Magazine

Notes: A four-year filming of the present-day live houses and clubs that supported band members and band kids from the 1980s to the 2010s, but are no longer around today.

Tokyo ROCKERS - The band boom, the melodic hardcore boom, and the places where we kids poured our youth into.

Notes: A Network Of Friends Vol. 5 Zine - A new installment of this classic 90s UK and European compilation zine.

This time the team at Negative Insight has wrangled 6 other international zine freaks to bring you a diverse offering of half size style zine content spread across 68 pages. Contributions from A Blast From The Past (UK), Bootlegs Of Filth (Australia), Crisispoint (UK), Gadgie (UK) Initonit (UK), Negative Insight (USA), and Vermynoze Putrida (Brazil) write in varying degrees of depth on Napalm Death, 80s UK punk in Leeds, complete with cassette tape and gig reviews, Subhumans, Autonomia (Peru), Pos Sismo (Brazil), Luopercais (Brazil), Kiljuvelka-70 (Finland), Icons Of Filth / Squeal fan art, and political and personal musing on topics such as nuclear arms, vegetarianism, and more.

Notes: "All in the Golden Afternoon We Glide" (Realia006) is the forthcoming record from LATHE 00, the new moniker under which Umbria-based artist Leonardo Carloni has recently started to operate. Preceded by several collaborative undertakings, LATHE 00's debut solo album is akin to an experiment in autotheory, where art-making practice and theoretical inquiry are entwined to the point of being virtually inseparable. Through the combined use of autobiographical and philosophical elements, "All in the Golden Afternoon We Glide" meditates on individuality, technology, and new forms of post-human existence.

The record has been conceived as a three-act project, with each act comprising four compositions that correspond to as many recurring themes: birth, love, death, and emptiness. Produced over the course of two years, the album has a total of twelve tracks, the majority of which run for less than two and a half minutes. As the album progresses, it becomes increasingly clear that these tracks are not simply standalone pieces of music, but rather outtakes from a single, continuously mutating continuum.

LATHE 00's first feature is a work of rare beauty. As a one-person debut project, its stylistic variety, compositional maturity, and technical rigor are outstanding. By combining a forward-looking production style with references as varied as ambient, hyper-pop, instrumental post-rock, world-beat, and modern classical and folk music, LATHE 00 develops a mode of expression that transgresses genres and is distinctively his own. The result is a signature sound that feels equally primordial and hyper-contemporary, fleshly visceral and digitally detached. The inclusion of the artist's own vocals in the music is a notable aspect of this style. Alongside sampled materials, his non-lexical vocalizations appear as both an affirmative and negative act, simultaneously gesturing towards bodiless dissolution and a desire to reclaim one's all-too-embodied presence in this world.

Despite its foundation in profound theoretical underpinnings, "All in the Golden Afternoon We Glide" surprisingly relies solely on wordless communication. As a result, the song titles become key conduits of information. Appealing primarily to the listener's sense of sight, they are used in a way that seamlessly blends the aesthetics of the digital ("Loading of Image Aborted!"), natural (the title track), and ritualistic (Pouring Blood into the Lake).

The album will be released in digital format, along with a limited-edition zine conceptualised and designed by Lidia Ginga Cozzupoli and Bernardo Berga. Drawing upon a diverse array of captivating images procured from open-source digital libraries, the zine endeavours to explore the narratives, symbolism, and hidden layers of significance interwoven within each of the album's tracks. It achieves this through a visual exploration of the four central themes that shape the record, which recur as cyclical motifs throughout both the album and the accompanying zine.

Edition of 30
12 pages
Screen-printed envelope 16x23 cm
Hand-numbered copies
Includes a QR code for high-quality album download

Notes: The fifth issue of We Jazz Magazine, "Amaryllis" for Mary Halvorson. 128 pages 174 x 250 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented IN ENGLISH. Stories include Mary Halvorson by Peter Margasak, Pi Recordings by Will Layman, Tyshawn Sorey by Marc Medwin, Women On the Syllabus by Tina Edwards, A Love Supreme Festival by Gareth Allen, Odysseus Festival by Dave Waller, Bob Rutman by Marialuisa Bonometti, Sarathy Korwar & Joanna Duda in conversation by Debra Richards, Tokyo Jazz Joints Vol. 3 by Philip Arneill, reviews, plus more.

Notes: The Artificial Intelligence mixed Liquid V Club Sessions 2xCD is on the way (12/6/06 release) and this is one of the big singles that ties in with the release. lV’s hot property Utah Jazz has gone in on the old Roni Size & DJ Die classic and come up with the two mixes presented here.

Notes: feat Ic3, Dynamite MC, Jakes, Skibadee, Shabba & Det, Ed Rush & Optical, Quarantine, Mistical, SP & Verse, Tonn Piper