The Canadian metal cult has always been synonymous with some of the most violent and unique artists in existence.  Continuing in the tradition of fury and violence purported by enigmas such as CONQUEROR, REVENGE, AXIS OF ADVANCE, LUST, and the legendary BLASPHEMY, the raw atmospheric dementia of Kitchener, Ontario's DEAD OF WINTER manifests itself in a form of extreme black metal which meshes severe despondency and violent hatred with the intent to create music as forlorn and depraved as possible...

This psychotic horde was spawned in 2000 by Abyssious' death hammers and Schizoid's gnashing of teeth after their discontent with their previous band's inability to reach new extremes.  Added to the madness were Typhon's malignant serpents, with the group forging on as a three-piece until the 2004 inclusion of Kaehl's dischordance void.

From the remnants of their 2004 "Abandon All Hope" bootleg, DEAD OF WINTER have finally unleashed their debut album, "At The Helm Of The Abyss", an album which is guaranteed to spread plague and disease amongst the Canadian underground metal cult.  By forging a sound that comprises the barbarity of such acts as CONQUEROR, REVENGE, and BLACK WITCHERY, the hypnotic surrealism of LEVIATHAN (USA) and BLUT AUS NORD, and the torturous and painful histrionics of ABRUPTUM, "At The Helm Of The Abyss" is an artistic, self-reflecting experience of barbaric and violent hypnosis presented through the band's raw and overwhelming fury of sound.
Alongside their insane and much talked about live show, DEAD OF WINTER have already garnered much attention within Ontario's underground metal community, and with "At The Helm Of The Abyss", DEAD OF WINTER are destined to make an impact through filth, pillage, and war on the worldwide black metal cult.


Greenblood is a mesmerising new collaboration between Jedsa Soundorom and DJ Konix.

Fusing deep, rolling grooves with stripped back funk, melancholic echoes, hypnotic soundscapes and charged emotional tension, Green Blood unite mind and body into pure sonic experience.

Cutting his teeth alongside David Guetta of all people during his 1990’s Les Bains residency, Jedsa  moved to New York where he became a key player in the Big Apple’s club scene.  Forging an increasingly eclectic sound, he was soon in global demand and unleashing a steady stream of high profile releases.

Baptised by frequency on the dancefloors of the early 1990’s, DJ Konix’s sets radiate a magnetic energy. Bringing together deep techno with sunshine house, tropical flourishes, abstract sweeps and a pumping spirit, he has played clubs, festivals and outdoor parties from Ibiza to the Carribbean to Bogota while releasing a string of dancefloor gold under various guises.

Together as Green Blood, they take a journey into the architecture of soul. Heavyweight bass and fat primal beats anchor liquid curves and enveloping atmospherics. Low slung, penetrating and all embracing, this is tomorrow’s deep soul groove.

greenbloodrecordings@gmail.com
https://soundcloud.com/greenblood-4








https://soundcloud.com/konix
https://soundcloud.com/jedsasoundorom

#BEFLY --- Before Everything First Love Yourself

HUNTING GROUNDS are in it for the long haul. Their debut album may be be titled IN HINDSIGHT, but here is a sextet that is looking ahead with a firm grasp on the realities and possibilities of past and present. There is a degree of dramatic irony buried within the concise title of this very vast album. 

Everything about In Hindsight is vast, the themes, the sounds, of course even the number of performers on it. Hunting Grounds is by nature a very cohesive, collaborative effort. There are multiple songwriters here, heaving and swaying against each other’s ideas and concepts, inspiring an eclectic and intelligent mix. Three vocalists now also revolve on Hunting Grounds’ stage: Lachlan Morrish, Michael Belsar and Galen Strachan. One might be forgiven for assuming that this is too much for one ambitious debut release, but it’s stitched together in a synth-heavy, hip-swaying cacophony that straddles beautiful and mesmerising. 

IN HINDSIGHT launches with the words ‘No idea, where we are from, its clear. Where we are going, I fear is nowhere’ It’s true that this is a needless fear but the perfect spacey catchall to introduce this album.  STAR SHARDS kicks with the throbbing bass of John Crawford that is so familiar to Hunting Grounds listeners, and embarks on a spacey journey of reverb drenched guitars and cleverly selected synth sounds.  Of FLAWS there is much to say. The one that almost got away; born from a more typical rock song structure and not really intended for the album. Reworked into a hypnotic pseudo-house track, FLAWS now invokes something far grander than the more direct Hunting Grounds of old.  Likewise, the middle of the album assaults listeners with LIQUID AIR; easily the ‘biggest’ song on the record. All soaring vocal melodies and uplifting keys, this song belongs in a stadium, or on the credits of your new favourite 80’s action film. 

But there are also older, solidly road-tested tunes on here. KILL MY FRIENDS and COLD FEET cleverly marry the unpredictable, wilder live elements of Hunting Grounds into the more controlled elements of the album. KILL MY FRIENDS has all the urgency of older Hunting Grounds tracks, plus the desperate, repetitive yelping of master vocalist Lachlan Morrish. ALL EYES, with its grand piano, driving bass line and the croon of Michael Belsar is a stunning testament to the rapid growth of the Hunting Grounds sound. Plus, there are those hip-swaying, hands-in-the-air rhythms again.  The sparse, heady groove of CLEARLY SEE is a pop jingle not so far from The Beatles more psychedelic wanderings. Fitting that the protagonist of the song is slowly losing his mind. 

Hunting Grounds endured the waiting game when it came to the fruition of this album. Dates were set, first single (In Colour) released to much radio play and general praise. Then; nothing. The writing process was long and cumbersome, but the sonic growth from the ‘Howl’ and ‘Brothers In Violence’ EPs to ‘In Hindsight’ is palpable; and thus the wait is justified. Dribs and drabs of demoing was at last coaxed together into an album when the band entered Melbourne’s Red Door Sounds with Brothers In Violence producer Paul ‘Woody’ Annison (Children Collide, Black Cab, Young Revelry). The luxury of several weeks with Annison helped the sextet craft tunes that previously seemed offcuts (like FLAWS) into shiny aural gems. 

Space is the crucial word here. In Hindsight is filled with it from wall to wall and the results are fabulous. There is a lot of space, every vocal hook and every sound in its place but there are no clinical elements.  A handful of tunes sprawl in past the 5-minute mark and most of them boast an ear boggling but very agreeable selection of vocal tracks. Lachlan Morrish’s previously harsh vocal tones have acquired a more melodious quality, but they remain raw, and jolting and retain their unsettling air of old, complimented by the warm tones of other vocalists Belsar and Strachan.  There are tips of the musical hat to Radiohead here of course, but the synths are at times a homage to the great man himself; Gary Newman. Older influences also shine through on the album, in the feverish guitar work of Tim Street and the neat, bang-on drumming of Daniel Marie.  The old and new collide on In Hindsight to create the wall of sound the band really desired to achieve. 

Each and every step of the journey towards the realization of IN HINDSIGHT has been a learning experience. The band’s winning stint as the triple j Unearthed High crown winners sent the band into a quality studio with experienced producers.  In fact, Hunting Grounds have really come good as the first Uneathed High winning band to release a full length. Furthermore, a touring schedule that hardened touring veterans would wince at saw them cut their teeth on unfamiliar audiences and make many and varied friends. Venturing outside the support of the small but fruitful Ballarat music scene meant a new perspective, but also solidified the loyalties that lie at home. Indeed, the art and videos that accompany In Hindsight have been crafted by Ballarat locals, giving it all a very cooperative feeling. All in all; IN HINDSIGHT is a testament to the virtues of hard work, an inquisitive mind and an insatiable desire to experiment through sound. 


Electronic music had it's first strong impact on Mr. D when he moved to Berlin in 2001.
Dan fell in love with this incredibly sexy energy of reduced house music while spending time at the Perlon parties hosted by Zip and Sammy Dee in the old Panorama Bar. 

The unique take on underground house music from guys like Ricardo Villalobos, Zip, Pantytec, Akufen, Thomas Melchior, Baby Ford and Luciano was mainly achieved by a crisp reductionism creating a hypnotic vibe through repetition incorporating modulation and slight changes as the needle moves along towards the end of the track. 
The Abstractness of meandering polyrythmic grooves combined with afro-cuban elements and perfectly tuned parts and hits are able to replace melodies and hooks that are still the carriers of today’s mainstream music but are obsolete in our kind of underground music.
Once infected by this vibe Dan started to collect records and two years later had his DJ debut at the notorious Beatstreet afterhours in Berlin. After playing at several underground parties and afterhours, Dan went on to play several clubs such as Watergate, Arena, Katerholzig, Chalet, Maria am Ostbahnhof and Berghains  Panorama Bar. Further more including regularly appearances at the WOOD in Brussels, DIAGONAL in Nuernberg before joining the Sunday Matinee Crew in Antwerp, playing at Café d’Anvers to just name a few. 

Club der Visionäre has been the keypoint to Dan's transition into becoming a DJ. 
Getting a residency there offered the opportunity to cut his teeth playing 12 hour marathon sets during his regular appearances since 2004, inviting some of the most regarded global players of this particular genre. 
Taking people on a journey for hours, making them forget time and injecting a vibe that turns into a magic bliss, is what for him is the most enjoyable part of playing the game. 

As his friends Tobi Neumann and Dinky got him into production in 2004, another career began. 
After his Master Studies he began working as a Recording and Mixing Engineer in some of the best Studios in Europe and discovered his love for building and modifying analogue hardware. But this is another story to tell.


Christen Lien is a contemporary, classically infused multi-instrumentalist who creates an innovative brand of musical storytelling. The viola is at the heart of her music making; however, she also incorporates the use of guitar effect processors and looping pedals to create a multi-faceted landscape that bridges electronic, industrial and classical genres.

As a classically trained musician and child prodigy, she cut her teeth as a member of the Cleveland Orchestra Youth Orchestra and the National Youth Guild Symphony. Her music is emotive, hypnotic, trance-inducing, instrumental, and is characterized by looping and complex syncopation. Christen’s music was made for visuals and is perfect for traditional and immersive media and is prime for many types of collaborations.

She has branched out to bend the genre of classical contemporary fusion and collaborates with artists and musicians from many genres and mediums. Christen is inspired by story and humanity and interprets the rhythm of life into notes on paper. She currently is in production for remixes with DJ's, Slam Poets, Dancers, and like minded contemporary classical artists.

Her multimedia performances communicate stories of mythology and imagination, politics and prose, hope and empowerment. She aspires to redefine the world’s understanding of, and experience with, the viola.

Christen has performed for diplomats, fortune 100 executives, heads of state, royalty, celebrities, and has inspired many crowds around the globe.  She recently performed for the White House Summit on the United State of Women, His Holiness the 14th Dalai Lama, Forbes Under 30 Summit, Nexus Global, Summit W+, and MIT Hacking Arts. Christen serves as the artist-in-residence for the Unreasonable Group and Barclay's global partnership. Later this year, Christen will be launching her new concept album, ELPIS, which explores the dark side of hope.

Christen is an active citizen who stands up for her beliefs. While serving as the Executive Director of the Ann Arbor Film Festival, Christen won a First Amendment lawsuit against the State of Michigan to protect artists' freedom of speech.

Come here for Live sets, mixes and any form of noise and sound that has been captured, performed, produced or mixed by Wodjer Want. Everything uploaded has been mastered and manicured receiving a stamp of approval by Wodjer for public display unless specified. Old and new consisting of  multilayered musical art monologues. With a knack and passion for moulding so elequantly and skillfully others masterpieces whilst infusing his own samples and original production is one of unique origin. For Original Works for the period of 2009 to 2012 please visit https://soundcloud.com/wodjer-want. 

BIO

Wodjer Want! Your internationally acclaimed Dj, producer and live performer returns home after his biggest ever tour of India was cut short. Making  waves far and wide with his creative and multiverse styles this guy brings home bacon wrapped in tofu with his humble, uplifting, funky, intense catchy sound. Whether its Techno, Trance, Hip Hop, House, Pop Fusion, Funky Breaks, Dub or World Music there's not a style that he won't consider in manipulating to give us an experience and foot tap.  Progressive House, Drum and Bass,  Minimal Psychedelic Trance and Rock he loves it all and he loves to perform,
After a hiatus of over 4 years of focused  production, mixing exploration and experimentation he brings with him an original style  of Dj and Live performance like no other. Not only having headlined at Elevate and Kitty Su as well as many other clubs around India, WoDjer has been producing, mixing, manipulating music and rocking dance floors for almost three decades across the underground techno, house and psychedelic trance scenes as well as commercial club scenes right across the east coast of Australia,  all over New Zealand and many festivals in New Caledonia as well as playing an integral part in artist selection in all of these regions. 
From his roots as the lead singer and co-founder of a rock band, a long standing residency at the Mardi Gras Official After Party, 2 tours of India, 4 tours of New Caledonia, many tours of New Zealand and more recently a string of Australian Boutique Festivals such as Subsonic Music Festival, Regrowth Festival, Dragon Dreaming and of course Rabbits Eat Lettuce.  Also known for his many successful and yet eccentric parties of which he was sole promoter of,  all of this has undoubtedly led him to dominate the underground techno, house and psytrance scenes of wherever he roamed. This all has further established him as a veteran and frequent act at NZ and Australian Festivals or Bush Doofs.  For a dancefloor experience that you won’t forget….this is WoDjer Want!



JULY 2021

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