{"title":"FRKWYS Releases","description":"","products":[{"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":"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":"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":"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. 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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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Geddes Gengras Meet The Congos","description":"\u003ch3\u003eCAT #: FRKWYS09\u003c\/h3\u003e\n\u003cdiv\u003e\u003cb\u003eRelease date: April 17th, 2012\u003c\/b\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eIf your order contains a pre-order record, it will be held and shipped complete when pre-order stock arrives.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eFor the ninth volume of \u003cb\u003eFRKWYS\u003c\/b\u003e, a music and film series pairing contemporary artists with those that may have preceded them in style and \/ or approach, \u003cb\u003eSun Araw\u003c\/b\u003e and \u003cb\u003eM. Geddes Gengras\u003c\/b\u003e meet legendary dub reggae group \u003cb\u003eThe Congos\u003c\/b\u003e in St. Catherine, Jamaica and create the full-length album, \u003ci\u003eICON GIVE THANK\u003c\/i\u003e. In conjunction, RVNG will release \u003ci\u003eICON EYE\u003c\/i\u003e, a feature film documenting the young musicians’ time spent living and learning The Congos way.\u003c\/p\u003e\n\u003cp\u003eIn hindsight, the FRKWYS Vol. 9 timeline takes on dream-like qualities. In a matter of months, the idea for the collaboration was divinely inspired, The Congos reassembled in their original formation, and Sun Araw (earthly name \u003cb\u003eCameron Stallones\u003c\/b\u003e), Gengras, alongside filmmakers \u003cb\u003eTony Lowe\u003c\/b\u003e and \u003cb\u003eSam Fleischner\u003c\/b\u003e, traveled to St. Catherine, Jamaica (45 minutes outside of Kingston) for ten days to undertake the unknown.\u003c\/p\u003e\n\u003cp\u003eWhat events would transpire in the Portmore neighborhood of St. Catherine can only be described as blessed. The gates opened wide and warmly, the musicians and filmmakers ate, slept, and smoked at The Congos headquarters, their mural-emblazoned studio, home, and spiritual compound. An environment steeped in the Ital lifestyle, Rastafarian reflection and meditation, and a rich community bubbling with musical energy, both young and old artist would learn an unspoken creative language.\u003c\/p\u003e\n\u003cp\u003eHaving recorded some loose musical themes in LA to help inspire the creative process, Stallones and Gengras could only count on the shared respect for the sacrament of music to guide their work with The Congos. This respect is the foundation upon which Sun Araw \u0026amp; M. Geddes Gengras meet The Congos - \u003ci\u003eICON GIVE THANK\u003c\/i\u003e is built.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGIVE THANK\u003c\/i\u003e is not a dub reggae album, though it shares some of the genre's production characteristics. Rather, it's an album of Stallones and Gengras's melodically experimental meditations ornamented with The Congos' soulful vocal leads and four-part harmonies. The four kings of the The Congos share the vocal throne over the course of\u003ci\u003eGIVE THANK\u003c\/i\u003e. \u003cb\u003e\"Congo Ashanti\" Roy Johnson\u003c\/b\u003e tenor, \u003cb\u003eCedric \"Bongo\" Myton's\u003c\/b\u003efalsetto, \u003cb\u003eWatty Burnett\u003c\/b\u003e baritone, and \u003cb\u003eKenroy \"Tallash\" Fyffe\u003c\/b\u003e cosmic vocal glue command singularity and create an essence combined.\u003c\/p\u003e\n\u003cp\u003eThe visual companion to the musical fruit of \u003ci\u003eGIVE THANK\u003c\/i\u003e is \u003ci\u003eICON EYE\u003c\/i\u003e, a feature-length travelogue executively produced by \u003cb\u003eChristine Vachon\u003c\/b\u003e (\u003cb\u003eKiller Films\u003c\/b\u003e) and \u003cb\u003eRandall Poster\u003c\/b\u003e \u0026amp; \u003cb\u003eGelya Robb\u003c\/b\u003e (\u003cb\u003eSearch Party Music\u003c\/b\u003e). Shot by Lowe and Fleischner, \u003ci\u003eICON EYE\u003c\/i\u003eevokes a musical and cultural intersection through refracted atmospheres and a feeling of magical, rhythmic synchronicity. \u003ci\u003eICON EYE\u003c\/i\u003e shares dubbed-out editing techniques inherent in the reggae sub-genre, rendering a visual \"version\" of the album.\u003c\/p\u003e\n\u003cp\u003eThrough the diaristic yet cinematic lens of handheld HD cameras, secret moments from the studio, fishing villages, late night dances, abandoned hotels and The Congos' yard are blended into a strange tapestry. Musicians, computers, children, and food reveal mystical resonance. \u003ci\u003eICON EYE\u003c\/i\u003e is the first RVNG Intl. film production. Director \/ editor \/ cinematographer Lowe and producer \/ cinematographer Fleischner previously collaborated on \u003ci\u003eBelow the Brain\u003c\/i\u003e (2011), a documentary about Brooklyn Carnival.\u003c\/p\u003e\n\u003cp\u003eThe FRKWYS Vol. 9 - \u003cb\u003eSun Araw \u0026amp; M. 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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. The film features Van Tieghem “playing” downtown New York City, a world in which Van Tieghem established his rhythmic roots as a member of the \u003cb\u003eLove Of Life Orchestra\u003c\/b\u003e, a frequent collaborator with \u003cb\u003eLaurie Anderson\u003c\/b\u003e, and a player on \u003cb\u003eSteve Reich’s\u003c\/b\u003e \u003ci\u003eMusic For 18 Musicians\u003c\/i\u003e, \u003cb\u003eRobert Ashley’s\u003c\/b\u003e \u003ci\u003ePerfect Lives (Private Parts) \/ Perfect Lives\u003c\/i\u003e and \u003cb\u003eDavid Byrne\u003c\/b\u003e and \u003cb\u003eBrian Eno’s\u003c\/b\u003e \u003ci\u003eMy Life in the Bush With Ghosts\u003c\/i\u003e among other seminal recordings including his own.\u003c\/p\u003e\n\u003cp\u003eIn \u003ci\u003eEar To The Ground\u003c\/i\u003e, all city surfaces become communications - or bulletins - under Van Tieghem’s twiddling, thwacking and thumping thumbs. Partially inspired by this and by our blank but physically limited canvas space, Van Tieghem agreed to take part in a sequence of improvised performances and creative editing to become part of our FRKWYS series.\u003c\/p\u003e\n\u003cp\u003eWe also invited ten younger musicians to post objects to the board. 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":"frkwys11","title":"FRKWYS Vol. 11: Steve Gunn \u0026 Mike Cooper - Cantos De Lisboa","description":"\u003ch3\u003eCAT #: FRKWYS11\u003c\/h3\u003e\n\u003cp\u003e\u003cb\u003eRelease Date: June 24, 2014\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eFor the the eleventh volume of \u003cb\u003eFRKWYS\u003c\/b\u003e, an unrestricted series pairing contemporary artists with their influential predecessors, gifted guitar squire \u003cem\u003eSteve Gunn\u003c\/em\u003e meets roving, radiating legend \u003cem\u003eMike Cooper\u003c\/em\u003e in Lisbon, Portugal.\u003c\/p\u003e\n\u003cp\u003eSharing their vision over lengthy living room guitar sessions and evenings of cold wine in Fado taverns, Gunn and Cooper created \u003cem\u003eCantos de Lisboa\u003c\/em\u003e, an album with variable vernacular shades and musical forms from Portugal’s antiquity.\u003c\/p\u003e\n\u003cp\u003eCantos means \"corner\" in Portuguese, as well as \"chant” or \"song\" (this latter meaning evolved from the Latin antecedent referring to stanzas of verse in poetry). For two artists whose roots lie in the country blues and its subverted offshoots, the proverbial \"corner\" is actually home, the undisturbed spot where music can flourish.\u003c\/p\u003e\n\u003cp\u003eA tranquil interlude for these two travelers to create off-guard improvisations in their shared style of deconstructed guitar music, \u003cem\u003eCantos de Lisboa\u003c\/em\u003e is a curious detail in the periphery of this snapshot of Portugal.\u003c\/p\u003e\n\u003cp\u003eIn his fifty-year-plus career, Cooper's global ventures have transported his music to exotic locales parallel to Lisbon. 2004's \u003cem\u003eRayon Hula\u003c\/em\u003e musically translated the patterned flora of aloha shirts (Cooper's signature garment) as looped samples of famed Hawaiian vibraphone player \u003cb\u003eArthur Lyman\u003c\/b\u003e for an avant vivified form of exotica.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRayon Hula\u003c\/em\u003e signaled Cooper's vital re-emergence as a dexterous alchemist of slide guitar. Cooper’s discography is colored with similar instances of casually conceptual, improvisatory guitar music, including his 1970 masterpiece \u003cem\u003eTrout Steel\u003c\/em\u003e (an album Gunn recalls in \u003cem\u003eCantos de Lisboa’s\u003c\/em\u003e liner notes as shaping his own ambitions and music).\u003c\/p\u003e\n\u003cp\u003eFor his part, Gunn's path to Portugal was compelled by his kinship to Cooper and his ilk's experimentation with guitar-picked country blues and 70s British folk. Gunn’s extracurricular immersion in free jazz and psychedelia, no doubt influenced by his Philadelphia upbringing and surroundings, ensures his playing never grits or grids and always soars to ecstatic heights.\u003c\/p\u003e\n\u003cp\u003eThese musical emblems were gracefully memorialized on Gunn's celebrated \u003cem\u003eTime Off\u003c\/em\u003e (Paradise of Bachelors, 2013) and across a substantial catalog of solo, duo and ensemble work that resembles that of a veteran player more than a young guitar slinger.\u003c\/p\u003e\n\u003cp\u003eOn \u003cem\u003eCantos de Lisboa\u003c\/em\u003e, Gunn and Cooper take emotive cues from Fado, the regional music of Portugal, which is in close plaintive spirit to the blues. A melancholy seeps into the music of \u003cem\u003eCantos de Lisboa\u003c\/em\u003e, while steering a wide berth from any bummer notes or pastiche. Cooper's sparse effects toolkit and stately, gliding cadences are nimbly employed, while Gunn's ashen voice and steady strum lend an intensely organic feel to the album's improvisatory portraits.\u003c\/p\u003e\n\u003cp\u003eThe latter half of \u003cem\u003eCantos de Lisboa\u003c\/em\u003e echoes the \"saudade\" theme as referenced in the blissful opening track, Cooper's howl spiriting the Portuguese word that translates roughly into \"loss\" or \"longing.\" Saudade is said to be the core feature of Fado music. In \u003cem\u003eCantos de Lisboa\u003c\/em\u003e, Saudade becomes a spirit inhabiting the album’s corners, but never disrupting the musicians’ collaborative evocations.\u003c\/p\u003e\n\u003cp\u003eIn the hands of these two limitless guitarists, \u003cem\u003eCantos de Lisboa\u003c\/em\u003e convenes in an abstract, almost field recorded take on lap-steel and American Primitive guitar styles. 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For this installment, RVNG Intl. offers a collection of original compositions by \u003cstrong\u003eRobert Aiki Aubrey Lowe\u003c\/strong\u003e and \u003cstrong\u003eAriel Kalma\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eRecorded just outside of Mullimbimby, a remote community on the eastern Australian coast, \u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e pairs two electronic synth voyagers for six extended evocations of environmental ambience and entrancing naturalism.\u003c\/p\u003e\n\u003cp\u003eIn the four decades since Ariel Kalma’s debut album, the privately pressed \u003cem\u003eLe Temps des Moissons\u003c\/em\u003e, the French-born musician has circulated corners of culture now legend: intrepid excursions as a spiritual explorer through India and New York in the 1970s, a studio staff position at the \u003cb\u003eGroupe de Researches Musicales\u003c\/b\u003e (\u003cb\u003ePierre Henry's\u003c\/b\u003e famous musique-concrète laboratory at \u003cb\u003eINA\u003c\/b\u003e studios), and training with music \/ mind \/ meditation institute \u003cb\u003eArica\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eThe genesis of this FRKWYS collaboration was inspired in part by Robert Aiki Aubrey Lowe's first release under his own name, the widely regarded full-length \u003cem\u003eTimon Irnok Manta\u003c\/em\u003e, released for Type in 2012. The album paired two strobing, drone-oriented pieces in an uncategorizable combine of ambient synthesizer-music and pulsing rhythms. Lowe also performs his vocal-based compositions as \u003cb\u003eLichens\u003c\/b\u003e and is a frequent collaborator with \u003cb\u003eOm\u003c\/b\u003e and \u003cb\u003eNurse With Wound\u003c\/b\u003e.\u003c\/p\u003e\n\u003cp\u003eChance travel landed Lowe and Kalma in San Francisco at the same time shortly after the collaboration idea was seeded. Upon meeting, Kalma was endeared by Lowe's unique set-up, a portable modular synth unit housed in a vintage luggage case. Kalma recalled his own adventures when he traveled with just a Revox tape-delay machine and saxophone.\u003c\/p\u003e\n\u003cp\u003ePlans were soon settled to record in Kalma’s home studio in Main Arm around Lowe’s serendipitous Australian tour dates with Om. The pastoral life that Kalma had settled into eons earlier vastly informed the character of the recording. Similarly mined by Ariel Kalma in his 1978 album \u003cem\u003eOsmose\u003c\/em\u003e, itself a collaboration with sculptor \u003cb\u003eRichard Tinti\u003c\/b\u003e, field recordings are embraced throughout \u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e as a key harmonic and timbral element with which to adorn.\u003c\/p\u003e\n\u003cp\u003eDescribed by Lowe in the liner notes as the \"collective voice,\" these birdsongs, creeks, tributaries and other ambient sonics of Main Arm appear throughout the album in processed and pure form. Wind instruments and signal sources are modulated, modified and sustained ad infinitum, cohering the choir of mother earth with the collaborators' own.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e is accompanied by a feature length exploratory documentary based on the collaboration. Titled \u003cem\u003eSunshine Soup\u003c\/em\u003e and directed by multitalented designers \/ artists \u003cb\u003eMisha Hollenbach\u003c\/b\u003e and \u003cb\u003eJohann Rashid\u003c\/b\u003e, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma.\u003c\/p\u003e\n\u003cp\u003eHollenbach and Rashid captured extensive footage surrounding the recording of \u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e. Using handheld HD and 8 mm cameras, they later processed the images with a Fairlight Computer Video Instrument (CVI). With its responsive, meditative perspectives and refracted, sun-bleached compositions, Sunshine Soup becomes the visual companion to the transformative musical principles explored throughout the collaborative album.\u003c\/p\u003e\n\u003cp\u003eFollowing up his 2014 archival collection \u003cem\u003eAn Evolutionary Music (Original Recordings 1972 - 1979)\u003c\/em\u003e, Kalma found an ideal collaborator in Lowe and an ideal opportunity to innovate in the field of modularly synthesized electronic music which he helped pioneer. Voyaging along parallel paths until now, \u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.\u003c\/p\u003e\n\u003cp\u003eRobert Aiki Aubrey Lowe and Ariel Kalma’s \u003cem\u003eWe Know Each Other Somehow\u003c\/em\u003e and \u003cem\u003eSunshine Soup\u003c\/em\u003e will be released on April 13 (UK) and April 14 (US \/ ROW) on 2xLP \/ DVD, CD \/ DVD and digital formats. 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For this edition, a panorama of the Pacific Coast provides the place and head space for a musical appreciation and consideration of a life-giving form vast and volatile with change.\u003c\/p\u003e\n\u003cp\u003eFortuitously (as is the freaky way), Smith and Ciani were discovered to be neighbors in the small coastal community of Bolinas, California. The two had become close friends, bonding over their experience as woman musicians and, more unusually, their shared passion for the Buchla synthesizer. The music of \u003cem\u003eSunergy\u003c\/em\u003e embraces this kinship, with Ciani and Smith respectively performing on the Buchla 200 E and the Buchla Music Easel, two modern configurations of the innovative instrument developed in the ‘60s by \u003cstrong\u003eDon Buchla\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSunergy\u003c\/em\u003e was recorded in the Bolinas home where Ciani has lived for the last twenty-four years. Her living room overlooks the Pacific Ocean from a cliffside perch, creating an idyllic, inspired setting for music making. Setting up their synths side-by-side, Ciani and Smith took turns keeping time and freely improvising for the album sessions. As a complete piece, \u003cem\u003eSunergy\u003c\/em\u003e is shaped by slow, pulsing forms and sinuous, melodic sequences that conjure both an oceanic world and the unlimited sound made possible by modular processing.\u003c\/p\u003e\n\u003cp\u003eFor her part, Ciani has long been a Buchla voyager. Suzanne proselytized the live performance potential of Don’s synthesizer in the ‘60s and ‘70s, a document of which was uncovered in the improvised live recordings of Buchla Concerts 1975, recently released by Finders Keepers. After pioneering commercial sound design for Madison Avenue (including the ubiquitous Coca-Cola \"Pop ‘n Pour\" sound effect), Ciani was able to finance her debut album \u003cem\u003eSeven Waves\u003c\/em\u003e, a suite of original compositions orchestrated electronically and connected by Buchla-designed ocean sounds, and start her uniformly spirited label, Seventh Wave.\u003c\/p\u003e\n\u003cp\u003eSince its 1982 release, \u003cem\u003eSeven Waves\u003c\/em\u003e has become an important chapter of the ambient canon within which contemporary artists like Smith have developed their own synth syntax. Smith was born just a few years after the appearance of \u003cem\u003eSeven Waves\u003c\/em\u003e, growing up in Orcas Island, Washington. A place of profound natural beauty, the islands would inform \u003cem\u003eTides\u003c\/em\u003e, her first instrumental collection from 2014. Smith composed \u003cem\u003eTides\u003c\/em\u003e as an accompaniment for Yoga classes, ultimately freeing her from conventional songwriting into the exploratory, synth-based compositions demonstrated in ecstatic variety on 2016’s \u003cem\u003eEars\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eDespite the serene setting where \u003cem\u003eSunergy\u003c\/em\u003e was realized, the album does not romanticize a complete oneness with nature. Smith and Ciani use their collaborative ground to reflect on the unstable forces at play across the Bolinas horizon. \u003cem\u003eSunergy\u003c\/em\u003e takes stock of Bolinas in the 21st century, a once-thriving artist’s refuge now vulnerable to real estate pressure extending from affluent San Francisco, and more irreparably, the specter of climate change erasing its many waterfront habitats.\u003c\/p\u003e\n\u003cp\u003eA diametric dynamic is present in \u003cem\u003eSunergy\u003c\/em\u003e; a somber meditation amidst the intense cultural and solar forces transforming the landscape, and a hopeful assertion of the surviving creative culture of Bolinas. Far from rehashing the gentle grace of the artists’ seminal works, \u003cem\u003eSunergy\u003c\/em\u003e instead seeks to awaken and bear witness, employing the Buchla waveforms to mirror the infinite rhythms of the ocean and our essential relationship to it.\u003c\/p\u003e\n\u003cp\u003eKaitlyn Aurelia Smith and Suzanne Ciani’s \u003cem\u003eSunergy\u003c\/em\u003e will be released on September 16, 2016 on LP, CD, and digital formats. An accompanying documentary by \u003cstrong\u003eSean Hellfritsch\u003c\/strong\u003e will be offered in tandem.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/YGxoQTPFtyw\" allowfullscreen=\"allowfullscreen\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/j5Xaw5r43n0\" allowfullscreen=\"\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"FRKWYS13","offers":[{"title":"DIGITAL - $10","offer_id":13130972233797,"sku":"FRKWYS13DIGI","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Sunergy (Expanded) Pacific Blue LP - $26","offer_id":40017653465151,"sku":"FRKWYS13EXLP-C1","price":26.0,"currency_code":"USD","in_stock":true},{"title":"Sunergy (Expanded) LP - $24","offer_id":40017652449343,"sku":"FRKWYS13EXLP","price":24.0,"currency_code":"USD","in_stock":true},{"title":"LP - $25","offer_id":13130972135493,"sku":"FRKWYS13LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":13130972201029,"sku":"FRKWYS13CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FRKWYS13EX-Digi-Cover-1500px.png?v=1677608486"},{"product_id":"frkwys14","title":"FRKWYS Vol. 14: Tashi Wada with Yoshi Wada and Friends - Nue","description":"\u003ch3\u003eCAT: FRKWYS14\u003c\/h3\u003e\n\u003cp\u003eRelease Date:\u003cbr\u003e September 28, 2018 (digital)\u003cbr\u003e September 28, 2018 (physical)\u003c\/p\u003e\n\u003cp\u003eComposer \u003cstrong\u003eTashi Wada\u003c\/strong\u003e has performed for years with his father \u003cstrong\u003eYoshi Wada\u003c\/strong\u003e—artist, composer, and early member of the Fluxus movement. However, they have rarely appeared together in studio settings. \u003cem\u003eNue\u003c\/em\u003e, the fourteenth entry in RVNG Intl.’s intergenerational FRKWYS series, finally brings Tashi and Yoshi, along with an eclectic group of close friends and extended family, together on tape.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNue\u003c\/em\u003e draws on aspects of Tashi’s background for his widest vision to date—among them the minimalist bagpipe music of Yoshi, who co-composed three of the tracks, the psychoacoustic and perceptual explorations of his mentor, composer \u003cstrong\u003eJames Tenney\u003c\/strong\u003e, and reimagined forms of ancient and devotional music. The album, however, is not a tribute to the past or a recapitulation of familiar sounds. Instead, \u003cem\u003eNue\u003c\/em\u003e is an intertwining of people and ideas as a means of growing, of looking inward to move outward, and of looking back to move forward.\u003c\/p\u003e\n\u003cp\u003eTo achieve this growth, Tashi assembled a core group of fellow travelers, including Yoshi, composer \u003cstrong\u003eJulia Holter\u003c\/strong\u003e, producer \u003cstrong\u003eCole MGN\u003c\/strong\u003e, and percussionist \u003cstrong\u003eCorey Fogel\u003c\/strong\u003e, to give life to this multifaceted suite. As an experience, \u003cem\u003eNue\u003c\/em\u003e subtly navigates the interactions, intimacy and spaciousness of this group.\u003c\/p\u003e\n\u003cp\u003eThe album’s title itself is a nod to Tashi’s abiding interest in duality and the unknown: \u003cem\u003enue\u003c\/em\u003e is a mythological Japanese chimera with the face of a monkey, the legs of a tiger, and a snake for a tail, a composite form, at once disturbing and otherworldly. But, as the composer points out, nue is also French for naked—stripped of complexity, bare and exposed, but also raw and essential.\u003c\/p\u003e\n\u003cp\u003eFrom the doubling of tones—and the world of harmonic nuances such an action produces—to the rich interplay between individual musicians, all baring their own personalities and experiences through shared performance, Tashi’s compositions allow space for these elements to join and grow. The multipartite creature that is an ensemble melds in the simplicity and purity of the music itself.\u003c\/p\u003e\n\u003cp\u003eAs explained by Tashi, each part was written with an individual in mind, not simply an instrument. And each individual performer makes their mark, from Holter’s vocal performances on the cresting, oceanic “Mutable Signs” and “Ondine” with guest vocalists \u003cstrong\u003eSimone Forti\u003c\/strong\u003e, \u003cstrong\u003eJessika Kenney\u003c\/strong\u003e and \u003cstrong\u003eLaura Steenberge\u003c\/strong\u003e, to Fogel’s resonant, precise percussion on “Bottom of the Sky.” Producer Cole MGN, who has worked extensively with artists like \u003cstrong\u003eBeck\u003c\/strong\u003e and \u003cstrong\u003eAriel Pink\u003c\/strong\u003e, helped to create a world of sound with minimal yet multi-dimensional materials. Like many of its influences, \u003cem\u003eNue\u003c\/em\u003e uses deceivingly simple means to create complex, coherent worlds and narratives.\u003c\/p\u003e\n\u003cp\u003eTashi notes the influence of legendary Brazilian writer \u003cstrong\u003eClarice Lispector\u003c\/strong\u003e, whose work looked inward, investigating memory and emotion and dream, to understand the often overwhelming world outside the self. Like Lispector’s classic novel \u003cem\u003eNear to the Wild Heart\u003c\/em\u003e, \u003cem\u003eNue\u003c\/em\u003e cleaves these archetypal dualities—world\/self, old\/new, complex\/simple—to create a work that allows them to coalesce into something singular.\u003c\/p\u003e\n\u003cp\u003eAs Tashi states in his liner notes: “My desire was to create something both old and new sounding—ancient and futuristic—and ultimately something of its own world and other. \u003cem\u003eNue\u003c\/em\u003e is a vision, an endless night of dreams, and a personal history of sorts, full of joys and demons.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTashi Wada with Yoshi Wada and Friends’\u003c\/strong\u003e \u003cem\u003eNue\u003c\/em\u003e was released on September 28, 2018 on LP, CD, and digital formats. \u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/files\/updated_-_Tashi_Wada_Group_-_Spring_2019-01_large.png?v=1553541454\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Ovuv96LY15M\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/5QguWBOE5oc\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ogWuAWXy8Do\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"FRKWYS14","offers":[{"title":"DIGITAL - $9","offer_id":16607424675909,"sku":"FRKWYS14DIGI","price":9.0,"currency_code":"USD","in_stock":true},{"title":"LP - $25","offer_id":13131136892997,"sku":"FRKWYS14LP","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD - $15","offer_id":13131136958533,"sku":"FRKWYS14CD","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0026\/6993\/6709\/products\/FRKWYS14-Digital-Cover-500px.png?v=1535219844"},{"product_id":"visible-cloaks-yoshio-ojima-satsuki-shibano-frkwys-vol-15-serenitatem","title":"FRKWYS Vol. 15: Visible Cloaks, Yoshio Ojima \u0026 Satsuki Shibano - serenitatem","description":"\u003cp\u003e\u003cem\u003eserenitatem\u003c\/em\u003e, the fifteenth installment of RVNG’s intergenerational FRKWYS series, joins \u003cstrong\u003eVisible Cloaks\u003c\/strong\u003e with \u003cstrong\u003eYoshio Ojima\u003c\/strong\u003e and \u003cstrong\u003eSatsuki Shibano\u003c\/strong\u003e, trailblazers of the Japanese ambient music scene in the 1980s and 90s. 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A pioneer of “live multitrack recording” with the \u003c\/span\u003e\u003cb\u003eDaniel Lentz Group\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, he frequently writes for ensembles of similar instruments, from choirs to string orchestras to glass harmonicas. Like his west coast colleagues \u003c\/span\u003e\u003cb\u003eHarold Budd\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and \u003c\/span\u003e\u003cb\u003eIngram Marshall\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Lentz composes music of slow changes, built on fundamental harmonies and rhythms that evoke vast spaces and deep, ancient stone.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eCanadian artist Ian William Craig combines his classically trained voice with precarious technologies: homemade analog synths, altered reel-to-reel machines, and faulty tape decks. 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