All Things Will Unwind is the third, stunning offer from Detroit based experimental pop chanteuse-My Brightest Diamond, aka Shara Worden

Eponymous is a thing born of spontaneity and happy accidents, the creative flush taken to its natural summit, the wild cross-pollination vibes all-consuming.

Asthmatic Kitty Records and Audio Recon have teamed to release a collection of b-sides, outtakes and remixes for Jookabox’s final album Eyes of the Fly. Previously, the two labels had worked together to create a collection of remixes for Dead Zone Boys.

This time around Audio Recon’s e. Brown has brought together a small band of creative minds to create a collection of remixes that embraces the creative genius of Jookabox and takes that spirit on a trip through various styles of alternative hip-hop and electronic music.

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Ligyro (aka Neil Cain) is a poet, songwriter, composer and multi-instrumentalist. Neil is the founder and director of Pattern Hungry Records.  Neil plays in a variety of groups from rock to hip-hop. Twin Monster, Echomaker, Hot Jimmy and the Charred Remains, Neil Cain & the Turncoats, as well as solo spoken word performances and electronic/experimental performances as Ligyro.

Defame (aka Ryan Lee) is an Indianapolis based producer and guitarist. His debut release The Gorillaphant put him on the production map and gained him critical praise. He has teamed up with Lorax on the project Cicada Shells to be release on Audio Recon August 30th, 2011.

Lorax (aka Cory Salas) is an emcee, producer, visual artist. Lorax was one third of Twin Monster and Red Bus. He is currently the emcee for Echomaker and Cicada Shells.

And finally, drummer, producer, founder and president of Audio Recon, e. Brown, has also contributed to the collection. E. Brown has played with a variety of artists including MABLAB, Emily Wells, Rhymefest, Pub Sigs, and Mike Milligan & Steam Shovel. He is currently the drummer of Echomaker and does live experimental performances as glitch clique. The release is available digitally through bandcamp and on cassette available at live DMA shows.

Like Roberto’s beat-makin’ project Epstein, Canta Lechuza is dance music turned inside out—percussion plipping and plapping, basslines smooth and dry as a tube of blue neon.

Jookabox has decided to throw in the towel, and The Eyes of the Fly is their last cryptic transmission. This recording is the final chapter in the history of a band as bizarre, anxious, and confusing as the music it makes.

What started out as a total bummer–musical sketches and ideas hindered by a conked out machine–actually turned into an album. What you are hearing on Music for Troubled Machinery is the slow and unruly death of Leb Laze’s core production tool..the MPC 2000 (R.I.P). When this device begins to die it randomly “freezes” at any given moment, often times wiping out anything that has been created within its path. What is interesting though is when an MPC freezes it begins to uncontrollably spit out all of the sounds that are loaded within it in their raw and unedited form..over and over and over. This occurrence is like nothing I have ever heard. The machine begins to have a mind of its own.

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Leb Laze began to record and embrace these freakouts, using them as a basis for the majority of the songs on this album..adding to them, enhancing them and/or sculpting around them. Two shorter pieces, Revelations and Dial In/Dial Out were actually created entirely from these freakouts. Think of this record and, most importantly, these two tracks, as my MPC’s last words–a testament to the idea that the nonliving world is actually very much alive.

By day, InfinitRock is an 18 year old biology student at SUNY Purchase, by night a fuzzed glitch and fump hip-hop producer. In second grade he was digesting The RZA and Aphex Twin and has been making instrumentals since the age of six. As a son to parents from India, he would also hear a lot of classical indian music around the house and since he could not understand hindi, voices became instruments rather than a lyrical tool. His music reflects the conceptualization of sounds, and what makes music music and the world musical. InfinitiRock draws inspiration from the everyday, incorporating their sounds into his music. Music for Primordial Recollection contains a motif of sounds and rhythms that trigger ancient memories. Ambient layers and interludes featuring field recordings of wind chimes, children playing, glass breaking, the chewing of raw pasta, the crumpling of paper bags, and flowing water. The album is an auditory documentation of the evolution of entropic sound, tamed by the laws of rhythm. Everything breathes.

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Jib Kidder is the performing moniker of Californian audio/visual artist Sean Schuster-Craig. His 2008 debut, All on Yall (States Rights), fused regional-rap idiosyncrasies with everyday sounds and otherworldly noise, resulting in something too sincere and interested to be filed away as “mash-ups”. Unusual tracks find unusual homes and like this AoY became the inspiring stuff of Texas highschool pep rallies and network television reality dance competitions. Meanwhile, the always-restless SSC wasted no time exploring new forms, adding miniature guitar origami, frenetic youtube splices, C&W vocal pop, digital dream re-enactments and slow drone video meditations to his already head-scratcher oeuvre.

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For his Library Catalog release, Jib Kidder limited his sound palette to the existing AK catalog, using only turntable manipulations, respatializing effects (echo, reverb, EQ) and splicing to create new mood-based shorts. As in the artist’s past works, Music for Hypnotized Minds draws on the dream-logic ideas of hybridization, dislocation & temporal simultaneity. The results are the perfect record for meditation in motion like reflective, solitary walking or summer highway cruising with loved ones.

“It is not down in any map; true places never are.”- Herman Melville; “Moby Dick”

The origin of mapping is connected closely to the development of language. Early maps were tools of communication used by hunting or gathering peoples in the process of environmental appraisal related to those core activities. When the ancients began to traverse their surrounding environs seeking food sources, it became necessary to mark directional symbols, initially within the actual landscape, and eventually as a metaphorical reduction that was easily transported. How does music relate to these endeavors? Early forms of music where ceremonial, and employed in community rituals tied to fundamental social activities – such as hunting. As for the process of mapping, it appears to have had no links to ritual music, and was, in all probability, accomplished in silence, or in the context of verbal communication between participants.

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Over time, mapping has been transformed from not only depicting local environments, but to also including macro and micro-regions. The compositions on Music for Hunting and Mapping were developed with a focus upon a divergent strategy – the mapping of an imaginary realm – and were largely inspired by a consideration of a collision between high and low culture; specifically by exploring stylistic conceits from anime and video gaming while drawing upon “high art” examples from literature and cinema. For example, how would director Hayao Miyazaki interpret Thomas Pynchon’s novel “Mason & Dixon” as an anime film? Or, what would a single-player, RPG video game of director Andrei Tarkovsky’s film “Andrei Rublev” look like? Or a multiplayer video game based on Herman Melville’s “Moby Dick”? Finding inspiration in these idealized adaptations led B Lan 3 to consider what forms of music might accompany these games or films and how their structural plotting might affect the musical arrangements. Organizationally, the majority of the pieces are multi-part, and were produced employing a style of composition which exploits the techniques of filmic ‘jump cut’ editing, scenic transitions and fades, but were composed-through and not introduced later during the mixing or production phases. The strategies employed in composition and production imbue the recordings with sense of fantasy…or at least a synthetic version of reality, much in the same manner of more highly developed video games and anime.

B Lan 3 is a solo project by musician and visual artist Michael Diekmann. A resident of New York City, he also records and performs with the minimalist cold-wave formation Ike Yard, and the pioneering experimental hip-hop group Death Comet Crew. He has also composed or contributed to soundtracks for video and multimedia installations for multimedia artists including Gretchen Bender, Robert Longo and Marcello Mazzella; and also contributed music with Death Comet Crew to the audio book version of “Neuromancer” by William Gibson.

Allow the album to cycle back to the first track and you’ll see this is just a great glass ring spinning in the void, two arms joined in embrace, a homespun mantra and—in the end, and at the beginning—a circular journey.