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“Will We Be There” is the final meditation from David Moore’s Graze the Bell before the album takes flight for eternal skies this Friday, January 30.

Tolling its tender bell, the slow meditation of “Will We Be There” awakens the interior. Its lowest notes hit soft and deep, melting the demands of the day and surveying the soul like a dousing rod. Its hypnotic refrain signals a sweet longing for the unattainable, a palpable, transcendental melancholy.

As Moore channels his inquiry into the human condition at the piano, the unanswerability of the title stirs secret emotions into awareness. And though the answers remain elusive, the music offers solace at an intimate level.

“Will We Be There” arrives today alongside a video by french filmmaker and longtime collaborator and friend Sébastian Cros.

“Earth Angels of the Bone Age” is the final window into Dialect’s Full Serpent EP before the ep emerges tomorrow, Friday, January 23.

“Earth Angels of the Bone Age” is a buoyant ode to the past and a vivid glimpse into a dream world that Andrew PM Hunt has appeared to set up permanent residency. The track finds Green deep in visions of the golden age, our present day, where glitchy vestiges of natural and digital sounds suggest a world bustling with precarious energy.

Skittering with excitement and swelling to euphoria, the track lays free-wheeling composition on a bed of visual snow. Lost in Green’s imagination (or is it Hunt’s?), an electromagnetic orchestra soundtracks the lightning-quick daydreams that pivot and morph.

The single arrives today accompanied by an exuberantly colorful music video depicting playtime in Green’s world, as interpreted by collaborator and multi-disciplinary artist nil00. Dialect’s Full Serpent EP arrives in full tomorrow, Friday, January 23.

Water Poems, the third installment in RVNG’s contemporary collaboration series Reflections, channels Félicia Atkinson and Christina Vantzou’s longstanding friendship and atmospheric artistry into ceremonial focus.

On Water Poems, Atkinson’s intimate spoken-word environments and Vantzou’s orchestral imagination flow like tributaries into a unified stream, coalescing into a collection of dreamlike songs and soundscapes anchored in sea, sky, and stone. Weaving together electro-acoustic instrumentation, voice, and immersive environmental sound, the album invites listeners into a subconscious space between everyday intimacy and the oceanic enigma from which all life unfolds.

Today we offer “Film Still / The Sea,” the entrancing opening track and tidal teaser of the album’s subconscious waters. A hypnotic piano motif anchors the piece in marine time, with drifting textures swirling around the duo’s subliminal speech. As abstracted guitar, synthesizers, and field recordings captured at ancient Delphi immerse the listener, a feeling of ceremonious enchantment sets the stage for the entrancing sonic world to come.

Reflections Vol. 3: Water Poems emerges in its entirety on April 10, 2026, and is now available for pre-order in LP, Japanese import CD via Plancha, and digital editions.

The expanded version of respite ∞ levity for the nameless ghost in crisis adds eleven new pieces to the rich fabric of Colin Self’s beloved third album.

A sonic shrine vibrating in vivid detail, every small moment of r∞L4nGc (expanded) adds to the verdant beauty that defined the original album, first released in February 2025. With nearly half of the additional music featuring an array of collaborators, new sources of illumination cross the prism that is Self’s craft from completely different angles, whole spectral worlds made real.

Yet, even with r∞L4nGc (expanded)’s extensive collaboration and reinvention, the undeniable draw of Self’s work remains: their voice, intuitive and magnetic, a beacon that guides lost souls back to safe shores. As a producer, performer, composer, and multi-disciplinary artist, their work reaches its fullest form, alive in all the little ways a rainbow encompasses, each gradation suffused with meaning.

The first chapter of r∞L4nGc’s expanded form arrives today with “The Thief’s Journal,” an enduring love affair, on many levels. initially composed for a dance sequence, it wouldn’t reach its final form until finding itself in the hands of Will Wiesenfeld, aka Baths, years later, whose patient production layers soft piano and cascading guitar lines atop Self’s most longing lyrics. Like a long-simmering romance, after years of fits and starts, “The Thief’s Journal” is finally here.

respite ∞ levity for the nameless ghost in crisis (expanded) is available for pre-order now from the RVNG webstore and Bandcamp, ahead of its release on February 13, 2026.

Osni the Flare, the second chapter of New York based composer and puppeteer Tristan Allen’s mythic trilogy, follows a mortal’s transformation into deity through the discovery of fire.

Recorded over four years using wordless vocals, organs, ocarinas, an arsenal of toy instruments, and intricate sound design, the tale unfolds the origins of flames and temporality across four sonically and visually compelling acts. A creation myth delicately woven from beauty, shadow, and wistful embers, Osni the Flare is a portal to a fantastical realm, meticulously crafted and emotionally potent.

Today we unveil “Act I: Garden”, the entry point into the other-world of Osni the Flare.

What begins as intimate and wispy expands into complex sound design—textures scattering like wind pickup, pulling toward a full form. Built note by note from souvenir shop finds, sampled music boxes, and Virginia Garcia Ruiz’s wordless incantations, the piece’s simple and childlike form evolves into something truly strange and fantastic.

Producer Travis Hood and filmmaker Ross Mayfield return after expertly documenting the pageantry of Allen’s 2023 Tin Iso and the Dawn. The duo’s video for “Act I: Garden”, featuring Allen’s performance of their new puppet ballet, which premiered at La Mama this past November, is in the ether for your viewing pleasure.

Osni the Flare arrives on Friday, March 27, and is available for preorder now in artist and black vinyl, Japanese import CD via Plancha, and digital editions.

Jack Spence’s Bamboo Sun is the next installment of Freedom to Spend’s uncommon¢ series: a nearly unknown entry in the canon of the early 80s DIY cassette network, and a genre-bending exercise in form and function from an enigmatic west coast artist.

Bamboo Sun’s atmosphere is one of a humid, wet tropical rain forest. Mystery lurks around every corner, sometimes inviting, other times with a tangible air of tension. The album veers into fashionable fourth world elements of the era, but Spence’s imaginary landscapes are distinctly his own, teeming with alien arrangements, acoustic percussion ensembles, and slow, pulsing rhythms leading the path. Synth-centric pieces emanate a distinctly human feeling, occasionally brushing up against the record’s scarce vocal-led songs.

Although Spence was tragically murdered in the late 80s, leaving many more questions than answers, his work survives as a vivid document of a seeker of sound.

Check out “Cyeta,” the first work from the album, in the ether (but not streaming), and pre-order Bamboo Sun on the Freedom to Spend and RVNG webstores or Bandcamp before the record arrives on February 6, 2026.