#azar swan

[omegaremix]

Omega Radio for January 25, 2020; #218.

Essaie Pas “Retox”

Lust for Youth “Great Concerns”

Zanias “Follow The Body”

Azar Swan “Empire Grave”

Squadra Blanco (Legowelt) “The Night Must Fall (Night Of The Illumination)”

Broken English Club “Divinity”

Ancient Methods “Immured In Supreme Beliefs”

Canal Street Electronics (Michael Berdan) “Almost Human”

Salford Electronics “Deconstruction”

JK Flesh “Trinity”

History Of A Drowning Boy (Michael Berdan) “Of Our Own Making”

Girl Pusher “Out Of Breath”

Kanga “Honey”

Fatamorgana “Until”

Nation Unrest “Below”

TR/ST “Iris”

Vowws “Losing Myself In You” (f. Gary Numan)

DVA Damas “Out Of Thin Air”

Automatic “Damage”

Linea Aspera “Malarone”

KVB, The “In Deep”

Golden Filter, The “Autonomy”

White Ring “Shaken To Sleep”

Rosa Damask “How To Feed My Friends”

Deluxe darkness volume.

[sevencolorsatlast]

Things I’ve said that would probably mortify SAGAU:

"For goodness sake Vile/Swan, I sleep with your boss."

"I have a better idea: Sic the Ruin Guards with rounds of neodymium."

"Tighnari, if you lay a hand on Karkata I will bury you under an endangered plant species."

Approaches Donna as Diluc "Hey lil mama let me whisper in your ear~"

"While we’re here could we give Guy a promotion or something? Poor man's been guarding the gate ever since I got here."

"And so the elderly lesbian polycule learned the true meaning of lantern rite."

What a cursed and sassy Creator/Player, you!

For real though, despite their outward facial expressions being neutral... they are screaming inside on what the heck are you on about. Imagine when you're done talking to the NPCs and teleport somewhere, they are left standing there with the most confused yet horrified look on their faces.

In my case, they (still) hear a lot of shouting/swearing and random things that come out of my mouth when beating the living shit out of the enemies. I blame Floor 12 of Spiral Abyss most of the time. There were times I said weird stuff while exploring, during Archon quests and events too.

It's also funny because I'm bilingual so they wouldn't understand half of the stuff I'm saying.

As far as I can remember what I said were:

"GET F*CKED, YOU PIECE OF SHIT...! Bennett, mah boi, you did a great job!"

(sees Azar for the first time) "This dude makes me want to bury him alive, and I haven't even heard his damn voice!"

(When Yae manages to find a way to infiltrate The Plane of Euthymia and talks to Ei) "...Do you guys need a room? I'm seriously going to yeet myself in the Abyss if this continues."

(Seeing Childe's Foul Legacy for the first time) "Wow... I'm very f*cking terrified right now. Let's see if you can beat a casual Monster Hunter fan, you lil' sh*t."

(dying from Cyno's jokes during the recent Windblume Festival event because my humor is *DEFINITELY* broken) "...My humor's really f'd up- *wheezes*"

"Mona, I really want to name you 'Puddle'! Don't ask me why though." (looks at Silly Wisher)

(using Dehya during her trial because I didn't manage to get her) ORA ORA ORA ORA ORA-

"Dainsleif, my dude... I swear to f*cking god, I'm going to physically manifest in front of you to shake the lore out of your system. Sound good?"

(To my Abyss teams) "If I'm gonna suffer, SO YOU GUYS WILL! NOW LET'S BEAT UP SOME PIECES OF SH*TS!"

[sweetdreamsjeff]

25 Years Of Grace: Christopher Dowd On His Friend Jeff Buckley

Twenty-five years ago today, Jeff Buckley released his debut/swan-song masterpiece, Grace. A forthcoming book entitled 25 Years Of Grace pays tribute to this beautiful album with a lush coffee table book, featuring hundreds of photos from Merri Cyr and Buckley historian Jeff Apter. The book offers insights from those who were there during the making, a hefty chapter including most of the photos from the Grace album cover and promotional photo shoot, and a section of modern musicians discussing the album and how it influenced them. When we planned this excerpt, the book was within a week or two of release, and though its release has been pushed back to October, we’re proud to present this excerpt, featuring Christopher Dowd of Fishbone discussing his friend and his roommate. 

25 Years Of Grace: An Anniversary Tribute To Jeff Buckley’s Classic Album will be released October 21st. You can preorder the book here.

 * * * * * * * * * * * * * * * *

Jeff Apter:How did you first meet Jeff?

Chris Dowd: One night Carla Azar [Dowd’s girlfriend and a classmate of Jeff’s at the Musicians Institute in LA] called me and said she was going for a ride and her friend Jeff was in the car. I was burned out from touring with Fishbone; we toured nonstop for two and a half years. I was drunk as shit, it was raining, I had my head out the window, and it rained all over Jeff. He just sat there quietly, didn’t say shit. Carla called me and told me to call Jeff and apologize—I did, and we became friends. Jeff lived with me for like a year and a half, and I knew him as a guitar player only. I had no idea he could even sing.

JA: What kind of roomie was Jeff?

CD: He was an awesome housemate. We just had fun, man, had a good time, being open, honest, talking for hours. The Jeff I knew was as funny as hell, but completely socially awkward at times. You know, like: “Jeff, this may not be the best time to say that, dog.” But he was also one of those people who was loyal to a fault, until it hurts. And as far as his legacy goes, if he’d known how it played out, he would have given away every-fucking-thing with his name on it. That’s how he was. He was a truly selfless person.

A thing that blew my mind about Jeff was this mimic thing he had; he was freakish. I heard him play “Giant Steps” on the guitar once and he was exactly like John Coltrane. I don’t idealize motherfuckers, I’m not that guy, but he was the exception to the rule.

JA: Did he ever mention his father, Tim Buckley?

CD: He never came up. I only heard about him after St. Ann’s. He explained it to me: “It’s just a thing for my dad.” The first thing that came out of my mouth was: “Who the hell was your dad?”

JA: “Last Goodbye” started to come together when you and Jeff lived together in LA, is that right?

CD: “Last Goodbye” is about Carla Azar, especially that line “Kiss me out of desire not consolation.” Every guy at that time was in love with Carla. She played drums, she was pretty, she was the coolest girl you ever met in your entire life. Carla was the perfect girlfriend, but they were never a couple.

JA: How did you react when Jeff signed with Columbia, Fishbone’s label? Was it a good fit for Jeff?

CD: I think the one lucky thing with Jeff was that he got to be around my ass and watch something really cool implode [Dowd’s band was encountering extreme turbulence at the time], so when it came time for him to do his shit, he knew what to do. And he had Donnie [Ienner, Sony label boss] wrapped around his finger, because Donnie knew what they had: the new Bob Dylan.

JA: Do you think Columbia treated him well?

CD: Columbia definitely treated him with respect. More than anything, they couldn’t have plotted the level of reception he got from the musical hierarchy. It blew my mind. I’m sitting there with him and Elvis Costello calls—you know what I’m saying? He’s hanging out with Chrissie Hynde. Growing up in LA, this is the kind of stuff you dream about.

But I know that the idea of him being a star made him incredibly uncomfortable—being written up in the tabloids, with Courtney Love and shit, that freaked him out. He wanted to buy every newspaper and burn it, because he was embarrassed. He was kind of like this reluctant rock star.

JA: What’s the background to the time Radiohead came to see Jeff play, around the time of Grace?

CD: It was Thom Yorke; he came to see him play and left the show early. Jeff came back and told me about it. Jeff was highly sensitive in a lot of ways, especially when it came to music. He would be completely not secure when it came to his talents; at times, he didn’t recognize he had this thing. As far as artistic respect goes, well, Thom Yorke was a contemporary, and when he walked out, Jeff was like: “I must have sucked.” I said, “If anything, you freaked him out.” If OK Computer doesn’t sound like Jeff singing, I don’t know what does, but he went to his grave thinking that Thom Yorke hated his voice.

JA: Michael Tighe spoke about the recording of “So Real” and how spontaneous Jeff could be in the studio: Is that how you remember it?

CD: It was exactly like that. Also keep in mind I had never seen Jeff in process. I had no idea I was witnessing this as being “the take.” It is such a process to capture “the take” that I don’t think until Michael told you that story did I realize that he had done that spontaneously perfect take. It is such a rarity to see that happen in the flesh. But knowing Jeff and his process, he had done it and thrown it all away,torn it down a thousand times in his head, before he actually shared it with us. Then also thinking back we had such a close relationship and were so protective of one another it was also him sharing with me and saying, “I got this! You don’t have to be scared for me anymore. I have become the artist you always wanted and helped me become.” We would slide in and out of those roles for the entire relationship: Friend, brother, loved one, father, brother.

JA: What’s the magic of Grace; why does it connect with so many people?

CD: It had timing—that universal timing thing happened. Jeff wanted a second guitar player and Michael Tighe was there. He needed someone to follow what he did. It was very strategic the way he picked those guys—who are seasoned musicians now. And they sounded fucking great on Grace.

JA:How do you best remember Jeff?

CD: I can tell you what he was to me and what he stood for. How he had no filter, which was both hilarious and priceless. And rare. He had no agenda—he was air and earth unfettered! Tell me, how many people in your life you have known like that, that still have a childlike innocence? A Zen-like understanding of human beings. And a heart as big as a whale.

[ourladyofomega]

Zohra Atash / Azar Swan.

[omegaplus]

# 3,170

Omega Radio for January 25, 2020; #218.

Essaie Pas “Retox”

Lust for Youth “Great Concerns”

Zanias “Follow The Body”

Azar Swan “Empire Grave”

Squadra Blanco (Legowelt) “The Night Must Fall (Night Of The Illumination)”

Broken English Club “Divinity”

Ancient Methods “Immured In Supreme Beliefs”

Canal Street Electronics (Michael Berdan) “Almost Human”

Salford Electronics “Deconstruction”

JK Flesh “Trinity”

History Of A Drowning Boy (Michael Berdan) “Of Our Own Making”

Girl Pusher “Out Of Breath”

Kanga “Honey”

Fatamorgana “Until”

Nation Unrest “Below”

TR/ST “Iris”

Vowws “Losing Myself In You” (f. Gary Numan)

DVA Damas “Out Of Thin Air”

Automatic “Damage”

Linea Aspera “Malarone”

KVB, The “In Deep”

Golden Filter, The “Autonomy”

White Ring “Shaken To Sleep”

Rosa Damask “How To Feed My Friends”

Deluxe darkness volume.

[omegaradiowusb]

JANUARY 25, 2020 (#218)

Essaie Pas “Retox”

Lust for Youth “Great Concerns”

Zanias “Follow The Body”

Azar Swan “Empire Grave”

Squadra Blanco (Legowelt) “The Night Must Fall (Night Of The Illumination)”

Broken English Club “Divinity”

Ancient Methods “Immured In Supreme Beliefs”

Canal Street Electronics (Michael Berdan) “Almost Human”

Salford Electronics “Deconstruction”

JK Flesh “Trinity”

History Of A Drowning Boy (Michael Berdan) “Of Our Own Making”

Girl Pusher “Out Of Breath”

Kanga “Honey”

Fatamorgana “Until”

Nation Unrest “Below”

TR/ST “Iris”

Vowws “Losing Myself In You” (f. Gary Numan)

DVA Damas “Out Of Thin Air”

Automatic “Damage”

Linea Aspera “Malarone”

KVB, The “In Deep”

Golden Filter, The “Autonomy”

White Ring “Shaken To Sleep”

Rosa Damask “How To Feed My Friends”

Darkness still continues here on Omega Radio with two hours of everything synth-, cold-, and dark- wave. Many culprits from our previous broadcast and past ones return to round out our yearly showcase of new, recent, and current full moon magic.

Omega’s final Winter broadcast of the season airs February 29, 2020 (10 P.M. New York City) as we step aside for WUSB’s Winter 2020 Reggae Marathon. We are planning something unique to close out our darkness quarter.

Thanks for tuning in.

[lostprofiles]

TODAY/ Bandcamp Friday Today is Bandcamp Friday and THE HOLY CIRCLE has a surprise for you. Our remix record "Heart in A Vice" is available from Deathbomb Arc and features our record "Sick With Love" remixed by our friends Ghost Cop, Luci, Matmos, They Hate Change, Azar Swan, Machinefabriek, Xor, J. Fischer, Good Fuck, SARN, Jonathan Snipes (clipping.), Margot Padilla (Dis Fantasy), and Theologian. Our proceeds will go toward the Baltimore Algebra Project: www.410ap.org

[deathrock]

Cvlt Nation Interviews Azar Swan!

[if-you-fan-a-fire]

June 23, 2018: an episode of The Anatomy Lesson at 11pm EST on CFRC 101.9 FM. Music by Eartheater, Bambara, Lucrecia Dalt, danielle fricke, Aïsha Devi, serpentwithfeet, Leslie Winer, Velvet Glacier, Azar Swan + more. Check out the whole setlist below, tune in at 101.9 on your FM dial, stream at http://audio.cfrc.ca:8000/listen.pls or listen to the finished show on cfrc.ca or mixcloud here: https://www.mixcloud.com/cameronwillis1232/the-anatomy-lesson-june-23-2018/

Elph vs. Coil - "We Have Always Been Here" Worship the Glitch (1995) Lucrecia Dalt - "Errors of Skin" Anticlines (2018) Crevice - "Endless Bliss" In Heart (2017) Serpentwithfeet - "Seedless" Soil (2018) Danielle Fricke - "Enough" Body (2018) Eartheater - "Inhale Baby (ft. Odwalla1221)" IRISIRI (2018) Azar Swan - "The Golden Age of Hate" The Golden Age of Hate (2017) False Moniker - "Haunting Essence" Spectral Caress (2018) DRIFT. - "Paradise" Genderland (2017) Velvet Glacier - "Desert of Mind" Le Retour des Rois (2017) Ssaliva - "Danger Came Smiling" WYIN (2018) Vanligt Folk - " Mer Än Normal" Palle Bondo (2017) Leslie Winer - "Remote Viewing" & That Dead Horse (2010) Bill Laswell / Genesis P Orridge - "Book of the Highest Initiation" Hashisheen: The End of Law (1999) Aïsha Devi - "The Saviour on Spilled Blood" Of Matter and Spirit (2015) Bambara - "Dark Circles" Shadow On Everything (2018)

[azarswan]

Honored to be mentioned on this list of amazing women!

[theseventhhex]

Azar Swan Interview

Zohra Atash & Joshua Strawn,

Photo by Angelle Leigh Breaux

Azar Swan’s latest release entitled ‘Savage Exile’ is as much of a reflection of the band’s personal experiences as their professional ones. Unlike previous Azar Swan records, which had been collaborative in the sense that both band members had usually contributed something substantial to each song, ‘Savage Exile’ is more starkly divided between songs which Zohra Atash wrote, performed and recorded almost entirely herself and those where Joshua Strawn did the same. The album is a journey rather than a message, one made in the belief that truthful art made is still a dagger in the heart of pervasive evil. The album’s title refers both to the exile of “savages” and the savagery of exiling, as well as the need to create a home when all the forces around you don’t seem to care if you’re homeless. When people don’t have a sanctuary, they create one in their mind. ‘Savage Exile’ is not intended to be an easy listen. It’s both comfort and wound, blood as balm and evidence… We talk to Azar Swan about overcoming restrictions, using logic and downtime…

TSH: How do you feel your creative partnership has evolved in the lead-up to ‘Savage Exile’?

Joshua: I guess the evolution of our creative partnership has been organic, but it does feel different than before. Previously, Zohra would write a bulk of the demos and send them to me and I’d add my two scents with my production capacity. But now things feel even more collaborative than normal...

Zohra: Yeah, I think we have different ways of expressing ourselves. However, I could never do this without Josh. The collaboration factor is so important between us. It’s not about who plays what, we are very much a team.

TSH: What sort of ideas were you passing along to each other for this current release?

Joshua: Zohra was sending me videos of horrific plane crashes, but not in a distasteful way, she’d had an unfortunate experience which lead her to looking into this. All in all, most of the songs were written before Trump and Brexit. We were mainly obsessing over this fragile space, where you feel vulnerable and everything could fall apart.

Zohra: Yeah, so I was fascinated by pilot aviation in duress, in particular how when a plane crash is about to happen how the pilot and passengers react to the problem. I had this fascination with the way that people interact in those final moments when you know you’re going to die. It’s unlike a car accident and you even have time to pray. I looked into this because I had a fire scare in my building, which lasted for like 45 seconds. I was fortunate that a neighbour let me in to his house because I thought I was going to die. It was really bizarre, the thoughts that went through my mind. I fell to pieces without any survival techniques.

TSH: Did you decide early on to sequence ‘Shock’ as the album opener?

Zohra: Yeah, it was definitely intentional. We wanted to open with intensity and I really like how the song has a disruptive narrative as an opener. For that one, Josh was soundtracking textural parts of my voice to give it more of a cinematic feel. We were trying to find a natural way to express my voice without steeping on toes and bringing to mind the styles of other female vocalists.

TSH: What are the origins of ‘Territorial’?

Joshua: Well, the original version of ‘Territorial’ was completed a while back and it was mostly mixed too, but Zohra went back to the drawing board with that one. She decided to start again, much to my frustration, haha! The original was very was hooky and less pop-oriented. Nonetheless, I like how Zohra came back with a weird, twisted and dark throbbing version that you hear now.

Zohra: With this one, I wanted to convey what my favourite artists do, where the words are falling out of their mouths as they are singing. I wasn’t interested in making it simple ear candy to enjoy, so I purposely annoyed myself with this song ... and I hit a block. I just really wanted to compose a complexity with this song and find the cadence of the lyrics to the melodies. It took me a year to get this one right. In that time I almost lost my voice. I definitely had to go into a focused headspace to get it sounding musically satisfying.

TSH: Josh, you must have been very impressed seeing Zohra dedicate herself in this way?

Joshua: You know, I’ve made many records in the last 10-15 years and I’ve done a lot of different collaborations with various musicians. However, I’ve never seen somebody re-write music quite like Zohra with this record, haha! Regardless, I admire her dedication. Zohra can be so meticulous with her re-tweaking - it really is fascinating to see. It was frustrating for me initially, but I really feel that she nailed the end product.

TSH: Did you feel liberated having pushed your boundaries to excel with this record?

Zohra: Only now! I normally hate it when people use hyperbolics when they talk about creating music, but this album really was difficult and like a birthing process for me. It was tough for me to get out of a frame of mind where I wasn’t doing analysis paralysis. I really wanted to make this body of work something that was not an overthought, which lead to me chasing my own tail with constant overthinking. I was so focused on forming art that would move me, alongside expressions that come from an honest place. I’m just glad that I got there in the end.

TSH: How did you overcome the restrictions that you encountered with this record?

Zohra: To be honest, I thought I was going to lose the few people I had around me in life that relied on me. I had held up this record for over a year and I had this constant fear that if I didn’t make music no more, I’d go crazy. It got to a point where I was so deep into it and at the same time being surrounded by such awful political and personal issues made me really weak and put me in an emotional place. Once it was done, I was really thankful to Josh, who I’d made wait for so long. We had a timeline worked out and I messed that up, which is a serious issue in a partnership, but I‘m so grateful that Josh was supportive towards me the whole time.

TSH: You’re both very vocal about the injustices in America and lobbying for positive change. How do you stay upbeat amidst the bedlam?

Zohra: We’ll always be proponents for using logic in every situation. You have to be aware of the world around you - baby steps and patience is the only way to remedy the deep primordial fear we have of one another. It’s not as simple as just loving each other, it takes understanding. I believe a great deal of positivity will come into play if we use simple logic. Overall, I just feel that interacting with people helps. I mean not everyone is an awful YouTube commenter.

Joshua: For me, it’s been encouraging to see people I follow who have good political minds and are good political writers making positive steps and offering great advice amidst so much chaos in America. After all, everyone goes out into the real world and acts different to what they do on the internet. Also, I recently found myself thinking about why we are so bad at talking to one another these days. I went into this headspace and obsessed over technology and the history of the internet. I soon discovered how a lot of political philosophers are dealing with technology and the internet, which gave me some clarity. I do feel that I have a better understanding of where problems stem from and I feel like I can walk out into the world with a better understanding of what life is about.

TSH: Did you guys find out if Azar Swan Avenue in Las Vegas really exists?

Zohra: Haha! Well, I chose the band name before this was even discovered. Azar Swan is definitely an original name. But yeah, this neighbourhood is right off of Rhiannon Court. Oh, and they never offered us one of the houses, haha! It’s all really strange and funny to me.

Joshua: It definitely exists. I know someone who went past and snapped a photo of it.

TSH: What’s downtime like for you both?

Zohra: I tend to make sure that I don’t allow myself to be in a state of constant rumination and mulling over anxiety. So I stay positive and surround myself with loved ones.

Joshua: Well, I have a four year old daughter and I like to go camping with her at his time of year. My life consists of being present and responsible as a parent. It can be difficult to compartmentalise art and the frustrations of the world with family life, but I’ve managed to create switches that I can turn on and off which help me.

TSH: What’s the Azar Swan ethos for future plans?

Zohra: Our music has to be something that is useful to us in the making of it, because if it’s not, then it’s not going to resonate at all. The idea of being able to creatively traverse in a way that’s respectful to our art remains essential. Art can be such a healing expression and to be able to sing is truly great for the soul. Josh has always been there for me and the trust I have in him musically has been so integral.

Joshua: I’m really excited because I feel the field is really open for us to explore. I love that this record is an evolution and extension of our artistic intentions. Looking ahead, we can satisfyingly go into completely different and experimental directions with future music. We don’t know where we’ll end up next, but the door is wide open for us to discover new possibilities.

Azar Swan - “The Golden Age of Hate”

SAVAGE EXILE

[orquesta]

(AZAR SWAN)

[ourladyofomega]

Zohra Atash / Azar Swan performs live at the Seaport Music Festival in Brooklyn, New York; September 2017.

📸: Edwina Hay

[omegaplus]

# 1,556

Omega Radio for August 15, 2015; #90.

Abra “Roses”

Azar Swan “Dance Before The War”

Ladyhawk “Magic” (Classixx RMX)

Gateway Drugs ft. Fuck You “Summer Time”

Neon Indian “Slumlord”

Metric “Cascade”

Happy Meals “Electronic Disco”

Prayers “Shaking Hands With Razor Blades”

Mssingno “Skeezers”

Pe Garcia “Subete A La Noche”

LCD Soundsystem “One Touch”

Javelin “Lindsey Brohan”

Desire “Tears From Heaven” (INS)

Gateway Drugs “The Chase”

MNDR & Sweet Valley “Dance 4 A Dollar”

Chvrches “Never Ending Circles”

Animal Chuki “Luto”

Tribilin Sound “Underground Cumbia”

Rolovo “Outropical (Version B)”

Omar Souleyman “Bahdeni Nami” (Legowelt RMX)

Cut Hands “None Of Your Bones Are Broken”

Azar Swan “For Last And Forever” (Cut Hands RMX)

Fantome “Scream” (Hanin Elias & Noir RMX)

M.I.A. “Swords”

Bug, The ft. Warrior Queen “Poison Dart”

Adi Ulmansky “A.D.I.”

Crimekills “2mdtbadb”

Chippy Nonstop “So I Know It’s Real”

Young Smoke “Space Zone”

Mssingno “Quick Shake Off”

LSDXOXO “Cold Winter”

Young Fathers “Mmmh Mmmh”

Night Ritual “Fornicate With The Dragon”

Prayers “Ready To Bleed”

Fantastisizer “Before Dawn”

Pastel Ghost “Slow Gaze”

Sons Of Magdalene “Can’t Won’t Don’t Want To”

Bruit Fantome “Kosmos”

Nomenklatur “Fascinated By The Chaos”

Lust For Youth “Armida”

Work Drugs “Dirty Dreams”

Nebraska “Stand Your Ground”

Deltatron “Ego Trip”

Gammer “Nostalgia” (Rustie RMX)

Arca “Bullet Chained”

AFX “Serge Fenix Rendered 2″

Squarepusher “D Frozent AAC”

Health “New Coke”

Alice Glass “Stillbirth”

Future Sound Of London “We Have Explosive”

Rustie “Big Catzz”

Death Grips “PSS PSS”

Peaches ft. Nick Zinner “Bodyguard”

Ho99o9 “Savage Heads”

Atari Teenage Riot “J1M1″

Alec Empire “Control Drug”

Chemical Brothers, The “Sometimes I Feel So Deserted”

Prodigy, The “Wall Of Death”

Special five-hour bonus Omega, all electronics with mostly then-new music.

[omegaremix]

Omega Radio for August 13, 2016; #119.

Nuuro “All Clear”

Cults “Oh My God”

Pastel Ghost “Clouds”

Cellars “Nighttime Girl”

Nite Jewel “Boo Hoo”, “Kiss The Screen”

MNDR & Sweet Valley “Do It Everyday”

Sophia Somajo “Sapphire”

Phedre “Arowbe A”, “Ancient Nouveau”

Azar Swan “We Hunger”, “For Last And Forever”

Caroline K “Tracking With Close-Ups”

Empress Of “Woman Is A Word”

Geneva Jacuzzi “Casket”

Adult. “Nite Life”

Happy Meals “If You Want Me Now”

Le Matos “Eyes Throat Genitals”

Oneohtrix Point Never “I Bite Through That”

Zola Jesus “Collapse”

Deluxe electronics.