Sprague, who began exploring music in her teens through early experiments with guitar and keyboard, gained a dedicated following in the early 2010s as a member of the indie band Florist. She then expanded her work to include experimental and ambient music under her own name starting in 2017.

Initially self-releasing her work before partnering with RVNG, her solo releases include *Water Memory / Mount Vision* (2017 / 2019), *Hill, Flower, Fog* (2020), and *Cloud Time* (2025).

A native of upstate New York near the Catskills—where she still lives—Sprague began approaching music as a way to integrate and spatially capture her emotions. She learned piano from her mother as a child and later taught herself guitar through experimentation. Rather than theory or scales, she prioritized individual songs that held special meaning for her, intuitive sound structures, the power of melody, and instinctive sonic gestures.

Eventually, she began creating soundscapes using multitrack loops and pedals, as well as non-modular and modular synthesizers. The act of patching inputs and outputs became a way to symbolize mental processes and meditative states through sound.

Around 2019, after returning to film photography, Sprague became deeply drawn to cyanotypes and the work of botanist and photographer Anna Atkins, who documented plants using the cyanotype process. The emotional atmosphere of Atkins’ photographs led to the story of a character living on the distant planet “Cyano.”

Cyano, which once resembled Earth, was destroyed by misunderstandings and placed under a pseudo-reciprocity that forced its inhabitants to abandon their individuality and embrace an assimilative symbiosis. Guided by memories, particles, and symbols, the character Cyanic attempts, through delicate endeavors, to restore autonomous desire, impulses rooted in empathy, and authentic expression to that world.

Through *Cyano*, Sprague explores an acoustic and environmental palette that conveys what this world feels like. Sounds that resemble a piano or guitar, yet are not quite those instruments. Sounds as a continuum spanning relationships with the self, others, ecosystems, and life in distant worlds.

*Cyano* serves as an outlet for evoking expression and as a tool for forging connections amid the magnificent—and at times, worn—textures of an ever-changing world.

In *Cyano*, experimental and formless music deconstructs the more traditional songwriting found in Florist’s tracks. The improvisational patching and sounds born from Sprague’s earliest modular synth experiments in 2016 transport listeners to bygone eras and inner worlds, tracing streaks of light to depict memories and desires.

The opening track, “Double Moon,” featuring partner and collaborator V Haddad, brings Cyano’s parallel world to the forefront. Sonic elements appear and vanish amid mottled fluctuations, colored by gradations created by patching, frost-covered angles, and ripples of warm melodies.

“Cyano” evokes a rainbow-hued delicacy. Just as the colors of the night sweep across the sky, illuminating the contours they make possible. Each meticulously crafted track expresses a curiosity about movement, water, the horizon, and timbre, transforming abstract elements into tangible moments imbued with a stronger sense of presence.

The threads of *Cyano*’s imaginary narrative took shape during a trip Sprague and Haddad took to the Icelandic fjords around the winter solstice, though the album itself was completed a month or so later.

Sprague’s musical approach is characterized by an intensely personal atmosphere rooted in the unearthing of one’s own history and that of others—that is, the nature of inner and interpersonal connections, and the transience of such endeavors. Through an intimate phenomenological exploration, *Cyano* presents a subtle yet striking texture that embraces fragility.

For Sprague, both studio recordings and live performances are mediums for building meaningful connections with listeners across time, bound by emotional consistency even while situated in different places.

On *Cyano*, all sounds are generated by synthesizers; no samples or acoustic instruments are used. Furthermore, this album introduces vocals to Sprague’s solo work—which had previously been primarily instrumental—in an attempt to bridge the gap between wordless music and music with lyrics.

While plans for additional *Cyano* tracks are currently underway, this album serves as the first presentation of the project. It is a work that is intentionally primitive and minimalist, resembling a noise-laden transmission arriving from a distant place. Sprague’s journey of exploring emotion, language, and sound rearranges spiritual matter, resonating like a vital force flowing through a riverside garden and into the sea.

These tracks map out emotions and places within a magnetic landscape born of the inner self and the imagination. There, knowledge is a mystery, and that mystery tears open a fissure into reality.