18 02 2016

Amid the chaos that is THE ENTERTAINMENT, Neurobit’s “Completely Puzzled” offers a respite in the form of a propulsive, twinkling gem of a track. Immersive without being ponderous, “Completely Puzzled” refreshes and excites.

Below, see Neurobit’s answers to our questions about the track, music-making, and his approach to sound.

1) Tell us a bit about your contribution to The Entertainment. Is it typical of your music? Are there any sounds/processes/elements in it that you haven’t included before? Were you trying to go for any specific listener reaction?

Neurobit is one of my music projects and the main focus of this project is improvised music generated by video game consoles. So a lot of my tracks have an 8 bit feel to them which makes the sound very recognisable. For me Neurobit tracks feel like landscapes. And that’s what I also had in mind while recording my track for this compilation.

2) Are you better off in your music than you are walking around in life?
That’s a good question haha. I think, since making music is a full time job now, I think I’m probably good at both. But I feel one goes with the other. My music is a reflection of how I feel and my response to the world around me. But what I record also reflects back on who I am and how I feel. The type of sound I respond to and how I treat that sound usually reflects my mood or what I’m feeling at that specific moment.
3) What is noise? What role does “noise” have in your work?
Noise for me is like bringing sound to it’s radical conclusion. There is something pure about it. It can create a lot of energy into a track and noise can makes a track much more intense even when done subtle. In Neurobit tracks I use noise a lot in the form of resonance to go along with melodic long tones to get bit of a feeling like a storm is rushing by. I used that a lot when I released “Maison De Verre Sur Le Chantier” in 2012. Over the years I lost a bit of interest in using noise just as it is. Nowadays I’m much more focussed on the combination of noise elements with melodic sounds when recording Neurobit tracks.
4) Did you intentionally want to make something the listener could only speculate about, rather than be certain of?

Let me put it this way. I always put a thought, idea or feeling behind my tracks. I’m not a very big proponent of creating something and letting the public decide what it is. It’s the same type of discussion that you have within abstract visual art. I always want to know what the idea of the artist was. If anyone can decide what it is they’re seeing than it becomes irrelevant to me in a way. I like it when artists have specific ideas behind their work. That doesn’t mean that the listener needs to be certain of everything, but it is important to me to be able to point them into the right

5) What’s next for Neurobit? Anything you want to tell people about?

There’s is very exciting news for my Neurobit project. I will be releasing a new 12inch very soon.
The test pressings are already done. It will be released by the Dutch label Vrijstaete.

Last month I also released a new digital Neurobit EP on the Spanish label Lowtoy which can be downloaded for free:

My other projects Former Descent and Rioteer are still going strong as well. As Former Descent I will release a collab album on vinyl later this year. And as Rioteer new breakcore tracks as well as a hardcore ep are ready to be released this year.

Thanks, Neurobit! We look forward to checking out all the sounds you have in store for us. Keep on doing the thing.

-Derek Tibs (CEO, Immigrant Breast Nest)

*new* David B. Applegate E.P. “OFFICE of the LOINS and REINS” + I.B.N. comes to Twitter

12 01 2016

Hello Immigrant Breast Nest family,

We have two announcements today.

1. I.B.N. mainstay David B. Applegate has a new E.P. available for you:

“OFFICE of the LOINS and REINS” eructs a thick pap designed to promote healing, reduce swelling, and relieve pain.

Without proper genre or style, the four tracks presented nonetheless comprise a hubbleshow in its most formal sense. And so,

Hub-a-dub, punkateero!

2. You can now connect with Immigrant Breast Nest on Twitter. In addition to news about I.B.N. releases and events, you can expect a robust colloquy on topics of interest to the experimental electronic music community.

Bounce and jounce, melt the link:

See you around,

Derek Tibs (CEO, Immigrant Breast Nest)

Video By bruzed for Speak Onion’s “Ovoid Chamber”

5 11 2015

The Ovoid Chamber is a place where all is visible and audible; all is known. No edges, no shadows, no breaks between fields. One experiences the totality of the chamber at once and constantly. The only possible organization is post-hoc and externally applied. Bruzed and Speak Onion’s Ovoid Chamber is not a manifest experience of the chamber, but rather a reminder that the chamber exists created using manic pixels, cut-up drums, distorted bass, and manipulated field recordings.

From IBN054, “Ovoid Chamber” by Speak Onion.

Derek Tibs (CEO, Immigrant Breast Nest)


Immigrant Breast Nest Presents Show in Brooklyn, October 17!

15 10 2015


Immigrant Breast Nest presents. . .


Immigrant Breast Nest is throwing our biggest party of the year. We are celebrating a new cassette release from Decrepit Jaw, “World Witness,” and shooting a video for a forthcoming Speak Onion track featuring MC M.C. Bio aka Bill Pulaski (aka Will Smith of Buckshot Facelift and Artificial Brain). Show up early for the video shoot if you are truly down to party. There will be some drinks provided to everyone who shows up early to mosh on camera. After the shoot, we have a diverse array of live electronic music performances in true I.B.N. style, plus M1N0M0X DJing for true noise dance party vibes. Everything is loud, let your ears hear it.

Decrepit Jaw (new tape release)
[noise, tape manipulations]
Immigrant Breast Nest

[noise, situationalism]
Immigrant Breast Nest

Speak Onion (video shoot)
[drum’n’noise, breakcore]
Immigrant Breast Nest, Ohm Resistance

[experimental techno, soundscapes]
Blueberry Records/AY

[sacred music, dark ambient]
Auris Apothecary

[techno, noise]
Our DJ for the night

Visuals by bruzed

Saturday, October 17, 2015
(come early at 8PM for a new Speak Onion video shoot)

Bootleg Mansion
387 Sumpter Street, Brooklyn, NY


David Morneau – “Killer Cops”

22 06 2015


Immigrant Breast Nest proudly presents David Morneau’sKiller Cops.” Soundtrack to a cri de cœur, this E.P. addresses a dystopian impulse which has leaked into the present. As an aesthetic response to Body Count’s “Cop Killer,” it succeeds. As a piece of innovative electronic music for right now, it excels. Read about the artist’s intention in his own words below:

Black men are being killed by white police officers with sickening frequency. Despite the claims of certain conservative media figures and police apologists, these killings are racial. To take but one example, within weeks of learning that John Crawford was shot for walking around a Wal-Mart with a toy gun (and not pointing it at anyone) we hear the story of a drunk white man in Kalamazoo who carrying a gun in the street. Instead of drawing and firing, a dozen police officers patiently talked this man into putting down his weapon.

This music is about the white cops who react first, taking a life, and too often get away with it. It’s about the anger and frustration I feel when hearing these stories. These stories are not isolated incidents and it’s frustrating that the reaction is not universal outrage. The police are supposed to protect us. Instead they’re perpetrating violence on a segment of our population, creating an atmosphere of fear and anger. I don’t know what else to do or what else to say, so I made this music.

-David Morneau, 6/16/15

Derek Tibs (CEO, Immigrant Breast Nest)


16 12 2014


Today’s featured track from THE ENTERTAINMENT (Immigrant Breast Nest’s 5-year anniversary album) is comedy architecture from NYC-based artist and noise genius, Mysterious House. Mysterious House has a long history with Immigrant Breast Nest, including two full albums, and graces this track with his outlandish noise styles, ranging from concrete scrapes to outer-space floats, always with an abundance of dynamics.

We asked Mysterious House for some additional info about the track, music-making procedures, and approach to sound. We’ll be having mini-interviews like this with each of the contributors to THE ENTERTAINMENT.

1) Tell us a bit about your contribution to The Entertainment. Is it typical of your music? Are there any sounds/processes/elements in it that you haven’t included before? Were you trying to go for any specific listener reaction?

comedy architecture is as much an object to be observed as it is a sensory provocation. Certainly, there are some emotions. But I don’t want emotion to eclipse a cooler, more detached, aesthetic appreciation.


2) Are you better off in your music than you are walking around in life?
I am definitely more comfortable in in the space of music, or even visual art than I am in real physical space. Physical space is too bound by responsibility, people’s actions in physical space are too coded, too immediately attributable to their motivations. Physical space is repressed by the laws of capitalism. When i walk down the street, everything just looks like money, I can read the influence of money on just about every object I see.
But in the created, disembodied spaces of music and visual art you can provoke, harm, taunt, tease, sentimentalize, be lazy, and so on in a space which is safe, and which demands way less commitment. Its one thing to make pictures of corpses, but quite another to bring a real corpse into your life. Sometimes with music, I’m relieved the artist is trapped in an MP3 or in a stereo system, rather than being there in the room with me.
3) What is noise? What role does “noise” have in your work?
Noise refers to a handful of scenes, the most prominent of which are in Japan and the United States. Historically, people in these scenes have made very “noisy” sounds, but noisiness (from a sonic perspective) isn’t what defines them. They are fickle, they are into fads, and their relationship to genre is simultaneously loose and forward thinking. Why do I say that noise is a scene rather than a sound? Because Pedestrian Deposit is making drone, Dominick Fernow is making techno, and Maso Yamazaki is making psychedelic rock. This is nothing new. Lightning Bolt was a much more conventionally musical endeavor than say, Florian Hecker, but the term noise sticks to Lightning Bolt way more effectively than it does to Hecker. Lazy Magnet’s attachment to the noise scene is very telling, in the sense that Lazy Magnet was a sprawling, versatile affair that absorbed more genres than anyone can count, and drew from a staggering variety of traditions.
I have a lot of affection for noise, its probably the scene I’m most comfortable in. But its still far from home. I have a lot of problems with its total subservience to both fads and dogmas. Posturing often comes at the expense of aesthetics. Still, after all these years I keep going back to their shows.
4) Did you intentionally want to make something the listener could only speculate about, rather than be certain of?
It’s difficult for me to understand how there could be any certainty in music, unless you’re talking about certainty of process (this piece was certainly made with a piano) or some kind of stereotyping about the musician (this piece was certainly made by a grindcore enthusiast on food stamps). Personally, I find genuinely mysterious things to be rare and precious. When something is deeply confounding, when it refuses to resolve itself and give you an answer, hold on to it, keep it close, and cherish the rare sensation!
5) What’s next for Mysterious House? Anything you want to tell people about?
Drive alone at night deep into the suburbs, where no one is on the street, where its dark. Get out of your car and walk. Look at the houses, imagining that they are all empty, that no has ever lived in them, but that they are just enormous empty boxes full of light and furniture.  
We thank Mysterious House for the track and the words. Find Mysterious House on soundcloud and the internet.
Derek Tibs (CEO, Immigrant Breast Nest)

Immigrant Breast Nest presents THE ENTERTAINMENT Compilation and Release Party

20 11 2014



Immigrant Breast Nest is 5 years old this year. We are celebrating by doing what we do best: presenting you with wrecked sounds. This will include a 20-track compilation featuring the finest artists in broken music and a release party on December 6 in Brooklyn, NY. We’ll bring you more info on the compilation shortly, including a couple of teaser tracks, but for now, we want you to know about the release party. To celebrate our 5th year and 50th release, we have both veteran and new Immigrant Breast Nest artists lined up to perform live electronic feats for you at Coco66. Coco66 is where Immigrant Breast Nest was launched, and we’re back up on that mammoth sound system to help expand your sonic landscape. Be there and celebrate with us.

Immigrant Breast Nest presents THE ENTERTAINMENT Release Party and 5-year Anniversary

Mysterious House
Speak Onion
Peter Seligman
Decrepit Jaw
David Morneau

66 Greenpoint Avenue
Saturday, December 6, 2014 10PM – 4AM



David Morneau and Speak Onion Music in November Circuit Bridges Concert

13 11 2014

This month’s Circuit Bridges concert features new music from David Morneau, and a new music video from bruzed and Speak Onion, plus material from other new and exciting composers. Come check it out on Thursday, November 20, 2014.
Gallery MC 549 West 52nd Street New York, NY 10019  (ride freight elevator to 8th floor)

Thursday, November 20, 2014, 7:30PM

$15 / $7 (students)

Dan Abatemarco (Speak Onion) with video by Bruce Drummond (bruzed)
Douglas DaSilva
Pierre Jodlowski (perf Shiau-uen Ding)
Leigh Landy
Cort Lippe (performed by Chris Howard)
David Morneau
Margaret Schedel
Kristen Starkey

Derek Tibs (CEO, Immigrant Breast Nest)


New EP from lilienfeld out now!

6 11 2014

Acid strips the flesh from a skeleton but something still breathes through the bones. “Depletion,” then, “Composition.” A boombox pumping at the intersection of Squelch and Noise attracts a mob. That’s us, drawn in by the sounds on lilienfeld’s first Immigrant Breast Nest EP.


Speak Onion remix on new Bruzed EP

31 10 2014

Bruzed, longtime collaborator with our own Speak Onion on visuals, has released a new EP, Animus Apparatus. It’s in the industrial rock/metal vein a la 90s Gary Numan, NIN, etc. and it’s extremely well written and produced. The EP features a remix from Speak Onion, getting hyper edited on all the guitars, vox, and beats. Not to be missed.

Derek Tibs (CEO, Immigrant Breast Nest)