{"title":"Freedom To Spend Releases","description":"","products":[{"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":"fts002","title":"Marc Barreca - Music Works For Industry","description":"\u003ch3\u003eCAT: FTS002\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eMarch 3, 2017 (physical)\u003cbr\u003eMarch 24, 2017 (digital)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarc Barreca’s\u003c\/strong\u003e \u003cem\u003eMusic Works for Industry\u003c\/em\u003e is a layered assertion. An economic mantra for the mind to spin, like the many loops on this recording, or churn, as gears of some godhead machine. From the pool of playful compositions, a social subtext appears - a somewhat sardonic riposte to the commercial and cynical abuse of music and musicians. The work profits the listener over industry. Said another way, its motivations are more generative than lucrative.\u003c\/p\u003e\n\u003cp\u003eNo longer than four minutes, no shorter than two, each piece on \u003cem\u003eMWFI\u003c\/em\u003e is a fragment of modern life. Propaganda transmitted between the click of the remote or the turn of the dial. Friend and collaborator \u003cstrong\u003eK. Leimer\u003c\/strong\u003e checks \u003cstrong\u003eCluster\u003c\/strong\u003e, \u003cstrong\u003eSteve Reich\u003c\/strong\u003e, \u003cstrong\u003eIannis Xenakis\u003c\/strong\u003e, and \u003cstrong\u003eMorton Subotnick\u003c\/strong\u003e as esoteric influences on \u003cem\u003eMWFI\u003c\/em\u003e in the album’s liner notes, while one might imagine \u003cstrong\u003eUpton Sinclair\u003c\/strong\u003e, \u003cstrong\u003eStuds Terkel\u003c\/strong\u003e, or \u003cstrong\u003eChris Anderson\u003c\/strong\u003e as egalitarian influences.\u003c\/p\u003e\n\u003cp\u003eMade with musicians, performance artists, and a bespoke instrument maker, Barreca combines multiple disciplines into a collective, industrious whole. An experiment fabricated in the synth and tape studio at the artist-run alternative space \u003cstrong\u003eand\/or\u003c\/strong\u003e (Seattle’s version of NYC’s \u003cstrong\u003eThe Kitchen\u003c\/strong\u003e), Barreca manipulates dynamic sound sources into tidy, minimal arrangements using synthesizers, modified instruments, tape looped voices, and melodic, metallic phrases.\u003c\/p\u003e\n\u003cp\u003eTo start, “Community Life” strews these elements across the assembly line to meet their maker. The album continues with “Shopping,” countering ominous, mechanical sounds with light, playful tones, perhaps representative of the clash of production versus exchange values. On “Hotcake” we hear men’s voices, chains, and hissing steam in a methodical but urgent progression that could soundtrack \u003cstrong\u003eFritz Lang’s\u003c\/strong\u003e silent film, \u003cem\u003eMetropolis\u003c\/em\u003e. A woman seductively intones “Nerve Roots Are Uncontrollable” on the track of the same name. “Organized Labor” also incorporates a voice, speaking the acronym I.W.W. - International Workers of the World, also known as the Wobblies - as the music falls in line and wobbles along.\u003c\/p\u003e\n\u003cp\u003eThe cover of \u003cem\u003eMWFI\u003c\/em\u003e features a black and white photo of a figure in silhouette, backlit at a window, softened with curtains and plants. Maybe this is the room where the music was made: a private space, a refuge from some industrial work or at least the dubious fruits of this labor. In a way, listening to the music is entering a space without work, an apple to pluck and eat without wage or taxation.\u003c\/p\u003e\n\u003cp\u003eOne can imagine photographer \u003cstrong\u003eChauncey Hare\u003c\/strong\u003e listening to \u003cem\u003eMusic Works for Industry\u003c\/em\u003e as he moved from documenting domestic interiors to the bleek efficiency of American offices. His black and white portraits of workers, isolated and obscured by cubicles and files, and published in \u003cem\u003eThis Was Corporate America\u003c\/em\u003e, led to Hare’s disillusionment with the art market. Not wanting to sell images, he left photography, and become a therapist: publishing the self-help book, \u003cem\u003eWork Abuse\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003ePerhaps peering into the music industry led to Barreca’s eventual career, and a similar impulse to more directly touch those at the effects of economic systems. While exploring the cassette version of \u003cem\u003eMusic Works For Industry\u003c\/em\u003e, we found a business card tucked inside: Marc Barreca—bankruptcy judge in Seattle. Material traces of the cassette are evident in the record’s packaging, the album format a newly manufactured form for Barreca’s work.\u003c\/p\u003e\n\u003cp\u003eEven in post-industrial times, Barreca’s music offers listeners easily consumable musings on current work conditions. Freedom To Spend accepts your hard-earned and fortuitously won money in exchange for these morsels, but also believes that you need not invest unless pressed.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Wmo3EDwiSUI\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"FTS002","offers":[{"title":"DIGITAL - $10","offer_id":13131009392709,"sku":"FTS002DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13131009425477,"sku":"FTS002LP","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS002-Marc-Barreca-Music-Works-For-Industry-Digital-500x500.jpg?v=1535219452"},{"product_id":"fts001","title":"Michele Mercure - Eye Chant","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: FTS001\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eMarch 3, 2017 (digital)\u003cbr\u003eFebruary 3, 2017 (physical)\u003c\/p\u003e\n\u003cp\u003eYou can see the sounds her voice makes. The literal depiction of this, a photograph of \u003cstrong style=\"font-size: 15px;\"\u003eMichele Mercure\u003c\/strong\u003e\u003cspan style=\"font-size: 15px;\"\u003e with an eyeball in her mouth, is removed in the updated album art. The original graphic elements are left to suspend, speak, and sing across time. In the absence of the decade-specific portraits, the redesigned edition is dislocated from a particular or linear history. Our initial point of encounter is artifactual; a trace in place of a scar.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAccordingly, Michele’s true image and body is sound. \u003cem\u003eEye Chant\u003c\/em\u003e, as a whole, offers meditations of sound as material. Her instruments are voice and synthesizer, the former following the machine’s lead and language of patterns. Machine sounds become abstract words. The human voice is pulled apart, dislodged from context; a tactile, textured quality appears to reconfigure the body and machine presently or permanently.\u003c\/p\u003e\n\u003cp\u003eThe natural and the mechanical elements of \u003cem\u003eEye Chant\u003c\/em\u003e commingle with the ease of a musician well-versed in the social-material entanglements of life. Like the lacework referenced in one track, Mercure's record alludes to interconnections and their unraveling. Her married name formerly attached to \u003cem\u003eEye Chant\u003c\/em\u003e has been shed for this iteration. As her electronic kin, \u003cstrong\u003eEliane Rodigue\u003c\/strong\u003e and \u003cstrong\u003eSuzanne Ciani\u003c\/strong\u003e would attest, it’s all raw material for the musician to give form. \u003cstrong\u003eDonna Haraway\u003c\/strong\u003e and \u003cstrong\u003eLucy Suchman\u003c\/strong\u003e may have been listening.\u003c\/p\u003e\n\u003cp\u003eMichele offers a tender mechanics to attune to. Atmospheres expand and contract within a song, sometimes reappearing in the album - the economy of means appreciated from another vantage. Loops and undulating rhythms build up a particular kind of surface, one that places the listener in the present moment, to notice and extend that time of being here.\u003c\/p\u003e\n\u003cp\u003eTo get a sense of the space Mercure’s work occupies: compositions on this album were part of a PBS special and a performance artist’s production. The most narrative moments of \u003cem\u003eEye Chant\u003c\/em\u003e, these commissioned pieces, “Proteus and the Marlin” and “100% Bridal Illusion,” are hyper feminine tracks made up of choirs of birds, breath, baby cries, waves, and poetry read just above a whisper.\u003c\/p\u003e\n\u003cp\u003eThe title track, “Eye Chant,” is a single vocal sample that’s sequenced and melodically layered upon itself. A perfect minimal composition, where there’s no excess blurring how it was made and its final crystalline form. “Too Much” closes the album with some danceability. We have traveled far from the start — “Tour de France,” where the synthesizer resembles a faucet drip and we reset — to the pace of our heart and breath.\u003c\/p\u003e\n\u003cp\u003eWhen focused on the moment the mind wanders as it likes. It feels as though there's a collective and urgent need to decelerate. Rather than chasing the new sound or accelerating discovery, deceleration allows us to pay heed to what's less heard. Finding our time in continuum with others’ might be one of many impulses for reissues.\u003c\/p\u003e\n\u003cp\u003eOne way to interpret the name, Freedom to Spend, is an abundance of freedom that needs to be shared. In that spirit, the free thinking \/ art of Michele Mercure is recirculated. \u003cem\u003eEye Chant\u003c\/em\u003e is available February 3, 2017.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/yvH4QYIQ9pA\" frameborder=\"0\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"FTS001","offers":[{"title":"DIGITAL - $10","offer_id":13131017420869,"sku":"FTS001DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13131017388101,"sku":"FTS001LP","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS001_COVER_600x600_9c576977-c6c9-4ae6-a7c5-241580ac54cf.jpg?v=1535219466"},{"product_id":"fts003","title":"Pep Llopis - Poiemusia La Nau Dels Argonautes","description":"\u003ch3\u003eCAT: FTS003\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003e June 16, 2017\u003c\/p\u003e\n\u003cp\u003eThis record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Valencian artist, \u003cstrong\u003ePep Llopis\u003c\/strong\u003e, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self.\u003c\/p\u003e\n\u003cp\u003eWhile \u003cem\u003ePoiemusia La Nau Dels Argonautes\u003c\/em\u003e materializes at this moment as an album, another object suits Pep’s project: \u003cstrong\u003eLewis Carroll’s\u003c\/strong\u003e “Map of the Ocean” from his \u003cem\u003eThe Hunting of the Snark\u003c\/em\u003e. It’s a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, \u003cem\u003ePoiemusia\u003c\/em\u003e offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music.\u003c\/p\u003e\n\u003cp\u003eLlopis, who often composed for dance, originally wrote \u003cem\u003ePoiemusia\u003c\/em\u003e for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, \u003cstrong\u003eCarles Santos\u003c\/strong\u003e and \u003cstrong\u003eWim Mertens\u003c\/strong\u003e, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, \u003cstrong\u003eSalvador Jàfer\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIn the studio presentation of \u003cem\u003ePoiemusia\u003c\/em\u003e, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by \u003cstrong\u003eMontse Anfruns’\u003c\/strong\u003e vaporous voice. She extends the roll of her \u003cem\u003er\u003c\/em\u003e’s and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.\u003c\/p\u003e\n\u003cp\u003eLlopis was influenced by minimal American composers like \u003cstrong\u003eSteve Reich\u003c\/strong\u003e and \u003cstrong\u003eLa Monte Young\u003c\/strong\u003e. He embraces the melodic sides of these masters in the winds of “El Vell Rei De La Serp” and the tender piano on “Nits de cristall.” You will find yourself submerged in tonality on tracks like “Jardins Aquàtics” and “La Nau Dels Argonautes” which have a kinship to \u003cstrong\u003ePhilip Glass\u003c\/strong\u003e or \u003cstrong\u003eDaniel Lentz\u003c\/strong\u003e. Each piece extends from 5 to almost 14 minutes.\u003c\/p\u003e\n\u003cp\u003eThe music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break like the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalan and Spanish.\u003c\/p\u003e\n\u003cp\u003eOnce bathed in these sounds one will emerge like Carroll’s map: “a perfect and absolute blank.” \u003cem\u003ePoiemusia La Nau Dels\u003c\/em\u003e Argonautes emerges in vinyl and digital formats on June 16, 2017 through Freedom To Spend.\u003c\/p\u003e","brand":"FTS003","offers":[{"title":"DIGITAL - $10","offer_id":13131022762053,"sku":"FTS003DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":13131022729285,"sku":"FTS003LP","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS003_DIGITAL_COVER_4000x4000_9f30b900-18c8-4aae-93e7-62bc67ff71e7.jpg?v=1535219481"},{"product_id":"freedom-to-spend-wide-load-tote","title":"Freedom To Spend Wide Load Tote","description":"\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\u003eA wide-load tote to carry your spendings, hands-free. 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It is said the artist has a gift— suited for the erotic life of property.\u003c\/p\u003e\n\u003cp\u003eOn \u003cem\u003eEros in Arabia\u003c\/em\u003e, \u003cstrong\u003eRichard Horowitz\u003c\/strong\u003e channels this vibration and bends bandit sounds by pairing the ancient \u003cem\u003eney\u003c\/em\u003e cane flute with the Prophet-5 synthesizer. Interspersed with other instruments and ideas, like echo delayed Moroccan drumming and self-made magic, these elements deal in duality like the ever-shifting characteristics of the composer: the Hollywood Horowitz who scores films like \u003cem\u003eThe Sheltering Sky\u003c\/em\u003e and \u003cem\u003eAny Given Sunday\u003c\/em\u003e, and the Morocco Horowitz who founded the Gnaoua Festival in Mogador, attended by 500,000 people every year.\u003c\/p\u003e\n\u003cp\u003eWorking in natural succession from end to beginning, “Elephant Dance” demonstrates the central synth and \u003cem\u003eney\u003c\/em\u003e node to explore energetic sound patterns Horowitz imagined to be played in the 16th century on the island of Java, around the time Sufi’s may have arrived in Indonesia. Delicately trampling the twenty minute mark, the piece offers an immersive climate of microtones that might, with the primordial matter of love, alter DNA. “Baby Elephant Magic” is “Elephant Dance” but sped up— producing digital baubles that sound less like an Indonesian forest, more like an urban hive of mechanical insect interaction.\u003c\/p\u003e\n\u003cp\u003eThe piano on “23\/8 for Conlon Nancarrow,” with John Cage technique at play, is played “as fast as possible by a human.” The sounds are driven to derail from the space time continuum. On “Never Tech No Foreign Answer,” a cheap cassette recorder microphone captures the Prophet-5 left to the devices of its master’s inner clock, taking on a frenzied sound form that vibrates in place before bouncing off the tape case walls. Chaos is concentric.\u003c\/p\u003e\n\u003cp\u003e“Queen of Saba” incorporates the vocals of long-time collaborator, \u003cstrong\u003eSussan Deyhim\u003c\/strong\u003e. 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Horowitz’s associations with great cultural icons of the Middle East, like these women, soften (in)appropriations.\u003c\/p\u003e\n\u003cp\u003eLess aggressive than its predecessors, “Eros Never Stops Dreaming” introduces the bendir frame drum, the feathery wind of the \u003cem\u003eney\u003c\/em\u003e floating above its bowing rhythm with effortless mathematics. “Bandit Nrah Master of Rajasthan” begins where the album ends, an ode to Shakuhachi flute players known to indulge in both trance-inducing circular breathing and espionage.\u003c\/p\u003e\n\u003cp\u003eHorowitz is linked with the worldly sound seeking circles of minimalist and avant-garde New York City musicians, especially \u003cstrong\u003eLou Harrison\u003c\/strong\u003e and \u003cstrong\u003eLa Monte Young\u003c\/strong\u003e, with whom Horowitz shared Shandar as a record label momentarily. 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But the cassette notes credit the sounds and voices to the world of the Kesh, making origins ambiguous. For instance, “The River Song” description reads, “The prominent rhythm instrument is the doubure binga, a set of nine brass bowls struck with cloth-covered wooden mallets, here played by Ready.”\u003c\/p\u003e\n\u003cp\u003eAccording to writer and long-time friend of LeGuin, \u003cstrong\u003eMoe Bowstern\u003c\/strong\u003e (who pens the liners for the Freedom To Spend edition of \u003cem\u003eKesh\u003c\/em\u003e), Barton built and then taught himself to play several instruments of Le Guin’s design, among them “the seven-foot horn known to the Kesh as the \u003cem\u003eHoumbúta\u003c\/em\u003e and the \u003cem\u003eWéosai Medoud Teyahi\u003c\/em\u003e bone flute.” Barton’s crafting of original instruments lends an other-worldly texture to the recordings of the Kesh, not unlike fellow builders \u003cstrong\u003eBobby Brown\u003c\/strong\u003e and \u003cstrong\u003eLonnie Holley\u003c\/strong\u003e. 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Todd incorporated ambient sounds of the creek by Le Guin’s house and a campfire they built together.\u003c\/p\u003e\n\u003cp\u003eThe songs of Kesh are joyful, soothing and meditative, while the instrumental works drift far past the imaginary lands. “Heron Dance” is an uplifting first track, featuring a \u003cem\u003eWéosai Medoud Teyahi\u003c\/em\u003e (made from a deer or lamb thigh bone with a cattail reed) and the great \u003cem\u003eHoumbúta\u003c\/em\u003e (used for theatre and ceremony). “A Music of the Eighth House” sends gossamer waves of the faintest sounds to “float on the wind.” Like the languages invented in the vocal work of \u003cstrong\u003eAnna Homler\u003c\/strong\u003e, \u003cstrong\u003eMeredith Monk\u003c\/strong\u003e, and \u003cstrong\u003eElizabeth Fraser\u003c\/strong\u003e, the Kesh songs and poems play with the shape of voice.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eMusic and Poetry of the Kesh\u003c\/em\u003e cassette was meant to accompany and enhance the experience of reading \u003cem\u003eAlways Coming Home\u003c\/em\u003e. Presented in this edition as a long-playing album, where only traces of the book linger (the jacket offers some of Le Guin’s illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport—offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures.\u003c\/p\u003e\n\u003cp\u003eA line from \"Sun Dance Poem\" reminds us, “We are nothing much without one another.” Freedom To Spend gives new life to the recordings of the Kesh people in the first ever vinyl edition of \u003cem\u003eMusic and Poetry of the Kesh\u003c\/em\u003e also availably on digital formats on March 23, 2018. 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There’s an unaffected, warm-hearted joy to be heard in Cox’s music, hypnotic patterns unspooling from a Pandora’s-box of mass-produced and home built musical instruments, intertwining, tangling up in each other, and then riding out the road until they’ve said their piece, often parking somewhere surprisingly unfamiliar to where they started. Sometimes, it’s as though Cox is channelling preconscious phrases, tunes that exist in some kind of primordial soup of music, the storehouse of melody that we call upon in our most hallucinatory, incantatory moments.\u003c\/p\u003e\n\u003cp\u003eYou can certainly hear some familiar names as precursors or as covering similar terrain – there’s a touch of \u003cstrong\u003eBrian Eno\u003c\/strong\u003e, who attended the same school as Cox, a dab of the process orientations of early \u003cstrong\u003eSteve Reich\u003c\/strong\u003e, the shifting, sub rosa patterning of \u003cstrong\u003ePhilip Glass\u003c\/strong\u003e. But just as equally, Cox alights on less predictable touchstones: \u003cstrong\u003eMoondog\u003c\/strong\u003e might not immediately come to mind, but he’s a significant influence, something that comes clear as you listen further and hear aspects of The Viking of 6th Avenue’s “snaketime,” his ornery take on rhythm, in Cox’s constructions. He’s also a fan of the fantasias of \u003cstrong\u003eJohn Fahey\u003c\/strong\u003e, whose mercurial spirit and galaxy-gobbling musical open-mindedness finds a home in Cox’s questing to experiment, to make new, and to find unexpected treasure in the communion of the musical moment.\u003c\/p\u003e\n\u003cp\u003eEach Rimarimba album is a functional objects in and of itself; a fully contained world of trash and treasure, play and precarity. But they might be best experienced when taken en masse. 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While \u003c\/span\u003e\u003cb\u003eFreedom To Spend’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e reinvented edition bares little visual evidence of its origins in the composer’s name, title, or sleeve design, the album, a whooping gonzo of synthesizers, samplers, drum machines, and a mysterious string quartet, remains \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eas vibrant now as it did when released on \u003c\/span\u003e\u003cb\u003eToru Hatano’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e Picture Label as \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDivertimento\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e in 1986. In fact, the music of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e now glows with a different purpose; one that revises the past while maintaining, and finally elevating, its hidden influence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA woman of multiple disciplines and identities, June Chikuma (竹間 淳, Chikuma Jun) has composed for TV, film, and video games over the past thirty plus years. Her proto-techno and drum and bass soundtracks for Nintendo’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBomberman\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e franchise in the 80s and 90s is an oeuvre unto itself. In more recent years her musical focus has turned toward classic Arabic and Egyptian music. Chikuma studies Arabic nay, playing and performing with \u003c\/span\u003e\u003cb\u003eLe Club Bachraf \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eensemble. In a melding of June’s contrasting, colorful worlds, Le Club Bachraf composed part of the original score for the 2007 video game \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSonic and The Secret Rings\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Chikuma constructed a sonic stage to animate her imaginings as a one-person show. The primary props, a KORG SDD-3000 digital delay, an audible, overt display of unclassified drum machines and samplers, and a litany of literary references. Following the original album’s sequence, “Broadcast Profanity Delay” bursts onto \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives’\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e first scene full of buoyant energy and fluttering atmospheric pressure. The composition was conceived by Chikuma for a make-believe marimba ensemble, and in this shapeshifting form, takes on its own mutant life. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Pataphysique” is a term for the study of an imaginary realm additional to metaphysics, and the track on \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003emost conducive to dancing (even if those movements might conjure the herkiest, jerkiest imagery). “Divertimento,” the heretofore title track of the album, brandishes a tough electro exoskeleton with a molten 18th century orchestral interlude nine minutes into the nearly thirteen minute piece. Chikuma dedicates “Divertimento” to composers \u003c\/span\u003e\u003cb\u003eWolfgang Amadeus Mozart\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003cb\u003ePaul Hindemith\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e for his alignment with the New Objectivity movement. By the composition’s conclusion the object’s particles have been completely obliterated and assembled again. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe cacophony of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e parts to reveal a clearing with “Climb-Down,” Chikuma’s tribute to \u003c\/span\u003e\u003cb\u003eErik Satie’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e Furniture music (\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003emusique d’ameublement\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e). The \u003c\/span\u003e\u003cb\u003eMichiyo Toda String Quartet’s \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003esomber string interpretation of June’s composition offers a grace unlike the Rube Goldberg of punchy programming and found sound on the surrounding electronic machination. After this acoustic respite the electricity is switched on again. “Dual Use” repurposes the constitution of “Divertimento” as a slight samba, complete with Godzilla samples.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRecorded during the original \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDivertimento\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e sessions at Hugh Studio in Tokyo but excluded from the original album release, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003epresents two unheard pieces. “Mujo to Ifukoto” works as interspecies smalltalk between synthetic instruments and environmental samples. Lush strings interrupt synth sweeps, said sweeps giving way to a concrète concert of crickets and church bells. Countering the title’s claim of dispassionate decision-making in the midst of crisis, “Oddman Hypothesis” is deliberately restrained, aside from the shatter marking the start, and resembles the City Pop and fusion movements that defined Japan’s musical landscape in the 80s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eChiikuma’s neon-vibrant aesthetic would be at home soundtracking films like \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAfter Hours\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e or \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTeknolust\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. However, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is the score for a movie of mistaken identity – clones redressed in a guise of the artist’s re-coding. The legitimate artifact deceives history. There is no original, but this copy is singular and complete.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eJune Chikuma’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLes Archives\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is available now as an LP with limited edition 7” and digital formats via Freedom To Spend.  \u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/1fepd1R6DHY\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/www.youtube.com\/embed\/8W36HrXtdu0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/www.youtube.com\/embed\/ObeJihkCJks\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"FTS010","offers":[{"title":"DIGITAL - $10","offer_id":19039516360773,"sku":"FTS010DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP + 7\" - $25","offer_id":19039516295237,"sku":"FTS010LP","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS010_-_Digital_Cover_-_1500px.png?v=1599774108"},{"product_id":"rimarimba-on-dry-land","title":"Rimarimba - On Dry Land","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: FTS006\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eFTS006: June 21, 2019 (digital \/ physical)\u003c\/p\u003e\n\u003cp\u003eFor \u003cstrong\u003eRimarimba’s\u003c\/strong\u003e 1984 album \u003cem\u003eOn Dry Land\u003c\/em\u003e, \u003cstrong\u003eRobert Cox\u003c\/strong\u003e advances along the terrain explored on Below The Horizon. It’s an enchanting album, one which, at times, seems to comment on its own practice; a picture of everyday life in the hobbyist’s, or part-time musician’s, recording studio. Some moments point towards the tourist-explorer aesthetic that would eventually coalesce under the banner of Fourth World music. Other moments where Cox seems to be channelling an otherness, a kind of hauntological reverie, the feeling of music that gives us an uncanny sense of déjà vu. Writer \u003cstrong\u003eDavid Keenan’s\u003c\/strong\u003e description of Japanese naïve-pop group \u003cstrong\u003eMaher Shalal Hash Baz’s\u003c\/strong\u003e music, that it “feels like sketches of places where we once were, places now made poignant by our absence” feels like an alternate take\u003cem\u003e On Dry Land.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/lV9SUn2pg1s\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"FTS006","offers":[{"title":"DIGITAL - $10","offer_id":19657853927493,"sku":"FTS006DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":19657853894725,"sku":"FTS006LP","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS006_-_Digital_Cover_-_1500px.png?v=1599761170"},{"product_id":"rimarimba-in-the-woods","title":"Rimarimba - In The Woods","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: FTS007\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003eFTS007: June 21, 2019 (digital \/ physical)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn \u003c\/span\u003e\u003cb\u003eRimarimba’s\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e 1985 album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn The Woods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eRobert Cox \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003ehas made his music kit, an odd assortment of new and old technologies, lately fixated on the digital delay, and programming technologies, sing his own song at its most articulate clip. The songs seem more developed, fluent, like mini-suites in some sense.  By his third album, it’s clear Cox has recognised just how liberating technology can be – “All these intricate layers of things that I was trying to play, and didn’t have the musical ability to play, I could suddenly program them” – but he also recognises that if you head too far down that road, dull perfection is your bitter reward. Human music intoxicated and lurching through a new forest of machinery.\u003c\/span\u003e\u003c\/p\u003e","brand":"FTS007","offers":[{"title":"DIGITAL - $10","offer_id":19657854484549,"sku":"FTS007DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - $24","offer_id":19657854451781,"sku":"FTS007LP","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS007_-_Digital_Cover_-_1500px.png?v=1599761075"},{"product_id":"ernest-hood-neighborhoods","title":"Ernest Hood - Neighborhoods","description":"\u003ch3\u003eCAT: FTS014\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003e October 11, 2019\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eErnest Hood’s\u003c\/strong\u003e \u003cem\u003eNeighborhoods\u003c\/em\u003e was released some two decades after the Portland, Oregon born and raised musician’s first forays into field recordings. These very recordings, and those captured over intervening years, define the universal sound and aural images of childhood, a theme memorialized by Hood’s privately-pressed opus of 1975.\u003cbr\u003e\u003cbr\u003eSprawling through a haze of zither, synthesizer melodies, and foraged pedestrian sound, \u003cem\u003eNeighborhoods\u003c\/em\u003e is both a score and documentary composed and directed by Hood to offer, in his words, joy in reminiscence. Hood’s nostalgic impulse ran parallel to the developments of other artists, writers, and filmmakers of the 1970s who were looking back to the 1950s to convey a collective memory of childhood. Unlike some of the widely embraced work of this nature, the music of \u003cem\u003eNeighborhoods\u003c\/em\u003e eschews irony or detachment for lucidity, striving above all for a dream-like return to the details of sensory memory.\u003cbr\u003e\u003cbr\u003eBorn into a musical lineage, Hood’s early, promising career as a guitarist in a globe-trotting jazz outfit was cut short when he contracted polio in his late twenties. Moving from guitar to less physically-demanding stringed instruments in the late 1940s, Hood first began implementing field recordings in his jazz ensemble collaborations as early as 1956. In 1961, Hood and trumpeter \u003cstrong\u003eJim Smith\u003c\/strong\u003e collaborated on a local Portland television program, with their large, tight ensemble providing breakneck contemporary jazz for an action painting by famed West Coast modernist painter \u003cstrong\u003eLouis Bunce\u003c\/strong\u003e. Hood incorporated his own field-recorded sounds of birds in the performance – an element that would resurface in \u003cem\u003eNeighborhoods\u003c\/em\u003e with great abundance among other found sounds.\u003cbr\u003e\u003cbr\u003eWhether using environmental sounds or instruments, a sense of musical narration is the central component of \u003cem\u003eNeighborhoods\u003c\/em\u003e, a strategy Hood tellingly referred to as “musical cinematography” in his original liner notes. Instead of using the picture frame, Hood broadcasts melodies and sounds from his beloved Portland surroundings to transport listeners to the story’s scene. Remarkably, \u003cem\u003eNeighborhoods\u003c\/em\u003e never falls into the sentimentality trap. Hood’s music augments its indeterminate, “anecdotal” sounds with a blend of zither and synthesizer melodies reminiscent of golden age cinema soundtracks.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eNeighborhoods\u003c\/em\u003e is an unusual hybrid––not quite an “ambient” record nor a collection of pure field recordings. The identifiable sounds (screen doors opening and closing, passing motorists, crickets chirping, children playing) feel both universal and highly specific, like a bulletin of Hood’s private geography from the middle of the last century. There’s something instructive – if not reparative – about time traveling into the bucolic dimension of \u003cem\u003eNeighborhoods\u003c\/em\u003e in 2019. If Hood were presenting the album today, he might invite listeners to unplug while locating that joy in reminiscence. \u003cbr\u003e\u003cbr\u003eIn the end, the concerns of \u003cem\u003eNeighborhoods\u003c\/em\u003e are poetic not formal, as Hood’s own summary of the album sounds a lot like \u003cstrong\u003eWalt Whitman\u003c\/strong\u003e: “It hardly matters in which neighborhood you sprouted. The games we played, the mocks, the terminology and the feelings we experienced as youngsters are tantalizingly familiar.” And later, hitting a grand note, “How familiar, how indelible the pictures are: aromas of soft velvet days, strong friendships, fears, hates, loves... If the music seems a little bittersweet, well... isn’t that the taste of nostalgia?”\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFreedom to Spend\u003c\/strong\u003e has restored Ernest Hood’s nostalgic masterpiece with the same care with which he viewed his source material, offering a remastered version of \u003cem\u003eNeighborhoods\u003c\/em\u003e transferred from the original tapes, expanded across four vinyl sides (the original version was crammed on two). The new edition reproduces Hood’s celebratory liner notes in full, alongside new liner notes by \u003cem\u003eMichael Klausman\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eA portion of proceeds from this release will be donated \u003cstrong\u003eKBOO FM\u003c\/strong\u003e, a volunteer-powered, non-commercial, listener-sponsored, community radio station for Portland, Oregon, the Pacific Northwest, \u0026amp; the World, founded in part by Ernest Hood. Come! Mend! \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/nggOT7tdTPE\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e \u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/bVI01Iiuwvk\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e","brand":"FTS014","offers":[{"title":"DIGITAL - $12","offer_id":29429194195013,"sku":"FTS014DIGI","price":12.0,"currency_code":"USD","in_stock":true},{"title":"DBL LP LTD - SOLD OUT","offer_id":29429258387525,"sku":"FTS014LTDLP","price":30.0,"currency_code":"USD","in_stock":false},{"title":"DBL LP - $30 (2022 Repress) (pre-order)","offer_id":29429194162245,"sku":"FTS014LP","price":30.0,"currency_code":"USD","in_stock":true},{"title":"CD - $15 (2022 Repress) (pre-order)","offer_id":29436273819717,"sku":"FTS014CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/Ernest_Hood_-_Neighborhoods_-_FTS014_-_4000px.png?v=1606935708"},{"product_id":"michele-mercure-pictures-of-echoes","title":"Michele Mercure - Pictures of Echoes","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: ReRVNG16 \/ FTS016\u003c\/h3\u003e\n\u003cp\u003eRelease Date: May 8, 2020\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e Pictures of Echoes\u003c\/em\u003e is an intimate answer to \u003cem\u003eBeside Herself\u003c\/em\u003e, the 2018 anthology of music from \u003cstrong\u003eMichele Mercure’s\u003c\/strong\u003e self-produced and distributed cassettes. \u003cem\u003ePictures of Echoes\u003c\/em\u003e picks up where \u003cem\u003eBeside Herself\u003c\/em\u003e left off, collecting key moments from Mercure’s solo releases and collaborative, cross-disciplinary work, and restoring the recordings for a new digital age while employing the medium which originally transported these sounds. \u003cbr\u003e\u003cbr\u003eSurveying the efforts of a decade, from passages of her 1983 debut \u003cem\u003eRouge \u0026amp; Mint\u003c\/em\u003e to themes from her score for \u003cstrong\u003eMary Haverstick's\u003c\/strong\u003e 1993 film \u003cem\u003eShades of Black\u003c\/em\u003e, \u003cem\u003ePictures\u003c\/em\u003e places brooding instrumental sketches next to ceremonious and cinematic compositions, sculpted from an arsenal of beloved synthesizers, drum machines, and samplers, live acoustic accompaniments, and her trusty Atari ST. \u003cbr\u003e\u003cbr\u003e\u003cem\u003ePictures of Echoes\u003c\/em\u003e is a word painting for the technological transposition from analogue memory into digital collection, a process of reimagining the past and giving new life to earlier work. Mercure’s creative evolution has been led by loyalty to homespun and DIY practices, to self and collaborative production and the embrace of eccentricity and unorthodoxy. \u003cbr\u003e\u003cbr\u003eFinding a foundation on the fringe, her work merges sound and image in the site of community, composing music for films, dance collaborations and avant garde theater productions as well as her own editions. Projects from each of these corners are present in this supplementary survey, which moves from counter Kosmische to experimental expressionism. \u003cbr\u003e\u003cbr\u003eAvailable as a cassette or digital experience under the joint \u003cstrong\u003eRVNG\u003c\/strong\u003e and \u003cstrong\u003eFreedom to Spend\u003c\/strong\u003e banner, \u003cem\u003ePictures of Echoes\u003c\/em\u003e is an integral part of the mercurial journey through Michele’s archive, which began with FTS’s 2017 reissue of \u003cem\u003eEye Chant\u003c\/em\u003e, the label’s inaugural release.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/aTZVjDyzLmM\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"ReRVNG16","offers":[{"title":"DIGITAL - $9","offer_id":32222158946367,"sku":"ReRVNG16DIGI","price":9.0,"currency_code":"USD","in_stock":true},{"title":"Cassette + Pin - $12 - Sold Out","offer_id":32222177394751,"sku":"ReRVNG16CS","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/RERVNG16-FTS016-Digital-Cover-1500px.png?v=1586903160"},{"product_id":"v-a-new-neighborhoods","title":"V\/A - New Neighborhoods","description":"\u003ch3\u003eCAT: FTS015\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003e October 2, 2020 (physical \/ bandcamp)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eIn recognizing and celebrating mutual communities, and with ambition to both envision a better world and hold onto precious local histories, \u003c\/span\u003e\u003cb\u003eFreedom To Spend \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eshares \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew Neighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, a collection of sixteen new works by an international, intergenerational cast of artists acknowledging, and pushing forward, the sonic path traveled by \u003c\/span\u003e\u003cb\u003eErnest Hood\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, the musician and field recordist from Portland, Oregon responsible for the 1975 “joy in reminiscence” \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNeighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eFor \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew Neighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, artists from different vantages around the world were invited to contribute sound works incorporating field recordings from their immediate and dreamed surroundings as a focal, but not necessarily primary, component. The composers who volunteered their services include \u003c\/span\u003e\u003cb\u003eTodd Barton\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eFelicia Atkinson,\u003c\/b\u003e \u003cb\u003eKa Baird\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eCV \u0026amp; JAB\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003cb\u003e Lieven Martens\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eSpace Afrika\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eNailah Hunter\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003cb\u003e Jefre-Cantu Ledesma\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003ebookworms\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eMelanie Velarde\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e,\u003c\/span\u003e\u003cb\u003e Roberto Carlos Lange\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e (\u003c\/span\u003e\u003cb\u003eHelado Negro\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e), \u003c\/span\u003e\u003cb\u003eBarraco Barner\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eDylan Moon\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eJ D Emmanuel\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eSugai Ken\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003cb\u003eLike A Villain\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eThe liner notes for the original edition of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNeighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e clarify that the album “is a rather personal thing to be reflected up (as musical cinematography) alone.” \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew Neighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e nurtures a similar independence that slowly ignites sensory tinder in its poetic unfolding. The composers’ interior terrains interact with their adjacent landscapes, from Harlem to The Hague, compelled by a mysterious, unconscious force. The sounds captured and considered in this collection shimmer under the intimate, extraordinary depiction of everyday life.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eThere is a sensitivity to detail in the artists’ submissions, which are neither strictly field recordings or ambient music, but rather an environmental tapestry of both. While many of the songs were composed in solitude, they invite the listener to imagine being there, exploring a parallel environment familiar yet obscured. As a whole, the collection suspends sound in lucidity; the dream-reality of these recordings unravel and then immediately rewind before the listener, encouraging new rituals of perception. \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eAll proceeds from the first edition of this collection will benefit the A\u003cstrong\u003essociation for Neighborhood and Housing Development\u003c\/strong\u003e (\u003cstrong\u003eANHD\u003c\/strong\u003e)\u003cstrong\u003e’s\u003c\/strong\u003e \u003cstrong\u003eCenter for Community Leadership\u003c\/strong\u003e (\u003cstrong\u003eCCL\u003c\/strong\u003e) program, one of New York City’s longest-running organizer training programs, providing grassroots leaders and organizations with the skills, resources, and community necessary to advance sustainable political change on a local and regional level. ANHD is a coalition of community groups across New York City using research, advocacy, and grassroots to build equity and justice in their neighborhoods and citywide. ANHD’s mission supports lower income and working-class communities by developing affordable housing, an essential effort during the COVID-19 pandemic, where low-income, BIPOC communities have been hit the hardest. Member organizations of ANHD have provided 80,000 units to this date, and homes for almost 100,000 people.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew Neighborhoods \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eis a dose of awakening, extracted by a group of artists who share their inner process with us and from us. A new kind of togetherness. A limited cassette edition of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003eNew Neighborhoods\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e will be made available on October 2, 2020 from Freedom To Spend and RVNG Intl\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e.\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\"\u003e alongside digital formats. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/DF1U2-1Y1LA\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"FTS015","offers":[{"title":"DIGITAL - $12","offer_id":33078206791743,"sku":"FTS015DIGI","price":12.0,"currency_code":"USD","in_stock":true},{"title":"CS - $20","offer_id":33078206758975,"sku":"FTS015CS","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FTS015-Digi-Cover-1500px.png?v=1606244571"},{"product_id":"tiziano-popoli-burn-the-night-bruciare-la-notte-original-recordings-1983-1989","title":"Tiziano Popoli - Burn the Night \/ Bruciare la Notte: Original Recordings, 1983–1989","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3\u003eCAT: ReRVNG13 \/ FTS012\u003c\/h3\u003e\n\u003cp\u003eRelease Date: January 22, 2021\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTiziano Popoli’s \u003c\/b\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night \/ Bruciare la Notte: Original Recordings, 1983–1989\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is an anthology collected from scores, soundtracks, and commissions that blossomed out of the artist’s independent \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eexplorations\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e and collaborations in and around Bologna, Italy. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eexamines\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e Popoli’s unusual musical meshing of minimalism and instrumental pop, a distinct form embracing the gravity of negative space to contrast color, tone, and the phantom sounds of lyrical, human expression.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eBorn in the small village of Vignola in 1955, Popoli grew up with music in his family, and, in the late 1970s, it became his life’s pursuit, enrolling in the Conservatorio Giovanni Battista Martini in Bologna after a brief detour as a law student. Identifying with the Italian counterculture’s rejection of the bourgeoisie, but skeptical of its actors’ preoccupation with drugs and misguided debauchery, Popoli’s own moral compass found direction during a post-graduation trip to India in 1979. Arriving by car through the Khyber Pass, Popoli recalled a journey full of “confirmations and illuminations, but also of disillusion and, I believe, of personal growth” informed by his lone encounters with \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eunderserved\u003c\/span\u003e \u003cspan style=\"font-weight: 400;\"\u003ecommunities. \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eUtilizing his relative privilege for good upon returning to Bologna, Popoli promoted the potential of music as a community-building agent, and advocated for the perception shifting advantages of its avant-garde. Exposed to the canon of 20th century new music while at the conservatory, and more importantly, the advancements of western minimalists such as \u003c\/span\u003e\u003cb\u003eSteve Reich\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003ePhilip Glass\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003cb\u003eTerry Riley\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Popoli aligned himself with a network of composers such as \u003c\/span\u003e\u003cb\u003eFranco Battiato\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003cb\u003eLino Capra Vaccina\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003cb\u003eGiusto Pio\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e to establish a new era of radical music, ethos, and innovation in Italian music. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eNo such minimalist scene existed by name at the time though; the tag retroactively pinned to Popoli and his peers’ unassuming position on the periphery of the avant-garde. \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eTechnology played a pivotal role within this anti-movement, and Popoli’s desire to evolve sound and technique was fulfilled with the arrival of the Yamaha DX7 synthesizer in 1983. With the advent of MIDI protocol, Popoli was able to program raw, melodic patterns on a Roland TR-909 \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003edrum machine\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e and voice them through the DX7’s range of polyphonic and timbrical possibilities. This process is heard prominently on many of the fourteen tracks collected for \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eScorie\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Popoli’s first major recording. \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eScorie\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, the 1985 album created by Popoli with composer, conservatory colleague, and friend \u003c\/span\u003e\u003cb\u003eMarco Dalpane,\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e was a meeting of like minds designed for the stage. It was also the first of several collaborations between Popoli and the Koiné Theater Company. As with \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eScorie\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, the music of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e features similar accompaniments for peers within broader creative contexts, namely the photographers \u003c\/span\u003e\u003cb\u003eMassimo Trenti \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eand \u003c\/span\u003e\u003cb\u003eRoberto Monari\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, whose exhibitions Popoli created pop minimalist settings for. \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e“Pop music is something that––somehow––made its way into my music, even the [music] I write today,” explains Popoli. “What attracts me about this ‘genre,’ or rather, ‘attitude’ is probably the simplicity of its formal structure.” Popoli’s curiosity of pop music is explored at various lengths throughout \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, but never without a dose of the avant-garde for a particular potency. If you can imagine in this melee turning the dial to Radio \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eCittà\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e Bologna in 1983 and hearing “Blues Padani,” its strange, punctuated rhythms and patent, manipulated vocal samples, you would find yourself at the beginning of a burgeoning, unclassifiable musical subculture.\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eEven if the fourteen tracks of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e complicate the easy categorization of Popoli’s music, the broad impact of his stark melodies­­ and sharply rendered sounds end up both accessible and radical. Popoli never sought to jettison these sounds to an exclusive realm of listeners, but he did recognize a possibility in popularizing the avant-garde. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBurn the Night \/ Bruciare la Notte: Original Recordings, 1993–1989\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e transmits Popoli’s music to modern airwaves tuned to distinct voices, and brings a playful display of spiraling lines and humanist speech. 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