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Artist: AUREILA SMITH, KAITLYN & SUZANNE CIANI
Title: FRKWAYS vol. 13 - Sunergy
Format: CD
Label: Rvng International
Country: USA
Price: $15.00
"Sunergy brings together synthesists Kaitlyn Aurelia Smith and Suzanne Ciani for the thirteenth installment of FRKWYS, RVNG Intl.s intergenerational collaboration series. 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. Fortuitously (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 Sunergy 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 Don Buchla.

Sunergy 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, Sunergy 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.

For her part, Ciani has long been a Buchla voyager. Suzanne proselytized the live performance potential of Dons 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 Seven Waves, a suite of original compositions orchestrated electronically and connected by Buchla-designed ocean sounds, and start her uniformly spirited label, Seventh Wave. Since its 1982 release, Seven Waves 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 Seven Waves, growing up in Orcas Island, Washington. A place of profound natural beauty, the islands would inform Tides, her first instrumental collection from 2014. Smith composed Tides as an accompaniment for Yoga classes, ultimately freeing her from conventional songwriting into the exploratory, synth-based compositions demonstrated in ecstatic variety on 2016s Ears.

Despite the serene setting where Sunergy 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. Sunergy takes stock of Bolinas in the 21st century, a once-thriving artists 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.

A diametric dynamic is present in Sunergy; 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, Sunergy 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.

Kaitlyn Aurelia Smith and Suzanne Cianis Sunergy will be released on September 16, 2016 on LP, CD, and digital formats. An accompanying documentary by Sean Hellfritsch will be offered in tandem." - Rvng International.

Artist: AUREILA SMITH, KAITLYN & SUZANNE CIANI
Title: FRKWYS vol. 13 - Sunergy
Format: LP
Label: Rvng International
Country: USA
Price: $18.00
"Sunergy brings together synthesists Kaitlyn Aurelia Smith and Suzanne Ciani for the thirteenth installment of FRKWYS, RVNG Intl.s intergenerational collaboration series. 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. Fortuitously (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 Sunergy 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 Don Buchla.

Sunergy 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, Sunergy 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.

For her part, Ciani has long been a Buchla voyager. Suzanne proselytized the live performance potential of Dons 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 Seven Waves, a suite of original compositions orchestrated electronically and connected by Buchla-designed ocean sounds, and start her uniformly spirited label, Seventh Wave. Since its 1982 release, Seven Waves 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 Seven Waves, growing up in Orcas Island, Washington. A place of profound natural beauty, the islands would inform Tides, her first instrumental collection from 2014. Smith composed Tides as an accompaniment for Yoga classes, ultimately freeing her from conventional songwriting into the exploratory, synth-based compositions demonstrated in ecstatic variety on 2016s Ears.

Despite the serene setting where Sunergy 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. Sunergy takes stock of Bolinas in the 21st century, a once-thriving artists 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.

A diametric dynamic is present in Sunergy; 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, Sunergy 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.

Kaitlyn Aurelia Smith and Suzanne Cianis Sunergy will be released on September 16, 2016 on LP, CD, and digital formats. An accompanying documentary by Sean Hellfritsch will be offered in tandem." - Rvng International.

Artist: BARWICK & IKUE MORI, JULIANNA
Title: FRKWYS Vol. 6
Format: LP
Label: Rvng International
Country: USA
Price: $22.00
"Frkwys Vol. 6 features four pieces composed and performed by artists Julianna Barwick and Ikue Mori as part of a month long installation curated by RVNG Intl. at White Columns gallery, New York City, NY. For 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 stationary web cams captured the musicians at work/play and became interactive projections auto-manipulated by video artist Erik Mika, illuminating this exercise in simulated engagement. Each of Julianna and Ikues improvised performances on October 29th, 2010, were cut live to vinyl via portable lathe. Julianna 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. The LP is available in limited edition, packaged in thick black jackets with a two color adhesive wrap. All LPs come with a 24 page black & white zine featuring photography by Mayer and Rogac." - Rvng.

Artist: BLUES CONTROL & LARAAJI
Title: Frkwys Vol. 8
Format: LP
Label: Rvng International
Country: USA
Price: $18.00
"Volume 8 in the ongoing FRKWYS series on RVNG Intl. is a double album-length collaboration between Blues Control and Laraaji. Following the "fodder first" tradition of previous FRKWYS installments, Vol. 8 was birthed over e-mail dialogue between RVNG and Russ Waterhouse and Lea Cho of Blues Control. Blues Controls evolved output gracefully arcs with influence and innovation that gleams electronic, New Age, and hard rock terrains. Laraajis name came up early in that conversation and felt intrinsic to Waterhouse and Chos own musical calling. After learning various instruments in his formative years and studying composition at Howard University, Laraaji eventually found his musical conduit in an electronically-modified zither. Laraajis 1979 album Celestial Vibration (recorded as Edward Larry Gordon) places the stringed instrument at the forefront on two side-length excursions in rhythmic ambiance. The 1980 album Ambient 3: Day of Radiance, produced by Brian Eno for his ambient record series, further documented Laraajis zither explorations alongside Enos soundscaping. Laraaji continues to pursue music both in its recorded form and as a healing tool. Blues Control and Laraaji convened at Black Dirt Studio in upstate New York on December 9th, 2010. Over the course of a single studio day, the three musicians (accompanied on certain jams by Laraajis "musical friend" Arji Cakouros) 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. Without context, its 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. Its clear a cosmic force is at play, and that this playfulness is the creative mediator of the music. Over 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 Laraajis 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. The 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." - Rvng International.

Artist: BORDEN, FERRARO, GODIN, HALO & LOPATIN
Title: Frkwys Vol. 7
Format: LP
Label: Rvng International
Country: USA
Price: $20.00
"The full-length player of FRKWYS Vol. 7 features pieces improvised in various forms by DAVID BORDEN, JAMES FERRARO, SAMUEL GODIN, LAUREL HALO and DANIEL LOPATIN. When Lopatin (ONEOHTRIX POINT NEVER, FORD & LOPATIN) and RVNG Intl. began discussing this FRKWYS collaboration, Bordens work in MOTHER MALLARDS PORTABLE MASTERPIECE CO. and his seminal Music For Amplified Keyboard Instruments album were mutually / ecstatically acknowledged. While rooted in academia, Bordens minimalist compositions deal in natural themes, evoking expansive environments. Over two days in August 2010, the ensemble played infinitely, taking breaks only to discuss next directions, past pursuits, and, of course, gear. 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 limited edition LP version is packaged in thick black jackets with a two-color adhesive wrap." - Rvng International.

Artist: CFCF
Title: The River
Format: 12"
Label: Rvng International
Country: USA
Price: $14.00
"CFCF treads dark waters on The River. Where the 22-year old Montreal based producer CFCFs (Michael Silver) debut album Continent (Paper Bag 2009) hinted at primal and ambient themes, The River fully transports the listener to a heart of darkness. Inspired by Werner Herzogs visual masterpiece Fitzcarraldo, The River follows a dream-like arc, lucid sound sequences from a lunatic mind. The Rivers voyage begins with Before and After Light, a track based around a cyclical finger-picking sample and ghostly tones that could form the core of an Ambient Eno album. It Was Never Meant to Be This Way furthers the vessel along on a wash of synth waves and a melancholy chopstick piano figure. Around the bend to the A-sides end is the choral, Popul Vuh-inspired cosmic guitar shredding of Upon the Hill. Frozen Forest heightens the grandeur opening the B-side with a slow-mo break beat and arpreggiating bass work out. The title track casts doomsday shadows before the best use of a master blaster drum attack since DJ Shadows Stem/Long Stem. After the unrest, Orage drifts on a bed of wreckage into an uncertain dusk. The first pressing of The River is limited to 550 vinyl copies. The first run of jackets are printed black offset with a bronze letterpress overprint on heavy news board. Jacket concept and design by Kevin ONeill of Work For Good, based loosely on the weathered map that lead Fitzcarraldo to madness and freedom. 6 new songs + full digital download including remixes from Games, Jacques Renault, and Coyote." -Rvng

Artist: EXCEPTER
Title: Frkwys Vol. 2
Format: 12"
Label: Rvng International
Country: USA
Price: $17.00
"RVNG is proud to announce a new 12" series entitled FRKWYS. 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. Like the Folkways releases, each installment in RVNGs 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 Excepter with Chris Carter and Cosey Fanni Tutti of Throbbing Gristle and Chris & Cosey, and JG Thirwell of Foetus and his many alter egos. The result of this premiere series edition is a new and entirely relevant industrial revolution. Chris & Cosey draw from their early output (Heartbeat, Trance) and turn Excepters Shots Ring into a whip smart primitive techno mix while JG Thirwell orchestrates Stretch as a wildly percussive, brassy acid track. We 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." -RVNG International
SOLD OUT

Artist: GROSSKOPF, HARALD
Title: Synthesist/Re-Synthesist
Format: LP + CD
Label: Rvng International
Country: USA
Price: $22.00
"Synthesist, the landmark 1980 solo album by Harald Grosskopf, the enigmatic percussionist behind Ash Ra Temple, Klaus Schulze, Cosmic Jokers, and YOU. A melodically rich and celebratory symbiosis of krautrock, kosmische, and new age, restored and remastered for RVNG Intls debut reissue. Includes a bonus album compilation CD Re-Synthesist, featuring reinterpretations of Synthesist by Oneohtrix Point Never, Blondes, Arp, CFCF, Stellar Om Source, James Ferraro and more. The Synthesist LP comes in a deluxe package including a unique reverse-bound record jacket and full-color liner notes in English and German." -Rvng.

Artist: GUNN, STEVE & MIKE COOPER
Title: Cantos de Lisboa
Format: LP
Label: Rvng International
Country: USA
Price: $18.00
"For the the eleventh volume of FRKWYS, an unrestricted series pairing contemporary artists with their influential predecessors, gifted guitar squire Steve Gunn meets roving, radiating legend Mike Cooper in Lisbon, Portugal. Sharing their vision over lengthy living room guitar sessions and evenings of cold wine in Fado taverns, Gunn and Cooper created Cantos de Lisboa, an album with variable vernacular shades and musical forms from Portugals antiquity. Cantos 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. A tranquil interlude for these two travelers to create off-guard improvisations in their shared style of deconstructed guitar music, Cantos de Lisboa is a curious detail in the periphery of this snapshot of Portugal. In his fifty-year-plus career, Coopers global ventures have transported his music to exotic locales parallel to Lisbon. 2004s Rayon Hula musically translated the patterned flora of aloha shirts (Coopers signature garment) as looped samples of famed Hawaiian vibraphone player Arthur Lyman for an avant vivified form of exotica. Rayon Hula signaled Coopers vital re-emergence as a dexterous alchemist of slide guitar. Coopers discography is colored with similar instances of casually conceptual, improvisatory guitar music, including his 1970 masterpiece Trout Steel (an album Gunn recalls in Cantos de Lisboas liner notes as shaping his own ambitions and music). For his part, Gunns path to Portugal was compelled by his kinship to Cooper and his ilks experimentation with guitar-picked country blues and 70s British folk. Gunns 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. These musical emblems were gracefully memorialized on Gunns celebrated Time Off (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. On Cantos de Lisboa, 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 Cantos de Lisboa, while steering a wide berth from any bummer notes or pastiche. Coopers sparse effects toolkit and stately, gliding cadences are nimbly employed, while Gunns ashen voice and steady strum lend an intensely organic feel to the albums improvisatory portraits. The latter half of Cantos de Lisboa echoes the “saudade” theme as referenced in the blissful opening track, Coopers howl spiriting the Portuguese word that translates roughly into “loss” or “longing.” Saudade is said to be the core feature of Fado music. In Cantos de Lisboa, Saudade becomes a spirit inhabiting the albums corners, but never disrupting the musicians collaborative evocations. In the hands of these two limitless guitarists, Cantos de Lisboa convenes in an abstract, almost field recorded take on lap-steel and American Primitive guitar styles. For the brief idyll, Gunn and Coopers collaboration is remarkably rich, marking their passage through Portugal not just as a time to revel in an ancient city, but a time for focused collaboration and creative consonance." - Rvng International.

Artist: HOLTER, JULIA
Title: Ekstasis
Format: Double LP
Label: Rvng International
Country: USA
Price: $20.00
"Julia Holters second album,Ekstasis, is a collection of songs written and recorded across the span of three years in Los Angeles, California. Ekstasis marks a return to the playful searching of her 2007 Eating the Stars EP, but guided by newly-learned disciplines, slightly better technology, and nearly limitless home recording time. Holters songwriting stems from a mythological reverence of that which is incomprehensibly beautiful. Stars was a first attempt at musically transcribing this beauty, while discovering the honest enjoyment of unadulterated creativity. Holters critically acclaimed debut album Tragedy (Leaving Records, 2011) embraced Stars strains of shimmer, but used sparser textures in a narrative context. While Ekstasis reflects the conventions of her classical training, the album is also uncannily, if unknowingly, poppy. Holters approach to crafting the songs of Ekstasis centered around what she describes as, open ear decision: what seemed to sound best for that moment. This blindness to reverence unintentionally steers Ekstasis along the experimental pop spectrum most commonly associated to New Yorks Downtown music micro-universe of the 80s, specifically the works of Laurie Anderson and Arthur Russell. Repressed with mp3 download." -Rvng.

Artist: HOMLER, ANNA AND STEVE MOSHIER
Title: Breadwoman & Other Tales
Format: LP
Label: Rvng International
Country: USA
Price: $18.00
"Breadwoman & Other Tales are the collected recordings of a language arising. It is the sound and document of Anna Homler divining speech, lyrical fragments, and melody for music composed, mixed, and engineered by Steve Moshier.

Its 1982 and Anna is driving an ocean blue classic Cadillac to meet renowned poet and playwright Deena Metzger in Topanga Canyon, Los Angeles. Passing a non-descript desert patch where tall wheat and mustard flowers grow, Anna opens her mouth and sings in a salient stream of rhythmic, melodic sound. Breadwoman is born, but not by immaculate conception. For Homler, performance art had recently become “a form big enough to contain everything happening” during her studies with Rachel Rosenthal at Otis College of Art and Design. As this performative freedom fed into the enchanted vocalese, the character of Breadwoman emerged.

Homler tread the same multi-disciplinary waters where Steve Moshier and the Cartesian Reunion Memorial Orchestra (CRMO), a communal avant-garde urban chamber music ensemble formed in LA in 1979, floated. When their currents connected, it was clear Homler and Moshier were kin, crossing genres through intensely physical de-significations of music: quasi-theatrical, fully mythic, ritualistic performances.

Instead of confining Anna as “a vocalist,” Moshier recognized Annas voice as a sonic element. To accomplish the recordings of this collection, Moshier chose the least song-like material from Homlers handheld cassette transcriptions and composed music considerately. Anna would then record chants and song variations which Steve would tweak for final touches through his arsenal of analog equipment.

Although Breadwoman stands outside of time, she is is rich in the ingredients of 1980s Los Angeles performance art, renegade DIY punk, gallery culture, galvanized jazz, underground cassette-trading culture, drag extravaganzas, and esoteric meaning-making mysticism.

Breadwoman is a storyteller — shes so very old shes turned into bread. Breadwoman says: If you dont try to understand, you will. She is the voice, and the voice is cosmic realitys musicality. Through Breadwoman & Other Tales, we hear material meet mythos.

Anna Homler and Steve Moshiers Breadwoman & Other Tales is available now on LP, CD, and digital formats. Extensive liner notes and artist interviews were overseen by Andrew Choate. The collection was assembled by RVNG, Anna Homler, and Steve Moshier, who both continue making music to this day." - Rvng Interntaional.

Artist: HOMLER, ANNA AND STEVE MOSHIER
Title: Breadwoman & Other Tales
Format: CD
Label: Rvng International
Country: USA
Price: $12.00
"Breadwoman & Other Tales are the collected recordings of a language arising. It is the sound and document of Anna Homler divining speech, lyrical fragments, and melody for music composed, mixed, and engineered by Steve Moshier.

Its 1982 and Anna is driving an ocean blue classic Cadillac to meet renowned poet and playwright Deena Metzger in Topanga Canyon, Los Angeles. Passing a non-descript desert patch where tall wheat and mustard flowers grow, Anna opens her mouth and sings in a salient stream of rhythmic, melodic sound. Breadwoman is born, but not by immaculate conception. For Homler, performance art had recently become “a form big enough to contain everything happening” during her studies with Rachel Rosenthal at Otis College of Art and Design. As this performative freedom fed into the enchanted vocalese, the character of Breadwoman emerged.

Homler tread the same multi-disciplinary waters where Steve Moshier and the Cartesian Reunion Memorial Orchestra (CRMO), a communal avant-garde urban chamber music ensemble formed in LA in 1979, floated. When their currents connected, it was clear Homler and Moshier were kin, crossing genres through intensely physical de-significations of music: quasi-theatrical, fully mythic, ritualistic performances.

Instead of confining Anna as “a vocalist,” Moshier recognized Annas voice as a sonic element. To accomplish the recordings of this collection, Moshier chose the least song-like material from Homlers handheld cassette transcriptions and composed music considerately. Anna would then record chants and song variations which Steve would tweak for final touches through his arsenal of analog equipment.

Although Breadwoman stands outside of time, she is is rich in the ingredients of 1980s Los Angeles performance art, renegade DIY punk, gallery culture, galvanized jazz, underground cassette-trading culture, drag extravaganzas, and esoteric meaning-making mysticism.

Breadwoman is a storyteller — shes so very old shes turned into bread. Breadwoman says: If you dont try to understand, you will. She is the voice, and the voice is cosmic realitys musicality. Through Breadwoman & Other Tales, we hear material meet mythos.

Anna Homler and Steve Moshiers Breadwoman & Other Tales is available now on LP, CD, and digital formats. Extensive liner notes and artist interviews were overseen by Andrew Choate. The collection was assembled by RVNG, Anna Homler, and Steve Moshier, who both continue making music to this day." - Rvng Interntaional.

Artist: KALMA, ARIEL
Title: An Evolutionary Music (Original Recordings: 1972 - 1979)
Format: Double LP
Label: Rvng International
Country: USA
Price: $24.00
“An Evolutionary Music (Original Recordings: 1972 – 1979)compiles unreleased recordings from the archives of multiversal artist Ariel Kalma. Concerned as much with musicality as spiritual facility, Kalmas work vibrates aside fellow travelers along the great rainbow in curved air of the 1970s avant-garde. Ariel Kalmas boundary-blurring electronic music is heard here in radiant detail across a selection of work spanning his early free-jazz and spoken word trips to his infinite modular synthesizer and analogue rhythm machine meditations. Kalmas story is one of world travel, musical discovery and ego-abandonment. Yet for an artist who often discarded public recognition in favor of the ascetic truths in music making, An Evolutionary Music offers the imprint of an outright auteur. Born in France, but rarely in one place for long, Ariel Kalmas 1970s migrations took flight through the decades furthest spaces of musical and spiritual invention. As a hired horn for well-known French groups, the young musician toured as far as India in 1972, a place where Kalma found an antidote to rock n rolls glitz and glamour in sacred music traditions. Kalma would later return to India and learn circular breathing techniques enabling him to sustain notes without pause against tape-looping harmonies configured through his homemade effects units. Those effects evolved from Kalmas loyalty to a beloved dual ReVox set-up— two tape machines “chained” together to form a primitive delay unit. Over looped saxophone melodies, Kalma would mix in all shades of polyphonic color, synthesizing fragments of poetry with ambient space or setting modal flute melodies to rippling drum machine patterns and starlit field recordings. The results collapse distinctions between “electro-acoustic”, “biomusicology” and “ambient” categorization. In France during the mid-1970s, Kalma was staffed as a technician at Pierre Henrys legendary Institut National Audiovisuel, Groupe de Recherches Musicales (INA GRM) studios – the same music concréte laboratory that spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard Parmegiani. Like his predecessors and colleagues at INA GRM, Kalmas relationship to sound was both formal and non-hierarchical. To Kalma, all music existed as universal patterns, in perfect harmony with the people, places and environments it was created. Kalmas recorded output of the 1970s culminated in the now scarcely-available Les Temps des Moissons (trans. The Time of Harvest) in 1975 and Osmose in 1978, a masterpiece of birdsong exploration. Osmose is double album featuring sculptorRichard Tinti, who had supplied Kalma with hours of field recordings from the rainforests of Borneo. With somber organ textures and wistful sax blended seamlessly into the wild of the forest sounds, Osmose avoids simple soundscaping through Kalmas careful arrangements, allowing each life form its own harmonic gravity. The backdrop of An Evolutionary Music depicts Kalmas adventures as a world traveller on the cosmic path of inner discovery and musical innovation. Coinciding with United States bicentennial in 1976, Kalma made his way to New York to join the exclusive musical-spiritual collective Arica, and ended up crashing in the Cathedral of Saint John the Divines basement. At night, Ariel played the churchs organ and ventured out to mix it up with like-minded musicians in the Village. It was here that he met a musical hero, Don Cherry, an artist of much consequence and similarity to Kalma. An Evolutionary Music harvests uncatalogued music made between Kalmas private press records and onward through the many small-batch cassette releases Kalma would tender. With this collection of musical hybridity and distinct genre-corrosion, Ariel Kalmas righteous bucking of both popular music trends and the academic tenets of the avant-garde falls squarely in the spirit of other renegades of sacred new-music such as Terry Riley, La Monte Young, and Charlemagne Palestine. Extensive liner notes and artist interviews were overseen by New York writer Jesse Jarnow. The collection was assembled by RVNG and Ariel Kalma himself, who continues making music to this day.” - Rvng.

Artist: LEIMER, K.
Title: A Period of Review
Format: Double LP
Label: Rvng International
Country: USA
Price: $22.00
"“For the third installment in RVNG Intl.s archival series, the tape is wound back to 1970s Seattle, home place of ambient music savant K. Leimer. A Period of Review (Original Recordings: 1975 – 1983) unearths unreleased portions of Leimers vast archives and highlights the work of a self-taught visionary whose use of generative compositions ferried his music to infinite resonance.

Kerry Leimer was born in Winnipeg, Canada. He was raised in Chicago before his family permanently settled in Seattle in 1967. Kerrys teenage interests and artistic experiments blossomed from the seductively strange tendrils of Dadaism and Surrealism. In the early 70s, Leimer found musical parallels to these visual movements by studying backdaated copies of NME and Melody Maker and inquiring with local record store clerks about the exotic descriptions he read of Can, Neu! and Faust – innovators who were bringing the wild dictates of 60s art-discourse into music.

The tape-manipulated serenity Leimer experienced with Clusters II was a key revelation. Leimer realized the potential to compose with minimal training and scoured pawnshops for cheap instruments and recording equipment to transpose his wayward musical instincts. Leimers sound palette and composition soon refined and heightened with the accessibility of dynamic equipment such as the Micromoog and TEAC multi-track tape machines. Synchronously, the Terry Riley indebted loop-based compositions of Robert Fripp and Brian Enos No Pussyfooting inspired Leimer to form recursive musical passages of bare timbre and melody that would become hallmarks of his sound. “The loop provided an instant structure – a sort of fatalism,” recollects Leimer in A Period of Reviews liner notes. “The participation of the tape machine in shaping and extending the music was a key to setting self-deterministic systems in motion and held a clear relationship to my interests in fine art.”

The underground music scene of Seattle-Olympia in late 70s was small but seeded. The vestiges of prog rock pompously pummeled the few clubs and record shops before punk and New Wave became the rage. Leimer sought to support a growing community of experimental composers by launching the Palace of Lights record label in 1979 with his wife Dorothy Cross (this was years prior to the birth of regional titans K Records and Sub Pop). Palace of Lights took philosophical and logistical cues from the flourishing DIY cassette culture, but demonstrated a different elegance in its music and design. A testament to his independent and uncompromising spirit, all of Leimers recorded work would be released in varying formats and editions on Palace of Lights from 79 to 83.

Leimer rarely performed live, averting the litmus of instant appreciation for his solitary studio pursuits. Tellingly, the “K.” that abbreviated Leimers first name was a nod to Kafkas doomed pariah Josef K (from The Trial and The Castle). This gives a sense of the reclusive and literary realm Leimer was fond of working in. Despite his reticence, Leimers debut 1980 album Closed System Potentials would reach a receptive audience, and eventually sell more than 3,000 copies thanks in part to Crosss persistent advocation to independent distributors and magazines.

A Period of Review focuses on unheard material outside of the work Leimer offered on Palace of Lights, though even that music could be considered relatively “unheard.” The thirty tracks of A Period of Review may have remained a mystery on moldy reels until now, but Leimers entire catalog of generative music remains pristine in its absolute power.

The pieces of A Period of Review draw on many influences of the time, articulating gestures that embrace coolly composed stoicism, saturated fields of percolating beats, stark razed spaces and grave and gently developed glimpses of beauty. Overall, a genuine diversity of expression underscoring just how much range Leimer had at his disposal. A Period of Review is a rewarding step into the canopied, unheard world of K. Leimer and necessarily grand in scope. With its hypnotic, arcadian terraces and nearly narcotic glacial beauty, A Period of Review has a rightful place in the canon of pioneering ambient music."

Artist: LEON, CRAIG
Title: Anthology of Interplanetary Folk Music Vol. 1 : Nommos/Visiting
Format: Double LP
Label: Rvng International
Country: USA
Price: $24.00
“Craig Leons seminal synthesizer albums Nommos and Visiting are finally re-editioned in definitive form as the Anthology of Interplanetary Folk Music Vol. 1 for RVNG Intl.s archival series.

Issued respectively by John Faheys Takoma record label in 1980 and Leons Arbitor private press in 1982, Nommos and Visiting were the twin brainchildren of studio wizard Craig Leon. Leons production was pivotal in realizing the debut recordings by Ramones, Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound, Leons own debut album was arguably, if not literally, more alien.

In 1973, the Brooklyn Museum hosted a comprehensive collection of sculptures by the Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections of a visit from an extraterrestrial species they named Nommos. Years after experiencing the exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was presented and a challenge in place: what would music sound like if handed down from an ancient alien species? And how best to imagine it?

Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to employ the latest and greatest synthesizer technology available. An avant empathist and eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint. After a secluded week in an Austin, Texas studio with his partner, wife and collaborator Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms programmed on a prototype of Roger Linns nascent drum-machine, the LM-1.

Issued by Fahey with zero expectation of the same radio airplay Leon accomplished with his pop productions, Nommos now stands as an innovative example of cosmic-synth composition that wasnt made for its time or any other. For this edition, Leon has in fact re-animated Nommos by re-recording the exact audio signals as preserved in the albums original studio notes. Every patch, tape-delay speed and outboard setting was transcribed as first scored, materializing the best possible audio of an album whose masters were unaccessible to Leon due to a major label merger milieu from years ago. Additionally, the re-master of Visiting was supervised firsthand by Leon. As its title suggests, Visiting materialized in 1982 as a conceptual continuation of Nommos. The album is in equal measure more improvisatory and constructed than its predecessor. Both albums were intended to be listened to as a set in the first volume of Leons Anthology of Interplanetary Folk Music (the title was an homage to Harry Smiths influential collection of folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and compositional additions to both albums to enhance the connectivity and encourage infinite interpretation.

While reissues and bootlegs have appeared to relieve the demand for these records, this collection will stand as definitive versions authorized by Craig Leon himself. The vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by Leon. The first tells the complete story of the stargazing Dogon people and their prescient understanding of cosmology. The second details Leons adventure in creating the Anthology of Interplanetary Folk Music Vol. 1, an epic story bookended on this side of history as one seamless synth classic.” - Rvng International.

Artist: LOWE, ROBERT AIKI AUBREY & ARIEL KALMA
Title: FRKWYS Vol. 12: We Know Each Other Somehow
Format: CD + DVD
Label: Rvng International
Country: USA
Price: $20.00
"We Know Each Other Somehow is the twelfth volume of FRKWYS, the music, film, and event series celebrating intergenerational collaboration. For this installment, RVNG Intl. offers a collection of original compositions by Robert Aiki Aubrey Lowe and Ariel Kalma.

Recorded just outside of Mullimbimby, a remote community on the eastern Australian coast, We Know Each Other Somehow pairs two electronic synth voyagers for six extended evocations of environmental ambience and entrancing naturalism.

In the four decades since Ariel Kalmas debut album, the privately pressed Le Temps des Moissons, 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 Groupe de Researches Musicales (Pierre Henrys famous musique-concrète laboratory at INA studios), and training with music / mind / meditation institute Arica. The genesis of this FRKWYS collaboration was inspired in part by Robert Aiki Aubrey Lowes first release under his own name, the widely regarded full-length Timon Irnok Manta, 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 Lichens and is a frequent collaborator with Om and Nurse With Wound.

Chance 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 Lowes 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.

Plans were soon settled to record in Kalmas home studio in Main Arm around Lowes 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 Osmose, itself a collaboration with sculptor Richard Tinti, field recordings are embraced throughout We Know Each Other Somehow as a key harmonic and timbral element with which to adorn.

Described 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.

We Know Each Other Somehow is accompanied by a feature length exploratory documentary based on the collaboration. Titled Sunshine Soup and directed by multitalented designers / artists Misha Hollenbach and Johann Rashid, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma.

Hollenbach and Rashid captured extensive footage surrounding the recording of We Know Each Other Somehow. 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.

Following up his 2014 archival collection An Evolutionary Music (Original Recordings 1972 – 1979), 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, We Know Each Other Somehow shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.

Robert Aiki Aubrey Lowe and Ariel Kalmas We Know Each Other Somehow and Sunshine Soup will be released on April 13 (UK) and April 14 (US / ROW) on 2xLP / DVD, CD / DVD and digital formats. By virtue of its own merits, the film will screen independently at festivals throughout 2015." - Rvng International.

Artist: LOWE, ROBERT AIKI AUBREY & ARIEL KALMA
Title: FRKWYS Vol. 12: We Know Each Other Somehow
Format: Double LP + DVD
Label: Rvng International
Country: USA
Price: $27.00
"We Know Each Other Somehow is the twelfth volume of FRKWYS, the music, film, and event series celebrating intergenerational collaboration. For this installment, RVNG Intl. offers a collection of original compositions by Robert Aiki Aubrey Lowe and Ariel Kalma.

Recorded just outside of Mullimbimby, a remote community on the eastern Australian coast, We Know Each Other Somehow pairs two electronic synth voyagers for six extended evocations of environmental ambience and entrancing naturalism.

In the four decades since Ariel Kalmas debut album, the privately pressed Le Temps des Moissons, 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 Groupe de Researches Musicales (Pierre Henrys famous musique-concrète laboratory at INA studios), and training with music / mind / meditation institute Arica. The genesis of this FRKWYS collaboration was inspired in part by Robert Aiki Aubrey Lowes first release under his own name, the widely regarded full-length Timon Irnok Manta, 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 Lichens and is a frequent collaborator with Om and Nurse With Wound.

Chance 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 Lowes 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.

Plans were soon settled to record in Kalmas home studio in Main Arm around Lowes 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 Osmose, itself a collaboration with sculptor Richard Tinti, field recordings are embraced throughout We Know Each Other Somehow as a key harmonic and timbral element with which to adorn.

Described 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.

We Know Each Other Somehow is accompanied by a feature length exploratory documentary based on the collaboration. Titled Sunshine Soup and directed by multitalented designers / artists Misha Hollenbach and Johann Rashid, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma.

Hollenbach and Rashid captured extensive footage surrounding the recording of We Know Each Other Somehow. 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.

Following up his 2014 archival collection An Evolutionary Music (Original Recordings 1972 – 1979), 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, We Know Each Other Somehow shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.

Robert Aiki Aubrey Lowe and Ariel Kalmas We Know Each Other Somehow and Sunshine Soup will be released on April 13 (UK) and April 14 (US / ROW) on 2xLP / DVD, CD / DVD and digital formats. By virtue of its own merits, the film will screen independently at festivals throughout 2015." - Rvng International.

Artist: SAVANT
Title: Artificial Dance
Format: Double LP
Label: Rvng International
Country: USA
Price: $24.00
"The story of electronic music pioneer Kerry Leimer continues with a focus on his auteurist studio project Savant.

Compiling the standalone album, 1983s The Neo Realist (At Risk), with Savants debut 12″ and a grip of compilation and unreleased tracks, Artificial Dance documents Leimers complete collaborative venture into the unpredictable realities of music, exploring the gulf between what is expected by its creators and what is eventually – and eternally – committed to tape. Savant was designed by Leimer to tap into entropic truths, asserting an uncaged counterpart to the loop-based minimalism he produced in isolation (recently surveyed on RVNG Intl.s A Period of Review (1975-1983)). Aligning himself with the Cage-ean principles of chance operations and musical contingency, Savant was a band sans jam. Allegorically, a blindfolded collaboration whose happenstance source music Leimer would sample, loop and sculpt at will.

Leimer was creatively autonomous to the point of being a persona absentia in Seattles 80s rock scene. Unconcerned by social status, Leimer enlisted musicians from experimental and post-punk groups in the area to come record as Savant at his home studio, Tactical. Among them were ambient composer Marc Barreca, John Foster (founder of Op Magazine – the experimental music publication), Jim and David Keller of the New Flamingos, and their bandmate Alex Petit. Others, like Roy Finch and Dennis Rea, came from a similar orbit. Even with these musicians at his beck and call, Leimer implemented a disarming musical strategy. Savant would have no fixed line up and often musicians would be asked to play instruments far outside their forté. Leimer would however give loose rhythmic direction for the musicians to develop spontaneously against click-tracks. When the performance locked in with Leimer listening at the controls, hed capture it to tape. These moments became the soul of Savant and the combustive elements that would variegate its timbres.

Savant tonally operates in a space between This Heats dark primitivism and the found sound collage of Brian Eno & David Byrnes My Life in the Bush of Ghosts. These analogies are simply stylistic, as the narrative behind The Neo-Realists production makes clear Leimer was concocting via more alchemic means, avoiding genre aspirations by looking for accidental moments of musical intrigue and discovery. Leimer explains this process in the collections liner notes: “I was looking for flaws, for faults to act as the stand-out features of the music.”

Far from a provisional stab at avant-garde sensibilities, Savant represents Leimers repudiation of ambient musics passive side. Artificial Dance embodies a perfectionists family portrait of outré musicians conforming to Leimers nonconformist musical ethos. Fitting for its name, Leimer created conditions for asocial brilliance with Savant, materializing an outward offering from an inward studio and a collaboration of audacious invention.

Savants Artificial Dance is available now as double LP set, CD, and digitally. Extensive liner notes and artist interviews were overseen by Aaron Leitko. The collection was assembled by RVNG and K. Leimer, who continues making music to this day." - Rvng International.
SOLD OUT

Artist: SAVANT
Title: Artificial Dance
Format: CD
Label: Rvng International
Country: USA
Price: $15.00
"The story of electronic music pioneer Kerry Leimer continues with a focus on his auteurist studio project Savant.

Compiling the standalone album, 1983s The Neo Realist (At Risk), with Savants debut 12″ and a grip of compilation and unreleased tracks, Artificial Dance documents Leimers complete collaborative venture into the unpredictable realities of music, exploring the gulf between what is expected by its creators and what is eventually – and eternally – committed to tape. Savant was designed by Leimer to tap into entropic truths, asserting an uncaged counterpart to the loop-based minimalism he produced in isolation (recently surveyed on RVNG Intl.s A Period of Review (1975-1983)). Aligning himself with the Cage-ean principles of chance operations and musical contingency, Savant was a band sans jam. Allegorically, a blindfolded collaboration whose happenstance source music Leimer would sample, loop and sculpt at will.

Leimer was creatively autonomous to the point of being a persona absentia in Seattles 80s rock scene. Unconcerned by social status, Leimer enlisted musicians from experimental and post-punk groups in the area to come record as Savant at his home studio, Tactical. Among them were ambient composer Marc Barreca, John Foster (founder of Op Magazine – the experimental music publication), Jim and David Keller of the New Flamingos, and their bandmate Alex Petit. Others, like Roy Finch and Dennis Rea, came from a similar orbit. Even with these musicians at his beck and call, Leimer implemented a disarming musical strategy. Savant would have no fixed line up and often musicians would be asked to play instruments far outside their forté. Leimer would however give loose rhythmic direction for the musicians to develop spontaneously against click-tracks. When the performance locked in with Leimer listening at the controls, hed capture it to tape. These moments became the soul of Savant and the combustive elements that would variegate its timbres.

Savant tonally operates in a space between This Heats dark primitivism and the found sound collage of Brian Eno & David Byrnes My Life in the Bush of Ghosts. These analogies are simply stylistic, as the narrative behind The Neo-Realists production makes clear Leimer was concocting via more alchemic means, avoiding genre aspirations by looking for accidental moments of musical intrigue and discovery. Leimer explains this process in the collections liner notes: “I was looking for flaws, for faults to act as the stand-out features of the music.”

Far from a provisional stab at avant-garde sensibilities, Savant represents Leimers repudiation of ambient musics passive side. Artificial Dance embodies a perfectionists family portrait of outré musicians conforming to Leimers nonconformist musical ethos. Fitting for its name, Leimer created conditions for asocial brilliance with Savant, materializing an outward offering from an inward studio and a collaboration of audacious invention.

Savants Artificial Dance is available now as double LP set, CD, and digitally. Extensive liner notes and artist interviews were overseen by Aaron Leitko. The collection was assembled by RVNG and K. Leimer, who continues making music to this day." - Rvng International.

Artist: SENSATIONS FIX
Title: Music Is Painting in the Air (1974-1977)
Format: Double CD
Label: Rvng International
Country: USA
Price: $16.00
"Essential collection of new mixes and unreleased material from Sensations Fix, the cosmically conscious, defiantly DIY enterprise of Franco Falsini and his band of psychedelic renegades." - Rvng.

Artist: SENSATIONS FIX
Title: Music Is Painting in the Air (1974-1977)
Format: Double LP
Label: Rvng International
Country: USA
Price: $28.00
"Essential collection of new mixes and unreleased material from Sensations Fix, the cosmically conscious, defiantly DIY enterprise of Franco Falsini and his band of psychedelic renegades." - Rvng.
SOLD OUT

Artist: SUN ARAW & M. GEDDES GENGRAS MEET THE CONGOS
Title: Icon Give Thank & Icon Eye
Format: LP/DVD
Label: Rvng International
Country: USA
Price: $18.00
"For the ninth volume of FRKWYS, a music and film series pairing contemporary artists with those that may have preceded them in style and / or approach, Sun Araw and M. Geddes Gengras meet legendary dub reggae group The Congos in St. Catherine, Jamaica and create the full-length album,ICON GIVE THANK. In conjunction, RVNG will release ICON EYE, a feature film documenting the young musicians time spent living and learning The Congos way. "In 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 Cameron Stallones), Gengras, alongside filmmakers Tony Lowe and Sam Fleischner, traveled to St. Catherine, Jamaica (45 minutes outside of Kingston) for ten days to undertake the unknown. "What 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. "Having 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 & M. Geddes Gengras meet The Congos - ICON GIVE THANK is built. "GIVE THANK is not a dub reggae album, though it shares some of the genres production characteristics. Rather, its an album of Stallones and Gengrass 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 GIVE THANK. "Congo Ashanti" Roy Johnson tenor, Cedric "Bongo" Mytons falsetto, Watty Burnett baritone, and Kenroy "Tallash" Fyffe cosmic vocal glue command singularity and create an essence combined. "The visual companion to the musical fruit of GIVE THANK is ICON EYE, a feature-length travelogue executively produced by Christine Vachon (Killer Films) and Randall Poster & Gelya Robb (Search Party Music). Shot by Lowe and Fleischner, ICON EYE evokes a musical and cultural intersection through refracted atmospheres and a feeling of magical, rhythmic synchronicity. ICON EYE shares dubbed-out editing techniques inherent in the reggae sub-genre, rendering a visual "version" of the album. "Through 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. ICON EYE is the first RVNG Intl. film production. Director / editor / cinematographer Lowe and producer / cinematographer Fleischner previously collaborated on Below the Brain (2011), a documentary about Brooklyn Carnival." -Rvng.
SOLD OUT

Artist: SYRINX
Title: Tumblers From The Vault
Format: Triple LP
Label: Rvng International
Country: USA
Price: $34.00
"The two instrumental albums that Syrinx issued in the early 1970s sound little like the psychedelic music prevailing Torontos rock venues at the time, and are even further removed from the electronic tape experimentations spooled by a younger John Mills-Cockell.

Instead, the path of Syrinx whimsically veers away from the dominant mode of 70s subculture, charting surprising commercial success. Tumblers From The Vault presents their entire recorded legacy, reviving the story of Syrinx and sharing their memorable, mind-bending melodies.

The musicians behind Syrinx were composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. All three were young veterans of the Toronto creative scene by the beginning of 1970. LSD played a supporting role in their artistic pursuits, but equal guidance also came from Mills-Cockells studies at the University of Toronto and Royal Conservatory of Music, where he established an ad-hoc, DIY electronic music course in the schools basement.

Before long, Mills-Cockell was an accomplished young composer and an important conspirator in Intersystems, a rogue, multimedia ensemble that intersected heterogenous artists and musicians via the Toronto underground. In this freeform environment, Mills-Cockells compositions found alert ears, among them his primary collaborator Doug Pringle, a wily wind player, and producer Felix Pappalardi, whose credits include Creams Disraeli Gears and who helped John land an album deal with True North Columbia.

After Intersystems dissolution, Mills-Cockell journeyed to Canadas west coast to work on an album of original synth-based compositions using his multi-suitcase Moog as the primary instrument. Pringle was enlisted to color outside the musics already adventurous lines, his sinuous, signal-processed saxophone adding another electrifying voice to Syrinxs signature sound. A sound that hybridized chamber music dynamics with wild, yet tuneful electronic melodicism. With Alan Wells understated percussion rolled into the fold, what started as a solo venture for Mills-Cockell became a new kind of collective.

From these coastal sessions were conjured exemplary pieces like “Journey Tree” and “Hollywood Dream Trip,” both plaintive and serene expressions of Mills-Cockells economical arrangements, and also Syrinxs restrained and expert use of their electronic resources. “Hollywood Dream Trip” alone presents a theme so memorable and melancholic that it calls to mind Erik Satie, John Cages early piano works, and the cinematic power of Golden Age soundtrack music. Syrinxs self-titled debut arrived in 1970, followed in 1971 by Long Lost Relatives, which is highlighted as the first album on Tumblers From The Vault.

Between the two albums, Syrinx became a vital part of the Toronto music scene, with Doug Pringles loft serving as the central node for impromptu performances and the groups collaborative activities. Syrinx also started receiving high profile work, first for television, film, and dance, and then for orchestra. One commission culminated commercially in “Tillicum”, the unforgettable theme music for pioneering reality television show Here Come the Seventies. As a standalone single, “Tillicum” would climb to #38 on Canadas RPM charts. The most eventful assignment came from the Toronto Repertory Ensembles conductor and composer Milton Barnes, whose solicitation inspired the powerful orchestral suite Stringspace.

The studio version of Stringspace for Long Lost Relatives is a near faithful version to the live performance, the Toronto Repertory Ensemble offering the same sweeping, deeply engrossing symphonic support. (An original live version also appears on Tumblers from the Vault on the third LP, along with other rare and alternate Syrinx gems). “Tillicum” also appears on Long Lost Relatives, a nod to the groups new visibility, and perhaps an assertion that Syrinx was part of the trailblazing new world that their television theme song signaled.

Syrinxs music is more than a faded strain in Canadas consciousness, but has never expanded universally. One modest task of Tumblers from the Vault is to reinstate Syrinx to their place in the wider canon of groundbreaking music so their story can be appreciated beyond the limits of Canadian notoriety. Another task is to simply have this music heard again, which is an endeavor made less difficult by the fact that the most defining quality of Syrinxs music is its timelessness and agency.

Unlike so many turn of the 60s experiments fusing rock and pop music language with new technology, Syrinx was never excessive in expressing their vision of what electronic music could offer. Instead, they blended these sounds in a holistic way, allowing the acoustic and electronic textures to create one organic voice. They opted to foreground the lyrical and poetic content of their compositions rather than their innovative techniques.

Its a tribute to John Mills-Cockells compositions, and his comrades Doug Pringle and Alan Wells, that the tangential path of Syrinx remains as present, exploratory and inviting as ever.

Syrinxs Tumblers From The Vault will be released on October 14, 2016 in digital format and October 28, 2016 as a triple LP set and double CD. An accompanying documentary about Syrinx by artist and filmmaker Zoe Kirk-Gushowaty will screen selectively." - Rvng International.

Artist: SYRINX
Title: Tumblers From The Vault
Format: Double CD
Label: Rvng International
Country: USA
Price: $15.00
"The two instrumental albums that Syrinx issued in the early 1970s sound little like the psychedelic music prevailing Torontos rock venues at the time, and are even further removed from the electronic tape experimentations spooled by a younger John Mills-Cockell.

Instead, the path of Syrinx whimsically veers away from the dominant mode of 70s subculture, charting surprising commercial success. Tumblers From The Vault presents their entire recorded legacy, reviving the story of Syrinx and sharing their memorable, mind-bending melodies.

The musicians behind Syrinx were composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. All three were young veterans of the Toronto creative scene by the beginning of 1970. LSD played a supporting role in their artistic pursuits, but equal guidance also came from Mills-Cockells studies at the University of Toronto and Royal Conservatory of Music, where he established an ad-hoc, DIY electronic music course in the schools basement.

Before long, Mills-Cockell was an accomplished young composer and an important conspirator in Intersystems, a rogue, multimedia ensemble that intersected heterogenous artists and musicians via the Toronto underground. In this freeform environment, Mills-Cockells compositions found alert ears, among them his primary collaborator Doug Pringle, a wily wind player, and producer Felix Pappalardi, whose credits include Creams Disraeli Gears and who helped John land an album deal with True North Columbia.

After Intersystems dissolution, Mills-Cockell journeyed to Canadas west coast to work on an album of original synth-based compositions using his multi-suitcase Moog as the primary instrument. Pringle was enlisted to color outside the musics already adventurous lines, his sinuous, signal-processed saxophone adding another electrifying voice to Syrinxs signature sound. A sound that hybridized chamber music dynamics with wild, yet tuneful electronic melodicism. With Alan Wells understated percussion rolled into the fold, what started as a solo venture for Mills-Cockell became a new kind of collective.

From these coastal sessions were conjured exemplary pieces like “Journey Tree” and “Hollywood Dream Trip,” both plaintive and serene expressions of Mills-Cockells economical arrangements, and also Syrinxs restrained and expert use of their electronic resources. “Hollywood Dream Trip” alone presents a theme so memorable and melancholic that it calls to mind Erik Satie, John Cages early piano works, and the cinematic power of Golden Age soundtrack music. Syrinxs self-titled debut arrived in 1970, followed in 1971 by Long Lost Relatives, which is highlighted as the first album on Tumblers From The Vault.

Between the two albums, Syrinx became a vital part of the Toronto music scene, with Doug Pringles loft serving as the central node for impromptu performances and the groups collaborative activities. Syrinx also started receiving high profile work, first for television, film, and dance, and then for orchestra. One commission culminated commercially in “Tillicum”, the unforgettable theme music for pioneering reality television show Here Come the Seventies. As a standalone single, “Tillicum” would climb to #38 on Canadas RPM charts. The most eventful assignment came from the Toronto Repertory Ensembles conductor and composer Milton Barnes, whose solicitation inspired the powerful orchestral suite Stringspace.

The studio version of Stringspace for Long Lost Relatives is a near faithful version to the live performance, the Toronto Repertory Ensemble offering the same sweeping, deeply engrossing symphonic support. (An original live version also appears on Tumblers from the Vault on the third LP, along with other rare and alternate Syrinx gems). “Tillicum” also appears on Long Lost Relatives, a nod to the groups new visibility, and perhaps an assertion that Syrinx was part of the trailblazing new world that their television theme song signaled.

Syrinxs music is more than a faded strain in Canadas consciousness, but has never expanded universally. One modest task of Tumblers from the Vault is to reinstate Syrinx to their place in the wider canon of groundbreaking music so their story can be appreciated beyond the limits of Canadian notoriety. Another task is to simply have this music heard again, which is an endeavor made less difficult by the fact that the most defining quality of Syrinxs music is its timelessness and agency.

Unlike so many turn of the 60s experiments fusing rock and pop music language with new technology, Syrinx was never excessive in expressing their vision of what electronic music could offer. Instead, they blended these sounds in a holistic way, allowing the acoustic and electronic textures to create one organic voice. They opted to foreground the lyrical and poetic content of their compositions rather than their innovative techniques.

Its a tribute to John Mills-Cockells compositions, and his comrades Doug Pringle and Alan Wells, that the tangential path of Syrinx remains as present, exploratory and inviting as ever.

Syrinxs Tumblers From The Vault will be released on October 14, 2016 in digital format and October 28, 2016 as a triple LP set and double CD. An accompanying documentary about Syrinx by artist and filmmaker Zoe Kirk-Gushowaty will screen selectively." - Rvng International.

Artist: V/A
Title: The Enlightening Beam of Bobby Brown
Format: Cass + Booklet
Label: Rvng International
Country: USA
Price: $12.00
"Bobby Brown exists beyond being. Bobbys documented music covers a dynamic emotional and spiritual terrain, his vocals, ever prominent, traverse six octaves of sound. Bobbys understanding of — and unbending faith — in physics and technology manifest in unbelievable instrumental and intellectual innovations. Bobbys dedication to the fundaments of peace and love radiate across time and space.

Operating at the fringe of the early 70s psychedelic and folk spheres, his 1972 self-funded and released debut album, The Enlightening Beam of Axonda, demonstrates the many cosmic qualities of Bobby Brown. Beyond Bobbys voice and message, the most beguiling aspect of Enlightening is “The Universal One Man Orchestra,” a 311 stringed instrument implementing aspects of the Irish harp, koto, sitar, thumb piano, dulcimer, drums and flute and “designed to be as small as possible and placed on racks so as to be be played from one spot.”

Bobbys description of the instrument (“primitive, contemporary, and futuristic”) may also serve as a description of the album itself. At once an intimate invocation and a universal journey of earthly and otherworldly proportions, the album ruminates on the vacillating cultural climate of its time and a prayer for a more peaceful place and existence, Axonda. The following two albums, Live, which was performed solely to his dog Mom and recorded after Bobby opened in concert for Fleetwood Mac 1978, and 1982s Prayers of a One Man Band, which added hints of popular flavor with a more outward social commentary and comedy, continue along Browns illuminated path, spinning tales of his spiritual home in Hawaii, of love, and of total religious unity.

Almost thirty years later, Bobby and RVNGs Matt Werth struck up a friendship on the back of an e-mail introduction from Douglas Mcgowan of Yoga Records. After years of correspondence, Bobby and Matt revisited some of the many stories theyve exchanged at the Berkeley Art Museum on an invitation from David Wilson to participate in a multi-dimensional residency, The Possible. Bay Area artists Kaitlyn Aurelia Smith and Austin Cesear complimented the discussion with new musical interpretations of Bobbys work. A recording of Smith and Cesears performances alongside Bobby and Matts talk and a compassionate array of photos taken by Aubrey Trinnaman have been collected as a limited cassette and art book edition available now from RVNG Intl.." - Rvng International.

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