Anenon is the project of Brian Allen Simon, a Los Angeles based saxophonist, producer, artist, RBMA Madrid alum and Non Projects record label owner. He occupies the gray area between jazz, classical, ambient and electronic musics, taking elements of these styles and creating his own, hybrid sound.
On March 4th, Anenon will release his third studio full-length, the Petrol LP, on Friends of Friends Music, the proper follow-up to his Camembert EP that was shared by the label in October 2015.
The concept for Petrol was born out of a series improvisational sessions between Anenon and friend, drummer and collaborator Jon-Kyle Mohr, who also plays drums on the recordings.
As Simon & Mohr continued to build and explore their sound, the music began to take on aspects of life in Los Angeles. Anenon explains, an Angeleno is "one who understands the beauty of distance and the consistencies of irregularity" and those juxtapositions can be found throughout Petrol, a spacious album that needs to be lived in to be believed.
From the frenetic saxophone rifts, string arrangements and breakneck drum patterns evoking the kinetic energy of the LA freeway on songs like "Lumina" and "Once", to the ambient moments of early morning solitude on opener "Body" and "Panes", Los Angeles is a central theme throughout Petrol.

This music is first and foremost about what can be done together, live in a room, to both transcend and reclaim ourselves from the noise of public living. I’m waging a sort of secular, one-man liturgy here; a public act grounded in ritual. These songs offer wordless hymns and pulsing harmonic frameworks one might use to focus their own contemporary values. Instrumental music particularly offers the opportunity for personal interpretation and reflection. In this ever-fucked world, that seems perpetually in short supply.
“To engage with ritual is to engage with time. I needed to create a way to play solo that would let me wield the temporal freedom of expressive instrumental music with the full palette of modern electronic forces. I banned backing tracks, click tracks, and even live looping - anything that would enforce a strict grid. I wanted time back in electronic music.
“I also wanted the body back; our rituals begin with the physical. All sounds originate from me kicking a drum, playing the violin, or various natural percussion sources. I built software that lets me do all this, free here". This offers an unprecedented amount of control over this music’s elastic sense of time. Electronic music without the grid. There’s so much space in this music, it’s just essential - listening to a phrase decay in the room before proceeding. Likewise, there are no overdubs in these recordings; it’s just me, 6 mics, and 3 video cameras.
“Yes, the whole record’s also on video: a Video Album. We avoided the recording studio, preferring a spacious hall in what was once a psych ward and then a schoolhouse. Again, I’m trying to pull you into the live ritual, into the room. A video isn’t a live event but it does evoke it. I bring my own artifacts: triangles, a pasture bell, and tuning forks in particular: I use these as first order musical instruments, beginning with a percussive strike and then, while resonating, processed through my bridge into shifting melodies.
“So there’s a bunch of new stuff here. Real novelty isn’t an indication of quality but it does require a bit of bravery perhaps. We need to take chances.
“But enough about not-me. I’ve been creating instrumental music a long time now, under my own name and via bands (Slow Six, Wires Under Tension). I’ve also built software a long time - yes, I do this for Google. I did my time in Princeton’s PhD program for music composition, NYU’s Masters of computer science program, and at Bard studying creative writing. I worked live sound for years at NYC clubs now gone (CBGB’s, Brownies) while immersing myself in minimalism, working sound for a music festival produced by Mr. Glass and assisting LaMonte Young. As a string arranger I get to work with lots of great artists including John Congleton, This Will Destroy You, and Meshell Ndegeocello to name a few. I’ve worked as a bike messenger, snowboard instructor, and Emergency Medical Technician...buy me a whiskey and I’ll tell you the rest…”
– Christopher Tignor

Big Black Coat is the fifth studio album by Canadian electronic duo Junior Boys, released on February 5, 2016 by the group's new label home, City Slang.

Start to finish, FLOTUS is imbued with that magic energy that comes when an artist stumbles upon the thrill of the new—something that makes them crazy enough to want to start the whole process over again. The album is bookended by two long-form pieces: the first, “In Care of 8675309,” is most reminiscent of where Lambchop has been, while the second, the sprawling, hypnotic “The Hustle,” suggests where they might still be headed. The latter seamlessly shifts between movements, a foundation suggestive of krautrock and early electronic music, gorgeously ornamented with perfectly placed piano and horns. Drawing upon a diverse palate of influences and transcending each one, it’s a stunning piece of work—certainly one of the most impressive achievements of Lambchop’s catalogue.
Watching an established artist work with a new set of tools is a gift and a true litmus test for authenticity—the result depending not on the tools, but on the unique sensibilities of the artist using them. FLOTUS is anchored by those sensibilities and is brimming with the many hallmarks of Lambchop’s catalogue: the same beautifully nuanced arrangements, the same unparalleled ability to capture the eternal in life’s quotidian struggles. Kurt Wagner has made a new path to the same old joys, and in the process, he found a record that sounds like no one else—or, completely, unmistakably, like himself.

22, A Million is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.

Laced Records have teamed up with 65daysofstatic and Hello Games to bring you No Man’s Sky: Music for an Infinite Universe across digital, CD and vinyl formats. After the track ‘Debutante’ accompanied the first reveal of No Man’s Sky in 2013, the band spent over a year composing original music for the game’s soundtrack. No Man’s Sky’s procedurally generated universe is unlike anything yet seen in the gaming world, and 65daysofstatic’s sonic assault is equally ambitious. The release itself comprises 10 tracks of original music, plus a second collection of 6 soundscapes and sound design, an all-encompassing journey of almost two hours. The 6 additional soundscapes are exclusive to the Laced Records release.
No Man’s Sky: Music for an Infinite Universe is equally grand in its ambition, an experimental and overwhelming sonic experience that pushes 65dos into new territory while retaining their innate sense of relentlessness, driving rhythm, and a tune you can hum.