Fragment Factory

ICE YACHT – ‘Pole of Cold’ C40
ICEYACHTpsiTucked away on Snatch 3 (the last of the Snatch Tapes compilations) released in 1981 is a track by Ice Yacht called ‘0 Degrees North’. An austere piece of drum loop and drone music, there was talk of a full tape having been recorded by the band (?) but no documentation of any further releases can be found. Rumour had it that Ice Yacht had embarked on an ill-fated trip to the North Pole attempting to retrace a journey made by the Norwegian explorer Fridtjof Nansen in 1888. This story was given credence when last year a research group uncovered a cassette tape in a vacuum-sealed case in the permafrost. The tape was marked simply Ice Yacht – Pole of Cold. After letting the tape thaw out it was then baked in an oven allowing the transfer of the recordings. Pole of Cold contains six tracks of analogue electronics seemingly mapping an arctic exploration to the coldest place on the planet though exactly when and where they were recorded is unknown. High bias C40 chrome cassette, numbered edition of 100 copies.


Invisible Cities

ICR10: Philipp Bückle – ‘Drawings’ £4.5
Drawings is a slow drift through an eerie landscape filled with small, delicate nuances. Calming atmospheres and subtle textures meander through this strange and intricate place as distant memories fade in and out of consciousness. Familiar sounds which you can’t quite recall become removed as you’re absorbed by the dark, illusory atmosphere. Philipp Bückle is a musician and filmmaker from Dortmund, Germany. As Teamforest he released on international acclaimed labels like Morr Music, Aesthetics and Eglantine Records. Together with Nils Quak he recorded three albums under the Beth Kleist moniker. The Paintings trilogy consists of three separate albums: Sketches, Drawings and finally Paintings. This marks the first time his real name has been used. Hand dubbed C50 cassette. Full colour double sided artwork by Caro Mikalef. Limited to 50 copies.



Simon Joyner/L. Eugene Methe 7″
1Simon Joyner has been releasing music since the early nineties, with thirteen albums under his belt, as well as various singles and cassettes. He’s considered the forefather of the Omaha music scene, treading similar ground as the likes of Leonard Cohen, Will Oldham and Bob Dylan, he is easily one of todays most gifted songwriters. L. Eugene Methe is an equally talented songwriter, also from Omaha, who keeps somewhat of a low profile. He has played on many of Joyner’s albums but has only released one proper album. His songs are breathtakingly poetic and starkly beautiful. Released in an edition of 300 7-Inch records (200 on black vinyl and 100 on black and gray vinyl). Housed inside a pro-printed record jacket with artwork by Luigi Falagario. Includes an insert and digital download code.

Night Auditor – ‘Drugzdilla’ CS
2Night Auditor is the new musical outing of Hilal Omar Al Jamal, formerly known as Brother Mitya. Through his own warped interpretations of doo-wop, experimental funk, gospel and psychedelic pop music – Drugzdilla explores the life of a drug dealer in the American Southwest. Released in an edition of 50 pro-dubbed and imprinted cassette’s housed inside of full-color O-Cards with artwork by Otto Splotch. Includes a digital download card.


Hel Audio

HEL014 – Metatag – ‘Surrender’

Dark, dystopian, sequence-driven ambient synthesis.

HEL015 – Braeyden Jae – ‘Culture Complicit’
Melodic drone explorations on bass guitar

HEL016 – UTA Trax/Burnin’
Split release of techno/house. One side classic acid, one side minimal modern.


NNA Tapes

NNA079: Drainolith – ‘Hysteria’ LP
NNA is very proud to present our second release from Canadian hero Alexander Moskos’ Drainolith project. Following up 2012’s “Fighting!” full length LP, “Hysteria” reaches new levels in the Draino sound world, resulting in his most fully realized record to date. Moskos has spent years marinating solo in the cold Northern underground, cutting his chops as lead axegrinder with Montreal-based noise punks AIDS Wolf, and most recently rolling with North American all-star clan Dan’l Boone. “Hysteria” is the result of nearly two years spent in various studios with producers and fellow ‘Boone brothers Nate Young (Wolf Eyes) and Neil Hagerty (Royal Trux), working diligently together to take a few steps beyond Trip Metal and extract the skeleton out of “rock”, inserting it into a newer, much weirder, humanoid skin. The epicenter of this sound rests humbly on the foundation of guitar and voice, two facets of sound that Moskos has carefully cultivated through years of experimentation and digestion from a wide array of musical influences. The relaxed, loose, and energetically electric technique of guitar playing is reinforced by Drainolith’s unrivaled tone, which has morphed throughout the years but now stands alone atop a mountain of shredders. It is ripe with Bluesy fuzziness and the humanity of Americana, while punctuated by the gritty stab of 80’s death metal, and further rounded out with a sprinkling of EVH-esque chorus zones and free jazz adventurousness. The result is a sound that pre-dates the internet in a fabulous way. Each note seems to leave behind a glistening impression like a spot of grease on a pizza box. A tone as unique as this is only bolstered by the vocal delivery, the literal voice of the Mind of Moskos. This beautifully cold, dripping baritone is unmistakable, it’s fried-yet-poetic articulation recalling a halfway point between a melting Dylan and a blazed Robert Ashley. Over-tired, over-wired, and over it. Moskos lets every word kerplunk into a mesmerizing puddle of observation, giving something as mundane as staring out the window or a Vancouver hotel foyer the poignancy of a published work. With guitar and voice at the core, the additional instrumentation on “Hysteria” is the bizarre glue that binds it all together, using the palette of electronics, keys, and haphazardly triggered beats and percussion in an intensely layered fashion to ensure maximum disorientation. The compositions are fully stacked, allowing little room for sparseness or tender moments. Tracks like “Qix” stagger forward in a deranged manner, it’s elastic percussion hearkening back to purple Nike foot-pounding of 2011’s “Where Are Ye Col. Leslie Groves?” cassette and the “one man band” era, for those of us fortunate enough to witness Drainolith’s live experience. Other tracks like “Joy Road” burn on patiently, disintegrating piece by piece into the ether of time amid a bed of Fender Rhodes eeriness… almost like a rare Canadian B-side to the Lizard King’s “An American Prayer”. Blues notions are confronted by Beastie-esque guitar stabs, smeared together with repetitive, angular riff rotations and flailing synth filigree, creating a densely-layered intensity that feels like the anxiety of standing in a rat’s nest of instrument cables and leaky pipe water in a moist basement. Pleasant melody is of little interest here, instead thriving on dissonance and reminding us of the OGs of post-punk, when rock met experimentation and abstraction head on, shoving a properly-greased square peg into a circular hole. While thematically cryptic, “Hysteria” drops rough clues to the heart of it’s content, filled with tales of Quebec biker wars, sinking into couches, Detroit street hassles, sneaker worship, sidewalk slush, sexual desire and seasonal affect disorder. At it’s heart, “Hysteria” is the product of a musician who has much love for the past, but also little interest in recreating it. It is a song cycle that reflects the complexities of our day to day world through the psyche of the modern jammer, fueled by the quintessentially Moskosian diet of caffeine and nicotine. Someone who isn’t content sitting stagnant in a crowd of tradition, and who acknowledges that radical ideas are necessary to propel things into the future.

NNA080: Kid Millions – ‘The Sanguine Cadaver’ C54
“The Sanguine Cadaver” is a new expedition through the percussion-centric world of drummer John Colpitts, better known as Kid Millions. Known for his driving force as the drummer of experimental rock outfit Oneida, as well as his personal conceptual percussion project Man Forever, Kid Millions is also a key player in a long list of amazing collaborations with artists such as William Basinski, Laurie Anderson, the Boredoms, Akron Family, Jim Sauter (of Borbetomagus), and many more. Throughout both sides of “The Sanguine Cadaver,” Colpitts expresses his complete devotion to the act of percussion, embodying and luxuriating in the physical and spiritual connection between human and drum kit. The first piece, “Begging Attire,” creates a cavernous sound world with the assistance of additional musicians on guitar, keyboard, and added percussion. A dense, dynamic wall of droning resonance is constructed, powerfully covering all corners of the frequency spectrum. Each musician’s respective sound flows in and out of focus, creating subtle shifts that alter the mood of the piece. Every instrument plays a specific role, never overpowering one another but instead working in a ritual unison, lending to the billowing, impenetrable qualities of the resulting sonic environment. Although rooted in static minimalism, “Begging Attire” is a far cry from peaceful ambiance. Instead, it sprawls forth in a menacing, ominous storm of deep tones and percussive metallic textures, eventually locking into a howling, almost Industrial ceremony of buzzing, churning squalls and slow, plodding rhythms. On the second piece, “For Jerry,” we find Kid Millions in a personal, exploratory space. This is the sound of one man and his drums, a complete physical immersion in rhythm through a catharsis of primal energy. Colpitts blazes forward relentlessly, never resting on one pattern or tempo but instead seemingly playing multiple ones simultaneously. “For Jerry” is, however, more than just an impressive display of chops. It is a document of a human reaching elevated levels of consciousness through intense, sustained interaction with his instrument. Wordless vocal chanting and tonal incantations make their way through the maelstrom, suggesting altered states of spiritual transcendence. The extended technique of the piece is not only a feat of strength and a challenge to the performer, but the listener as well. When Kid Millions plays, it’s clear that he puts his entire being into it, a quality that translates magnificently throughout all moments of this cassette.

NNA081: Wei Zhongle – ‘Nu Trance’ C32
Nu Trance by Wei Zhongle is an exciting moment in music. It explodes oppositions of globalism and hermeticism, male and female, precision and feeling. Sounding like a broadcast from the future, This Heat and 80′s Downtown New York lay somewhere in its world mutant genetic imprint.
The members of Wei Zhongle are nomads. The intuitive vocals by Rob Jacobs are sometimes in English but mostly in a language of his own, inventive but perhaps also channeling ancient vocal traditions, while laying down hypnotizing guitar. Sam Klickner’s forceful but intentional drums are a free ticket to Bonkersville. The effects-enhanced clarinet by John McCowen floats over and weaves through it all, pulling everything out in four dimensions. Minds are blown when these three elements merge.


Hello LA

Hell#012: V8Vampire Eater’
#hell012 - vampire-eaterFree Album from emcee V8, with appearances by Radioinactive, Vyle, Ira Atari, Skech 185 and productions by Brenmar, Morbidly-O-Beats , K-The-I??? and more… “Vampire Eater is a collection of stories that began in the Summer of 2000. Unmixed and unmastered cold and dark dirt. Recorded either in a shower or a moist basement, and always rightfully affected by intoxicants and mood choices; perhaps when I thought depression wasn’t this horrid and lethal disease. Since some of these paintings range as recent as last Fall, I can begin to feel all of the scars on my tongue being freshly ripped open into new wounds. I do know that however indifferent two people may be, I can still shit into both of my hands. I am made to be a slave to my own lack of shame. I wanna cry into your mouth. I wrote all of these noises for you. ‘You’ being not ‘me’ we invite each other into another room. We can lay on velvet garbage and listen to one another move. I can introduce you to all of the werewolves I know that eat with silver spoons. This is the 6th and first product-audio-installation of the Vampire Boombox Series. Love Yourself. Worship Yourself. Slave for yourself.”


Teflon Beast

various artists – ‘Loose Meat Sandwich #1
coverTeflon Beast is debuting a print zine+digital EP series with a 7-track compilation featuring: Arklight, Mold Omen, Geoff, and more. The comp. is part of a new quarterly zine project, also titled Loose Meat Sandwich, that combines music with short-form, experimental & absurdist writing, and colorful art. Musically one will hear noise, lo-fi rock, homemade pop, and spoken-word.



Mosaic of Teeth is a collaborative project involving Justin Wiggan (Roadside Picnic), Nicholas Bullen (Napalm Death), ILIOS (Mohammad/PAN), Anthony Donovan (Murmurists), Keith Moliné (Two Pale Boys / Pere Ubu) and Antonio de Braga. Whilst stranded in Norway in 2010 following the eruption of Eyjafjallajökul and its subsequent volcanic ash activity, Wiggan scoured flea markets for cassettes and amassed the source material for this project. The cassettes were passed to Nicholas Bullen, who morphed them into the foundations of the material. Bullen’s structural edits were further translated by Wiggan, Donovan, De Braga, Moliné and Greek noise artist ILIOS. The result is a mutable, mobile soundscape of found sonic artifacts which sways violently between the intricate, the disturbing and the sublime.

The fourth live recording to emerge from Bradford’s freshest avant garde multimedia venue Fuse Art Space comes from Oliver Barrett, aka Petrels. Londonbased composer Barrett has been turning out epic opuses for a few years, most recently on the Denovali imprint, blending noise, field recordings and monolithic harmonic constructions to terrifying effect. This live set from 2014 is a great example of his immersive sound, patient development of complex textures and sense of musical drama.


Yerevan Tapes

Zone Démersale is a techno/ambient duo formed by producer Michele Ferretti (Nubilum) and sound artist Pietro Riparbelli (Touch, Important, 20 Bucks Spin). The project starts from a conceptual and aesthetic reflection (both members have philosophical education) to move into minimalism, transcendental spiritualism, cosmic music and sonic spatiality through a constant compositional research. Their tracks are produced using various vintage hardware, from the Italian Jen synth to the Echoplex looper, shortwave radio receivers and numerous samples recorded by the duo. After a first EP on Aconito and a second one out right now on Boring Machines, their 7-track full-length album Figura will be out on Yerevan Tapes on April 28. Limited edition of 100 on white tape cassette.



Marie Davidson – ‘Un Autre Voyage’ LP/CS
From the prolific cultural epicenter of Montréal, Marie Davidson has emerged as one of the foremost electronic artists in contemporary underground pop today. As a long-time member of Les Momies de Palerme, Hotel Monochrome, DKMD, and Essaie Pas, Marie has continued to hone her many talents in Montréal’s fervent experimental communities for much of her adult life. In 2012 Marie began to unveil compositions under her own name, revealing a solo artist who possessed the confident vulnerability required to write, produce, and perform unaccompanied. Davidson’s intimate solo work is embodied through a host of synthesizers and drum machines that coalesce in synchronized harmony, punctuated by Marie’s hypnotic vocal delivery, sung and spoken in both French and English. Davidson’s third album Un Autre Voyage demonstrates her heightened compositional skill behind a sequencer as well as her singular ability to anesthetize the senses through the documentation of her own serial pattern of experiential growth. Un Autre Voyage (translated as “Another Journey”) is a collection of songs based solely on true events, providing the listener with an unfiltered primary account of Marie’s intrapersonal experiences. This act of self-journalism serves as a psychological cleansing that evokes an authentic sense of warmth and empathy, rendering Un Autre Voyage as Davidson’s most transparently honest artistic document yet. Through this concerted disclosure, Marie’s unique practice of surreal atmospheric composition now shows irrepressible traces of exuberance, displaying a fresh luminosity in her emotive palette. This stands in stark contrast to Davidson’s self-titled debut EP (HOLODECK, 2013), which depicts a disoriented mind struggling for stability throughout a period of depression in her musical and personal life. In 2014’s Perte d’Identité (Weyrd Son) Davidson narrates her search for self through the course of trial and conquest, establishing her distinct method of song writing that is as compelling as it is existential. However, 2015’s Un Autre Voyage bares the immense weight of Davidson’s psyche by turning direct experience into song, utilizing her candid self-examination to convey a new found serenity that playfully underlines her otherwise brooding and pensive soundscapes. Marie embraces slower experimental composition on pieces like Kidnap You in the Desert, Insomnie, and Perséphone, while songs like Excès de Vitesse and Balade aux USA are decidedly upbeat and indicate a broadening complexity in Marie’s aesthetic domain. Vocal, guitar, and production contributions from husband and Essaie Pas bandmate Pierre Guerineau establish a communicative interface that allows for the full articulation and realization of Davidson’s inner-dialogues. As her exposure steadily increases, Marie continues to advance her musical skill in the studio as well as on stage, taking her captivating live show on several extensive international tours as copies of her records and tapes quickly disappear. Un Autre Voyage is undoubtedly a snap shot of Davidson’s current state of expansion but marks an intensified effort to progressively unfold a more complete and absolute manifest of herself. Davidson has constructed an intransigently potent assembly of real life expositions that are coarse and organic, yet undeniably nuanced and refined.