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.