This week's series of episodes features images from Asheville, NC, which was devastated by Hurricane Helene this past week.
Please consider donating to the various organizations in and around the area.
Episode 714 features music by Pan•American, Maria Somerville, Patrick Cowley, The Gaslamp Killer and Jason Wool, Der Stil, Astrid Sonne, Reymour, Carlos Haayen Y Su Piano Candeloso, Harry Beckett, Tarwater, Mermaid Chunky, and Three Quarter Skies.
Episode 715 has Liquid Liquid, Kim Deal, Severed Heads, Los Agentes Secretos, mHz, Troller, Mark Templeton, Onkonomiyaki Labs, Deadly Headley, Windy and Carl, Sunroof, and claire rousay.
Episode 716 includes Actors, MJ Guider, The Advisory Circle, The Bug, Alessandro Cortini, The Legendary Pink Dots, Chihei Hatakeyama and Shun Ishiwaka, Arborra, Ceremony, Ueno Takashi, Organi, and Saagara.
Recorded a bit before the last Big Blood slab we released — Operate Spaceship Earth Properly (FTR 385) — The Daughter's Union represents the true introduction of Caleb and Colleen's daughter, Quinnisa as a full member of Big Blood. The Maine-based duo had been using Quinnisa as their secret hard rock weapon for quite a while, so it is gratifying as heck to see her finally get her due!
In their new fully-fledged trio guise, Big Blood puff themselves up like a most splendid glam rock peacock, fairly bursting with readymade-riffs and inspirational high-kicking energy bursts. Initially, this can seem a bit odd, given Big Blood's historical appreciation of bizarre folk-derived textural-psych. But heard in the context of their musical evolution, this move appears as just another roost along a trail that involves a whole lot of mountains and woods, with the occasional meadow-based rock festival stirred into the mix.
By covering tunes by The Troggs and Silver Apples, Big Blood make it abundantly clear their interests are as far from catholic as their influences. Although it also seems that they are able to successfully transmute even the most thumpy-ass high-heel pumping into a move that is draped in moss and mystery.
I can hardly wait to hear their track-by-track cover of Led Zeppelin II. I always thought those songs would sound better sung by an actual woman. Know what I mean? – Byron Coley, 2019
Occulting Disk is an anti-fascist ritual. Recorded in Oslo, Reykjavik, Cologne, Berlin and Los Angeles between 2012 and 2019. It is the first Deathprod album to be released since the 2004 album Morals and Dogma. Liner notes by Will Oldham. LP cut by Rashad Becker at D&M, Berlin. Artwork by Kim Hiorthøy and Helge Sten.
"I remember driving over a mountain with my mother, she was in the passenger seat and we were being mauled and cuddled and battered and fried by sound; together. We were together experiencing something previously unimaginable, and we were facing the same direction, and we were moving through space and time knowing that a geographic destination some way ahead would bring an end. And the sound surrounded us, and for once our mutual silence was loaded with good. Because we were in the presence of each other, and we knew so much about how we had failed each other (it wasn’t a mystery any more), and we knew how we had maimed others when we worried too much about ourselves, how we had contributed to the faults of others simply by focusing in instead of out. Our mutual silences were laden with what that could only be called love. I used to hear love in music until I learned to hear love in sound." (Will Oldham)
ZONAL, the brainchild of Justin Broadrick (Godflesh/Jesu/JK Flesh) and Kevin Martin (The Bug/King Midas Sound) present their monumental Relapse Records debut, Wrecked. ZONAL continues where their previous collaboration Techno Animal left off, and combines a brutal ongoing obsession with beats, bass, dub, drone, noise and riff.
Under their new guise, the enigmatic duo push the parameters and atmospheres that have earned them critical acclaim further and deeper; ZONAL's sound has become ever more corrupted, corroded, slower and lower; with the theme of exploring inner/outer space acts as the gelling agent for this shockingly monolithic sound. Anyone who witnessed their sonic destruction and lyrical detonation c/o MOOR MOTHER at both ROADBURN and UNSOUND festivals will not be disappointed by the slo-mo meltdown.
Boduf Songs' seventh album and first on Orindal Records marks the Ohio-via-Southampton home recording project's most detailed production yet, voyaging into deeper recesses than ever before. Abyss Versions will see the light of day on October 4, 2019.
Mat Sweet, the solitary figure behind Boduf Songs, has spent the better part of fifteen years cultivating an idiosyncratic strain of quiet menace, augmenting library-hushed vocals and brooding guitars with psychedelic flourishes from processed loops, field recordings, and distant, subliminal atmospheres.
Subtly acknowledging Boduf Songs' beginnings, Abyss Versions echoes motifs from the first Boduf Songs album (2005's Boduf Songs on Kranky Records), forming its own secret, circular path, encapsulating the journey from there to here. Sweet's background in doom metal still seeps into the quiet, pensive world of Boduf Songs via mood and tone, balanced by shades of the fingerpicking mysticism of his first four albums. As always, the music of Boduf Songs is steeped in a palpable sense of darkness and dread, offset by a gorgeous and discreet sonic beauty. There is much prettiness here, albeit within an inescapably unsettling frame.
Throughout the album, sonorous melodies mix with the grind of drum machines, esoteric bleeps and bloops, and reversed tape experiments, all in counterpoint to the morphine-addled guitar and grimdark velvet vocals. There are haunting, dreamlike elements, the aching time/no-time uncanny sad-charms of some far off Gene Vincent/Chet Baker number never recorded from an alternate Lynchian universe. Sounds emerge into the light then fade back into the darkness as repetition and hypnotic drone play against the movement. Forward and upward, we move without moving.
Abyss Versions is full of love, and the expanse of things outside of us, the slow, elegiac stir of echoes, the mixed blessing of memory, the sensation of rot and longing. A letting go. A refusal to let go. The static that carries you off, the swell of feeling that is delicately tuned away, the whisper of consciousness, snuffed gently out. An opium dream, curling smoke spiraling into the blackness of a dimmed room's ceiling, meditations on mortality and the void for those who travel by night.
Clarice Jensen is a composer and cellist based in Brooklyn, NYC. As a versatile collaborator, Jensen has recorded and performed with Jóhann Jóhannsson, Stars of the Lid, Owen Pallett, Max Richter and numerous others. As the artistic director of ACME (the American Contemporary Music Ensemble), brought to life some of the most cherished works of modern classical music, including pieces by Philip Glass, Steve Reich, Terry Riley, Gavin Bryars, Dustin O’Halloran, and more.
Jensen now follows her debut album For This From That Will Be Filled with Drone Studies, highlighting Jensen’s improvisational prowess, venturing even deeper into the meditative mire but with more organic, naturally expressive air.
"The Organ that Made You Bleed" presents a succinctly striking suite that opens in medias res, awakening in a howling chorus of disembodied tones. This tragic ocean of estranged sound ebbs and flows, almost unnoticeable growing in a swell of hymnal hysteria. The calmly chaotic frenzy soon gives way into a layered composite of deep drones and tidal textures. Hopeful harmonies clash with eerie dissonance, suggesting the deeply human balance between darkness and lightness. It’s a magnum opus told in a sequence sketches, and each new turn is a cavern of radiant resonance.
"One Bee" perfectly foils the A-side with an insomniatic interplay of pure tones and richly repetitive cello phrases. The piece begins as a blank canvas, simultaneously empty and brimming with potential. One by one, solitary tones reveal themselves in the foreground until forming a small choir of complementary combinations. This beautifully odd ritual plays out in slow motion as Jensen’s cello performs a tight loop of emotionally expressive notes.
Taken as a whole, Drone Studies a harrowing set of deep listening that uncovers new gifts with each repeated listen.
After a few recent, highly conceptual and very long-form works, Francisco López has gone back to basics with his latest release. Consisting of a single 60 minute piece, packaged in a plain sleeve with the most limited of artwork, he is at his traditional, reductive best. With little information given as to the source material or the strategies used in creating the piece, it emphasizes the sound above all else, and it is another diverse, brilliantly composed piece of art from the legendary composer.
Besides the approach as far as duration and packaging, the audio López is working with sound as if he is drawing from the most basic elements of the planet.Empty spaces and textural crackles that could be fire, water, or soil appear throughout.Frigid sheets of sound and insect like processed noises can be heard as well, giving the full scope of nature filtered through López’s mixer.
Untitled #370 may be a single piece but the overall structure sounds far more song and album-like than I expected, with different elements appearing for a brief duration and then changing up again.Machinery humming, rhythmic loops, and an occasional foghorn like effect all crop-up from time to time, almost resembling recurring instruments throughout.Towards the end of the first segment the way in which Lopez layers the sound begins to reflect a traditionally structured song, with loops interlocked and sequenced with one another.
The first section may be mostly textural, organic, and sound heavily rooted in nature, but the second is more phantasmagoric.Shrill, icy sheets of aural textures and subsonic low frequencies set a sinister stage.Lopez then brings in a series of metallic scraping and grinding noises, along with a multitude of haunted house creaks and groans.As if this were not enough, there is an added passage of what could be either a human voice or an animal growl.With the processing added, the line between person, animal, or something supernatural is further blurred into something that is in league with the most unsettling work I have ever heard Lopez do.
The final section draws on elements from both, from clicking, microscopic textures, subsonic bass, and what almost resembles heavy breathing at times.This, with another section of wet, organic and indistinct noises keeps the mood unsettling and uncomfortable, if maybe somewhat less overt.López then adds on multiple loops, building in density and tension before relenting, leaving a black mass of sonic muck to end the piece on.
Unlike López's more recent work, there is a lot of intentional vagueness throughout Untitled #370.From its minimalist artwork and lack of conceptual details, it would seem that he is recalling his early days in which the music and its ambiguous sourcing was the most important part.I certainly have enjoyed his recent, multi-hour works, but there is something refreshing about a singular focus and mindset, letting the sound be the integral part of his art.
While not much time has elapsed since his last full length album, Matt Weston has created another masterwork of unconventional electronics, bizarre found sounds, and some of his idiosyncratic drum work. Compared to last year's This is Your Rosemont Horizon, this feels a bit darker and bleaker, amidst the fragmented electronics and snatches of melody. Regardless of the downer mood, it is another brilliantly unique piece of music that sounds like no one else but Matt Weston.
The title, A New Form of Crime is probably an acknowledgment of Weston's unconventional means of recording source material for this album.Recordings collected over a 16 year period were collected in a variety of locations chosen for their acoustics, many of which being sports arenas and concert buildings.Considering access to these may not have been fully approved by the right people, there is a certain deviant edge added to the creation of the four songs here.
The manifestation of this not necessarily legal behavior on Weston's part is an excellent sense of space and depth to these compositions.Although these recordings are treated and processed quite heavily, the environments do shine through, such as the massive echo and open space used on "Samidoun" and harrowing expansive passages of the appropriately titled "We Want You to Panic."There are some almost normal sounding guitar and drum passages on the all-too-brief "Stopping is Believing," but the spaciousness of the recordings gives a whole additional layer.
For another conceptual piece, the aforementioned "We Want You to Panic" features an orchestra of cars driving over a rural New York bridge, "conducted" by Weston via headlights.The passing of cars gives a nicerhythmic counterpoint to the scattershot electronics.Within that he brings in dense walls of processed conversations, cut up and bent tones, and the occasionally jarring outburst of electronics.Even within this dizzying, fragmented chaos there are some almost pleasant bells snuck into the mix, giving some inviting moments in an otherwise imposing work.
Weston does this a few other times throughout A New Form of Crime, such as the deeply submerged string melodies of "Samidoun" that later lurks amidst the insect-like electronic bursts and cut up mayhem he creates.The guitar segments of "Stopping is Believing" also have a traditionally musical structure to them as well.Album closer "Under the Rifle Sights of Snipers" features him going for the more chaotic elements of his arsenal.Echoed outbursts and metallic rhythms skitter about, with unexpected harsh outbursts here and there.With some jazzy horn-like outbursts and weird voices, it is certainly unpleasant at times, but in the best of ways.
With the overall sinister vibe, carrying over to the more monochromatic cover art (when compared to his previous releases), and the song titles, there is a sinister, angry feel to A New Form of Crime.Surely a reflection of the world around him, Matt Weston channels this darkness into captured spaces, unconventional electronics, and his omnipresent idiosyncratic drumming.It is a frenzied, noisy bit of unusual, but amazing work that continues Weston’s tradition of experimental work.
OUT ON YOUNG GOD RECORDS / MUTE ( OUTSIDE OF N AMERICA)
25 OCT 2019
SWANS Leaving Meaning is the band's fifteenth studio album, the follow up to 2016's The Glowing Man and due for release by Mute / Young God Records (N America) on 25 October 2019. Leaving Meaning will be released on double vinyl in a brown chipboard sleeve, double CD in a brown chipboard digipack and digitally.
Written and produced by Michael Gira, the album features contributions from recent and former Swans, members of Angels of Light as well as Guest Artists Anna and Maria von Hausswolff, Ben Frost, The Necks, Baby Dee, and a Hawk and a Hacksaw - full personnel list below.
Michael Gira explains, "Leaving Meaning is the first Swans album to be released since I dissolved the lineup of musicians that constituted Swans from 2010 - 2017. Swans is now comprised of a revolving cast of musicians, selected for both their musical and personal character, chosen according to what I intuit best suits the atmosphere in which I'd like to see the songs I've written presented. In collaboration with me, the musicians, through their personality, skill and taste, contribute greatly to the arrangement of the material. They're all people whose work I admire and whose company I personally enjoy."
"Here below are the primary contributors to Leaving Meaning: Michael Gira - Vocals, words, acoustic/electric guitar, production. I started Swans in NYC in 1982 and have been the primary songwriter, singer and producer throughout the years. In the early years I played bass, but later switched to guitar. During the years of Swans hiatus (1999 - 2010), I released several albums by and toured with a group called Angels of Light.
Kristof Hahn - Lap steel, various guitars throughout, backing vocals, generous and insightful advice on mixes and arrangements. Kristof first became involved with Swans in 1989, was a principal contributor to Angels of Light, and a core Swans member 2010 - 2017. Kristof's other musical ventures have included the Rock 'n' Roll Noir band Les Hommes Sauvages and Kool Kings (with Alex Chilton). He's currently working on an instrumental record for Lawrence English's label, Room 40. He holds a master's degree in Political Science, and when Swans doesn't pay the bills, he translates books for a living. Kristof's presence, on and off tape, is pivotal to this record. Kristof lives in Berlin, Germany.
Larry Mullins - Drums, vibes, orchestral percussion, Mellotron, various keyboards, backing vocals. Larry (AKA Toby Dammit) is a trained symphonic percussionist and all-around consummate musician. He played through the 90s with Iggy Pop and later with The Stooges. He played with Swans in the late 90s and was a main contributor to Angels of Light. He is rumored to have been involved with The Residents. His varied and numerous credits also include a stint with Silver Apples as well as recently, Shakespears Sister. His current main job is playing keyboards with Nick Cave and the Bad Seeds. I decided immediately to ask Larry to contribute to Leaving Meaning after watching the German TV series Babylon Berlin, and suddenly, unbeknownst to me, there was Larry as the main focus of various cabaret scenes, drumming behind a huge kick drum in his inimitable style. After laughing in shock for perhaps half an hour, I decided to contact him. We hadn't been in close touch for a long time and I'm elated I reached out. Larry lives in Berlin, Germany.
Yoyo Röhm - Electric bass, double bass, various keyboards, piano, backing vocals. Yoyo came to my attention through his work with Kristof and Larry in Berlin. In addition to his excellent bass playing, Yoyo's ears were invaluable in helping to sort out many of the arrangements. Yoyo plays with numerous left field musicians around Berlin and also works with Mick Harvey on his Serge Gainsbourg recordings and tours. Yoyo, Larry, Kristof and I rehearsed in Berlin for 3 weeks prior to recording. Yoyo is a true Berliner - gruff and determined on the outside, a marshmallow inside. He was a great musical resource for this record.
The Necks - (Chris Abrahams - piano, organ; Tony Buck - drums, percussion; Lloyd Swanton - double bass). I have been an avid Necks fan since I first saw them perform at a Big Ears Festival in 2010. They subsequently played with Swans at a few shows in Australia. Their live performances and recordings are just about any superlative you can think of - mesmerizing, transcendent, sublime. Their music is entirely improvisational - it's my understanding that they have no idea what they're going to play before they start. And yet, mostly using rudimentary jazz trio instrumentation, they manage to fashion burgeoning and ever-evolving, immersive clouds of sound that utterly envelop the listener as the music unfolds. I'm beyond honored and humbled that they agreed to perform the basic tracks for 2 of my songs (The Nub and Leaving Meaning). Their performances were then delicately, and (I hope!) tastefully further orchestrated upon in Berlin. Tony lives in Berlin, and also played drums on the song Some New Things.
Anna and Maria von Hausswolff - Choral backing vocals. Anna is blessed with a soaring voice, lyrical acuity and increasing facility with the church organ. I was impressed recently to learn that she often travels around Europe and visits churches unannounced, where she talks her way into being allowed to use the resident organ - some of them rather massive, I imagine - and plays and explores for hours. Her searing records and live shows reflect the courage of her imagination and have garnered her increasing, much deserved recognition. Maria is an accomplished Swedish cinematographer and director of photography. In 2017 I heard Anna and Maria singing together at a sound check for a special song they were doing in Anna's set, was instantly enthralled, and resolved at that moment to ask them to participate together on a Swans recording. I'm delighted they agreed to come to Berlin and record for me. They were a joy to work with! They live in Scandinavia.
Ben Frost - Guitar, synthesizers, sound manipulations. Ben's adventurous sound-craftings, sometimes harrowing and sometimes delicate and quite musical, and his powerful live shows, have afforded him much recognition of late. I've also been highly impressed with his soundtrack work for the HBO series, Dark. He's an extremely talented arranger and composer. His mission for this record was intentionally ill defined. I basically wanted his ears and sensibility, with no particular part or instrument in mind. I arrived at his studio in Reykjavik, Iceland, put up the songs, and he played what he thought a song needed. I was pleasantly surprised to discover his unique approach to the electric guitar as well as his synth work. Ben also was quite helpful with arrangement and mixing ideas. Ben lives in Iceland.
Baby Dee - Lead vocal on The Nub, supported by her friends Fay Christen and Ida Albertje Michels, and Jennifer Gira. Dee has released numerous records (one produced by Bonnie Prince Billie, I think), and if you don't know them, you should! The first time I saw her she was riding a unicycle in circles outside the now-defunct Avant club, Tonic, in NYC, playing a ukulele (or accordion?) and singing with great mirth. I saw her set that night and was won over. She's since toured with Swans several times. Her music could loosely be called neo cabaret, but more accurately she's totally unique and a great performer and songwriter, graced with a powerful voice and high-end ability on the piano, accordion and more. I wrote The Nub specifically for her to sing. I was stymied for words to the main guitar figure to the song, and suddenly she popped into my mind, floating through the universe in diapers, sucking milk from the stars. The song wrote itself. Dee lives in The Netherlands.
Jeremy Barnes and Heather Trost - Jeremy: Santur, hi-hat, fiddlesticks, accordion, engineering; Heather: Stroh violin, violin, viola, fiddlesticks, engineering. Together, Jeremy and Heather comprise the band A Hawk and a Hacksaw. (Jeremy played at one time with the bands Neutral Milk Hotel and Beirut). Again, if you don't know their music, you should! They've released several records. It's Balkan/Gypsy influenced, somewhat psychedelicized, with great singing, playing and melodies. They're each multi-instrumentalists and they intrepidly travel the world, both touring and simply exploring the Balkans, in search of adventure and master musicians of the region, some of whom they simply befriend, others whom they record. They toured with Swans a while ago, and I've had it in the back of my mind to ask them to record on a record since. I travelled to their home studio in Albuquerque, New Mexico, presented the songs, and did the same thing I did with Ben - I said, "Now what?" You can hear them on several songs on the record, sometimes subtly, at other times more pronounced. In any event, it's great to have such a pair of wonderful humans on the record.
ADDITIONAL MUSICIANS:
Dana Schechter - Dana played bass on the song 'Some New Things'. Dana was a core member of Angels of Light. Her current band is Insect Ark. It's rather heavy and great. Will be working with Dana more soon in the future and very pleased we reconnected recently.
Jennifer Gira - Backing vocals throughout and cameo vocal on Sunfucker. Jennifer has sung backing vocals on the past few Swans albums as well as lead vocal on the song When Will I Return? on the last Swans album, The Glowing Man. She's also of invaluable help on mixing and arrangement decisions.
Cassis Staudt - Accordion and harmonium. Cassis was a core member of Angels of Light. She moved to Berlin some time ago and we lost touch. Cassis is a composer of music for films in Berlin. I'm very happy to be working with her again.
Norman Westberg - Electric guitar. Norman played on a few key moments on this record. Norman has been in and out of Swans since the beginning (mostly in) and was a core Swans member in 2010 - 2017. We'll continue to work together into the future, absolutely. Norman releases solo instrumental records through Lawrence English's Room 40 label. We're touring (each solo) together in Eastern Europe soon.
Christopher Pravdica - Bass guitar, sounds. Chris played at pivotal moments on this record. He was a core Swans member in 2010 - 2017. We'll continue to work together in the future, absolutely. Chris has recently been enlisted by Jamie Stewart for his band Xiu Xiu.
Phil Puleo - Phil played hammer dulcimer on the song Amnesia. This might be considered a severe underutilization of his considerable talents as a drummer, but there's more to come quite soon. Phil was a core member in Swans 2010 - 2017 and played as a member of Swans in the late 90s and contributed to Angels of Light.
Thor Harris - percussion, trumpet, clarinet, sounds, bells, gizmos, additional vibes. Thor drove up from Austin to record for me at Heather and Jeremy's place in Albuquerque. Always a highpoint to be in the presence of this committed musician and friend. Thor was a core member of Swans in 2010 - 2016 as well as Angels of Light. Certainly, more to come! Thor has his own happening combo, Thor and friends, and they make seductive and beautiful records and tour often. He also has recently been recruited by Jamie for Xiu Xiu.
Paul Wallfisch - Paul played piano to great effect here and there on the record. Paul was a touring member of Swans in 2017. He works with the glorious human chanteuse Little Annie. He's also a musical director for theater productions in Germany, and recently landed a very fancy-pants job as musical director/composer for a theater production at a historical theater in Vienna.
Thanks to All!!!! MG"
In autumn, Michael Gira will be touring select cities on a solo tour with Norman Westberg. Swans will tour in the spring of 2020.
11 Oct - Skanu Mezs Festival - Riga, Latvia
13 Oct - Saint Petersburg, Russia
15 Oct - Moskva, Russia
18 Oct - Athina, Greece
19 Oct - Thessaloniki, Greece
23 Oct - Ljubljana, Slovenia
25 Oct - Bucharest, Romania
26 Oct - Cluj-napoca, Romania
28 Oct - Warsaw, Poland
29 Oct - Warsaw, Poland
31 Oct - Kyiv, Ukraine
1 Nov - Vilnius, Lithuania
2 Nov - Helsinki, Finland
Leaving Meaning Tracklisting:
Hums
Annaline
The Hanging Man
Amnesia - with Anna and Maria von Hausswolff on backing vocals
Leaving Meaning - feat.The Necks
Sunfucker - with Anna and Maria von Hausswolff on backing vocals
Cathedrals of Heaven
The Nub - with Baby Dee on guest vocals, also feat. The Necks
It's Coming It's Real - feat. Anna and Maria von Hausswolff on backing vocals
Patience is the debut full-length album by Sante Fe-based artist Theodore Cale Schafer. Alternately murky and narcoleptic and bristling with grit and light, this collection of eight pieces is a delicate play of contrasts. Impressionistic settings unfurl with an unhurried gait, opening with the dreamlike disorientation of "Gold Chain" in which a degraded location recording gives way to a soft web of treated piano motifs. Schafer's compositions are sumptuous yet unfussy, recalling perhaps the concise, vignette-oriented tape works of Andrew Chalk, which seem to prioritize spontaneity and ephemerality over preciousness and decorum. This approach yields substantive results, as on "It's Late", which marries a dolorous, clanging guitar sketch to the sound of change jostling in the pocket of a walker and the laughter of friends or passersby. This is diaristic music - rough-hewn, confessional, and teeming with possibility.
Hymn to Moisture explores embodiment in natural phenomena by playing with microtonal and unstable tunings, shifting overtones, and integrated modulations that make it difficult to separate tone from noise. Evoking wind, water, rock, and flesh, the album occupies multiple spaces simultaneously: abrasive and tranquil, propulsive and meditative, familiar and alien. It shows an equal reverence for techno pioneers such as Jeff Mills, Pan Sonic, and Plastikman as it does for composers such as Eliane Radigue, Laurie Spiegel, and Phill Niblock. Hymn to Moisture is Rrose's first solo album, and it unfolds with the scrupulous care and patience that defines all of Rrose's auditory experiments. The album marks the artist's most refined work to date.
Since its inception in 2011, the Rrose project has spawned over a dozen vinyl EPs on Sandwell District, Stroboscopic Artefacts, Infrastructure, and their own Eaux label as well as three collaborative albums with Bob Ostertag (on Buchla 200E modular synthesizer), Charlemagne Palestine (for two pianos), and Lucy (as Lotus Eater) respectively. A fourth album-length project on Seattle’s Further Records saw Rrose reinterpreting and extending James Tenney’s monolithic 1971 piece "Having Never Written a Note for Percussion" for solo gong. Hymn to Moisture is Rrose's first solo album of original material.
Releases November 8, 2019. More information can be found here.