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.”


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)


2 06 2015

Elegance and distortion collide in David Morneau‘s Five Step. A mystery narrator, a garbled message, an insistent beat propelling Five Step into an as-yet-unexplored zone.

Below, see David Morneau’s answers to our questions about the track, music-making, and his approach to sound. Don’t sleep, all the contributors to THE ENTERTAINMENT will be featured here in the coming weeks.

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?

I like to think that it’s hard to define what’s typical of my music. I think that everything I create is closely related way down in the depths of pieces. The surface elements can vary quite radically. My background is that of a composer trained at universities. I hesitate to call myself a classical composer, but that’s a label that is a convenient reference in this context. My interests in what I listen to are broader than “contemporary classical” music. My composing reflects these broad interests. I hear this kind of sentiment from other composers too. We grew up listening to so much music that isn’t from the traditions that we study, and we’re looking for ways to include all of these sounds in what we do.

I try to approach everything I make, no matter what style or genre or category, with the same openness. It’s always about trying to express something musical. This carries into how I present my music. I don’t segregate my work. I don’t release here under an assumed name. Everything I do comes fro the same nebulous place in my psyche. That’s where whatever patterns that are typical for me emerge.

2) Are you better off in your music than you are walking around in life?
The music is always in my head. I tend to live in my head. I’m definitely better off in my music, but I’m getting better at the whole life thing too.
3) What is noise? What role does “noise” have in your work?
This is such an interesting question. I think that most people have a very specific idea of what noise is (speaking generally rather than of any genre label). And I think it’s safe to say that generally noise is viewed as a bad or unpleasant thing. Against this generalized preconception there is a substantial group of people making and listening to music that includes deliberately noisy elements. My own suspicion is that the attraction to noise is a little like the attraction to hot sauce. It can be abrasive and painful and exhilarating all at once. On repeated listening and exposure, the effect is diminished and the more subtle qualities of the noise become more evident. When one can begin to appreciate the subtlety of noise elements in their music, one can begin to see that noise is like any other element. In some cases noisy sounds can provide a sharp edge to a sound. In others, it can create a nostalgic blur. Henry Cowell writes about noise in a way that I find interesting and instructive. In breaking music down into its basic elements (melody, harmony and rhythm) he suggests that a further distinction is first needed: tone and noise. Tone is sound produced with a periodic vibration and noise is non-periodic vibration. He further suggests that pure tone is largely non existent outside of electrically generated waveforms. A singer creates an almost pure tone when singing a vowel sound, the consonants are irregular, and thus noise. Sonic analysis shows that every musical instrument creates sounds that are a mix of periodic and non-periodic sounds (tone and noise at once). “As a musical sound grows louder, the noise in it is accentuated and the tone element reduced…. Under the best circumstances, the emotions are aroused by musical noise and lulled by musical tone.”When I approach noise in my own work, its use and role is determined by the needs of the piece I’m working on. Very often in music I create for I.B.N., I’m inclined to make it more noisy. This is because there’s a cultural expectation of noisy,”wrecked” sounds here. That difference, for me, doesn’t make the music inherently any better or worse. We can’t have music without noise. How much noise is a matter of preference.
4) Did you intentionally want to make something the listener could only speculate about, rather than be certain of?

I believe that music can only ever be speculative. There’s a common trope in our culture that music is an emotional expression, but I don’t really buy that. Music can evoke an emotional response in a listener. So much of that response depends on the context of the listener (where they hear the music, and also their own history of listening to music). Something that I have a “happy” emotional reaction to may be because it sounds like music that I remember from my childhood. The same piece may very well leave you indifferent because you don’t share that association.Because of our shared cultural heritage, there are general kinds of musical sounds and gestures that can evoke general kinds of emotional responses in many of us. This is why we repeatedly hear the same kinds of music underscoring emotional moments in film and television and advertising and news montage. I don’t think that this fact makes the music itself emotionally certain. Knowing, as I do firsthand, these kinds of musical moments can be crafted out of calculation rather than honest emotional experience, bolsters my confidence in asserting that music does not communicate emotion.Beyond emotion, there’s not much else that could be considered part of a musical communication. Music ideas, such as form and patterns, can certainly be communicated, but they don’t really mean anything outside of music. We have rich and subtle language, capable of all kinds of ideas. If that’s what I were interested in doing, then I would be a writer.

So, I guess what I’m trying to say is that I don’t think my own intention really enters into it. I make music that I enjoy and hope that others enjoy it in whatever fashion that they choose. To me, all music (and art) is speculative.

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

More music. Always more. My new EP, Killer Copz, drops this month on I.B.N. I’m setting up a two Gameboy rig right now for twice the lo-fi fun. This will be my main beat maker for a while. I’ll develop new material for shows and future releases. And I’m working on a project with New Thread Quartet for four saxophones and electronic playback inspired by Thoreau’s Walden. The playback will include field recordings from Walden Pond and readings of text sampled from the book. There will be more stuff too, probably.

Thanks, David Morneau! We look forward to dropping Killer Copz (stay tuned, I.B.N. faithful), your upcoming Gameboy explorations, saxophone madness, and all of the other “exclusive unprecedented experiments” we know you have in store.

-Derek Tibs (CEO, Immigrant Breast Nest)


6 05 2015

Birth by Joy Through Noise is today’s featured track from THE ENTERTAINMENT. Birth pummels and entices with its distorted beats and tweaked melodies. The thump of industry crawls out of the factory to embroider the earth.

Below, see Joy Through Noise’s answers to our questions about the track, music-making, and her approach to sound. Stay tuned, all the contributors to THE ENTERTAINMENT will be featured here in the coming weeks.

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 Birth came from a series of songs that I wrote all around the same period, late 2013-early 2014.  I became really inspired by writing within the 180-190bpm spectrum and also began incorporating more drum and bass elements into my sound production.  At that time I was performing much more consistently that I had in the past and that created this momentum and inspiration of writing new material which was more refined that anything I had done prior to that. The song Birth developed through my performances, after each set I would refine it a little more based on how well it took on a loud system and in a public space. Everything was written and performed in my Electribe EMX, no external processing or editing was done.
I wrote Birth during a time period where I felt as if I was literally giving birth to myself, both a creative and destructive metaphysical process, so I was drawn to melodies and sounds that evoked a movement of primal emotions, a feeling of going deep within oneself. I don’t necessarily intend to create listener reactions, but I am conscious of invoking a mood.   
2) Are you better off in your music than you are walking around in life?
I certainly think I make more sense when I am creating, even if just to myself.  I’m very non-linear, so when I am creating I am more aligned with my nature flow.  But who I am as a sound artist evolves because of what I take from everyday life, the challenges of reality help me grow and also appreciate the moments when I am in my self-induced creative atmosphere.
3) What is noise? What role does “noise” have in your work?
To me, noise is sound without boundaries, something shamanic/primal, frequency created outside the limitations of definition.  Noise is part of my creative process, hence ‘joy through noise.’ In my music, noise functions as an energetic component, and often times it’s how I shape a sound in an unusual way so that it’s not just “music” in the traditional sense, but it’s something beyond sensual reality.
4) Did you intentionally want to make something the listener could only speculate about, rather than be certain of?
I don’t really think about the ‘listener’ when I create.  Especially since everyone experiences the world through there own perceptual filters, it wouldn’t even matter because people will have their own experience of it anyway.  I create what comes through me and what I want to hear. 
5) What’s next for Joy Through Noise? Anything you want to tell people about?
I have a couple albums in the works, one of which will be a release of all the tracks I wrote along with Birth, and then another which is all new tracks that I’ve written on the Tempest.  Simultaneously I am working on a few release for TWIN BRAIDS, which is my project with Baseck.  I am performing in LA regularly with both music projects.  Along with performing and recording, Baseck and I have a night we host called CELEBRATE EVERYTHING, which is dedicated to showcasing the most potent Experimental Electronic Music, so if your in LA you’ll definitely want to keep our events on your radar (

Thank you, Joy Through Noise! We’ll see you at CELEBRATE EVERYTHING when we’re next in LA.

-Derek Tibs (CEO, Immigrant Breast Nest)

Peter Seligman live w/ Against Nature and Badman Brad at The Flat, Tuesday, 3/31, FREE!

26 03 2015


Against Nature
Peter Seligman
Badman Brad


Tuesday, March 31, 2015

The Flat
308 Hooper st Brooklyn, NY 11211

Resident Advisor

Derek Tibs (CEO, Immigrant Breast Nest)


16 03 2015

Their Bellies Full of Sand by Speak Onion is today’s featured track from THE ENTERTAINMENT. Relentless and reckless, shot through post-industrial wreckage, Their Bellies Full of Sand is a fine introduction to Speak Onion’s oeuvre.

Below, see Speak Onion’s answers to our questions about the track, music-making, and his approach to sound. Stay tuned, all the contributors to THE ENTERTAINMENT will be featured here in the coming weeks.

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 raw materials are pretty typical: cut-up breakbeat like thing, heavy kicks, modulated bass, feedbacky noise, dark melodic thing. The tempo is much lower than most of what I do, though. For a (brief) period during the development of this track I was wondering about whether I could make something more “dance-y” even something that a DJ could use in a club situation. I never dove all the way into that, but some of the patterns still bear that mark.

2) Are you better off in your music than you are walking around in life?
I’m definitely better off in the creation of my music than I am in regular life: even when it’s frustrating it’s exciting; there’s (almost) nothing that’s completely out of my control; I eventually get somewhere good. Once the music is complete, though, I think it’s a much worse place than my regular life. It’s kind of a bummer, actually. No fun, no smiles.
3) What is noise? What role does “noise” have in your work?
Noise is absence of order, and you can extend that to say it’s the absence of intention. I introduce a lot of literal noise into my music, and then spend time fighting that noise off to reassert intention/order. That’s one of my primary tension-building techniques.
4) Did you intentionally want to make something the listener could only speculate about, rather than be certain of?
No. I want people to feel a very concrete connection to the music and feel they know it very intimately. Not on the first or even second listen, probably, but eventually. I want them to experience “Their Bellies Full of Sand” as a world they can inhabit directly. I want it to feel real for them.
5) What’s next for Speak Onion? Anything you want to tell people about?
Come see me play a show in Brooklyn on March 20 at Coco66 for Barcore, and look out for a full length album coming this year.

Thanks, Speak Onion. If you’re anywhere near N.Y.C. on the 20th, make sure to go see the show. Guaranteed to have more beats per minute than anywhere else in the world. True density, unbridled energy.

-Derek Tibs (CEO, Immigrant Breast Nest)

Speak Onion live at Barcore w/ Xanopticon, Nevermind on Friday, March 20

13 03 2015



✝ ✝ ✝ Friday, MARCH 20th 2015 ✝ ✝ ✝



with live performances from:

[San Francisco, CA]
Peace Off | Zhark International | Tigerbeat6

Apocalypse Recordings

[Philadelphia, PA]
No Room For Talent | A.I.M.

[New Jersey]
Scolex | MSET | naboamusic

[New York, NY]
Immigrant Breast Nest | Barcore

plus special guests DJ’s:

and visuals from:


21 & UP

$10 before midnight
$15 after

@ COCO66
66 Greenpoint Ave.
Brooklyn, NY 11222



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