One vessel. Many states.
What I bury has many names.
One vessel, many states
Five tracks move through it: restraint to contingency to the spill, then the wordless and the unruly. The words name the states; where the words run out, the music carries them.
1 ✦ Quiet Seed. The seed goes in the ground. "Plant me as a quiet seed / Cover me with rain / What I lose has done me good / What I bury has many names." Restraint. No direct God-language. Planted, waiting.
2 ✦ Medicine Light. The days after. Restraint becomes contingency. "Show me what I might have said / Show me what was almost true." The bridge de-asserts: "the medicine might forget the patient / so the patient might remember what's left to lose."
3 ✦ Same Cup. The cup spills over. Eastern modal vocabulary held against Western chamber. 4/4 rhythm under 7/8 vocal phrasing. "Let God fill it up." The earned moment of directness.
4 ✦ A Peek at what it's like to be Peaking. Instrumental. The peak with no words for it: jazz-leaning electronic, a bright melodic lead in the register a voice would sing.
5 ✦ Chaos Order. The long churn, then a voice surfaces on the far side: order found inside the noise, not before it.
Hear the EP
Released June 21, 2026. Full EP, mastered. Click a track to hear it and read the words.
Full EP, mastered. Released June 21, 2026, streaming below.
Streaming
Out now on SoundCloud; wider platforms as distribution propagates.
How it was made
Many Names was made in Austin via a Suno to Moises to Ableton workflow that treats AI as collaborator, not replacement. The harvest-and-collate craft is 2+ years deep before this EP, documented in iteration logs across the Red Plastic Records workshop.
Lineage: Bonobo's organic electronic spine. Bon Iver's falsetto self-harmony and breathy intimate close-mic. Max Richter's compositional ambient with sustained string textures and electronic processing. Jacob Collier's modal mixture and harmonic invention. The ney-and-oud chamber-Eastern fusion practice of Ólafur Arnalds layered over Anoushka Shankar's modal vocabulary on the final track.
Vocal: male tenor falsetto-led, fragile and breathy, two harmony voices in close intervals (sister-and-brother register, not a choir). Bon-Iver-coded direction without naming the artist in any Suno field. A Peek is the only fully instrumental track; Chaos Order surfaces a sung coda on the far side of the churn.
Production: iZotope Neutron 5 on every track in the mix, with dual Unmask architecture on the music bus protecting both vocal and drums from inter-source masking. Soundtheory Gullfoss tested and bypassed on the chamber-acoustic material (Neutron's stack already covered the perceptual work). Cablesguys ShaperBox 3 with rhythmic Drive on the hi-hat for the clarity-shine ear-tickle. iZotope Ozone 12 Master Assistant: per-track masters on the Indie Pop target, then a final EP cohesion pass on the Orchestral target, landing near -14 LUFS across a streaming-loudness range, -1.5 dBTP true peak, Maximizer in IRC 5 mode.
Modes + tempo: D Dorian (tracks 1 and 2) with the bridge of track 2 modulating to E Dorian. D Bhairav / Hijaz Kar on track 3 (the Hindustani morning raga, intervallic twin to Arabic / Andalusian / Sephardic Hijaz Kar) modulating to D Phrygian on the bridge. The augmented seconds at Eb to F# and Bb to C# are the wound intervals. Adagio across the whole EP: 60 BPM, 70 BPM, 74 BPM. Track 3 was designed for polymeter (4/4 rhythm section with 7/8 melodic vocal phrasing across the bar lines), with Ableton work shaping the layered phrasing in production.
Full workflow documentation lives in the Red Plastic Records workshop: github.com/travisbreaks/red-plastic-records (private; available for press review on request).
Credits
travisBREAKS ✦ written, performed, produced, mixed, and mastered.
Released under Red Plastic Records.
Distribution: full DSP rollout in progress ✦ 2026.