Break Through Artists

soulavenueChris O is a producer and remixer who also goes by the name, SoulAvenue.  As the name implies the major ingredient in his music is

pure soul.  Whether it's jazzed up, chilled down or pumpin' the dance floor it always has to have soul. Don't expect SoulAvenue's productions to be chiseled out along a straight line - don't drop until it stops.


He has just released some new music specifically, "Swept Away" and "Try" which can be found on iTunes.  He has also remixed for the likes of Shine, Clarisse Albrecht and LazyGrooves to name a few.


Right now he shares with us his latest track, "Tamazight".

memorandumIt's a new day for MEMORANDOM and SAMANTHA FARRELL with the beautiful vocal-driven "NOUVEAU JOUR", featuring the downtempo ORIGINAL and DUB mixes, plus the deep progressive JUNIOR CHAVEZ REMIX.

snowghoats pressSnow Ghosts is the collaboration between Throwing Snow, aka Ross Tones, and vocalist Augustus Snow, aka Hannah Cartwright. In 2013, they released their critically acclaimed debut full length LP ‘A Small Murmuration’ on fabric's label Houndstooth, and were named The Guardian’s ‘New Band of the Day’, Zane Lowe’s ‘Next Hype’, and have played a live acoustic session on Dermot O’Leary’s BBC Radio 2 show.

‘Secret Garden’, the third single from the album, is an atmospheric, melancholic production that perfectly melds Ross’ love of chaos theory and Hannah’s earthy propensity for nature. Iconoclastic producer Matthew Herbert provides his delicately off kilter 'Wash It All Away Remix', while avantgarde producer Richard Skelton offers up an unforgettable ambient drone rework.

Under his Dahlia Black alias, Black Acre mainstay Blue Daisy rounds out the EP with a raw, horrorcore influenced hiphop remix of 'Covenant', the original a track from the album in which he was featured. The 12” is cut to heavyweight 180g vinyl by mastering engineer Matt Colton and strictly limited to 300 copies.

lovemonk treesAnn Arbor's Trees drops this wicked ep, six slices of lush, each on their own planet but part of the same galaxy, where techno, hip-hop and house rub up against jazz, Kraut-rock and African percussion. There's a saying in Ann Arbor that goes “I spent half my life waiting for Charles”. Charles Trees, because that's who people are referring to when uttering those words, is the local music scene's best kept secret. In a city literally brimming with talent (MC5, Iggy, George Clinton, Mitch Ryder, Recloose, Mayer Hawthorne, Shigeto, Dabrye, anyone?), Charles is one of the absolute heroes, a gem among gems, yet relatively few people outside the city limits have heard of him. Why? Well, probably because our man doesn't really care too much about fame, hipster blogs, online social networking or other forms of shameless self promotion. He just makes his music, and remixes, and spins his tunes around town, and sometimes even releases some of them, like his EPs on Moodgadget, Ghostly International, or Paris imprint Musique Large. Which is how we heard about Charles. He made us a brilliant remix for Pajaro Sunrise' “Old Goodbyes”, and after that we had the pleasure of meeting him in person. A deal was struck for an EP. It was the summer of 2012, and we were about to find out what the “half my life waiting for Charles” was all about.

Fast forward to 2014, and lo and behold, habemus EP. And not just any EP. A HUGE EP. Six slices of lush, each on their own planet but part of the same galaxy, where techno, hip-hop and house rub up against jazz, Kraut-rock and African percussion. Sounds like a cliché, right? Uh huh, yeah.

The title track starts out like a Sun Ra jam, with the brilliant Dan Bennett on sax. After the fist bass stab, the beat kicks in and we're taken on a jubilant ride towards the acidic finish. “Exodus” continues on a hypnotic house tip while the level of funk keeps rising. The slamming beat finishes things off quite nicely. On “Get Advanced”, Detroit rapper, poet and Egyptologist Intricate Dialect spits his rhymes over hypnotic and minimal percussion and some nasty 303-stabs. Dan Bennett returns on “What's Left”, a slow burning piece of space boogie. Madrid-based DJ F does a good job of remixing”Rootwork”, adding some eeriness by changing the beat and replacing Bennett's sax with trippy keyboards. And finally, the mighty Shigeto stretches “What's Left” to almost nine minutes, with trippy keyboards. And finally, the mighty Shigeto stretches “What's Left” to almost nine minut a four-minute intro leading up to a more uptempo but equally hypnotic version of the original.

kyrstynKyrstyn Pixton is a Portland based songwriter and producer - a multi-talented performance artist creating live shows that blend piano, voice, electronica, and impromptu loops from audience participation.

Her sound blends intricate song-writing with luscious vocal harmonies and vast hard-hitting electro-acoustic soundscapes.  Imagine a meld of Imogen Heap, Florence & the Machine, and Joanna Newsom, backed by Air, Plaid, Dead Can Dance, and Apparat.  It’s a bit like that.  She recently released her first full-length album EMBYRS, and more is on the way.

She has worked with many artists including Auditory Canvas, Lynx, Rena Jones, Lila Rose, Govinda, Kaminanda, Beats Antique, & Akara.  Some of her past performance venues include Glade (UK), Lightning in a Bottle, Cafe Du Nord, Fox Theater (Oakland), & the Crystal Ballroom (Portland).

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