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RIP Scott Foust
⚓️
The world is a much worse place without him.
💔

I had the pleasure of collaborating with Scott for the past 15 years on several Recital editions. I am missing him dearly.

Idea Fire Company is the best band. Swill Radio was the best distro. We all need to eat a page out of his book.

Hugs to Karla Borecky and Matt Krefting and all those who are mourning him. Here’s to love!

RIP Scott Foust
⚓️
The world is a much worse place without him.
💔

I had the pleasure of collaborating with Scott for the past 15 years on several Recital editions. I am missing him dearly.

Idea Fire Company is the best band. Swill Radio was the best distro. We all need to eat a page out of his book.

Hugs to Karla Borecky and Matt Krefting and all those who are mourning him. Here’s to love!

RIP Scott Foust
⚓️
The world is a much worse place without him.
💔

I had the pleasure of collaborating with Scott for the past 15 years on several Recital editions. I am missing him dearly.

Idea Fire Company is the best band. Swill Radio was the best distro. We all need to eat a page out of his book.

Hugs to Karla Borecky and Matt Krefting and all those who are mourning him. Here’s to love!

RIP Scott Foust
⚓️
The world is a much worse place without him.
💔

I had the pleasure of collaborating with Scott for the past 15 years on several Recital editions. I am missing him dearly.

Idea Fire Company is the best band. Swill Radio was the best distro. We all need to eat a page out of his book.

Hugs to Karla Borecky and Matt Krefting and all those who are mourning him. Here’s to love!

RIP Scott Foust
⚓️
The world is a much worse place without him.
💔

I had the pleasure of collaborating with Scott for the past 15 years on several Recital editions. I am missing him dearly.

Idea Fire Company is the best band. Swill Radio was the best distro. We all need to eat a page out of his book.

Hugs to Karla Borecky and Matt Krefting and all those who are mourning him. Here’s to love!

On this episode of Songs of Our Lives, it’s Sean McCann! It’s always a blast to connect with someone I’ve known for years, and especially around the occasion of their first-ever opera. In this case, Sean’s latest, “The Leopard.” We get into that, the difficulty in completing it, and plenty more before diving into the effervescent magic of Albert Ayler, The Blue Nile’s specific kind of romance, Billie Holliday, Psychic TV, Joseph Beuys & Nam June Paik, Led Zeppelin, GBV, Meat Puppets + more!

Listen via Foxy Digitalis or wherever you listen to podcasts.

Hear the full, unabridged conversation exclusively on the Foxy Digitalis patreon.

new Recital editions out today:
Sean McCann - ‘The Leopard’
Iris Our - ‘Victual Vittle Bottle Сunt’
Derek Baron - ‘The Holy Restaurant’
🍂🍂🍂

As always, i feel so proud to publish music from such lovelypeople / inspiring artists. Thanks to Derek, Sydney, Kiera, and all the other contributors (including the readers in my opera: Nour, Max, Martin, David, Krystel)

And thank you for suppprting the label by buying physical copies of these editions. Every little purchase means a lot 🔮

new Recital editions out today:
Sean McCann - ‘The Leopard’
Iris Our - ‘Victual Vittle Bottle Сunt’
Derek Baron - ‘The Holy Restaurant’
🍂🍂🍂

As always, i feel so proud to publish music from such lovelypeople / inspiring artists. Thanks to Derek, Sydney, Kiera, and all the other contributors (including the readers in my opera: Nour, Max, Martin, David, Krystel)

And thank you for suppprting the label by buying physical copies of these editions. Every little purchase means a lot 🔮

new Recital editions out today:
Sean McCann - ‘The Leopard’
Iris Our - ‘Victual Vittle Bottle Сunt’
Derek Baron - ‘The Holy Restaurant’
🍂🍂🍂

As always, i feel so proud to publish music from such lovelypeople / inspiring artists. Thanks to Derek, Sydney, Kiera, and all the other contributors (including the readers in my opera: Nour, Max, Martin, David, Krystel)

And thank you for suppprting the label by buying physical copies of these editions. Every little purchase means a lot 🔮

new Recital editions out today:
Sean McCann - ‘The Leopard’
Iris Our - ‘Victual Vittle Bottle Сunt’
Derek Baron - ‘The Holy Restaurant’
🍂🍂🍂

As always, i feel so proud to publish music from such lovelypeople / inspiring artists. Thanks to Derek, Sydney, Kiera, and all the other contributors (including the readers in my opera: Nour, Max, Martin, David, Krystel)

And thank you for suppprting the label by buying physical copies of these editions. Every little purchase means a lot 🔮

new Recital editions out today:
Sean McCann - ‘The Leopard’
Iris Our - ‘Victual Vittle Bottle Сunt’
Derek Baron - ‘The Holy Restaurant’
🍂🍂🍂

As always, i feel so proud to publish music from such lovelypeople / inspiring artists. Thanks to Derek, Sydney, Kiera, and all the other contributors (including the readers in my opera: Nour, Max, Martin, David, Krystel)

And thank you for suppprting the label by buying physical copies of these editions. Every little purchase means a lot 🔮

new Recital editions out today:
Sean McCann - ‘The Leopard’
Iris Our - ‘Victual Vittle Bottle Сunt’
Derek Baron - ‘The Holy Restaurant’
🍂🍂🍂

As always, i feel so proud to publish music from such lovelypeople / inspiring artists. Thanks to Derek, Sydney, Kiera, and all the other contributors (including the readers in my opera: Nour, Max, Martin, David, Krystel)

And thank you for suppprting the label by buying physical copies of these editions. Every little purchase means a lot 🔮

Recital is pleased to announce The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020).

The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet “becomes the point and the problem to explore.”

The second track “Oven Girls” opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over us and we transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On “Music in the Casket,” A disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, “The Holy Restaurant,” sets a text written by Baron’s grandfather. A small chorus voices his words, echoing the humanistic storytelling of “Blue” Gene Tyranny’s “A Letter From Home.” Under sunlit piano progressions, a fleet of smokey trumpets emerges.

Running throughout the album is a series of “traces”: short melodic phrases painted over again and again with different real and MIDI instrumentation. The “luxurious asceticism of doubling” as Baron puts it. They explain, “Part of the allure for me is that the ‘original’ material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern.”

The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron’s family members.

LP limited to 200pc (out 10/31)

Recital is pleased to announce The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020).

The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet “becomes the point and the problem to explore.”

The second track “Oven Girls” opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over us and we transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On “Music in the Casket,” A disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, “The Holy Restaurant,” sets a text written by Baron’s grandfather. A small chorus voices his words, echoing the humanistic storytelling of “Blue” Gene Tyranny’s “A Letter From Home.” Under sunlit piano progressions, a fleet of smokey trumpets emerges.

Running throughout the album is a series of “traces”: short melodic phrases painted over again and again with different real and MIDI instrumentation. The “luxurious asceticism of doubling” as Baron puts it. They explain, “Part of the allure for me is that the ‘original’ material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern.”

The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron’s family members.

LP limited to 200pc (out 10/31)

Recital is pleased to announce The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020).

The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet “becomes the point and the problem to explore.”

The second track “Oven Girls” opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over us and we transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On “Music in the Casket,” A disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, “The Holy Restaurant,” sets a text written by Baron’s grandfather. A small chorus voices his words, echoing the humanistic storytelling of “Blue” Gene Tyranny’s “A Letter From Home.” Under sunlit piano progressions, a fleet of smokey trumpets emerges.

Running throughout the album is a series of “traces”: short melodic phrases painted over again and again with different real and MIDI instrumentation. The “luxurious asceticism of doubling” as Baron puts it. They explain, “Part of the allure for me is that the ‘original’ material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern.”

The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron’s family members.

LP limited to 200pc (out 10/31)

Recital is pleased to announce The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020).

The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet “becomes the point and the problem to explore.”

The second track “Oven Girls” opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over us and we transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On “Music in the Casket,” A disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, “The Holy Restaurant,” sets a text written by Baron’s grandfather. A small chorus voices his words, echoing the humanistic storytelling of “Blue” Gene Tyranny’s “A Letter From Home.” Under sunlit piano progressions, a fleet of smokey trumpets emerges.

Running throughout the album is a series of “traces”: short melodic phrases painted over again and again with different real and MIDI instrumentation. The “luxurious asceticism of doubling” as Baron puts it. They explain, “Part of the allure for me is that the ‘original’ material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern.”

The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron’s family members.

LP limited to 200pc (out 10/31)

Recital is pleased to announce The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020).

The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet “becomes the point and the problem to explore.”

The second track “Oven Girls” opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over us and we transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On “Music in the Casket,” A disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, “The Holy Restaurant,” sets a text written by Baron’s grandfather. A small chorus voices his words, echoing the humanistic storytelling of “Blue” Gene Tyranny’s “A Letter From Home.” Under sunlit piano progressions, a fleet of smokey trumpets emerges.

Running throughout the album is a series of “traces”: short melodic phrases painted over again and again with different real and MIDI instrumentation. The “luxurious asceticism of doubling” as Baron puts it. They explain, “Part of the allure for me is that the ‘original’ material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern.”

The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron’s family members.

LP limited to 200pc (out 10/31)

Iris Our is the new surrealist duo of artists Kiera Mulhern and Sydney Spann. Recital is honored to present their debut album, Victual Vittle Bottle Сunt.

Both Mulhern and Spann have released celebrated solo works on Recital: Mulhern’s De ossibus 20 (2020) and Spann’s Sending Up A Spiral Of (2023). Close friends, they would meet up weekly on Saturdays to record; channeling their love, angst, and wit. The synergism of their friendship is evident: poems read in tandem, flanking each other’s syllables and breaths. Voice, synthesis, various electronics, and kinetic field recordings (often from their shared lives) form the material.

The album’s conceptual core is femininity understood through diffusion, imitation, and horror, alongside themes of debt, addiction, and inheritance. Vestiges of these can be heard in verbal intercourses through an industrial hiss emerging from the CD. As the artists write: “the obscene impossibility of having a mouth that sucks, eats and speaks, and of a voice that commands, soothes, and curses.”

Many of the texts began as hand-drawn concrete poems by the duo. “Urnshaped Murmuration” stages Spann and Mulhern reciting texts in the left and right channels, chasing each other in a lapping ocean of shadow sounds. The final track “Erections of Angels Directed at Me” is immense. A hushed This Mortal Coil-esque melody is sung, as flush oscillators churn autonomously. Smoldering flutes glow ahead of distant metallic havoc. Despite its condensed 26-minute runtime, the album feels dense, commanding, and total.

The result is an authentic, sharp mythology—visceral research into “the body as disposable, the body as the object of medicine, the body as etched with words, the body in revolt.”

Victual Vittle Bottle Сunt was engineered by Katie Von Schleicher, mixed by Theodore Cale Schafer, and mastered by Sean McCann. The pastel album cover by Maggie Fitzpatrick showcases a barren alley with a parked Tesla engulfed in flames. The release includes a booklet of concrete poems, artwork by the duo, and artist portraits by Gram Hummell.

• Glass-mastered gatefold CD edition of 200pc
• 12-page booklet

(Out 10/31)

Iris Our is the new surrealist duo of artists Kiera Mulhern and Sydney Spann. Recital is honored to present their debut album, Victual Vittle Bottle Сunt.

Both Mulhern and Spann have released celebrated solo works on Recital: Mulhern’s De ossibus 20 (2020) and Spann’s Sending Up A Spiral Of (2023). Close friends, they would meet up weekly on Saturdays to record; channeling their love, angst, and wit. The synergism of their friendship is evident: poems read in tandem, flanking each other’s syllables and breaths. Voice, synthesis, various electronics, and kinetic field recordings (often from their shared lives) form the material.

The album’s conceptual core is femininity understood through diffusion, imitation, and horror, alongside themes of debt, addiction, and inheritance. Vestiges of these can be heard in verbal intercourses through an industrial hiss emerging from the CD. As the artists write: “the obscene impossibility of having a mouth that sucks, eats and speaks, and of a voice that commands, soothes, and curses.”

Many of the texts began as hand-drawn concrete poems by the duo. “Urnshaped Murmuration” stages Spann and Mulhern reciting texts in the left and right channels, chasing each other in a lapping ocean of shadow sounds. The final track “Erections of Angels Directed at Me” is immense. A hushed This Mortal Coil-esque melody is sung, as flush oscillators churn autonomously. Smoldering flutes glow ahead of distant metallic havoc. Despite its condensed 26-minute runtime, the album feels dense, commanding, and total.

The result is an authentic, sharp mythology—visceral research into “the body as disposable, the body as the object of medicine, the body as etched with words, the body in revolt.”

Victual Vittle Bottle Сunt was engineered by Katie Von Schleicher, mixed by Theodore Cale Schafer, and mastered by Sean McCann. The pastel album cover by Maggie Fitzpatrick showcases a barren alley with a parked Tesla engulfed in flames. The release includes a booklet of concrete poems, artwork by the duo, and artist portraits by Gram Hummell.

• Glass-mastered gatefold CD edition of 200pc
• 12-page booklet

(Out 10/31)

Iris Our is the new surrealist duo of artists Kiera Mulhern and Sydney Spann. Recital is honored to present their debut album, Victual Vittle Bottle Сunt.

Both Mulhern and Spann have released celebrated solo works on Recital: Mulhern’s De ossibus 20 (2020) and Spann’s Sending Up A Spiral Of (2023). Close friends, they would meet up weekly on Saturdays to record; channeling their love, angst, and wit. The synergism of their friendship is evident: poems read in tandem, flanking each other’s syllables and breaths. Voice, synthesis, various electronics, and kinetic field recordings (often from their shared lives) form the material.

The album’s conceptual core is femininity understood through diffusion, imitation, and horror, alongside themes of debt, addiction, and inheritance. Vestiges of these can be heard in verbal intercourses through an industrial hiss emerging from the CD. As the artists write: “the obscene impossibility of having a mouth that sucks, eats and speaks, and of a voice that commands, soothes, and curses.”

Many of the texts began as hand-drawn concrete poems by the duo. “Urnshaped Murmuration” stages Spann and Mulhern reciting texts in the left and right channels, chasing each other in a lapping ocean of shadow sounds. The final track “Erections of Angels Directed at Me” is immense. A hushed This Mortal Coil-esque melody is sung, as flush oscillators churn autonomously. Smoldering flutes glow ahead of distant metallic havoc. Despite its condensed 26-minute runtime, the album feels dense, commanding, and total.

The result is an authentic, sharp mythology—visceral research into “the body as disposable, the body as the object of medicine, the body as etched with words, the body in revolt.”

Victual Vittle Bottle Сunt was engineered by Katie Von Schleicher, mixed by Theodore Cale Schafer, and mastered by Sean McCann. The pastel album cover by Maggie Fitzpatrick showcases a barren alley with a parked Tesla engulfed in flames. The release includes a booklet of concrete poems, artwork by the duo, and artist portraits by Gram Hummell.

• Glass-mastered gatefold CD edition of 200pc
• 12-page booklet

(Out 10/31)

Iris Our is the new surrealist duo of artists Kiera Mulhern and Sydney Spann. Recital is honored to present their debut album, Victual Vittle Bottle Сunt.

Both Mulhern and Spann have released celebrated solo works on Recital: Mulhern’s De ossibus 20 (2020) and Spann’s Sending Up A Spiral Of (2023). Close friends, they would meet up weekly on Saturdays to record; channeling their love, angst, and wit. The synergism of their friendship is evident: poems read in tandem, flanking each other’s syllables and breaths. Voice, synthesis, various electronics, and kinetic field recordings (often from their shared lives) form the material.

The album’s conceptual core is femininity understood through diffusion, imitation, and horror, alongside themes of debt, addiction, and inheritance. Vestiges of these can be heard in verbal intercourses through an industrial hiss emerging from the CD. As the artists write: “the obscene impossibility of having a mouth that sucks, eats and speaks, and of a voice that commands, soothes, and curses.”

Many of the texts began as hand-drawn concrete poems by the duo. “Urnshaped Murmuration” stages Spann and Mulhern reciting texts in the left and right channels, chasing each other in a lapping ocean of shadow sounds. The final track “Erections of Angels Directed at Me” is immense. A hushed This Mortal Coil-esque melody is sung, as flush oscillators churn autonomously. Smoldering flutes glow ahead of distant metallic havoc. Despite its condensed 26-minute runtime, the album feels dense, commanding, and total.

The result is an authentic, sharp mythology—visceral research into “the body as disposable, the body as the object of medicine, the body as etched with words, the body in revolt.”

Victual Vittle Bottle Сunt was engineered by Katie Von Schleicher, mixed by Theodore Cale Schafer, and mastered by Sean McCann. The pastel album cover by Maggie Fitzpatrick showcases a barren alley with a parked Tesla engulfed in flames. The release includes a booklet of concrete poems, artwork by the duo, and artist portraits by Gram Hummell.

• Glass-mastered gatefold CD edition of 200pc
• 12-page booklet

(Out 10/31)

Iris Our is the new surrealist duo of artists Kiera Mulhern and Sydney Spann. Recital is honored to present their debut album, Victual Vittle Bottle Сunt.

Both Mulhern and Spann have released celebrated solo works on Recital: Mulhern’s De ossibus 20 (2020) and Spann’s Sending Up A Spiral Of (2023). Close friends, they would meet up weekly on Saturdays to record; channeling their love, angst, and wit. The synergism of their friendship is evident: poems read in tandem, flanking each other’s syllables and breaths. Voice, synthesis, various electronics, and kinetic field recordings (often from their shared lives) form the material.

The album’s conceptual core is femininity understood through diffusion, imitation, and horror, alongside themes of debt, addiction, and inheritance. Vestiges of these can be heard in verbal intercourses through an industrial hiss emerging from the CD. As the artists write: “the obscene impossibility of having a mouth that sucks, eats and speaks, and of a voice that commands, soothes, and curses.”

Many of the texts began as hand-drawn concrete poems by the duo. “Urnshaped Murmuration” stages Spann and Mulhern reciting texts in the left and right channels, chasing each other in a lapping ocean of shadow sounds. The final track “Erections of Angels Directed at Me” is immense. A hushed This Mortal Coil-esque melody is sung, as flush oscillators churn autonomously. Smoldering flutes glow ahead of distant metallic havoc. Despite its condensed 26-minute runtime, the album feels dense, commanding, and total.

The result is an authentic, sharp mythology—visceral research into “the body as disposable, the body as the object of medicine, the body as etched with words, the body in revolt.”

Victual Vittle Bottle Сunt was engineered by Katie Von Schleicher, mixed by Theodore Cale Schafer, and mastered by Sean McCann. The pastel album cover by Maggie Fitzpatrick showcases a barren alley with a parked Tesla engulfed in flames. The release includes a booklet of concrete poems, artwork by the duo, and artist portraits by Gram Hummell.

• Glass-mastered gatefold CD edition of 200pc
• 12-page booklet

(Out 10/31)

Sean McCann presents The Leopard, an opera.

Dialog, music, and elaborate sound design fold into a narrative fantasy about self-cannibalization and transformation. Written and recorded over five years, this is McCann’s first album since 2019’s Puck (Recital) and his first opera. The opera is voiced by composer Martin Bresnick, artist Nour Mobarak, musician Max Eilbacher [Horse Lords], and voice actors David George and Krystel Abimeri. McCann performed and recorded most of the music himself, meticulously editing every sound.

The opera opens with an ornate musical overture before plunging into a surreal tableau: characters on a sailboat cooking and consuming themselves over a makeshift stove. Over the course of eight scenes, the plot continually dissolves and recombines, inducing a narcotic dreamstate. The opera is overseen by Copy, a chimerical figure who both guides and distorts the plot. Four wordless interludes feature Copy in a greenhouse, playing old Victrola records while pruning floral incarnations of each persona. One hears screaming silverware, sprays of watering cans, a thunderstorm, and the baking of each character into a loaf of bread. Musical flourishes appear, such as Barbara Strozzi’s devastating Lagrime mie (1659) which is performed in an empty library alongside a Gertrude Stein-esque spoken incantation read by Nour Mobarak. The opera closes with a grand coda; a haunting, elegiac work for violins and choir.

The opera is accompanied by a book that contains the libretto along with unspoken texts and artwork. Each scene in the book contains a “Copy path,” a kind of plot betrayal or text smear that beckons the listener to fall inside plot holes and uncover flickers of meaning for themselves.

The Leopard navigates a new form that lays somewhere between radio-play, experimental opera, and dioramic film. Available from Recital as a double-CD edition or a limited triple-vinyl LP box set (edition of 100). Pre-order now via Bandcamp (out 10/31) 🎭

@adult_nour @guess__newmodel#radioplay #opera #experimentalopera

Sean McCann presents The Leopard, an opera.

Dialog, music, and elaborate sound design fold into a narrative fantasy about self-cannibalization and transformation. Written and recorded over five years, this is McCann’s first album since 2019’s Puck (Recital) and his first opera. The opera is voiced by composer Martin Bresnick, artist Nour Mobarak, musician Max Eilbacher [Horse Lords], and voice actors David George and Krystel Abimeri. McCann performed and recorded most of the music himself, meticulously editing every sound.

The opera opens with an ornate musical overture before plunging into a surreal tableau: characters on a sailboat cooking and consuming themselves over a makeshift stove. Over the course of eight scenes, the plot continually dissolves and recombines, inducing a narcotic dreamstate. The opera is overseen by Copy, a chimerical figure who both guides and distorts the plot. Four wordless interludes feature Copy in a greenhouse, playing old Victrola records while pruning floral incarnations of each persona. One hears screaming silverware, sprays of watering cans, a thunderstorm, and the baking of each character into a loaf of bread. Musical flourishes appear, such as Barbara Strozzi’s devastating Lagrime mie (1659) which is performed in an empty library alongside a Gertrude Stein-esque spoken incantation read by Nour Mobarak. The opera closes with a grand coda; a haunting, elegiac work for violins and choir.

The opera is accompanied by a book that contains the libretto along with unspoken texts and artwork. Each scene in the book contains a “Copy path,” a kind of plot betrayal or text smear that beckons the listener to fall inside plot holes and uncover flickers of meaning for themselves.

The Leopard navigates a new form that lays somewhere between radio-play, experimental opera, and dioramic film. Available from Recital as a double-CD edition or a limited triple-vinyl LP box set (edition of 100). Pre-order now via Bandcamp (out 10/31) 🎭

@adult_nour @guess__newmodel#radioplay #opera #experimentalopera

Sean McCann presents The Leopard, an opera.

Dialog, music, and elaborate sound design fold into a narrative fantasy about self-cannibalization and transformation. Written and recorded over five years, this is McCann’s first album since 2019’s Puck (Recital) and his first opera. The opera is voiced by composer Martin Bresnick, artist Nour Mobarak, musician Max Eilbacher [Horse Lords], and voice actors David George and Krystel Abimeri. McCann performed and recorded most of the music himself, meticulously editing every sound.

The opera opens with an ornate musical overture before plunging into a surreal tableau: characters on a sailboat cooking and consuming themselves over a makeshift stove. Over the course of eight scenes, the plot continually dissolves and recombines, inducing a narcotic dreamstate. The opera is overseen by Copy, a chimerical figure who both guides and distorts the plot. Four wordless interludes feature Copy in a greenhouse, playing old Victrola records while pruning floral incarnations of each persona. One hears screaming silverware, sprays of watering cans, a thunderstorm, and the baking of each character into a loaf of bread. Musical flourishes appear, such as Barbara Strozzi’s devastating Lagrime mie (1659) which is performed in an empty library alongside a Gertrude Stein-esque spoken incantation read by Nour Mobarak. The opera closes with a grand coda; a haunting, elegiac work for violins and choir.

The opera is accompanied by a book that contains the libretto along with unspoken texts and artwork. Each scene in the book contains a “Copy path,” a kind of plot betrayal or text smear that beckons the listener to fall inside plot holes and uncover flickers of meaning for themselves.

The Leopard navigates a new form that lays somewhere between radio-play, experimental opera, and dioramic film. Available from Recital as a double-CD edition or a limited triple-vinyl LP box set (edition of 100). Pre-order now via Bandcamp (out 10/31) 🎭

@adult_nour @guess__newmodel#radioplay #opera #experimentalopera

Sean McCann presents The Leopard, an opera.

Dialog, music, and elaborate sound design fold into a narrative fantasy about self-cannibalization and transformation. Written and recorded over five years, this is McCann’s first album since 2019’s Puck (Recital) and his first opera. The opera is voiced by composer Martin Bresnick, artist Nour Mobarak, musician Max Eilbacher [Horse Lords], and voice actors David George and Krystel Abimeri. McCann performed and recorded most of the music himself, meticulously editing every sound.

The opera opens with an ornate musical overture before plunging into a surreal tableau: characters on a sailboat cooking and consuming themselves over a makeshift stove. Over the course of eight scenes, the plot continually dissolves and recombines, inducing a narcotic dreamstate. The opera is overseen by Copy, a chimerical figure who both guides and distorts the plot. Four wordless interludes feature Copy in a greenhouse, playing old Victrola records while pruning floral incarnations of each persona. One hears screaming silverware, sprays of watering cans, a thunderstorm, and the baking of each character into a loaf of bread. Musical flourishes appear, such as Barbara Strozzi’s devastating Lagrime mie (1659) which is performed in an empty library alongside a Gertrude Stein-esque spoken incantation read by Nour Mobarak. The opera closes with a grand coda; a haunting, elegiac work for violins and choir.

The opera is accompanied by a book that contains the libretto along with unspoken texts and artwork. Each scene in the book contains a “Copy path,” a kind of plot betrayal or text smear that beckons the listener to fall inside plot holes and uncover flickers of meaning for themselves.

The Leopard navigates a new form that lays somewhere between radio-play, experimental opera, and dioramic film. Available from Recital as a double-CD edition or a limited triple-vinyl LP box set (edition of 100). Pre-order now via Bandcamp (out 10/31) 🎭

@adult_nour @guess__newmodel#radioplay #opera #experimentalopera

Sean McCann presents The Leopard, an opera.

Dialog, music, and elaborate sound design fold into a narrative fantasy about self-cannibalization and transformation. Written and recorded over five years, this is McCann’s first album since 2019’s Puck (Recital) and his first opera. The opera is voiced by composer Martin Bresnick, artist Nour Mobarak, musician Max Eilbacher [Horse Lords], and voice actors David George and Krystel Abimeri. McCann performed and recorded most of the music himself, meticulously editing every sound.

The opera opens with an ornate musical overture before plunging into a surreal tableau: characters on a sailboat cooking and consuming themselves over a makeshift stove. Over the course of eight scenes, the plot continually dissolves and recombines, inducing a narcotic dreamstate. The opera is overseen by Copy, a chimerical figure who both guides and distorts the plot. Four wordless interludes feature Copy in a greenhouse, playing old Victrola records while pruning floral incarnations of each persona. One hears screaming silverware, sprays of watering cans, a thunderstorm, and the baking of each character into a loaf of bread. Musical flourishes appear, such as Barbara Strozzi’s devastating Lagrime mie (1659) which is performed in an empty library alongside a Gertrude Stein-esque spoken incantation read by Nour Mobarak. The opera closes with a grand coda; a haunting, elegiac work for violins and choir.

The opera is accompanied by a book that contains the libretto along with unspoken texts and artwork. Each scene in the book contains a “Copy path,” a kind of plot betrayal or text smear that beckons the listener to fall inside plot holes and uncover flickers of meaning for themselves.

The Leopard navigates a new form that lays somewhere between radio-play, experimental opera, and dioramic film. Available from Recital as a double-CD edition or a limited triple-vinyl LP box set (edition of 100). Pre-order now via Bandcamp (out 10/31) 🎭

@adult_nour @guess__newmodel#radioplay #opera #experimentalopera

officially married 🖤🖤

officially married 🖤🖤

officially married 🖤🖤

The presentation of ‘Solo Voce’ at @settantaventidue last week, voicing an intimate collection of impromptu sound poems 💋🔗 Out on @recitalprogram with a 16-page booklet of concrete poetry in a limited edition of 200.

📸 @kasap.rocky 🫶🏼

Zachary Paul
‘Calendar’
out today on Recital 🎻🪟
Buy a copy from Bandcamp 💿 or stream it

Zachary has long been a “session violinist” for many Recital releases (including Simple Affections and Autumn Fair etc.). It’s with great pleasure to finally release a full length solo album of his work on Recital.

Calendar is a collection of unfinished demos, compositional experiments, and edited re-released tracks which span the past 8 years. Recital operator and composer Sean McCann took 7+ hours of Paul’s music and edited it down to these 8 tracks over 50 minutes, folding them into themselves and into one another.

Zachary Paul
‘Calendar’
out today on Recital 🎻🪟
Buy a copy from Bandcamp 💿 or stream it

Zachary has long been a “session violinist” for many Recital releases (including Simple Affections and Autumn Fair etc.). It’s with great pleasure to finally release a full length solo album of his work on Recital.

Calendar is a collection of unfinished demos, compositional experiments, and edited re-released tracks which span the past 8 years. Recital operator and composer Sean McCann took 7+ hours of Paul’s music and edited it down to these 8 tracks over 50 minutes, folding them into themselves and into one another.

Zachary Paul
‘Calendar’
out today on Recital 🎻🪟
Buy a copy from Bandcamp 💿 or stream it

Zachary has long been a “session violinist” for many Recital releases (including Simple Affections and Autumn Fair etc.). It’s with great pleasure to finally release a full length solo album of his work on Recital.

Calendar is a collection of unfinished demos, compositional experiments, and edited re-released tracks which span the past 8 years. Recital operator and composer Sean McCann took 7+ hours of Paul’s music and edited it down to these 8 tracks over 50 minutes, folding them into themselves and into one another.

Zachary Paul
‘Calendar’
out today on Recital 🎻🪟
Buy a copy from Bandcamp 💿 or stream it

Zachary has long been a “session violinist” for many Recital releases (including Simple Affections and Autumn Fair etc.). It’s with great pleasure to finally release a full length solo album of his work on Recital.

Calendar is a collection of unfinished demos, compositional experiments, and edited re-released tracks which span the past 8 years. Recital operator and composer Sean McCann took 7+ hours of Paul’s music and edited it down to these 8 tracks over 50 minutes, folding them into themselves and into one another.

Vittoria Totale – ‘Solo Voce’
Out today! Buy a copy via Bandcamp or stream ⛲️
@vittoria.totale 👄

Recital presents a collection of new sound poetry works from Vittoria de Franchis, an independent curator, language researcher and writer operating between London, Berlin and Rome.Solo Voce, Vittoria’s first album, carries a certain arousal and intimate elation, a kind of sensual communiqué.

As Vittoria says: “The recordings were born out of fantasizing and desire. These bursts of fantasy were translated into words that then in their turn became rhythm and sound, producing a nectar of non-semantic vocalizings. These bulletins would emerge while walking in the streets, waiting for someone in a bar, going back home in the tube, working on something manually repetitively, walking on a hill in a rush or just being in bed in the evening and letting thoughts deploy.”

Vittoria Totale – ‘Solo Voce’
Out today! Buy a copy via Bandcamp or stream ⛲️
@vittoria.totale 👄

Recital presents a collection of new sound poetry works from Vittoria de Franchis, an independent curator, language researcher and writer operating between London, Berlin and Rome.Solo Voce, Vittoria’s first album, carries a certain arousal and intimate elation, a kind of sensual communiqué.

As Vittoria says: “The recordings were born out of fantasizing and desire. These bursts of fantasy were translated into words that then in their turn became rhythm and sound, producing a nectar of non-semantic vocalizings. These bulletins would emerge while walking in the streets, waiting for someone in a bar, going back home in the tube, working on something manually repetitively, walking on a hill in a rush or just being in bed in the evening and letting thoughts deploy.”

Vittoria Totale – ‘Solo Voce’
Out today! Buy a copy via Bandcamp or stream ⛲️
@vittoria.totale 👄

Recital presents a collection of new sound poetry works from Vittoria de Franchis, an independent curator, language researcher and writer operating between London, Berlin and Rome.Solo Voce, Vittoria’s first album, carries a certain arousal and intimate elation, a kind of sensual communiqué.

As Vittoria says: “The recordings were born out of fantasizing and desire. These bursts of fantasy were translated into words that then in their turn became rhythm and sound, producing a nectar of non-semantic vocalizings. These bulletins would emerge while walking in the streets, waiting for someone in a bar, going back home in the tube, working on something manually repetitively, walking on a hill in a rush or just being in bed in the evening and letting thoughts deploy.”

Nour Mobarak - 'Dafne Phono' LP out today on Recital ( + libretto book available from @wendyssubway )

Video by gabrielloukeris Gabriel Loukeris
Produced by @sylvia_kouvali Sylvia Kouvali
Filmed at the Municipal Theater of Piraeus, 2023

Dafne Phono was commissioned in part by Sylvia Kouvali, and was first presented at the Municipal Theater of Piraeus. The sound component was commissioned in part by JOAN Los Angeles. The sculptures were produced with generous support from and using materials and facilities provided by Dirfis Mushrooms in Evia, Greece. Dafne Phono is supported in part by a Foundation for Contemporary Arts Emergency Grant. The artist gratefully acknowledges the Nicoletta Fiorrucci Foundation, Souzana Laskaridis, Rhea Papanikolaou, Onassis AiR, Genelec, MorrowSound. The Dafne Phono book and LP were made on the occasion of its exhibition at the Museum of Modern Art, New York.

@nicolettafioruccifoundation
@joanlosangeles
@foundationforcontemporaryarts
@charlie.morrow
@dirfismushrooms
@themuseumofmodernart

PRESENTING MY ALBUM ‘SOLO VOCE’ ON @recitalprogram TODAY AT @settantaventidue , 8PM SHARP💋 see you later

PRESENTING MY ALBUM ‘SOLO VOCE’ ON @recitalprogram TODAY AT @settantaventidue , 8PM SHARP💋 see you later