Rambutan – ‘Surface Language’ CS
“This music is the fruit of late night basement experiments in sleep deprivation coupled with the ongoing struggle to translate thoughts into sound and ideas into words. Recorded in Delmar, NY 2014. Music by Eric Hardiman. Many thanks to Tynan for the invitation to be on DNT. Endless gratitude also extends to Ray Hare, Mike Griffin, Nick Mitchell, Jefferson Pitcher, Phil Donnelly, Matt Weston, Nate Brennan, Jackson Wingate and hundreds of other sources of inspirations. Hand-numbered edition of 50 on lime green shells with spray-bottle watercolored jcards”

Metal Rouge – ‘Gamble’ CS
“Metal Rouge’s “Gamble” eschews their previous LP Soft Erase’s martial drum machines and rock structures, delivering instead rudimentary jazz fire and blaring white-heat guitar continuums soaked in unintentional tape manipulation. Four tracks: a journey from pointillist guitar/trumpet sparring to a completely warped amorphous hell, an epic single minded guitar/vocal flare-out, a piano-driven cloud of massed utopian strings and a staggering primitive drum raga. Nine years into their existence Metal Rouge are still finding new ways to cast aside the false, uphold the unrefined and crawl into the marrow of the music. Hand-numbered edition of 100 on dark blue shells with full color art by Christina Carter.

Eric Sanchez – ‘Los Otros Ojos’ CS
Scenes adjust and new tones are set while the surroundings are deteriorating and the floor is gradually appearing. Two fifteen minute pieces recorded between San Francisco and Monterey, 2014. Hand-numbered edition of 50 with full color artwork by Eric Sanchez on lime green shells with full color labels.


NNA Tapes

NNA077: Sediment Club – ’30 Seconds Too Late’ C15
Feast your ears upon this terse, bleak statement of musical panic from young three-piece Sediment Club. Comprised of Austin Julian, Lazar Bozic, and Jackie McDermott (on guitar, bass, and drums, respectively), the ‘Club has diligently been bringing their rock & racket to basements and dungeons across the nation, as “30 Seconds Too Late” comes hot on the heels of their recent full USA tour. Using a ouija board to call upon the spirits of the classic eras of noise rock, No Wave, and post-punk, Sediment Club show us a refreshingly raw and unique perspective, firmly gripping the torch of their Northeastern weird underground brethren. Their latest EP brings us five short and sweet blasts of stripped down instrumentation with little flash or effects, allowing the natural filth of overdriven instruments to shine through amidst their ascending and descending chromatic lines of discontent. Lurching bass lines, twangy stabs of guitar, and turbulent drumming interlock in creative compositions that thrive on a clinical garage brutality, ripe with dissonance and a healthy dose of the macabre. Disconcerting and misanthropic lyrical content spews forth through drooling, unhinged vocal delivery, reflecting a state of psychosis as if viewing an MC Escher drawing through a shattered mirror. “30 Seconds Too Late” is an incredibly satisfying listen, and a cassette that could be comfortably crammed into your ratty shoebox collection of punk seven inches, complete with a Urinals cover and full lyrics sheet.

NNA078: VaVatican – ‘I Love You (Dora Lee)’ C38
Confusion is the name of the game on “I Love You (Dora Lee)”, the new full-length from NYC quartet VaVatican. Self-described by the group as “the first half of a two-part absurdist sound saga”, this single piece spread across two sides of magnetic tape unfolds exactly as such. What starts out as a lush, dynamic, and melodic tapestry of almost post-rock soundscapes abruptly collides into a grating wall of upper-register harmonic extended saxophone technique, and continues this journey into confounding new territories throughout the duration of the recording. Nathaniel Morgan, Owen Stewart-Robertson, Weston Minissali, and Booker Stardrum (the latter two also of avant-proggers Cloud Becomes Your Hand) unite respectively on alto saxophone, guitar, synthesizer, and percussion to push the limits of their instruments to the point where fact can no longer be distinguished from fiction. The group is able to use improvisation within a structurally composed framework to take the listener on an emotional and sonic roller coaster ride, see-sawing between styles of music in a such a way that makes the end result impossible to pigeonhole into any one genre. Electro-acoustic passages are punctuated with seemingly-nonsensical text and speech fragments, collaged together as antagonistic sound poetry. What’s perhaps most impressive about “I Love You (Dora Lee)” is it’s ability to straddle the fine (or broad?) line between high-brow and low-brow, where colorful, texturally-rich melodic drones and even Elvis covers are met face-to-face with farting, giggling, chairs creaking, and downright nauseating atmospheres. While the sounds can be musically serious, the overall narrative remains cryptically playful and tongue-in-cheek, a dynamic not often found in the stuffy chambers of academia and improvised music. Needless to say, VaVatican are not afraid to take risks and embrace the bizarre, basking in the true nature of experimental music in it’s most literal sense. “A romance, a farce, a stomach bug, a new moon, and Elvis Presley in a tall tree” –VaVatican


Bezoar Formations

Rick Weaver – ‘The Perfect Man’ CS
Weaver – of Form A Log, of Dinner Music, of numerous other fine outfits and projects – delivers a set of hallucinatory tiki-infused lounge psychedelia. A mixture of disoriented keyboard tickling, strange ballads to unknown dimensions, pop songs that aren’t quite “pop” or “songs”. This tape is the soundtrack to Weaver’s video piece of the same name.

Radiant Husk – ‘Deflation Basin’ CS
There isn’t much saxophone on this one, or at least not in the way it used to be on earlier releases. Now the horn is buried in tape, slowed down, stacked, fogged. Plenty of field recordings and faux field recordings. Way too many heady hard pans. Semi-‘electronic’ sounds, loops that do their own work, woozy environments, etc. It’s a new realm of some kind, at least for now…



1In the 1980’s, Morton Feldman composed two large-sized pieces for his favorite instrument, the piano. Both pieces, Triadic Memories (1981) and For Bunita Marcus(1985), clock in at about 90 minutes. Both compositions are excellent examples of the group of works that they belong to: Triadic Memories demonstrates the complexity and tonal opulence of Feldman’s pattern compositions from 1977 through 1983, whereas For Bunita Marcus shows the stripped-down, almost dismissive structures of his last works created from 1984 to 1987. Feldman himself described For Bunita Marcus as a piece in which he “seriously grappled with the idea of meter”.


Post-Mortem Junkie

POST-MORTEM JUNKIE S/T C60 $5(US)/$14(World)


Invisible City Records

Black thread – ‘Autumn Flowers’
San Francisco based Black thread is the moniker of Turmeric Magnitudes label head Greg Gorlen. His work as Black thread relies heavily on minimal tape loops which centre around the ideas of loss, decay and the inherent beauty contained within. Autumn Flowers opts for use of a gentle synth track, fluttering and hissing as its simple structure gradually declines into a wall of thick analogue murk. This is a perfectly haunted soundscape created with humble, minimal means. Music and artwork by G.Gorlen. Limited to 30 hand dubbed and numbered C20 cassettes.



Sparklingwide Pressure – ‘Rhythmic, Droning’
This is Sparklingwide Pressure’s second release for Heligator Records. Frank Baugh is Murfreesboro, TN’s shining hope in intense, drone-based experimental music. Baugh’s latest EP for Heligator is all about the beats. For those of you familiar with SWP’s flowing, languid guitar and synth paired with stabs of sharp, atonal noise, framing something like this on beats may sound anachronistic. But it totally makes sense. “Square” starts with pulsing, unrelenting tom-hit while pitch-shifted everything swirls over and beneath. “Blended Ghost House” pairs looping free-jazz woodwinds with a seriously deconstructed boom-bap before the track changes into an entirely new animal. “Triangle’s” beats are gorgeous and lush, paired with a shoegazey haze of processed guitars, Baugh’s sonic landscape strikes a chord to other Heligator alumni Landing. Easily one of the strongest Heligator releases. Hope you love it as much as I do. As always, all proceeds go to the library at the Malindza Refugee Camp.


Fuck Mtn.

MPLS MMXIV: Minneapolis Noise Circa 2014‘ $20
mplscompTriple cassette compilation of 29 active noise acts from Minneapolis, MN. Edition of 100 hand-numbered copies. Book-style vinyl case, double-sided artwork, double-sided insert, each copy includes a digital download code.


Not Not Fun

masterfully pulverized crypto-techno industrial designs by basement warrior Noah Anthony, sequenced into the ultimate culmination of the Profligate project to date. everything has led to this.

a secret stalker of the SF underground finally emerges with an insular and derelict vinyl full-length, full of hitchhiking mumblers and serene squatter meditations. exploratory loner americana, lost in its own mind. comes with a rad psycho newsprint poster full of hidden meaning and zz top truths.

airless alien seer’s postpunk from this unusually singular ex-pat trio split between australia and berlin. pushes past convention into artful corridors of grey interplay and egigmatic delirium. crucially produced by olle holmberg / moon wheel.

first NNF compilation in like 100+ releases is a fascinatingly curated selection of six solo female DIY electronics projects from Russia and Ukraine, curated by Galya Chikiss. a great magnetic tape mural of displaced nodes of domestic radicalism.


Teflon Beast

Chris Daily – ’12 Minutes of Sleigh Bells and CHRISTMAS EP’
picWe don’t have many traditions at Teflon Beast, but one that we’re happy to continue is that of crafting new (skewed) Christmas music. This year producer/musician Chris Daily put together a collaborative new 5-song EP titled, 12 Minutes of Sleigh Bells and CHRISTMAS. The set features the songs of Chris Daily and the guitar/vocals of TB mainstays Geoff & Keegan and, for their first TB appearances, local Austin, TX musicians Thomas Porter & Quiet Company’s Bill Gyrta. Holiday bliss & weirdness all in one nice, neat lil bundle!