{"title":"Digital","description":"","products":[{"product_id":"bis003","title":"Paradis - Hemisphere b\/w Je M'ennui","description":"\u003ch3\u003eCAT #: BIS003\u003c\/h3\u003e\n\u003cdiv\u003eRelease Date: May 22nd, 2012\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\u003eReturning to \u003cb\u003eBeats in Space\u003c\/b\u003e after their debut 12\" (and the label's debut release) in the fall of 2011, \u003cb\u003eParadis\u003c\/b\u003e offers \"Hémisphère\" and \"Je m'ennuie\", another pair of sophisticatedly crafted, noir-pop songs from the young Parisian duo.\u003c\/p\u003e\n\u003cp\u003eOn the two tracks of their second 12\", Paradis self-reflect to find an escape hatch away from themselves. The A-Side, \"Hémisphère\", a macabre story of a lonely guest of life determined to leave everything behind, defies the narrative's convention and captivates with pop melodies and up beats abound.\u003c\/p\u003e\n\u003cp\u003eOn the B-Side, \"Je M'ennuie\", lovers settle into late-night melancholic routines soundtracked by a brooding bass line, an achingly affective synth lead, and vocals that grin behind the disaffected front. Ultimately, hope prevails as both tracks beg the listener to leave their headphones behind for the global village's dance floor. From Paris to Cologne, from Buenos Aires to New York, in the words of Michel Polnareff, \"On ira tous au Paradis.\"\u003c\/p\u003e\n\u003cp\u003eEach 12\" from Beats in Space features original artwork in considerate \u0026amp; serial form. The first 12\" features artwork by \u003cb\u003eDenise Kupferschmidt\u003c\/b\u003e, a Brooklyn-based artist finding inner \/ outer space in the movement of line and assemblage of color. The 12\" packaging constructed by Will Work For Good features a vinyl BIS logo cling. The 12\" will be available on May 22nd, 2012 from fine retailers worldwide. The digital version will be available May 29th, 2012 from the drab internet universe.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/9OkN1m4AgIY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"BIS003","offers":[{"title":"DIGITAL - $3","offer_id":13103295430725,"sku":"BIS003DIGI","price":3.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $14","offer_id":13103295496261,"sku":"BIS003LP","price":14.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5650-127_bis003_cover_500x500_bdf75358-9459-40e8-8ebd-897ac903b15a.jpg?v=1535151579"},{"product_id":"rvngnl34","title":"Zelalem + Mixtape - Mikael Seifu","description":"\u003ch3\u003eCAT #: RVNGNL34\u003c\/h3\u003e\n\u003cp\u003eRelease Date: March 4, 2016\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\u003cb\u003eMikael Seifu’s\u003c\/b\u003e \u003cem\u003eZelalem\u003c\/em\u003e is an ode to – and a fearless break from – the storied lineage of Ethiopian music.\u003c\/p\u003e\n\u003cp\u003eThe literal Amharic translation of \u003cem\u003eZelalem\u003c\/em\u003e is “eternity,” and through Seifu’s conceptual frame it becomes a “vector of light.\" Seifu shines this light on the music of his home country while guiding us through an uncharted \"Ethiopiyawi Electronic\" – a coinage Seifu uses to describe the music he and his peers are producing in Ethiopia’s capital city of Addis-Ababa.\u003c\/p\u003e\n\u003cp\u003eIlluminating the rich sounds of Addis-Ababa’s \u003cem\u003eazmaris\u003c\/em\u003e, Seifu's music becomes a “dream brew” in which these traditional musicians collaborate and contribute vocals and lead voicings from folk instruments such as the Masenko and the Krar.\u003c\/p\u003e\n\u003cp\u003eSeifu was educated at the Lycée Guebre-Mariam in Addis-Ababa. The French academy’s international group of students was Seifu’s first exposure to a world outside Ethiopia; his second was at Ramapo College in suburban New Jersey. Here Seifu met a mentor in \u003cb\u003eBen Neill\u003c\/b\u003e, the composer and music technologist who trained with \u003cb\u003eLa Monte Young\u003c\/b\u003e. Seifu was inspired by Neil to take serious his calling in music.\u003c\/p\u003e\n\u003cp\u003eA calling of a different, spiritual nature brought Mikael back to Ethiopia. As a repatriated young man in Addis-Ababa, Seifu felt a renewed sense of allegiance to his home country and allowed its ubiquitous music to guide his creations. Seifu’s early work was shared across a string of EPs for stalwart Washington D.C. imprint 1432 R, demonstrating an interplay of regional folk music and international electronic music.\u003c\/p\u003e\n\u003cp\u003eMikael’s music does not westernize or electronicize extant Ethiopian music. Instead, Seifu uses Ethio-Jazz's spirit of brewing estranged styles for his own musical tincturing. Seifu's passion above all else is to create something befitting of its time, yet \"eternally Ethiopian.\" The latter phrase was the mantra guiding Seifu through the creation of \u003cem\u003eZelalem\u003c\/em\u003e, and a source of inspiration for the cover artwork.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eZelalem\u003c\/em\u003e spotlights the music of Ethiopia's past as well its future. Mikael Seifu illustrates the potential for reinterpreting sacred and proud sources through energized palettes. 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Anh-Sahm-Buhl - We Are Not The First","description":"\u003ch3\u003eCAT #: RVNGNL33\u003c\/h3\u003e\n\u003cp\u003eRelease Date: October 30, 2015\u003c\/p\u003e\n\u003cp\u003eFor those who maintain the more mutable dance music is, the deeper its impact on human evolution, RVNG Intl. presents \u003cem\u003eWe Are Not The First\u003c\/em\u003e, an Epic conducted and deconstructed by Chicago artist \u003cb\u003eHieroglyphic Being\u003c\/b\u003e and the \u003cb\u003eJ.I.T.U. Ahn-Sahm-Bul\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWe Are Not The First\u003c\/em\u003e combines the musical forces of \u003cb\u003eMarshall Allen\u003c\/b\u003e, \u003cb\u003eDaniel Carter\u003c\/b\u003e, \u003cb\u003eGreg Fox\u003c\/b\u003e, \u003cb\u003eShelley Hirsch\u003c\/b\u003e, \u003cb\u003eShahzad Ismaily\u003c\/b\u003e, \u003cb\u003eElliott Levin\u003c\/b\u003e, \u003cb\u003eJamal Moss\u003c\/b\u003e, \u003cb\u003eRafael Sanchez\u003c\/b\u003e, and \u003cb\u003eBen Vida\u003c\/b\u003e in deep dialogue with each other and humans' hidden sonic history.\u003c\/p\u003e\n\u003cp\u003eTracked as different personale patterns over a week of studio sessions in Brooklyn, said syntax translates into mesmerizing sound forms as the ensemble excavates sonic folklore and ancient music, employing spiritual-jazz’s welfare and health as an agency for balance.\u003c\/p\u003e\n\u003cp\u003eAn album with an active brain, \u003cem\u003eWe Are Not The First\u003c\/em\u003e aspires to reprogram the mind, to transcend our expectations through bugged-out percussion, modular mayhem, flurries of free improvisation, and voices carrying through the air.\u003c\/p\u003e\n\u003cp\u003eJamal Moss provides speech its due pulpit in in the opening piece, “Apes \u0026amp; Ages. “Forward… Backward… Evolution” intones Moss in “Apes \u0026amp; Ages,” setting an appropriately opaque stage for the album’s genesis.\u003c\/p\u003e\n\u003cp\u003eShelly Hirsch exorcises ethereal vocals to subtly incomparable measure in “Civilization That Is Dying.” Hirsch’s vocal throw is near a Theremin’s: she controls sound that is deep within, delivering an operatic warble at full freak-uency while Ben Vida and Shahzad Ismaily take turns running textures up and down the acid washboard.\u003c\/p\u003e\n\u003cp\u003e“Fuck The Ghetto \/ Think About Outer Space” is an ecstatic, erratic anthem, navigating the fog to invite critical speculation on Humanity’s “Prison of Technology” and the digital documentation of Identity. Rafael Sanchez admonishes, in a way, scatting: “the ghetto” is “of the mind.”\u003c\/p\u003e\n\u003cp\u003eLanguage and meaning collide in “Root Of.” Sanchez speaks into the maelstrom of Marshall Allen and Greg Fox’s outer bound bond. In memoriam and in search of an end to the subjugation of persons, “Root Of” demarcates \u003cem\u003eWe Are Not The First\u003c\/em\u003e - and its agents - into the album’s darker and lighter sides.\u003c\/p\u003e\n\u003cp\u003eOn “Universe Is A Simulation,” Daniel Carter’s sax meanders on an improvised beat, almost melancholic but crucially conscious, merging with Fox and Moss in a frequency-haze not unlike the surface blur that sand makes vibrating on top a drum.\u003c\/p\u003e\n\u003cp\u003eAt 18 minutes and 44 seconds, the final movement, “We Are Not The First,” is a celebration of struggle and the living art of noise. Here an almost complete Ahn-Sam-Buhl (get it now?) redirects a city street through the studio filling the air with an implicit interplay of blinking light in contrast.\u003c\/p\u003e\n\u003cp\u003eHieroglyphic Being \u0026amp; J.I.T.U.. Ahn-Sahm-Bul develop consciousness from primordial ooze. As in listening, the ooze intones an echo of our deep past, rendering the present ever focused. \u003cem\u003eWe Are Not The First\u003c\/em\u003e is an 11-part Epic and each track is a movement therein that testifies: an ensemble’s vitality lives in its collectivity. When we ask the ooze, the ooze articulates: \u003cb\u003eWe Are Not The First\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eHieroglyphic Being \u0026amp; J.I.T.U. 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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":"rvngnl22","title":"Gardland - Improvisations","description":"\u003ch3\u003eCAT#: RVNGNL22\u003c\/h3\u003e\n\u003cp\u003eRelease Date: April 29, 2014\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIf your order contains a pre-order record, it will be held and shipped complete when pre-order stock arrives.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eFollowing the great unspooling of 2013’s \u003cem\u003eSyndrome Syndrome\u003c\/em\u003e, \u003cstrong\u003eGardland\u003c\/strong\u003e and RVNG Intl. step back into the duo’s not-so-distant past with \u003cem\u003eImprovisations\u003c\/em\u003e, three live performances ripped from local Austrailian radio show \u003cb\u003eSpiral Sounds\u003c\/b\u003e in early 2012. The aural impetus behind the artists and label joining forces, this triptych of tone lashed tracks captures the duo in exhilarating, uninhibited form.\u003c\/p\u003e\n\u003cp\u003eUnintended for an audience outside of the provincial FM dial riders, \u003cem\u003eImprovisations\u003c\/em\u003e blisters at its hardware-imposed limits with enough energy to fuel freakish frequencies. “0214? offers a wide survey of the duo’s exploratory inclination, igniting with sparse sputters and clicks before the growling groove rips into fifth gear for an expansive 15 minute drive. The flip predicts the immediacy and potency of \u003cem\u003eSyndrome Syndrome\u003c\/em\u003e with an early take on “Katarakt” (here named “0315?) and the desiccated, teleological frenzy of “0214 Pt.2?.\u003c\/p\u003e\n\u003cp\u003eGardland’s evolution has thus far defined itself by the free form nature this 12? embodies, the curated reduction on \u003cem\u003eSyndrome Syndrome\u003c\/em\u003e and a full-blown unpredictability on stage. Alex Murray and Mark Smith chase the listless shape of an ever expanding, never coalescing logic with no devotion too dear to sacrifice for the following of future’s path.\u003c\/p\u003e\n\u003cp\u003eGardland’s \u003cem\u003eImprovisations\u003c\/em\u003e is available as a limited edition 12\" via RVNG Intl.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/QGSL2KXuxos\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL22","offers":[{"title":"DIGITAL- $4","offer_id":13103306768453,"sku":"RVNGNL22DIGI","price":4.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $14","offer_id":13103306735685,"sku":"RVNGNL22LP","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5870-RVNGNL22_COVER_460x460_7fb098d7-3535-454a-9439-9d8e697973f5.jpg?v=1535151640"},{"product_id":"bis010","title":"Crystal \u0026 S. Koshi - Break the Dawn \/ From Red To Violet","description":"\u003ch3\u003eCAT #: BIS010\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eRelease Date\u003c\/b\u003e: September 17, 2013\u003c\/p\u003e\n\u003cp\u003eFor the \u003ci\u003eBreak the Dawn \/ From Red To Violet\u003c\/i\u003e 12\", the brightly shining tenth release from \u003cb\u003eBeats In Space Records\u003c\/b\u003e, Tokyo-based producer \u003cb\u003eCrystal\u003c\/b\u003e breaks out with a track meant to shred the dark veil of night to reveal a golden sunrise.\u003c\/p\u003e\n\u003cp\u003eAccording to Crystal, he is generating \"straight house music... piano, phrase sampling, energetic vocals, etc.\" “Break the Dawn” revels in this simplicity, using a meditative sample to set a groove that crescendos over and over with massive vocal blasts and drum breaks.\u003c\/p\u003e\n\u003cp\u003eWhen you've watched the sun ascend to unspeakable heights, side B reveals that you've not just experienced an otherworldly event, but you are indeed deep in space. \"From Red To Violet\" conjures a panoramic gradient of a Jupiter sunset by using a piano riff ruffle, cascading synth frills and lasers from another era of decadence and disco dance.\u003c\/p\u003e\n\u003cp\u003eEach 12? from Beats in Space Records features original artwork in considerate and serial form. \u003cb\u003eJiro Bevis\u003c\/b\u003e, the London-based artist with a penchant for pop perversion, shares a subdued but fitting piece for this installation. The 12? packaging constructed by \u003cb\u003eWill Work For Good\u003c\/b\u003e features a removable vinyl BIS logo cling.\u003c\/p\u003e\n\u003cp\u003eCrystal’s Break the Dawn \/ From Red To Violet 12” will be released on July 30, 2013 on Beats In Space as a limited edition 12” and digitally.\u003c\/p\u003e\n\u003cp\u003eTrack List:\u003c\/p\u003e\n\u003cp\u003eSide A (45 RPM) – Break the Dawn (7:08) (\"Break The Dawn\" written \u0026amp; produced by Crystal \u0026amp; S. Koshi)\u003cbr\u003e Side B (45 RPM) – From Red To Violet (6:15)\u003c\/p\u003e","brand":"BIS010","offers":[{"title":"DIGITAL - $3","offer_id":13103307948101,"sku":"BIS010DIGI","price":3.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $18","offer_id":13103307980869,"sku":"BIS010LP","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5808-BIS010-1500px.jpg?v=1535151645"},{"product_id":"rvngnl03","title":"Hideous Racket - Allez-Allez","description":"\u003ch3\u003eCAT #: RVNGNL03\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: 06\/29\/2010\u003c\/div\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\u003eThe cargo of \u003cb\u003eAllez-Allez's\u003c\/b\u003e debut EP, \u003ci\u003eHideous Racket\u003c\/i\u003e, contains a suspiciously alien sound that could only be kept secret for so long before being smuggled and peddled by RVNG Intl. on the war torn and drug dirtied mutant dance floors. This London lab tech duo staked their claim with social and online experiments and now expand their methodically creative reach with four tracks made for the interstellar overdrive.\u003c\/p\u003e\n\u003cp\u003eThe EP begins with the melodically rich and playful title track before the aquatic acid house of \"Seven Down Six Across\" bubbles to the surface to close the a-side. The b-side starts with the \u003cb\u003eJames Holden\u003c\/b\u003e championed \"Weird Science\", a washy blend of\u003cb\u003eFrippertronic\u003c\/b\u003e frequencies and a street smart beat, and rounds out with the shimmering Rhythm Ace shuffle of \"Slump\", described by Optimo's \u003cb\u003eJD Twitch\u003c\/b\u003e as \"\u003cb\u003eChris \u0026amp; Cosey\u003c\/b\u003eriding a flying hoover over the city in \u003cb\u003eBlade Runner\u003c\/b\u003e\".\u003c\/p\u003e\n\u003cp\u003eBonus digital tracks include an alternate scuzzy \/ scrungey take on \"Hideous Racket\", remixes by \u003cb\u003eBorder Community's\u003c\/b\u003e deep arpeggiator \u003cb\u003eWesley Matsell\u003c\/b\u003e, Rvng's own panic button beat makers \u003cb\u003ePink Skull\u003c\/b\u003e, and an epic 12+ minute rework by \u003cb\u003eThee Four Horsemen\u003c\/b\u003e , the production team of \u003cb\u003eStuart Lamour\u003c\/b\u003e (20 Jazz Funk Greats) and \u003cb\u003eNick Carlisle\u003c\/b\u003e. Also notable: one of Allez-Allez�s two core members is \u003cb\u003eSam Willis\u003c\/b\u003e from\u003cb\u003eKompakt\u003c\/b\u003e recording artist \u003cb\u003eWalls\u003c\/b\u003e .\u003c\/p\u003e\n\u003cp\u003eEach 12\" is packaged with a red or blue vinyl cling allowing your own commentary depending on the mood. First pressing limited to 550 copies, digital version expanded with remixes available at \u003cb\u003eiTunes\u003c\/b\u003e , \u003cb\u003eBeatport\u003c\/b\u003e , \u003cb\u003eJuno\u003c\/b\u003e, and \u003cb\u003eTurntable Lab\u003c\/b\u003e .\u003c\/p\u003e\n\u003cp\u003eMastered by Shane McEnhill at Finyl Tweek.\u003cbr\u003e 12\" artwork conceived and designed by Kevin O'Neill at \u003ca href=\"http:\/\/www.willworkforgood.org\/\" target=\"_new\"\u003eWill Work For Good\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePressing details:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e5 test pressings\u003cbr\u003e Frist pressing: 550 copies (275 red clings \/ 275 blue clings)\u003cbr\u003e Pressed at \u003ca href=\"http:\/\/www.brooklynphono.com\/\" target=\"_new\"\u003eBrooklyn Phono\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/PcFqJ94uYWI\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL03","offers":[{"title":"DIGITAL - $4","offer_id":18839001038917,"sku":"RVNGNL03DIGI","price":4.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $14","offer_id":13103308341317,"sku":"RVNGNL03LP","price":14.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5730-RVNGNL03.jpg?v=1535151650"},{"product_id":"rvngnl11","title":"Blondes - Wine \/ Water","description":"\u003ch3\u003eCAT #: RVNGNL11\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: November 15th, 2011\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eBlondes\u003c\/b\u003e complete their 2011 12\" trilogy with \u003ci\u003eWine \/ Water\u003c\/i\u003e. Having spent the year road-testing the material of the \u003ci\u003eLover \/ Hater\u003c\/i\u003e and \u003ci\u003eBusiness \/ Pleasure\u003c\/i\u003e 12s, \u003ci\u003eWine \/ Water\u003c\/i\u003e is a mature gesture balancing the respective mind and soul of its predecessors.\u003c\/p\u003e\n\u003cp\u003e\"Wine\" occupies the a-side with sentimental subs, synth sweeps, and a melancholy vocal phrase atop a pulsating kick. The opening bass line of \"Water\" sets a definitive melodic mood over which aquatic textures wash in and out and inevitably set sail on staccato squelches. There could be no other logical or illogical conclusion to the 12\" trilogy than this. If you haven't heard in its entirety, you might not know.\u003c\/p\u003e\n\u003cp\u003eMastered by \u003cb\u003eJoe Lambert\u003c\/b\u003e at \u003cb\u003eJoe Lambert Mastering\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eArtwork by \u003cb\u003eWill Work For Good\u003c\/b\u003e. Limited edition.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/9Tr4mGR36RQ\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL11","offers":[{"title":"DIGITAL - $2","offer_id":13103309029445,"sku":"RVNGNL11DIGI","price":2.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $10","offer_id":13103308996677,"sku":"RVNGNL11LP","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5610-114_rvngnl11_front_500x500_c4f8bb61-d560-44e3-86ad-1a3857a7d437.jpg?v=1535151654"},{"product_id":"rvngnl10","title":"Bronze - Copper","description":"\u003ch3\u003eCAT #: RVNGNL010\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: October 18th, 2011\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/www.myspace.com\/copperclub\"\u003eBRONZE\u003c\/a\u003e is an exercise in impulse. BRONZE is also the San Francisco based trio of \u003cb\u003eBrian Hock, Rob Spector,\u003c\/b\u003e and \u003cb\u003eMiles Friction\u003c\/b\u003e the latest addition to the RVNG Intl. family with their debut album, \u003ci\u003eCopper\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eIn early 2006, Hock moved back to his native San Francisco from Berlin and took up residence with Spector in the warehouse \/ show space known as The Cave. The two conspired to start a new live project and enlisted the help of Friction to form BRONZE. After preliminary attempts to find the right environment to house the Copper Club, the Secret Society of the Bronze Age, Miles founded the Trojan Cavern in San Fran's Dogpatch neighborhood. From this outpost, \u003cb\u003eBRONZE \u003c\/b\u003eundergo disciplined training exercises in various weaponry, sonic hypnosis, horticulture and all-important copper talk. It's also from the Trojan Compound that Copper was created.\u003c\/p\u003e\n\u003cp\u003eStream-of-consciousness lyrical cooing and restrained analog trickery rest atop constant cog rotation grooves on\u003cb\u003e \u003c\/b\u003e\u003ci\u003eCopper\u003c\/i\u003e. These elements yield a truly conductive album, abundant in compositions that beg for a listener's oxidizing ear. Commencing with\"A Showdown Of Sorts\", the record assumes a vague narrative aided by the allure of \u003cb\u003eTuxedomoon\u003c\/b\u003e \/ \u003cb\u003eRalph Records\u003c\/b\u003e-y exoticism, albeit less claustrophobic. \"Showing Them\" staggers into even Wierd-er territory, with eye flashes and spots of \u003cb\u003eLegendary Pink Dots\u003c\/b\u003e. \"So Slow\" and \"The Rouge Became\" are sister tracks fallen not far from the same \u003cb\u003eSilver Apple(s)\u003c\/b\u003e tree. \"Wits\" and \"Fumes In Suits\" counter clockwork like a high-pressure Units track and place \u003ci\u003eCopper\u003c\/i\u003e in the lexicon of San Fran synthesized and syncopated anti-stardom.\u003c\/p\u003e\n\u003cp\u003eThe physical version of Copper will be available on October 18th from fine retailers worldwide. \u003cb\u003eEach vinyl copy of \u003ci\u003eCopper\u003c\/i\u003e comes with a copper ring.\u003c\/b\u003e The ring is intended to be worn to BRONZE performances or even during daily rituals. While wearing the ring, you, the ring bearer, are encouraged to speak informally - if not offensively - with fellow ring mates. When overheard or confronted, blame it on the ring - i.e. \"It was the copper talking.\" The ring will initially turn your finger green. The ring will also heal your wounds, correct your balance and is a fashionable accessory to boot. The digital version will be available November 8th from the drab internet universe.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCopper is available on vinyl and CD, as well as digitally.\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\"\u003eSample Tracks\u003c\/h3\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003ciframe src=\"\/\/w.soundcloud.com\/player\/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F26541106\u0026amp;show_artwork=true\" scrolling=\"no\" width=\"100%\" height=\"166\" frameborder=\"no\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003ciframe src=\"\/\/w.soundcloud.com\/player\/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F18034509\u0026amp;show_artwork=true\" scrolling=\"no\" width=\"100%\" height=\"166\" frameborder=\"no\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e \u003c\/p\u003e","brand":"RVNGNL10","offers":[{"title":"DIGITAL - $9","offer_id":13103309291589,"sku":"RVNGNL10DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13103309258821,"sku":"RVNGNL10LP","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5578-109_rvngnl10_cover_500x500_ff9510e3-7249-44dd-b4cd-251dd6d24e8c.jpg?v=1535151659"},{"product_id":"rvngnl04","title":"CFCF - The River","description":"\u003ch3\u003eCAT #: RVNGNL04\u003c\/h3\u003e\n\u003cdiv\u003e\u003cb\u003eRelease date: October 12th, 2010\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cb\u003eCFCF\u003c\/b\u003e treads dark waters on \u003ci\u003eThe River\u003c\/i\u003e. Where the 22 year old Montreal based producer CFCF's (\u003cb\u003eMichael Silver\u003c\/b\u003e) debut album \u003ci\u003eContinent\u003c\/i\u003e (Paper Bag 2009) hinted at primal and ambient themes, \u003ci\u003eThe River\u003c\/i\u003e fully transports the listener to a heart of darkness. Inspired by \u003cb\u003eWerner Herzog's\u003c\/b\u003e visual masterpiece \u003ci\u003eFitzcarraldo\u003c\/i\u003e, \u003ci\u003eThe River\u003c\/i\u003e follows a dream-like arc, lucid sound sequences from a lunatic mind.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThe River's\u003c\/i\u003e voyage begins with \"Before and After Light\", a track based around a cyclical finger-picking sample and ghostly tones that could form the core of an Ambient \u003cb\u003eEno \u003c\/b\u003ealbum. \"It Was Never Meant to Be This Way\" furthers the vessel along on a wash of synth waves and a melancholy chopstick piano figure. Around the bend to the a-side's end is the choral, \u003cb\u003ePopul Vuh\u003c\/b\u003e-inspired cosmic guitar shredding of \"Upon the Hill\".\u003c\/p\u003e\n\u003cp\u003e\"Frozen Forest\" heightens the grandeur opening the b-side with a slow-mo break beat and arpreggiating bass work out. The title track casts doomsday shadows before the best use of a master blaster drum attack since \u003cb\u003eDJ Shadow's\u003c\/b\u003e \"Stem \/ Long Stem\". After the unrest, \"Orage\" drifts on a bed of wreckage into an uncertain dusk.\u003c\/p\u003e\n\u003cp\u003eThe digital bonus version of \u003ci\u003eThe River\u003c\/i\u003e (\u003cb\u003eincluded w\/ vinyl purchase\u003c\/b\u003e) features remixes of \"Frozen Forest\" by Rvng house and House DJ \u003cb\u003eJacques Renault\u003c\/b\u003e and London's Balearic bishops \u003cb\u003eCoyote\u003c\/b\u003e plus a midi-funked out remix of \"It Was Never Meant to Be This Way\" by \u003cb\u003eGames\u003c\/b\u003e, the dance production duo of Daniel Lopatin (\u003cb\u003eOneohtrix Point Never\u003c\/b\u003e) and Joel Ford (\u003cb\u003eTiger City\u003c\/b\u003e).\u003c\/p\u003e\n\u003cp\u003eThe first pressing of \u003ci\u003eThe River\u003c\/i\u003e is limited to 550 vinyl copies. The first run of jackets are printed black offset with a bronze letterpress overprint on heavy news board. Jacket concept and design by \u003cb\u003eKevin O'Neill\u003c\/b\u003e of \u003ca href=\"http:\/\/willlworkforgood.org\/\" target=\"_new\"\u003eWill Work For Good\u003c\/a\u003e, based loosely on the weathered map that lead Fitzcarraldo to madness and freedom. Digital available here and through the usual storefront suspects.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e1st Pressing Details:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e5 test pressings\u003cbr\u003e 550 copies\u003cbr\u003e Mastered at Finyl Tweek.\u003cbr\u003e Manufactured at Brooklyn Phono.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/UY2aaXyenoA\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003ciframe src=\"https:\/\/www.youtube.com\/embed\/e6VGJvsBsZQ\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"RVNGNL04","offers":[{"title":"DIGITAL - $8","offer_id":18838923804741,"sku":"RVNGNL04DIGI","price":8.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $24","offer_id":13103312797765,"sku":"RVNGNL04LP","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5501-cfcf.jpg?v=1535151667"},{"product_id":"frkwys03","title":"FRKWYS Vol. 3: ARP \u0026 Anthony Moore","description":"\u003ch3\u003eCAT #: FRKWYS03\u003c\/h3\u003e\n\u003cdiv\u003e\u003cstrong\u003eRelease date: April 20th, 2010\u003c\/strong\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 third volume in Rvng's FRKWYS (pronounced Freakways) series, ARP (aka Alexis Georgopoulos) and Anthony Moore contribute an album of modern minimalist compositions culled from sources both old and new. From the reworking of some of Moore's unreleased late 60s compositions and the incorporation of actual extant tapes from that time, to the newly minted pieces by Georgopolous along with new accompaniments to the original recordings, it's another vibrant addition to the ongoing series in which contemporary artists are paired with their progenitors by way of remix, reinterpretation, and original collaboration.\u003c\/p\u003e\n\u003cp\u003eThe idea to pair the two composers was born of Georgopoulos' appreciation for Pieces from the Cloudland Ballroom (1971), Moore's adventurous avant-garde album described by Alan Licht as neither a \"Krautrock or artrock LP but a bona fide minimal classic\". Upon listening to several pieces by his symphonious accomplice-to-be, Moore was \"struck by a powerful sense of familiarity, a recognition of certain musical values close to my own heart being explored by someone else\".\u003c\/p\u003e\n\u003cp\u003eMutual admiration formed, Moore and Georgopoulos came together in September 2009 at Atlantic Sound's Brooklyn studio, a scene serenely inspired by the live room's forward face on the East River. Recorded to a 24 track, 2\" Studer tape machine, the album begins with the stringed drone of \"Today's Psalter\", a piece named for the instrument at its thematic core (re-established later with \"Yesterday's Psalter\"). \"Spinette\" is a lively and cyclical measure exercise built on an original work. And, at end of the first side, \"Piano Waves\" reinvents a Magnetophone tape recording Moore originally realized in the 60s as a sonorous anchor on the album.\u003c\/p\u003e\n\u003cp\u003eThe second side begins with \"Wild Grass I (for Arthur Russell)\", composed by Georgopoulos for a cello, violin, and piano ensemble. As with its companion piece, \"Wild Grass II (for Robert Wyatt)\" takes heroic inspiration and uses the intimate instrumentation to create a movement compelling in its refined gestures. \"Mirrors \u0026amp; Forks\" returns to Moore's treasure trove of tape loops, seething into \"Yesterday's Psalter\" and then a lunar-lit rendition of \"Slow Moon's Rose\" sung by Georgopoulos, a song originally recorded by Moore in 1972 as part of Slapp Happy.\u003c\/p\u003e\n\u003cp\u003eFrkwys Vol. 3 feat. Arp \u0026amp; Anthony Moore maintains the serial aesthetic with a limited pressing of 550 vinyl copies housed in thick jackets wrapped in a lively monochromatic adhesive (design by Kevin O'Neill at Will Work For Good). Lucky subscribers receive a leatherette version of the jacket, edition of 75. The album is available digitally at iTunes, Beatport, Juno and other friendly online retailers.\u003c\/p\u003e\n\u003cp\u003eMastered by Leandro Gonzales at \u003ca href=\"http:\/\/www.brooklynphono.com\/\" target=\"_new\"\u003eBrooklyn Phono\u003c\/a\u003e.\u003cbr\u003e 12\" artwork conceived and designed by Kevin O'Neill at \u003ca href=\"http:\/\/www.willworkforgood.org\/\" target=\"_new\"\u003eWill Work For Good\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePressing details:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e1 dub plate\u003cbr\u003e 5 test pressings\u003cbr\u003e 550 copies, black \u0026amp; silver labels\u003cbr\u003e Pressed at \u003ca href=\"http:\/\/www.brooklynphono.com\/\" target=\"_new\"\u003eBrooklyn Phono\u003c\/a\u003e.\u003cbr\u003e 500 jackets w\/ adhesive. 50 subscriber jackets w\/ adhesive tip on leatherette.\u003c\/p\u003e","brand":"FRKWYS03","offers":[{"title":"DIGITAL - $10","offer_id":13103313092677,"sku":"FRKWYS03DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13103313125445,"sku":"FRKWYS03LP","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5479-1287404195_3.jpg?v=1535151671"},{"product_id":"rvngnl42","title":"Colin Self - Siblings","description":"\u003cp\u003e\u003cstrong\u003eCAT#: RVNGNL42\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date: \u003c\/strong\u003e\u003cstrong\u003eNovember 2, 2018 (physical \/ digital)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eColin Self’s\u003c\/strong\u003e \u003cem\u003eSiblings\u003c\/em\u003e is a proposal for interdependence, critical joy, and an expansive sense of being. As the lyrics beam, “I used to live as an anomaly... no explanation biologically,” so siblings share hidden language, lore, and identity. On \u003cem\u003eSiblings\u003c\/em\u003e, ecstatic voices and sound knot to form new ideals of kinship, emerging as horizontal relations for multi-species flourishing.\u003c\/p\u003e\n\u003cp\u003eColin Self challenges boundaries of perception with his art, music, and performances. Inspired by the work of \u003cstrong\u003eDonna Haraway\u003c\/strong\u003e (\u003cem\u003eCyborg Manifesto, Staying with the Trouble: Making Kin in the Chthulucene\u003c\/em\u003e), \u003cem\u003eSiblings\u003c\/em\u003e is the final segment of the six-part opera series entitled Elation. Informed by Self’s exploration of the ways of knowing, \u003cem\u003eSiblings\u003c\/em\u003e places a non-biological family at its center. The characters, bonded by curiosity and caring, generate ways of collectively coming together on a damaged planet. Self uses \u003cem\u003eSiblings\u003c\/em\u003e to define this familial experience through sound and its soundmakers.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSiblings\u003c\/em\u003e is a mobile, transitional production, in equal parts by circumstance and happenstance. Field fragments taken from Halloween party laughter in Jamaica Plains and a cross-country video chat are refracted by session recordings willed to happen in places as far flung as Stockholm and Los Angeles. \u003cem\u003eSiblings\u003c\/em\u003e is a sound scrapbook or poster board collage, but not one without careful consideration of the clipping and composition.\u003c\/p\u003e\n\u003cp\u003eFrom years experiencing Riot Grrrl shows around Self's early home of Oregon to his involvement in the New York City-based performance collective \u003cstrong\u003eChez Deep\u003c\/strong\u003e, Self expands the DIY ethos to a space and mind of Do-It-Together. Feeding into \u003cem\u003eSiblings\u003c\/em\u003e is \u003cstrong\u003eXHOIR\u003c\/strong\u003e, Self’s ongoing project of group vocal workshops for singing and listening, and a broad cast of kin including but not limited to \u003cstrong\u003eMichael Beharie\u003c\/strong\u003e, \u003cstrong\u003eGreg Fox\u003c\/strong\u003e (drums), \u003cstrong\u003eMartine Syms\u003c\/strong\u003e (words and voice), \u003cstrong\u003eThe Mivos Quartet\u003c\/strong\u003e, and \u003cstrong\u003eRaul De Nieves\u003c\/strong\u003e (cover art).\u003c\/p\u003e\n\u003cp\u003eOn “Story,” \u003cem\u003eSiblings\u003c\/em\u003e’ opening moment, breath and beats emerge as echoes within a vast, heaving chamber, sound conjured and cajoled into a new, blistered terrain. “Foresight” urges us toward a worlding - a break from the planet we’ve disregarded: “I see on my screen all the doubt, where it comes from, why you trust in no one. I see a new light.” While the unhinged form of “Ante-Strategy” lays the sonic compost for a Belurusian political poem, written with \u003cstrong\u003eTanya Zamirouskaya\u003c\/strong\u003e and \u003cstrong\u003eAnastasia Kolas\u003c\/strong\u003e, Self tends toward elaboration and excesses in a “joyous rendering of survival.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSiblings\u003c\/em\u003e splits sides with “Transitions,” a pluri-vocal burst called forth from interstellar margins to put uncounted bodies in motion. Repetitions of “I commit to you” end with “We commit to you.” Self utilizes theoretical vocabulary to encourage germination of a new language. “Research Sisters” will make their own myths and forge their own families, the work’s fire sparking frenetic, ecstatic voices flashing back and forth in stereo. The gathering of choral voices lift up the melancholic words of “The Great Refusal” over pillowy layers of strings and stumbling, sputtering showers of keyboards.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSiblings\u003c\/em\u003e is Self’s second full-length release following 2015’s Elation. \u003cem\u003eSiblings\u003c\/em\u003e has been performed iteratively and internationally with humor, drama, and fierce song. \u003cem\u003eSiblings\u003c\/em\u003e’ \u003cstrong\u003eMoMA PS1\u003c\/strong\u003e staging in 2018 featured black-light messaging, countdown clocks, books on rope, and dancers adorned with swirling prints and LED lanterns. Self follows, in Haraway’s words, towards a “commitment to the finicky, disruptive details of good stories that don’t know how to finish.” Future performances will likely carry away in the best way.\u003c\/p\u003e\n\u003cp\u003eColin Self’s \u003cem\u003eSiblings\u003c\/em\u003e was released November 2, 2018 in limited vinyl and digital editions.\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/3JOvIP9fmLA\" 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\/YEXW0x_dmRI\" 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\/l_e33K5yCMY\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL42","offers":[{"title":"DIGITAL - $10","offer_id":17124090708037,"sku":"RVNGNL42DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13130827628613,"sku":"RVNGNL42LP","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/RVNGNL42-Digital-Cover-500px.png?v=1599775059"},{"product_id":"rervng12","title":"Michele Mercure - Beside Herself","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: ReRVNG12 \/ FTS011\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eNovember 09, 2018 (digital)\u003cbr\u003eNovember 09, 2018 (physical)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMichele Mercure\u003c\/b\u003e\u003cspan\u003e often dreams of music, and in her waking life, reclaims fragments of these fleeting, floating melodies in her compositions and sound art. \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, an anthology of Mercure’s self-produced and distributed cassettes released between 1983 and 1990, collects these dreamlike passages and lo-fi nocturnes, preserving the qualities of discovery and intimacy surrounding their genesis.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMercure’s sound is a porous electronic art that overlaps ambient, abstract, and industrial sensibilities – its spaciousness reveals an artist attuned cinematically rather than for radio play or public performance. She approached the latter theatrically, and rarely, disdaining most live shows as too serious, and bringing her music to bare on her audiences in playful, immersive contexts. On recordings, Mercure’s night lit synth music evokes non-confined environments, at once expressionistic and minimal and always aware of its surroundings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMercure was a busy collaborator during the years surveyed by \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, making music for theater, performance, film, and TV animation, yet it was through her self-released cassettes that she established her music among like-minded artists abroad. Circulated through tape-trading networks assisted by insightful reviews in \u003c\/span\u003e\u003cb\u003eEurock\u003c\/b\u003e\u003cspan\u003e, a seminal music magazine covering progressive rock and electronic music scenes, these album-length releases included \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eRogue and Mint\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1983), \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eA Cast of Shadows \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e(1984), \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eDreams Without Dreamers\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1985), and \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eDreamplay\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e (1990). Though unvarnished in fidelity (and now scarcely seen), these tapes showcased Mercure’s transportive aptitude within and beyond the limited sound recording medium.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMercure’s artistic path never ran through creative meccas New York, San Francisco or Los Angeles. Raised in Springfield, Massachusetts, and then moving to Harrisburg, Pennsylvania, in her twenties, Mercure was already an adept musician when she encountered a local and lively theater scene, and was asked to score an unorthodox performance of \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eWaiting for Godot\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e. The experience was pivotal in marrying music and image for Mercure, and so she began making music for film, television, dance, and theater. It wasn’t until a long sojourn in Eindhoven, however, that she became transfixed by electronic music (ala \u003c\/span\u003e\u003cb\u003eConrad Schnitzler\u003c\/b\u003e\u003cspan\u003e, whom she would correspond with for years) that would inform her music to come.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcoustic elements such as voice and stringed instruments add a haunting lyricism to the non-tonal space unoccupied by electronic presence in Mercure’s music. The graduality of phrasing and measured sequence of tones also distinguish her music from the repetition and improvisation-heavy hallmarks of the Kosmische genre, a stylistic antecedent for the artist. Mercure’s fascination, or obsession, with new, consumer conscious music technology is demonstrated in her inventive sequencing and sampling, adding a mechanical, sometimes menacing, feel to \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMercure’s contemporaries became the kindred minds of the Eurock “scene” such as \u003c\/span\u003e\u003cb\u003eThe Nightcrawlers\u003c\/b\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e \u003c\/span\u003eLauri Paisley\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eDon Slepian\u003c\/b\u003e\u003cspan\u003e. It was in association with Paisley and \u003c\/span\u003e\u003cb\u003ePauline Anna Strom\u003c\/b\u003e\u003cspan\u003e that Eurock featured Mercure in an article titled “Women Synthesists” in 1986. The three artists all shared a bravura for homespun, self-produced electronic music that looked beyond pop conventions for a higher plane of avant-gardism or musical spirituality. Not long after the article went to print, Mercure offered \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEye Chant\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, her standalone vinyl album self-released in 1987.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e extends RVNG Intl.’s preservation efforts to sister label \u003c\/span\u003e\u003cb\u003eFreedom To Spend\u003c\/b\u003e\u003cspan\u003e who reissued \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEye Chant\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e in 2017, an occasion marking just over twenty years since its original release on Mercure’s own Quick Shower Music. (\u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEye Chant\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, and the cassettes surveyed on \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e, were originally credited to Michelle Musser, the name which the artist used until a divorce in 1987).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe anthological scope of \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eBeside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e joins \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eEye Chant\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e to restore the canon of Mercure’s arresting dream-music, revisiting this anomalous creator’s breakthrough material.\u003c\/span\u003e\u003ci\u003e\u003cspan\u003e Beside Herself\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e will be released on double LP, CD, and digital formats on November 9, 2018. The set features liner notes by \u003c\/span\u003e\u003cb\u003eEmily Pothast\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eand an incredible array of unseen photography and ephemera of the era.\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/qr3QzXRRJ9o\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ZEQCxwMfQ0o\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/A2B-O6v5W_8\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"ReRVNG12","offers":[{"title":"DIGITAL - $10","offer_id":17650564726853,"sku":"RERVNG12DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP - $30","offer_id":13130827857989,"sku":"RERVNG12LP","price":30.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":13130827825221,"sku":"RERVNG12CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/RERVNG12_-_Digital_Cover_-_1500px.png?v=1539119262"},{"product_id":"rvngnl01","title":"Endless Bummer - Pink Skull","description":"\u003ch3\u003eCAT #: RVNGNL01\u003c\/h3\u003e\n\u003cdiv\u003eRelease Date: November 10, 2009\u003c\/div\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\u003eThe dystopian frontier is near, but never fear. In the new era of endlessness where we hide ourselves as humans among androids, there is hope. On \u003cem\u003eEndless Bummer\u003c\/em\u003e, the second album from Pink Skull, the producer duo of Julian Grefe and Justin Geller rip out the tracking chip and jump the grid on a quest for purity among putridity.\u003c\/p\u003e\n\u003cp\u003eEndless Bummer was engineered by \u003cb\u003eQuentin Stolzfus\u003c\/b\u003e (Mazarin) and recorded live to 8 tracks on 1\" tape at Alex Ounsworth's (of \u003cb\u003eClap Your Hands Say Yeah\u003c\/b\u003e) studio outside of Philadelphia. The 'in the moment' feel accomplished at the 200 year old barn doesn't typify traditional dance or ambient recordings but rather creates a hauntingly stoned environment that allows the album as much free form as it does structure.\u003c\/p\u003e\n\u003cp\u003eThe result of this balance parallels the Bummer along the various lines of \u003cb\u003ePIL's Metal Box, The Orb's Pomme Fritz EP, the tropicalia Dada-ism of Tom Ze, and Eno \u0026amp; Cluster.\u003c\/b\u003e Living \/ breathing electronic music made beyond the computer screen for bigger screens, Bummer could easily soundtrack a remake of Videodrome as well as it could a Kubrickian classic.\u003c\/p\u003e\n\u003cp\u003eEndless Bummer is available on vinyl and mp3 formats. Each LP comes with a digital download of the full album (+ three bonus tracks) and \u003cem\u003eBeardo Tyrannicus\u003c\/em\u003e, a collection of original and found works by Pink Skull, laid out by \u003ca href=\"http:\/\/willworkforgood.org\/\"\u003eWill Work For Good\u003c\/a\u003eacross two 18” x 24” newsprint posters. Look for Pink Skull's frenetic live show on select dates supporting the release of Endless Bummer.\u003c\/p\u003e\n\u003cp\u003eAbout the packaging...\u003c\/p\u003e\n\u003cp\u003eFor the living \/ breathing packaging of \u003cem\u003eEndless Bummer\u003c\/em\u003e, Pink Skull and Rvng prepared \u003cb\u003ea list of 1000 different \"bummers\"\u003c\/b\u003e informed by our symptomatic culture (ranging from \"ADULT DIAPERS\" to \"ZOMBIE INVASION\") \u003cb\u003eand letter pressed 900 of these across a variation of three flo-colored jackets\u003c\/b\u003e printed with vegetable-based inks at Stumptown Printers.\u003c\/p\u003e\n\u003cp\u003eThe 60 hours spent slaving over the letter press at Silver Spring, MD non-profit arts center Pyramid Atlantic took on an endless if not hallucinogenic feel but never veered into bummer territory.\u003c\/p\u003e","brand":"RVNGNL01","offers":[{"title":"DIGITAL - $8","offer_id":18838952345669,"sku":"RVNGNL01DIGI","price":8.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $18","offer_id":13130840932421,"sku":"RVNGNL01LP","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5390-52_rvngl01_cover_02.jpg?v=1535218938"},{"product_id":"frkwys02","title":"FRKWYS Vol. 2 - Excepter","description":"\u003ch3\u003eCAT #: FRKWYS02\u003c\/h3\u003e\n\u003cdiv\u003eRelease Date: September 5th, 2009\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\u003eRvng is proud to announce a new 12\" series entitled \u003cb\u003eFRKWYS\u003c\/b\u003e. A play on the name of the legendary Folkways record label founded by Moses Asch in the late 40s to document sound and movement in music from around the world, our FRKWYS (think Freakways) 12\" series pairs contemporary artists and their progenitors by way of remix, reinterpretation, and original collaboration.\u003c\/p\u003e\n\u003cp\u003eLike the Folkways releases, each installment in Rvng's FRKWYS series lives under a thematic banner (albeit sometimes loose) and explores a different facet of electronic music. The first release in the series features collaborations from NYC avant-pranksters \u003cb\u003eExcepter\u003c\/b\u003e with \u003cb\u003eChris Carter\u003c\/b\u003e and \u003cb\u003eCosey Fanni Tutti\u003c\/b\u003e of \u003cb\u003eThrobbing Gristle\u003c\/b\u003e and \u003cb\u003eChris \u0026amp; Cosey\u003c\/b\u003e, \u003cb\u003eJG Thirwell\u003c\/b\u003e of \u003cb\u003eFoetus\u003c\/b\u003e and his many alter egos, and \u003cb\u003eJack Dangers\u003c\/b\u003e of \u003cb\u003eMeat Beat Manifesto\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eThe result of this premiere series edition is a new and entirely relevant industrial revolution. Chris \u0026amp; Cosey draw from their early output (Heartbeat, Trance) and turn Excepter's \"Shot Ring\" into a whip smart primitive techno mix while JG Thirwell orchestrates \"Stretch\" as a wildly percussive, brassy acid track. Jack Dangers adds heavy bonus beats with a pitched down dub and bass dance dirge of \"Kill People\".\u003c\/p\u003e\n\u003cp\u003eWe are housing these limited edition 12\"s (900 copies \/ pressing) in a classic package using heavy stock jackets applied in leatherette and tip on adhesives, creating a truly substantial and archival feel. You have to see \/ hear this record to believe it.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePressing details:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e1 dub plate\u003cbr\u003e 5 test pressings\u003cbr\u003e 906 12\"s, leatherette wrap w\/ blue adhesive, silver spot ink on black labels\u003c\/p\u003e","brand":"FRKWYS02","offers":[{"title":"DIGITAL - $4","offer_id":13130854203461,"sku":"FRKWYS02DIGI","price":4.0,"currency_code":"USD","in_stock":true},{"title":"LP - $12","offer_id":13130854170693,"sku":"FRKWYS02LP","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5461-FRKWYS02_Cover_01.jpg?v=1535218977"},{"product_id":"rvngnl02","title":"Candyman - These Are Powers","description":"\u003ch3\u003eCAT #: RVNGNL02\u003c\/h3\u003e\n\u003cdiv\u003eRelease Date: February 23, 2010\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\u003e\u003cb\u003eThese Are Powers\u003c\/b\u003e lay it on thick, sweet, and sludgy for their new \u003ci\u003eCandyman\u003c\/i\u003e EP. The Brooklyn-based trio of Anna Barie (vocals \u0026amp; electronics), Pat Noecker (bass, electronics, vocals), and Bill Salas (beats \u0026amp; production) do nothing to sugar coat the grimy center of a new, bass bin rattling, electro-shock sound.\u003c\/p\u003e\n\u003cp\u003ePOWERS kick off the EP with \"Candyman\", a naughty nursery rhyme set to a bombastic East meets West-Indies reggaeton shuffle. The rifling bass and scattered snare shots of \"Gutterspaces\" emerge as dancehall back from the future, followed by the sputter to mega-life Chicago juke and drone fest of \"World Class Peoples\".\u003c\/p\u003e\n\u003cp\u003eThe EP also includes a runway house remix of \"Candyman\" by globe-trotters \u003cb\u003eTeengirl Fantasy\u003c\/b\u003e and a remix of \"World Class Peoples\" by Costa Rica's \u003cb\u003eCosmetics\u003c\/b\u003e that is as much Burial as it is Scott Walker.\u003c\/p\u003e\n\u003cp\u003eThe artwork, by Kevin O'Neill at Will Work For Good, is inspired by the slimy fetish known as sploshing. The sploshee featured on the cover will remain anonymous. First pressing limited to 1000 copies.\u003c\/p\u003e\n\u003cp\u003eMastered by Leandro Gonzales at \u003ca href=\"http:\/\/www.brooklynphono.com\/\" target=\"_new\"\u003eBrooklyn Phono\u003c\/a\u003e.\u003cbr\u003e 12\" artwork conceived and designed by Kevin O'Neill at \u003ca href=\"http:\/\/www.willworkforgood.org\/\" target=\"_new\"\u003eWill Work For Good\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePressing details:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e1 dub plate\u003cbr\u003e 5 test pressings\u003cbr\u003e 1100 copies, red \u0026amp; white labels\u003cbr\u003e Pressed at \u003ca href=\"http:\/\/www.brooklynphono.com\/\" target=\"_new\"\u003eBrooklyn Phono\u003c\/a\u003e.\u003cbr\u003e 1100 full color jackets w\/ designated inner sleeves.\u003cbr\u003e \u003ciframe src=\"\/\/www.youtube.com\/embed\/Q_5BRo71pPQ\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL02","offers":[{"title":"DIGITAL - $8","offer_id":18838918856773,"sku":"RVNGNL02DIGI","price":8.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $18","offer_id":13130854400069,"sku":"RVNGNL02LP","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5473-59_tap01front.jpg?v=1535218985"},{"product_id":"frkwys04","title":"FRKWYS Vol. 4 - Psychic Ills","description":"\u003ch3\u003eCAT #: FRKWYS04\u003c\/h3\u003e\n\u003cdiv\u003e\n\u003cb\u003eRelease date: \u003c\/b\u003eSeptember 21st, 2010\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\u003eThe fourth volume of \u003cb\u003eFRKWYS\u003c\/b\u003e sees the work of \u003cb\u003ePsychic Ills\u003c\/b\u003e reinterpreted by an ancestry of artists that reflect the New York City group's artistic trajectory over the last seven years of avant exploration.\u003c\/p\u003e\n\u003cp\u003eTrue to the FRKWYS series, each artist selected to collaborate with Psychic Ills helped pioneer a new realm in electronic music. This volume is as much a testament to Psychic Ills' effort to push their sound forward through new eyes and ears as it is their interest linking the lineage of the artists involved. The record reads like a family tree, its roots firmly planted in psychedelic German soils, the trunk a techno pillar, and branches tangled in the experimental ether.\u003c\/p\u003e\n\u003cp\u003eAlmost a year in the making, FRKWYS Vol. 4 is a detailed document of like-minded communication from afar and close. Psychic Ills first initiated contact with \u003cb\u003eHans-Joachim Irmler\u003c\/b\u003e, founding member of German kraut-fathers \u003cb\u003eFaust\u003c\/b\u003e, who delivers a primal \/ industrial strength double take on \"Witchcraft Breaker\" from \u003ci\u003eDins\u003c\/i\u003e, the band's first full length. Detroit techno progenitor \u003cb\u003eJuan Atkins\u003c\/b\u003e was contacted on an unlikely whim and immediately responded to \"Mantis\", from Ills' second album \u003ci\u003eMirror Eye\u003c\/i\u003e, with a boiler room deep mix that whumps to a soulful bass line and scans 180 phase fields. Psychic Ills tour companion \u003cb\u003eGibby Haynes\u003c\/b\u003e of \u003cb\u003eButthole Surfers\u003c\/b\u003e grips \"I Take You As My Wife Again\", another track from \u003ci\u003eMirror Eye\u003c\/i\u003e, and hypnotically oscillates it into dark dimensions of synthesized rhythm.\u003c\/p\u003e\n\u003cp\u003eThis volume of FRKWYS is limited to \u003cb\u003e550 vinyl copies\u003c\/b\u003e, packaged in thick black jackets with a two color adhesive wrap. \u003cb\u003e50 subscriber copies\u003c\/b\u003e come in leatherette jackets. Digital available at igetrvng.com and through the usual storefront suspects.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePressing details:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e5 test pressings\u003cbr\u003e 550 copies, black \u0026amp; silver labels\u003cbr\u003e Mastered at \u003ca href=\"http:\/\/www.finyltweek.com\/\" target=\"_new\"\u003eFinyl Tweek\u003c\/a\u003e.\u003cbr\u003e Pressed at \u003ca href=\"http:\/\/igetrvng.com\/discography\/www.brooklynphono.com\" target=\"_new\"\u003eBrooklyn Phono\u003c\/a\u003e.\u003cbr\u003e 500 jackets w\/ adhesive. 50 subscriber jackets w\/ adhesive tip on leatherette.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"FRKWYS04","offers":[{"title":"DIGITAL - $5","offer_id":13130854531141,"sku":"FRKWYS04DIGI","price":5.0,"currency_code":"USD","in_stock":true},{"title":"LP - $12","offer_id":13130854498373,"sku":"FRKWYS04LP","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5495-75_frkwys04_cover_500x500_e612fda4-a280-4a3f-81a9-a92f2b8ab4d7.jpg?v=1535218993"},{"product_id":"rvngnl05","title":"Blondes - Lover \/ Hater","description":"\u003ch3\u003eCAT #: RVNGNL05\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: March 15, 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\u003e\u003cb\u003eBlondes\u003c\/b\u003e follow up their 2010 \u003ci\u003eTouched\u003c\/i\u003e EP (\u003cb\u003eMerok\u003c\/b\u003e) with \u003ci\u003eLover \/ Hater\u003c\/i\u003e, a two track 12\" inaugurating a three part record series on \u003cstrong\u003eRVNG\u003c\/strong\u003e exploring duality concepts. Recorded live to 2\" tape at \u003cb\u003eAtlantic Sound\u003c\/b\u003e in Brooklyn, these set staples capture Blondes at their headiest and deadliest. \"Lover\" places a shamanistic \u003cb\u003eMeredith Monk\u003c\/b\u003e vocal sample atop a ritualistic rhythm, transporting the track to a trancefloor spirit worlds away. \"Hater\" builds on cascading keyboard cycles before breaking into an \u003ci\u003eE2-E4\u003c\/i\u003e-on-the-floor bounce.\u003c\/p\u003e\n\u003cp\u003eMastered at \u003cb\u003eDubplates \u0026amp; Mastering\u003c\/b\u003e. Artwork by \u003cb\u003eKevin O'Neill\u003c\/b\u003e. Limited pressing.\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":"RVNGNL05","offers":[{"title":"DIGITAL - $6","offer_id":19142168215621,"sku":"RVNGNL05DIGI","price":6.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $18","offer_id":13130858299461,"sku":"RVNGNL05LP","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5528-86_rvngnl05_cover_500x500_front.jpg?v=1535219003"},{"product_id":"frkwys05","title":"FRKWYS Vol. 5 - Mirror Mirror","description":"\u003ch3\u003eCAT #: FRKWYS05\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: April 6th, 2011\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eFRKWYS Vol. 5 highlights \u003cb\u003eMirror Mirror\u003c\/b\u003e, the Brooklyn based avant-pop duo of David Riley and Ryan Lucero.\u003c\/p\u003e\n\u003cp\u003eInterested in examining the electronically-tinged savoir faire of their debut album, \u003ci\u003eThe Society for the Advancement of Inflammatory Consciousness\u003c\/i\u003e, while also eager to document the new industrial direction in which Mirror Mirror are headed, we wrangled together a team of FRKWYS collaborators that was more born of workplace \"what if...\" than a back and forth between the label and band. Fortunately, David and Ryan were on board with our candidates, all decidedly culled from a post-punk pantheon of those who were busy dubbing up and dropping out while their contemporaries jaggedly jangled and angled away.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eStuart Moxham\u003c\/b\u003e of Welsh minimalists \u003cb\u003eYoung Marble Giants\u003c\/b\u003e, as well as the short-lived solo project \u003cb\u003eThe Gist\u003c\/b\u003e, was first to deliver his mix of \"Love is the Law\" from \u003ci\u003eSociety\u003c\/i\u003e, which deals in the same stunningly exotic and heady pop sounds that have helped mold his celebrated career (including that undeniable YMB guitar tone). \u003cb\u003eAlig Pearce\u003c\/b\u003e of notorious agit-punks \u003cb\u003eFamily Fodder\u003c\/b\u003e next submitted a disciplined dub of \"New Horizons\", also from \u003ci\u003eSociety\u003c\/i\u003e, complete with meditative instructions for anti-inflammatory consciousness. \u003cb\u003eRico Conning\u003c\/b\u003e, of the eerily dubbed out, lost-in-time group \u003cb\u003eThe Lines\u003c\/b\u003e, auditioned early mixes of Mirror Mirror's forthcoming album and transformed \"Oddfellows\" into a blissed-out, behind-the-beat mix akin to his production for \u003cb\u003eDepeche Mode\u003c\/b\u003e and \u003cb\u003eWilliam Orbit\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eThe final collaborative product on this record truly does serve as the bridge between Mirror Mirror's first and second albums. With a musical legacy firmly yet obscurely rooted in NYC's halcyon electronic music scene with ties to pioneering No Wave, hip hop, and electro projects (see \u003cb\u003eIke Yard\u003c\/b\u003e, \u003cb\u003eDeath Comet Crew\u003c\/b\u003e, and \u003cb\u003eDominatrix\u003c\/b\u003e), \u003cb\u003eStuart Argabright \u003c\/b\u003ehelped craft \"Nau Sau Ser Bil Uma Rah Rab\", a thrillingly melodic six minute original track.\u003c\/p\u003e\n\u003cp\u003eFrkwys Vol. 5 is available in limited edition, packaged in thick black jackets with a two color adhesive wrap. 50 subscriber copies come in leatherette jackets. Digital download available 4\/19\/11 at igetrvng.com and through the usual storefront suspects.\u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\"\u003eVideos\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/player.vimeo.com\/video\/21169014\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"http:\/\/vimeo.com\/21169014\"\u003eMirror Mirror w\/ Stuart Argabright - Nau Sau Ser Bil Uma Rah Rab\u003c\/a\u003e from \u003ca href=\"http:\/\/vimeo.com\/rvng\"\u003eRVNG Intl.\u003c\/a\u003e on \u003ca href=\"https:\/\/vimeo.com\"\u003eVimeo\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 13px;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRKWYS05","offers":[{"title":"DIGITAL - $4","offer_id":13130859282501,"sku":"FRKWYS05DIGI","price":4.0,"currency_code":"USD","in_stock":true},{"title":"LP - $12","offer_id":13130859249733,"sku":"SKU-261-349","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5534-91_frkwys05_cover_500x500_c0ce5a95-6830-4968-9c5b-7c2b1549897b.jpg?v=1535219007"},{"product_id":"frkwys06","title":"FRKWYS Vol. 6 - Julianna Barwick \u0026 Ikue Mori","description":"\u003ch3\u003eCAT #: FRKWYS06 \/ WCR004\u003c\/h3\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\u003cdiv\u003eFRKWYS Vol. 6 features four pieces composed and performed by artists \u003cb\u003eJulianna Barwick and Ikue Mori\u003c\/b\u003e as part of a month-long installation curated by RVNG Intl. at White Columns gallery, New York, NY.\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eWhen RVNG accepted an invitation by \u003ca href=\"http:\/\/igetrvng.com\/discography\/www.whitecolumns.org\/\"\u003e\u003cb\u003eWhite Columns\u003c\/b\u003e\u003c\/a\u003e director \u003cb\u003eMatthew Higgs\u003c\/b\u003e to display in the all-purpose Project Space, we envisioned a venue to host a FRKWYS collaboration. The non-profit gallery's long-standing support for experimental music dates back to the Noise Fest, a nine day event curated by Thurston Moore in June of 1981 that featured many prominent downtown New York musicians.\u003c\/p\u003e\n\u003cp\u003eKeeping the institution's regard for NYC avant music in mind, we looked to \u003cb\u003eIkue Mori\u003c\/b\u003e, a member of No Wave anti-stars \u003cb\u003eDNA\u003c\/b\u003e and pioneer of drum machine and software improvisation, and \u003cb\u003eJulianna Barwick\u003c\/b\u003e, an artist recognized for the ethereal loop-based vocal compositions of her 2009 \u003cb\u003e\u003ci\u003eFlorine EP\u003c\/i\u003e\u003c\/b\u003e and 2011 \u003cb\u003e\u003ci\u003eThe Magic Place LP\u003c\/i\u003e\u003c\/b\u003e, to forge the focal point on our opening night event.\u003c\/p\u003e\n\u003cp\u003eFor the installation, a particle-board cubicle was custom constructed and placed at the center of the Project Space. The cubicle wall separated Julianna and Ikue to their respective seated work stations, while web cams captured the musicians at work \/ play and became interactive projections manipulated by video artist \u003cb\u003eErik Mika\u003c\/b\u003e, illuminating this exercise in simulated engagement.\u003c\/p\u003e\n\u003cp\u003eEach of Julianna and Ikue's improvised performances on October 29th, 2010, were cut live to vinyl via portable lathe. On the album's June 14th release date, the set of four unique lathe cuts and an elaborate art book will be made available for offers on igetrvng.com. The book features creative direction by Will Work For Good and photographs from the two events by \u003cb\u003eAubrey Mayer\u003c\/b\u003e and \u003cb\u003eJody Rogac\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eJulianna and Ikue met a second time three weeks later at White Columns, November 16th, 2010. This time the two musicians collaborated without an audience, cubicle, web cams, or lathe, but with past experience and spirit in place, an exercise in actual engagement. The four pieces of FRKWYS Vol. 6 include two performances from the first collaboration and two performances from the latter collaboration.\u003c\/p\u003e\n\u003cp\u003eFrkwys Vol. 6 is a shared release with The Sound of White Columns. The LP is available in \u003cb\u003elimited edition, packaged in thick black jackets with a two-color adhesive wrap.\u003c\/b\u003e50 subscriber copies come in leatherette jackets. \u003cb\u003eThe first pressing came with a 24-page black \u0026amp; white zine\u003c\/b\u003e; the book features creative direction by \u003cb\u003e\u003ca href=\"http:\/\/www.willworkforgood.org\/\"\u003eWill Work For Good\u003c\/a\u003e\u003c\/b\u003e and photographs from the two events by \u003cb\u003eAubrey Mayer and Jody Rogac.\u003c\/b\u003e \u0026gt;\u0026gt;\u0026gt; \u003ca href=\"http:\/\/www.igetrvng.com\/FRKWYS\/06\/retail\/FRKWYS06_WC_ZINE.pdf\"\u003eThe zine is no longer available, but you can \u003cb\u003eFLIP THRU THE BOOK IN PDF FORM\u003c\/b\u003e\u003c\/a\u003e \u0026lt;\u0026lt;\u0026lt;\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRKWYS06","offers":[{"title":"DIGITAL- $10","offer_id":13130859348037,"sku":"FRKWYS06DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $25","offer_id":13130859380805,"sku":"FRKWYS06LP","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5542-98_frkwys06_cover_500x500_bf9f47a8-d09b-43f7-8efe-91b1e2a4a0ca.jpg?v=1535219011"},{"product_id":"frkwys07","title":"FRKWYS Vol. 7 - Borden, Ferraro, Godin, Halo \u0026 Lopatin","description":"\u003ch3\u003eCAT #: FRKWYS07\u003c\/h3\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\u003cdiv\u003eThe full-length player of \u003cb\u003eFRKWYS Vol. 7\u003c\/b\u003e features pieces improvised in various forms by \u003cb\u003eDavid Borden\u003c\/b\u003e, \u003cb\u003eJames Ferraro\u003c\/b\u003e, \u003cb\u003eSamuel Godin\u003c\/b\u003e, \u003cb\u003eLaurel Halo\u003c\/b\u003e, and \u003cb\u003eDaniel Lopatin\u003c\/b\u003e.\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003eWhen Lopatin (\u003cb\u003eOneohtrix Point Never\u003c\/b\u003e, \u003cb\u003eFord \u0026amp; Lopatin\u003c\/b\u003e) and RVNG Intl. began discussing this FRKWYS collaboration, Borden's work in \u003cb\u003eMother Mallard's Portable Masterpiece Co.\u003c\/b\u003e and his seminal \u003ci\u003eMusic For Amplified Keyboard Instruments\u003c\/i\u003e album were mutually \/ ecstatically acknowledged. 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":"rvngnl06","title":"Clean Plate - Clean Plate","description":"\u003ch3\u003eCAT #: RVNGNL06\u003c\/h3\u003e\n\u003cdiv\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\u003eDuring the Great Blizzard of 2010, \u003cb\u003eJulian Grefe\u003c\/b\u003e and \u003cb\u003eJustin Geller\u003c\/b\u003e of \u003cb\u003ePink Skull \u003c\/b\u003ealongside \u003cb\u003eQuentin Stolzfus\u003c\/b\u003e (\u003cb\u003eAzusa Plane\u003c\/b\u003e, \u003cb\u003eMazarin\u003c\/b\u003e) holed up in a two hundred year old barn with 20 some odd (and some not) synthesizers, the mighty Pink Skull Modular, a 1 inch 8-track, and enough mushrooms to shelter a village of Smurfs. The result of this meeting of the mind-melters is the \u003cb\u003eClean Plate\u003c\/b\u003e album, an analog inner space journey in the tradition of \u003cb\u003eTangerine Dream's\u003c\/b\u003e \u003ci\u003ePhaedra\u003c\/i\u003e and \u003cb\u003eBrainticket's\u003c\/b\u003e \u003ci\u003eVoyage\u003c\/i\u003e. Gurgling pads, stalactitic arpeggios, whole synth hog drones, groans and moans, guide the listener through the tube into a sublime union with an ominous reality abyss. 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The two 12\" sides were performed and recorded live without overdubs while the duo was stationed in Berlin between European dates this past winter. Both \"Business\" and \"Pleasure\" let the melodic textures breath before layers of synth, sub bass, and percussion are marched out and into the deep pockets of these late-night, hypnotic house burners. Who says business and pleasure can't mix?\u003c\/p\u003e\n\u003cp\u003eMastered by \u003cb\u003eFrederic Strader\u003c\/b\u003e at \u003cb\u003eDubplates \u0026amp; Mastering\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eArtwork by \u003cb\u003eWill Work For Good\u003c\/b\u003e. Limited pressing.\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","brand":"RVNGNL07","offers":[{"title":"DIGITAL - $4","offer_id":19142143311941,"sku":"RVNGNL07DIGI","price":4.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $18","offer_id":13130865279045,"sku":"RVNGNL07LP","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5566-RVNGNL11.jpg?v=1535219025"},{"product_id":"rvngnl09","title":"Mirror Mirror - Interiors","description":"\u003ch3\u003eCAT #: RVNGNL09\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: August 16th, 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\u003e\u003ca href=\"http:\/\/www.mirrormirror-nyc.com\/\"\u003eMIRROR MIRROR\u003c\/a\u003e, the New York based duo of \u003cb\u003eDavid Riley\u003c\/b\u003e and \u003cb\u003eRyan Lucero\u003c\/b\u003e, bring their avant-pop explorations to RVNG Intl. with the release of \u003cb\u003e\u003ci\u003eInteriors\u003c\/i\u003e\u003c\/b\u003e, the ten-song follow up to their debut album, \u003ci\u003eThe Society for the Advancement of Inflammatory Consciousness\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eRecorded in two parts, Interiors features the production work of \u003cb\u003eChris Coady\u003c\/b\u003e (Beach House, Gang Gang Dance, Zola Jesus), who helped realize an expansive sound from Mirror Mirror's home-studio recordings. The other album half, aided by \u003cb\u003eJoshua da Costa's\u003c\/b\u003e monstrous and metronomic live drumming, was produced by \u003cb\u003eThomas Asenault \u003c\/b\u003eand \u003cb\u003eZeljko McMullen\u003c\/b\u003e at So Many Fields (Brooklyn, NY).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eInteriors\u003c\/i\u003e deals in themes of secret societies, escapist fantasies, and psychological extremes. \u003cb\u003e\"Sublime Objective\"\u003c\/b\u003e opens the album in the mind's eye of an adventurer attempting a daring mountain climb. \"Under the Sun\" rollicks under ray-baked guitars until it's split in two by a cameo from \u003cb\u003eSSION\u003c\/b\u003e front man \u003cb\u003eCody Critcheloe\u003c\/b\u003e. \"Dot Dot Dot\" mutates an R\u0026amp;B midi-bass line, before \"Sick City\" tours an underworld of nightwalkers and plastic shamans. 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Grefe alongside \u003cb\u003eJustin \"JG\" Geller\u003c\/b\u003e, forms the central nervous system of a \u003cb\u003ePink Skull\u003c\/b\u003e. The duo expanded to include \u003cb\u003eJeremy Gewertz\u003c\/b\u003e (drums), \u003cb\u003eMike Hammel\u003c\/b\u003e (bass), and \u003cb\u003eSam Murphy\u003c\/b\u003e(guitar) for the recording and live realization of \u003ci\u003eEndless\u003c\/i\u003e, and then expanded once more to include \u003cb\u003eAdam Sparkles\u003c\/b\u003e (programming) and \u003cb\u003eRobin van der Kaa\u003c\/b\u003e (bass, programming) for\u003ci\u003ePsychic Welfare\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003ePsychic Welfare\u003c\/i\u003e was produced by Pink Skull and \u003cb\u003eJeff Zeigler\u003c\/b\u003e (\u003cb\u003eKurt Vile\u003c\/b\u003e, \u003cb\u003eWar On Drugs\u003c\/b\u003e) between the band's Philadelphia studio and Brooklyn, NY. Contending with the seismic swells in both the macro and micro worlds around him, Grefe refracted the polluted waves in a fantastical fit to write the 13 songs of \u003ci\u003ePsychic Welfare\u003c\/i\u003e. The album is a map of time and space portals in which the listener can navigate from the corroded corners of machinated life to boundless, amorphous space in mere seconds.\u003c\/p\u003e\n\u003cp\u003eAcross the album's pull-out poster artwork for \u003ci\u003ePsychic Welfare\u003c\/i\u003e is a hand-scrawled poem by the late NYC sage \u003cb\u003eIra Cohen\u003c\/b\u003e entitled \"Blind Assemblage\". In the poem, Cohen describes the decay of society and struggles to find civility within tragedy, a sentiment mirrored in Grefe's lyrical content of \u003ci\u003ePsychic Welfare\u003c\/i\u003e, if not masked by a new found pop propensity.\u003c\/p\u003e\n\u003cp\u003eThe lead track on the album, \"Hot Bubblegum,\" a Television-inspired piece of pop perfectly pushes this dichotomy of psychotic playfulness. \"Mu\" is a sprawling instrumental spread of blissed-out 80s funk, complete with a tin rooftop sax solo by \u003cb\u003eBilly Dufala\u003c\/b\u003e (\u003cb\u003eMan Man\u003c\/b\u003e). \"Janine Aubergine\" fictionalizes Grefe's girlfriend's bluegrass fiddle-playing aunt as a psychedelic maven over a tango groover, while \"Bee Nose (Put Yr Face On)\" is a woozy, hazy late-night phone call from the warped Scottish countryside circa 1998. \"Summer Reading\" feels like a \u003ci\u003eTransformer\u003c\/i\u003e-era \u003cb\u003eLou Reed\u003c\/b\u003e bullying \u003cb\u003eMark E. Smith\u003c\/b\u003e around a disco bouncey castle.\u003c\/p\u003e\n\u003cp\u003eTracks from \u003ci\u003ePsychic Welfare\u003c\/i\u003e were remixed by \u003cb\u003eBrassica\u003c\/b\u003e, \u003cb\u003eHigamos Hagamos\u003c\/b\u003e, \u003cb\u003eRay Mang\u003c\/b\u003e, and \u003cb\u003eWorst Friends\u003c\/b\u003e. Each of these remixes will be released as single support and included alongside additional original tracks as bonus downloads. The artwork of Psychic Welfare is taken from a a series of visual synth feedback experiments conducted by the band and video artist \u003cb\u003eAdam Carrigan\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003ePsychic Welfare\u003c\/i\u003e is available now as an LP and across digital formats via RVNG Intl. 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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. 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The two tracks contained herein traveled across distant seas \u0026amp; sands in search of an altar from which to radiate, finally landing in the lap of Beats In Space for the label's second ever release.\u003c\/p\u003e\n\u003cp\u003eOn \"Nebula Sphynx\" analog synths \u0026amp; sequencers burn deep like a tincture of jack house and ham-fisted experimental attack music. The track features special guest circuit \u003cb\u003eCole MGN\u003c\/b\u003e (\u003cb\u003eThe Samps\u003c\/b\u003e, \u003cb\u003eNite Jewel\u003c\/b\u003e), who gives the \"Sphynx\" an extra crispy, cosmic crunch. Ruscha keeps the meters peaking on \"Parascopic Rope\" with randy drum machine blasts and Casio SK-wanderings. WARNING: Portals to astral planes may suddenly appear between speakers while spinning this side.\u003c\/p\u003e\n\u003cp\u003eEach 12\" from Beats in Space features original artwork in considerate \u0026amp; serial form. BIS002 12\" features artwork by \u003cb\u003eCF\u003c\/b\u003e (aka - Providence-based artist \u003cb\u003eChristopher Forgues\u003c\/b\u003e), purveyor of the \u003ci\u003ePowr Mastrs\u003c\/i\u003e comic book epic and a finely-tweaked \u0026amp; tuned in dude. The 12\" packaging constructed by \u003cb\u003eWill Work For Good\u003c\/b\u003e features a removable vinyl BIS logo cling. The 12\" will be available on February 7th, 2012 from fine retailers worldwide. 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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 soulful piano that backbones the track conjures sunrises off the shores of Orion and a galactic hangover from all the space juicin’. The Backwoods brings some brawn to the original arrangement and allows alien interception by way of a mangled but melodic celestial sound choir.\u003c\/p\u003e\n\u003cp\u003eEach 12\" from Beats in Space Records features original artwork in considerate and serial form. BIS004 12\" features artwork by \u003cb\u003eKensei Yabuno\u003c\/b\u003e, whose mutant life form illustrations lurk in corners all over the design universe. The 12\" packaging constructed by Will Work For Good features a removable vinyl BIS logo cling. The 12\" is available from fine retailers worldwide and digitally version from the drab internet universe.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003ch3 style=\"text-align: center;\"\u003eVideos\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe src=\"http:\/\/player.vimeo.com\/video\/49433206\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"BIS004","offers":[{"title":"DIGITAL - $4","offer_id":13130875469893,"sku":"BIS004DIGI","price":4.0,"currency_code":"USD","in_stock":true},{"title":"12\" - $14","offer_id":13130875535429,"sku":"BIS004LP","price":14.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5684-142_bis004_cover_a_500x500_bd521f50-8e9a-419e-abf0-e903025f623b.jpg?v=1535219069"},{"product_id":"rvngnl15","title":"Holly Herndon - Movement","description":"\u003ch3\u003eCAT #: RVNGNL15\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: November 13th, 2012\u003c\/div\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\u003cb\u003eHolly Herndon’s\u003c\/b\u003e \u003ci\u003eMovement\u003c\/i\u003e is the debut offering of material by the young musician, modernist, and machinist.\u003c\/p\u003e\n\u003cp\u003eRestless for reckless cultural immersion, Herndon left her Johnson City, Tennessee home as a teenager for Berlin, Germany. 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. You’ll need the manual for reconfiguration later.\u003c\/p\u003e\n\u003cp\u003eHolly Herndon’s \u003ci\u003eMovement\u003c\/i\u003e is available now on RVNG Intl. in limited edition LP, CD, and digital formats.\u003c\/p\u003e\n\u003ch3 style=\"text-align: center;\"\u003eVideos\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/kanNN4RPrgY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL15","offers":[{"title":"DIGITAL - $10","offer_id":13979359641669,"sku":"RVNGNL15DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13130876092485,"sku":"RVNGNL15LP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"CD - $15","offer_id":13130876125253,"sku":"RVNGNL15CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5691-rvngnl15-500px.jpg?v=1535219074"},{"product_id":"rvngnl16","title":"Maxmillion Dunbar - Woo","description":"\u003ch3\u003eCAT #: RVNGNL16\u003c\/h3\u003e\n\u003cdiv\u003eRelease Date: November 20th, 2012\u003c\/div\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\u003cb\u003eMaxmillion Dunbar\u003c\/b\u003e - one half of DC dance captains \u003cb\u003eBeautiful Swimmers\u003c\/b\u003e - returns with\u003ci\u003eWoo\u003c\/i\u003e, the first single from his forthcoming album \u003ci\u003eHouse of Woo\u003c\/i\u003e. Following a sturdy string of singles between 2011 and 2012 for \u003cb\u003eL.I.E.S.\u003c\/b\u003e, \u003cb\u003eLive at Robert Johnson\u003c\/b\u003e, and \u003cb\u003eFuture Times\u003c\/b\u003e (where Dunbar plays label don), \u003ci\u003eWoo\u003c\/i\u003e marks Max D’s first release for RVNG Intl. and new dimensions to his production game.\u003c\/p\u003e\n\u003cp\u003eThe a-side, “Woo”, shimmers on its shell while \u003ci\u003ewhumping straight\u003c\/i\u003e up the center on behind-the-beat bass blasts. “Woo” works on a Function One just as well as it does a blown set of speakers at a house party gone woozy with punch drunk love. “The Drift” writhes in the dance floor dust at the hand of a slap-happy snare charmer, bouncing along on an robotic bass line. “Shampoo” is an analog bubble bath upon which a fragmented guitar Fripps and a \u003cb\u003eZummo\u003c\/b\u003e-esque trumpet line floats.\u003c\/p\u003e\n\u003cp\u003eMaxmillion Dunbar’s \u003ci\u003eWoo\u003c\/i\u003e is available now on RVNG Intl. as a limited edition 12” and digitally. \u003ci\u003eHouse of Woo\u003c\/i\u003e is available now on RVNG Intl.\u003c\/p\u003e","brand":"RVNGNL16","offers":[{"title":"12\" (w\/ digital download) - $14","offer_id":13130880254021,"sku":"RVNGNL16LP","price":14.0,"currency_code":"USD","in_stock":true},{"title":"DIGITAL - $4","offer_id":13130880319557,"sku":"RVNGNL16DIGI","price":4.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5703-woo.jpg?v=1535219079"},{"product_id":"rvngnl18","title":"Julia Holter - Ekstasis (Expanded)","description":"\u003ch3\u003eCAT #: RVNGNL18\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: December 11th, 2012\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cb\u003eJulia Holter\u003c\/b\u003e second album, \u003ci\u003eEkstasis\u003c\/i\u003e, is a collection of songs written and recorded across the span of three years in Los Angeles, California.Holter's songwriting stems from a mythological reverence of that which is incomprehensibly beautiful. Her \u003ci\u003eEating the Stars EP\u003c\/i\u003e (2007) was a first attempt at musically transcribing this beauty, while discovering the honest enjoyment of unadulterated creativity. The anonymous authorship and shimmering gold detail of medieval illuminated manuscripts particularly inspired the ornately-orchestrated pop song mystery of \u003ci\u003eStars\u003c\/i\u003e. Holter's debut album \u003ci\u003eTragedy\u003c\/i\u003e (Leaving Records, 2011) embraced similar strains of shimmer, but used sparser textures in a narrative context.\u003c\/p\u003e\n\u003cp\u003eEkstasis marks a return to the playful searching of \u003ci\u003eStars\u003c\/i\u003e, but guided by newly-learned disciplines, slightly better technology, and nearly limitless home recording time. Formative experiences at Cal Arts studying with \u003cb\u003eMichael Pisaro\u003c\/b\u003e and in India singing with harmonium under guru \u003cb\u003ePashupati nath Mishra\u003c\/b\u003e marked a slight detour for Holter in what started as a more traditional composition route. The trajectory leading to the creation of \u003ci\u003eEkstasis\u003c\/i\u003e suggests her thirst for knowledge and experience.\u003c\/p\u003e\n\u003cp\u003eWhile \u003ci\u003eEkstasis\u003c\/i\u003e reflects the conventions of her classical training, the album is also uncannily, if unknowingly, poppy. Holter's approach to crafting the songs of \u003ci\u003eEkstasis\u003c\/i\u003ecentered around what she describes as, \"open ear decisions: what seemed to sound best for that moment.\" This blindness to reference unintentionally steers \u003ci\u003eEkstasis\u003c\/i\u003e along the experimental pop spectrum most commonly associated to New York's Downtown music micro-universe of the 80s, specifically the works of \u003cb\u003eLaurie Anderson\u003c\/b\u003e and \u003cb\u003eArthur Russell\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eWith the blindness that leads \u003ci\u003eEkstasis\u003c\/i\u003e, there are also many compositional methods at play. \"Marienbad\" was built while playing around on a Fender Rhodes with imagined imagery of topiary gardens and scenes from the song's film namesake in mind. The entirety of \"Boy in the Moon\" - the Casio SK-1 noodles, melody, and lyrics - was improvised over a seven minute catharsis. The melody and lyrics for \"Four Gardens\" were written spontaneously while rearranging an older song on a loop pedal for a live performance. \"This is Ekstasis\" contains a bass line built from a medieval isorhythm technique, allowing it to maintain a sense of repetition, but shift slightly with every turn.\u003c\/p\u003e\n\u003cp\u003eThere is a unique story and approach with each song, but all are united by the magnetism of the medieval manuscripts and Holter's \"desire to get outside of my body and find what I can't define.\" It took Holter stepping outside of her solely self-written and recorded body of music to engage fellow Los Angeles musician and friend \u003cb\u003eCole M. Greif-Neill\u003c\/b\u003e in the final phase of Ekstasis. Greif-Neil added perspective and brought out the greatest sonic potential that each song secretly contained. Holter says, \"The first time I heard his mix of 'Marienband\" the garden became so rich. Suddenly there were bright greens, the statues' edges defined, the fountains pouring...\"\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eEkstasis\u003c\/i\u003e is an album indulged in these beautiful, simple, unfolding life mysteries. \"All of these fleeting images and muses are so important,\" says Holter. \"As with the manuscripts, when I see them, I hear voices. I am continually following the voices in the gold leaf. I can't know them, but I will follow their beautiful song.\"\u003c\/p\u003e\n\u003cp\u003eJulia Holter's \u003ci\u003eEkstasis (Expanded)\u003c\/i\u003e is available now on RVNG Intl. in digital formats.\u003c\/p\u003e\n\u003ch3\u003eVideos\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/LsECX-NiuT4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/H8x-6VHORLU\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/NM-WnjqB8EY\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/QukVgY8I_nA\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/qbDTyd-oobs\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"RVNGNL18","offers":[{"title":"DIGITAL - $12","offer_id":13130881597509,"sku":"RVNGNL18DIGI","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5709-rvngnl18_cover_500x500_63ce891e-ad45-439b-b847-91ec1a4a7817.jpg?v=1535219082"},{"product_id":"rvngnl17","title":"House of Woo - Maxmillion Dunbar","description":"\u003ch3\u003eCAT #: RVNGNL17\u003c\/h3\u003e\n\u003cdiv\u003eRelease date: February 19th, 2013.\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cb\u003eMaxmillion Dunbar’s\u003c\/b\u003e \u003cem\u003eHouse of Woo\u003c\/em\u003e is raised on a solid foundation of love.\u003c\/p\u003e\n\u003cp\u003eMaxmillion Dunbar is one half of \u003cb\u003eBeautiful Swimmers\u003c\/b\u003e and the don behind the \u003cb\u003eFuture Times\u003c\/b\u003e record label. 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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But are they really there,” Ruscha incants atop a billow of hazy delay at the top of the track.\u003c\/div\u003e\n\u003cp\u003e  \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003eEach 12\" from Beats in Space Records features original artwork in considerate and serial form. The fifth 12\" features artwork by \u003cb\u003eRobert Beatty\u003c\/b\u003e, the young Kentucky cyborg artist behind \u003cb\u003eThree Legged Race\u003c\/b\u003e and some of the most wasted album cover artwork ever. The 12\" packaging constructed by \u003cb\u003eWill Work For Good\u003c\/b\u003e features a removable vinyl BIS logo cling.\u003c\/p\u003e\n\u003cp\u003eSecret Circuit’s Afterlife is available now on Beats In Space as a limited edition 12” and digitally. Tactile Galactics will be released April 30, 2013. More on that subject soon.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003ch3 style=\"text-align: center;\"\u003eVideos\u003c\/h3\u003e\n\u003cp\u003e\u003ciframe src=\"\/\/www.youtube.com\/embed\/_M_R25FMx8c\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"BIS005","offers":[{"title":"12\" - $14","offer_id":13130889953349,"sku":"BIS005LP","price":14.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5723-BIS005_COVER_500x500_66d10cb3-b35a-4fe3-99cb-622e9e4edcf0.jpg?v=1535219098"},{"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. Ruscha and Bullock met again with \u003cb\u003eTim Koh\u003c\/b\u003e (\u003cb\u003eAriel Pink’s Haunted Graffiti\u003c\/b\u003e), \u003cb\u003eMiho Hatori\u003c\/b\u003e of \u003cb\u003eCibo Matto\u003c\/b\u003e, and \u003cb\u003eHarvey Bassett\u003c\/b\u003e (aka \u003cb\u003eDJ Harvey\u003c\/b\u003e) on drums to record a 12” as \u003cb\u003eFood of the Gods\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eAt the turn of the first decade in our second millennium AD, Ruscha dove head first into his studio work. Ruscha likens this immersion to “striving for alien sound or rhythm that feels natural.” Between 2011 and 2012, Ruscha released no less than four albums (including 2012’s year end vision quest, \u003cem\u003eTropical Psychedelics\u003c\/em\u003e), a 12” for \u003cb\u003ePrins Thomas\u003c\/b\u003e’ \u003cb\u003eInternasjonal Spesial\u003c\/b\u003e label, a handful of blazing mixes on the Cosmic Papers cassette tape series, and his debut for Beats In Space Records, the \u003cem\u003eNebula Sphynx \/ Parascopic Rope\u003c\/em\u003e 12”.\u003c\/p\u003e\n\u003cp\u003eEver the unsettled settler, Ruscha consciously crafted the bulk of \u003cem\u003eTactile Galactics\u003c\/em\u003e’ tracks at 120 beats per minute. Ruscha played with the equalizing value of this boilerplate dance music BPM in much the same way a DJ might -- to set a clear course for transcendence. Just as dance music can move one beyond form, so can the abstract properties of the Avant-Garde, psychedelic rock, and dub, which appear in various textures throughout \u003cem\u003eTactile Galactics\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTactile Galactics\u003c\/em\u003e is derived from a dance lineage promoting feel over form; rhythmically explored without abandon — or audience in mind - by the krautrock fringe, put to the slow motion disco test at \u003cb\u003eDaniele Baldelli’s\u003c\/b\u003e Cosmic Club, jacked into a House format via the Chicago imprint \u003cb\u003eTRAX\u003c\/b\u003e and honored today via peer psychonauts like \u003cb\u003eHieroglyphic Being\u003c\/b\u003e and \u003cb\u003eLindstrom\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTactile Galactics\u003c\/em\u003e unleashes the lysergic choir of voices in Ruscha’s head against a dance grid, but makes sure it stays in soulful step. 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A fixture in the NYC dance community as label boss of Run Roc Records, a touring member of The Juan MacLean and an accomplished producer in his own right (see the Like A Child and Auro Go 12s for DFA), McNany knows what music makes a crowd lose its collective mind.\u003c\/p\u003e\n\u003cp\u003e“Sum of Love” is inspired by that euphoric dance floor climax. After a particularly stimulating conversation with a Brazilian sage at his apartment on a cold winter night, McNany dusted off a MC-202 bass sequencer and got to programming the pulse of “Sum of Love.” Envisioning the spacious outdoor Brooklyn venue where McNany was set to hold down a summer residency, the track euphorically evolved into a sure fire smash after McNany’s friend Jee Young Sim recorded two tenderly melodic verses and the duo hammered out the emphatic “call for love” chorus.\u003c\/p\u003e\n\u003cp\u003eWith the encouragement of McNany’s friend and collaborator \u003cb\u003ePat Mahoney\u003c\/b\u003e, the track was finished and passed from one Dropbox to the next until it found its way to Beats In Space. We passed it along to our friend \u003cb\u003eLauer\u003c\/b\u003e, who in turn submitted a house-y remix not far from the tree but rooted in a different kind of dub. Just in time for another summer, these two tracks leave the nest to find new friends of feather in the burning love weather.\u003c\/p\u003e\n\u003cp\u003eEach 12? from Beats in Space Records features original artwork in considerate and serial form. This 12? features a collage by \u003cb\u003eHisham Akira Bharoocha\u003c\/b\u003e, the multidisciplinary artist and musician behind \u003cb\u003eSoft Circle\u003c\/b\u003e and \u003cb\u003eBoredoms\u003c\/b\u003e cosmic Boadrum enterprise. 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Furthering her sound from the formless soundscapes of her earlier work by digging into the roots of Detroit electro and techno primitivism, \u003cb\u003eChristelle Gualdi's\u003c\/b\u003e version of dance music is unpredictable and inventive. “Elite Excel” pits a puckish synthline against a morose 303 bassline and icey arpeggiation, sharing a similar frequency with \u003cb\u003eLFO’s\u003c\/b\u003e classic output. 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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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According to Wallace, this is \"music for darker times in warmer climes, for where there is sun there are shadows.”\u003c\/p\u003e\n\u003cp\u003eWhat began as in-the-moment experiments with an assortment of old synths, drum machines, and dusty library records evolved into three super dapper, viscerally contaminated compositions, each one more zoned in \/ out than the next.\u003c\/p\u003e\n\u003cp\u003eDrawing from 70s kraut, 80s post-punk, electro, and 90s house and trance, the ten plus years of producing \/ DJ experience that Wallace boasts allow for all of these elements to fuse together quite tastefully and strikingly at that. Ultimately, these Tornado jams dodge genre conventions for a curious and compelling outcome.\u003c\/p\u003e\n\u003cp\u003eEach 12? from Beats in Space Records features original artwork in considerate and serial form. This 12? features the tropical creature comforts of Californian \u003cb\u003eSteven Harrington\u003c\/b\u003e and comes on tri-colored, Day-Glo splattered wax. 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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":"bis009","title":"Gonno - The Noughties","description":"\u003ch3\u003eCAT #: BIS009\u003c\/h3\u003e\n\u003cp\u003eRelease date: July 16, 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\u003eAptly titled \u003ci\u003eThe Noughties\u003c\/i\u003e, the latest 12\" from \u003cb\u003eBeats In Space Records\u003c\/b\u003e features three tracks recorded between 2005 and 2009 courtesy of Tokyo's humbly dynamic \u003cb\u003eGonno\u003c\/b\u003e. A dynamic producer who is clearly not afraid to nest until crucial hatch time, Gonno flies the coop with a wingspan throwing psychedelic color at a sunburst sky.\u003c\/p\u003e\n\u003cp\u003eBlending a spectrum of musical influences and personal touch points about the people (and animals) he’s encountered and the implicit joy \/ sorrow in that exchange, Gonno’s productions blur the lines between art and life experience.\u003c\/p\u003e\n\u003cp\u003ePropulsive and busy but light and airy, the a-side \"Are You Asleep\" tucks in the listener under a sequenced duvet ensuring proper dream state dance floors are availed. “Salmon Is Jamming”, an ode to Gonno’s collaborator friend and \u003cb\u003eWC Recordings\u003c\/b\u003e founder who passed away, strides on the sweet sorrow of a longing guitar line and a building synth billow.\u003c\/p\u003e\n\u003cp\u003eThe final phreak-phonetic cut \"Notoize\" creates a fugue state cross-processing the vague, hyper-evolution of a decade that we're either catching up to or completely eating its dust. If you ask us, we're all gonners.\u003c\/p\u003e\n\u003cp\u003eEach 12? from Beats in Space Records features original artwork in considerate and serial form. This 12? features the Bardo freebasing of \u003cb\u003ePerks \u0026amp; Mini\u003c\/b\u003e mastermind \u003cb\u003eMischa Hollenbach\u003c\/b\u003e spanning an additional two panels of heavy duty inner sleeve. 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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. 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An extension of an ongoing project which resides in the entrance of White Columns’ downtown New York gallery, \u003ci\u003eBulletin Boards\u003c\/i\u003e featured 24 artists \/ entities, each given a new bulletin board as an inspirational starting point.\u003c\/p\u003e\n\u003cp\u003eIn 1981, David Van Tieghem produced the experimental music video \u003ci\u003eEar To The Ground\u003c\/i\u003e. 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A cross section of present day New York artists were represented by way of \u003cb\u003eSam Hillmer\u003c\/b\u003e as \u003cb\u003eDiamond Terrifier\u003c\/b\u003e (with the aid of \u003cb\u003eMax Alper\u003c\/b\u003e), \u003cb\u003eFuture Shuttle\u003c\/b\u003e, \u003cb\u003eGeorgia\u003c\/b\u003e, \u003cb\u003eRoberto Carlos Lange\u003c\/b\u003e as \u003cb\u003eHelado Negro\u003c\/b\u003e, \u003cb\u003eDarren Ho\u003c\/b\u003e, \u003cb\u003eEli Keszler\u003c\/b\u003e, \u003cb\u003eHiro Kone\u003c\/b\u003e and \u003cb\u003eMegafortress\u003c\/b\u003e, alongside the regionally sympathetic \u003cb\u003eBlanche Blanche Blanche\u003c\/b\u003e and \u003cb\u003eMaxmillion Dunbar\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eIn place of business cards, broadsheets, and flyers, the objects \/ communications contributed were broken toasters, firecrackers, 2x4s, thunder drums and customized electronics, each intended as a percussive device. On opening night, the bulletin board, disguised as assemblage, welcomed David’s dialogue.\u003c\/p\u003e\n\u003cp\u003eIn the spirit of \u003ci\u003eEar To The Ground’s\u003c\/i\u003e infinite conversation, Van Tieghem returned to Venus Over Manhattan to “play” the bulletin board without an audience. The process of Van Tieghem discovering and responding to the objects \/ bulletins again was multi-tracked in high definition.\u003c\/p\u003e\n\u003cp\u003eThese recordings were then presented to the ten contributing musicians for further translation, “remix” and interpretation. For the final sequence, the unique pieces were delivered to Van Tieghem to edit and embellish as the sound collages presented across two album length sides of our tenth volume in the FRKWYS series.\u003c\/p\u003e\n\u003cp\u003eFRKWYS Vol. 10: David Van Tieghem x Ten - \u003ci\u003eFits \u0026amp; Starts\u003c\/i\u003e is available now as a limited edition LP in a custom jacket with wraparound adhesive and a 16 page booklet as well as digitally.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/_kiSdP6-uwI?list=UUPPub815_nyI9cghZRLE5Iw\" width=\"560\" height=\"315\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/maEl0tMnVTU?list=UUPPub815_nyI9cghZRLE5Iw\" width=\"560\" height=\"315\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/hEs4n6kRp1I\" width=\"560\" height=\"315\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/rVY1nxhrUr0\" width=\"560\" height=\"315\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"FRKWYS10","offers":[{"title":"DIGITAL - $8","offer_id":13130902634565,"sku":"FRKWYS10DIGI","price":8.0,"currency_code":"USD","in_stock":true},{"title":"LP - $25","offer_id":13130902601797,"sku":"FRKWYS10LP","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/p-5820-FRKWYS10_COVER_1500x1500_9f74cbbf-4f28-4cb2-a10b-8be0bfb0b2eb.jpg?v=1535219146"},{"product_id":"bis011","title":"Dukes of Chutney - Domino","description":"\u003ch3\u003eCAT #: BIS011\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eRelease Date\u003c\/b\u003e: November 5, 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\u003e\u003cb\u003eDukes of Chutney\u003c\/b\u003e is \u003cb\u003eJohn Paul Jones\u003c\/b\u003e and \u003cb\u003eDustin Lynn\u003c\/b\u003e, California born brothers from other cosmic mothers who met surfing over a decade ago.\u003c\/p\u003e\n\u003cp\u003eThe flavor of the Dukes’ musical chutney is an abstract but balanced mixture of many disciplines. Under the moniker \u003cb\u003eTom Croose\u003c\/b\u003e, Jones' has established a beguiling production touch to various edits and remixes. Lynn is an accomplished filmmaker who has collaborated with artist \u003cb\u003eGabriel Orozco\u003c\/b\u003e and directed campaigns for designers \u003cb\u003eAlexander McQueen\u003c\/b\u003e and \u003cb\u003eCorto Moltedo\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eDomino\u003c\/i\u003e was conceived over two years during which Jones and Lynn were traveling separately and frequently across multiple countries and continents. From a peyote ceremony in Mexico (chants which can be heard echoing on \"You, Me, The Chimp and Acapulco”) to hunting for surf along the Icelandic coast (the cold volcanic drums and distortion of “Jan's Bellski”), Jones and Lynn hoarded field recordings, found instruments and life altering experiences to later process and navigate in a collaborative capacity.\u003c\/p\u003e\n\u003cp\u003eThe first Dukes recording session came together in Sausalito, CA, where Jones and Lynn began blending their globally foraged ingredients into what would become the EP’s closing track \"Caledonia\". In the midst of trading demos stemmed from this session, they were introduced to Berlin-based vocalist and performance artist \u003cb\u003eElle P\u003c\/b\u003e. Conjuring up a wild combo of \u003cb\u003eGrace Jones\u003c\/b\u003e, \u003cb\u003eMeredith Monk\u003c\/b\u003e and \u003cb\u003eTrish Keenan\u003c\/b\u003e, Elle channels these articulate spirits through her own multi-tracking vocal technique.\u003c\/p\u003e\n\u003cp\u003eAlthough only virtually acquainted, the creative connection among Jones, Lynn and P was unmistakable. Elle soon contributed her triptych mantras and melodies to each of the dark, psycho-tropical jams Jones and Lynn laid out one after the next. \u003ci\u003eDomino\u003c\/i\u003e deviates slightly from the dancefloor conventions of the \u003cb\u003eBeats In Space\u003c\/b\u003e releases before it, but also transports the listener to the most serene and psychedelic catalog setting so far.\u003c\/p\u003e\n\u003cp\u003eEach 12? from \u003cb\u003eBeats in Space Records\u003c\/b\u003e features original artwork in considerate and serial form. \u003ci\u003eDomino\u003c\/i\u003e features artwork by \u003cb\u003eAdam Broomberg\u003c\/b\u003e \u0026amp; \u003cb\u003eOliver Chanarin\u003c\/b\u003e, the London via South Africa duo known for politically challenging and subverting the topical photo medium. 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An unfurling, dizzy whisp of new tracks, album remixes and studio \/ live collaborations, Dunbar’s Daps tools together live dubs, quick edits and spontaneous segues to raise the roof of Woo to extra life levels.\u003c\/p\u003e\n\u003cp\u003eDaps’s details include a Dunbar remix of Woo waster “Inca Tags” featuring \u003cb\u003ePeter Zummo\u003c\/b\u003e, the NYC composer behind the dome-cracked Zummo With an X and undeniable trombone voice on many \u003cb\u003eArthur Russell\u003c\/b\u003e joints, plunderphonic freak \u003cb\u003eCo La\u003c\/b\u003e and flutist \u003cb\u003eSami Yenigun\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eElsewhere in Daps, a \u003cb\u003eTtam Renat\u003c\/b\u003e remix of “Loving the Drift” which shrouds the original in a signature \u003cb\u003eMood Hut\u003c\/b\u003e ambient house sheen and a live synth lid-flipper of Woo’s “Kangaroo” with \u003cb\u003eFuture Times\u003c\/b\u003e labelmates \u003cb\u003eProtect-U\u003c\/b\u003e and \u003cb\u003eAaron Coyes\u003c\/b\u003e of \u003cb\u003ePeaking Lights\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eDaps also features three unreleased tracks not far from the Woo universe, but forecasting the future space that Dunbar will inevitably occupy. 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