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The physical companion to the EP of the same name. 'Sunsets and Clocks' is a 32 page hand bound saddle stitched book with high resolution b&w Epson prints, featuring photography by Brian Allen Simon.

All photographs taken on tour in Japan, December, 2012.

Comes with download code for 320k mp3s of the EP.

Limited to 20, signed and numbered copies.

14 x 20 cm

Consider how personal an experience it is to wait. When caught in the space of time before a thing happens, we unconsciously reveal ourselves through our ticks - physical manifestations of where we let our thoughts drift in this non-space. While waiting, each foot tapped, itch scratched and phone checked reflects the places we allow ourselves to explore before we have to jump back into formal time and space to perform.

Anenon recorded Sunsets and Clocks in the weeks directly preceding a whirlwind tour of Japan, where expectations and preconceptions (both false and true), collided over and over again in anticipation of the trip to come. In this collection of songs, Brian Allen Simon shares that intimate space, where he was both highly conscious of the relentless march of time and simultaneously removing himself from it, delving into an inner space where the lack of time smeared memories, fantasies, and fears into one another.

From the title, we can start to understand his headspace during this period, where the abstract concerns and artistic preparations for an international tour to a new country constantly collided with the pragmatic, binary problems of itineraries, exchange rates, and language barriers. These conflicting drives mirror the sharp contrast of the way the smudged shades of a fading sun mark the end of the day at the same time that the precision crafted gears of a timepiece click into place. 

We hear this theme reflected in how these pieces are unified by their maximal approaches to contrasts in the perception of time and meter, voice and tone. Anenon plays with this contrast through the shadowy textures of rhythm in the live improvisation of "We Yearn" and the meticulously interlocking beats driving "Ghost Light" and the title track. Boldly eschewing the use of the Rhodes and piano of his previous releases, these songs instead rely on the tenor sax and synthesizer. This new pairing fully realizes the theme in the marriage of the ethereal vibrations of the lungs and haunting accuracy of the keys.

1. We Yearn

2. Ghost Light

3. Dreamer (for Mary Jane)

4. Sunsets and Clocks

Press - The 405, Ad Hoc, No Fear of Pop, Site of Sound, The Fox Is Black, XLR8R

Words by D.S. Chun

Press photo by Yanmar.

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Gold and Soil is duality – the coexistence of nature and civilization, the friction of experimentation and pop and the merging of organics and mechanics. 

Realized in a remote yurt somewhere in the depths of Topanga Canyon, a wondrous and lush forested area minutes outside of the city of Los Angeles, the self-titled debut album from Anahita Navab (Ana Caravelle) and Ryan York (Asura) is the embodiment of this dwelling. It is a warm and inviting, yet ever far reaching work that yearns to find itself somewhere in the interstices of these aforementioned opposing spheres journeyed every day. 

A natural pairing from the beginning, the work of Ana and Ryan (whom are both currently PHD candidates in Psychology and Neuroscience, respectively) has produced nothing but stellar results in the form of collaborations - the debut self-titled Asura record and Ana’s breakout debut album, 'Basic Climb' (both 2010, Non Projects). Ryan’s production of African influenced percussion and modern synthesizer and textural workings twist, turn and meld with Ana’s unique and sumptuous vocals with a logic all it’s own. Carrying the listener with each track from start to finish is a testament to York’s skills as an experienced jazz bassist and improvising cellist who has most recently, and notably, lent his bowing skills to the also idiosyncratic vocals of Zola Jesus ('Conatus,' Sacred Bones, 2011). Gold and Soil's backbone is production from a musician who understands the very nature of how improvisation and composition combine to create wholes bigger than the sums of their parts. 

The words that Ana so elegantly and effortlessly sing resonate and invoke a wide range of personal emotions. Topics vary immensely including the current and turbulent political climate of Iran - the place of Ana’s family origin and the inspiration for “Pure Place.” Elsewhere, as Ana describes it, “the depths of wild childish play that grown adults can only fully experience in the context of giddy love” set the vocal beds for “Alone.” The digging down into one’s personal history charges the deeply moving ambient motion of “Selloana,” a re-contextualization of a found haiku written by Ana’s mother – a search for her child within. It is this search for the hidden joys beneath our surfaces that is the impetus for the music of Gold and Soil and it moves us all time and time again.

"Vulnerable child, I want to find you again. Come play with me."

01. Where or When
02. See You Again
03. Alone
04. Cloud Atlas
05. Selloana
06. Golden, Brown, Burgundy
07. Everything Anything Nothing
08. Of Our Earth
09. Pure Place
10. Cody's Song
11. Owl Feathers

Cover photography by The Collaborationist. Cover design by Jon-Kyle Mohr. Press photos by Paulo Rafael.

Video for "Cody's Song" by Miko Revereza.

Press: Concepto Radio, Dummy, FACT, Hunger, Impose, NPR, Resident Advisor, Societe Perrier

Boomkat reminds us just how much we love this storied and rare remix production from Julia Holter. From Basic Climb Re-Imagined.

Buy Digital now from iTunes | Boomkat

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While sharing similar stripped down recording approaches to the companion ‘Acquiescence’ EP, the music of ‘Inner Hue’ is an entirely different journey. With ‘Acquiescence’, the source material of grand piano and tenor saxophone remain fairly transparent, letting the instruments themselves tell the story, but with ‘Inner Hue’ Brian goes far deeper inside of the notes and takes the instrumentation of Rhodes piano and tenor saxophone into entirely new territories, coaxing nuanced textures and sounds with distinctive vocabulary unique to each track. An album that moves with sonic intent and abstract narrative, ‘Inner Hue’ naturally demands listening from start to finish, always revealing new paths with each play. This is personal, patient and thoughtful music to live inside of, or rather the music that lives inside of us, aching to get out.

Throughout ‘Inner Hue’, the sound of electric piano timbres remain prevalent - raw, elegant and crystallized into time, lucid tone colors embossed onto a tangible spectral audio field. Seductive and ruminating melodies run rampant, in shifting counterpoint with luxuriant, ageless textures, always with a corporeal melodic yearning. Sometimes physical and upfront, as when the saxophones roar over sturdy, cracking drums in “Murmurs” and layers of Rhodes build and amalgamate with double time percussive syncopations on the title track, or patiently ebbing and flowing through space on tracks like “Embers” and opener “Eighty-Four,” the timeless music of ‘Inner Hue’ is communicated with a unique and individualized finesse so rarely heard these days. A testament to Brian’s both formal and informal studies of composition over many years, ‘Inner Hue’ advances with a unique cinematic tension in the most organic of ways, coming to a harmonious close with “Entwine”, a highly visual piece of lullaby like high notes, raw bass tones, studied counterpoint and delicate ambience. An artist obsessed with building his own voice, no matter what palate he chooses, Anenon’s ‘Inner Hue’ truly marks only the beginning of a long and idiosyncratic life of music ahead. 

1. Eighty-Four

2. This Is What I Meant

3. Stone River

4. Murmurs

5. Embers feat. Laura Teasley

6. Memory Residue

7. The Sea and the Stars

8. Inner Hue

9. I'm Awake Tonight

10. Entwine

"The Sea and the Stars" / 'Inner Hue' Teaser video by Miko Revereza.

All music written, performed, recorded, mixed and produced by Brian Allen Simon (except vocals on "Embers" by Laura Teasley), February - September 2011 at 6210, Los Angeles. 

Mastering by James Plotkin.

Vinyl cut by Helmut at Dubplates & Mastering, Berlin.

Cover art by Jon-Kyle Mohr.

Photos by Andy J. Scott

Press: 92bpm, Ad Hoc, Concepto Radio, Dummy Mag, Earmilk, Exclaim, The Four Oh Five, Gluttony is the New Black, NPR - All Songs Considered, Pitchfork Guide to Spring 2012 Releases, Resident Advisor, The Soul Electronic, XLR8R, XLR8R Album Stream, XLR8R Feature Interview, XLR8R Podcast

Order 'Daizo' LP Now

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"Mt. Weather" video by Sean Ferris

With the release of The Destroyer EP in 2011, musician / composer and visual artist Justin Hopkins, aka RareBit, quickly established himself as an artist who knows his craft. Whereas The Destroyer, a collection of Justin’s earlier work, dealt in dizzying cut and paste compositional techniques and songs with short run-times, Daizo, his full-length debut, takes us on an excursion of much greater distance. The same acute attention to sonic detail remains, however Daizo tracks take advantage of the long player format with songs stretching to upwards of eight minutes. Also, ‘Daizo’ ups the live performance quotient as well with vividly and wildly arranged instrumentation – most notably drums and percussion that carry a strong undercurrent throughout the album.

Daizo is named after Justin’s grandfather and is an exploration in Music as genetics. It is a dedication to his ancestors that lived during the Great Depression era, yet maintains a celebratory and reflective vibe throughout. As Justin puts it, the idea is “of families of songs that share similar traits. Certain elements are directly sampled from other places on the album or share themes even if they are manipulated or mutated to different extents.” Right off the bat, Sister songs “Running Tangles” and “Mt Weather” are obvious examples of this, entirely different tracks that are culled from the same drum tracking sessions.

As with The Destroyer and most of RareBit’s work, Justin plays more of a conductor and composer role with several different musicians playing on the album and sounds being recorded on many different devices, in different places. As both a visual artist and a sonic illustrator, Justin is able to display a huge array of colors and feels in his music, all while keeping everything completely coherent. Ranging from the free jazz meets elegant electronics of “Convergence”, the subtle yet devastating poly-rhythms of “Mt Weather”, the loud and budding, yet impossible to ignore cries of “Phantom Wall” and exceedingly swift lines and contours of “Emergence”, ‘Daizo’ portrays a sculptor thinking deeply about his art, yet always moving forward with instinct.

1. No New Wave
2. Running Tangles
3. Mt. Weather
4. Phantom Wall
5. Me and You
6. Emergence
7. Convergence
8. I'll Be Hard On You
9. You and Me

Cover painting by Justin Hopkins. Photos by Andy J. Scott. Mastering by James Plotkin.

Press: 92bpm, 92bpm ("Mt. Weather" video), Adult Swim Bump Playlist, Afterpop, Consequence of Sound (Review), Electronic Beats (Full album stream), Exclaim!, The Fox Is Black, Futuresequence (Review), Gluttony Is The New Black, Impose (Review), In Your Speakers, The Needle Drop, OMG Vinyl, Penrose Street, Playground, Resident Advisor, trndmusik, XLR8R, XLR8R (Mt. Weather video), Visitation Rites

Purchase Digital from iTunes | Boomkat

 ‘Acquiescence’ is a moment in time, frozen. It’s a diary of acceptance, of surrendering into your surroundings and not looking back. It feels unhurried and relaxed, yet was recorded in just under a week in Madrid, Spain at the Red Bull Music Academy, in which Brian was a participant. Production and arrangement took place back home in Los Angeles also in just under a week’s time. Strong yet vulnerable, the music on ‘Acquiescence’ moves with an air of confidence, but also feels tender and exposed - a deer caught in the headlights. A product of both extreme personal highs and lows, the music of ‘Acquiescence’ finds a delicate balance, grand piano and tenor saxophone up front with very minimal processing throughout. The sound of ‘Acquiescence’ uncovers an artist fearless of the tradition, yet fully capable of molding old technologies with new in ways that feel unquestionably modern, always looking deep inside and always moving forward.

“Clairvoyance” sets the scene with delicately seductive dissonances between slowly repetitive piano chords on top of a curtain of saxophone drones. Harmonic staccato reed slaps from the saxophone arrive and build, polyrhythms budding against each other, a perfect compliment to what comes next. Arguably the standout of the EP, the title track is a push-and-pull dialogue between ivories, breathy and melodic saxophone playing, a string quartet and drum programming. One of Brian’s most cinematic pieces yet, the tension between all elements is palpable - polyphonic lines of highly melodic and reverb soaked saxophone coalescing into each other on top of a bed of stark piano chords and contrapuntal strings, technical yet physically human drum programming pushing each line forward into the ether. “Rites” closes out the set with an affectionate and upfront piano refrain over sequenced 909 kicks and blankets of piano decay and ambience – layers of an artist’s dreams and desires seeping through the speakers throughout.

1. Clairvoyance

2. Acquiescence

3. Equilibrium

4. Twenty twenty

5. Rites

"Acquiescence" will also appear on the upcoming Various Assets compilation by Red Bull Music Academy.

All sounds recorded at Matadero Madrid, Madrid, Spain. Produced, mixed and arranged at 6210 and Latrobe, Los Angeles, CA. Additional engineering by Erik Breuer. Mastering by James Plotkin.

Cover photography by Miko Revereza. Cover design by Jon-Kyle Mohr and Brian Allen Simon.

Live photo by Gianfranco Tripodo. Portrait by Dan Wilton.

Press: 22 Tracks, 92bpm, Beatport Staff Pick, Mapzzz, Playground (News, Review), Red Bull Music Academy Interview, ReqEffect, Salad Fork, That Fix, Time Out Tokyo, XLR8R (#1 Download of February, Album Review - 8.5/10, "Acquiescence" mp3, Exclusive Album Stream)

Purchase unique, hand-pressed 12" here.

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While currently at work on both a proper follow-up to 2010’s Asura full-length and an album of experimental electronic pop with Ana Caravelle under the Gold and Soil moniker, Ryan has also been keeping busy with a one off cassette release for Matthewdavid’s Leaving Records and playing strings on Zola Jesus’ new record. With If I Am This Forest, Non Projects documents York diving much deeper into the pop inklings that have been hinted at in his previous work, combined with his unparalleled sense of immersive arrangement and texture.

An ode to Ryan’s current home deep in Topanga Canyon, California, the title track swiftly gets things started as Ryan croons “If I Am This Forest” on top of a vaguely familiar repeating pop chorale. Vocals and tones swell as the song blissfully and hypnotically drives forward, melding dynamic video game arpeggios with lushly organic vocal and instrumental textures. “Sea Water” is a meditative rhythmic journey turned searing percussion jam while “As The Darkness (After the Crash)” finds York in his most upfront pop scenario yet, complete with rich harmonic vocal arrangements, bouncy guitar punches and exuberant skittering percussion. “Me and You” closes out the set with tinkling synths, lurching drums and playfully pitched vocal manipulations. A resident (along with Teebs) at the Alpha Pup presented monthly Futura, Ryan has used the regular concert as grounds for his constantly evolving forays into both electronic and acoustic experimentation. If I Am This Forest provides a strong pop-tinged chronicle of these solo experiments and hints at what we can expect in chapters to come.

Purchase at iTunes | Boomkat | Bleep

A 24 year-old professional illustrator, graphic and sound designer originally from the Pacific Northwest of America and now living in Los Angeles, RareBit’s music thrives on controlled chaos. A collection of tracks pieced together by Justin and label owner Brian Simon, The Destroyer EP serves as a fine introduction to the young man’s work and is a preview of what’s to come later in the year for Justin’s upcoming full-length debut.

The name RareBit stems from Dream of the Rarebit Fiend, a turn of the century comic strip by Winsor McCay in which each week, an unnamed character would wake up from an inexplicable dream at the peak moment of confusion. One experiences this phenomenon both after each track and a listen to the EP. “Familiar sounds reassembled in a seemingly natural way that only seem strange after dissection” as Justin puts it. From the cavernous prepared piano mantras of “Music for the Ambitious Careerwoman,” the massive cut and paste disco pastiche of “Aggro Crag” (which contains sounds recorded by Justin across the world including the U.S., Burma and France), the confounding and catchy tunes of “Onigashima” to the otherworldly synth vistas of “Responsibility – Stress – Release”, The Destroyer EP proves to be beautifully disorienting, frighteningly immersive and immensely colorful all in one. Dive in.

Mastered by James Plotkin

"Aggro Crag" (ft. Sandra Wallace) 

"Blue Blood Baskets

Tracklist

1. Initiation - Quitters - Freedom

2. Aggro Crag

3. Slime Time Live

4. Blue Blood Baskets

5. Music for the Ambitious Careerwoman

6. Onigashima

7. Tape Shreds

8. Responsibility - Stress - Release

Press: Brand X, The Fox is Black, Future Sequence Review, LA Times, Playground, Rebel Magazine Review, XLR8R

An album is in the works. Stay tuned.

"I like to think of my music as fungus encrusted and in a constant state of growth and decay."

Justin Hopkins is a musician, visual artist, sound designer and the newest signing to Non Projects. He currently lives in Los Angeles, though is originally from the Pacific Northwest of America. While the Non Projects faithful may remember some of his work that was posted on our blog over a year ago, I figured what better way to introduce Justin as an official Non Projects artist than with a proper label-artist interview. Plus, I had some questions for him that never seemed to get answered. Hopefully this will shed some light on the man and his work. - Brian

The Destroyer EP will be available July 14 worldwide on Digital formats.

[Brian Simon] Do you have an earliest music memory? I know you grew up in a house of visual artists… was there more emphasis on pursuing visual art rather than music?

[Justin Hopkins] I remember being 7 years old on a road trip with my dad. We were listening to The Jaws soundtrack over and over again. My mind was completely blown. If you listen closely you can still hear the echoing influences of John Williams in the music I make... I think... I hope... Both of my parents are great artists. I was, and still am, constantly enveloped by the visual arts. I started learning the family business at a young age and still make my living doing it. I see no difference between the visual arts and music. Music allows me to be more easily abstract and disconnected from the imagery that I am trying to convey, but it still always comes from same place.

[BS] You’re originally from the Seattle area… when did you move down to Los Angeles? What region influences your sound more - LA or the Northwest?

[JH] I moved to LA at 18 from a small ferry town called Mukilteo, Wa. I am inextricably bound to both places. Its hard to say which has sonically attached itself more to me. They are both so different. I like to think of my music as fungus encrusted and in a constant state of growth and decay. In this way I am influenced by the organic, wet, and florally lush environment in which I grew up. A place where my sense of discovery was harvested. LA offers me an entirely different kind of inspiration. Music for traffic, canyons, beaches, blonde girls, and billboards. California is my home now and I take beauty and frustration from it every day. I cannot help but represent it in everything I do. Home.

[BS] When listening to your songs, I can’t help but feel a staggering amount of attention to detail – precise textures, sounds that appear only once, field recordings, session recordings with other musicians, etc… while this would turn into a mess for a lot of artists, it always feels completely coherent and meant to be in your work. Is this something you’re completely conscious of when you work or do you just run with it depending on the track? How often are you outside collecting field recordings?

[JH] I'm really glad you don't think its a mess. There is always a general idea and detailed vision of where I see the end product going, but that always changes. Being open to this change is key. The aleatoric and improvised elements that seem to inject themselves and force you to change, edit, and rearrange the idea into a new vision are always the most exciting parts. I refuse to neglect a healthy wrench in the works. I don't even consider RareBit to be a solo project. I'm more of a compiler and editor - some of the sounds are made by me and some of them aren't. My friends play a huge part in the project and so do the environmental noises I try to wrangle. Some elements pop in and upset the rhythm while others stay for a bit and simmer.  My Tascam recorder is always close by - usually in my car.

[BS] In my head, many artists depict one or two or three color schemes in their work. While I don’t believe that I have full on synesthesia, my mind tends to gravitate towards one or two colors and different hues of those colors when listening to music. Surprisingly, 'The Destroyer EP' sort of just blasts my brain with all these different shades and hues flying at me… do you think that you have synesthesia? Does working in the visual arts inform the sort of “technicolor” aesthetic of your work?

[JH] I can't really claim to have synesthesia. I wouldn't know how to diagnose that. I do, however, know that I have an extremely active and vivid imagination. Everything I do comes from an imagined visual idea - an idea, like a film, that I am tying to soundtrack. This original vision is usually warped and mutated by outside minds and stimuli, but it always starts as a vibrant dreamlike image. The visual arts background definitely plays a huge part.

[BS] Can you describe the process of professional sound design that you do? I for one am certainly interested, and I know you worked on some big projects including the Atlantis Hotel in Dubai. Is there a difference in the way you approach commercial work and the way you approach your own music?

[JH] Sound design is something that I kind of just fell into. I snagged a couple big gigs while working at a place called Olio Inc where I was an illustrator and designer. Again, there is no difference to me between music and any other art form. its all just the same process of creation and adventure. So far I have been lucky enough to have had sound jobs that were very musical in process and allowed me to make up my own new sonic universes. In a way the Atlantis project is just a big art installation with an ambient RareBit album playing in the background.

[BS] Being the new guy on Non Projects, how do you think you fit in with the rest of the label?

[JH] I hope I fit in well. I'm excited to be here.  I love everything you guys have put out. It feels like I've been following this stuff since the beginning.

[BS] Care to divulge one of your “secret weapon” recording tools? I know I saw a few lying around during my last visit.

[JH] I just try to stay open to all the weapons that present themselves - I know this sounds like a cop out, but I really just try to change it up for every track... OK - my Tascam DR-1

[BS] What can we expect on your upcoming Non Projects LP as compared to this EP?

[JH] Drums. New explorations in rhythm. Broader - Deeper - Collected.

[BS] Any recommended recent listening or reading?

[JH] Listening - Les Tetes Brulees, Everybody, Whats Up!, TIGERBITCH, COMBAT!, Pomar, Doudou N'Diaye Rose, Pharoah Sanders, Blood Bender, boredoms, Dimlite, Space Equator, Obi Lori, Heitor Villa-Lobos, Radiolab.

Reading - Short stories of Robert Walser, and Metamagical Themas by Douglas Hofstadter.

Photo by Sean Ferris

A nine track free download from Ryan York.

"Introducing Unreleasables, a bunch of music I'm never going to put out due to legal/artistic/motivation issues. mostly from the summer of 2010, a fine summer for us all for sure. featuring "pocket hearts" for download for the first time and a mighty fine "drake" track. please enjoy, won't be hearing much else like this in the future... from these quarters." - Ryan

Listen to and download the entire album at Bandcamp.

"Pocket Hearts"

"He Sees On Through Her"

Available now from

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The original Basic Climb can be found here.

With no intention of a follow-up remix record at the onset of recording, the idea sprouted with a request from the well-revered Dak to rework a track of Ana’s that he had heard on the Non Projects website. We were all so into this that soon word spread and the idea of remixing Ana’s lush vocals and harp playing blossomed into friends and producers getting in touch with label owner Brian Simon about getting their own hands on the impeccable stems that made up Ana’s debut.

What we have now are two separate worlds - one inhabited solely by Ana’s luxuriant voice and opulent instrumental arrangements and one inhabited by both her and the friends and fellow musicians whom she has shared with in the past years, each lending their own unique aesthetical take on undeniable beauty. Listening to Basic Climb Re-Imagined from front to back gives us 11 unique views of talents both studied and anew. The journeyed and Eastern tinged portrayal of “Blackberries” by Julia Holter (now a part of Nite Jewel’s live show) takes us on a journey up and down both the bustling and deserted roads of India with Ana as our vocal guide while the orchestral re-arrangements of Dak’s take on “Shapeshifting” leave us in cinematic awe as our ears witness his most open and wide-screened piece yet. Elsewhere a.d.l.r. opens up a rift in time with a parallel dimension of delay-filled harps and vocals, Dntel ushers us through an effortlessly relaxed after hours pop trip with his “Black Canyon” mix, Take drops Ana into the middle of a 60’s soul jam and Anenon guides us into a drum and drone meditation zone, while every other interpretation is a standout in their own rights.

Highlighting the collaborative work of one of LA’s finest pairs, Basic Climb Re-Imagined is book-ended with a synth / vocal cover of “Basic Climb” by Ana and Asura’s hauntingly glorious reworking of “Blackberries,” providing a glimpse into the new directions of their constantly shifting visions and proving to us that the work is never really done.

"Black Canyon" (Dntel Mix)

"Where Have You Been?" (Anenon Drone Mix)

Tracklist

1. Basic Climb (Ana Caravelle Cover)

2. Anti-Anxiety Pill (a.d.l.r.'s Pills for Ana)

3. Anti-Anxiety Pill (yuk. Rendition)

4. Basic Climb (Dibiase's Tapedeck Dirt Mix)

5. Blackberries (Julia Holter Remix)

6. Where Have You Been? (TAKE Remix)

7. Black Canyon (Dntel Mix)

8. Shapeshifting (dakim regular shape mix)

9. Where Have You Been? (Anenon Drone Mix)

10. Black Canyon (Shigeto's As I Inhale Mix)

11. Blackberries (Asura Remix)

*Please note - the Shigeto remix that has been circulating has now been remastered and sounds much bigger.

Press - Future Sequence Review, XLR8R, Rebel

The white First Edition Cassettes are sold out.

Second Edition Cassettes are Available Now in an edition of 100, this time with a red cassette.

Purchase Digital from

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Cassette tape edition limited to 100 copies worldwide with art by Kim Asendorf and design by Atley Kasky + includes a free 320k mp3 download link.

Mastering by Taylor Deupree.

"Supreme Sunlight" video by Kim Asendorf.

A complete autodidact, Nicholas began DJ’ing at the age of 11, inspired by the sound of LA's Beat Junkies on the now defunct 92.3 The Beat. After hearing Aphex Twin and Squarepusher at the age of 16, he then took on electronic music. Absorbing the sound design and fabric of Warp Records style electronic music, Morera soon discovered and immersed himself in the world of compositional techniques from such modern classical luminaries as Karlheinz Stockhausen and Pierre Boulez. Gaining a solid understanding of these composers' languages, Nicholas' self-teachings then brought him to the every other year Darmstadt New Music Festival (Internationale Ferienkurse fur Neue Musik) in Darmstadt, Germany - a summer school in contemporary classical music which has hosted a large number of avant-garde composers as both students and lecturers including John Cage, Gyorgi Ligeti, Iannis Xenakis and many more.

As a.d.l.r., Morera takes his progressive compositional ear and feeling and weaves in current forms of sample-based drone, collage, minimal techno, ambience, tape music and microsound to create a highly listenable lush and coherent whole of audio ephemera that fits right in line with the immersive sounds of the Non Projects catalog.

Foam on the Waves of Space-Time... Preview Mix

Tracklist

1. Supreme Sunlight

2. Tactility of Time

3. Wilder Plain

4. Wisp

5. Euclid

6. The Sofest Shade of Purple of a Powdery Hue

7. End

8. Personal Grids

9. Bright Wave

10. Basho

11. The Systems

Photo by Spencer Lowell. Pixel sorting by Kim Asendorf.

Press: 92bpm, Altered Zones, Brand X, Foxy Digitalis Review, Future Sequence Interview, Future Sequence Review, LA Record Review, OMG Vinyl, Rebel, XLR8R ("Wisp" mp3), XLR8R ("Supreme Sunlight" Video)

Distribution: Cargo (UK)

"Wisp" (Devonwho Remix) 

Photo by Spencer Lowell. Pixel sorting by Kim Asendorf.