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. 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)

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)

Speak Onion teams up with redHat for THIRD RAIL / TERRITORIAL DISPUTE!

22 10 2014

redHat and Speak Onion are two of the U.S. east coast’s pillars of hard electronic music, and they’ve teamed up here to create two pieces of breakcore-based industrial mania. “Third Rail” contains trace elements of both redHat and Speak Onion’s respective styles, but finds a previously uncharted place where mutated bass is the basis of all existence and breakbeats are unmercifully chopped, crushed, and reconstituted. With “Territorial Dispute” the pair push further out into dark space, grappling with divergent anomalies until a polystylistic embryo splits and spatters its juice over the void.

-Derek Tibs (CEO, Immigrant Breast Nest)

Speak Onion live at EMF6 Sunday, Sept. 28 at Silent Barn in Brooklyn

22 09 2014


Pas Musique and Alrealon Musique will bring you 5 days of audio/video experimentation.,

Sunday Night’s program at Silent  Barn includes Speak Onion at 10PM.

Sunday, September, 28th at Silent Barn
Curated by Phillipe Gerber (JOHN 3:16, Heat From a Dead Star)

1) Tribes of Medusa 8:00-8:30

2) Black Saturn 8:45-9:15

3) Big Plastic Finger 9:30-10:00

4) Speak Onion 10:15-10:45

5) Din Machine 11:00-11:30

6) Alap Momin 11:45-12:15

7) mNIPK 12:45-1:15


Silent Barn
603 Bushwick Avenue
NY, 11206


Blipvert, Mysterious House, and Peter Seligman – edgePinkyoutub

22 09 2014

This record is probably going to make a lot of people quit music.

Before, when I felt afraid, I would look up “My cousins birthday” on YouTube to see how normal people felt and behaved. Now I listen to this album.

When I travel through time, I unrepentantly alter the timeline to make people louder.

If I could have fun, I would play this record while having fun.

A voice only I can hear, localized in my skull behind my right ear says: “You are still alive.”

This is art historical music.

-Derek Tibs (CEO, Immigrant Breast Nest)

SAVE THE DATE: enn{kdog at PUFFERSS Festival 9/20/14

13 08 2014

enn{kdog at PUFFERSS

enn{kdog at PUFFERSS

You can see and hear enn{kdog perform live Saturday, September 20 in the parking lot of 230 Oak St. – Olneyville, Providence RI.

enn{kdog: alive. Enjoy this recording of their set from February. It does the move. It finalizes the draft ten thousand times:

Derek Tibs (CEO, Immigrant Breast Nest)