Tongue

Mansana

Two For C - Single

Two For C

I Remember You Like the Best Song 

Available February 18 from http://anenon.bandcamp.com and anywhere that you stream music.

All music by Brian Allen Simon
Art by Susan Cianciolo, courtesy Bridget Donahue NYC
Mastering by Yosi Horikawa

I Remember You Like the Best Song (Edit)

untitled xmas 21

I Remember You Like the Best Song

Moons Melt Milk Light

Endings (Solo)

Untitled Skies

Sightless Eyes (N16)

A Million Birds II

Night Painting II

As it is When it Appears

Hand Poetry

Night Painting I

SIMON GENDEL YORK LIVE AT CAFE TRISTE LOS ANGELES 2023

GHOSTLY SWIM 2
https://ghostly.com/products/ghostly-swim-2

Free Download

Grapevine

LIVE AT AUREN'S DELI COPENHAGEN 2022

Camembert EP (@FoFMusic)
http://anenon.bandcamp.com

Self-Titled
http://self-titledmag.com/2015/10/29/stream-anenons-camembert-ep-and-read-the-stories-behind-its-ambient-jazz-songs/

Camembert

Improvisation for Bass Clarinet No. 2

Petrol (LP / Digital)
@FoFMusic, March 4, 2016

Pre-Order LP - https://anenon.bandcamp.com

Noisey / VICE - http://noisey.vice.com/blog/anenon-moca-ambient-la-museum-collaboration
RA - http://residentadvisor.net/news.aspx?id=32563

Petrol

Purchase Vinyl

Mouth

Petrol (LP / Digital)
@FoFMusic, March 4, 2016

Pre-Order LP
http://anenon.bandcamp.com

Stereogum premiere
http://stereogum.com/1858046/anenon-once-stereogum-premiere/mp3s/

Once

The title track from Petrol

Premiere via The WIRE 
http://www.thewire.co.uk/audio/tracks/listen-to-the-track-to-anenon-petol

Brian Allen Simon - Tenor Saxophone, Rhodes, Ambience
Shane McKillop - Electric Bass

Los Angeles, California
November, 2015

Untitled

LA / DF, 2016

W/ GENDEL + MOHR

http://www.thewire.co.uk/audio/btr/below-the-radar-23

Tonala

Panes

from Tongue LP (2018, @fofmusic)

Pre-order: http://anenon.bandcamp.com

https://FoFmusic.lnk.to/Tongue

Buy Vinyl

Verso

PURCHASE EP NOW - http://itunes.apple.com/us/album/acquiescence-ep/id510232868

A companion piece to the upcoming full-length debut ‘Inner Hue’ from Anenon (aka Non Projects founder Brian Allen Simon), ‘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.

Acquiescence

The title track from TONGUE
https://friendsoffriends.lnk.to/4vLBcEM

LA Times
http://www.latimes.com/entertainment/music/la-ca-ms-california-sounds-anenon-daedelus-jasper-bones-20171117-story.html

Two for C

Featured in The Secret Sound, a short film by Gillian Garcia made for the exhibition Slip Cover at Shane Campbell Gallery, Chicago

https://shanecampbellgallery.com/alex-olson-and-kristin-dicksonokuda-2017

Legado

MAY 1

Originally premiered by NPR - http://www.npr.org/blogs/allsongs/2012/04/24/151290663/the-drop-electronic-music-with-nuance-and-saxophone

Inner Hue

Monument was a series of in-gallery performances organized by Nick Malkin and I from 2016 — 2017 at MOCA in Los Angeles. Nick and I curated performances from Celia Hollander, Palmbomen II, Metal Rouge, Anna Homler, Sean McCann and Matthew Sullivan, Gregg Kowalsky, Damon Eliza Palermo, Visible Cloaks, Patrick Shiroishi with Paco Casanova and Dylan Fujioka, as well as this Anenon set. All performances interfaced with work from MOCA's Permanent Collection.

Brian Allen Simon - Tenor Saxophone
Yvette Holzwarth - Violin
Sam Gendel - Guitar
Jon-Kyle Mohr - Drums

Performance took place inside the Black Mountain College gallery.

Thank you to Santi Vernetti for the recording.

RIP Cooper

Monument at MOCA, January 21, 2016

Monument 1 at MOCA Los Angeles, 21 January, 2016

Lies

This Is What I Meant

PURCHASE NOW - https://itunes.apple.com/us/album/sunsets-and-clocks-ep/id613789626

'Sunsets and Clocks' EP available 4/16 via Non Projects.

Premiere via XLR8R - http://www.xlr8r.com/mp3/2013/03/sunsets-and-clocks

Material originally penned for a recent tour of Japan with fellow LA artist Matthewdavid, Sunsets and Clocks is a brand new EP from Anenon.

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

Anenon

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