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As Green-House, musicians Olive Ardizoni and
Michael Flanagan engage human nature and the
natural world through joyous, dynamic synthesis.
Overlaying frequencies and expressions like
camouflage, their deeply layered collaborative process
begins with either artist; Ardizoni is often drawn to
melody, Flanagan to harmonics. The power lies in how
their ideas helix together, achieving a depth greater
than the sum of it's parts. For their first LP with new
label home, Ghostly International, Green-House grows
and refines their vivid instrumental songcraft with
uncharted, genre-defying freedom and movement, a
more active, percussive, and emotion-filled energy,
marked by flowing bodies of sound and sweeping
vistas. Hinterlands tunes into the beauty of the world
with defiant, radical sincerity.
Since 2020, across a catalog of acclaimed releases via
the scene-creating Los Angeles imprint, Leaving
Records, the duo has pursued a curiosity in
environments, reaching for innate and faraway spaces
by way of organic and synthetic instrumentation,
high-definition sound design, and "idiosyncratic
melodies crafted with the patient and methodical
hand of a gardener," writes Pitchfork. Green-House
doesn't fit neatly into any single category. Ardizoni
and Flanagan aren't aligned with New Age ideologies
or spirituality, and the ambient tag feels increasingly
limited given all that's going on in their songs, which
skew closer to the realms of IDM or even modern
classical on their new album. What remains inherent
is an open sense of wonder, "the idea of legitimizing
certain emotions within music that often aren't taken
seriously in art, like happiness and joy," says Ardizoni,
whose eclectic personality shines through even
without lyrics.