\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"RVNGNL58","offers":[{"title":"DIGITAL - $10","offer_id":19535023505477,"sku":"RVNGNL58DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP - $32","offer_id":19368571600965,"sku":"RVNGNL58LP","price":32.0,"currency_code":"USD","in_stock":false},{"title":"LTD DBL LP (Ocean Blue and Mountain Green Vinyl) - $36","offer_id":19368571535429,"sku":"RVNGNL58LTD","price":32.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":19368571666501,"sku":"RVNGNL58CD","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Water Memory \/ Mount Vision + Hill, Flower, Fog - CD Bundle - $28","offer_id":39519738396735,"sku":"EMILY-BUNDLE-CD","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/RVNGNL58-Digital-Cover-1500px.png?v=1599761200"},{"product_id":"holly-herndon-proto","title":"Holly Herndon - PROTO","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: 4AD0140\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eMay 10, 2019 (digital) \/ Pre-order and Pre-save digital \u003ca href=\"https:\/\/hollyherndon.ffm.to\/proto\" target=\"_blank\" rel=\"noopener noreferrer\"\u003ehere\u003c\/a\u003e\u003cbr\u003eMay 10, 2019 (physical)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHolly Herndon\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e operates at the nexus of technological evolution and musical euphoria.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eHolly’s third full-length album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePROTO\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e isn’t about A.I., but much of it was created in collaboration with her own A.I. ‘baby’, \u003c\/span\u003e\u003cb\u003eSpawn\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor the album, she assembled a contemporary ensemble of vocalists, developers, guest contributors (\u003c\/span\u003e\u003cb\u003eJenna Sutela\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003cb\u003e Jlin\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eLily Anna Haynes\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eMartine Syms\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e) and an inhuman intelligence housed in a DIY souped-up gaming PC to create a record that encompasses live vocal processing and timeless folk singing, and places an emphasis on alien song craft and new forms of communion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan\u003ePROTO \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003emakes reference to what Holly refers to as the protocol era, where rapidly surfacing ideological battles over the future of A.I. protocols, centralised and decentralised internet protocols, and personal and political protocols compel us to ask ourselves who are we, what are we, what do we stand for, and what are we heading towards?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eYou can hear traces of Spawn throughout the album, developed in partnership with long time collaborator \u003c\/span\u003e\u003cb\u003eMathew Dryhurst\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and ensemble developer \u003c\/span\u003e\u003cb\u003eJules LaPlace\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and even eavesdrop on the live training ceremonies conducted in Berlin, in which hundreds of people were gathered to teach Spawn how to identify and reinterpret unfamiliar sounds in group call-and-response singing sessions; a contemporary update on the religious gathering Holly was raised amongst in her upbringing in East Tennessee.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThere’s a pervasive narrative of technology as dehumanizing\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e,” says Holly. “\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eWe stand in contrast to that. It’s not like we want to run away; we’re very much running towards it, but on our terms. Choosing to work with an ensemble of humans is part of our protocol. I don’t want to live in a world in which humans are automated off stage. I want an A.I. to be raised to appreciate and interact with that beauty.\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;\"\u003eSince her arrival in 2012, Holly has successfully mined the edges of electronic and Avant Garde pop and emerged with a dynamic and disruptive canon of her own, all while studying for her soon-to-be-completed PhD at Stanford University, researching machine learning and music. \u003c\/span\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJust as Holly’s previous album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePlatform\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e forewarned of the manipulative personal and political impacts of prying social media platforms long before popular acceptance, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePROTO\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a euphoric and principled statement setting the shape of things to come.\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/r4sROgbaeOs\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"4AD0140","offers":[{"title":"LP - $24","offer_id":19400975614021,"sku":"4AD0140LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"Limited Edition Clear LP - $24","offer_id":19400988000325,"sku":"4AD0140LTD","price":24.0,"currency_code":"USD","in_stock":false},{"title":"CD - $14","offer_id":19400975646789,"sku":"4AD0140CD","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/HOLLYHERNDON_PROTO_COVERART_1500px.jpeg?v=1552069938"},{"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":"josey-rebelle-josey-in-space","title":"Josey Rebelle \/ Various Artists - Josey In Space","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: BIS045\u003c\/h3\u003e\n\u003cp\u003eRelease Date: May 15, 2020\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJosey Rebelle\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e is the deserving recipient of many accolades and awards, though her accomplishments are, as with all great artists, unquantifiable. Just as her style doesn’t fit neatly into a few-word package, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJosey In Space\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e combines classic and current sensibilities with a selection of exclusive and elusive music to elevate this mix beyond the ephemeral to the eternal. \u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eDrawing from a kaleidoscope of deeply felt and understood sounds, Josey studies and collocates history as well as directing its course. With her sets on the air and in the club, Josey urges you to listen close to the story, to feel the energetic shifts in style, sound, speed, mix; up, down, rough and smooth. Josey’s sets are motivated by the ineffable and inevitable dance, mess and sweat of life: “eclectic,” an oft-applied catchall, just scrapes the surface of this scope and vividness.   \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe reciprocal relationship between radio and club DJing are integral to Josey’s practice. Joining \u003c\/span\u003e\u003cb\u003eRinse FM\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e in 2011 with a covert 3 - 5 am Thursday slot, her now venerated weekly Sunday show delivers a universe in two hours, filled with selections from across the spectrum - house and techno, breaks, jazz, soul and analogous electronic music, to start - and carries the voices of emerging artists and their communities. Evincing a lifelong commitment to ravenous, compulsory listening, and encouraging this in others, Josey furthers a localized lineage tracing back to the golden era of London pirate radio. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003ePlenty of lore is out there about Josey’s journey as a club DJ with a glinting reputation the world over. Her style is broadly and essentially UK (especially from a US vantage), in content and mixing. But she doesn’t simply follow a school; her methods are always responsive to the track at hand. Josey lets “the tunes speak – or shout, or whisper – for themselves [giving] them space to breathe.” Within this framework she allows tracks with both complementary and dissonant elements to meet, run over each other, break apart, or just brush each other by. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJosey in Space\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e reflects this finesse and versatility across twenty selections, a number of which will see their digital debut inside and outside of Josey's mix as standalone cuts. \u003c\/span\u003e\u003cb\u003eDJ Marcelle’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e outre dub clatter bookends the plot, featuring up-and-comers of club sound like \u003c\/span\u003e\u003cb\u003erRoxymore\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eAFRODEUTSCHE\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003cb\u003eMolinaro\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e alongside consistent innovators like \u003c\/span\u003e\u003cb\u003eTitonton Duvante\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eNubian Mindz\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eHieroglyphic Being\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eUschi Classen\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003cb\u003eRobert Owens\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. \u003c\/span\u003e\u003cb\u003eTenesha The Wordsmith’s \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eafro-futurist visioning and poetic eulogy “I Dream So Loud” invokes a healing mantra at the outset, and emphasizes an imaginative resilience embedded in the unequivocally black history of dance music.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eMoving knowledgeably through this unfolding history, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJosey in Space \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ecelebrates US house and techno history along with UK soulful bass, breaks and beyond as in \u003c\/span\u003e\u003cb\u003eLoraine James’ \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Glitch Bitch,” or the second-to-last tenderly offered “Praises” from \u003c\/span\u003e\u003cb\u003eLex Amor\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. On the 12” version, four essential tracks are lifted from the mix for DJ-ready use: \u003c\/span\u003e\u003cb\u003eFotomachine\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e’s spectral techno transporter “BBoy”; the warm, broken-beat sashay of \u003c\/span\u003e\u003cb\u003eShy One\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e’s “Route II Romeos”; Access 58’s 1999 instigator “Jazz Drama”; and the uplifting jungle tune “Dance Of The Sarooes (Nookie Remix)” from \u003c\/span\u003e\u003cb\u003eRogue Unit\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eAvailable as a track-focused 12”, mixed CD and mixed \/ unmixed digital version, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eJosey in Space\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is the second outing in a new \u003c\/span\u003e\u003cb\u003eBeats in Space \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eseries celebrating dance music’s form and informality, and the selectors guiding its evolution.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/INZBx-IMHEQ\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/HUa442FwZUM\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"BIS045","offers":[{"title":"DIGITAL - $15","offer_id":31926555934783,"sku":"BIS045DIGI","price":15.0,"currency_code":"USD","in_stock":true},{"title":"White Label 12\" - $20 - Sold Out","offer_id":31931392622655,"sku":"BIS045LTDLP","price":20.0,"currency_code":"USD","in_stock":false},{"title":"LP - $20","offer_id":31926579494975,"sku":"BIS045LP","price":20.0,"currency_code":"USD","in_stock":true},{"title":"CD - $15","offer_id":31926583230527,"sku":"BIS045CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/BIS045-Digi-Cover-1500px.png?v=1617897166"},{"product_id":"ian-william-craig-daniel-lentz-frkwys-vol-16-in-a-word","title":"FRKWYS Vol. 16: Ian William Craig \u0026 Daniel Lentz - In a Word","description":"\u003ch3\u003eCAT: FRKWYS16\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date: \u003cbr\u003e\u003c\/strong\u003eNovember 20, 2020 (digital)\u003cbr\u003eJanuary 29, 2021 (physical)\u003c\/p\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn a Word\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, the sixteenth installment of the intergenerational collaboration series FRKWYS, brings together composer \u003c\/span\u003e\u003cb\u003eDaniel Lentz\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and vocalist and sound artist \u003c\/span\u003e\u003cb\u003eIan William Craig\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e for an album that embraces erosion and the potential of its loam left behind. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eA major figure in American composition, Daniel Lentz has worked at the middle and margins of postminimalism for more than four decades. A pioneer of “live multitrack recording” with the \u003c\/span\u003e\u003cb\u003eDaniel Lentz Group\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, he frequently writes for ensembles of similar instruments, from choirs to string orchestras to glass harmonicas. Like his west coast colleagues \u003c\/span\u003e\u003cb\u003eHarold Budd\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003cb\u003eIngram Marshall\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Lentz composes music of slow changes, built on fundamental harmonies and rhythms that evoke vast spaces and deep, ancient stone.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eCanadian artist Ian William Craig combines his classically trained voice with precarious technologies: homemade analog synths, altered reel-to-reel machines, and faulty tape decks. His solo albums, including the acclaimed \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCentres\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (2016) and, more recently, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eRed Sun Through Smoke \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(2020), document a haunted nostalgia. In contrast to\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLentz’s (sometimes) radical expansiveness, Craig’s music is fragile and self-consciously created alone, using his customized machination to create warped nocturnes of melody and dissonance.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe sessions for \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn a Word \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003etook place in the Santa Barbara home studio of engineer \u003c\/span\u003e\u003cb\u003eDick Dunlap\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. For both musicians the experience was an exploration toward each other. Craig with his rickety tape decks,\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eLentz sat at a grand piano. Lentz was immediately enchanted by Craig’s voice and equipment: “With the first note he sang, I was hooked. The beauty of his voice and his unique analog looping setup, all compacted into a small suitcase, were both remarkable and always surprising in what they could do.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eThe music emerged spontaneously from simple, even cautious beginnings. For Craig, who rarely works with other musicians, the sessions encouraged him to shed self-consciousness and attune himself to his co-creator. Previously, he had regarded his tape decks and synths as bandmates, providing the creative energy he could get from other people. Recording with Lentz pushed him to find a new, more collaborative perspective. “I tried my best to control what was going on at first, and failed spectacularly. Once I let this aspect go and began to listen to Daniel, to my surroundings, and to the engineers, something finally clicked.”\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn a Word\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e documents a coming together of two distinct musical personalities, and also a transformation. Lentz’s toiling, echoing piano, recalling his work on 1984’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePoint Conception \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eor the 1992 collaboration \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMusic for 3 Pianos \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ewith Budd and Ruben Garcia, are churned into lush earth by Craig’s faltering machines. Craig’s folk-like tenor is realigned with Lentz’s crisp, minimalist repetitions; the combination is warm yet deeply layered, like the Californian sunset that would acknowledge the two composers at the end of each session day. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eTogether, Craig and Lentz unearth deep forms of sonic expression from a common ground and newly seeded camaraderie. Lentz's unmistakable piano sound is clearly relished by Craig's tape decks, which add ghostly counterpoints of distortion and disintegration to its acoustic resonances. To this hall of haunted mirrors, Craig's voice adds a yearning, human quality that is sometimes caught up in the same machinery, and is sometimes allowed to spirit above it.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eIan William Craig and Daniel Lentz’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn a Word,\u003c\/span\u003e\u003c\/i\u003e FRKWYS Vol. 16, will be available across LP and CD formats on January 29, 2021 and digital formats on November 20, 2020. An accompanying documentary of the collaboration directed by \u003cb\u003eEli Welbourne \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003ewill be released in tandem. A portion of the proceeds from this release will benefit \u003cstrong\u003eWolfstone Ranch\u003c\/strong\u003e, a spiritually-based, activist community dedicated to making the rural Midwest a more compassionate place for all the animals who live there.\u003c\/span\u003e \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/sna5EdCbqlM\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"FRKWYS16","offers":[{"title":"DIGITAL - $10","offer_id":33095710048319,"sku":"FRKWYS16-Digi","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":33095709982783,"sku":"FRKWYS16-LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD - $15","offer_id":33095710015551,"sku":"FRKWYS16-CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FRKWYS16-Digi-Cover-1500px.png?v=1613675532"},{"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. Or, to borrow a Popoli song title, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ea simple drawing\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e amidst a storm of lines. \u003cbr\u003e\u003c\/span\u003e\u003cem\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eTiziano Popoli’s \u003c\/span\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 arrives January 22nd, 2021 on digital and CD\/LP formats via Freedom \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eT\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eo Spend and RVNG Intl., featuring liner notes by \u003c\/span\u003e\u003cb\u003eBradford Bailey\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and design by \u003c\/span\u003e\u003cb\u003eWill Work for Good\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn behalf of Tiziano Popoli, a portion of the proceeds from this release will benefit \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eGreenpeace\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e. \u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/CxEuO0Zv5wI\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"ReRVNG13","offers":[{"title":"DIGITAL - 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