Green-House is the Los Angeles project of composer Olive Ardizoni, a musician who spent their twenties fronting metal and punk bands before turning to something altogether gentler. The project emerged at the start of the 2020s with Six Songs for Invisible Gardens, released on Leaving Records in January 2020 and conceived, with tongue only partly in cheek, as music for houseplants and the people who look after them.
Those early Leaving Records releases established the Green-House signature: bright synth figures turning in soft loops, a deliberate ‘intentional naivety’ and a sense that small domestic moments are worth soundtracking. Ardizoni has argued that expressing joy in the current climate is ‘inherently political’, a way of pushing back against hopelessness, and that music about everyday wonder can carry as much weight as music built on anger or darkness.
Over time Green-House grew into a close partnership with Michael Flanagan, whose background in jazz guitar complements Ardizoni’s melodic instincts. Ardizoni tends to start with loose melodies, Flanagan with chords and arpeggiated synth patterns, and the pair rework each other’s sketches until they find the right shape. Their listening ranges well beyond ambient: Jamaican instrumental ska from Tommy McCook and the Supersonics and Jackie Mittoo, Nala Sinephro’s Endlessness, Alabaster DePlume, The Singers Unlimited and Jessica Pratt have all been named as touchstones.
Hinterlands, released on Ghostly International in March 2026 and home to ‘Sun Dogs’, is the project’s most expansive record. Built around a loose three-part title suite, with guitar, flute, synth washes and plucked tones circling patiently, it was consciously made with ‘less joy and more melancholy’, and Ardizoni has described its sequencing as an emotional journey around an island, sinking underwater and resurfacing. Both members are devoted puppet enthusiasts, and a show at Los Angeles’ Bob Baker Marionette Theater was, by their own account, a dream come true.
