The original Uncivlisation Festival, located near Wales, in 2010, was all about place. Based loosely around "Uncivilisation: The Dark Mountain Manifesto", a zine-book published in 2009, the festival took place annually until 2013, each time featuring music, food, and talks which contemplated the role of civilization post–Climate Change. But it was more than that: A statement about a lot of things, and about nothing specific. A community that gathered around art and placemaking as a means to cope with the blowbacks of industrial society. A happening that embraced chaos and the unknown; a rewilded odyssey into our inner campfire desires.

The musical project Uncivilized, formed circa 2012 in New York City, was formed after reading the manifesto in a hidden Google Chrome tab at my office job, feeling disillusioned with my job writing recycling reports, and with the music industry in general, the term Uncivilized—capital U—really stuck, and captured the goal of the project: to find a community which simultaneously embraced the freedom of improvisation, and the mystery of song, towards some sort of post-postmodern sonic environmentalism.

This all sounds high falutin. It sounds contrarian. It's probably both, but the concept has grown and expanded over the course of nearly a decade to include a resumé of performances, residencies, and recordings that are uniquely vaporous and inviting, despite their outright experimentation.