*new* “Vide Lacunaire” by Méconium.

7 07 2017

Twisting and pulsating with the chaos of life, Vide Lacunaire somehow manages to constantly lurch forward. Méconium delivers wildly processed hits and knocks under deep atmospherics. Flashcore roots support delightful digital flourishes, luring the listener ever closer and deeper. Each moment brings a newly evolved sonic bloom morphing into novel and unimaginable forms; each listen a new encounter in the audio jungle.

Keeping the legend of flashcore alive forever. Do not sleep.

Derek Tibs (CEO)

*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)

Speak Onion – “Ovoid Chamber”

5 11 2015


Aggressive and elegant, the two tracks on Speak Onion’s latest, “Ovoid Chamber,” reach out with a living vein to take a swipe at convention. In Speak Onion’s hands, drum ‘n noise reveals itself as a sleepless genre undergoing a process of hyper-creative evolution. Embryos twitch, split, and attack. The chamber cracks birthing the most monstrous pieces of brutal electronics in recent memory.


Derek Tibs (CEO, Immigrant Breast Nest)

Decrepit Jaw – “World Witness”

5 11 2015

A unique confluence of evolved social consciousness and atavistic sound, Decrepit Jaw’s “World Witness” churns and grinds through fifteen tracks of perception-altering noise corruption. The base materialism of the sound-world shivers and breaks, a clarity of thought and purpose prevails.

Cassette available includes download.


All proceeds from this album will be donated to the NATIONAL POLICE ACCOUNTABILITY PROJECT: “coordinated legal action, public education, and support for grassroots and victims’ organizations combating police misconduct.” www.nlg-npap.org


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)


26 02 2015

Check out today’s featured track from THE ENTERTAINMENT, Immigrant Breast Nest’s five-year-anniversary compilation: Sun Ra’s Car by BlipVert. Relentless electron interactions, spew effects, a retaliation and inside-out free-jazz battle form.

We asked BlipVert 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?

Sun Ra’s Car is built off of a half-finished composition I had on my hard drive for awhile which I initially titled ‘noodlechicken’. The original track was inspired by the Captain Beefheart song ‘When Big Joan Sets Up’ which is one of my all time favs. I would say this track departs slightly from my past work in that the rhythmic elements stay mostly consistent (e.g. metric perpetuity, odd meter loops built off of percussive source material); there isn’t as much heavy soundfile editing and splicing which normally characterizes my compositions. However, in place of this, there’s a giant battle between a distorted Rhodes piano and an organ throughout the piece. This, along with the blasting rhythms, gives the impression (in my opinion) of an intense small ensemble free jazz jam. Someone once described my electronic music as having the energy/characteristics of 60s and 70s free jazz. I guess I tried to capture that essence on this track in a more vivid way.

2) Are you better off in your music than you are walking around in life?
Often times, I have no idea what the hell I’m doing in any area of life. Music (and art) is the only thing that’s really ever felt right or made sense to me. So yeah, I suppose I’m better off musically than I am in life. Truthfully, I don’t really walk around….I kind of wander aimlessly.
3) What is noise? What role does “noise” have in your work?

I have no idea what noise really is, but if I had to define it in the context of my own musical work, I’d say it’s controlled chaos. Most of my compositions are so severely chaotic to the point that most people could interpret them at face value as ‘noise.’ However, I try to retain a significant measure of control over my work in my home studio and at live gigs, which for me is important in terms of successful execution. What’s really fun though is when things get so beyond my own authority that happy accidents create situations I never intended or considered, which shows me how exciting chaos (i.e. noise) can be when it isn’t controlled.

4) Did you intentionally want to make something the listener could only speculate about, rather than be certain of?
I gave this track the title Sun Ra’s Car primarily because that’s the first thing that came to mind: the image of Sun Ra hauling ass down the street in a vehicle equipped with two keyboards which propel the vehicle forward, and the more aggressively they’re played the faster it goes. The trippy ending section for me represents Sun Ra ascending into space, returning to the cosmos to travel the universe in his special car. Whatever image/thought/emotion/idea the listener takes away from this track is completely up to them…I like to think I painted a picture of some kind.
5) What’s next for BlipVert? Anything you want to tell people about?

Definitely check out my recent collaborative release on Immigrant Breast Nest with Mysterious House (James Mercer) and Peter Seligman, entitled ‘edgePinkyoutub.’ This was completed back in September 2014, and we did a few gigs back in the NYC area to support it. We each composed a track and then remixed each others’ tracks. I’m really proud of all the work we did for this record, and it’s totally slamming from beginning to end, not to mention it covers a lot of ground stylistically. I have a new track, entitled ‘Elders of the Mir’, appearing on DTrash’s 200th release compilation that’s be out on February 14th. Excited about this track as it incorporates more of a ‘metal’ vibe, and I plan for it to be the first in a song cycle about the Russian peasantry. Being Bay Area localized for now, I’ll be doing 5lowershop’s annual Monsters of Love festival later this month, and there are a number of sporadic BlipVert gigs occurring over the next few months in the Bay Area with hopeful talk of a west coast run of dates with some dudes out here. There is a slight possibility I’ll be relocating to Canada next fall for some academic/compositionally oriented things, but that’s a big if….

Much thanks to Immigrant Breast Nest for putting this all together! Hope you enjoy listening!
And many thanks to you, BlipVert. We love your work, keep doing what you do.

-Derek Tibs (CEO, Immigrant Breast Nest)

“d_ork” by lanuk is here.

6 02 2015


The stuttered underscore in “d_ork,” the title of lanuk’s first Immigrant Breast Nest release, is no accident. The electronics trip and collapse, pick themselves up, stagger forward. These aren’t sounds in crisis, a neatly embroidered elegance pervades the Brownian motion. Agitated sediment behaves in a glass of water. It’s at play and so is lanuk.

-Derek Tibs, CEO


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)


1 12 2014

Acidrum from the Los Angeles- based drum machine virtuoso, scratch magistrate, and synthesizer guru, Baseck, is the last preview track from THE ENTERTAINMENT before the full release on December 3, 2014. It brings a heavy palette of sounds with a funky and bouncing rhythm that translates directly to physical motion in the listener. You’ll also want to be sure to catch Baseck performing live along with 8cylinder, Mysterious House, Speak Onion, Peter Seligman, Decrepit Jaw, and David Morneau on December 6 at Coco66 in Brooklyn for our THE ENTERTAINMENT release show.

We asked Baseck 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?

the track “acidrum” that i contributed to the comp was made while shuffling my feet and banging my head in my home studio. its a simple combination of some of my favorite things in music. acid bass lines, and drums! it was created in one day and performed entirely on the tempest (dave smith instruments & roger linn) drum machine/synthesizer while standing up. i wanted to get the raw feeling out as quick as possible and the energy just flowed. when i work on a track it’s usually better for me to be in that specific zone to capture that particular feeling. when i make upbeat bang your head music i’m usually writing standing up and jumping around. when i make ambient, i like to lay in bed, etc.. maybe those feelings will transfer to the listener, who knows.. when making music i don’t necessarily think about how it’s going to be perceived by other people. i’m in the moment and just dive deep into what is making me feel good. i want to be able to throw a track of mine on whenever i want and have it bring me back to that special place where i was when it was created. it’s a time capsule. i make music because i love experimenting and arranging sound frequencies. it’s a major part in what moves me in life. there’s certain combinations that just hit me in the right place and vibrate my whole being. it’s like creating my own drug and then trying it out on myself! deliciouuuuuuuuus.

2) Are you better off in your music than you are walking around in life?
the music barely stops! drum percussion/arrangements, and melodies are constantly running through my head wherever i am. i’m thankful for that. there’s some cool songs up there that only i’ll ever hear hahah. but yes, i do miss the studio when i’m away from it for a while. all the machines bring me such joy. i like a big drum machine/synth buffet to choose which way to work. learning new machines is always fun to shock your workflow and keep you on your feet. dealing with certain limitations that particular machines have is a fun challenge. i don’t make music on a computer because it doesn’t flow for me, and there’s too many options. maybe it’s something i’ll get into in the future.. 20 years ago i started djing and got really into scratching and intricate turntablism. after that was writing music on the bootleg gameboy tracker LSDJ. i was amazed how i could fit the gameboy in my pocket and create such huge sound with only 4 channels of sound. then i got into modular synths and drum machines. being hands on, patching cables, and banging on pads is something that excites me.
3) What is noise? What role does “noise” have in your work?
noise plays a huge part in my work. white noise and pink noise are very essential to the creation of my percussion.
4) Did you intentionally want to make something the listener could only speculate about, rather than be certain of?
i just freak like a freak freaks, and maybe the other freaks will freak with me.
5) What’s next for Baseck? Anything you want to tell people about?
more music releases! creation isn’t hard for me, it’s pressing record which is the hard part. i’ve been lucky enough to play shows all over the USA, Europe/UK, Japan, Mexico and beyond with only a very small amount of music out there. i’m trying to get myself in the habit of releasing now. most of my machines are maxed out with songs, then those files get backed up to the computer and forgotten about. this is something i’m trying to change. 
joy through noise and i have a project called TWIN BRAIDS. look out for releases in the future. we also have a night in los angeles called CELEBRATE EVERYTHING which is dedicated to pushing experimental electronic music live sets of internationally known artists, as well as under the radar artists who we think are mega fresh and deserve some shine. 
oh yeah, connect to my instagram. www.instagram.com/baseck i put loads of snippets up from stuff i’m working on in the studio.
rock on rebel warriors,
We thank Baseck for the track, the upcoming performance, and the words. Find Baseck on twitter, soundcloud, instagram.
Derek Tibs (CEO, Immigrant Breast Nest)