PJ Norman |
100m041 |
Evernow |
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1. Form*
2. Blue Ball
3. In Every Face
4. An Afternoon at A's
5. Light, Pai!
6. Meet on Meatº
7. Evernow
8. At Minhole Stream†
9. A Long Delay |
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© PJ Norman 2020. All rights reserved.
Written, recorded, produced, mixed and mastered by PJ Norman.
All instruments by PJ Norman except *synth sample by Carlsson, ºguitar sample processing by AJ Cookson, †violin Wesley Cabral. |
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Evernow is the second full-length from artist/producer PJ Norman.
An English/Swiss transplant based now in New York City for ten years, Norman offers this sophomore set through the 100m Records label he co-founded in London, 2005. His contributions to a number of projects on the roster have included full lengths by tKatKa, Glass Rifle, Latchkey Lights, the drum and bass two-piece King Collider, and the electronic improvisation group Fates.
With this solo project Norman has diverged from his passion for collaboration by limiting the parameters around which the album was made, he explains:
"I started from scratch where I just tried to do everything, you know, drums, keys, the lot… see how close I could get to pulling it off."
The album was recorded over a period of 5 years in the 100m studio, Brooklyn, NY, by the artist. All instruments and production by PJ Norman, except track 1 synth sample by Carlsson (tKatKa), track 6 guitar sample processing by AJ Cookson (Forma/Necro Deathmort), track 8 violin Wesley Cabral.
Evernow encompasses a range of Norman's influences, including Glen Branca, Steely Dan, Bark Psychosis and Neu!
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About |
PJ Norman is an artist and producer whose methods include guitar, programming, sound recording, acoustic feedback, audio collage, the utilisation of location recordings and sound-concrète. Through combinations of these forces he places traditional songwriting elements into spaces that are affected by avant-garde treaments, feeling that the blurring of lines between disciplines reveals a space between the familiar and the new. |
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www.pjnorman.com |
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Press |
"Able to resonate a vast array of emotions utilising only his voice and an acoustic guitar." |
TOM BRUMPTON, EXTREME TO SERENE |
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"Quite fine." |
ESPACE MUSIQUE |
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tKatKa |
100m040 |
Tomorrow Knows Another |
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1. Dimension Tension
2. Itsnotnoitsnot
3. Act/React
4. NMO
5. Youth Mor(t)ality Tale
6. Speed Up Slow Down
7. Reverse Parapsychology
8. Attack Or Defend
9. Tomorrow Knows Another
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© tKatKa 2015. All rights reserved.
Photography and sleeve design by PJ Norman.
Written, programmed and produced by tKatKa. |
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tKatKa (pronounced 'Te-Kat-Ker') is the collaboration between artists PJ Norman and Carlsson, co-founders of 100m Records. The group formed officially in London, UK, 2004, with their first single appearing on a compilation for the Glass Shrimp show on Resonance FM in early 2005. Later that year a white label of their track "Lazerslab" was broadcast by the influential BBC Radio 1 DJ Annie Nightingale,leading to an independent London label deal for their next two singles.
With these releases, tKatKa garnered radio-play from John Kennedy, James Zabiela and Nick Luscombe, as well as BBC Radio 1 DJ Mary Anne Hobbs, who affectionately characterizes tKatKa's sound as "Absolutely gorgeous".
Soon after, the duo created their own imprint, 100m Records, to release their well received debut album "tKatKa". This was closely followed by sophomore effort, "TerrorKnowledgeAction", featuring a re-interpretation of the Tom Hickox song "Grief Hijackers", of which Bearded Magazine said:
"Expect it to soundtrack a spooky art flick, but it won't because it's better than the film would be."
Fittingly, the 10th anniversary of 100m Records this year (2015) sees the release of tKatKa's third long player. Since their second album, the pair have both departed London; Carlsson to Copenhagen and Norman to New York. Despite the distance, they continued to work on compositions towards this third collection remotely, in rare occasions meeting to reconnect and refine. The resulting effort, "Tomorrow Knows Another" is a vast collage of ideas, some originating from their earliest demos and others completed entirely by email.
This distance afforded the luxury of recording samples and performances in a wide variety of locations; the forests of Sweden, the subways of New York, the streets of Copenhagen, warehouses in East London, the Royal Festival Hall, the lake in Zurich and the beach on Long Island. Utilizing this eclectic array of influences and soundscapes, the tracks were then finished, mixed and mastered at the 100m Records studio in DUMBO, Brooklyn.
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About |
tKatKa, pronounced 'Te-Kat-Ker', craft a clever and classy collision of ambient musing and euphoric escapism that could melt the heart of even the most hardened anti-electro stalwart. That they have a history of playing in punk bands comes as no great surprise for they seem to genuinely, unpretentiously discard the notion of genre-based restraints, leaving them with a completely blank slate to hurl their imaginations at. |
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Press |
"Absolutely gorgeous" |
MARY ANNE HOBBS (BBC Radio 1) |
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"A mash up of drum rhythms and soulful pads changing from uplifting to dark in a blink of an eyelid." |
IDJ MAGAZINE |
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"Very cool" |
NICK LUSCOMBE (BBC Radio 3/ Flomotion) |
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"The music that New York does best and loves best" |
ANNIE NIGHTINGALE (BBC Radio 1) |
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"A combination of guitars and electro sounds with the hint of a rattlesnake in the background." |
GLASSWERKS |
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"The collection of songs tKatKa have produced are stunning." |
GOD IS IN THE TV |
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"A whirring collage of warping electro beat melodies salaciously herded together under a glazing chassis of deliciously manicured updated Miami Vice like grandeur." |
LOSING TODAY |
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"The duo's mastery of beatwork is very evident, it's nice to hear a record more multi-dimensional than cold programming." |
THE BLACK AND WHITE MAGAZINE |
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"Expect it to soundtrack a spooky art flick, but it won't because it's better than the film would be." |
BEARDED MAGAZINE |
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Latchkey Lights |
100m039 |
Escape Clause |
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1. Escape Clause
2. Houdini
3. Consequence of Youth
4. One Armed Bandit
5. Minutes Turn
6. Code Blue
7. Consequence of Youth
8. Devil's Well |
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© Latchkey Lights 2017. All rights reserved.
Written, performed and produced by Latchkey Lights.
Recorded by Ryan Jones.
Mixed by PJ Norman.
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Latchkey Lights began when Shonda Robbins and Daniel Colby collaborated together over late night cocktails on a barely playable cheap acoustic guitar that someone had left for dead. After realizing that the composition of the music Colby was creating married perfectly with the blues-influenced Southern vocals and lyrics of Robbins, they decided to form a band.
Colby reached out to Loved Ones, Vapers guitarist B. David Walsh who he had met in the late 90's and collaborated with in their Jade Tree Records released project The Explosion. Juxtaposing this primal energy with another of his musical connections, Colby recruited bassist PJ Norman. The pair are comrades in post-punk outfit Glass Rifle, one of several projects on which they have co-created, released through Norman's 100m Records imprint. Rounding out the line-up is drummer-extraordinaire Peter Hilton, whose credentials include Nodzzz, Piano Movers and Tiger Dare.
In 2016 the 5-piece recorded and released their debut EP, Latchkey Lights, on 100m Records, which East Village Radio described as having a "very cool Au Pairs/X vibe". The band hope you enjoy it. After a string of dates in 2016, 2017 saw the band take to the stage as a 4-piece after Walsh's departure to honor commitments with The Explosion and Vapers. The band thrived in the added space, sharing stages with groups like Moles and Pissed Jeans. Latchkey Lights now announce their late 2017 full-length, Escape Clause.
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Latchkey Lights, from Brooklyn, NY, draw from a vast array of literary and musical influences, marrying their collective experiences from different parts of the world. Drawing musically from early blues, punk, avant-garde, psychedelic, Brit, and classic rock, they weave them into something new, yet wholly familiar. |
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www.latchkeylights.com |
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Press |
"Very cool Au Pairs/X vibe" |
EAST VILLAGE RADIO |
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King Collider |
100m038 |
6 Degrees |
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1. Annunaki Goldmine
2. Take Off In Hail
3. Passage To Cairo
4. Way Out Loud Inside
5. Interoception Of Space
6. Insidearms
7. If 6 Was 2 |
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© King Collider 2017. All rights reserved.
Recorded, produced, mixed and mastered by PJ Norman.
Written and performed by Dan Colby and PJ Norman. |
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King Collider is a drum and bass spin-off of the 100m Records' outfits Glass Rifle and Latchkey Lights.
In this side project, Latchkey Lights' guitarist Dan Colby (formerly of Hydrahead's The Never Never and Jade Tree's The Explosion) resumes his Glass Rifle mantle on drums; and Glass Rifle guitarist, PJ Norman returns to his Latchkey Lights role on bass.
The duo's renditions take the DIY energy and aesthetic of Colby's Glass Rifle drum sound to different places. The scope expanded by Norman's FX heavy bass lines, the pair erupt from ambient soundscapes, through Krautrock references into hard, driven passages.
6 Degrees, the project's debut release was recorded live as a two-piece in 100m Records' studio in Brooklyn, NY, in 2015. Subsequent overdubs and arrangement was performed by the pair over the next two years between other projects. The results were then mixed and mastered by Norman, and are now released through 100m Records.
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King Collider is a drum and bass spin-off of the 100m Records' outfits Glass Rifle and Latchkey Lights. The duo of Dan Colby and PJ Norman erupt from ambient soundscapes, through Krautrock references into hard, driven passages. |
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Latchkey Lights |
100m037 |
Latchkey Lights |
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1. Saints and Spinners
2. Wire 8
3. No Control
4. Nox
5. Montrose
6. Consequence of Youth |
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© Latchkey Lights 2016. All rights reserved.
Recorded, produced, mixed and mastered by PJ Norman.
Written and performed by Latchkey Lights. |
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Latchkey Lights, from Brooklyn, NY, draw from a vast array of literary and musical influences, marrying their collective experiences from different parts of the world. Drawing musically from early blues, punk, avant-garde, psychedelic, Brit, and classic rock, they weave them into something new, yet wholly familiar.
Latchkey Lights began when Shonda Robbins and Daniel Colby collaborated together over late night cocktails on a barely playable cheap acoustic guitar that someone had left for dead. After realizing that the composition of the music Colby was creating married perfectly with the blues-influenced Southern vocals and lyrics of Robbins, they decided to form a band.
Colby reached out to Loved Ones, Vapers guitarist B. David Walsh who he had met in the late 90's and collaborated with in their Jade Tree Records released project The Explosion. Juxtaposing this primal energy with another of his musical connections, Colby recruited bassist PJ Norman. The pair are comrades in post-punk outfit Glass Rifle, one of several projects on which they have co-created, released through Norman's 100m Records imprint. Rounding out the line-up is drummer-extraordinaire Peter Hilton, whose credentials include Nodzzz, Piano Movers and Tiger Dare.
Latchkey Lights' Tarantino-esque influences stand vividly apparent, having been compared to the Au Pairs, Heart and Danzig, if he was a woman and grew up in the south. And whilst reverential, their sound is undeniably fresh and immediate.
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About |
Latchkey Lights, from Brooklyn, NY, draw from a vast array of literary and musical influences, marrying their collective experiences from different parts of the world. Drawing musically from early blues, punk, avant-garde, psychedelic, Brit, and classic rock, they weave them into something new, yet wholly familiar. |
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www.latchkeylights.com |
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Press |
"Very cool Au Pairs/X vibe" |
EAST VILLAGE RADIO |
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Glass Rifle |
100m036 |
Glass Rifle |
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1. Distants
2. Paint The Walls
3. Up The Pressure
4. Gutter Love
5. Into The Storm
6. Mercy Towers
7. Bent Lever |
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© Glass Rifle 2015. All rights reserved.
Written, recorded and produced by Glass Rifle.
Mixed by PJ Norman.
Mastered by Filippo Strang at VDSS mastering. |
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Glass Rifle are Americans Dan Colby, Ryan Francini, and British-born PJ Norman. The roots of the group lie in the Boston DIY punk scene where Colby and Francini first met. After serving in Hydrahead stalwarts The Huguenots and The Never Never, and Jade Tree Records' The Explosion, Colby formed The Cignal with Francini. In the mid '00s, after a well-received 7", The Cignal disbanded and both Francini and Colby moved to New York City. It was here, in 2009, that they met Norman and Italian, Filippo Strang.
After a spell of performances throughout New York, Strang returned to Rome to found the recording/mastering studio VDSS, leaving the band to regroup in a power trio format that pushed Norman's striking guitar work to the forefront. The departure also allowed for the intense Colby/Francini rhythm section to expand on the pair's longstanding musical connection with more vehemence.
In early 2010 tracking began on the first Glass Rifle recordings. The Foebic/Cutters single was recorded at Melody Lanes Recording Company in Brooklyn, New York. It was recorded and mixed as a joint effort between the band and Melody Lanes producer Jay Braun (Elliot Smith, Jon Spencer Blues Explosion, Cat Power). The results were then mastered at The Magic Shop, NYC, by Grammy award winning mastering engineer Warren Russell-Smith (Rolling Stones, Tim Buckley). The single was released digitally through 100m Records and was accompanied in true DIY style by a limited-edition run of 300 exquisitely letter-pressed, hand-numbered CDs, designed and printed by Letter From Brooklyn. Consequence of Sound labelled it, "Impossible to ignore", and Glasswerk, "Fiercely independent".
The following year, the song Foebic was used in the soundtrack of the film Love American Skin, directed by photographer Diana Scheunemann. Later in the year, Foebic was also included on the music sampler supporting Glass Rifle's appearance at the CMJ New Music conference. The group then reunited with the Foebic/Cutters production team in 2012 to produce a follow-up single, Castles/Blinking Glitter. Initially only a very limited physical release, it was re-released by 100m Records in 2014 with an accompanying music video directed by Diana Scheunemann.
2015 sees the release of the band's first full-length LP, the self-titled Glass Rifle, a collection that shows a maturing of the group's songwriting. Focusing more on melodic interplay and vocal delivery, and less on the full-force magnitude of their singles, this collection of songs still retain the impact and immediacy of their earlier works while exploring more subtle arrangements of their trademark velocity. Norman adds:
"We wanted to write ideas that were less adrenalin fuelled and a little more rock n roll… something that people could sing along with yet still gets their hearts pumping."
Aiming to really capture their sound as they heard it, and pushing their DIY ethic to the fullest, they brought the production process entirely in-house. The tracks were written, recorded and produced over a year by the trio in their Brooklyn studio, and then mixed by Norman. The final mixes were then sent to Strang for mastering at VDSS in Rome. The result is an entirely independent and self-produced collection of songs, representative of the band's potency and spontaneity.
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About |
Glass Rifle are Americans Dan Colby, Ryan Francini, and British-born PJ Norman. The roots of the group lie in the Boston DIY punk scene where Colby and Francini first met. After serving in Hydrahead stalwarts The Huguenots and The Never Never, and Jade Tree Records’ The Explosion, Colby formed The Cignal with Francini. In the mid '00s, after a well-received 7", The Cignal disbanded and both Francini and Colby moved to New York City. It was here, in 2009, that they met Norman and Italian, Filippo Strang.
After a spell of performances throughout New York, Strang returned to Rome to found the recording/mastering studio VDSS, leaving the band to regroup in a power trio format that pushed Norman's striking guitar work to the forefront. The departure also allowed for the intense Colby/Francini rhythm section to expand on the pair's longstanding musical connection with more vehemence.
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www.glassrifle.com |
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Press |
"Impossible to ignore." |
JOE MARVILLI - CONSEQUENCE OF SOUND |
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"A degree of genuine punch and something feels fiercely independent about it." |
DANIEL DYLAN WRAY - GLASSWERK |
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"Glass Rifle are a sonic battering of dischordant power pop, with killer guitar licks offsetting fierce beats that literally pummel you into submission." |
ZOLTON - LOST AT E MINOR |
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"It's tight, incredibly crafted and stands alongside any classic American underground sound… Both of these tracks are pushing that complex hardcore formula to it's limits, it's just an impressive contemporary take on a genre that remains relevant thanks to Glass Rifle." |
JASON DEAN - 7INCHES |
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"A decided post-punk undercurrent here... it's all very interesting." |
SONIC MASALA |
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"A singular sound that gets you tight to your chair... Awesome." |
RJ FROMETA, VENTS MAGAZINE |
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"Like a Hold Steady raised on London punk and based in Brooklyn, Glass Rifle's delivery stays true to the varied roots of all its members by distorting the relentless energy of British rock with a Williamsburg flair." |
JOE PUGLISI - BAEBLE MUSIC |
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"Early Mission of Burma filtered through the earliest releases on Invisible Records. Somehow it feels very familiar, yet completely new at the same time… For anyone who longs for the heyday when Amphetamine Reptile and Touch and Go weren't just labels, but institutions, this is as inviting as it gets." |
CREAIG DUNTON - BRAINWASHED |
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Lizzie & The Yes Men |
100m035 |
Lizzie & The Yes Men |
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1. Walk Alone
2. Affaire De Couer
3. It's Never Been Easy
4. Chrome Youth
5. Heard It All Before
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© Lizzie And The Yes Men 2014. All rights reserved.
Artwork designed by Lizzie And The Yes Men.
Written and performed by Lizzie And The Yes Men.
Produced by Tom McFall. |
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After the release of a series of infectious singles last year, London band Lizzie and the Yes Men present this EP of brand new songs.
A photograph titled 'Angel Woman' by Mexican photographer Graciela Iturbide and a long road trip through the American desert were the inspirations for the release. A record on which the band feels it has found its own sound, a sound that is never too far away from a dusty road, a bare landscape or a black and white cinema screen.
The Lzzie and the Yes Men extended player was recorded at Vatican Studios, London and produced by Tom McFall (R.E.M, Bloc Party, Weezer).
Lizzie and the Yes Men are Lizzie Holdforth, Andy Goodman, Keir Greenaway, Brendan Bailey.
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Describing themselves as ’Tarantino surf-pop’ Lizzie and the Yes Men combine Lizzie’s Twiggy-esque style with a contemporary cinematic sound that fuses surf-pop with punk and draws inspiration from bands such as The Ramones, The Ronettes and The Beach Boys. |
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Press |
"What one gets is a strangely morish mix of surf rock complete with catchy swing and harmonies a la The Beach Boys in a headlong collision with the angular pomp of ESG and Gang Of Four" |
DAZED DIGITAL |
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"The debut single from Lizzie and the Yes Men is a fabulously upbeat summer tune that channels Debbie Harry, The Ramones and even the whistling genius of Roger Whittaker. It manages to stay on the right side of ’jaunty’ with its Spectoresque melodies." |
MUSIC WEEK |
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"Built around cute, surf-pop guitar licks, a foot-stomping back-beat and lush vocals..." |
INDIE LONDON |
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"A mini-epic, with frontwoman Lizzie Holdforth's plaintive vocal bringing drama to a minor-key, surf-inflected soundtrack." |
THE GIRLS ARE |
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"Unstoppable glides effortlessly into the eardrums... 8/10 " |
NEVER ENOUGH NOTES |
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"...lashings of gorgeous dark melodrama and deliciously weaving melody." |
ROCK SUCKER |
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"Unstoppable is passionate and flirty. Sexy and soulful. Sultry and sweet. But above everything it’s incredibly confident. This is the sound of a band that knows what it’s doing and where it’s heading and, with hooks this catchy and riffs this energetic, you can’t help but want to go with them." |
FAR OUT MAGAZINE |
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"Channelling a distinct American sound through a vibrant dashing of surf rock." |
SCIENTISTS OF SOUND |
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"Their riffs and twangs have a darker and edgy feel to them. We can imagine if Tarantino ever heard Lizzie and the Yes Men, he’d get them on his next film soundtrack sharpish." |
BREAKING MORE WAVES |
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Lizzie & The Yes Men |
100m034 |
Walk Alone (Single) |
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1. Walk Alone
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© Lizzie And The Yes Men 2014. All rights reserved.
Artwork designed by Lizzie And The Yes Men.
Written and performed by Lizzie And The Yes Men.
Produced by Tom McFall. |
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After a series of infectious singles last year, London band Lizzie and the Yes Men release the single Walk Alone ahead of an EP of brand new songs.
A photograph titled 'Angel Woman' by Mexican photographer Graciela Iturbide and a long road trip through the American desert were the inspirations for this single from the release. A record on which the band feels it has found its own sound, a sound that is never too far away from a dusty road, a bare landscape or a black and white cinema screen.
Walk Alone was recorded at Vatican Studios, London and produced by Tom McFall (R.E.M, Bloc Party, Weezer).
Lizzie and the Yes Men are Lizzie Holdforth, Andy Goodman, Keir Greenaway, Brendan Bailey.
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About |
Describing themselves as ’Tarantino surf-pop’ Lizzie and the Yes Men combine Lizzie’s Twiggy-esque style with a contemporary cinematic sound that fuses surf-pop with punk and draws inspiration from bands such as The Ramones, The Ronettes and The Beach Boys. |
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Press |
"What one gets is a strangely morish mix of surf rock complete with catchy swing and harmonies a la The Beach Boys in a headlong collision with the angular pomp of ESG and Gang Of Four" |
DAZED DIGITAL |
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"The debut single from Lizzie and the Yes Men is a fabulously upbeat summer tune that channels Debbie Harry, The Ramones and even the whistling genius of Roger Whittaker. It manages to stay on the right side of ’jaunty’ with its Spectoresque melodies." |
MUSIC WEEK |
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"Built around cute, surf-pop guitar licks, a foot-stomping back-beat and lush vocals..." |
INDIE LONDON |
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"A mini-epic, with frontwoman Lizzie Holdforth's plaintive vocal bringing drama to a minor-key, surf-inflected soundtrack." |
THE GIRLS ARE |
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"Unstoppable glides effortlessly into the eardrums... 8/10 " |
NEVER ENOUGH NOTES |
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"...lashings of gorgeous dark melodrama and deliciously weaving melody." |
ROCK SUCKER |
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"Unstoppable is passionate and flirty. Sexy and soulful. Sultry and sweet. But above everything it’s incredibly confident. This is the sound of a band that knows what it’s doing and where it’s heading and, with hooks this catchy and riffs this energetic, you can’t help but want to go with them." |
FAR OUT MAGAZINE |
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"Channelling a distinct American sound through a vibrant dashing of surf rock." |
SCIENTISTS OF SOUND |
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"Their riffs and twangs have a darker and edgy feel to them. We can imagine if Tarantino ever heard Lizzie and the Yes Men, he’d get them on his next film soundtrack sharpish." |
BREAKING MORE WAVES |
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Soccer Mom |
100m032 |
Soccer Mom |
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1. It's Probably Not Your Fault
2. Orejas
3. In Mirrors
4. No One Left
5. Dry Mind
6. Hideaway Sands
7. Sundown Syndrome
8. 7.15
9. Open Heart Surgery |
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© Soccer Mom 2014. All rights reserved.
Artwork designed by Soccer Mom.
Written by Soccer Mom.
Recorded and mixed by Shaun Curran at The Napolean Complex. |
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Boston quartet Soccer Mom are proud to announce the release of their self-titled full-length album, out May 1st, 2014 on 100m Records. The album comes on the heels of their six-song EP You Are Not Going to Heaven (2011), and their two song single Brides/Canoe (2012), which both garnered critical praise. The band spent much of 2013 writing, recording, and playing live around the northeast, sharing the stage with such acts as Weekend, Whirr, Nothing, and Speedy Ortiz.
The record showcases the band’s continued exploration of textures and tones, expansive dynamics, and the delicate balance between discord and melody. The nine songs were recorded and mixed in May and June of 2013 at The Napoleon Complex in Somerville, MA, with engineer Shaun Curran. Several tracks feature vocals by Deborah Warfield (Swirlies).
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About |
After serving in a range of Boston acts, including E.R., Get Help and The Spanish Armada (all on The Beatings' Midriff Records imprint), Soccer Mom founder Dan Parlin cemented the foundations of the band when bassist Danielle Deveau joined full-time. In due course fellow E.R. sideman and Spanish Armada principal William Scales enlisted as second guitarist, along with another E.R. cohort, drummer Justin Kehoe. Through melody and dischord, clean tones and chaotic feedback, they find a balance between the referential and the staggeringly new. |
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soccermomboston.tumblr.com |
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Press |
"Too-loud-to-be-dreaming rock quartet Soccer Mom unleash their own noisy, driven, pop gems of streamlined distortion." |
THE BOSTON PHOENIX |
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"The sound takes me right back to the first two Ride releases and maybe a little Catherine Wheel." |
JAMIE MYERSON, WDBK 91.5 |
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"With liberal doses of sludge, screeching feedback, dischord and strong melodies, Soccer Mom issued one of the years most arresting and addictive listens." |
THE ASH GRAY PROCLAMATION |
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"Soccer Mom have a jangle that weighs heavy, at times sneaking into the realm of post-rock, while their dream-pop tendencies are too immersed in noise and impatience to float without direction.
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EXPLODING IN SOUND |
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"This, their debut, is a stunning, guitar-driving, neo-shoegaze set, but their blistering live show is usually even better." |
BRADLEY'S ALMANAC |
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"Warm, loud, and fuzzy in all the right ways, Soccer Mom make music to submerge one's brain into, just perfect guitar music to disappear into and never look back." |
THE CREATIVE INTERSECTION |
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"Sonically superb. Long sustaining notes paint out the walls, while a buzzy bass marches down the middle, jaunting out its own fuzzy, buzzy melodies." |
CD ON SONGS, BOSTONBANDCRUSH.ORG |
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"There's no denying the band's strong '90s influences — with a distinct New England color — but a listen to the new EP proves Soccer Mom owns it." |
NERVE.COM |
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"This is a really great EP that delivers on the bands promise of contrasting sounds and styles. There's melody and feedback, rapid drum fills and dreamy vocals." |
THE 405 |
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"Soccer Mom are not afraid to embrace their shoegaze influences whilst experimenting with something new." |
THE ART OF STUFFING |
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"These guys take crashing, rapid drumbeats and pile on ultra-gritty guitar and stringy bass, always keeping melodic innovation at the front of their songs." |
BOSTON HASSLE |
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"Clouds of melody, both of the real and phantom variety, wrap around thick basslines and all-business drums like crawling ivy to produce a sum greater than the individual parts." |
MICHAEL FOURNIER, YOURBAND.INFO |
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"Just the right amount of ugly noise with a catchy framework." |
BRAINWASHED |
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"The perfect balance between harmony and distortion, melody and debilitating feedback." |
BRENDAN T, SONIC MASALA |
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"Soccermom sets off new parts and bridges with a patient efficacy; powershrugs into exuberant crescendoes with nonchalance. Everything about Soccermom's music seems informed not only by the best music of two decades past, but also a measured, casual attitude toward crafting good music." |
JAY BREITLING, CLICKY CLICKY MUSIC |
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"A couple parts shoegaze, one part jangle electric, one part alienated loner dirty fuckup sound... The drums are massive, the vocals are buried in that layered way, the guitar sustained forever... Utterly perfect timing." |
JASON DEAN - 7INCHES |
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"A great melding of jangly indie-rock/pop and subtle jabs of harsher/woozy feedback." |
BUILT ON A WEAK SPOT |
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PJ Norman |
100m028 |
Light Breaks Focus |
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1. Bubblegum, Sneaker*
2. Forever
3. Soon Is Just A Lie Away†
4. Against The Dark*
5. Barriers
6. Nevermindtime
7. Frying And Zurich
8. Minority†
9. (Some Kind Of) Pretty Girl
10. Staying In
11. Call Me
12. Going Down The Road†
13. Nothing To Be Scared Of
14. On A Windowsill |
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© PJ Norman 2016. All rights reserved.
Recorded by Kris O'Connor and PJ Norman.
Written, produced, mixed and mastered by PJ Norman.
All instruments by PJ Norman except *drums by Claudio Strueby, †drums by Dan Colby. |
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The product of a decade of work, Light Breaks Focus marks the debut full-length from artist/producer PJ Norman, a collection that began life in his native London, UK, in 2006.
During the record's creation, in 2008, he moved from London's east end to the Bowery in New York City. His apartment hallway was painted with the phrase, "Art is Action, Object is Artefact", the words of artist Arleen Schloss that would come to be a mantra summarizing how he felt about the possibility of music.
Growing up in Staines, UK, Norman's love for music was intense and he studied from a young age. After achieving grade 8 from the Royal College of Music in oboe he moved to central London to enrol at City University London in music science. There, under the tutorledge of Denis Smalley, himself a protégé of Olivier Messiaen, he discovered his passion for sound-concrète, North Indian classical and West African music, peppered with influences of Brecht, Artaud, Dada, and James Joyce.
Due to this immersion in various platforms of sound and thought, Norman was able to find his voice collaborating with a myriad of other musicians in the London indie scene. He became a founding member of bands Relapse Lucy, Manalishi, and Death By Sadie. During this time, fortuitous, chance meetings with producer Graham Sutton (Bark Psychosis) and guitar-noise improvisor Gary Smith encouraged him to become absorbed in the world of music production.
This first showing of songs from Norman is released through the 100m Records collective, of which he was a co-founder in 2005. Through the label he has curated and released full lengths by tKatKa, Relations, Soccer Mom and Glass Rifle, and the electronic improvisation band Fates. An active collaborator, he has been involved in many of the label's projects as both a producer and musician.
Light Breaks Focus was recorded in Brooklyn, NY, London, and Zurich, Switzerland, by Kris O'Connor and PJ Norman. All instruments and location recordings by PJ Norman,
with guest drums by Claudio Strueby and Dan Colby.
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About |
PJ Norman is an artist and producer whose methods include guitar, programming, sound recording, acoustic feedback, audio collage, the utilisation of location recordings and sound-concrète. Through combinations of these forces he places traditional songwriting elements into spaces that are affected by avant-garde treaments, feeling that the blurring of lines between disciplines reveals a space between the familiar and the new. |
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www.pjnorman.com |
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Press |
"Able to resonate a vast array of emotions utilising only his voice and an acoustic guitar." |
TOM BRUMPTON, EXTREME TO SERENE |
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"Quite fine." |
ESPACE MUSIQUE |
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Relations |
100m027 |
Songbirds |
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1. Believers
2. Take No Sides
3. School Safety
4. Goodbyes
5. Comes
6. A Savage Way to Live
7. Coming To
8. Careless Days
9. Set Up
10. Songbirds
11. Caution
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© Relations 2014. All rights reserved.
Written and performed by Relations.
Recorded and produced by Josh Ascalon at Rad Studios.
Mastered by Paul Gold at Salt Mastering. |
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Relations, the musical brain trust that is Michael Sanders, Terence Murren and Matthew Chokshi, has roots in a Modern Lovers cover band that Michael and Terence formed in high school in the 90’s. Though the two remained close, each went their separate ways writing and performing music in various incarnations around New York and Boston (Officer May - Ace Fu Records, Abigail Warchild). Two years back, they began writing and rehearsing songs that would ultimately compromise their first, EP, "Relations", released in 2012 on 100m Records. The EP was described by The Deli as:
“Only steps away from the explosive 1980s wave of up-tempo self-loathing, old-time friends Terence Murren and Michael Sanders build - upon head-bopping offbeat rhythms and rolling bass lines - a fast-paced narrative, tinted with nostalgia and that effervescent angst of young love.”
In the friends-as-family spirit that is Relations, Sanders and Murren collaborated with fellow Brooklynite, Matthew Chokshi on the video for “A Savage Way to Live”. Soon after Chokshi began to attend rehearsals and brought new ideas and his sequencer to the table. A few practices and several tall cans of beer later, they invited him to join the group and began work on new material. The result of the now trio’s hard work is the first Relations album length release, “Songbirds”.
Chokshi resumed his director’s role with a video for “Goodbyes”, taken from the forthcoming release. Exclaim described the video as a “summery, vintage-looking affair” when they premiered it with their announcement of the album:
http://exclaim.ca/MusicVideo/ClickHear/relations-goodbyes_video
Songbirds departs from synth/drum machine/guitar/bass textures of the EP. They have expanded their sound by adding layers of live drums, sequences, additional synthesizers and dance beats. The songwriting focuses on finding beauty in the everyday grind and loss that is life and living. There”s always a keen sense of nostalgia, but with a taste of hope for what would/could/should/will be. The end product is a refined, though not polished LP, recorded and produced at Rad Studios in Brooklyn by Josh Ascalon.
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About |
Relations, the musical brain trust that is Michael Sanders, Terence Murren and Matthew Chokshi, has roots in a Modern Lovers cover band that Michael and Terence formed in high school in the 90's. Though the two remained close, each went their separate ways writing and performing music in various incarnations around New York and Boston (Officer May - Ace Fu Records, Abigail Warchild). After reuniting, they released their first EP, Relations, in 2012. It was described by the Deli as “Only steps away from the explosive 1980s wave of up-tempo self-loathing... tinted with nostalgia and that effervescent angst of young love.” After the release of their debut, Matthew Chokshi, who collaborated on the Relations music video “A Savage Way to Live”, began to attend rehearsals and eventually joined the group as they began preparations for their debut full-length, “Songbirds”. |
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Press |
"Relations create a friendship triad to translate human connections and parallels into the threads of an electric inflected sound." |
IMPOSE MAGAZINE |
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"Scorching, tight guitar lines sprinkled with synths over a fast-paced head-bouncing drum beat." |
MY OLD KENTUCKY BLOG |
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"With tightly-wound synths and edgy guitars racing throughout, Take No Sides manages to keep things fun while pulsing with nervous energy." |
FAKE PLASTIC TUNES |
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"Can we please hear these kind of upbeat dream jams in nightclubs? " |
ION MAGAZINE |
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"Goodbyes is a bright electronic pop ditty... the accompanying video is a summery, vintage-looking affair." |
EXCLAIM! MAGAZINE |
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"Reminiscent of the early, dark and tense post punk days, when bands like Joy Division and Wire ruled the rock world." |
THE DELI MAGAZINE |
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"There’s a coolness that runs deep, all the way back to the revolt against messy, apathetic, no-future punk, and borrows from the bleak factory landscape. It’s a nostalgic vision of the possibilities of technology and the warning shot." |
QRO MAG |
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"Completely diving into great synth sounds, making them the focus of any given piece, but still heavily guitar based." |
7INCHES |
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"The guitars on this are fiercely savage in the way Wire or Wedding Present drive you with subtle use of feedback. They got good tone." |
REVIEW STALKER |
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"Relations get that precarious balance of pop hooks, odd electronic sounds, and dissonant outbursts right to create memorable songs." |
BRAINWASHED |
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"Hits you like a punch from the opening, beginning with a screen door like squeak of noise before becoming a noise guitar duel of Daydream Nations vein...with one of the best songs I've heard all year." |
THE CREATIVE INTERSECTION |
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"New millennial rhythms of shoegaze intricately woven inside the vibrant electro sound." |
SOUTHSIDE ON THE TOWN |
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"Embedded with the subtle twisted tones of a reverb feedback, this masterful EP is annoyingly short, but enables you to hunger for what's to come next." |
EXCLUSIVEMAGAZINE.COM |
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"Regularly made our Top 30 charts." |
CFRC 101.9 FM |
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Relations |
100m031 |
School Safety (Single) |
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1. School Safety
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© Relations 2014. All rights reserved.
Written and performed by Relations.
Recorded and produced by Josh Ascalon at Rad Studios.
Mastered by Paul Gold at Salt Mastering. |
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Relations, the musical brain trust that is Michael Sanders, Terence Murren and Matthew Chokshi, has roots in a Modern Lovers cover band that Michael and Terence formed in high school in the 90’s. Though the two remained close, each went their separate ways writing and performing music in various incarnations around New York and Boston (Officer May - Ace Fu Records, Abigail Warchild). Two years back, they began writing and rehearsing songs that would ultimately compromise their first, EP, "Relations", released in 2012 on 100m Records. The EP was described by The Deli as:
“Only steps away from the explosive 1980s wave of up-tempo self-loathing, old-time friends Terence Murren and Michael Sanders build - upon head-bopping offbeat rhythms and rolling bass lines - a fast-paced narrative, tinted with nostalgia and that effervescent angst of young love.”
In the friends-as-family spirit that is Relations, Sanders and Murren collaborated with fellow Brooklynite, Matthew Chokshi on the video for “A Savage Way to Live”. Soon after Chokshi began to attend rehearsals and brought new ideas and his sequencer to the table. A few practices and several tall cans of beer later, they invited him to join the group and began work on new material. The result of the now trio’s hard work is the first Relations album length release, “Songbirds”.
Chokshi resumed his director’s role with a video for “Goodbyes”, taken from the forthcoming release. Exclaim described the video as a “summery, vintage-looking affair” when they premiered it with their announcement of the album:
http://exclaim.ca/MusicVideo/ClickHear/relations-goodbyes_video
Songbirds departs from synth/drum machine/guitar/bass textures of the EP. They have expanded their sound by adding layers of live drums, sequences, additional synthesizers and dance beats. The songwriting focuses on finding beauty in the everyday grind and loss that is life and living. There”s always a keen sense of nostalgia, but with a taste of hope for what would/could/should/will be. The end product is a refined, though not polished LP, recorded and produced at Rad Studios in Brooklyn by Josh Ascalon.
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|
About |
Relations, the musical brain trust that is Michael Sanders, Terence Murren and Matthew Chokshi, has roots in a Modern Lovers cover band that Michael and Terence formed in high school in the 90's. Though the two remained close, each went their separate ways writing and performing music in various incarnations around New York and Boston (Officer May - Ace Fu Records, Abigail Warchild). After reuniting, they released their first EP, Relations, in 2012. It was described by the Deli as “Only steps away from the explosive 1980s wave of up-tempo self-loathing... tinted with nostalgia and that effervescent angst of young love.” After the release of their debut, Matthew Chokshi, who collaborated on the Relations music video “A Savage Way to Live”, began to attend rehearsals and eventually joined the group as they began preparations for their debut full-length, “Songbirds”. |
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Press |
"Relations create a friendship triad to translate human connections and parallels into the threads of an electric inflected sound." |
IMPOSE MAGAZINE |
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"Scorching, tight guitar lines sprinkled with synths over a fast-paced head-bouncing drum beat." |
MY OLD KENTUCKY BLOG |
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"With tightly-wound synths and edgy guitars racing throughout, Take No Sides manages to keep things fun while pulsing with nervous energy." |
FAKE PLASTIC TUNES |
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"Can we please hear these kind of upbeat dream jams in nightclubs? " |
ION MAGAZINE |
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"Goodbyes is a bright electronic pop ditty... the accompanying video is a summery, vintage-looking affair." |
EXCLAIM! MAGAZINE |
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"Reminiscent of the early, dark and tense post punk days, when bands like Joy Division and Wire ruled the rock world." |
THE DELI MAGAZINE |
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"There’s a coolness that runs deep, all the way back to the revolt against messy, apathetic, no-future punk, and borrows from the bleak factory landscape. It’s a nostalgic vision of the possibilities of technology and the warning shot." |
QRO MAG |
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"Completely diving into great synth sounds, making them the focus of any given piece, but still heavily guitar based." |
7INCHES |
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"The guitars on this are fiercely savage in the way Wire or Wedding Present drive you with subtle use of feedback. They got good tone." |
REVIEW STALKER |
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"Relations get that precarious balance of pop hooks, odd electronic sounds, and dissonant outbursts right to create memorable songs." |
BRAINWASHED |
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"Hits you like a punch from the opening, beginning with a screen door like squeak of noise before becoming a noise guitar duel of Daydream Nations vein...with one of the best songs I've heard all year." |
THE CREATIVE INTERSECTION |
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"New millennial rhythms of shoegaze intricately woven inside the vibrant electro sound." |
SOUTHSIDE ON THE TOWN |
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"Embedded with the subtle twisted tones of a reverb feedback, this masterful EP is annoyingly short, but enables you to hunger for what's to come next." |
EXCLUSIVEMAGAZINE.COM |
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"Regularly made our Top 30 charts." |
CFRC 101.9 FM |
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Relations |
100m030 |
Comes (Single) |
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1. Comes
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© Relations 2014. All rights reserved.
Written and performed by Relations.
Recorded and produced by Josh Ascalon at Rad Studios.
Mastered by Paul Gold at Salt Mastering. |
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Relations, the musical brain trust that is Michael Sanders, Terence Murren and Matthew Chokshi, has roots in a Modern Lovers cover band that Michael and Terence formed in high school in the 90’s. Though the two remained close, each went their separate ways writing and performing music in various incarnations around New York and Boston (Officer May - Ace Fu Records, Abigail Warchild). Two years back, they began writing and rehearsing songs that would ultimately compromise their first, EP, "Relations", released in 2012 on 100m Records. The EP was described by The Deli as:
“Only steps away from the explosive 1980s wave of up-tempo self-loathing, old-time friends Terence Murren and Michael Sanders build - upon head-bopping offbeat rhythms and rolling bass lines - a fast-paced narrative, tinted with nostalgia and that effervescent angst of young love.”
In the friends-as-family spirit that is Relations, Sanders and Murren collaborated with fellow Brooklynite, Matthew Chokshi on the video for “A Savage Way to Live”. Soon after Chokshi began to attend rehearsals and brought new ideas and his sequencer to the table. A few practices and several tall cans of beer later, they invited him to join the group and began work on new material. The result of the now trio’s hard work is the first Relations album length release, “Songbirds”.
Chokshi resumed his director’s role with a video for “Goodbyes”, taken from the forthcoming release. Exclaim described the video as a “summery, vintage-looking affair” when they premiered it with their announcement of the album:
http://exclaim.ca/MusicVideo/ClickHear/relations-goodbyes_video
Songbirds departs from synth/drum machine/guitar/bass textures of the EP. They have expanded their sound by adding layers of live drums, sequences, additional synthesizers and dance beats. The songwriting focuses on finding beauty in the everyday grind and loss that is life and living. There”s always a keen sense of nostalgia, but with a taste of hope for what would/could/should/will be. The end product is a refined, though not polished LP, recorded and produced at Rad Studios in Brooklyn by Josh Ascalon.
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About |
Relations, the musical brain trust that is Michael Sanders, Terence Murren and Matthew Chokshi, has roots in a Modern Lovers cover band that Michael and Terence formed in high school in the 90's. Though the two remained close, each went their separate ways writing and performing music in various incarnations around New York and Boston (Officer May - Ace Fu Records, Abigail Warchild). After reuniting, they released their first EP, Relations, in 2012. It was described by the Deli as “Only steps away from the explosive 1980s wave of up-tempo self-loathing... tinted with nostalgia and that effervescent angst of young love.” After the release of their debut, Matthew Chokshi, who collaborated on the Relations music video “A Savage Way to Live”, began to attend rehearsals and eventually joined the group as they began preparations for their debut full-length, “Songbirds”. |
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Press |
"Relations create a friendship triad to translate human connections and parallels into the threads of an electric inflected sound." |
IMPOSE MAGAZINE |
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"Scorching, tight guitar lines sprinkled with synths over a fast-paced head-bouncing drum beat." |
MY OLD KENTUCKY BLOG |
|
"With tightly-wound synths and edgy guitars racing throughout, Take No Sides manages to keep things fun while pulsing with nervous energy." |
FAKE PLASTIC TUNES |
|
"Can we please hear these kind of upbeat dream jams in nightclubs? " |
ION MAGAZINE |
|
"Goodbyes is a bright electronic pop ditty... the accompanying video is a summery, vintage-looking affair." |
EXCLAIM! MAGAZINE |
|
"Reminiscent of the early, dark and tense post punk days, when bands like Joy Division and Wire ruled the rock world." |
THE DELI MAGAZINE |
|
"There’s a coolness that runs deep, all the way back to the revolt against messy, apathetic, no-future punk, and borrows from the bleak factory landscape. It’s a nostalgic vision of the possibilities of technology and the warning shot." |
QRO MAG |
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"Completely diving into great synth sounds, making them the focus of any given piece, but still heavily guitar based." |
7INCHES |
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"The guitars on this are fiercely savage in the way Wire or Wedding Present drive you with subtle use of feedback. They got good tone." |
REVIEW STALKER |
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"Relations get that precarious balance of pop hooks, odd electronic sounds, and dissonant outbursts right to create memorable songs." |
BRAINWASHED |
|
"Hits you like a punch from the opening, beginning with a screen door like squeak of noise before becoming a noise guitar duel of Daydream Nations vein...with one of the best songs I've heard all year." |
THE CREATIVE INTERSECTION |
|
"New millennial rhythms of shoegaze intricately woven inside the vibrant electro sound." |
SOUTHSIDE ON THE TOWN |
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"Embedded with the subtle twisted tones of a reverb feedback, this masterful EP is annoyingly short, but enables you to hunger for what's to come next." |
EXCLUSIVEMAGAZINE.COM |
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"Regularly made our Top 30 charts." |
CFRC 101.9 FM |
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Relations |
100m029 |
Take No Sides (Single) |
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1. Take No Sides
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© Relations 2014. All rights reserved.
Written and performed by Relations.
Recorded and produced by Josh Ascalon at Rad Studios.
Mastered by Paul Gold at Salt Mastering. |
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Relations, the musical brain trust that is Michael Sanders, Terence Murren and Matthew Chokshi, has roots in a Modern Lovers cover band that Michael and Terence formed in high school in the 90’s. Though the two remained close, each went their separate ways writing and performing music in various incarnations around New York and Boston (Officer May - Ace Fu Records, Abigail Warchild). Two years back, they began writing and rehearsing songs that would ultimately compromise their first, EP, "Relations", released in 2012 on 100m Records. The EP was described by The Deli as:
“Only steps away from the explosive 1980s wave of up-tempo self-loathing, old-time friends Terence Murren and Michael Sanders build - upon head-bopping offbeat rhythms and rolling bass lines - a fast-paced narrative, tinted with nostalgia and that effervescent angst of young love.”
In the friends-as-family spirit that is Relations, Sanders and Murren collaborated with fellow Brooklynite, Matthew Chokshi on the video for “A Savage Way to Live”. Soon after Chokshi began to attend rehearsals and brought new ideas and his sequencer to the table. A few practices and several tall cans of beer later, they invited him to join the group and began work on new material. The result of the now trio’s hard work is the first Relations album length release, “Songbirds”.
Chokshi resumed his director’s role with a video for “Goodbyes”, taken from the forthcoming release. Exclaim described the video as a “summery, vintage-looking affair” when they premiered it with their announcement of the album:
http://exclaim.ca/MusicVideo/ClickHear/relations-goodbyes_video
Songbirds departs from synth/drum machine/guitar/bass textures of the EP. They have expanded their sound by adding layers of live drums, sequences, additional synthesizers and dance beats. The songwriting focuses on finding beauty in the everyday grind and loss that is life and living. There”s always a keen sense of nostalgia, but with a taste of hope for what would/could/should/will be. The end product is a refined, though not polished LP, recorded and produced at Rad Studios in Brooklyn by Josh Ascalon.
|
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About |
Relations, the musical brain trust that is Michael Sanders, Terence Murren and Matthew Chokshi, has roots in a Modern Lovers cover band that Michael and Terence formed in high school in the 90's. Though the two remained close, each went their separate ways writing and performing music in various incarnations around New York and Boston (Officer May - Ace Fu Records, Abigail Warchild). After reuniting, they released their first EP, Relations, in 2012. It was described by the Deli as “Only steps away from the explosive 1980s wave of up-tempo self-loathing... tinted with nostalgia and that effervescent angst of young love.” After the release of their debut, Matthew Chokshi, who collaborated on the Relations music video “A Savage Way to Live”, began to attend rehearsals and eventually joined the group as they began preparations for their debut full-length, “Songbirds”. |
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Press |
"Relations create a friendship triad to translate human connections and parallels into the threads of an electric inflected sound." |
IMPOSE MAGAZINE |
|
"Scorching, tight guitar lines sprinkled with synths over a fast-paced head-bouncing drum beat." |
MY OLD KENTUCKY BLOG |
|
"With tightly-wound synths and edgy guitars racing throughout, Take No Sides manages to keep things fun while pulsing with nervous energy." |
FAKE PLASTIC TUNES |
|
"Can we please hear these kind of upbeat dream jams in nightclubs? " |
ION MAGAZINE |
|
"Goodbyes is a bright electronic pop ditty... the accompanying video is a summery, vintage-looking affair." |
EXCLAIM! MAGAZINE |
|
"Reminiscent of the early, dark and tense post punk days, when bands like Joy Division and Wire ruled the rock world." |
THE DELI MAGAZINE |
|
"There’s a coolness that runs deep, all the way back to the revolt against messy, apathetic, no-future punk, and borrows from the bleak factory landscape. It’s a nostalgic vision of the possibilities of technology and the warning shot." |
QRO MAG |
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"Completely diving into great synth sounds, making them the focus of any given piece, but still heavily guitar based." |
7INCHES |
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"The guitars on this are fiercely savage in the way Wire or Wedding Present drive you with subtle use of feedback. They got good tone." |
REVIEW STALKER |
|
"Relations get that precarious balance of pop hooks, odd electronic sounds, and dissonant outbursts right to create memorable songs." |
BRAINWASHED |
|
"Hits you like a punch from the opening, beginning with a screen door like squeak of noise before becoming a noise guitar duel of Daydream Nations vein...with one of the best songs I've heard all year." |
THE CREATIVE INTERSECTION |
|
"New millennial rhythms of shoegaze intricately woven inside the vibrant electro sound." |
SOUTHSIDE ON THE TOWN |
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"Embedded with the subtle twisted tones of a reverb feedback, this masterful EP is annoyingly short, but enables you to hunger for what's to come next." |
EXCLUSIVEMAGAZINE.COM |
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"Regularly made our Top 30 charts." |
CFRC 101.9 FM |
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Django Voris |
100m022 |
Constantopolis |
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1. Star Bird 2. Crusade 3. The Problem with Dead Bodies 4. Wannabe 5. Ghost Boat 6. X 7. Right at the Time 8. The World of Tomorrow
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© Django Voris 2013. All rights reserved.
Artwork designed by Django Voris.
Written and arranged by Django Voris.
Performed by Django Voris, Seth Garrison, Jason Connolly, Kelly Burns, Veronica Gonzalez, Gordon Bartow, Erica Dicker, Barrett Anspach, Katherine Young and PJ Norman.
Produced by Django Voris, Seth Garrison and PJ Norman.
Recorded by Don Piper at Between The Trains.
Mixed by PJ Norman at Saltmines.
Mastered by Warren Russell-Smith at The Magic Shop. |
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Following his debut album and his notable collaborations with electronic improvisation group Fates, composer Django Voris releases this, his second full-length, Constantopolis.
Born and raised in the deserts of Arizona, Voris found himself adept at learning new instruments from a young age. After acquiring skills in a handful of wind and brass (trumpet, trombone, flute, saxophone), and adding the guitar to his repertoire, he finally settled on piano as his instrument of choice.
On his debut album, The Strange Particle, released in 2010, Voris combined his multi-instrumental abilities with a longtime passion for computing (he learned CBASIC as a child on his grandfather's old portable Osborne 1). By utilizing samples and field recordings through his own computed processes he achieved a very modern multiple-format approach to music, where any sound source was an instrument. Ink 19 described it like this:
"As I'm listening to this saucer full of electronic secrets, one thought sticks in my head: "This sounds like some sort of avant-garde soundtrack" ...odd noises and children's toys take us on an amazing journey."
The album gained Voris critical acclaim for his composition and recording methods, and won him erudite radio support in the US and the UK.
"Sounds so cool..." Nick Luscombe, BBC Radio 3, Late Junction
On Constantopolis, Voris has changed tack, working almost exclusively with acoustic instruments and live arrangements. Pinned on the rhythm section of bassist Jason Connelly and drummer Kelly Burns (Band Of Susans), the songs bloomed into near orchestral arrangements in the vein of artists like Rufus Wainwright and Sebastian Tellier.
Voris takes credit for recruiting a line-up of exemplary collaborators. Foremost is Seth Garrison (The Fancy, Night Cadet) who contibuted his exquisite voice and synths to the project. Garrison assisted with arrangements and production duties along with Voris and 100m Records' PJ Norman, who also added his distinctive lead guitar to the track 'X'.
Strings were provided by composer Barret Anspach (viola) and violinist Erica Dicker (Till By Turning, I'm In You, Anthony Braxton Quartet). Brass was performed by trumpeter Veronica Gonzalez and trombonist Gordon Barlow, and the stunning bassoon parts were laid down by Katherine Young (The Fancy, Anthony Braxton Quartet).
Where the focus of The Strange Particle was more on experimental programming, the structured approach of his latest effort draws a greater attention to Voris' considerable song-writing skils. The songs elaborate on the catchy, ironic humor only hinted at on his debut, and cement his position as an artist of note and a songwriter of significant depth.
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About |
The distinct music of American composer Django Voris has best been described as the sound of a jackhammer at 1/20th speed, squeaky brakes on buses, local business jingles from the 80's, operas about world leaders, and that happy growl a dog makes when playing with a new furry toy. |
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Press |
"There are artists that are so idiosyncratic they start to create their own genre, artists like Graham Parker, Gary Numan, Thomas Dolby, Marshall Crenshaw or Antony and the Johnsons. Add Django to that list." |
JASON DEAN, CROMAG/7INCHES |
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"Sounds so cool..." |
NICK LUSCOMBE, BBC RADIO 3 LATE JUNCTION |
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"Having already gained attention for his group the Fates, Django Voris has released a brand new soundtrack called The Strange Particle. All ten songs are created by using multiple sound sources, samples and field recordings; and integrated alongside improvised and composed guitar and piano parts. The end result is both crystal clear and at times fuzzy and indistinct... the polarizing effects work well." |
RAREMEDIUMWELL |
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"As I’m listening to this saucer full of electronic secrets, one thought sticks in my head: “This sounds like some sort of avant-garde soundtrack” ...odd noises and children’s toys take us on an amazing journey." |
CARL F GAUZE, INK 19 |
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"Django Voris captivates, entrances and takes the audience on a soaring auditory journey." |
EMERGING INDIE BANDS |
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Lizzie & The Yes Men |
100m026 |
Unstoppable (Single) |
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1. Unstoppable
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© Lizzie And The Yes Men 2013. All rights reserved.
Artwork designed by Lizzie And The Yes Men.
Written and performed by Lizzie And The Yes Men.
Produced by William Rees and Lizzie And The Yes Men. |
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June 2013 saw Lizzie and the Yes Men re-release their first two singles on 100m Records, which gained them front-page exposure on iTunes in the UK and France, and a US advertising placement with a high street shoe brand. Now the British surf-pop sensations return with their next single, produced by Mystery Jets frontman William Rees.
The band, who describe themselves as a ’Tarantino surf-pop’ outfit, combine Lizzie’s Twiggy-esque style with a contemporary cinematic sound that fuses surf-pop with punk and draws inspiration from bands such as The Ramones, The Ronettes and The Beach Boys, to create music that wouldn’t be out of place on Tarantino’s next film soundtrack.
The four-piece came to national attention in their native UK with the 2011 release of their debut single The Broadwalk that grabbed the attention of Dazed Digital and Fred Perry Subculture. The release saw Lizzie and The Yes Men shortlisted for the Glastonbury Emerging Talent 2011 competition by Breaking More Waves, gaining plays on Frank Skinner’s Absolute Radio show, BBC 6Music’s Nemone show, and being interviewed and featured in Chris Hawkins’ 6Music Acoustic Sessions. The Broadwalk has also been used as the opening music for the British television series ’The Fabulous Baker Brothers.’
This single, recorded and mixed at Vatican Studios, London, is a crafted, broody offering and delivers the band’s trademark surfy Motown sound. The music video, produced by the band, shows their suited, soulful inclinations and forefronts Lizzie’s seductive delivery of the hooks. The video was filmed from dusk till dawn at Ropemaker's Field in Limehouse, London.
Lizzie and the Yes Men are Lizzie Holdforth, Andy Goodman, Keir Greenaway, Brendan Bailey.
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About |
Describing themselves as ’Tarantino surf-pop’ Lizzie and the Yes Men combine Lizzie’s Twiggy-esque style with a contemporary cinematic sound that fuses surf-pop with punk and draws inspiration from bands such as The Ramones, The Ronettes and The Beach Boys. |
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Press |
"What one gets is a strangely morish mix of surf rock complete with catchy swing and harmonies a la The Beach Boys in a headlong collision with the angular pomp of ESG and Gang Of Four" |
DAZED DIGITAL |
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"The debut single from Lizzie and the Yes Men is a fabulously upbeat summer tune that channels Debbie Harry, The Ramones and even the whistling genius of Roger Whittaker. It manages to stay on the right side of ’jaunty’ with its Spectoresque melodies." |
MUSIC WEEK |
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"Built around cute, surf-pop guitar licks, a foot-stomping back-beat and lush vocals..." |
INDIE LONDON |
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"Unstoppable glides effortlessly into the eardrums... 8/10 " |
NEVER ENOUGH NOTES |
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"...lashings of gorgeous dark melodrama and deliciously weaving melody." |
ROCK SUCKER |
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"Unstoppable is passionate and flirty. Sexy and soulful. Sultry and sweet. But above everything it’s incredibly confident. This is the sound of a band that knows what it’s doing and where it’s heading and, with hooks this catchy and riffs this energetic, you can’t help but want to go with them." |
FAR OUT MAGAZINE |
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"Channelling a distinct American sound through a vibrant dashing of surf rock." |
SCIENTISTS OF SOUND |
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"Their riffs and twangs have a darker and edgy feel to them. We can imagine if Tarantino ever heard Lizzie and the Yes Men, he’d get them on his next film soundtrack sharpish." |
BREAKING MORE WAVES |
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Lizzie & The Yes Men |
100m025 |
The Broadwalk/Deserts (Single) |
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1. The Broadwalk
2. Deserts
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© Lizzie And The Yes Men 2013. All rights reserved.
Artwork designed by Lizzie And The Yes Men.
Written, performed and produced by Lizzie And The Yes Men. |
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Describing themselves as ’Tarantino surf-pop’ Lizzie and the Yes Men combine Lizzie’s Twiggy-esque style with a contemporary cinematic sound that fuses surf-pop with punk and draws inspiration from bands such as The Ramones, The Ronettes and The Beach Boys.
The quartet came to national attention in their native UK with the 2011 release of their debut single The Broadwalk which grabbed the attention of Dazed Digital and Fred Perry Subculture. The release saw Lizzie and The Yes Men shortlisted for the Glastonbury Emerging Talent 2011 competition by Breaking More Waves, gaining plays on Frank Skinner’s Absolute Radio show, BBC 6Music’s Nemone show, and being interviewed and featured in Chris Hawkins’ 6Music Acoustic Sessions. The Broadwalk has also been used as the opening music for the British television series ‘The Fabulous Baker Brothers.’
2011 also saw them embark on an Italian tour, during which they played at Rocket in Milan, as well as playing a host of London shows, including a sold-out show with Those Dancing Days at XOYO and a show at Le Baron at Embassy in Mayfair. In 2012 European dates were produced by the Lottarox residency, and saw them returning to Italy, as well as playing Le Baron in Paris and the 1,000+ capacity Debaser Medis venue in Stockholm.
The tag ‘Tarantino surf-pop’ becomes clear within seconds of the first single The Broadwalk, with its combination of catchy surf guitars and whistling. Lizzie’s vocals are suitably upbeat, in keeping with the summery vibes of the track. The Broadwalk is accompanied by a cool, choreographed video directed by James Copeman, who has previously directed promos for Mystery Jets, Paloma Faith, Noah and The Whale, and Wild Palms.
Deserts is the band’s follow up single which explores more brooding timbres and shows off the band’s darker inclinations. Lizzie elaborates:
“The Broadwalk is us at our poppiest, Deserts is where we get more introspective. It’s great that 100m Records offered to put both out as a double single to introduce us in the US. I feel the two songs really show the breadth of what we do.”
The Deserts video was directed by photographer Laurence Von Thomas, who has previously worked with the likes of Patti Smith and Mark Ronson. It was shot in a crumbling Victorian industrial warehouse, Lizzie plays three different characters in a lynch inspired “tableau viviant”.
Lizzie and the Yes Men are Lizzie Holdforth, Andy Goodman, Keir Greenaway, Brendan Bailey.
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About |
Describing themselves as ’Tarantino surf-pop’ Lizzie and the Yes Men combine Lizzie’s Twiggy-esque style with a contemporary cinematic sound that fuses surf-pop with punk and draws inspiration from bands such as The Ramones, The Ronettes and The Beach Boys. |
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Press |
"What one gets is a strangely morish mix of surf rock complete with catchy swing and harmonies a la The Beach Boys in a headlong collision with the angular pomp of ESG and Gang Of Four" |
DAZED DIGITAL |
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"The debut single from Lizzie and the Yes Men is a fabulously upbeat summer tune that channels Debbie Harry, The Ramones and even the whistling genius of Roger Whittaker. It manages to stay on the right side of ’jaunty’ with its Spectoresque melodies." |
MUSIC WEEK |
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"Built around cute, surf-pop guitar licks, a foot-stomping back-beat and lush vocals..." |
INDIE LONDON |
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"Unstoppable glides effortlessly into the eardrums... 8/10 " |
NEVER ENOUGH NOTES |
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"...lashings of gorgeous dark melodrama and deliciously weaving melody." |
ROCK SUCKER |
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"Unstoppable is passionate and flirty. Sexy and soulful. Sultry and sweet. But above everything it’s incredibly confident. This is the sound of a band that knows what it’s doing and where it’s heading and, with hooks this catchy and riffs this energetic, you can’t help but want to go with them." |
FAR OUT MAGAZINE |
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"Channelling a distinct American sound through a vibrant dashing of surf rock." |
SCIENTISTS OF SOUND |
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"Their riffs and twangs have a darker and edgy feel to them. We can imagine if Tarantino ever heard Lizzie and the Yes Men, he’d get them on his next film soundtrack sharpish." |
BREAKING MORE WAVES |
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Fates |
100m024 |
Serious German Polka |
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1. Morning USA
2. F8ality
3. Reference Freaks
4. Bi-Tonal Opposites
5. Serious German Polka |
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© Fates 2012. All rights reserved.
Artwork designed by Fates.
Written, performed and produced by Fates.
Recorded and mixed by PJ Norman. |
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Fates are American composer Django Voris and British-born artist PJ Norman. They met in New York City in early 2009. Their shared passion for electronic experimentation led to a set of improvisation sessions with Swiss electronic artist Moritz Wettstein. The sessions were recorded at Harvestworks, the foundation co- founded by Bob Moog to support experimental music. The recordings led to "Murky Circuits", an LP release on 100m Records in 2010 which met enthusiastic reviews from the electronic music press, describing it a "post-glitch triumph" (Cyclic Defrost) and "one of the most original electronic records of the year" (The Milk Factory).
The departure of Wettstein in late 2010 back to his hometown of Zurich, Switzerland, meant that Voris and Norman were free to explore more tonal pastures. Norman elaborates:
“On “Murky Circuits” Moritz was handling a lot of the beat work, he’s a glitch-maestro. When he left, Django and I were challenged to fill the space. We didn’t want to impersonate Moritz (I’m not even sure that would have been possible), so we decided to explore more tonal and harmonic ideas, working in multiple keys simultaneously over simple loops. Then, when we wanted more rhythmic ideas we brought in a live drumkit. That’s where Claudio came in.”
Recorded over a series of sessions at the group’s studio in DUMBO, Brooklyn, between 2010 and 2012, ”Serious German Polka” continues the strict electronic improvisation ethic that Voris and Norman established with Wettstein on “Murky Circuits”, culminating in the epic, 15-minute title track, featuring Swiss drummer Claudio Strüby on drums. Voris describes the process of working with Strüby:
“Before we brought Claudio in PJ had been laying down the drums, on Morning USA for example. But then we had this long fifteen-minute improvisation that just required something more complex, more bombastic. PJ had met Claudio back in Zurich and invited him to sit in. It was incredible to watch, Claudio listened once through what we had laid down and then improvised two takes over it start to finish. He’s a serious professional... I mean, we were working in multiple, overlayed time signatures.”
Norman explains how they came up with the title:
“After Claudio had finished tracking, Django and I were both dumbfounded. He looks at us and says,”That was some serious german polka”. We knew right away that was the title.”
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About |
Fates are American composer Django Voris and British-born artist PJ Norman. They met in New York City in early 2009. Their shared passion for electronic experimentation led to a set of improvisation sessions with Swiss electronic artist Moritz Wettstein. The sessions were recorded at Harvestworks, the foundation co- founded by Bob Moog to support experimental music. The recordings led to "Murky Circuits", an LP release on 100m Records in 2010 which met enthusiastic reviews from the electronic music press, describing it a "post-glitch triumph" (Cyclic Defrost) and "one of the most original electronic records of the year" (The Milk Factory). |
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Press |
"Nebulous post-industrial soundscapes constantly tweaked and realigned to create one of the most original electronic records of the year to date. 4.5/5" |
THE MILK FACTORY |
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"A post-glitch triumph that goes by quickly but not without making one’s head spin." |
CYCLIC DEFROST |
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"Murky Circuits sounds like a highly caffeinated robot took over a decrepit Radio Shack and had its way with anything it could grab." |
CHUBBY JONES |
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"Literally one in a million; tweaking and meshing uncommon sounds to create one of the most original electronic pieces I have heard all year. Abstract art for the ears most certainly." |
AW MUSIC |
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"Dizzying and compelling." |
BRAINWASHED |
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"The 15 minute title track (Serious German Polka) is only available if you downoad the entire album (and it‘s well worth it!)." |
NEUFUTUR |
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"When you listen to this material with headphones it really takes on a life of its own as all of the various textures come together to create lush soundscapes." |
COSMOS GAMING |
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"Experimental, rampant and very energetic." |
RADIO ONDE FURLANE |
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"This is fantastic!" |
DANDELION RADIO |
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"Really good." |
SEATTLE STRANGER |
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"Very interesting stuff!" |
BLUEFAT |
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Soccer Mom |
100m023 |
Brides/Canoe (Single) |
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1. A Canoe Shy
2. Brides |
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© Soccer Mom 2012. All rights reserved.
Artwork designed by Soccer Mom.
Written by Soccer Mom.
Recorded and mixed by Kevin Micka.
Mastered at Old Colony Mastering by Scott Craggs. |
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Following the triumphant release of their debut 10”, 100m Records present the Brides/Canoe single from Boston's Soccer Mom. The band, which is drawn together from a medley of different groups, consists of Dan Parlin, Danielle Deveau, Justin Kehoe, and William Scales. Their origins lie in the late 2000's when singer/guitarist, Parlin, returned to Massachusetts from San Francisco armed with a wealth of ideas that, with time, brought the group to life.
After serving in a range of Boston acts, including E.R., Get Help and The Spanish Armada (all on The Beatings' Midriff Records imprint), Parlin cemented the foundations of Soccer Mom when bassist Deveau joined full-time. In due course fellow E.R. sideman and Spanish Armada principal William Scales enlisted as second guitarist, along with Spanish Armada drummer David Kaplan.
In 2010, with what they describe as "a collective caesura among the various competing projects", the band reaped well- deserved attention for their debut 7". They have since released the breath-taking 6-song EP, You Are Not Going To Heaven, to general critical acclaim.
"Too-loud-to-be-dreaming rock quartet Soccer Mom unleash their own noisy, driven, pop gems of streamlined distortion." THE BOSTON PHOENIX
"There's no denying the band's strong '90s influences — with a distinct New England color —a listen to the new EP proves Soccer Mom owns it." NERVE.COM
"This is a really great EP that delivers on the bands promise of contrasting sounds and styles. There's melody and feedback, rapid drum fills and dreamy vocals." THE 405
The departure of Kaplan in early 2011 left vacant the drum chair for another E.R. cohort, drummer Justin Kehoe, with whom they continue to deliver their blistering live performances.
Soccer Mom's distinct sound emerges from a detailed exploration of intimate connections between contrasting forces. Through melody and dischord, clean tones and chaotic feedback, they find a balance between the referential and the staggeringly new. The vocals are often sparse and quietly deconstruct conventional song structure amidst a whirlwind of dual guitar histrionics.
When asked to describe the band in his own terms, Parlin states:
"We're all coming from so many angles, influence-wise. I mean, it's rock music - but it's not punk, and it's not just noise. It's not quite dreamy enough to be shoegaze, but it's also not hard to hear all of those pieces sneak in... When people ask us what kind of music we play, I just say "loud". It's not much to go on, but at least you'll remember to bring earplugs to a show."
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About |
After serving in a range of Boston acts, including E.R., Get Help and The Spanish Armada (all on The Beatings' Midriff Records imprint), Soccer Mom founder Dan Parlin cemented the foundations of the band when bassist Danielle Deveau joined full-time. In due course fellow E.R. sideman and Spanish Armada principal William Scales enlisted as second guitarist, along with another E.R. cohort, drummer Justin Kehoe. Through melody and dischord, clean tones and chaotic feedback, they find a balance between the referential and the staggeringly new. |
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soccermomboston.tumblr.com |
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Press |
"Too-loud-to-be-dreaming rock quartet Soccer Mom unleash their own noisy, driven, pop gems of streamlined distortion." |
THE BOSTON PHOENIX |
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"The sound takes me right back to the first two Ride releases and maybe a little Catherine Wheel." |
JAMIE MYERSON, WDBK 91.5 |
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"With liberal doses of sludge, screeching feedback, dischord and strong melodies, Soccer Mom issued one of the years most arresting and addictive listens." |
THE ASH GRAY PROCLAMATION |
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"Soccer Mom have a jangle that weighs heavy, at times sneaking into the realm of post-rock, while their dream-pop tendencies are too immersed in noise and impatience to float without direction.
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EXPLODING IN SOUND |
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"This, their debut, is a stunning, guitar-driving, neo-shoegaze set, but their blistering live show is usually even better." |
BRADLEY'S ALMANAC |
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"Warm, loud, and fuzzy in all the right ways, Soccer Mom make music to submerge one's brain into, just perfect guitar music to disappear into and never look back." |
THE CREATIVE INTERSECTION |
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"Sonically superb. Long sustaining notes paint out the walls, while a buzzy bass marches down the middle, jaunting out its own fuzzy, buzzy melodies." |
CD ON SONGS, BOSTONBANDCRUSH.ORG |
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"There's no denying the band's strong '90s influences — with a distinct New England color — but a listen to the new EP proves Soccer Mom owns it." |
NERVE.COM |
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"This is a really great EP that delivers on the bands promise of contrasting sounds and styles. There's melody and feedback, rapid drum fills and dreamy vocals." |
THE 405 |
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"Soccer Mom are not afraid to embrace their shoegaze influences whilst experimenting with something new." |
THE ART OF STUFFING |
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"These guys take crashing, rapid drumbeats and pile on ultra-gritty guitar and stringy bass, always keeping melodic innovation at the front of their songs." |
BOSTON HASSLE |
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"Clouds of melody, both of the real and phantom variety, wrap around thick basslines and all-business drums like crawling ivy to produce a sum greater than the individual parts." |
MICHAEL FOURNIER, YOURBAND.INFO |
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"Just the right amount of ugly noise with a catchy framework." |
BRAINWASHED |
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"The perfect balance between harmony and distortion, melody and debilitating feedback." |
BRENDAN T, SONIC MASALA |
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"Soccermom sets off new parts and bridges with a patient efficacy; powershrugs into exuberant crescendoes with nonchalance. Everything about Soccermom's music seems informed not only by the best music of two decades past, but also a measured, casual attitude toward crafting good music." |
JAY BREITLING, CLICKY CLICKY MUSIC |
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"A couple parts shoegaze, one part jangle electric, one part alienated loner dirty fuckup sound... The drums are massive, the vocals are buried in that layered way, the guitar sustained forever... Utterly perfect timing." |
JASON DEAN - 7INCHES |
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"A great melding of jangly indie-rock/pop and subtle jabs of harsher/woozy feedback." |
BUILT ON A WEAK SPOT |
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Glass Rifle |
100m021 |
Castles/Blinking Glitter (Single) |
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1. Castles
2. Blinking Glitter
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© Glass Rifle 2014. All rights reserved.
Written and produced by Glass Rifle.
Recorded and mixed at Melody Lanes Recording Company by Glass Rifle and Jay Braun.
Mastered at The Magic Shop by Warren Russell-Smith. |
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Glass Rifle are Americans Dan Colby, Ryan Francini, and British-born PJ Norman. The roots of the group lie in the Boston DIY punk scene where Colby and Francini first met. After serving in Hydrahead stalwarts The Huguenots and The Never Never, and Jade Tree Record’s The Explosion, Colby formed The Cignal with Francini. In the mid ‘00s, after a well-received 7”, The Cignal disbanded and both Francini and Colby moved to New York City. It was here, several years later, that they met PJ Norman.
Norman, whose reputation as an electronic producer with the 100m Records Collective is well established (tKatKa, Fates), relished the opportunity to develop the guitar style he had with North London underground act Death By Sadie. Where Death By Sadie was a two guitar four-piece, the power trio format of Glass Rifle really pushes Norman’s striking guitar work to the forefront, enhanced by the intense Colby/Francini rhythm section that clearly displays the pair’s longstanding musical connection.
The Castles/Blinking Glitter single was produced with the same team as the Foebic/Cutters single. Recorded at Melody Lanes Recording Company in Brooklyn, New York, mixed by Glass Rifle and Melody Lanes producer Jay Braun (Elliot Smith, Jon Spencer Blues Explosion, Cat Power) and mastered at The Magic Shop, NYC, by Grammy award winning mastering engineer Warren Russell-Smith (Rolling Stones, Tim Buckley).
Initially only a very limited physical release in 2012, the single is now available digitally through 100m Records.
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About |
Glass Rifle are Americans Dan Colby, Ryan Francini, and British-born PJ Norman. The roots of the group lie in the Boston DIY punk scene where Colby and Francini first met. After serving in Hydrahead stalwarts The Huguenots and The Never Never, and Jade Tree Record’s The Explosion, Colby formed The Cignal with Francini. In the mid ‘00s, after a well-received 7”, The Cignal disbanded and both Francini and Colby moved to New York City. It was here, several years later, that they met PJ Norman. |
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www.glassrifle.com |
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Press |
"Impossible to ignore." |
JOE MARVILLI - CONSEQUENCE OF SOUND |
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"A degree of genuine punch and something feels fiercely independent about it." |
DANIEL DYLAN WRAY - GLASSWERK |
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"Glass Rifle are a sonic battering of dischordant power pop, with killer guitar licks offsetting fierce beats that literally pummel you into submission." |
ZOLTON - LOST AT E MINOR |
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"It's tight, incredibly crafted and stands alongside any classic American underground sound… Both of these tracks are pushing that complex hardcore formula to it's limits, it's just an impressive contemporary take on a genre that remains relevant thanks to Glass Rifle." |
JASON DEAN - 7INCHES |
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"A singular sound that gets you tight to your chair... Awesome." |
RJ FROMETA, VENTS MAGAZINE |
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"Like a Hold Steady raised on London punk and based in Brooklyn, Glass Rifle's delivery stays true to the varied roots of all its members by distorting the relentless energy of British rock with a Williamsburg flair." |
JOE PUGLISI - BAEBLE MUSIC |
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"Early Mission of Burma filtered through the earliest releases on Invisible Records. Somehow it feels very familiar, yet completely new at the same time… For anyone who longs for the heyday when Amphetamine Reptile and Touch and Go weren't just labels, but institutions, this is as inviting as it gets." |
CREAIG DUNTON - BRAINWASHED |
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Relations |
100m020 |
Relations |
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1. Take No Sides
2. A Savage Way To Live
3. Careless Days
4. Songbirds |
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© Relations 2012. All rights reserved.
Artwork designed by Bleu Noire.
Written by Relations.
Produced by PJ Norman and Relations.
Recorded and mixed by PJ Norman.
Mastered at Salt Mastering by Paul Gold. |
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Relations is the musical brainchild of Terence Murren and Michael Sanders. They first joined forces in a New England high school more than a decade ago, as part of a Modern Lovers cover band. Through their subsequent musical and geographical journeys the two have remained the closest of friends, corresponding throughout on their musical comings and goings. In 2011 the two decided it was time to compose and record.
Sanders descibes how they set about writing the EP:
“The creative process happens in a number of ways. Each song is a journey. Some start as beats and grow into parts that become songs... some are snippets of hours and hours of jamming... and others are fully formed ideas that I bring in to be arranged by T and myself.”
They built on their disparate musical journeys, ranging from screaming loud indie rock to traditional jazz, in an attempt to create something eclectic and push each other out of their comfort zones. This created a sonic narrative of where they have been, and where their ears have begun to pull them. The result is strange, gritty, and somehow nostalgic.
“At an early stage in the project we decided to only program drums and play all the keyboards live. This, coupled with vintage amps and verb, keeps everything living and breathing on top of the electronic drums.”
On Relations, their self titled EP recorded and produced in Brooklyn by Glass Rifle's PJ Norman, you hear their decade long, musical correspondence. Through a rush of noisy guitar and synths, detailed drum sequences, and riding bass lines, they present the polaroids of their musical journey. Spanning across decades of influences, you are likely to hear a little Blur, Kraftwerk, New Order, The Lemonheads, The Knife and Pavement.
On hearing the finished tracks for the first time:
"We were pretty proud. It's amazing to reunite with an old music brother after 10+ years and make sweet sweet music together."
You can attempt to compare them to any contemporary NYC garage rock outfit, but in reality, you are likely to get the feeling of nostalgia, modern love and rock 'n' roll. They are likely to be okay with that.
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About |
Relations is the musical brainchild of Terence Murren and Michael Sanders. They first joined forces in a New England high school more than a decade ago, as part of a Modern Lovers cover band. Through their subsequent musical and geographical journeys the two have remained the closest of friends, corresponding throughout on their musical comings and goings. In 2011 the two decided it was time to compose and record. They built on their disparate musical journeys, ranging from screaming loud indie rock to traditional jazz, in an attempt to create something eclectic and push each other out of their comfort zones. This created a sonic narrative of where they have been, and where their ears have begun to pull them. The result is strange, gritty, and somehow nostalgic. |
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Press |
"Reminiscent of the early, dark and tense post punk days, when bands like Joy Division and Wire ruled the rock world." |
THE DELI MAGAZINE |
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"There’s a coolness that runs deep, all the way back to the revolt against messy, apathetic, no-future punk, and borrows from the bleak factory landscape. It’s a nostalgic vision of the possibilities of technology and the warning shot." |
QRO MAG |
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"Completely diving into great synth sounds, making them the focus of any given piece, but still heavily guitar based." |
7INCHES |
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"The guitars on this are fiercely savage in the way Wire or Wedding Present drive you with subtle use of feedback. They got good tone." |
REVIEW STALKER |
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"Relations get that precarious balance of pop hooks, odd electronic sounds, and dissonant outbursts right to create memorable songs." |
BRAINWASHED |
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"Hits you like a punch from the opening, beginning with a screen door like squeak of noise before becoming a noise guitar duel of Daydream Nations vein...with one of the best songs I've heard all year." |
THE CREATIVE INTERSECTION |
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"New millennial rhythms of shoegaze intricately woven inside the vibrant electro sound." |
SOUTHSIDE ON THE TOWN |
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"Embedded with the subtle twisted tones of a reverb feedback, this masterful EP is annoyingly short, but enables you to hunger for what's to come next." |
EXCLUSIVEMAGAZINE.COM |
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"Regularly made our Top 30 charts." |
CFRC 101.9 FM |
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Soccer Mom |
100m019 |
You Are Not Going To Heaven |
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1. (A) Natural History 2. American Shirt (Eagle Flag 911) 3. Salty Wyoming 4. Celebrity Unrest
5. Unwanted Sounds 6. Southern Bells |
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© Soccer Mom 2011. All rights reserved. Artwork designed by Soccer Mom. Written and produced by Soccer Mom. Recorded at The Napoleon Complex by Shaun Curran. Mastered at Half Son Of Audio by Eric Baird. |
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Boston's Soccer Mom, who are drawn together from a medley of different groups, consist of Dan Parlin, Danielle Deveau, Justin Kehoe, and William Scales. Their origins lie in the late 2000's when singer/guitarist, Parlin, returned to Massachusetts from San Francisco armed with a wealth of ideas that, with time, brought the group to life.
After serving in a range of Boston acts, including E.R., Get Help and The Spanish Armada (all on The Beatings' Midriff Records imprint), Parlin cemented the foundations of Soccer Mom when bassist Deveau joined full-time. In due course fellow E.R. sideman and Spanish Armada principal William Scales enlisted as second guitarist, along with Spanish Armada drummer David Kaplan.
In 2010, with what they describe as "a collective caesura among the various competing projects", the band reaped well-deserved attention for their debut 7". They have since recorded this breath-taking 6-song EP with Shaun Curran at The Napoleon Complex in Somerville, MA, which they mastered with Eric Baird at Half Son of Audio. The departure of Kaplan in early 2011 left vacant the drum chair for another E.R. cohort, drummer Justin Kehoe, with whom they continue to deliver their blistering live performances.
Soccer Mom's distinct sound emerges from a detailed exploration of intimate connections between contrasting forces. Through melody and dischord, clean tones and chaotic feedback, they find a balance between the referential and the staggeringly new. The vocals are often sparse and quietly deconstruct conventional song structure amidst a whirlwind of dual guitar histrionics.
When asked to describe the band in his own terms, Parlin states:
"We're all coming from so many angles, influence-wise. I mean, it's rock music - but it's not punk, and it's not just noise. It's not quite dreamy enough to be shoegaze, but it's also not hard to hear all of those pieces sneak in... When people ask us what kind of music we play, I just say "loud". It's not much to go on, but at least you'll remember to bring earplugs to a show."
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About |
After serving in a range of Boston acts, including E.R., Get Help and The Spanish Armada (all on The Beatings' Midriff Records imprint), Soccer Mom founder Dan Parlin cemented the foundations of the band when bassist Danielle Deveau joined full-time. In due course fellow E.R. sideman and Spanish Armada principal William Scales enlisted as second guitarist, along with another E.R. cohort, drummer Justin Kehoe. Through melody and dischord, clean tones and chaotic feedback, they find a balance between the referential and the staggeringly new. |
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soccermomboston.tumblr.com |
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Press |
"Too-loud-to-be-dreaming rock quartet Soccer Mom unleash their own noisy, driven, pop gems of streamlined distortion." |
THE BOSTON PHOENIX |
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"The sound takes me right back to the first two Ride releases and maybe a little Catherine Wheel." |
JAMIE MYERSON, WDBK 91.5 |
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"With liberal doses of sludge, screeching feedback, dischord and strong melodies, Soccer Mom issued one of the years most arresting and addictive listens." |
THE ASH GRAY PROCLAMATION |
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"Soccer Mom have a jangle that weighs heavy, at times sneaking into the realm of post-rock, while their dream-pop tendencies are too immersed in noise and impatience to float without direction.
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EXPLODING IN SOUND |
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"This, their debut, is a stunning, guitar-driving, neo-shoegaze set, but their blistering live show is usually even better." |
BRADLEY'S ALMANAC |
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"Warm, loud, and fuzzy in all the right ways, Soccer Mom make music to submerge one's brain into, just perfect guitar music to disappear into and never look back." |
THE CREATIVE INTERSECTION |
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"Sonically superb. Long sustaining notes paint out the walls, while a buzzy bass marches down the middle, jaunting out its own fuzzy, buzzy melodies." |
CD ON SONGS, BOSTONBANDCRUSH.ORG |
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"There's no denying the band's strong '90s influences — with a distinct New England color — but a listen to the new EP proves Soccer Mom owns it." |
NERVE.COM |
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"This is a really great EP that delivers on the bands promise of contrasting sounds and styles. There's melody and feedback, rapid drum fills and dreamy vocals." |
THE 405 |
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"Soccer Mom are not afraid to embrace their shoegaze influences whilst experimenting with something new." |
THE ART OF STUFFING |
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"Clouds of melody, both of the real and phantom variety, wrap around thick basslines and all-business drums like crawling ivy to produce a sum greater than the individual parts." |
MICHAEL FOURNIER, YOURBAND.INFO |
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"Just the right amount of ugly noise with a catchy framework." |
BRAINWASHED |
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"The perfect balance between harmony and distortion, melody and debilitating feedback." |
BRENDAN T, SONIC MASALA |
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"Soccermom sets off new parts and bridges with a patient efficacy; powershrugs into exuberant crescendoes with nonchalance. Everything about Soccermom's music seems informed not only by the best music of two decades past, but also a measured, casual attitude toward crafting good music." |
JAY BREITLING, CLICKY CLICKY MUSIC |
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"A couple parts shoegaze, one part jangle electric, one part alienated loner dirty fuckup sound... The drums are massive, the vocals are buried in that layered way, the guitar sustained forever... Utterly perfect timing." |
JASON DEAN - 7INCHES |
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"A great melding of jangly indie-rock/pop and subtle jabs of harsher/woozy feedback." |
BUILT ON A WEAK SPOT |
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Love American Skin |
100m018 |
(Soundtrack) |
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1. Fates : Morning USA
2. The Fancy : Honey, Baby
3. Stay Low : Extension Of Me
4. Soccer Mom : (A) Natural History
5. Soft Skin : Why Do You Pretend?
6. Iamprimate : Forever
7. Giving The Table A Name : Epiglottis (Leak)
8. Medes : If You Stay
9. Dinah Thorpe : In The Country
10. Glass Rifle : Foebic
11. Django Voris : The Dawn Of A New Day
12. tKatKa : Dimension Tension
13. Tseuq : Hazing The Itch
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© 2011. All rights reserved. Photography and sleeve design by Diana Scheunemann. |
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100m Records announce the soundtrack to photographer Diana Scheunemann’s feature-length documentary film Love American Skin. The soundtrack was provided by the label to support Scheunemann’s stunning debut as a filmmaker and is arranged into a thirteen-song, thirteen artist compilation release drawn from 100m Records artists and special friends.
In the summer of 2010, Scheunemann undertook an eight-week road trip clockwise around the USA, starting and ending in New York City. The aim of the trip was to photograph, film and explore the multiple facets of the American identity. Fueled by a curiosity for the stereotype of the Mid-West, she was convinced that New York City, Los Angeles, Miami, and Las Vegas are not an accurate portrayal of the USA. With her boyfriend, artist PJ Norman, and their dog they drove 10,128 miles, and through 21 states to attain a more accurate understanding.
Scheunemann elaborates:
“Over 60 days we filmed, photographed and explored over 60 people. We experienced temperatures between 35 and 118 degrees Fahrenheit, my boyfriend became my husband, and the car’s engine was used as a cooking stove. Love American Skin replicates our journey’s spontaneity, freedom, eccentricity and discoveries.”
Love American Skin is about the American people and their landscape; a surface which invites curiosity, lustfulness, tragedy and love. A single American skin encompassing much history and various points of origin. Peeling back the surface exposes the unique, miniature stories of individual cells in the corpus, and the collective story of a country’s complexion.
The 80-minute feature is accompanied by thirteen superb compositions by 100m artists and friends. Ranging through wonderfully organic electronic soundscapes, thoughtful acoustic singer-songwriters, catchy pop tunes and urgent, driven rock the soundtrack perfectly captures the variety of American cultures and landscapes depicted in the film.
Artist Information
Fates
The Fates project was started by American composer Django Voris, Swiss electronic artist Moritz Wettstein, and British-born producer PJ Norman. The three met in New York City in early 2009 where their shared passion for electronic experimentation led to a series of recording sessions at Harvestworks, the foundation co-founded by Bob Moog to support experimental music. With the return of Wettstein to his native Switzerland in 2010, Fates continues as a duo between Voris and Norman with a revolving door policy as they continue the production of their second full-length in Wettstein's absence.
"Nebulous post-industrial soundscapes constantly tweaked and realigned to create one of the most original electronic records of the year to date. 4.5/5" - The Milk Factory
"Dizzying and compelling." - Brainwashed
"Literally one in a million; tweaking and meshing uncommon sounds to create one of the most original electronic pieces I have heard all year. Abstract art for the ears most certainly." - AW Music
"A post-glitch triumph that goes by quickly but not without making one’s head spin." - Cyclic Defrost
"When you listen to this material with headphones it really takes on a life of its own as all of the various textures come together to create lush soundscapes." - Cosmos Gaming
"Murky Circuits sounds like a highly caffeinated robot took over a decrepit Radio Shack and had its way with anything it could grab." - Chubby Jones
"Experimental, rampant and very energetic." - Radio Onde Furlane
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The Fancy
The Fancy is the creation of the composer/songwriter duo Clara Latham and Seth Garrison. Classically trained musicians with a serious love for popular forms, The Fancy merges chamber music and pop sensibilities with earnest song writing and dramatic flair. With Amy Cimini (Till by Turning, Starring, Christy & Emily) on viola and Katherine Young (Till by Turning, the Nightingales, Anthony Braxton’s Falling River Quartet) on bassoon, The Fancy orchestrates lush tunes so timeless you think you might already know them.
"Piano and guitar provide the main propulsion, and the precise, nimble lines of Young and Cimini add real depth and richness... undeniably well-crafted." - Chicago Reader
"For those who've kept the faith in bands with doe-eyed pop instincts and touches of chamber-music instrumentation, New York band The Fancy provides some validation. Pianist Seth Garrison and guitarist Clara Latham's vocals come through as pristine and tender as could be." - AV Club, The Onion
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Stay Low
http://soundcloud.com/staylow
Stay Low is the alias of electronic producer Kris O'Connor, best known for his work as frontman for 100m Records act Death By Sadie.
"A vivid alchemy of pop and post-punk." - Zane Lowe, BBC Radio 1
"Death by Sadie is essentially an underground super group collective framed around the talents of Kris O’Connor and aided and abetted by members of tKatKa and The Montauk Projekt. ’Limited Edition’ is the ensemble's debut outing and a storming stellar soaring slice of swaggering shoe gaze drilled gritted dream pop it is to. Freebasing in the main on early Ride styled hollowing streamlined codas, this sugar laced florescent fancy is equipped with a pulsating driving dynamic at its core within which are housed blood lines tracing back to the fuzz laced bliss laden glazes of My Bloody Valentine, Dinosaur JNR and Moose (most notably ‘Jack’ and ‘boy’)... Of course its all essential stuff as though you needed to ask." - Losing Today
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Soccer Mom
http://www.soccermomboston.com
After serving in a range of Boston acts, including E.R., Get Help and The Spanish Armada (all on The Beatings' Midriff Records imprint), Soccer Mom founder Dan Parlin cemented the foundations of the band when bassist Danielle Deveau joined full-time. In due course fellow E.R. sideman and Spanish Armada principal William Scales enlisted as second guitarist, along with another E.R. cohort, drummer Justin Kehoe. Through melody and dischord, clean tones and chaotic feedback, they find a balance between the referential and the staggeringly new.
"Clouds of melody, both of the real and phantom variety, wrap around thick basslines and all-business drums like crawling ivy to produce a sum greater than the individual parts." - Michael Fournier, Yourband.info
"The perfect balance between harmony and distortion, melody and debilitating feedback." - Brendan T, Sonic Masala
"Soccermom sets off new parts and bridges with a patient efficacy; powershrugs into exuberant crescendoes with nonchalance. Everything about Soccermom's music seems informed not only by the best music of two decades past, but also a measured, casual attitude toward crafting good music." - Jay Breitling, Clicky Clicky Music
"A couple parts shoegaze, one part jangle electric, one part alienated loner dirty fuckup sound... The drums are massive, the vocals are buried in that layered way, the guitar sustained forever... Utterly perfect timing." - Jason Dean, 7Inches
"Taking their unanimous love for nineties indie-rock and using it to churn out some rather catchy fuzz driven tunes." - Built On A Weak Spot
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Soft Skin
Soft Skin is a band from Brooklyn formed in 2010. Bassist Tom Morrill and guitarist Andrew Mailliard (who served as a consultant editor on the Love American Skin film) met while attending the Rhode Island School of Design, after which the two moved to New York and formed the basis for the band. Tom soon met singer Jack Richardson; a recently stateside musician from London, England, working at a small art studio space. Ideas were exchanged and the group began writing songs together. Drummer Calvin Cupino, an NYU student, finalized the band on drums.
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Iamprimate
http://www.pjnorman.com
The solo project of Love American Skin's Assistant Director PJ Norman (also of tKatKa, Fates, Glass Rifle). Iamprimate takes, as a starting point, the sense that the avant-garde has become trapped by the oxymoron of post-modernism. The project aims to reconcile avant-garde composition into a coherent statement within the realm of popular music by placing popular elements into a space that is affected by avant-garde treatments, such as the use of location recordings and sound-concrète.
"Iamprimate is able to resonate a vast array of emotions utilising only his voice and an acoustic guitar... an incredibly warm slice of alt-folk, that's easy on the ear and remains firmly on the tongue." - Tom Brumpton, Extreme To Serene Radio
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Giving The Table A Name
Giving The Table A Name is powered by a single individual, Jeff Allyn Szwast, who writes and records all the ingredients. Originating in Athens, Ga., the project has been based out of Brooklyn, NY since 2002.
"It’s very clear something great is happening here, what it is we may never know, but while there is still air to breathe, let’s enjoy this one. It may not last and if there is a dry eye in the crowd when it’s over, then surely dehydration is the only logical excuse." - Indie-Music.com
"Jeff Allyn Szwast's avant-indie rock project Giving The Table A Name specializes in angular guitar progressions punctuated by thumping, crashing percussion, and vocals leaning towards the slithering and cerebral side." - The Deli Magazine
"It’s rare when a musician personally crafts every piece of his/her art... Jeff is one of those rare creators that has his hands on every aspect of his music." - The New LoFi
"Comfortable, familiar, and engaging... Giving the Table a Name delivers thoughtful and poetic lyrics, full of dark symbolism and covert psychological exploration... the production quality is skilful and the songs certainly provide plenty of ambiance on which effortless indulging can ensue." - Moon Music Reviews
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Medes
http://www.myspace.com/medesmusic
Medes is the solo project of producer AJ Cookson. Known for his remix work under alter-ego Forma, and as the frontman for the explosive band The Montauk Projekt, he is perhaps best known for his work with Distraction Records act Necro Deathmort. AJ has been a regular contributor to 100m collective projects since the label’s inception and has collaborated with many of the collective’s acts.
On Medes:
“Seriously apocalyptic dub tripped ambient electronics.” - The Sunday Experience
"Depeche Mode for the pirate bay generation." - XYZ Magazine
On Necro Deathmort:
"A work of pure schizoid genius." - Terrorizer
"Heavy, deep and moody... the mixing of electronics, beats and doom metal is entirely sucessful. I wish this album were longer. All future experimental dub metal artists should look to this album to see how to get ’er done." - Decibel Magazine
"[the duo] blend low-level hip-hop beats with Scorn-esque bass and elonated guitar riffs to remarkable effect. . . it's that awesome. . . the music is superb, the artwork and packaging equally good. . . warped shuffling genius. 300% necro, foo'!" - Zero Tolerance
"This shit is amazing, so dark and heavy and unlikely... just for the record, January is in no way too soon to start picking records for your best of 2010 list... just so you know... - Aquarius Records
"This Beat Is Necrotronic’... easily represents one of the most intriguing and unexpected genre collisions I’ve encountered over the past year...." - Cyclic Defrost
"This has me foxed...one minute it's Sunn O))), the next it's Squarepusher." - Vice magazine
"...a fucking belter of an album... Unexpectedly mint." - Foxy Digitalis
"No word of a lie, Necro Deathmort will be in my top ten at the end of the year. Their album "This Beat Is Necrotronic" is a triumph... the most original record I've heard in what seems like an aeon... the kind that'd give Stephen O'Malley a ten tonne stonk-on, with a rumbling subwoofer molesting bass attack that'd induce pant shitting for miles around." - Chronicles Of Chaos
"[an] album that every death metal idiot was too clunky, too loud and too lumpen to make, this is the album that Nick Cave should play at home" - Unpeeled
"For fans of acts such as Earth, Growing and Jesu, This Beat is Necrotronic is likely to be a hugely enjoyable purchase. . . a splendid debut turned all the way up to eleven, and one which deserves your attention." - Bearded magazine
"All in all, the album is made up of dark, twisted brilliance. (4/5)" - NARC magazine
"This Beat is Necrotronic is a wonderful album. This music is as hard as nails and as deep as it is loud." - Buzzin' Music
"If you're looking for an aural definition of the word "uncompromising" then this is it." - The Crack
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Dinah Thorpe
http://www.dinahthorpe.com
Thorpe calls herself a songwriter, musician, and producer, and she lives, gardens, bikes, and works in Toronto. Truths and Other Stories, her full-length debut, was released in the fall of 2009 to much praise from press and peers. She has honed her performance chops opening for Buck 65 in a boxing gym, playing at a public bath in Zürich, and sharing the stage with industry heavyweights like Kate & Anna McGarrigle, The Cliks, Eternia, and Melissa Ferrick. Dinah's work has infiltrated television and art galleries alike, with "Election Song" featured on MTV's Sixteen and Pregnant, and new work commissioned for Evan Tapper's installation, Swoon.
"At times heartrending and real, in other moments twisted and funny, Thorpe’s clear voice is the thread that ties together a range of styles, bold opinions and engaging beats." - Xtra!
"With leathered beats from a seemingly seasoned pro (she's shared a stage with Buck 65, The Cliks, Eternia, and Melissa Ferrick) Dinah does vocals, and plays acoustic guitar, ukulele, keyboard, drums, while controlling MIDI and programming tunes (not at the same time)... for reals and for truths an exercise in the enkindling of contentment." - Kox & Kuntz
"Thorpe's whimsical songs, accompanied by gentle ukelele or guitar, are offset by her gorgeously deep and weary alto. Fans of the Indigo Girls or Portishead's Beth Gibbons will eat this lady up." - Alison Lang, The Coast
"Thorpe is extremely talented. Unafraid of quirky instrumentation like the ukulele and nontraditional percussion, Thorpe is in a class of her own writing lyrics that ponder a variety of social phenomena, from obsessive parenthood to subsidies on SUVs." - Cindy Filipenko, Herizons
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Glass Rifle
http://www.glassrifle.com
Glass Rifle are Americans Dan Colby, Ryan Francini, and British-born PJ Norman. The roots of the group lie in the Boston DIY punk scene where Colby and Francini first met. After stints on drums for Hydrahead stalwarts The Huguenots, and Jade Tree Record’s The Explosion, Colby formed The Cignal with Francini. In the mid ‘00s, after a well-received 7”, The Cignal disbanded and both Francini and Colby moved to New York City. It was here, several years later, that they met PJ Norman.
"Impossible to ignore." - Joe Marvilli, Consequence Of Sound
"A degree of genuine punch and something feels fiercely independent about it." - Daniel Dylan Wray, Glasswerk
"Glass Rifle are a sonic battering of dischordant power pop, with killer guitar licks offsetting fierce beats that literally pummel you into submission." - Zolton, Lost At E Minor
"It's tight, incredibly crafted and stands alongside any classic American underground sound… Both of these tracks are pushing that complex hardcore formula to it's limits, it's just an impressive contemporary take on a genre that remains relevant thanks to Glass Rifle." - Jason Dean, 7Inches
"Moving, unconventional and provocative. Blazing a new trail in contemporary music." - Tony Mastrianni, National Music Writer
"A singular sound that gets you tight to your chair... Awesome." - RJ Frometa, Vents Magazine
"Urgent Post-Punk attack, kicking the living shit out of your ears…in a good way!" - Route For The Underdog
"Like a Hold Steady raised on London punk and based in Brooklyn, Glass Rifle's delivery stays true to the varied roots of all its members by distorting the relentless energy of British rock with a Williamsburg flair." - Joe Puglisi, Baeble Music
"Early Mission of Burma filtered through the earliest releases on Invisible Records. Somehow it feels very familiar, yet completely new at the same time… For anyone who longs for the heyday when Amphetamine Reptile and Touch and Go weren't just labels, but institutions, this is as inviting as it gets." - Creaig Dunton, Brainwashed
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Django Voris
Born and raised in the deserts of Arizona, composer Django Voris found himself adept at learning new instruments from a young age. After acquiring skills in a handful of wind and brass (trumpet, trombone, flute, saxophone), and adding the guitar to his repertoire, he finally settled on piano as his instrument of choice. To create his distinct sound, Voris combined his multi-instrumental abilities with a longtime passion for computing (he learned CBASIC as a child on his grandfather's old portable Osborne 1). By utilizing samples and field recordings through his own computed processes he achieves a very modern multiple-format approach to music, where any sound source is an instrument.
"Sounds so cool..." - Nick Luscombe, BBC Radio 3, Late Junction
"Saucerful of electronic secrets... odd noises and children's toys take us on an amazing journey." - Carl F Gauze, Ink 19
"Crystal clear and at times fuzzy and indistinct, the polarizing effects work." - RareMediumWell
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tKatKa
tKatKa, pronounced 'Te-Kat-Ker', craft a clever and classy collision of ambient musing and euphoric escapism that could melt the heart of even the most hardened anti-electro stalwart. The project is a collaboration between artists PJ Norman and Carlsson. That they have a history of playing in punk bands comes as no great surprise for they seem to genuinely, unpretentiously discard the notion of genre-based restraints, leaving them with a completely blank slate to hurl their imaginations at.
"Absolutely gorgeous" - Mary Anne Hobbs, BBC Radio 1
"A mash up of drum rhythms and soulful pads changing from uplifting to dark in a blink of an eyelid." - IDJ Magazine
"Very cool" - Nick Luscombe, BBC Radio 3/Flomotion
"The music that New York does best and loves best" - Annie Nightingale, BBC Radio 1
"A combination of guitars and electro sounds with the hint of a rattlesnake in the background." - Glasswerks
"The collection of songs tKatKa have produced are stunning." - God Is In The TV
"A whirring collage of warping electro beat melodies salaciously herded together under a glazing chassis of deliciously manicured updated Miami Vice like grandeur." - Losing Today
"The duo's mastery of beatwork is very evident, it's nice to hear a record more multi-dimensional than cold programming." - The Black And White Magazine
"Expect it to soundtrack a spooky art flick, but it won't because it's better than the film would be." - Bearded Magazine
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Tseuq
Tseuq is the solo project of 100m Records collective co-founder Carlsson. A serial collaborator, his work has graced the releases of 100m groups Death By Sadie and tKatKa to critical opinon.
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Glass Rifle |
100m017 |
Foebic/Cutters (Single) |
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1. Foebic
2. Cutters
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© Glass Rifle 2010. All rights reserved.
Artwork designed by Letter From Brooklyn.
Written and produced by Glass Rifle.
Recorded and mixed at Melody Lanes Recording Company by Glass Rifle and Jay Braun.
Mastered at The Magic Shop by Warren Russell-Smith. |
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Glass Rifle are Americans Dan Colby, Ryan Francini, and British-born PJ Norman. The roots of the group lie in the Boston DIY punk scene where Colby and Francini first met. After stints on drums for Hydrahead stalwarts The Huguenots, and Jade Tree Record’s The Explosion, Colby formed The Cignal with Francini. In the mid ‘00s, after a well-received 7”, The Cignal disbanded and both Francini and Colby moved to New York City. It was here, several years later, that they met PJ Norman.
Norman, whose reputation as an electronic producer with the 100m Records Collective is well established (tKatKa, Fates), relished the opportunity to develop the guitar style he had with North London underground act Death By Sadie. Where Death By Sadie was a two guitar four-piece, the power trio format of Glass Rifle really pushes Norman’s striking guitar work to the forefront, enhanced by the intense Colby/Francini rhythm section that clearly displays the pair’s longstanding musical connection.
In early 2010 tracking began on the first Glass Rifle recordings. The Foebic/Cutters single was recorded at Melody Lanes Recording Company in Brooklyn, New York. It was recorded and mixed as a joint effort between the band and Melody Lanes producer Jay Braun (Elliot Smith, Jon Spencer Blues Explosion, Cat Power). The stunning results were then mastered at The Magic Shop, NYC, by Grammy award winning mastering engineer Warren Russell-Smith (Rolling Stones, Tim Buckley).
The single is released digitally through 100m Records and is accompanied in true DIY style by a limited edition run of 300 exquisitely letter pressed, hand-numbered CDs, designed and printed by Letter From Brooklyn.
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About |
Glass Rifle are Americans Dan Colby, Ryan Francini, and British-born PJ Norman. The roots of the group lie in the Boston DIY punk scene where Colby and Francini first met. After stints on drums for Hydrahead stalwarts The Huguenots, and Jade Tree Record’s The Explosion, Colby formed The Cignal with Francini. In the mid ‘00s, after a well-received 7”, The Cignal disbanded and both Francini and Colby moved to New York City. It was here, several years later, that they met PJ Norman. |
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www.glassrifle.com |
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Press |
"Impossible to ignore." |
JOE MARVILLI - CONSEQUENCE OF SOUND |
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"A degree of genuine punch and something feels fiercely independent about it." |
DANIEL DYLAN WRAY - GLASSWERK |
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"Glass Rifle are a sonic battering of dischordant power pop, with killer guitar licks offsetting fierce beats that literally pummel you into submission." |
ZOLTON - LOST AT E MINOR |
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"It's tight, incredibly crafted and stands alongside any classic American underground sound… Both of these tracks are pushing that complex hardcore formula to it's limits, it's just an impressive contemporary take on a genre that remains relevant thanks to Glass Rifle." |
JASON DEAN - 7INCHES |
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"A singular sound that gets you tight to your chair... Awesome." |
RJ FROMETA, VENTS MAGAZINE |
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"Like a Hold Steady raised on London punk and based in Brooklyn, Glass Rifle's delivery stays true to the varied roots of all its members by distorting the relentless energy of British rock with a Williamsburg flair." |
JOE PUGLISI - BAEBLE MUSIC |
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"Early Mission of Burma filtered through the earliest releases on Invisible Records. Somehow it feels very familiar, yet completely new at the same time… For anyone who longs for the heyday when Amphetamine Reptile and Touch and Go weren't just labels, but institutions, this is as inviting as it gets." |
CREAIG DUNTON - BRAINWASHED |
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Django Voris |
100m016 |
The Strange Particle |
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1. An American Actor In Tokyo
2. High and Dry Jackhammer Pie
3. The Muffin Dragon
4. Mermaids Of War
5. WYSIWYG
6. Viva La Calamite
7. Husuar Szabla
8. Mother Ghost
9. 1000 Colors
10. The Dawn Of A New Day |
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© Django Voris 2010. All rights reserved.
Artwork designed by Django Voris.
Written and produced by Django Voris. |
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Having already gained notable attention for his collaboration with electronic improvisation group Fates, composer Django Voris releases this stunning soundtrack album. Born and raised in the deserts of Arizona, Voris found himself adept at learning new instruments from a young age. After acquiring skills in a handful of wind and brass (trumpet, trombone, flute, saxophone), and adding the guitar to his repertoire, he finally settled on piano as his instrument of choice.
To create his distinct sound, Voris combined his multi-instrumental abilities with a longtime passion for computing (he learned CBASIC as a child on his grandfather's old portable Osborne 1). By utilizing samples and field recordings through his own computed processes he achieves a very modern multiple-format approach to music, where any sound source is an instrument.
It is only with such a diversified background as a musician that a soundtrack like The Strange Particle could be realized. The sequential growth of lines, and their development through the registers portrays a gifted knowledge for the methods of presenting a full range of frequencies and timbres. The songs are assembled using multiple sound sources, samples and field recordings; and integrated alongside improvised and composed piano and guitar parts. The results are at times fuzzying, dense and unsettling; and at other times belie vulnerability in their clarity. In equal measures polarizing and reassuring.
The album was written by Voris to accompany the anime film of the same name, which was directed by the late Neil Chamberlain. In the same way that the soundtrack was built from fragments of sound recordings, the anime was created using a collage of footage from the pair: some filmed, some animated by hand, and some computer animated. The entire project was initially conceived around what Voris describes as "an epic, Wagnerian kinda drama". When pressed, he explains:
"We were viewing each piece in the soundtrack, and each episode of the anime, as parts of an incomplete story that we were uncovering. We would take a pseudo-historical viewpoint to create a mythology that we could then present in fragmented impressions."
It sounds lofty, yet with this approach the pair succeeded in creating a mesmerizing otherworldly audio-visual experience.
Tragically the anime was left incomplete with the sudden death of Neil Chamberlain in May 2010. In support of the soundtrack album, and in support of our own belief that Chamberlain's remarkable work should be seen by all, 100m Records have released three excerpts from the film, one per month, from the release date of the album.
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About |
The distinct music of American composer Django Voris has best been described as the sound of a jackhammer at 1/20th speed, squeaky brakes on buses, local business jingles from the 80's, operas about world leaders, and that happy growl a dog makes when playing with a new furry toy. |
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Press |
"Sounds so cool..." |
NICK LUSCOMBE, BBC RADIO 3 LATE JUNCTION |
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"Having already gained attention for his group the Fates, Django Voris has released a brand new soundtrack called The Strange Particle. All ten songs are created by using multiple sound sources, samples and field recordings; and integrated alongside improvised and composed guitar and piano parts. The end result is both crystal clear and at times fuzzy and indistinct... the polarizing effects work well." |
RAREMEDIUMWELL |
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"As I’m listening to this saucer full of electronic secrets, one thought sticks in my head: “This sounds like some sort of avant-garde soundtrack” ...odd noises and children’s toys take us on an amazing journey." |
CARL F GAUZE, INK 19 |
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Fates |
100m014 |
Murky Circuits |
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1. Complacency And Wasps
2. F8 Bit Waves
3. Murky Circuitry
4. Paris Gun
5. 99% + 1% Space
6. Washed Up On Sure |
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© Fates 2010. All rights reserved.
Artwork by Norman/Voris.
Written and performed by Fates.
Produced by PJ Norman. |
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Fates are American composer Django Voris, Swiss electronic artist Moritz Wettstein, and British-born producer PJ Norman. The three met in New York City in early 2009 where their shared passion for electronic experimentation led to a series of recording sessions at Harvestworks, the foundation co-founded by Bob Moog to support experimental music.
“The recording process was really the key to the sound,” says Voris, “ We would set up three laptops with as many devices as we could connect to them.”
Some of those devices were hand built by Wettstein who, with his work in Algoritmo Caliente and Callboys, specialized in transforming everyday objects like telephones and shopping trolleys into electronic instruments, and has worked alongside many prominent electronic acts as they passed through the Zurich arts scene.
“The Fates sessions would end up as a huge mess of interconnected cables and peripherals all on one table,” adds Wettstein, “We would approach each live performance in the same way, plug everything together in different variations and explore how it interacts.”
This arrangement meant that the trio could record the sounds live, process them on the fly, and then resample each other - all in real time. The result was a series of extended live improvisations that explored a vast sonic palette, more in the vein of 60’s/70’s German psychedelic acts like Can and Neu! than modern forms of composed electronic music.
Tasked with mixing this down into a coherent set of short compositions was tKatKa producer PJ Norman, who decamped to Zurich, Switzerland with the master sessions to tweak and distil each track into its final form.
“New York has this energy that influences the creative process so much. Just the background noise of the city is a constant influence, a soundtrack...” says Norman, “I wanted to separate the process of composition from the mixing, to get an objective viewpoint over the material... the lake in August was for me a great contrast to the buzz of NYC.”
This mix of extreme artificiality with a living evolution is crucial to the digital/organic sound of Fates. All the sounds, textures and frequencies on this record were created using computers in a live environment. The equipment and methods were artificial; the process was one of growth.
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Fates are American composer Django Voris and British-born artist PJ Norman. They met in New York City in early 2009. Their shared passion for electronic experimentation led to a set of improvisation sessions with Swiss electronic artist Moritz Wettstein. The sessions were recorded at Harvestworks, the foundation co- founded by Bob Moog to support experimental music. The recordings led to "Murky Circuits", an LP release on 100m Records in 2010 which met enthusiastic reviews from the electronic music press, describing it a "post-glitch triumph" (Cyclic Defrost) and "one of the most original electronic records of the year" (The Milk Factory). |
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"Nebulous post-industrial soundscapes constantly tweaked and realigned to create one of the most original electronic records of the year to date. 4.5/5" |
THE MILK FACTORY |
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"A post-glitch triumph that goes by quickly but not without making one’s head spin." |
CYCLIC DEFROST |
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"Murky Circuits sounds like a highly caffeinated robot took over a decrepit Radio Shack and had its way with anything it could grab." |
CHUBBY JONES |
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"Literally one in a million; tweaking and meshing uncommon sounds to create one of the most original electronic pieces I have heard all year. Abstract art for the ears most certainly." |
AW MUSIC |
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"Dizzying and compelling." |
BRAINWASHED |
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"When you listen to this material with headphones it really takes on a life of its own as all of the various textures come together to create lush soundscapes." |
COSMOS GAMING |
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"Experimental, rampant and very energetic." |
RADIO ONDE FURLANE |
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"This is fantastic!" |
DANDELION RADIO |
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"Really good." |
SEATTLE STRANGER |
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"Very interesting stuff!" |
BLUEFAT |
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100mNYC |
100m011 |
Compilation |
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1. Bowery Boy Blue : Now We Will Be Brothers
2. Moritz Wettstein : Secrets
3. The Brooklyn What : I Don't Wanna Go To Williamsburg 4. ElodieO : Cuckoo 5. The Specialist : New Love Concept 6. Django Voris : Big Nature 7. The Courtesy Tier : Cold 8. Fates : Murky Circuitry 9. Iamprimate : Cameras 10. This Reporter : Stop Me |
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© 2009. All rights reserved.
Photography and sleeve design by PJ Norman. |
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To celebrate our first 10 releases, we are pleased to announce the 100mNYC
compilation of artists from the New York underground. Featuring Bowery Boy Blue, Moritz Wettstein, The Brooklyn What, The Specialist, ElodieO, Fates, Django Voris, The Courtesy Tier, Iamprimate and This Reporter.
1. Now We Will Be Brothers - Bowery Boy Blue
"Somber, heartfelt and sublime." - 3Hive
2. Secrets - Moritz Wettstein
"A rather alienating mixture from Progressivedub and Seattle activism" - Gray Suburbs
3. I Don't Wanna Go To Williamsburg - The Brooklyn What
"Something you would have seen at CBGB around 1977... blazingly energetic, loud, often hilarious rock with purist punk energy, intelligence and a spot-on, often vicious sense of humor." - Lucid Culture
4. Cuckoo - ElodieO
“A singer whose breathy voice is matched only by the 21st-century downtempo electro-pop that backs her up.“ - XLR8R
5. New Love Concept - The Specialist
The visceral solo work of Glass Rifle, and Prisoner In Orbit lead singer Filippo Passamonti.
6. Big Nature - Django Voris
The sound of a jackhammer at 1/20th speed, squeaky brakes on buses, local business jingles from the 80's, operas about world leaders, that happy growl a dog makes when playing with a new furry toy.
7. Cold - The Courtesy Tier
"It's the sound of an army of vigil antis (sic) lurking in the shadows, dwelling in their desire for some sort of vengeance. Courtesy Tier is a reminder that good things happen when you stick to the roots." - Knocks From The Underground
8.Cameras - Iamprimate
Cameras is a B-side from PJ Norman's forthcoming album Light.Breaks.Focus.
9. Murky Circuitry - Fates
A mix of extreme, urban artificiality with a spacious, natural overtone. Fates is a collaboration between Moritz Wettstein, Django Voris and PJ Norman (Iamprimate).
10. Stop Me - This Reporter
"Complex and remarkably accessible, atmospheric yet earthy, sparse acoustic instrumentation cutting through dense arrangements." - Lucid Culture
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Octave Mouret |
100m010 |
A Small Shed At The Bottom Of The Ocean |
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1. Choir Of Ants
2. Funny How Songs Just Pop Out Of Nowhere
3. Hmm... Acne!
4. Octaves
5. Wooden Bones
6. Extreme Hatred (Interlude)
7. Colours Shifting
8. Leif
9. A Month's Worth Of Rain
10. Houses |
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© Octave Mouret 2009. All rights reserved.
Photography and sleeve design by Octave Mouret.
Written, programmed and produced by Simon Thomas. |
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100m Records is pleased to announce the debut full length by North London artist Octave Mouret. Titled A Small Shed At The Bottom Of The Ocean the release is the first solo offering to come from Simon Thomas, previously the lead singer of Score One For Safety, whose string of E.P.s deserve very close attention.
Where Score One For Safety's post-rock sound on Field Records has been described as both a 'surreal blend of chiming, rippling guitars' and 'a barrage of screams and pounding drums', Thomas's work as Octave Mouret is a considered contrast, both simple and cerebral... at times melancholy, or humorous and always carefully thoughtful.
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About |
Surviving the hiatus of the celebrated post-rock outfit Score One For Safety, Octave Mouret turns out glitchy, chilled electronica filled with subtle surprises. A sonic pallette of clicks, clacks and ticks create beats intertwined with found sound, keyboards, and guitars. |
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www.myspace.com/octavemouret |
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Press |
"So beautiful it will make you weep" |
MUSIC LIKE DIRT |
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"Delicate and precise like the workings of a beautiful watch... It’s as if starlight has been fashioned into gems by pixies, and then made into a lovely hat for you to wear." |
BEARDED MAGAZINE |
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"Fusing elements of electro, as base, and whispered lines of guitar, beatbox and a range of creative effects produced in the studio. A concept record that demands intent listening." |
ROCK PRESS BRAZIL |
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Medes |
100m009 |
Absence Of Opposition |
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1. Skulls
2. Pleasure Model
3. Beat
4. Mr. Bash |
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© Medes 2009. All rights reserved.
Photography and sleeve design by Medes.
Written, programmed and produced by AJ Cookson. |
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Medes is the solo project of producer AJ Cookson. Known for his remix work under alter-ego Forma (tKatKa, Death From Above 1979, The Knife, Matthew Rozeik, Score One For Safety), and formerly as the frontman for the explosive band The Montauk Projekt ("...some kind of locked on noise-bastard two-piece" - Organ Magazine), AJ has been a regular contributor to 100m collective projects since the label’s inception and has collaborated with many of the collective’s acts. He now delivers this outstanding and long-awaited debut solo collection.
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About |
Medes is the solo project of producer AJ Cookson. Known for his remix work under alter-ego Forma, and as the frontman for the explosive band The Montauk Projekt, AJ has been a regular contributor to 100m collective projects since the label’s inception and has collaborated with many of the collective’s acts. |
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www.myspace.com/medesmusic |
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Press |
“Seriously apocalyptic dub tripped ambient electronics.” |
THE SUNDAY EXPERIENCE |
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"Depeche Mode for the pirate bay generation." |
XYZ MAGAZINE |
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tKatKa |
100m008 |
Grief Hijackers (Single) |
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1. Grief Hijackers - Tom Hickox Vs tKatKa
2. Landaur Lloyd Limit (acoustic version) |
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© tKatKa 2008. All rights reserved.
Photography and sleeve design by Carlsson.
Written, programmed and produced by tKatKa.
Grief Hijackers written by tKatKa/Hickox. |
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About |
tKatKa, pronounced 'Te-Kat-Ker', craft a clever and classy collision of ambient musing and euphoric escapism that could melt the heart of even the most hardened anti-electro stalwart. That they have a history of playing in punk bands comes as no great surprise for they seem to genuinely, unpretentiously discard the notion of genre-based restraints, leaving them with a completely blank slate to hurl their imaginations at. |
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Press |
"Absolutely gorgeous" |
MARY ANNE HOBBS (BBC Radio 1) |
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"A mash up of drum rhythms and soulful pads changing from uplifting to dark in a blink of an eyelid." |
IDJ MAGAZINE |
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"Very cool" |
NICK LUSCOMBE (BBC Radio 3/ Flomotion) |
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"The music that New York does best and loves best" |
ANNIE NIGHTINGALE (BBC Radio 1) |
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"A combination of guitars and electro sounds with the hint of a rattlesnake in the background." |
GLASSWERKS |
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"The collection of songs tKatKa have produced are stunning." |
GOD IS IN THE TV |
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"A whirring collage of warping electro beat melodies salaciously herded together under a glazing chassis of deliciously manicured updated Miami Vice like grandeur." |
LOSING TODAY |
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"The duo's mastery of beatwork is very evident, it's nice to hear a record more multi-dimensional than cold programming." |
THE BLACK AND WHITE MAGAZINE |
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"Expect it to soundtrack a spooky art flick, but it won't because it's better than the film would be." |
BEARDED MAGAZINE |
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tKatKa |
100m007 |
Terror Knowledge Action |
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1. Global Fascist State
2. Grief Hijackers - Tom Hickox Vs tKatKa
3. Landaur Lloyd Limit
4. Lullabize
5. Kamikaze
6. Something Else Logic
7. Disarmchair
8. Via Nomads
9. Alles Uber Alles |
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© tKatKa 2008. All rights reserved.
Photography and sleeve design by Carlsson.
Written, programmed and produced by tKatKa.
Grief Hijackers written by tKatKa/Hickox. |
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tKatKa (pronounced 'Te-Kat-Ker') is a Swedish / English electronic music duo based in London, England. The project is a collaboration between artists PJ Norman and Carlsson. The group formed officially in 2004. Their first release was on a compilation for the Glass Shrimp show on Resonance FM in early 2005. In late 2005 a white label of their track "Lazerslab" was broadcast by the influential BBC Radio 1 DJ Annie Nightingale. This led to a record deal with the independent London label Junkbait Music through which they released two singles. Soon after, they created their own imprint, 100m Records, to release their well received debut album ‘tKatKa’.
With these releases, tKatKa garnered radio-play from John Kennedy and Nick Luscombe (XFM); and from Mary Anne Hobbs (BBC Radio 1). They have received international support from James Zabiela's '4 series' mix compilation for Proton Radio, which featured on various European radio stations, including Kiss FM.
tKatKa now release their second album, 'TerrorKnowledgeAction' through 100m Records.
The duo perform live with Dan Foord of acclaimed math-metal group SikTh on drums and Will Alderwick (Far Cries, Clay Machine Gun) on bass. The show includes bespoke visuals, filmed and remixed live by Triggerset. Notable appearances include the Royal Festival Hall with Nick Luscombe; Bestival on the Isle of Wight curated by BBC Radio 1 DJ Rob Da Bank; the Big Chill House in association with Exceptional Records; and 93 Feet East as part of the Shortwave independent film festival.
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About |
tKatKa, pronounced 'Te-Kat-Ker', craft a clever and classy collision of ambient musing and euphoric escapism that could melt the heart of even the most hardened anti-electro stalwart. That they have a history of playing in punk bands comes as no great surprise for they seem to genuinely, unpretentiously discard the notion of genre-based restraints, leaving them with a completely blank slate to hurl their imaginations at. |
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Press |
"Absolutely gorgeous" |
MARY ANNE HOBBS (BBC Radio 1) |
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"A mash up of drum rhythms and soulful pads changing from uplifting to dark in a blink of an eyelid." |
IDJ MAGAZINE |
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"Very cool" |
NICK LUSCOMBE (BBC Radio 3/ Flomotion) |
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"The music that New York does best and loves best" |
ANNIE NIGHTINGALE (BBC Radio 1) |
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"A combination of guitars and electro sounds with the hint of a rattlesnake in the background." |
GLASSWERKS |
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"The collection of songs tKatKa have produced are stunning." |
GOD IS IN THE TV |
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"A whirring collage of warping electro beat melodies salaciously herded together under a glazing chassis of deliciously manicured updated Miami Vice like grandeur." |
LOSING TODAY |
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"The duo's mastery of beatwork is very evident, it's nice to hear a record more multi-dimensional than cold programming." |
THE BLACK AND WHITE MAGAZINE |
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"Expect it to soundtrack a spooky art flick, but it won't because it's better than the film would be." |
BEARDED MAGAZINE |
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The Montauk Projekt |
100m004 |
Receiver |
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1. Receiver
2. Leash
3. Cling
4. Ruby
5. Best Defence |
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© The Montauk Projekt 2007. All rights reserved.
Sleeve design by The Montauk Projekt and PJ Norman.
Written and performed by The Montauk Projekt.
Produced by AJ Cookson. |
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100m Records re-release the debut EP, Receiver by The Montauk Projekt with the added bonus track, Best Defence. The Montauk Projekt are Drum ‘n’ Bass "overlord" AJ Cookson (Forma) on guitar and vocals, and North London drum legend Rik Mantovani (Death by Sadie) on drum mayhem. Organ Magazine described the duo as "Some kind of locked on noise-bastard two piece who threaten to be all about confrontation and then pull you in with the melody and the Big Black hooks that lurk underneath". The release was mixed and produced by AJ Cookson, whose previous credentials include Gingerbread Men, Score One For Safety and Death From Above 1979.
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About |
The Montauk Projekt were a guitar and drums formation consisting of producer AJ Cookson on guitar and Rik Mantovani playing/smashing the drums. Recordings of the band are rare, and they reveal the origins of Cookson's talent as a producer/musician which would later be realised in his solo work as Medes, his remix work under the moniker Forma, and in his notable collaboration with Matthew Rozeik under the title Necro Deathmort. |
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www.myspace.com/montaukprojekt |
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Press |
"Some kind of locked on noise-bastard two piece" who "threaten to be all about confrontation and then pull you in with the melody and the Big Black hooks that lurk underneath." |
ORGAN MAGAZINE |
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Death By Sadie |
100m003 |
Limited Edition (Single) |
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1. Limited Edition
2. Limited Edition (Forma Rmx) |
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© Death By Sadie 2006. All rights reserved.
Photography and sleeve design by Death By Sadie.
Written and performed by Death By Sadie.
Produced by AJ Cookson.
Mastered by Alex Tomlin at Bright Boy Mastering. |
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Building on the broad positive feedback from their inclusion on the 100m001 compilation, Death by Sadie release their debut single, Limited Edition, through 100m Records. The band have been described as an ‘underground sensation’ and a ‘vivid new alchemy of punk and post-rock’. The band includes members of critically acclaimed electronic duo tKatKa on guitar and bass, and North London legend Rik Mantovani of The Montauk Projekt on drums. The release was mixed, produced and then remixed by AJ Cookson, aka Forma, whose previous credentials include Score One For Safety and Death From Above 1979.
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About |
Death By Sadie are a 4-piece guitar combo based out of North London. The vox and guitar melodies of Kris O’Connor interweave with the guitar work of PJ Norman and the power-house rhythm section of Carlsson and Mantovani to produce a hybrid shoegazing/punk sound that will leave you sucker punched and longing for round two. Putting them in a musical genre box would only leave it broken... Their rare, incendiary performances should be witnessed and treasured like a finely cut diamond in the shape of 21st century Rock 'n' Roll. |
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www.myspace.com/deathbysadie |
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Press |
"A vivid alchemy of pop and post-punk." |
ZANE LOWE (BBC RADIO 1) |
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"Death By Sadie is essentially an underground super group collective framed around the talents of Kris O’Connor and aided and abetted by members of tKatka and The Montauk Projekt. ’Limited Edition’ is the ensemble’s debut outing and a storming stellar soaring slice of swaggering shoe gaze drilled gritted dream pop it is to. Freebasing in the main on early Ride styled hollowing streamlined codas, this sugar laced florescent fancy is equipped with a pulsating driving dynamic at its core within which are housed blood lines tracing back to the fuzz laced bliss laden glazes of My Bloody Valentine, Dinosaur JNR and Moose (most notably ’Jack’ and ’boy’)... Of course its all essential stuff as though you needed to ask." |
LOSING TODAY |
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tKatKa |
100m002 |
tKatKa |
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1. Lazerslab
2. E.L.D.A.C.
3. Storm Proof Weather
4. (It's Just A) Molecule
5. Let It Float
6. Bedroom Dust
7. Sundae Haze
8. Sound Of Sound
9. Globyl |
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© tKatKa 2006. All rights reserved.
Photography and sleeve design by Diana Scheunemann.
Written and produced by tKatKa.
Mastered by Alex Tomlin at Bright Boy Mastering. |
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tKatKa (Te-Kat-Ker) release their self-titled debut album through 100m Records. Following the release of their first two singles, Lazerslab and Bedroom Dust, the ambient electronica and tortured beats that the London based duo make has gained support from Annie Nightingale (Radio 1) and Mary Anne Hobbs (Radio 1), Nick Luscombe (XFM Flo-motion) and John Kennedy (XFM). tKatKa have drawn comparisons with The Orb and 808 State, Autechre and Future Sound Of London. They have been described as occupying that no-man’s-land between Aphex Twin and Royksopp; playful and weird, ominous yet soothing...
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About |
tKatKa, pronounced 'Te-Kat-Ker', craft a clever and classy collision of ambient musing and euphoric escapism that could melt the heart of even the most hardened anti-electro stalwart. That they have a history of playing in punk bands comes as no great surprise for they seem to genuinely, unpretentiously discard the notion of genre-based restraints, leaving them with a completely blank slate to hurl their imaginations at. |
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Press |
"Absolutely gorgeous" |
MARY ANNE HOBBS (BBC Radio 1) |
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"A mash up of drum rhythms and soulful pads changing from uplifting to dark in a blink of an eyelid." |
IDJ MAGAZINE |
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"Very cool" |
NICK LUSCOMBE (BBC Radio 3/ Flomotion) |
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"The music that New York does best and loves best" |
ANNIE NIGHTINGALE (BBC Radio 1) |
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"A combination of guitars and electro sounds with the hint of a rattlesnake in the background." |
GLASSWERKS |
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"The collection of songs tKatKa have produced are stunning." |
GOD IS IN THE TV |
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"A whirring collage of warping electro beat melodies salaciously herded together under a glazing chassis of deliciously manicured updated Miami Vice like grandeur." |
LOSING TODAY |
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"The duo's mastery of beatwork is very evident, it's nice to hear a record more multi-dimensional than cold programming." |
THE BLACK AND WHITE MAGAZINE |
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"Expect it to soundtrack a spooky art flick, but it won't because it's better than the film would be." |
BEARDED MAGAZINE |
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100m001 |
100m001 |
Compilation |
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1. Emit : Gum
2. Skill Mega : Money
3. Death By Sadie : So In London
4. Matthew Rozeik : March Of The Snow Men
5. The Million : Burn
6. Nic Nell : I Love Robots But They Make Me Sad
7. tKatKa : Global Fascist State
8. The Montauk Projekt : Ruby
9. Forma : I Need
10. Iamprimate : Stop Them Stopping It |
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© 2007. All rights reserved.
Photography and sleeve design by Diana Scheunemann.
Mastered by Alex Tomlin at Bright Boy Mastering. |
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100m Records are proud to present their debut release, the 100m001 compilation. The release features 10 tracks by 10 different artists. With pleasure we introduce acts like Matthew Rozeik, Skill Mega, Emit, Nic Nell and tKatKa who already have established reputations in the London scene with support from national radio and magazines; and also some of those hidden gems, often lost in London’s maze of music and media: The Million, Forma, The Montauk Projekt, Death by Sadie, and I Am Primate. Hit the underground running!
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