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!

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.

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.

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.

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.

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).

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.

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."

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.

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.

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."

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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...

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!