After more than 30 years of recorded output, Riparian stands as Eyvind Kang’s first solo instrumental album. Centered on the viola d’amore, it is an intimate and meditative work that extends his lifelong exploration of sound, improvisation, and ecological listening.
A longtime collaborator of Jessika Kenney, Bill Frisell, Laurie Anderson, Bennie Maupin, Stuart Dempster, and many others, Kang has also contributed to landmark recordings by SUNN O))) (Monoliths and Dimensions) and Blonde Redhead (Misery is a Butterfly). He is a disciple of spiritual jazz violinist Michael White and a lifelong student of raga with Padma Bhushan Smt. Dr. N. Rajam.
With Riparian, Kang turns inward, offering a rare and intimate work centered on the viola d’amore—an instrument he began exploring in depth during the pandemic. Across two longform pieces, he improvises within self-devised modes, unfolding melodies with a quiet intensity that traces ancient echoes through a contemporary ear.
Produced and recorded by Randall Dunn, Riparian captures the resonance of the viola d’amore with warmth and clarity, inviting the listener into a meditative space where sound, time, and image flow freely.
Tulpa is the most ambitious album yet from New York–based vocalist and electronics artist Charmaine Lee, following her acclaimed debut KNVF (Erratum Musical, 2021). Where earlier works explored sculptural delicacy, Tulpa arrives with immediacy and intensity, unflinching in its integration of raw human voice and processing, dissolving boundaries between organic and synthetic sound.
Inspired by the physicality and futurism of ’70s rock and the esoteric edges of tube amplification, Lee channels that energy into a densely layered and tactile listening experience—at once timelessly analog and futuristically digital.
Produced by Randall Dunn and recorded at Applehead Recording in Woodstock, NY, Tulpa embraces spatialized sound through the splitting of Lee’s signal across vintage tube amplifiers and direct input. The result is a spectrum of feedback, color, and dimensional shifts, moving fluidly from microscopic detail to expansive complexity while maintaining visceral clarity.
The title, drawn from Tibetan mysticism, refers to a being or object conjured through thought and imagination—mirroring Lee’s own practice, where sound becomes both material and illusion, embodied and ephemeral. Closing with a meditative duo featuring Ned Rothenberg on bass clarinet, Tulpa nods to Noh theatre while opening onto new horizons of Lee’s artistic evolution.
As her first solo release on Kou Records, the New York–based label she founded in 2025, Tulpa also inaugurates a curatorial vision dedicated to artists who are uncompromising in craft and curiosity.
Uranian Void is the new solo album from vocalist, composer, and lyricist Jessika Kenney out on Kou Records. Known for her singular approach to voice and expansive collaborations (A24's Midsommar, Alvin Lucier, Eyvind Kang, Melati Suryodarmo), Kenney here turns inward, shaping sound as memory and vibration.
Blurring sine waves, hydrophone recordings, ghazal, solo instruments, and voice, the album is a meditation on resonance—where shimmer and shadow are equally alive. Produced by Randall Dunn, Uranian Void magnifies the fragile edges of perception, revealing music that bends light, sways time, and slips between walls.
An immersive and delicate work, Uranian Void invites listeners into liminal spaces where echoes of memory resound like invisible dancers, alive in reverberation itself.