{"title":"Available Releases","description":null,"products":[{"product_id":"booker-stardrum-temporary-etc","title":"Booker Stardrum - Temporary etc. LP (BLUE)","description":"\u003cp\u003eWe are excited to announce the return of LA-based percussionist and composer \u003cstrong\u003eBooker Stardrum\u003c\/strong\u003e to NNA Tapes, in the form of the brand new full-length album \u003cstrong\u003e‘Temporary etc.’\u003c\/strong\u003e Booker has ceaselessly dedicated himself to the art of percussion across multiple platforms, having recorded and performed with rock-based groups like Cloud Becomes Your Hand, Landlady, Lee Ranaldo, and Weyes Blood, in addition to more experimental and free improvisation collaborations with Nels Cline, Arian Shafiee, VaVatican, and more. This diversity in experience has given Booker’s solo music a unique voice, employing a wide range of techniques and ideas into his compositions, yielding a highly personal amalgamation of electro-acoustics, minimalism, ambient, jazz, and contemporary experimental electronic music. ‘Temporary etc.’ exhibits a distinct refinement and maturity, combining percussive methods and melodic figures into a dense, multi-faceted whole through the use of electronic manipulation and studio ingenuity.\u003c\/p\u003e\n\u003cp\u003eEngineered, produced, and mixed with Deerhoof’s John Dieterich, ‘Temporary etc.’ creates an ambitious electro-acoustic world where both melodic and percussive gestures are fused to create profound results. Instead of the primarily linear nature of popular music, Booker’s work aims to exist in multiple spaces and dimensions simultaneously, creating a dynamic energy that feels full of life and finds it’s own unique static space, in the vein of Jon Hassell’s Fourth World philosophies or Eno’s Ambient modes. This non-linear musicality gives the pieces a fluid, amorphous quality, which allows the separate tracks to flow together into a singular whole. “A Passage or Time in a Hanging Truth” deals specifically with the relationship between vast, suspended harmonic clusters of varying pitch and tone, segueing seamlessly into “Wisp,” which uses musique concrete-like editing and production to create a highly active, dynamic composition. Transitions like these display the creative freedom and diversity of musical ideas that Booker chooses to employ within a full-length album context.\u003c\/p\u003e\n\u003cp\u003eUpon deeper listening, a linguistic quality to Booker’s playing emerges, almost as if ideas are being communicated through the various textural and rhythmic qualities of the percussive objects themselves. By tapping into and harnessing the universal intuitive rhythms that exist all around us, Booker is able to convey non-verbal, but distinctly human, thoughts and emotions that can be felt physically as well as heard sonically. “Drim Dram II” and “Drim Dram III” most explicitly demonstrate Stardrum’s strength on the drum kit, with frenetic, yet groove-centric, phrases being discharged like expressionist paint hitting a canvas. These tracks also act as sequels to the original piece from Booker’s 2015 NNA debut ‘Dance And,’ showcasing a continuity and progression from his previous work.\u003c\/p\u003e\n\u003cp\u003eStardrum self-describes his music as “pan-tonal” and “pan-rhythmic,” meaning that it is composed and executed with an intentional flexibility that gives space for human intuition to influence the musical outcome. Therefore, the relationships between pitches and chords, and tempos and rhythms, are left up to a feeling or cosmic guidance, rather than a strict methodology. These personal concepts can be heard and felt throughout the album, which exhibits a distinct humanity throughout it’s nine tracks. Recorded not only in the studio, but also at home, while traveling, and across different mediums such as portable recorders and phones, these recordings are manipulated and processed ly in a sculptural, collage-like manner. This multi-fidelity approach to the recording and mixing process gives ‘Temporary etc.’ a unique textural tone and essence; one that builds its own contained universe with seemingly infinite depth and vastness.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886578245947,"sku":"LP-NNA-116-BLUE","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3634575722_10.jpg?v=1737503652"},{"product_id":"alice-cohen-artificial-fairytales","title":"Alice Cohen \u0026 The Channel 14 Weather Team - Artificial Fairytales CD","description":"\n\u003cp\u003eNNA is honored to bring you new music from New York-based songwriter, musician, and visual artist \u003cstrong\u003eAlice Cohen\u003c\/strong\u003e. ‘Artificial Fairytales’ is the artist’s 6th full-length solo album, joined now by \u003cstrong\u003eThe Channel 14 Weather Team\u003c\/strong\u003e (\u003cstrong\u003eAdrian Knight\u003c\/strong\u003e and \u003cstrong\u003eDavid Lackner\u003c\/strong\u003e) on additional instrumentation. Cohen’s extensive and diverse career in music has formed her work into the unique breed of sophisticated pop that it is today, utilizing synthetic funk, club-like atmospheres, technical compositions and inventive production to create a sound that is both vintage and modern simultaneously, fitting in seamlessly with the current wave of underground New York City art pop.\u003c\/p\u003e\n\u003cp\u003eCohen has spent the majority of her life immersed in music. The daughter of jazz musician parents in Philadelphia, she was influenced at an early age by “The Philly Sound” of soul music songwriting\/production duo Gamble and Huff. Getting her start playing her songs in coffee shops, Cohen came up through the disco\/funk era of the late 70s and early 80s both as a songwriter and in her band Fun City, before venturing off into synth pop in the mid-1980s with The Vels, then going on to sing and play bass in grunge rock outfit Die Monster Die in the 1990s. Since then, her solo work has built on elements from all of these experiences, as evidenced in her unique and personal hybridized sound. Now, with ‘Artificial Fairytales,’ Cohen has locked into a mode of expression that is dance floor-friendly, yet psychedelic and surreal enough to trip out to in any setting. While elements of these songs are extremely accessible, the deep variety of sonic coloring, dense layering, and creative use of synthesis work together to push the boundaries of status quo pop music. ‘Artificial Fairytales’ has the detail and presence of a studio album, but the fact that it was recorded at home reveals an extra dose of freedom, experimentation, and personality in its details. These 9 songs sit in the more glamorous zones of eighties club and R\u0026amp;B music, though laced with more modern cosmic tendencies through the delicious and stimulating blend of synthesizers, guitar, sax, flute, and drum machine.\u003c\/p\u003e\n\u003cp\u003eThematically, the album explores the internal fantasy life of “outsider” characters, the theme of the Working Woman, and the transformation of the Old Maid archetype. The songs are reflections of the fairy tales we learn in childhood, reworked into the dreams and realities of a modern day woman. The prince on a white horse, the castles, and dragons, have all crumbled, and melted into a distorted plastic landscape. Women’s work and fantasy life form the undercurrent of ‘Artificial Fairytales’ and are expressed in everyday experiences: getting up at the crack of dawn to go to work, as well as the ”ladies of the night” who frolic in seedy motels and sailor bars. Throughout the album, liberation and escape are found in fantasy - on the dance floor, in night clubs and imaginary daydreams.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49894714540347,"sku":"CD-NNA-119","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Alice_Cohen_The_Channel_14_Weather_Team_Artificial_Fairytales.jpg?v=1736540638"},{"product_id":"talsounds","title":"TALsounds - Acquiesce CS","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor an artist whose career is almost entirely improvisational, TALsounds has refined a stunning style of music that sounds as meticulous as it does surprising. Since picking the moniker nine years ago, Natalie Chami has been flitting between experimental electronica, mood-driven minimalism, and classically trained choral singing as a solo artist in Chicago. On her fifth album, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, she dives inward without constraints and invites the listener to do the same, to lose track of time, and to let emotion dictate what happens next.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eChami is a DIY staple within Chicago’s electronic scene as a solo artist, a member of Good Willsmith, and a frequent collaborator of Brett Naucke, Matchess, and others. Over the years, she’s honed her skills onstage, particularly her ability to block out what’s happening around her to instead focus on her subconscious, letting it guide where she steers each song. Whether she’s opening for Merzbow or Mary Lattimore, Tim Hecker or Tortoise, Mdou Moctar or Kaitlyn Aurelia Smith, Chami is adept at fitting the unique vibe of each concert despite never actually deviating from her music’s core sound — a prime example of her percipience and sense of control.\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003ePerhaps it won’t come as a surprise, then, that Chami made a career out of these virtues. During weekdays, she works at ChiArts—Chicago's premiere public high school for music and the arts—as both the Vocal Chair admin and a teacher for music technology, vocal technique, and choir. On the weekends, she offers private vocal lessons to teenagers, in addition to her after school hours. Chami’s been teaching there for a decade now, and that regularity keeps her well-versed in patience, creativity, and expression.\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eAll of this funnels into\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Acquiesce\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, her newest album as TALsounds. Recorded at home as improvised sessions, the album is a fluid extrapolation of her thoughts, worries, and stresses, later trimmed down and reformatted into songs. Chami treats her voice like an instrument that breathes calm into interwoven electronic parts, often leaning into vowels instead of phrases, particularly the tall, forward sound of “i” words like “time,” “find,” and “decide.” Performed entirely by Chami and produced by Cooper Crain (Bitchin' Bajas, Cave), \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis full of entrancing moments, be it the trumpet-like call in “Muted Decision,” the typewriter beat of “Instance,” the flickering vocals in “Else,” or the alien-like glitching of “Dynasty.” It picks up from the stirring sounds of her 2017 record \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLove Sick—\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003enamed one of the best albums of the decade by\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Chicago Reader\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e—and closes its eyes, as if in meditation, to reflect on what’s next.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRecorded between spring of 2018 and summer of 2019, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ecaught Chami in a turbulent stretch of extremes. During that year, she collaborated on multiple local music projects. Conversations with her therapist often turned into risk factors for anxiety. Her academic colleagues were shifting titles. Above all else, she was finding her bearings alongside her now-fiance in their passionate first year of dating. Chami recorded less music in a single year than she ever had before, and she later realized it was because she was happy. Her previous full-lengths—2013’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSky Face\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, 2015’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAll the Way\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, 2016’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLifter + Lighter\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and 2017’s\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Love Sick\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e—were topically heavier. This time, she was overwhelmed with questions: Am I actually happy? Is this what I want my happiness to look like? Is this change actually good? \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ewas a way to sort through that.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“For me, it’s not about recording; it’s about playing,” says Chami. “It’s therapeutic, but sometimes I feel more weighted after I finish. It’s like playing gets me to confront whatever I’m thinking about, even if I don’t always find an answer.”\u003c\/p\u003e\n\u003cp\u003eThe clearest example of improvisational healing in real time is “No Rise,” an overlap of aquatic keys and shimmering synth trills. “No rise \/ there is no rise, I say \/ I’m breathing by my strength,” she sings, repeating the phrase as if slowly counting down. “Breath is what gets you through anxiety attacks. Even when you feel your weakest, you’re able to find some control,” explains Chami. “It’s weird to read the lyrics afterwards and see what I said, because when I’m in the moment, I don’t always realize what I need to say until after I’ve said it.”\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eTALsounds made a name for herself within Chicago’s DIY electronic scene for her innate sense of feeling, flow, and fascination. With \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, she demonstrates not just how hypnotic her music is or how stirring her vocal range is, but how these two combine naturally for her as an improvisational artist — and she’s poised to break out nationally because of that.\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e will be released on vinyl and  formats on May 22, via NNA Tapes. \u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886581424443,"sku":"CS-NNA-123","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/TALsounds_Acquiesce.jpg?v=1736540684"},{"product_id":"the-cradle","title":"The Cradle - Laughing In My Sleep CD","description":"\u003cp\u003e\u003cstrong\u003eThe Cradle\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003e\u003cstrong\u003eLaughing In My Sleep\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eBy: Paco Cathcart\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003eI recorded this album two years ago, Spring 2018, and the songs really come out of experiences in 2017 and early ‘18, which was a dense time with some healthy personal upheaval and a lot of traveling. April ’17’s month long Megabus\/Greyhound tour was crucial and left me enamored with the idea that I could do a full solo tour without a car, and with the act itself of traveling around by bus (the song “Society of Men” came directly out of a bus station experience from that tour). That September we got pushed out of our house on Prospect Place in Crown Heights where we’d been consistently putting on shows for a few years (as a venue it was called “Bottom Bell”), and where a ton of music was written, practiced and recorded, (including every Cradle album from “Basketball is Beautiful” through “Bag of Holding”).\u003c\/p\u003e\n\u003cp\u003eI was considering not settling back down in New York, thinking about moving or trying to tour and travel indefinitely, but ultimately I got lucky and found a room in November around the corner with friends. I think a lot of this album comes out of that happy coincidence that allowed me to keep living and making music in Brooklyn. The perspective of wonder and curiosity in songs like “End of the Day” or “Children” is involved with a kind of renewed, deepening appreciation for the breadth and wondrousness of the city I grew up in.\u003c\/p\u003e\n\u003cp\u003eEarly ’18 saw more traveling and also slowly detangling a longtime romance, and there are admittedly some pained anti-love songs on this album like “Eyes So Clear” and “One Too Many Times”. Hopefully these bluesier feelings are balanced out by the celebration and joy in songs like “Parasite” or “I’ll Walk”, songs about letting go and feeling free.\u003c\/p\u003e\n\u003cp\u003eForm-wise, Laughing in my Sleep was supposed to be a summary album of sorts that would give someone listening to my music for the first time a little taste of everything. Previously, I had been particular when recording about making each project it’s own coherent and distinct sound-world, either through consistent instrumentation or a consistent recording process, but Laughing in My Sleep was the opposite. The drum-machine songs (“I’ll walk” or “See if it Lasts Longer”, for example), were recorded lo-fi on cassette, while the acoustic-guitar ballads were recorded hi(er)-fi on half-inch tape. Some of the songs are voice memos recorded on a cell phone that were supposed to be turned into proper songs later, but which, in retrospect, contained so much feeling and sense of place that I never rerecorded them. I wanted the album to give something different on each listen and give something different to each listener. I wanted there to be many landscapes, some near and some far, and many lenses to see them through, some blurry, and some clear.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886582669627,"sku":"CD-NNA-127","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Screenshot_2024-07-13_at_9.46.44_AM.png?v=1736540692"},{"product_id":"bendrix-littleton","title":"Bendrix Littleton - Deep Dark South CS","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBendrix Littleton is the writing and recording project of Nashville-via-Dallas musician Bennett Littlejohn. The project’s namesake, Maurice Bendrix—the protagonist of Graham Greene’s 1951 novel \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe End of the Affair\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e—is described by enotes.com as \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e“sometimes an unreliable narrator, for he is so consumed by jealousy, self-pity, self-hatred, and bitterness, that he measures everyone else by himself…\u003cand\u003e confesses that from time to time ‘a demon’ takes possession of his brain.” It’s an appropriate moniker for the self-aware, malaise-filled songs of Bendrix Littleton’s debut, \u003c\/and\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDeep Dark South\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, due out September 25 from NNA Tapes. While in the album is imbued with the contradictions and painful beauty of the modern American South (as opposed to Greene’s WWII-era London), the hazy, solitary narrative voice remains.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFormerly one half of the “NyQuil-Pop” duo Bent Denim (dissolved in the summer of 2018), Littlejohn sought a fresh outlet that was more individual and freed from any preconceived artistic notions. During this time Littlejohn began taking on significantly more studio work, including production credits on Hovvdy’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eHeavy Lifter \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(out now on Double Double Whammy), new material from Katy Kirby (out on Keeled Scales), and forthcoming work from Sinai Vessel. While production on this music was deeply rewarding, it was nonetheless work that was beholden to someone else’s vision. And it was out of this craving for artistic autonomy that Bendrix Littleton was born. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDeep Dark South \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ehas provided a space for Littlejohn to experiment, collage, write, and record in a completely independent manner—a long-awaited and welcome zone of unfettered creation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn the singular writing and recording process of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDeep Dark South\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Littlejohn states:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe initial spurt of songwriting was directly correlated to a vintage Harmony H162 acoustic guitar I found at a flea market in Kentucky, near the Tennessee border. This guitar would’ve been sold at Sears in the early 60’s. I strung it up with all of the higher pitched strings from a 12-string acoustic set and got to writing. A lot of rich, burnt-out musicians affectedly claim that there are ‘songs in guitars’ to justify their ever-growing guitar collections, but I do feel there is an ounce of truth in this. The way something feels, or the faults of a certain instrument indeed can bring out something unique and new. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cem\u003eOnce the basic bedrock of the record had been tracked, I realized that the songs were too slow, my voice was too low…a spark was missing. My brother had just sent me my old Tascam four track cassette recorder. So, I spent a little time with that, and ended up committing these songs in their unfinished states to fixed tracks on this old tape machine—no editing, no panning, no volume changing. Driving the cassette tape hard and speeding the songs up (which also raises the pitch), gave this album that special aspect I had been looking for, and also provided a completely fucked up and new sonic foundation for me to start layering on top of.\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAnd on the themes and sensibility of the album itself, Littlejohn says:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThroughout the record I deal with the common tropes of alcohol\/drug abuse, malaise, ennui, regional junk, and the dissolution of relationships. It’s well-trod ground, but I'd rather write what feels genuine rather than something foreign for the sake of novelty. It feels ridiculous enough to put out something in 2020…so much noise to break through. But I feel like these are common enough things. I wouldn’t say these things are universal, but they're not far from it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eDeep Dark South \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis out on September 25 from NNA Tapes. \u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886582702395,"sku":"CS-NNA-130","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Bendrix_Littleton_Deep_Dark_South.jpg?v=1736540697"},{"product_id":"stephen-becker","title":"Stephen Becker - Nothing Sun Under the New CS","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor Stephen Becker, music is a stream of consciousness. Originally working as the Trees Take Ease moniker, the Brooklyn based artist is stepping out from under the branches and releasing music under his own name for the first time. It marks a shift, a new beginning, that initially started out as a casual bedroom project but quickly blossomed into something significant. This new chapter starts with EP \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNothing Sun Under the New.\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eEqual parts weird and sublime, Becker resides in a sonic universe that bends into a state of oblivion and relishes the fleeting moments. This uninhibited approach creates a kaleidoscope of textures where songs about frozen drinks and old teachers exist against a backdrop of \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003epropulsive synths, screwy percussion and lo-fi guitar hooks. “I think there’s a lot of power in the right melody and the right chord progression and the right sonic environment and that to me has as much emotional weight as anything that I’m saying,” he says. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAttending concerts as a teen with his Dad and playing in jazz band throughout high school led Becker to experiment with different improvised arts, rubbing shoulders with different genres and practises. This curiosity, along with his talents, secured him a place at Oberlin college in Ohio, studying guitar performance. There, Becker witnessed performances from the likes of Deerhoof, Frankie Cosmos, Yo Yo Ma and Fred Frith that inspired him to merge his skills as a jazz musician and guitar expert and dive into songwriting. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe transition led to “art songs” and “experimental folk music” that can still be felt in Becker’s output. “I got to a place in my studying that started to feel frustrating,” he explains. “I realised that I wanted to write songs and also embody all these other things that I was excited about, whether it was improv or contemporary classical music. I wanted to synthesise everything that I love.” With inspirations including the likes of Marilynne Robinson, Werner Herzog, Olivier Messiaen, Sibylle Baier and Nels Cline, the result is a glorious mish-mash of spontaneity, where songs flow more like free writing. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBecker’s journey into music was unintentional, accidental even. While his parents are both doctors, Becker sees himself as taking after his artistic Grandparents. His Grandmother is a visual artist, watercolorist and painter, while his Grandfather built violins and collected all sorts of instruments, most of which now reside in Becker’s own closet. He never met his Grandfather in person but he finds solace in the family connection. “It’s funny when your immediate family doesn’t really do what you do or understand what you do but you feel this lineage of carrying on,” he explains. “Who knows if I’ll be that to some future generation in my family – the quirky instrument-collecting Grandpa.”\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis free-spirited, almost unconscious nature sees Becker create a playground of escapism, where snapshots of his life are exaggerated and fictionalised through an often ironic prism. He finds beauty in the in-between, where strange, abstract realms exist without the need for a clear narrative or rigid structure. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eNothing Sun Under the New\u003c\/span\u003e\u003c\/i\u003e \u003cspan style=\"font-weight: 400;\"\u003eshines a spotlight on the beauty that can arise from a spur-of-the-moment mindset. By accessing this kind of process, Becker taps into something real and concrete, resonating through an introspective honesty.\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e “I like to be freeform and fictional in my music, but my feeling is that within that abstraction lies a deeper truth, something more real than just the plain facts about me,” he says. “It’s a wash of sounds and lyrics, but the picture that it paints is ultimately more true and sincere than anything else.”\u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886583030075,"sku":"CS-NNA-131","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Stephen_Becker_Nothing_Sun_Under_the_New.jpg?v=1736540703"},{"product_id":"elif-yalvac","title":"Elif Yalvaç - Mountains Become Stepping Stones CS","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAt an early age in her homeland of Turkey, Elif Yalvaç taught herself to play a hard-to-find guitar. Surrounded by an exciting variety of music, she found herself as fascinated with sound as with song. That fascination never diminished, eventually earning her a masters in Sonic Arts from Istanbul Technical University (after a BA in Translation and Interpretation), and it has been woven into the compositions on her debut EP \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCloudscapes\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (2016), her debut album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eL’appel du Vide \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e(2018), and now her sophomore release \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMountains Become Stepping Stones\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, out December 4 on NNA Tapes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMountains Become Stepping Stones\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e (Yalvaç’s first release with NNA Tapes), the electronic\/ambient artist leads listeners on a transformational journey through outer landscapes and inner feelings. Inspired by her travels to Nordic countries far from home, especially by Iceland and Norway, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMountains Become Stepping Stones\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e reflects the raw vitality of nature: its danger and intensity, as well as its beauty. The record also draws deeply on Yalvaç’s inner world, and it reflects her conscious choice to keep creating in difficult times such as these, despite challenging personal circumstances. Using a vast array of instruments, including electric guitars, synthesizers, and a Game Boy, as well as field recordings from Iceland, Yalvaç’s compositions embrace opposites: microsound glitches with slow intense builds; celestial beauty with abrasive energy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn September 2019, Yalvaç returned to Iceland--one of the countries across Europe that she has performed in--to reconnect with its magic and redefine her relationship with the landscape and her experiences there. Each piece on \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMountains Become Stepping Stones\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is infused with a yearning for escape, whether outside or inside, and a desire to grow beyond limitations and pain, creating intense musical experiences that others can identify with.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe album’s lead single and opening track, “Brocken Spectre,” is named after the natural phenomenon: “When I was flying to Iceland for the first time from Bergen, Norway,” Yalvaç says, “it was magical to see a glory: seeing the aircraft’s shadow within a halo of a rainbow.” On this piece, Yalvaç introduces the Game Boy as a musical instrument, incorporating its soft sounds into ambient layers. “I wrote so much about Game Boy in my master’s thesis; it was now time to make music with it.” Rainbows also return elsewhere on the album on “Bifröst,” which is named after a small settlement in Western Iceland, as well as the burning rainbow bridge in Norse mythology. “Bifröst was a pick-up and drop-off point for me in my journeys to other parts of Iceland. It was a bridge for me in Iceland, and this piece also makes a bridge in the album sequence.”\u003c\/p\u003e\n\u003cp\u003e“Under The Aurora 1” and “Under The Aurora 2” were composed after a life-changing experience beneath the magical northern lights: “I had some memories in Reykjavik that hurt me, but I picked up an e-bike and cycled for 15 km to a tiny natural footbath hot spring there, where I sat for hours, lost, with my eyes on the skies. I cycled back under the Aurora in the middle of the night.”\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe value of the natural world also extends to birds on \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMountains Become Stepping Stones\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. “Painted In Pitch Black” channels the flapping wings of a Phoenix rising from black ashes and “Huginn and Muninn,” is an ode to Ravens. “In my culture, these birds are sometimes associated with ill or dark things, symbolizing that something bad might happen. To me, however, these are brilliant animals. I have seen more in Iceland than in any other place and they are so beautiful. To me, they sing beautifully.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe album’s centerpiece, “Black Sand Beach,” features layers of electric guitars, field recordings (made in collaboration with Magnus Bergsson), and the sound of Yalvaç’s breathing. “The sand is the color of volcanic explosions. On one side you have sea stacks and basalt columns, and a cave. On the other, you have the North Atlantic ocean with extremely strong and dangerous waves. When you stand between the two, the sounds of the waves are very powerful. You feel small in the face of a powerful planet that is very much alive and changing.”\u003c\/p\u003e\n\u003cp\u003eThe last piece on the album, “Kintsugi,” references the Japanese art of repairing broken pottery by reconnecting the pieces with powdered gold, silver, or platinum. Translated to “golden joinery,” this piece represents a healing journey for Yalvaç: the process of being bent and broken into a better shape.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eWith \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMountains Become Stepping Stones\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, we move with Yalvaç as she creates new memories and connections to her surroundings. “It is a celebration of individuality and uniqueness. We’re defined by our flaws, and something broken can become even more beautiful,” she says.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eMountains Become Stepping Stones will be released with NNA Tapes on December 4, 2020. \u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886583062843,"sku":"CS-NNA-134","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Elif_Yalvac_Mountains_Become_Stepping_Stones.jpg?v=1736540708"},{"product_id":"maxheart","title":"Kalbells - Max Heart LP","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eKalbells’s sophomore album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMax Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e opens with the process of regeneration. “I’m rotting and I’m never coming back the way you knew me then,” Kalmia Traver sings with a combination of buoyancy and resilience on the opener “Red Marker.” From the beginning, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMax Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is an illustration of death and rebirth; letting go of what doesn’t serve us in order to leave space for the blessings that do. With \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMax Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e as their next chapter, central to Kalbells work is the process of creativity giving space for vulnerability and radicalism–continually practicing decolonization work and fighting against white supremacist, heternormative, and patriarchal models. Take their pre-show vocal improv practice of tintinnabulation (introduced by sometimes-drummer and honorary member Dandy McDowell) which Traver explains is “more about listening than it is about vocalizing; it's more about creating that ecosystem together of trust and respect and interplay and play and joy. I think that that practice is definitely at the center of our work together.” Angelica Bess, Zoë Brecher, Sarah Pedinotti and Traver used this collection of ten tracks to embody prosperity and reciprocity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eKalbells began as a side project for Traver, who also contributes to the joyous, rocking chaos of Rubblebucket. Three years after the debut album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTen Flowers\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, a more ambient invocation of untapped self-creativity, the sophomore LP was designed to maximize the synergy that Bess, Brecher, Pedinotti, and Traver manifest. Over the course of 2019, Traver planned several week-long intervals of writing a song a day, and, surprising herself, she was writing a lot of love songs. That year she experienced acute heartbreak, but her heart organ “felt bigger than it had ever been.” Similar to energy conservation, it seems that the lost love that influenced Traver’s writing was transferred elsewhere. Rather she invested in the formidable love with her touring band turned bandmates, and they birthed songs that capture the vibrancy of their collective.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA prime example of Kalbells furthering their sum energies is the effervescent funk of “Purplepink.” Co-written between Bess, Pedinotti, and Traver, a hyper synth bass darts around elongated keyboard sighs. Although the three recorded their vocals in their bedrooms between 2019 and 2020, Bess remembers the day when the lyrics and rhythm came in sync. “I came over to Kal’s house with my bass, she had a cluster of lyrics scattered. I sort of mushed them together and came up with a melodic hook for the verse. The chorus we wrote was based off a run Kal took that day. I also remember coming up with a part of the chorus bass line and Kal took the bass from me and finished it. We kinda just came in there and boom a song was made.”\u003c\/p\u003e\n\u003cp\u003eAt the beginning of 2020, the band escaped to Outlier Inn for two weeks in upstate New York to record songs with the studio assistance of the prolific Luke Temple. Kalbells crafted and co-produced ten bright, layered tracks of psychedelic synth-pop. It was also Traver’s first time mixing an album. The result is a prismatic display of experimental pop. From the soft flute touches on opener “Red Marker” to the fluttering saxophone on “Flute Windows Open In The Rain,” each song holds a delicate surprise. Brooklyn-based rapper and multimedia artist Miss Eaves hops on “Pickles” for witty wordplay. On the elastic closer “Max Heart,” sprinkles of piano and bouncing percussion lock into each other. Brecher reveals that the band was grooving so hard that she felt like she wasn’t even drumming. “I was just watching us move along with the beat. It was kind of trance-like. Of all the songs on the album, this, to me, was the most fun to record.”\u003c\/p\u003e\n\u003cp\u003eTraver’s visual songwriting is part of what gives Max Heart its whimsy. On “Bubbles,” Traver envisions that one’s fears “take flight on a destination vacation” where later they’re fed peaches beside a fire. Later, we’re invited into her subconscious on “Diagram Of Me Sleeping.” Her voice is low and sleepy with sand as she sings, “I woke up with a fishtank in my hips\/tropical clouds of neon floating little dreamy fish.” Traver’s image-focused lyricism is a way of tapping into her emotions. “I feel like the visual for me is really generative,” she says. “That's just a way to get me talking about my feelings more, and I think it can be hard to talk about your feelings. The little visual things are little entry points.”\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMax Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a portrait of these badass women harnessing their improvisational magic. They dispel any sexist assumption about jamming. “When we play grooves together it’s like some spiritual experience. It's really empowering,” Traver says. “I think, there's an unspoken thing that women don't groove. That men groove and women are the singers and that our groove would be not viable or not as cool,” Traver explains. “Once we're all together it's like frickin sparks fly.” Common groove language is a rare medicine to happen across, which is why, as a group, playing with each other has been not only exciting, but restorative. “Kalbells is a living, breathing, healing, grooving movement,” Pedinotti beams. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMax Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e harnesses this magnetic power for a collection of songs that are packed with inspired tension and daring surreality. \u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886583324987,"sku":"LP-NNA-135","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Kalbells_Max_Heart.jpg?v=1736540723"},{"product_id":"ben-seretan","title":"Ben Seretan - Cicada Waves CS","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eDuring an artist residency in the thick of the pandemic, tucked away in a dance studio at the base of the Appalachian mountains, Ben Seretan set out to finally make the piano recordings he had always wanted to make: pristine, clean, ringing, indeterminate. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor two weeks he would be alone with an antique Steinway—a blessing that, in spite of an \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eunexpected, globally tragic, and tremendously surreal circumstance\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e, miraculously remained possible. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBut \"silence\" and even \"peace and quiet\" are slippery, man-made illusions that we can never quite grab hold of, and this proved to be especially true in the woods. The environs there were riotous, almost joyously noisy; the old wood creaking with rot, rain pelting the roof five times a day, rolling thunder. And then there was the breathtaking presence of critters; hissing feral cats, fiddling crickets, birds belting their songs every morning and, ever-presently, the sea of cicadas—enormous swarms of them—so loud and so multidirectional, as though they might try to lift the concert piano right off of the earth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e\"It was clear the moment I hit 'record' that any sound I captured from the piano would always carry some other sound with it. There would be no silence whatsoever. So I gave in—I threw open the windows and let the world in.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eCicada Waves\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, then, is the sound of allowance. It's the sound of room being made, of guards being dropped, of adaptation. It's more often than not the sound of a piano *not* being played. It's the sound of wings or wind or water doing what they will.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThese recordings are shared with as little artifice as possible; there are no edits or comped parts, no mixing, no second takes. The album is, more or less, simply and exactly the sounds that happened in the world at that moment, as chaotic and full of sound as they ought to be.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886583423291,"sku":"CS-NNA-139-3","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Ben_Seretan_Cicada_Waves.jpg?v=1736540729"},{"product_id":"booker-stardrum","title":"Booker Stardrum - CRATER Black LP","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eNNA Tapes is thrilled to present brand new music from percussionist and composer Booker Stardrum. “CRATER” is the artist’s third full-length album on NNA, beginning with 2015’s “Dance And” cassette, and followed up by the 2018 limited edition vinyl release “Temporary etc.” The Los Angeles and New York-based musician has spent years developing his sound both as a solo artist, a frequent collaborator and improviser, as well as a member of avant-garde rock unit Cloud Becomes Your Hand. Stardrum’s unique musical syntax is firmly rooted in the worlds of electronic music and free jazz, but also gathers inspiration and concepts along the way from the wide array of styles that lie between.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAs with the majority of Stardrum’s works, percussion is the epicenter, the nucleus from which all else grows. But the music splinters off and transforms from there, growing and evolving into the distinctive final form that is Stardrum’s solo work. Melody plays a prominent role as well, but it’s journey feels dictated and influenced by the unpredictability and spontaneous, human fluidity of the percussive action. “CRATER” is the sum of countless dynamic, highly active, moving components. Not just percussive phrases, but melodies, textures, sound, noise, and the cracks and crevices of vacant space between these bodies. Stardrum’s creative approach is a multi-tiered process - ideas discovered during improvisation feed into live performances, which then fuel compositional concepts, cycling back and forth until the final arrangements emerge. Another important piece of this process is collaboration. Both inspiration and sounds were provided in varying capacities by Stardrum's musical peers and close friends, whether they performed in-studio, or provided the artist with source material to then be sampled and processed into the structure of the tracks. The foundation of “CRATER” was recorded in-studio with long-time collaborative partner John Dieterich (Deerhoof), who also handled the final mixes and mastering. These recordings were then further dissected by Stardrum in a solitary headspace through  editing processes, eventually revealing the nine individual pieces that make up the album. A sustained tension carries the listener from track to track, which plays out like a narrative structure using a purely sonic language. The result is an overall sound that feels expansive and immersive, where the listener can truly feel held and embraced inside the music that Stardrum has created. Through deep listening, one can feel contained in this sound world, with enough dimensionality inside to move around freely and explore one’s surroundings.\u003c\/p\u003e\n\u003cp\u003eAs “CRATER” unfolds, Stardrum builds up an incredible range of dynamics, from crystalline, ringing high-end timbres to deep, churning sub-bass currents of tone, then back up through hissing jets of static air that are released back into the album’s atmosphere. A torrent of microscopic, staccato musical gestures collide and coalesce into a singular whole, while jagged and angular sounds coexist harmoniously with their smooth, polished counterparts, creating an auditory balance and swaying symmetry. This harnessing of chaos in the sonic sense is perhaps reflective of the real-time chaos unfolding before us in the world today, born out of a need to process and utilize the looming unknown into our creative pursuits. Channeling this instability into art is perhaps one of the purest forms of triumph that an artist can manifest. This is not to say that “CRATER” is pure disarray; there are moments of tranquility and one-ness that are grounded and stable, yet still sonically and emotionally kinetic, showing us that through acceptance, chaos is not bound to darkness alone. The album possesses an emotional ambiguity that oscillates between the strenuous, troubled notions of anxiety and fear, to the lighter, elated tones of peace and clarity, while also embracing the space between these two poles of the human psyche. Instead, much like existence itself, “CRATER” moves through the full range of emotional space with enough organic elasticity to reach all corners of the spectrum. The notions of “electronic” and “acoustic” become irrelevant as Stardrum is able to embody both modes of operation with skill and finesse, giving “CRATER” a sculptural quality that feels less about the individual parts that go into it, but more about genesis of the larger whole that these components ultimately create.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886583456059,"sku":"LP-NNA-138","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Booker_Stardrum_CRATER.jpg?v=1736540735"},{"product_id":"in-the-tender-dream","title":"Sally Decker - In the Tender Dream CD","description":"\u003cp\u003eSally Decker has been learning to let go. When working on the pieces that make up her new album In The Tender Dream—her first under her own name—she worked heavily with feedback, a tool that helped her learn it was okay to not be in control. By their nature, feedback systems are unwieldy and unpredictable, but over time, she came to see resonance and meaning in the wavering static and unruly drones. Learning to work with these systems became a metaphor for the way she was learning to move through the world. She was beginning to understand how to embrace change, to find stability in a turbulent internal landscape.\u003c\/p\u003e\n\u003cp\u003e“Being in that space of the unknown was terrifying in a lot of ways,” Decker explains. “But it felt important. I felt drawn to it.”\u003c\/p\u003e\n\u003cp\u003eIn the record’s distended drones, chattering poetry, cosmic synth work, and gentle ambiance, Decker dives back and forth between chaos and order, turmoil and respite. Prickly, pointillist pieces like the title track give way to more restful moments like the centered, self-assured “Affirmation,” a balance that echoes Decker’s realizations about feedback. There are stormy feelings captured in these pieces, but there’s peace too if you’re willing to listen for it.\u003c\/p\u003e\n\u003cp\u003eThe ideas behind In The Tender Dream first took shape\u003cspan class=\"bcTruncateMore\"\u003e when Decker moved to Oakland to attend Mills College. Drawn, in part, by the communitarian nature of the program, she went through an intense period of personal and artistic growth. Challenged by mentors to experiment and delve deep, she found her way to these feedback systems, and to new ways of making art that felt intensely personal. Exploring the ache of codependency, straining deeply for self-worth on her own terms, she crafted pieces that helped her process her most intimate feelings.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIn a way, In the Tender Dream is an extension of the work Decker has done all along, including the meditative electronic pieces she made as Multa Nox. Her full-length debut Living Pearl, released in 2017 on NNA Tapes, was itself a dreamy, internal record, revealing the vibrant, varied emotional potential of her slow-moving music. In the Tender Dream again finds her inhabiting this contemplative space, but the work feels more human, more present. “I used to try to track the narrative of an emotion in a piece,” she explains. “Now it's like, how can I work out this emotional thing in the process of sculpting the sound itself?”\u003c\/p\u003e\n\u003cp\u003eIt was a big shift, in part because her time at Mills lent her a new understanding of performance, improvisation, and the potential of generative systems within electronic music, but also because, for the first time, she’s foregrounding the human voice. Decker has often slipped snippets of her voice into her compositions, but there are a series of text-sound meditations on In The Tender Dream that lay bare the emotional content of the record. Working with vocalists Briana Marela and Emily Cardwell, she puts face to the shifting emotions—a voice rising from the thick mist of her feedback-laden compositions. Drawing on her background as a writer, she put words to the feelings that for so many, for so long, remain shapeless and unsettled. Taming the feedback is an emotional journey of its own, but coupled with these lucid monologues and affirmations, In The Tender Dream feels vulnerable and intense, like locking eyes with a stranger across a room, taking a breath, and staring deeply.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886583587131,"sku":"CD-NNA-137","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Sally_Decker_In_the_Tender_Dream.jpg?v=1736540742"},{"product_id":"ohyung","title":"OHYUNG - imagine naked! CD","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBrooklyn-based, Asian American musician and composer OHYUNG’s music is continuously shifting, investigating, and deconstructing the possibilities of form. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eWritten and recorded mostly over just a 72-hour period, OHYUNG’s first album on NNA Tapes, the immersive and mesmerizing, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eimagine naked!\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e focuses on expansion and atmospheric depth. It is a collection of \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eloving ambient expressions of persistence, repetition, and variation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEach song is titled after a line from t. tran le’s poem, “Vegetalscape,” which acts as an artistic companion to the album. The poem works to spotlight little things that le imparts beauty upon despite the challenges of living with mental illness, such as a bedroom garden, or a sibling’s voice singing in the shower. OHYUNG’s engulfing, gentle landscapes take on the context of something more literary than their wordless atmosphere—each line feels as though it informs the timbre of its connected piece—and they reflect le’s poem as these snapshots of small items and instances, and brief melodies are appreciated and made beautiful beyond their size.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe music of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eimagine naked!\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is full and complex, each track using its time to articulate an entire spectrum of lived emotion with remarkable elegance and simplicity. Some of the songs revel in quiet magnificence: lead single “symphonies sweeping!” \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eis the extension of a breathless instant, the moment between the orchestra’s end and the recognition of applause, as notes linger and hang in the air; “my hands hold flora!” begins as a low tone over a bleak, crackling background, but that gives way to something more bright and shimmering; the joyful and effervescent “i’m remembering!” is a kind memory, like recalling the details of a loved one’s face—an exuberance brought by clarity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eOther pieces seem to notice discomfort, like on “tucked in my stomach!,” which plays like a harsh self-reflection, emphasizing sharp, piercing tones. The melancholic piano notes on “yes my weeping frame!” fall over one another like a waterfall or a stream of tears. The title track, “imagine naked!,” is unencumbered by any additions, with somber drones that capture the vulnerability of being bare.\u003c\/p\u003e\n\u003cp\u003eThe final three songs close the album with a calming, sustained exhale. “philodendrons trail!” feels fresh and clean, and “oxalis unfold!” opens incrementally towards a warm light. The serene grand finale of “releases like gloves!’ (not included on the CD version) is entirely a world of its own—orange and purple sky, soundtracked by far-off refrains and the pressure of worry hissing away like steam.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn this album, OHYUNG shifts again, deliberately moving away from the experimental, electronic, hip-hop, and noise influenced work of their previous records, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eUntitled (Chinese Man with Flame)\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePROTECTOR\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e GODLESS\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and expanding on the space found in their work as a composer on films like \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBambirak\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, which won the 2021 Short Film Jury Award for International Fiction at Sundance Film Festival, and the Gotham Award-nominated \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTest Pattern\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. By focusing on longer, more drawn-out, and textural compositions as an exercise in patience and as a means to cope with the difficult, oscillating new experience of time brought on by the pandemic, OHYUNG has found yet another new way to consider reality and feeling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eimagine naked! \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis humanist music that seeks to explore the mundane strangeness that defines our everyday and that breathes air, or purpose, or just some kind of color into ourselves and the people and the environment around us.\u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886584209723,"sku":"CD-NNA-146","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/OHYUNG_imagine_naked.jpg?v=1736540763"},{"product_id":"heaven-come-crashing","title":"Rachika Nayar - Heaven Come Crashing Black Galaxy LP","description":"\u003cp\u003eHeaven Come Crashing, the sophomore electronic full-length from Brooklyn-based composer and producer Rachika Nayar, finds the protean guitarist and producer pivoting from the ghostly netherworlds of her debut into vivid, fluorescent, cinematic maximalism.\u003c\/p\u003e\n\u003cp\u003eOn Our Hands Against the Dusk, Nayar used her guitar as the primary source for sound design, mutating the instrument beyond recognition through layers of  processing. Soon after, the album’s companion EP, fragments, demonstrated the types of raw guitar-playing that would be transfigured into those grander compositions—miniature genre sketches that touched upon everything from post-rock to Midwestern emo.\u003c\/p\u003e\n\u003cp\u003eHeaven Come Crashing retains Nayar’s mangled guitar stylings but expands the color palette by looking not so much to the fretboard, as to the dance floor and the silver screen. Influences enter into the frame ranging from ’90s trance, to early M83, to Yoko Kanno anime soundtracks. With its M1 piano stabs, supersaws, and glimpses of Amen breaks, the album charts a luminescent space between 5 a.m. warehouse raves and the urban freeways of its cover image—romantic, nocturnal, and reckless in its velocity and emotional\u003cspan class=\"bcTruncateMore\"\u003e abandon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThere's a longing here to welcome and disappear in transcendent ideals and desperate passions—but alongside that, a drive to destroy one's own grandiose visions too. Within this conflicted relationship to its own theatrics, the album wages a war between surrendering to desire and incinerating it. Heaven Come Crashing invites the listener to revel within fantasy, before helping light the match to burn it down—one final embrace in the dream world before it shatters to pieces.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886584308027,"sku":"LP-NNA-149","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Rachika_Nayar_Heaven_Come_Crashing.jpg?v=1736540773"},{"product_id":"radio-wars","title":"The Cradle - Radio Wars LP","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOf all the celebrated home recording artists that haunt the pages of Bandcamp and the basements of the DIY touring circuit, few have had an output as eclectic, enigmatic, and consistent as The Cradle's Paco Cathcart. With content ranging from poetry over sound collage experiments to lush acoustic ballads to beat-driven noise, Cathcart has 40+ releases on Bandcamp, not including the limited edition tour tapes that never made it online. Through this extraordinarily diverse discography and their extensive self-funded touring, they have cultivated a loyal cult following across fans of many genres. Their latest effort, \"Radio Wars\", exists at an intersection of many of Cathcart's musical approaches, while also being perhaps their most accessible LP so far. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIn a departure from The Cradle's more lo-fi works, \"Radio Wars\" bounces from track to track with a polished exuberance as Cathcart delivers some of their catchiest music to date. Pumping with auto-tuned nursery rhyme hooks and densely-programmed drum machine beats, the album boasts a sonic palette that owes as much to the production of \u003c\/span\u003e\u003cb\u003eDJ Rashad\u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003e and the erratic vocal approach of \u003c\/span\u003e\u003cb\u003ePlayboi Carti \u003c\/b\u003e\u003cspan style=\"font-weight: 400;\"\u003eas it does to Cathcart's more familiar Dub and Gamelan influences. It's a musical world that draws you in quickly and leaves you deeply immersed throughout its 15 tracks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eAs with previous releases, Cathcart's lyrics celebrate and reflect on the profundity of day-to-day city life experiences. The words are delivered through deceptively simple refrains that often mask challenging subject matter. Radio Wars was written and recorded in NYC in the lead up to and during the COVID-19 pandemic, a time which included the run up to the electoral defeat of a fascist president, historic protests against police abuse across the country, as well as the early months of the pandemic, when NYC was at the center of the outbreak. Social and political dissonance, alluded to in the album's title, was at a high, and that air of contradiction can be heard throughout, bleeding into moments that feel intimate and reflective. Coupled with bold production choices and feverish energy throughout, \"Radio Wars,\" is a Cradle album of and for the times.\u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886584340795,"sku":"LP-NNA-148","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/The_Cradle_Radio_Wars.jpg?v=1736540778"},{"product_id":"a-calm-that-shifts","title":"Stephen Becker - A Calm That Shifts Black LP","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eIt’s easy to become absorbed by the raw musicianship on display throughout \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Calm That Shifts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, Brooklyn singer-songwriter Stephen Becker’s debut full-length LP. Its psychedelic pop songs lean into hairpin turns in song structure, style, and emotional affect. Becker’s proficiency as a musician is breathtaking—he plays almost every instrument on the record—evidencing a formidable jazz pedigree and an appreciation for the technical prowess of progressive 2000s indie-rock units like Dirty Projectors, St. Vincent, and Grizzly Bear. It’s difficult to resist playing each of these tracks back to latch onto a musical throughline only caught after it was almost over: a bit of sinuous guitar and synth counterpoint, a pivot between a fractured groove and rhythmic malfunction, or a gorgeous Brian Wilson-reminiscent chord modulation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBut though Becker loves to push his own musicianship to its limit and revel in the element of surprise, he is most interested in smoothing over peaks and valleys—in “making complexity sound intuitive and digestible,” as he puts it. His vocals are muted and conversational, unifying these songs effortlessly. Sometimes he lapses into whispered, half-sketched narratives that recall heroes like Sibylle Baier and Elliott Smith; elsewhere, he spins sticky and enigmatic phrases out into cathartic mantras, channeling Thom Yorke or Björk’s high drama.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRecorded over the course of three years with his childhood friend and producer Adam Hirsch, the record touches on, among so much else, the breakdown of communication between family members, the NYC-specific illusion of a better life lived upstate, a documentary about Elvis’ later years, and Werner Herzog’s essays on film theory. But perhaps its central preoccupation—most clearly explored on “Unspoken”—were childhood memories of being told to speak up by teachers and other adults, and how the concept of quietness factors into the way he lives his life as a near-thirty-year-old.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003e“It was frustrating to be told to talk louder when I felt it was loud enough,” Becker recalls. “\u003cthe song=\"\"\u003e is about the impulse to move in the opposite direction and be even quieter, a meditation on how emotions and thoughts can be expressed without words, through actions alone.”\u003c\/the\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBy point of contrast, other songs indict forms of metaphorical loudness. For instance, there is the “doomed population in a  haze” projecting “holographic” selves—often, more successful versions of themselves. Becker grew up in Los Angeles, surrounded by the children of celebrities and aspiring artists striving to be famous or acting like they already were. On the hallucinatory acoustic ballad “Secondary Player,” Becker critiques the models of success he has gravitated towards as a working musician. One of the album’s most indelible couplets crops up here: “I used to have plans but now I just need some space\/Let me play bass.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThere is a subtle affinity between Becker’s musical language and libretto on \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eA Calm That Shifts\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e that make the record feel like more than the sum of its parts, and a disarmingly earnest statement. The push and pull between extroversion and reticence in the music evokes Becker’s working model for a life well-lived: the attempt to preserve inner peace and represent one’s self honestly while fending off the myriad factors in the modern world which threaten to disrupt that balance.\u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886584439099,"sku":"LP-NNA-144","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Stephen_Becker_A_Calm_That_Shifts.jpg?v=1736540786"},{"product_id":"talsounds_6422","title":"TALsounds - Shift Limited Edition \"Late Shift Neon\" LP","description":"\u003cp\u003eLebanese-Canadian musician Natalie Chami records music under the moniker TALsounds. Surrounded by an arsenal of synths and electronics, Chami sculpts intimate electro-acoustic sessions that straddle the line between improvised performance and deliberate composition, carried by her affecting vocal performances and gradually accumulating networks of looped synth figures.\u003c\/p\u003e\n\u003cp\u003e'Shift,' Chami’s third LP release, follows 2020’s 'Acquiesce' (NNA Tapes) and 2017’s 'Love Sick' (Ba Da Bing!), and joins a catalog of albums released on cassette by labels including Hausu Mountain, Tabs Out, and Moog’s own in-house imprint. While Chami’s performance tactics and conception of her project continue along the path she laid with her previous works, 'Shift' marks a number of major changes to her practice.\u003c\/p\u003e\n\u003cp\u003eRecorded exclusively with hardware  and FM synthesizers, the album trades a measure of the warmth of Chami’s trademark analog synth sound for a more willfully crisp, icy tonal palette. Compared to the often dense sessions seen across her catalog in which her loops layer and build into towering climaxes, 'Shift' highlights a more minimalist strain of Chami’s work, shifting the lens closer to the molecules of her synth and vocal performances and allowing each element to breathe in wider spaces within her austere mixes.\u003c\/p\u003e\n\u003cp\u003eChami made it a point when conceptualizing the album to work on its post-production aspects with women that share her Southwest Asian and North African (SWANA) descent, knowing that such collaborators could best illuminate the spirit of the work and present it in the way she imagined. Oakland-based Afghan-American producer Maryam Qudus mixed the album and added additional subtle production treatments to Chami’s recordings. Brooklyn-based Egyptian audio engineer Heba Kadry brought the album into its final incarnation with her mastering. Chicago-based Palestinian visual artist Mary Hazboun drew the album’s striking cover image. Arab American, Washington DC-based photographer Farrah Skeiky captured Chami’s portraits.\u003c\/p\u003e\n\u003cp\u003eChami explains that 'Shift' and its stream-of-consciousness vocals derive their energy from the upheavals in her life. She describes a sense of nostalgia upon returning to live in the D.C. area, feeling like she’s eighteen again as she’s bombarded by the memories unlocked by her physical surroundings. 'Shift' captures all of this in its dynamic spread of spontaneous emotional atmospheres, from queasiness to elation to tranquility to confusion. More than overtly trying to symbolize those feelings with specific musical gestures, TALsounds follows her hands and her voice wherever they might lead her, and then remembers the emotional resonance that led her in that direction as she looks over what came out of her. While this process draws her artistic practice and her personal life together into a tight circuit, 'Shift's final presentation leaves room for interpretation. Whatever words reach us, whatever we might know of Chami’s life, the album draws power and beauty from its ambiguity.\u003cbr\u003ecredits\u003c\/p\u003e\n\u003cp\u003eTALsounds is Natalie Chami\u003cbr\u003eAll songs improvised, performed, recorded, and produced by Natalie Chami at home in Chicago, IL and Alexandria, VA between August 8, 2020 and March 12, 2022\u003cbr\u003eMixing and additional production by Maryam Qudus at Best House\u003cbr\u003eMastered by Heba Kadry, NYC\u003cbr\u003eArt by Mary Hazboun aka The Art of Weeping\u003cbr\u003eThanks to Dan, Max, and Forest\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886584897851,"sku":"LP-NNA-151","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/TALsounds_Shift.jpg?v=1736540796"},{"product_id":"mizu-forest-scenes","title":"MIZU - Forest Scenes CS","description":"\u003cp\u003e\u003cspan data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\"\u003e\u003c\/span\u003eThere is a philosophical quality to MIZU’s second full-length, ‘Forest Scenes’. Through layers of gorgeous, yearning cello, pulsating electronics, and hyperreal field recordings, MIZU evokes a sense of depth by interrogating systems and exploring unknown territories both physical and cerebral. By way of its daring experimentalism, ‘Forest Scenes’ is patently modern and brilliantly ontological.\u003c\/p\u003e\n\u003cp\u003eProceeding from Robert Schumann’s ‘Waldszenen’ in name and, to some extent, concept, MIZU began work on ‘Forest Scenes’ immediately after completing ‘Distant Intervals’, conceiving and writing the record over the course of two inspired weeks in São Paulo, Brazil in Summer 2022 and completing it over the following year in New York. While ‘Distant Intervals’ engaged and inverted the classical idioms in which MIZU was reared, ‘Forest Scenes’ lunges even further away from that world. It is in no small way an acknowledgment of transcendent experiences and the thrills of self-discovery, whether in the vast urbanity of São Paulo, in the community among New York City’s queer spaces and dancefloors, or in the more abstract place of a self in transition. Pulling from these energies, MIZU loops in techno producer Concrete Husband, who features on “prphtbrd”, to further ornament the dancefloor flirtations.\u003c\/p\u003e\n\u003cp\u003eWhile MIZU was socially transitioning during the creation of ‘Distant Intervals’, she began a physical gender transition in step with the inception of ‘Forest Scenes’. The record parallels this transformation, interrogating the boundaries between the forest and what is before \/ beyond it, building scenes of self-discovery through a kind of ecstasy in the unexplored. The forest is, at least in part, a metaphor for queer spaces, for spaces of self-discovery through community, through encounter. But the spaces of self-discovery, for MIZU, are also very much found within the songs themselves. This marvelous symbolic complexity holds Forest Scenes aloft, above mundane considerations of what is more or less beautiful. What is pastoral, what is modern, what is natural: all these considerations are teased out by MIZU’s compelling production, as she weaves electronic and environmental sounds, and cello both heavily processed and laid bare in a glorious, sweeping dream. But with the headlong dives into deconstructionist experimentation and the pathos, vulnerability, and staggering range of densities through a single instrumental body, MIZU asserts that ‘Forest Scenes’ could not be more her own, as she discovers herself within it.\u003c\/p\u003e\n\u003cp\u003eNotes by Mark Trecka \u003c\/p\u003e\n\u003cp\u003eReleases March 22, 2024\u003c\/p\u003e\n\u003cp\u003eColor-in-color Light Pink \u0026amp; Red Vinyl. Artwork by Daedalus Li.\u003c\/p\u003e\n\u003cp\u003eIncludes  pre-order of Forest Scenes.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886585028923,"sku":"CS-NNA-153","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/MIZU_Forest_Scenes.jpg?v=1736540809"},{"product_id":"co-la-daydream-repeater-lp","title":"Co La - Daydream Repeater LP","description":"\u003cp\u003eIt's time to welcome in the era of New Exotica with \"Daydream Repeater\", the debut LP by Co La, gentleman and purveyor of all things avant-luxury. Matthew Papich designs a new sonic territory, creating something that nods to Jamaican Rocksteady and 50's American Pop in spirit, but ultimately presents an elegant re-purposing of those parts into fresh, smart, electronic music. For all seeking an attitude adjustment in the era of austerity, try burning one for Co La's cultivated luxury sound - you may find an emerging solidarity slipping into your ears. In other words - if you're too wise to live straight, you better grip this sound sooner than later. Mastered by Lupo at Dubplates \u0026amp; Mastering in Berlin.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eComes with free mp3 download coupon.\u003c\/em\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886620025147,"sku":"LP-NNA-038","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA038.jpg?v=1736542019"},{"product_id":"nate-young-regression-blinding-confusion-lp","title":"Nate Young - Blinding Confusion LP","description":"\u003cp\u003eOver the past few years, iconic noise artist Nate Young has been carefully crafting his own signature solo sound, as evidenced through his progressive recordings and performances with American experimental music staples such as Wolf Eyes, Stare Case, Demons, and Moon Pool \u0026amp; Dead Band. After the completion of his recent Regression trilogy (part one being the self-titled disc on Ideal in 2009; 2011's \"Stay Asleep\" LP on NNA as part two; and part three \"Other Days\" on Japanese label Rockatansky in 2012), Young begins a new chapter in his personal sound world, and it is perhaps his biggest leap forward musically thus far. Regression \"Blinding Confusion\" enters a new era, retaining the techniques and studies from his previous work and raising them to new levels. Intense compositional building and structure seep through each track, traversing new ground melodically while still upholding Nate's patented over-bearing weight of dread and slow-burning darkness at all the right moments. Deep, percussive brutality and pulsing neurosis mesh with somber burial hymns, held together by Young's technical prowess and mastery of his chosen gear. Each frequency is given it's own unique role and characteristic voice, deeply chilled by the arid space of decay via tape manipulation\/disintegration, howling its way through the grooves of the record like a cold wind of dead space that billows throughout, unrelenting. Atonal, morphing, and modulating bass lines pulse and plod their way through, like the unseen presence of the undead ascending a creaking stairway, leading upwards toward a nebulous void. This establishes a truly horrific atmosphere while honoring primitive technology, refined with a thick dose of originality. Self-recorded at Burning Log Studios and M.U.G. in Young's native zone of Detroit, Michigan, combined with high definition mastering and cutting by Lupo at Calyx in Berlin, Germany, make \"Blinding Confusion\" the defining artifact by one of the United States' most talented voices in noise and experimental music.\u003c\/p\u003e\n\u003cp\u003e download is included with the LP\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886620188987,"sku":"LP-NNA-059","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA059.jpg?v=1736542036"},{"product_id":"migrations-in-rust-two-shadows-lp","title":"Migrations In Rust - Two Shadows LP","description":"\u003cp\u003eMigrations In Rust is Jesse Allen. As a member of the Red Light District collective in Queens, NY (which has included some of the best in modern experimental musicians such as Yellow Tears, Pharmakon, John Mannion, Diaphragm, DJ Dog Dick and a slurry of other side projects, solo projects and collaborations), former member of the Cathode Terror Secretion and current performer in Cowards, in addition to producing and performing under the guise of several other solo projects (Hollow Seed, Goldeater, etc), Jesse has been actively pursuing many diverse avenues for his musical expression. Migrations In Rust, whose original sonic intentions could have at one time been more easily categorized as “ambient” music, has slowly shifted towards the unrecognizable. Migrations In Rust has ascertained as Jesse’s longest running solo endeavor and holds as his most personal, having transformed from merely a study of emotion and a practice of understanding emotions into something altogether more grand and wholly personal. Three years in the making, during which Jesse relocated from New York City to the valley of Western Massachusetts, “Two Shadows” communicates the yolk of this transformation. The elements of interplay between turmoil and tranquility, and the means of composing “organically” to achieve these results, have been filtered through new approaches in an attempt to reach closer to a finer understanding of grace, and towards more precisely using music and sound as a vessel of psychic emotional transmission. Throughout the record, orchestral landscapes blend with rustling concrete textures, settling in a purgatory between melancholy bleakness and slow-burning serenity. Each second is densely packed with incredible detail and carefully-layered instrumentation, crafted with an expansive palette of acoustic, electronic, and naturally-occurring sound sources. Amorphous melodic passages travel with well-paced fluidity from one idea to the next, producing a dream-like narrative. At times placid and evocative, “Two Shadows” also has a tendency to teeter on the edge of powerful ferocity, sometimes brewing with crackling fury while tastefully maintaining the restraint not to explode into outright violence. This shifting temper is constructed with elements of noise, ambient, hip hop, musique concréte, and sci-fi R\u0026amp;B, all finding their place in the innovative tapestry that unfolds across “Two Shadows”. This album showcases the results of discipline, love, and persistence in one’s craft and NNA is honored to finally share this work with the world.\u003c\/p\u003e\n\u003cp\u003eMastered and cut by Lupo at Calyx Mastering in Berlin, Germany.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eComes with free mp3 download coupon.\u003c\/em\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886620287291,"sku":"LP-NNA-065","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA065-COVER-WEB.jpg?v=1736542041"},{"product_id":"phork-high-end-lp","title":"PHORK - High End LP","description":"\u003cp\u003e\"High End\" is the latest musical installment from the People's Higher Order of Royal Kinship, as facilitated by Los Angeles producer Neal Reinalda. With recent releases on Opal Tapes and Orange Milk, as well as two previous NNA full-length cassettes under his belt, we are pleased to offer PHORK's debut vinyl record to the masses. On \"High End\", Reinalda digs deeper still into the established PHORK sound world, procuring a modern conceptual take on the idea of \"ambient music\" as constructed with pieces of the dance music and musique concrete sonic palettes. The process unfolds in an almost visual manner where short blocks of sound are sculpted into assorted shapes and sizes, then stacked and arranged meticulously to create a skyline of rigid musical architecture. Whether they are electronically generated or captured in the field, the sounds are given the same treatment of deconstruction and reassembly to create new lenses of context. Scenic and situational field recordings are used to explicitly depict the world of the modern human, tapping into the nostalgic and almost mundane facets of daily life, extracting them from their associations, and allowing the listener find new meaning by examining them in a musical setting. Dripping water, a Fourth of July fireworks celebration, the motherly sound of a female voice, the shrill buzz of modern machinery… although these sounds are firmly grounded and not at all otherworldly, they are often coupled and blended in a subversive manner. In the stylistic tradition of the People's Higher Order, these organic sounds are interlaced with a latticework of dry electronica, using traditional techno materials to establish a rhythmic and melodic foundation with an emphasis on inhuman flatness and non-dynamics. Layers are built up and repeated, interacting with other layers as the resulting compounds are patiently added and subtracted, driving onward in a perpetual cycle of blooming and wilting. The resulting creation of a surreal narrative is something rare and unique in such a functional genre as dance music. Always the trickster, PHORK has tendency to embrace juxtaposition and luxuriate in the discomfort of hearing sounds play themselves out. \"High End\" succeeds in utilizing music to take on an anthropological voice, meditating on the routine and mediocrity of modern American society in an age of nihilism and discontent. The Royal Kinship often prides itself on generating more questions than answers.\u003c\/p\u003e\n\u003cp\u003e\"You are high-end. The most expensive of all products.\" –N.R.\u003c\/p\u003e\n\u003cp\u003eMastered and cut by Lupo at Calyx Mastering in Berlin, Germany.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLimited edition pressing of 350 copies.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eComes with free mp3 download coupon.\u003c\/em\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"12\" LP","offer_id":49886620614971,"sku":"LP-NNA-070","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA070.jpg?v=1736542063"},{"product_id":"horse-lords-hidden-cities-lp","title":"Horse Lords - Hidden Cities LP","description":"\u003cp\u003eNNA Tapes is pleased to announce “Hidden Cities”, the second LP from Baltimore’s Horse Lords. Over the two years since their critically acclaimed self-titled debut, Horse Lords have become fixtures on the American DIY scene, touring with Matmos, Guerilla Toss, and Guardian Alien, and playing festivals such as Hopscotch, NXNE, and Fields Fest. Recorded and mixed by Chris Freeland (Wye Oak, Lower Dens), on “Hidden Cities” Horse Lords square the circle, making music that is alternately tight and loose, real-time risky and process oriented, reconciling the sweaty force of a killer basement show with the icy precision of conservatory training.\u003c\/p\u003e\n\u003cp\u003eOn opening track “Outer East” the band showcases its considerable range and sick chops: over a low-slung motorik groove, Andrew Bernstein spins a smoky web of sax-into-delay that recalls Terry Riley’s “Reed Streams”. The song turns an unexpected corner five minutes in as guitarist Owen Gardner—who has structurally altered his frets into a just intonation tuning system—carves beguiling arabesque figures on top of Max Eilbacher’s insistently funky bass. Sam Haberman then breaks in with a fierce drum solo, from which the whole band erupts into a relentless forward moving ecstatic riff that blurs the difference between prog, no-wave and minimalism. It’s a compressed lesson in the effortless eclecticism and muscular playing that makes this band so mesmerizing live. Following “Outer East” with barely a pause,  “Life Without Dead Time” rides a mutating polyrhythmic grid that showcases the synthesizer and signal processing chops of Eilbacher (whose solo LP “Red Anxiety Tracers” came out to critical acclaim on Spectrum Spools last year).\u003c\/p\u003e\n\u003cp\u003eA gradually building ramp built of field recordings, tape manipulation and modular synthesis, “Tent City” introduces the second long-form composition on the album, “Macaw”. A floor burner at their live shows, “Macaw” builds rhythmic tension and release before coalescing into a unison burst of festivity and abandon. Bernstein’s woodblock figure pulls away from Haberman’s steady beat and the resulting groove plays out like a krautrock duel-in-the-sand between two offset patterns competing for dominance in a vivid strobe effect. By the ten-minute mark, Gardner’s guitar hits a Bo-Diddley-meets-Group-Doueh sweet spot and the track lifts off in a final spiral of ensemble unison hammering. A coda for extremist signal processing, “All That Is Solid” manipulates and processes the record’s preceding riffs into liquid pools of unrecognizably alien new forms, setting you down on the other side of “Hidden Cities” at once startled and becalmed. It’s vital, thrilling, and utterly transcends its many influences to arrive at a new place on the map for forward-thinking American rock music.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886620778811,"sku":"LP-NNA-075","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA075.jpg?v=1736542068"},{"product_id":"drainolith-hysteria-lp","title":"Drainolith - Hysteria LP","description":"\u003cp\u003eNNA is very proud to present our second release from Canadian hero Alexander Moskos’ Drainolith project. Following up 2012’s “Fighting!” full length LP, “Hysteria” reaches new levels in the Draino sound world, resulting in his most fully realized record to date. Moskos has spent years marinating solo in the cold Northern underground, cutting his chops as lead axegrinder with Montreal-based noise punks AIDS Wolf, and most recently rolling with North American all-star clan Dan’l Boone. “Hysteria” is the result of nearly two years spent in various studios with producers and fellow ‘Boone brothers Nate Young (Wolf Eyes) and Neil Hagerty (Royal Trux), working diligently together to take a few steps beyond Trip Metal and extract the skeleton out of “rock”, inserting it into a newer, much weirder, humanoid skin. The epicenter of this sound rests humbly on the foundation of guitar and voice, two facets of sound that Moskos has carefully cultivated through years of experimentation and digestion from a wide array of musical influences. The relaxed, loose, and energetically electric technique of guitar playing is reinforced by Drainolith’s unrivaled tone, which has morphed throughout the years but now stands alone atop a mountain of shredders. It is ripe with Bluesy fuzziness and the humanity of Americana, while punctuated by the gritty stab of 80’s death metal, and further rounded out with a sprinkling of EVH-esque chorus zones and free jazz adventurousness. The result is a sound that pre-dates the internet in a fabulous way.\u003c\/p\u003e\n\u003cp\u003eEach note seems to leave behind a glistening impression like a spot of grease on a pizza box. A tone as unique as this is only bolstered by the vocal delivery, the literal voice of the Mind of Moskos. This beautifully cold, dripping baritone is unmistakable, it’s fried-yet-poetic articulation recalling a halfway point between a melting Dylan and a blazed Robert Ashley. Over-tired, over-wired, and over it. Moskos lets every word kerplunk into a mesmerizing puddle of observation, giving something as mundane as staring out the window or a Vancouver hotel foyer the poignancy of a published work. With guitar and voice at the core, the additional instrumentation on “Hysteria” is the bizarre glue that binds it all together, using the palette of electronics, keys, and haphazardly triggered beats and percussion in an intensely layered fashion to ensure maximum disorientation.\u003c\/p\u003e\n\u003cp\u003eThe compositions are fully stacked, allowing little room for sparseness or tender moments. Tracks like “Qix” stagger forward in a deranged manner, it’s elastic percussion hearkening back to purple Nike foot-pounding of 2011’s “Where Are Ye Col. Leslie Groves?” cassette and the “one man band” era, for those of us fortunate enough to witness Drainolith’s live experience. Other tracks like “Joy Road” burn on patiently, disintegrating piece by piece into the ether of time amid a bed of Fender Rhodes eeriness... almost like a rare Canadian B-side to the Lizard King’s “An American Prayer”. Blues notions are confronted by Beastie-esque guitar stabs, smeared together with repetitive, angular riff rotations and flailing synth filigree, creating a densely-layered intensity that feels like the anxiety of standing in a rat’s nest of instrument cables and leaky pipe water in a moist basement.\u003c\/p\u003e\n\u003cp\u003ePleasant melody is of little interest here, instead thriving on dissonance and reminding us of the OGs of post-punk, when rock met experimentation and abstraction head on, shoving a properly-greased square peg into a circular hole. While thematically cryptic, “Hysteria” drops rough clues to the heart of it’s content, filled with tales of Quebec biker wars, sinking into couches, Detroit street hassles, sneaker worship, sidewalk slush, sexual desire and seasonal affect disorder. At it’s heart, “Hysteria” is the product of a musician who has much love for the past, but also little interest in recreating it. It is a song cycle that reflects the complexities of our day to day world through the psyche of the modern jammer, fueled by the quintessentially Moskosian diet of caffeine and nicotine. Someone who isn’t content sitting stagnant in a crowd of tradition, and who acknowledges that radical ideas are necessary to propel things into the future.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eComes with free mp3 download coupon.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFirst 75 orders receive an exclusive Drainolith spoken word cassette “\u003cstrong\u003eDrainolith Presents: Moskos Reads The Zonal Poets Vol. 1\u003c\/strong\u003e” featuring the writings of John Olson (American Tapes\/Wolf Eyes), Zac Davis, John Elliot (Spectrum Spools, Emeralds), and more. This cassette will \u003cu\u003eonly\u003c\/u\u003e be available to first 75 that order. No  version!\u003c\/em\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886620844347,"sku":"LP-NNA-079","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA079.jpg?v=1736542080"},{"product_id":"battle-trance-palace-of-wind-lp","title":"Battle Trance - Palace of Wind LP","description":"\u003cp\u003ePalace of Wind is a piece that not only transcends genres, but also transcends time and space. Existing in the cracks between contemporary classical music, avant-garde jazz, black metal, ambient, and world music, Palace of Wind is an album-length composition that pushes the four saxophonists to the limit, shedding new light on the saxophone as an ensemble instrument. The players use circular breathing to build continuous, hypnotic waves of sound; multiphonics layer to create intricate textures that seem to come from an ancient time; and blisteringly fast lines seem to liquefy into each other. Unorthodox articulations and unusual fingerings are also part of the vast sonic vocabulary that the members of Battle Trance have painstakingly mastered. However, Palace of Wind isn't merely concerned with demonstrating the virtuosity of the ensemble, nor with impressing or entertaining the listener. Instead, it is meant to be a portal of resonance where there is no separation between the listener and the sound.\u003c\/p\u003e\n\u003cp\u003eBattle Trance had an auspicious inception. One morning, Travis Laplante (Little Women and a trio with bassist Trevor Dunn and drummer Ches Smith) literally awoke with the crystal clear vision that he needed to start an ensemble with three specific individuals: Matthew Nelson, Jeremy Viner, and Patrick Breiner. Laplante was actually unfamiliar with their work as musicians and had only a minimal relationship with them as individuals. He was also aware that a band of four tenor saxophones could be the worst idea ever. In spite of this, Laplante followed through and contacted Nelson, Viner, and Breiner. He gave them very little information beyond his morning experience But no one hesitated - the ensemble formed that evening.\u003c\/p\u003e\n\u003cp\u003eSince many of the techniques used in the piece are nearly impossible to notate in traditional form, Palace of Wind was transmitted via the oral tradition. The rehearsals were much like martial arts training: intricate sounds were rigorously copied and repeated by the ensemble members until they perfected the techniques. Many hours were spent building the sheer strength required to sustain continuous circular breathing for extended periods. Likewise, a steady focus on physicality was required to repeat rapid note patterns for long periods without sacrificing speed. Palace of Wind is such a demanding composition that there is a high risk of physically burning out before the piece concludes, as once it begins there is no opportunity for rest or even a quick drink of water. There was also extensive training in dissolving the distinct individual identities of the players into the greater collective sound: The band did various long-tone exercises, similar to group meditation, the purpose being to blend together into one sound, so that the origin of the collective sound's components is completely impossible to discern - even by the members of the ensemble.\u003c\/p\u003e\n\u003cp\u003ePalace of Wind does embrace both the cerebral nature of composition and the visceral act of performance, but immediately locates itself, the musicians and the audience in a purely spiritual space. It is a new kind of music and therefore modern, and yet it's absolutely primordial, the transformative act of human beings blowing air through tubes and producing something timeless.\u003c\/p\u003e\n\u003cp\u003eMastered by Aron Sanchez.\u003cbr\u003e\nCut by Lupo at Calyx Mastering in Berlin, Germany.\u003c\/p\u003e\n\u003cp\u003eCompact Disc \u0026amp;  versions released by \u003ca href=\"http:\/\/newamrecords.com\/battle-trance-palace-of-wind\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eNew Amsterdam Records\u003c\/a\u003e (NWAM058)\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886621172027,"sku":"LP-NNA-073","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA073.jpg?v=1736542103"},{"product_id":"qasim-naqvi-preamble-c32","title":"Qasim Naqvi - Preamble CD","description":"\u003cp\u003eNNA is proud to announce the release of “Preamble,” a recording of new compositions by Qasim Naqvi. Perhaps best known for his work on drums in the modern acoustic trio Dawn of Midi, here Naqvi assumes the role of composer, creating a series of short works for mixed acoustic instruments. The compositions on this recording were originally commissioned by the media artist Mariam Ghani, the choreographer Erin Ellen Kelly, and the St. Louis Art Museum as a score to a film installation loosely based on China Miéville's sci-fi noir novel “The City \u0026amp; the City.”\u003c\/p\u003e\n\u003cp\u003eWith “Preamble,” Naqvi combines graphic notation with traditional notational forms. Recalling the works of Penderecki, Earle Brown, Ligeti and Xenakis, these aleatoric components allow the ensemble to make spontaneous choices within a structured framework.\u003c\/p\u003e\n\u003cp\u003eNaqvi says, \"Some of the graphic components deal with dynamics and expression, while others deal with duration and rhythm or ranges that are unique to the particular instruments in the ensemble. This symbolic language is fused into a more conventional style of notation. The conductor can let the ensemble go about their business or at any point, assert a different set of choices into the equation. With “Preamble,\" I wanted to strike a balance. I wanted the element of chance but not total chance. The performers can make certain choices for themselves, based on the watchful impulses of the conductor.\"\u003c\/p\u003e\n\u003cp\u003eThe result is a composition that walks the line between chance and intention. The music impeccably makes full use of the capabilities of each instrument, exploring staccato attacks, fluid sustained tones,trills, scratches and filigree along the way. Harmony is present although abstracted, swaying between dissonance and consonance, but never too far in either direction, drifting in and out of alignment. The emotional tone of the piece cycles from somber to joyous, mysterious to frenetic, and back again. Punctuated by moments of suspended anxiety, \"Preamble\" finds balance in the cyclical capture and release of tension. Due to the unique nature of this notation, “Preamble” could be performed hundreds of times and no two outcomes would be alike, a quality of inventiveness and originality that makes Naqvi shine in the realm of modern composition. \"Preamble\" was recorded at the Church of the Advent of Hope in Manhattan, NY by the Contemporary Music Ensemble of NYU, under the direction of Jonathan Haas.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886621204795,"sku":"CD-NNA-084","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA084.jpg?v=1736542110"},{"product_id":"travis-laplante-peter-evans-secret-meeting-cd-cs","title":"Travis Laplante \/ Peter Evans - Secret Meeting Cassette","description":"\u003cp\u003eNNA Tapes is proud to present Secret Meeting, the collaboration of Travis Laplante (tenor saxophone) and Peter Evans (trumpet). Laplante and Evans are each devoted to creating multi-dimensional improvisational spaces, pushing their instruments to the edge in the service of a musical experience that travels beyond the realm of the mind. The deeply mysterious, epic improvisations on Secret Meeting points toward a seemingly ancient relationship between these two boundary-breaking improvisers.\u003c\/p\u003e\n\u003cp\u003eEncompassing a vast array of sounds and an umbilical cord-like connection, Secret Meeting embodies profound exhaustion in one moment, as though the players' collective weariness might altogether slump them over, and manages unparalleled vitality and vigor in the next. Through all of these sonic undulations, Evans and Laplante place the listener within a visceral, symbiotic torrent of beauty.\u2028\u2028 Peter Evans is a trumpet player, and improvisor\/composer based in New York City since 2003. Evans is part of a broad, hybridized scene of musical experimentation and his work cuts across a wide range of modern musical practices and traditions. Peter is committed to the simultaneously self-determining and collaborative nature of musical improvisation as a compositional tool, and works to use the great music of the past as a springboard to forge new directions with his colleagues. His primary groups as a leader are the Peter Evans Quintet and the Zebulon trio. In addition, Evans has been performing and recording solo trumpet music since 2003 and is widely recognized as a leading voice in the field, having released several recordings over the past decade. He is a member of several fully cooperative groups, such as Pulverize the Sound, Rocket Science, Premature Burial and is constantly experimenting and forming new configurations of players. Evans' work as a band member extends to groups such as the International Contemporary Ensemble and Wet Ink. He has been commissioned by the International Contemporary Ensemble, Yarn\/Wire, the Donaueschingen Musiktage Festival, the Jerome Foundation's Emerging Artist Program and was a 2014 Artist-in-Residence at Issue Project Room in Brooklyn, NY. He has presented and\/or performed his music at many major international festivals and has toured his own groups extensively in Europe, Canada and the United States.\u003c\/p\u003e\n\u003cp\u003eTravis Laplante is a saxophonist, composer, and qigong healer living in southern Vermont and Brooklyn, New York. Laplante leads Battle Trance, the acclaimed tenor saxophone quartet. He is also known for his solo saxophone work and his longstanding ensemble Little Women. Laplante has recently performed and\/or recorded with Trevor Dunn, Ches Smith, Gerald Cleaver, Michael Formanek, Mary Halvorson, Darius Jones, Matt Maneri, and Matt Mitchell, among others. He has toured his music extensively and has appeared at many major international festivals throughout the US, Canada and Europe. As a qigong student of master Robert Peng, Laplante has undergone traditional intensive training. His focus in recent years, under the tutelage of Laura Stelmok, has been on Taoist alchemical medicine and the cultivation of the heart. Laplante is passionate about the intersection of music and medicine. He and his wife are the founders of Sword Hands, a qigong and acupuncture healing practice based in Brooklyn, New York and Putney, Vermont.\u003c\/p\u003e\n\u003cp\u003eCassette version comes with free  download coupon.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"CD","offer_id":49886621532475,"sku":"CD-NNA-087","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":49886621565243,"sku":"CS-NNA-087","price":8.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA087-hires.jpg?v=1736542134"},{"product_id":"jake-meginsky-seven-psychotropic-sinewave-palindromes-cassette","title":"Jake Meginsky - Seven Psychotropic Sinewave Palindromes CS","description":"\u003cp\u003eBrand new work from Northampton, Massachusetts percussionist and electronic producer Jake Meginsky. Known best for his solo work both under his own name as well as the Vapor Gourds moniker, Meginsky has also been highly active in collaborative groups such as Slaughterhouse Percussion with John Truscinski, and F\/I\/P with guitarist Bill Nace. After last year’s brilliant “Vandals” LP on Open Mouth and Vapor Gourds’ “Incision Objects” LP on Fogged, Meginsky starts 2016 off fresh with “Seven Psychotropic Sinewave Palindromes” for NNA.\u003c\/p\u003e\n\u003cp\u003eBringing new ideas to the realm of electronic minimalism, Meginsky strips down the sound world of this composition to four basic elements – sine waves, square waves, white noise, and an 808 kick drum. While these four sounds may be commonplace in the world of electronic music, the results here are anything but. There is enough diversity in the application of these rudiments that the listener quickly forgets about their inherent limitations, and opens up to a new cohesive listening experience. Using an advanced ear for psychoacoustic phenomenon and microtonal textures, Meginsky goes far beyond merely layering these four sound elements, but instead is able to assign them unique relationships to one another through careful composition, creating a refreshing new style that sits somewhere between musique concrete, techno, noise, footwork, IDM, and contemporary electronic music.\u003c\/p\u003e\n\u003cp\u003eAs an experienced percussionist, Meginsky takes highly advanced concepts of rhythm and tempo and applies them to these  sound sources. The influence of percussion is further evident through the emphasis on sonic physicality through extreme dynamics, and Meginsky shows a firm understanding of the effect that sound can have on the human body. Powerful bass, hissing high end white noise, and rhythmic mid range textures interact with one another to produce constant movement and a driving directional flow, not to mention palpable physical sensations in the ears and brain. Unlike acoustic percussion, however, the tone and mood of the piece feels alien and inhuman, and any traces of the warmth of humanity are forgone to give way to electronic purity. “Seven Psychotropic Sinewave Palindromes” is proof that an artist restricting themselves to a limited palette can lead to highly creative, original, and unexpected results.\u003c\/p\u003e\n\u003cp\u003eCassette comes packaged with  download coupon. Material repeats on both sides.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Cassette","offer_id":49886621630779,"sku":"CS-NNA-088","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA088-hires.jpg?v=1736542140"},{"product_id":"aj-cornell-tim-darcy-too-significant-to-ignore-cassette","title":"AJ Cornell \u0026 Tim Darcy - Too Significant To Ignore CS","description":"\u003cp\u003eNNA is pleased to release a special collaboration between two of Montréal, Quebec’s finest. “Too Significant To Ignore” unites Andrea-Jane Cornell, a prolific improviser and former CKUT Radio music programming director, and Tim Darcy, best known as the guitarist\/vocalist for Constellation Records’ four-piece post-punk band Ought. On this recording, the duo concoct a hazy bed of grey, melancholic psychedelia using synthesizers, field recordings, processed accordion, and manipulated objects to serve as a backdrop for Darcy’s contemplative existential spoken word.\u003c\/p\u003e\n\u003cp\u003eRecalling the spirit of wordsmiths and sound-pioneers such as Steven Jesse Bernstein, Ruth White, Allen Ginsberg, and Pauline Oliveros, “Too Significant To Ignore” presents raw poetic meditations that intermingle with psychedelic electronic landscapes. AJ and Tim create a sound world where jarring and narrative vocals interact with sonorous, blue bass tones and forests of synth. Subtle melodies coexist alongside smoldering, buzzing drones, sublime electronics, and indiscernible field recordings, all smudged together to forge a slow-paced swirling mass. A beautifully peaceful sadness is revealed, creating a perfect atmosphere of cosmic dread and a cinematic sensitivity that compliments the unfolding observational dialogue.\u003c\/p\u003e\n\u003cp\u003eDarcy’s vocal delivery comes across as part Ferlinghetti, part Henry Rollins, and part Bill Hicks. His drawled, surrealist lyrics reflect a weariness and an isolation from society. He touches on apathetic voyeurism, city life, regret, self-reflection, human disconnection via accelerated technology, and the bleakness of modern sterility. The delivery and the content of the lyrics impeccably conveys the drab routine and impersonality of day-to-day life, like the disoriented narration of an existential crisis. Using repetition as a weapon, Darcy drills phrases into the listener’s brain, helping the lyrics recede into the music to create an unlikely coherent unity between the meditative bliss and swells of electronic ambiance and dry vocalizations. “Too Significant To Ignore” is a unique and non-referential pairing of electronics and spoken word, yielding an invigorating listen that stands on its own amongst new underground music. AJ and Tim succeed in communicating the confusing psychedelia inherent in the mundanity of modern human existence.\u003c\/p\u003e\n\u003cp\u003eCassette comes packaged with  download coupon.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886621729083,"sku":"CS-NNA-089","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA089-hires.jpg?v=1736542145"},{"product_id":"foxsoper-duo-magenta-line","title":"Fox\/Soper Duo - Magenta Line CS","description":"\u003cp\u003e“Magenta Line” is the debut recorded offering from the Fox\/Soper Duo, consisting of New York City musicians Greg Fox on drums, and Ryan Soper on modular synthesizer. Soper, an inventive sculptor, video artist, and modular synthesist makes up one half of the NYC-based performance project Non-Native, and is also a member of the A\/V trio Brat Pit. Fox is a prolific drummer known for his work in experimental metal outfit Liturgy, as well as bands such as Guardian Alien and Zs, not to mention countless collaborations ranging from Colin Stetson to Dan Deacon to Hieroglyphic Being.\u003c\/p\u003e\n\u003cp\u003eOn “Magenta Line”, the duo takes on a form that is unexpected for an acoustic-meets-electronic style collaboration. Fox’s drums are slightly filtered and engineered to take on an alien, electronic quality that compliments Soper’s organic, expressive execution of his synth, to the point where the two styles meet in the middle to produce fierce and otherworldly results. For an instrument that manipulates purely electronic impulses, Soper manages to play it in an incredibly physical manner, buzzing, squealing, and roaring in all it’s distorted glory like an electric guitar. Fox’s ability to react and interact naturally with Soper’s synth is remarkable, and a rare feat that few drummers can effectively accomplish. The outcome of this fusion is a style that leans more towards industrial, punk, or metal than it does to jazz or modern improvisation. Unrelenting in it’s exploration, “Magenta Line” gives way to a new style altogether, yielding nearly 45 minutes of uninterrupted gritty and grinding cyborg thrash.\u003c\/p\u003e\n\u003cp\u003eBoth artists demonstrate a very high level of skill and versatility with their chosen instrument. Fox and Soper each speak their own alien musical language to each other, meeting head-to-head in terms of the range of expression they can achieve with their expansive arsenal of mastered techniques. At times, Soper’s distorted sequences lock into place, providing the rhythmic backdrop for Fox to drum circles around, while at other times Fox lays down heavy, direct beats for Soper to explore the full range of free electronic shredding his synth is capable of. Musical form is firmly established, while extreme sonic and textural freedom is still allowed. “Magenta Line” is a marathon session where new ground is constantly being broken with powerful, crushing physicality. Although the instrumentation is unorthodox for an improvisational duo, the results are incredibly dynamic and exploratory when left in the hands of masterful musicians.\u003c\/p\u003e\n\u003cp\u003eCassette comes packaged with  download coupon.\u003c\/p\u003e\n\u003cp\u003eThe first 75 people who order “Magenta Line” will receive a free, limited edition 12″ x 12″ color poster of the full cover art by Ryan Soper. This print is only available from NNA, and is strictly limited to 75 copies! Still some remaining!\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886621827387,"sku":"CS-NNA-091","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a4017543771_10.jpg?v=1737518127"},{"product_id":"battle-trance-blade-of-love","title":"Battle Trance - Blade of Love LP","description":"\u003cp\u003eTenor saxophone quartet Battle Trance is proud to announce their sophomore album Blade of Love. The follow-up to their widely acclaimed debut Palace of Wind (2014), Blade of Love is an elemental composition that aims to fulfill the tenor saxophone's expansive potential as an ensemble instrument. Working within the intimate intersection of the human body\/breath and the saxophone, Blade of Love is a spiritual and enigmatic work with a deep emotional resonance.Since forming in 2012, the four saxophonists in Battle Trance (Travis Laplante, Patrick Breiner, Matt Nelson, Jeremy Viner) have spent hundreds of hours deepening their musical connection with each other, maturing as an ensemble through relentless touring everywhere from Brooklyn to Los Angeles, Montreal to Vancouver, and most places in between.\u003c\/p\u003e\n\u003cp\u003eThe three movements of Blade of Love were composed by Battle Trance leader Travis Laplante in a wooden room with soaring ceilings in the Vermont forest. Blade of Love was recorded after two years of rigorous rehearsals working to perfect the array of extended techniques, both virtuosic and primal, required to bring the challenging piece to life.\u003c\/p\u003e\n\u003cp\u003eBlade of Love's central focus is on the physical and spiritual intersection of the saxophone and the human body. The saxophone is one of the few instruments that literally enters the body of the person playing it, and Blade of Love is a medium for this sacred meeting place, with each member of Battle Trance using the saxophone as a vessel for the human spirit.\u003c\/p\u003e\n\u003cp\u003eSinging has an inherent power, but that power is heightened in the context of Blade of Love. At times, the four players sing while exhaling through the saxophone tubes, using the instrument's keys to shift the timbre of their voices. Laplante also integrates non-traditional mouth articulations, using the saxophone as a resonant chamber for these inventive sounds. Laplante explains:\u003c\/p\u003e\n\u003cp\u003e\"There were certain specific sounds that I imagined being in Blade of Love, but I couldn't get close enough to them using traditional saxophone tone — sounds like arrows flying through the air, birds singing or flying overhead, bombs, water running, the wind, the sound of fire, singing in church, making love, killing, waves crashing, fighting for your life, thunder, the sound of rage, howling, crying, laughing, the sound of my last breath… So I began working on different ways for the saxophone to get closer to these sounds, and the resulting techniques became part of the fabric of Blade of Love.\"\u003c\/p\u003e\n\u003cp\u003eTravis Laplante describes composing Blade of Love as \"the most torturous and demanding compositional experience of my life.\" He continues: \"It's painful for me to try to explain what this music 'means,' because in a sense it has no meaning — and at the same time, it means everything. I just hope Blade of Love will release something in both the listener and the performer's hearts. It doesn't ask for anything in return.\"\u003c\/p\u003e\n\u003cp\u003eVinyl LP comes packaged with download coupon.\u003cbr\u003eCompact Disc \u0026amp; versions released by \u003ca href=\"http:\/\/newamrecords.com\/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eNew Amsterdam Records\u003c\/a\u003e (NWAM080)\u003c\/p\u003e\n\u003cp\u003eFrom now until supplies last...\u003c\/p\u003e\n\u003cp\u003eThe first 100 people who pre-order Battle Trance's upcoming vinyl LP \"Blade of Love\" from nnatapes.com will receive a FREE limited edition cassette tape, @ Roulette, featuring a truly hypnotic and beautiful 46-minute Battle Trance live performance, recorded at the Roulette artspace in Brooklyn, NY. This recording wonderfully captures the essence of the tenor saxophone quartet's notoriously intense and moving live performances.\u003c\/p\u003e\n\u003cp\u003e@ Roulette is strictly limited edition with no release. It contains full color artwork featuring the art of Daniel Seiders, housed in metallic gold cassette tapes. @ Roulette will not be sold separately, it is only available with the first 100 orders from nnatapes.com and will not be re-pressed.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886621860155,"sku":"LP-NNA-092","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA092-cover.jpg?v=1736542154"},{"product_id":"oneohtrix-point-never-rene-hell-split-lp","title":"Oneohtrix Point Never \/ Rene Hell - Split LP","description":"\u003cp\u003eNNA's second split LP unites two American artists on the cutting edge of experimental electronic music: Brooklyn's Oneohtrix Point Never and Los Angeles' Rene Hell. Daniel Lopatin and Jeff Witscher have each been working tirelessly in the US underground for the last several years, releasing progressive, forward-thinking, and highly acclaimed music under a wide variety of guises and manifestations. In 2012, we see them each offering their respective unique visions and interpretations of  music in the modern world, processing the world around us through the lens of technology and modern sound.\u003cbr\u003e\nOneohtrix Point Never brings us \"Music For Reliquary House\", which consists of sonic reworkings from the \"Reliquary House\" audio\/visual installation, a collaboration between Lopatin and video artist Nate Boyce. In a series of five pieces, Lopatin delivers a sequence of hallucinatory informatic assaults, a satirical re-envisioning of modernist sculpture. Picking up where 2011's \"Replica\" left off, OPN uses  technology to dissect human speech patterns and timbres almost beyond recognition. Via computer, Lopatin converts pieces of text to human speech, only to dismantle it entirely, surgically reassembling the scraps of frequencies and the shrapnel of pure sound into something new altogether… starkly melodic at times, but altogether harsh and inhuman as a whole.\u003cbr\u003e\nRene Hell presents \"In 1980 I Was A Blue Square\", a suite of five pieces for piano, synthesizer, and computer. Juxtaposing mid 20th century classical music with chaotic electronic blasts, Witscher creates his own style of contemporary music that is peaceful and violent on top of itself, creating a rift of confusion that sits nicely between more vast, soundscape-like vignettes. Witscher's previous forays into the worlds of noise and ambient are tastefully apparent here, indicative of an artist who is able to retain a broad array of influences and use them in a way that is both personal and original.\u003c\/p\u003e\n\u003cp\u003eMastered and cut by Lupo at Dubplates \u0026amp; Mastering, Berlin.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886621925691,"sku":"LP-NNA-051","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA051-1.jpg?v=1736542160"},{"product_id":"max-eilbacher-schizophrenia-as-architecture","title":"Max Eilbacher - Schizophrenia as Architecture CS","description":"\u003cp\u003eNNA happily presents the latest work from the young Baltimore sound artist Max Eilbacher. Perhaps best known for his work as a bassist with polyrhythmic Krautrockers Horse Lords, as well as the Drainolith live band, Eilbacher has foremost been working for many years in the realm of experimental electronic music. Using self-built systems of modular synthesizers in conjunction with computer music techniques, Eilbacher has created a highly original and personal style of abstract music, as made evident through his brilliant full-lengths of the past few years, including works such as Red Anxiety Tracers (Spectrum Spools) and Subtle Scatter (Fogged). NNA Tapes is now proud to offer Eilbacher’s latest recording “Schizophrenia As Architecture”.\u003c\/p\u003e\n\u003cp\u003eThe four pieces that comprise “Schizophrenia As Architecture” utilize an almost overwhelmingly wide variety of sound sources and techniques in order to create concrète sound worlds with an incredible amount of depth and movement. Constantly shifting, it almost seems as if no two sounds repeat themselves, tirelessly building as the piece unfolds. This compositional restlessness is highly welcomed, as it succeeds in creating a kinetic intensity that often builds to levels of boiling, bubbling insanity that border on the maniacal and absurd, but are anchored by high brow musicianship. Electro-acoustics and field recordings are integrated and layered with such surgeon-like precision that it becomes nearly impossible to distinguish what is ‘electro’ or what is ‘acoustic’ in origin. This technique also produces an unbelievably textured listening experience that tickles and massages the brain, producing high levels of sonic physicality that almost transcend a mere listening experience, becoming an increasingly physical one as the piece moves on. Eilbacher’s personal experience with computer animation and 3D rendering become evident here, creating tactile sensations that seem to reinforce the role of musician as sculptor.\u003c\/p\u003e\n\u003cp\u003ePerhaps the most exciting thing about Eilbacher’s music is his seemingly limitless palette – there is no trace of conceptual limitations, analog vs.  pretension, or any self-imposed borders – nothing is off limits, even the kitchen sink. Spoken word, sound poetry, field recording, object manipulation, fm synthesis, and  processing are all eagerly thrown into the fray. The elements of this liberation are bound together by Eilbacher’s greatest strength – his vivid imagination, which succeeds in establishing an original, creative voice that pushes sound abstraction further into uncharted territory.\u003c\/p\u003e\n\u003cp\u003eCassette comes packaged with  download coupon.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Cassette","offer_id":49886622155067,"sku":"CS-NNA-094","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA094.jpg?v=1736542172"},{"product_id":"patrick-higgins-josh-modney-evrly-mvsic","title":"Patrick Higgins \u0026 Josh Modney - EVRLY MVSIC CS","description":"\u003cp class=\"p1\"\u003eWe’re very proud to have the innovative composer and performer Patrick Higgins return to NNA Tapes, this time in a duo format with acclaimed violinist Josh Modney. On 2015’s ‘Social Death Mixtape,’ we witnessed Higgins’ talents as a composer, creating intricate electroacoustic compositions with a variety of performers. On ‘EVRLY MVSIC’ however, we hear Higgins as a skilled performer on his primary instrument, the guitar. Josh Modney comes from a similar background, having established himself as a prominent figure in New York City’s New Music circuit, with work ranging from the chamber music group International Contemporary Ensemble (ICE), to composer-performer collective Wet Ink Ensemble. Having shared the stage together for the past 5 years both as improvisers and as chamber musicians, the foundation of ’EVRLY MVSIC’ is built on a long term musical connection between Modney and Higgins, a bond that is made evident throughout these recordings.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eOn ‘EVRLY MVSIC,’ the two performers have taken the concept of “Early Music” \u003cspan class=\"s1\"\u003eas a stimulus to inspire performances of acoustic improvisation that aim at a compositional tightness, creating a musical framework based more around the feeling, rather than the sound, of Medieval struggle. Tightly coiled around highly virtuosic and austere interactions, Higgins and Modney harness the essence of Early Music both in sentiment as well as gesture, using guitar and violin in unorthodox ways that sometimes recall the sounds of early stringed instruments such as the oud and viol. Each instrument inherently carries the capacity for both classical beauty and textural violence, both of which are employed with tasteful skill and execution. Improvisation in this project is neither free nor, strictly speaking, structured. Instead, it is aimed at an emergent form in the instant, looking toward song structure in the most novel and ancient sense. Noise and extended technique are used to create a lyrical aching quality, while melody is used to create unsettling noise. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003eThroughout the album, EVRLY MVSIC displays a linear progression of material, building over the course of three \"Partitas.” The first two utilize an arcane, sparse musical language of plucked sounds strangely reminiscent of Renaissance lute music, advancing to a lushly harmonized set of microtonal, cantabile pieces that explore the full expressive range of violin and acoustic guitar. What furthermore adds to the uniqueness of this album, however, is the third Partita, which introduces electric guitar and real-time electronic processing on both instruments to culminate in an expansive, relentlessly energetic display of refreshing new sounds. The original acoustic palette of guitar and violin is retained, but vastly expanded upon, injecting a dense, unpredictable modern edge into the archaic atmosphere. ‘EVRLY MVSIC’ presents an incredibly original fusion between ancient European musical history and distinctly American experimentalism, hinged on the nexus between improvisation and chamber music, and fueled by a deeply personal musical alliance.\u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886622974267,"sku":"CS-NNA-103","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA103.jpg?v=1736542212"},{"product_id":"ryan-power-they-sell-doomsday","title":"Ryan Power - They Sell Doomsday CD","description":"\u003cp\u003eIt is with much excitement that NNA presents ‘They Sell Doomsday,’ the latest full-length album from songwriter \u0026amp; producer Ryan Power. As evidenced by his previous work with NNA and beyond, Ryan Power has spent most of his life immersed in the many realms of music creation. ‘They Sell Doomsday’ is his seventh full-length album, and with dedication to one’s craft comes refinement and mastery. In many ways, this is Power’s most ambitious recorded statement yet, combining the musical palettes of his previous work with explorations into uncharted territories, plus his quintessential attention to sonic detail and innovative lyricism.\u003c\/p\u003e\n\u003cp\u003eIn addition to the uniquely colorful electronic environments developed on his previous two albums, Power more prominently integrates his natural talent and foundations in jazz guitar into the mix - smooth solos and tender acoustic pluckings find their homes comfortably in the beds of lush synthesizer chords and metronomic drum machines. While ’They Sell Doomsday’ provides plenty of the perfect, silky pop hits that Power is known for on tracks like “The Cavalry” and “Lazy About Love,” it also contains some of his most complex, challenging work to date. Ryan is fearless in mining the weirder, more demented corners of pop songwriting as the modern world around us follows suit. Songs like “In a Tizzy” or “Issues” at moments sound like looking into a funhouse mirror through a kaleidoscope, with complex lyrical patterns bisecting a Rubik’s cube of melodic shifts, all while somehow being tethered to reality by a steady pulse. Power’s deep exploration of melody and chord changes are pushed to the brink of chaos, creating musically Cubist puzzles that splinter off in unpredictable directions, only to effortlessly land back where they started. Amidst all the hysteria, however, is a foundation of the gorgeous, jazz-influenced chord progressions that define Power’s sound. The common thread across all of the album’s songs which makes the bizarreness so palatable is his ingenious use of melody, even in the most unexpected places, taking the listener on a chromatic merry-go-round of pop songs.\u003c\/p\u003e\n\u003cp\u003eThe lyrical themes of ‘They Sell Doomsday’ touch on the building blocks of our contemporary human existence - the future, the past, romance, purpose, human nature, technological mayhem, cerebral disarray - all sifted through the sardonic mind of Ryan Power, and delivered in lyrically beautiful, often cryptic poetics. While perhaps more conceptual than previous albums, the lyrics on 'They Sell Doomsday' also show maturity through self-awareness - of fears, faults, both personally and societally. Power continues to muse on the joys and pains of love, desire, and the inherent duality of their conflicting biological and mystical tendencies. He also touches on the paradoxes found in life’s current social climates, and the struggle to maintain a peaceful isolation from the technological and media frenzies while simultaneously not being categorized as unaware or apathetic. These themes are conducted fluidly through Ryan’s often tongue-in-cheek writing, using abstraction and wordplay in a way that feels less journalistic and more stream-of-consciousness than his previous work.\u003c\/p\u003e\n\u003cp\u003eThe highly personal nature of Ryan’s music is reinforced by the fact that the final product is entirely self-built, and his presence in all aspects of it's creation can not only be heard, but felt as well. This record is the definitive statement of a practice and craft refined by it’s creator through passion and time. It is not an album that someone would make for their first, or even their fourth, full-length; this is the work of a highly developed musician in full control of their vision. The perfect storm of high-quality, inventive writing and production make ‘They Sell Doomsday’ a milestone in Power’s discography.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDouble Vinyl LP comes packaged with complete lyrics sheet and  download coupon.\u003c\/strong\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886623039803,"sku":"CD-NNA-104","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2513130906_10_628c1f51-cf2e-4d94-b4d9-e4d0635ade45.jpg?v=1737594113"},{"product_id":"birthing-hips-urge-to-merge","title":"Birthing Hips - Urge To Merge CS","description":"\u003cp\u003eNNA Tapes is very excited to welcome Boston, Massachusetts-based Birthing Hips to the family. Over the last decade, Boston has proved itself to be a creative melting pot for a new wave of uniquely deranged rock bands. The city’s rich history of punk, combined with its strong DIY culture, plus its local concentration of formal music schools have merged together in a bubbling stew, yielding an abundance of highly talented, energetic, and unruly new acts. At the forefront of this new crop is Birthing Hips, a noisy four-piece known for their virtuosic players and intense live performances. Following up their 2016 self-released debut ‘No Sorry,’ their latest release ‘Urge To Merge’ continues their ruthless trajectory into more aggressive, yet more refined, territory.\u003c\/p\u003e\n\u003cp\u003eThe four members of Birthing Hips operate like a finely tuned machine: each part operating independently, but when functioning together as a whole, it yields tremendously effective results. Although their rock and roll roots are undeniable, the genre’s cliches are consciously avoided – intros can be more like preludes, the verse\/chorus format is only loosely followed, and endings are creatively fragmented and self-destructive. The traditional format of guitar, bass, drums, and vocals are simultaneously tied to inventive song structures, but also free to improvise individually, creating a looseness and tension that draws as much from jazz as it does from punk. Wendy Eisenberg’s guitar takes on many forms, proving that she is in in full control of her instrument – at times Sun City Girls, sometimes Slayer, other times Sonny Sharrock. Her complex 32nd note passages weave seamlessly with Andres Abenante’s mammoth basslines, burning holes through his impeccably placed and deeply deliberate riff structures. Owen Liza Winter’s drumming sprays forth in a frantic shuffle, darting in and out of rhythm with plenty of individual character. Their range on the kit is displayed by switching from blastbeats, to jazz shuffles, to locked-in grooves at the drop of a dime. Carrie Furniss’ vocals tie everything together with her highly dynamic voice, using whispers, howling, and classic dramatic embellishments as her weapons of communication. In the profound moments when all of these roles align and lock together, it is a truly powerful musical moment that can be devastatingly satisfying to the listener. These recordings were all performed live in real time, a quality which not only adds a tangible rawness to the sound, but also demonstrates the improvisatory tightness of its players.\u003c\/p\u003e\n\u003cp\u003eThe lyrical themes on ‘Urge To Merge’ range from menacing to sarcastic to existential, reflective of a person pushed to their boiling point in the face of social bullshit and modern injustice. Birthing Hips’ juxtaposition of female vocals with blistering noise rock suggests notions of traditional femininity being smashed to pieces, like glitter being sprayed out of a can of mace. Buried within these songs’ bestial exterior, however, is an underlying melodic core of pop, showing an informed understanding and appreciation of all types of music from its creators.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCassette comes packaged with  download coupon.\u003c\/strong\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886623170875,"sku":"CS-NNA-105","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2567273660_16.jpg?v=1738968262"},{"product_id":"ahnnu-special-forces","title":"Ahnnu - Special Forces LP","description":"\u003cp\u003eWe’re delighted to welcome Los Angeles-based producer Ahnnu, aka Leland Jackson, back to NNA Tapes to share his brilliant new full-length album ‘Special Forces.’ Over the years, Jackson has made his mark on the world of electronic music production not only with his innovative works as Ahnnu, but with his footwork\/dance alias Cakedog as well. Following up the 2013 NNA release ‘Battered Sphinx,’ and more recently 2015’s ‘Perception’ on Leaving Records, Ahnnu returns to push his sound collage expeditions further into the deep beyond by excavating fragments and ethos from music history’s past and infusing them with the electronic frequencies of a future landscape.\u003c\/p\u003e\n\u003cp\u003e‘Special Forces’ manifests as series of thematic, stripped-down electronic works, brought to life through the thoughtful arrangement of dynamic new sounds in combinations that produce maximum effects from minimal presence. This less-is-more approach conjures a distinct array of moods and emotions through pure sound, gaining power through repetition and the subtle compositional shifts that disrupt them. Rhythm and melody often interlock as one through forward-thinking sequencing, prompting delicate hypnosis through complex syncopation. More than ever, Ahnnu operates within a highly unique sound palette unlike anything else happening in contemporary music. Though unlike his previous work, there are very few samples on ‘Special Forces’ - Jackson instead opts to turn the sampling process on himself, extracting and manipulating fragments of his own personal experiments with electronic synthesis and patch creation, reanimating them as he would with the traditional sampling of field recordings or other music. Ahnnu’s roots in left-field beatmaking are retained on these recordings, and his originality lies in his use of the production techniques and processes of hip-hop, dance music, and street artforms to produce high brow experimental works.\u003c\/p\u003e\n\u003cp\u003eThe resulting tracks often evoke a jagged science fiction - the calibration of starship bridge equipment, extra terrestrial cafe ambiance, snippets of robotic conversational clamor on a sandcrawler Uber ride, or the gripping tension of radar blips while tracking the enemy through a VR headset. Jackson’s work with dance music as Cakedog shines through at moments in tracks like “Latro” and “War Stage,” with subtle melodic House-style chords and traditional kicks and hi-hats permeating the mix. Above all, ’Special Forces’ seems to trace the lineage of early electronic music through its most formative stages, carrying the essence of the fervent discovery of new, exciting sounds through the embracing of technology. The album also seems to draw inspiration from ideologies such as Debussy’s “tone poems” and Satie’s “wallpaper music,” up through the original tenements of Ambient music established by Eno, Fripp, and other pioneers. The sounds of cold mechanics and electricity are given life through innovative production, effective composition, and gestural phrasing, while retaining the life and vivacity of the expressionist tendencies of jazz and classical music. This is music that sounds as though it could be familiar throughout the cosmos, but remains as-of-yet undiscovered in the current third dimensional time\/space of our earthly realm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVinyl LP comes packaged with  download coupon.\u003c\/strong\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49894728794427,"sku":"LP-NNA-107","price":35.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a0764720590_10.jpg?v=1737492401"},{"product_id":"subtle-degrees-a-dance-that-empties","title":"Subtle Degrees - A Dance That Empties LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eA Dance That Empties\u003c\/strong\u003e\u003c\/em\u003e is \u003cstrong\u003eTravis Laplante\u003c\/strong\u003e's latest album-length composition, written for \u003cstrong\u003eSubtle Degrees\u003c\/strong\u003e, a new two-musician ensemble consisting of Laplante (tenor saxophone) and \u003cstrong\u003eGerald Cleaver\u003c\/strong\u003e (drums). The duo's uncategorizable sound evokes everything from contemporary classical music, avant garde jazz, minimalism, technical metal, and sacred world music. Laplante is also the founder\/composer of saxophone quartet \u003ca href=\"http:\/\/nnatapes.com\/artist\/battle-trance\"\u003eBattle Trance\u003c\/a\u003e and the ensemble Little Women.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Dance That Empties\u003c\/em\u003e is the culmination of a very long musical relationship. In 2001, when he was only 18 years old, Laplante played a concert at New York’s Knitting Factory, then a pre-eminent mecca for adventurous music of all kinds. Cleaver was in the audience, and came up to Laplante afterwards, handed him his phone number and said they should play together sometime. They soon did, “and I felt a very intimate and spiritual connection with Gerald that feels more alive than ever today,” Laplante says. “I’ve learned a tremendous amount from Gerald and have long considered him one of my favorite living improvisers.”\u003c\/p\u003e\n\u003cp\u003eThe two have performed together various times over the ensuing 17 years, but Laplante never felt he was quite ready to record with Cleaver. “It got to the point where I took a multiple-year break from playing with him because I felt like I didn’t have enough to bring to the table,” says Laplante. “I needed to practice so I could have more to give to our musical relationship.” Then, in the fall of 2016, Laplante received a commission to compose a piece to be performed at Roulette in Brooklyn the following spring. “I knew that this was the perfect opportunity to return to this relationship with Gerald.” And so Laplante began composing an epic-scale work with Cleaver’s rhythmic virtuosity in mind.\u003c\/p\u003e\n\u003cp\u003eInspired by the longer durational forms of spiritual ceremonies, \u003cem\u003eA Dance That Empties\u003c\/em\u003e is a continuous journey that unfolds over 43 minutes, with musical motifs that foreshadow, recur, and evolve. The piece refines sonic territory that Laplante has pioneered in his celebrated saxophone quartet Battle Trance, as well as his solo saxophone work, utilizing long passages of circular breathing and other extended techniques to create specific and yet ineffable emotional and sonic resonances. \u003cem\u003eA Dance That Empties\u003c\/em\u003e, as the title implies, adds the distinctly new element of complex rhythmic pulses precisely and expressively executed by Cleaver, that compel listeners to lose themselves in the hypnotically repetitive yet subtly shifting grooves.\u003c\/p\u003e\n\u003cp\u003eWith \u003cem\u003eA Dance That Empties\u003c\/em\u003e, Laplante and Cleaver throw themselves into unknown territory, delving further into the devotional intensity that has long distinguished both their work.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTravis Laplante\u003c\/strong\u003e on \u003cstrong\u003eSubtle Degrees\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Playing in this duo with Gerald is by far the most exposing musical experience I've ever had. I think it feels so raw and vulnerable because it has a similar nakedness to playing solo, while at the same time I'm completely relying on and needing to stay connected with Gerald, no matter what. It requires 100% trust in another person, as well as myself. Our respective parts in A Dance That Empties are so meticulously interwoven that it can potentially be disastrous if one of us makes even a tiny mistake. It feels like the riskiest piece I've ever written in terms of the psychological, emotional, physical and sensory demands.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVinyl LP comes packaged with  download coupon.\u003c\/strong\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886623433019,"sku":"LP-NNA-109","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA109-cover-border.png?v=1736542246"},{"product_id":"erica-eso-129-dreamless-gmg","title":"Erica Eso - 129 Dreamless GMG CD","description":"\u003cp\u003eNNA Tapes is excited to present ‘129 Dreamless GMG,’ the brand new full-length from the New York City-based art pop ensemble \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e. Operating within a radical conceptual framework, but channeled through the voice of modern pop music, \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e bridges aesthetic and musical gesture in a way that could only be found in our contemporary post-everything information age. While the band’s 2015 debut album ‘2019’ had a more “bedroom pop” essence in its recording and execution, ‘129 Dreamless GMG’ refines, expands, and evolves the \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e sound from home studio experimentation to a full-fledged band format, with live drums (Rhonda Lowry), bass (Nathanial Morgan), back-up vocals (Ellen O, Angelica Bess), and collaboration more central to the arrangements. Under the leadership and compositional vision of Weston Minissali (Cloud Becomes Your Hand; VaVatican), \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e delivers the newness of microtonality fused with enough melody and harmony to satisfy the ears of listeners from all different inclinations.\u003c\/p\u003e\n\u003cp\u003eAs time moves rapidly forward, while information and technology become a more integral part of our culture, \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e \u003cwbr\u003edemonstrates the musical amalgamation of styles and the obliteration of genre as music mutates and adapts with the ages. Tracks like “Fire Is The Mouth” thrive on Krautrock-inspired rhythmic power, while “Love-gun” draws heavily from contemporary sultry R\u0026amp;B. On the other hand, tracks like “Mirror Stage I \u0026amp; II” stand in contrast to the poppier material on the record, by embracing concréte and collage compositions in a long-form, patient anti-structure. Born of group improvisation then meticulously edited, these tracks evoke mournful tenderness, horror and serenity all in their joint 8-minute span. Further deviating from expectations, “Vaccination Free” develops a liturgical sensibility through the collective harmonic recitation of text, transmitting existential themes of emptiness, form, and the moment’s reckoning with futurity. As scattered as this might seem in words, the band doesn’t clunkily jump from genre to genre, but, with the help of mixing engineer Steve Marion (of Delicate Steve), translates these influences into their own distilled language, their self-proclaimed “femmed-out microtonal synth pop.”\u003c\/wbr\u003e\u003c\/p\u003e\n\u003cp\u003eLyrically, \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e speaks in poetic fragments, strung together in phrases that are thoughtfully composed, allowing them to unfold and develop in unexpected ways alongside their corresponding song structures. However, their abstraction does not mean these lyrics are devoid of content. As the American political climate intensifies, \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e seems to position herself not necessarily on the front lines of immediate response, but as an artistic voice that advocates for the empowerment of quiet reflection on the ultimately ungraspable paradoxes of the world: self and other, living and dying, boi and gurl, and so on. Lyrical elements of candid humor and absurdity further contribute to the impossible-to-pidgeonhole nature of the band. To hone their signature sound, \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e draws stylistically from the 5 previous decades of popular Western music history - the glamour and danceable rhythms of the 70s, the fervent electronic discovery of the 80s, the indie ethos and technological refinement of the 90s, up to the chaotic,  wonderland of post-millennial radio hits. In an age of extreme change and global uncertainty, ‘129 Dreamless GMG’ conceptually raises many important questions, accompanied by satisfying, non-linguistic musical answers to help us find our way into the Next Age.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIncludes  download coupon.\u003c\/strong\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886623531323,"sku":"CD-NNA-111","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1576525370_10_d98eb725-11ff-444f-94f7-77e06207911f.jpg?v=1737516651"},{"product_id":"tigue-strange-paradise","title":"Tigue - Strange Paradise LP","description":"\u003cp\u003e\u003cstrong\u003eTigue\u003c\/strong\u003e is a group of three percussionists with a fluid musical identity. Praised for their energetic and focused performances, the members of Tigue (Matt Evans, Amy Garapic and Carson Moody) have played together since they were practically children — continuously making their own blend of instrumental minimalism while simultaneously performing in collaborative projects. \u003cem\u003eStrange Paradise\u003c\/em\u003e sees them building worlds as a unit, pushing each other to transcend the limits and expectations of their percussive instrumentation in the construction of long-form, radiant hypnotic soundscapes the group describes as “rendered in ecstatic complexity.”\u003c\/p\u003e\n\u003cp\u003eAs a result, \u003cem\u003eStrange Paradise\u003c\/em\u003e is a luminous, abstract, non-narrative world that funnels inspiration from patterns, objects, and relationships. Built on an intricate patchwork of tones where instrumental lines and textures shift in and out of alignment to produce a vibrating landscape, Strange Paradise is designed for a mode of “extended listening” — asking listeners to explore slow gradations of change between rhythm and texture. The album creates a sound environment that envelopes the listener but continually defies expectation — shapeshifting at each point it seems understood. Though the music floats from the serene to the uncanny, \u003cem\u003eStrange Paradise\u003c\/em\u003e is perhaps most notable for providing a distinct sensation of interconnectedness.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eStrange Paradise\u003c\/em\u003e was produced by Tigue \u0026amp; Seth Manchester, and recorded at Machines with Magnets in Pawtucket, RI and Brooklyn, NY. The album was engineered and mixed by Seth Manchester, and mastered by Heba Kadry at Timeless Mastering. Special guests on “Triangle” include: Benedict Kupstas (guitar); Seth Manchester (guitar); Tristan Kasten-Krause (bass); Trevor Wilson (Wurlitzer); and Eliot Krimsky (OP1).\u003c\/p\u003e\n\u003cp\u003eAlbum art by Devra Freelander and Gregory Wikstrom.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVinyl LP comes packaged with  download coupon.\u003c\/strong\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886623629627,"sku":"LP-NNA-112","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a2404125479_10.jpg?v=1737600884"},{"product_id":"tsembla-the-hole-in-the-landscape","title":"Tsembla - The Hole In The Landscape LP","description":"\u003cp\u003eNNA is thrilled to present ‘The Hole In The Landscape,’ the latest full-length album by \u003cstrong\u003eTsembla\u003c\/strong\u003e. Based in Turku, Finland, Tsembla is the solo alias of musician Marja Ahti, a frequent collaborator of the Kemialliset Ystävät musical collective and one half of the electro-acoustic duo Ahti \u0026amp; Ahti. As Tsembla, Ahti creates vivid, imaginative compositions of sound and rhythm using electronics and treated samples of recorded acoustic instruments, objects, voices, feedback, and environmental sounds. Following up the 2015 LP ‘Terror \u0026amp; Healing’ on the New Images label, Tsembla’s fourth full-length album ’The Hole In The Landscape’ combines melodic and rhythmic narrative with rough-edged sound collage, creating a sense of gravitation, forward movement and friction by contrasting weightlessness with density. At the heart of Tsembla’s compositions lies a distinctive and diverse palette of sounds, electronically processed and filtered to create a signature sound and feel with a unique sonic personality.\u003c\/p\u003e\n\u003cp\u003eAcross the album’s eight tracks, a tension between electronic synthesis and sampled acoustic sounds creates an inventive mixture of colorful playfulness and meditative starkness. Tsembla’s roots can be traced back to musique concrete, early electronic music, and other rhythmic electronic subgenres, but the final product is in a class of its own. The simplistic yet elegant use of melody is implemented thoughtfully to carry the delicate layers of electronics and samples along their voyage, uniting them into an abstracted whole. The frenetic, psychedelic density of Kemialliset Ystävät can be heard in these tracks, though Ahti’s solo approach is more restrained and deliberate. Sounds are given enough space from each other to exist harmoniously alongside one another, with a tasteful amount of layering that allows the listener to focus on intentional clusters of brilliantly juxtaposed sounds, without feeling overwhelmed or bombarded. A distinct influence of music from all across the globe can be heard, beyond the usual western scales and instrumentation; woodwinds, strings, percussion and ancient sounds from all corners of the earth are electronically synthesized to create unpredictable textural twists and turns. These incredibly dynamic resulting textures stimulate the brain in unexpected ways, and the metaphor of sonic texture for organic geological formations can be both heard and felt in the exquisite detail that Ahti is able to conjure in these compositions.\u003c\/p\u003e\n\u003cp\u003eAs a thematic starting point, ‘The Hole In The Landscape’ takes the deep time of geological processes in contrast to the fleeting lifespan of the human mind and heart - the light fluctuations and deep dents of personal or collective thought and emotion, from the perspective of the slow formation of mountains built by shells, dead organisms or fossilized bacteria, and then carried away by wind or water. The idea of a hole in a landscape can manifest as a hollow desert rock formation, or a sense of personal or collective loss. In either case, there is an absence surrounded by presence. Loss carves a gap in our mental landscape, but simultaneously transforms what is left and infuses it with new meaning. In step with these thematic properties, Ahti successfully implements her personalized sound to remind us that the unpredictable natural processes of the universe’s activity cannot be contained or controlled. However, through the instrument of creativity, we can take time in our brief earthly human existence to appreciate the aesthetic beauty and artful juxtapositions that are created as a result of this mystifying chaos, reminding us that absence can tell as much of a story as presence.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVinyl LP comes packaged with  download coupon.\u003c\/strong\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49886623826235,"sku":"LP-NNA-110","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a3424580369_10.jpg?v=1737241671"},{"product_id":"alice-cohen-the-channel-14-weather-team-artificial-fairytales-copy","title":"Alice Cohen \u0026 The Channel 14 Weather Team - Artificial Fairytales LP","description":"\u003cp\u003eNNA is honored to bring you new music from New York-based songwriter, musician, and visual artist \u003cstrong\u003eAlice Cohen\u003c\/strong\u003e. ‘Artificial Fairytales’ is the artist’s 6th full-length solo album, joined now by \u003cstrong\u003eThe Channel 14 Weather Team\u003c\/strong\u003e (\u003cstrong\u003eAdrian Knight\u003c\/strong\u003e and \u003cstrong\u003eDavid Lackner\u003c\/strong\u003e) on additional instrumentation. Cohen’s extensive and diverse career in music has formed her work into the unique breed of sophisticated pop that it is today, utilizing synthetic funk, club-like atmospheres, technical compositions and inventive production to create a sound that is both vintage and modern simultaneously, fitting in seamlessly with the current wave of underground New York City art pop.\u003c\/p\u003e\n\u003cp\u003eCohen has spent the majority of her life immersed in music. The daughter of jazz musician parents in Philadelphia, she was influenced at an early age by “The Philly Sound” of soul music songwriting\/production duo Gamble and Huff. Getting her start playing her songs in coffee shops, Cohen came up through the disco\/funk era of the late 70s and early 80s both as a songwriter and in her band Fun City, before venturing off into synth pop in the mid-1980s with The Vels, then going on to sing and play bass in grunge rock outfit Die Monster Die in the 1990s. Since then, her solo work has built on elements from all of these experiences, as evidenced in her unique and personal hybridized sound. Now, with ‘Artificial Fairytales,’ Cohen has locked into a mode of expression that is dance floor-friendly, yet psychedelic and surreal enough to trip out to in any setting. While elements of these songs are extremely accessible, the deep variety of sonic coloring, dense layering, and creative use of synthesis work together to push the boundaries of status quo pop music. ‘Artificial Fairytales’ has the detail and presence of a studio album, but the fact that it was recorded at home reveals an extra dose of freedom, experimentation, and personality in its details. These 9 songs sit in the more glamorous zones of eighties club and R\u0026amp;B music, though laced with more modern cosmic tendencies through the delicious and stimulating blend of synthesizers, guitar, sax, flute, and drum machine.\u003c\/p\u003e\n\u003cp\u003eThematically, the album explores the internal fantasy life of “outsider” characters, the theme of the Working Woman, and the transformation of the Old Maid archetype. The songs are reflections of the fairy tales we learn in childhood, reworked into the dreams and realities of a modern day woman. The prince on a white horse, the castles, and dragons, have all crumbled, and melted into a distorted plastic landscape. Women’s work and fantasy life form the undercurrent of ‘Artificial Fairytales’ and are expressed in everyday experiences: getting up at the crack of dawn to go to work, as well as the ”ladies of the night” who frolic in seedy motels and sailor bars. 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April ’17’s month long Megabus\/Greyhound tour was crucial and left me enamored with the idea that I could do a full solo tour without a car, and with the act itself of traveling around by bus (the song “Society of Men” came directly out of a bus station experience from that tour). That September we got pushed out of our house on Prospect Place in Crown Heights where we’d been consistently putting on shows for a few years (as a venue it was called “Bottom Bell”), and where a ton of music was written, practiced and recorded, (including every Cradle album from “Basketball is Beautiful” through “Bag of Holding”).\u003c\/p\u003e\n\u003cp\u003eI was considering not settling back down in New York, thinking about moving or trying to tour and travel indefinitely, but ultimately I got lucky and found a room in November around the corner with friends. I think a lot of this album comes out of that happy coincidence that allowed me to keep living and making music in Brooklyn. The perspective of wonder and curiosity in songs like “End of the Day” or “Children” is involved with a kind of renewed, deepening appreciation for the breadth and wondrousness of the city I grew up in.\u003c\/p\u003e\n\u003cp\u003eEarly ’18 saw more traveling and also slowly detangling a longtime romance, and there are admittedly some pained anti-love songs on this album like “Eyes So Clear” and “One Too Many Times”. Hopefully these bluesier feelings are balanced out by the celebration and joy in songs like “Parasite” or “I’ll Walk”, songs about letting go and feeling free.\u003c\/p\u003e\n\u003cp\u003eForm-wise, Laughing in my Sleep was supposed to be a summary album of sorts that would give someone listening to my music for the first time a little taste of everything. Previously, I had been particular when recording about making each project it’s own coherent and distinct sound-world, either through consistent instrumentation or a consistent recording process, but Laughing in My Sleep was the opposite. The drum-machine songs (“I’ll walk” or “See if it Lasts Longer”, for example), were recorded lo-fi on cassette, while the acoustic-guitar ballads were recorded hi(er)-fi on half-inch tape. Some of the songs are voice memos recorded on a cell phone that were supposed to be turned into proper songs later, but which, in retrospect, contained so much feeling and sense of place that I never rerecorded them. I wanted the album to give something different on each listen and give something different to each listener. 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It is a reflection on the past few years of Izzy’s life, during which she sought solitude in the North Wessex Downs while beginning her gender transition.\u003c\/p\u003e\n\u003cp\u003eA consistent theme of the album is isolation, both from other people and from parts of herself, and the intention to overcome anxieties and reconnect. Pluperfect Mind also chronicles aspects of Izzy’s own transgender experience, from the painful tedium of waiting for hormone treatment, to the elation of finally inhabiting a body that feels right. It captures the sense of being cast adrift between an uncomfortable past and an uncertain future, living outside of heteronormativity and caught in “queer time”. Izzy’s mercurial songwriting aims to suspend the perception of time, allowing the listener to inhabit an immersive half-lit world of mystical landscapes, volatile atmospheres and shifting rhythms.\u003c\/p\u003e\n\u003cp\u003eA meditative album that grows richer with multiple listens, lush alien choir voices float in on “Phlebotomy” creating an intoxicating, ethereal sense of calm, while on “Guinefort’s Grave” we hear distant thunderclaps smudged over electronic fuzz and warbling synths. \"Inward Life (We Exist)\" opens with a piano, prepared with screws between its strings, tolling like a church bell, before blossoming into an elegy with yearning violins; elsewhere, descriptions of lilac moons, mouldy air, fauns and smoke-engulfed fields create an atmospheric folk opera. “Black Moon, Lilith” is the emotional zenith of the album, a song about desire, its reckoning and its actualization from a trans lesbian perspective that culminates in the triumphant sound of a string ensemble glittering and warped like holographic foil. Pluperfect Mind builds towards a seraphic finale in the title track, in which a beatific choral tapestry emerges from a sea of whispers and sighs and is finally consumed in a cloud of ecstatic, smouldering drone.\u003c\/p\u003e\n\u003cp\u003eHaving grown up singing in church choirs and listening to classical music, those influences can still be heard in Izzy’s music now. Although she rarely listens to classical music nowadays, the rich harmonies of composers such as Messiaen, Finzi and Ravel have left an indelible mark on her own writing, and she freely mutates samples of Bach and Beethoven beyond recognition. During her transition, having to make the shift from baritone to alto, she was captivated and inspired by the expressive intensity of Kate Bush, Vashti Bunyan and FKA twigs; her own clear, keening vocals soar throughout Pluperfect Mind, breathy and otherworldly. She whispers French poetry and lilts over lines about warped memories, exploring her inner world with gentle ruminations on love, hormone therapy and dreams.\u003c\/p\u003e\n\u003cp\u003ePluperfect Mind is a beguiling collection of vivid lyrics and celestial song, bound together with  glitch and field recordings. Comparisons can be made to Björk, Tim Hecker or Bat For Lashes, but ultimately, Dear Laika’s exploration of the experimental and the mystical builds something intricate and intimate that is truly original and bewitching.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49960218067259,"sku":"LP-NNA-142-BLACK","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Dear_Laika_Pluperfect_Mind.jpg?v=1736540756"},{"product_id":"erica-eso-129-dreamless-gmg-lp","title":"Erica Eso - 129 Dreamless GMG LP","description":"\u003cp\u003eNNA Tapes is excited to present ‘129 Dreamless GMG,’ the brand new full-length from the New York City-based art pop ensemble \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e. Operating within a radical conceptual framework, but channeled through the voice of modern pop music, \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e bridges aesthetic and musical gesture in a way that could only be found in our contemporary post-everything information age. While the band’s 2015 debut album ‘2019’ had a more “bedroom pop” essence in its recording and execution, ‘129 Dreamless GMG’ refines, expands, and evolves the \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e sound from home studio experimentation to a full-fledged band format, with live drums (Rhonda Lowry), bass (Nathanial Morgan), back-up vocals (Ellen O, Angelica Bess), and collaboration more central to the arrangements. Under the leadership and compositional vision of Weston Minissali (Cloud Becomes Your Hand; VaVatican), \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e delivers the newness of microtonality fused with enough melody and harmony to satisfy the ears of listeners from all different inclinations.\u003c\/p\u003e\n\u003cp\u003eAs time moves rapidly forward, while information and technology become a more integral part of our culture, \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e \u003cwbr\u003edemonstrates the musical amalgamation of styles and the obliteration of genre as music mutates and adapts with the ages. Tracks like “Fire Is The Mouth” thrive on Krautrock-inspired rhythmic power, while “Love-gun” draws heavily from contemporary sultry R\u0026amp;B. On the other hand, tracks like “Mirror Stage I \u0026amp; II” stand in contrast to the poppier material on the record, by embracing concréte and collage compositions in a long-form, patient anti-structure. Born of group improvisation then meticulously edited, these tracks evoke mournful tenderness, horror and serenity all in their joint 8-minute span. Further deviating from expectations, “Vaccination Free” develops a liturgical sensibility through the collective harmonic recitation of text, transmitting existential themes of emptiness, form, and the moment’s reckoning with futurity. As scattered as this might seem in words, the band doesn’t clunkily jump from genre to genre, but, with the help of mixing engineer Steve Marion (of Delicate Steve), translates these influences into their own distilled language, their self-proclaimed “femmed-out microtonal synth pop.”\u003c\/wbr\u003e\u003c\/p\u003e\n\u003cp\u003eLyrically, \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e speaks in poetic fragments, strung together in phrases that are thoughtfully composed, allowing them to unfold and develop in unexpected ways alongside their corresponding song structures. However, their abstraction does not mean these lyrics are devoid of content. As the American political climate intensifies, \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e seems to position herself not necessarily on the front lines of immediate response, but as an artistic voice that advocates for the empowerment of quiet reflection on the ultimately ungraspable paradoxes of the world: self and other, living and dying, boi and gurl, and so on. Lyrical elements of candid humor and absurdity further contribute to the impossible-to-pidgeonhole nature of the band. To hone their signature sound, \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eErica\u003c\/span\u003e \u003cspan class=\"m_2328520983185955730gmail-il\"\u003eEso\u003c\/span\u003e draws stylistically from the 5 previous decades of popular Western music history - the glamour and danceable rhythms of the 70s, the fervent electronic discovery of the 80s, the indie ethos and technological refinement of the 90s, up to the chaotic,  wonderland of post-millennial radio hits. In an age of extreme change and global uncertainty, ‘129 Dreamless GMG’ conceptually raises many important questions, accompanied by satisfying, non-linguistic musical answers to help us find our way into the Next Age.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIncludes  download coupon.\u003c\/strong\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49960231239995,"sku":"LP-NNA-111","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/a1576525370_10.jpg?v=1737516589"},{"product_id":"kalbells-max-heart-cd","title":"Kalbells - Max Heart CD","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eKalbells’s sophomore album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMax Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e opens with the process of regeneration. “I’m rotting and I’m never coming back the way you knew me then,” Kalmia Traver sings with a combination of buoyancy and resilience on the opener “Red Marker.” From the beginning, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMax Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is an illustration of death and rebirth; letting go of what doesn’t serve us in order to leave space for the blessings that do. With \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMax Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e as their next chapter, central to Kalbells work is the process of creativity giving space for vulnerability and radicalism–continually practicing decolonization work and fighting against white supremacist, heternormative, and patriarchal models. Take their pre-show vocal improv practice of tintinnabulation (introduced by sometimes-drummer and honorary member Dandy McDowell) which Traver explains is “more about listening than it is about vocalizing; it's more about creating that ecosystem together of trust and respect and interplay and play and joy. I think that that practice is definitely at the center of our work together.” Angelica Bess, Zoë Brecher, Sarah Pedinotti and Traver used this collection of ten tracks to embody prosperity and reciprocity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eKalbells began as a side project for Traver, who also contributes to the joyous, rocking chaos of Rubblebucket. Three years after the debut album \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTen Flowers\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, a more ambient invocation of untapped self-creativity, the sophomore LP was designed to maximize the synergy that Bess, Brecher, Pedinotti, and Traver manifest. Over the course of 2019, Traver planned several week-long intervals of writing a song a day, and, surprising herself, she was writing a lot of love songs. That year she experienced acute heartbreak, but her heart organ “felt bigger than it had ever been.” Similar to energy conservation, it seems that the lost love that influenced Traver’s writing was transferred elsewhere. Rather she invested in the formidable love with her touring band turned bandmates, and they birthed songs that capture the vibrancy of their collective.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eA prime example of Kalbells furthering their sum energies is the effervescent funk of “Purplepink.” Co-written between Bess, Pedinotti, and Traver, a hyper synth bass darts around elongated keyboard sighs. Although the three recorded their vocals in their bedrooms between 2019 and 2020, Bess remembers the day when the lyrics and rhythm came in sync. “I came over to Kal’s house with my bass, she had a cluster of lyrics scattered. I sort of mushed them together and came up with a melodic hook for the verse. The chorus we wrote was based off a run Kal took that day. I also remember coming up with a part of the chorus bass line and Kal took the bass from me and finished it. We kinda just came in there and boom a song was made.”\u003c\/p\u003e\n\u003cp\u003eAt the beginning of 2020, the band escaped to Outlier Inn for two weeks in upstate New York to record songs with the studio assistance of the prolific Luke Temple. Kalbells crafted and co-produced ten bright, layered tracks of psychedelic synth-pop. It was also Traver’s first time mixing an album. The result is a prismatic display of experimental pop. From the soft flute touches on opener “Red Marker” to the fluttering saxophone on “Flute Windows Open In The Rain,” each song holds a delicate surprise. Brooklyn-based rapper and multimedia artist Miss Eaves hops on “Pickles” for witty wordplay. On the elastic closer “Max Heart,” sprinkles of piano and bouncing percussion lock into each other. Brecher reveals that the band was grooving so hard that she felt like she wasn’t even drumming. “I was just watching us move along with the beat. It was kind of trance-like. Of all the songs on the album, this, to me, was the most fun to record.”\u003c\/p\u003e\n\u003cp\u003eTraver’s visual songwriting is part of what gives Max Heart its whimsy. On “Bubbles,” Traver envisions that one’s fears “take flight on a destination vacation” where later they’re fed peaches beside a fire. Later, we’re invited into her subconscious on “Diagram Of Me Sleeping.” Her voice is low and sleepy with sand as she sings, “I woke up with a fishtank in my hips\/tropical clouds of neon floating little dreamy fish.” Traver’s image-focused lyricism is a way of tapping into her emotions. “I feel like the visual for me is really generative,” she says. “That's just a way to get me talking about my feelings more, and I think it can be hard to talk about your feelings. The little visual things are little entry points.”\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMax Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is a portrait of these badass women harnessing their improvisational magic. They dispel any sexist assumption about jamming. “When we play grooves together it’s like some spiritual experience. It's really empowering,” Traver says. “I think, there's an unspoken thing that women don't groove. That men groove and women are the singers and that our groove would be not viable or not as cool,” Traver explains. “Once we're all together it's like frickin sparks fly.” Common groove language is a rare medicine to happen across, which is why, as a group, playing with each other has been not only exciting, but restorative. “Kalbells is a living, breathing, healing, grooving movement,” Pedinotti beams. \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eMax Heart\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e harnesses this magnetic power for a collection of songs that are packed with inspired tension and daring surreality. \u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49960933130555,"sku":"CD-NNA-135","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/Kalbells_Max_Heart.jpg?v=1736540723"},{"product_id":"mizu-forest-scenes-special-edition-lp","title":"MIZU - Forest Scenes Special Edition Pink LP","description":"\u003cp\u003e\u003cspan data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\"\u003e\u003c\/span\u003eThere is a philosophical quality to MIZU’s second full-length, ‘Forest Scenes’. Through layers of gorgeous, yearning cello, pulsating electronics, and hyperreal field recordings, MIZU evokes a sense of depth by interrogating systems and exploring unknown territories both physical and cerebral. By way of its daring experimentalism, ‘Forest Scenes’ is patently modern and brilliantly ontological.\u003c\/p\u003e\n\u003cp\u003eProceeding from Robert Schumann’s ‘Waldszenen’ in name and, to some extent, concept, MIZU began work on ‘Forest Scenes’ immediately after completing ‘Distant Intervals’, conceiving and writing the record over the course of two inspired weeks in São Paulo, Brazil in Summer 2022 and completing it over the following year in New York. While ‘Distant Intervals’ engaged and inverted the classical idioms in which MIZU was reared, ‘Forest Scenes’ lunges even further away from that world. It is in no small way an acknowledgment of transcendent experiences and the thrills of self-discovery, whether in the vast urbanity of São Paulo, in the community among New York City’s queer spaces and dancefloors, or in the more abstract place of a self in transition. Pulling from these energies, MIZU loops in techno producer Concrete Husband, who features on “prphtbrd”, to further ornament the dancefloor flirtations.\u003c\/p\u003e\n\u003cp\u003eWhile MIZU was socially transitioning during the creation of ‘Distant Intervals’, she began a physical gender transition in step with the inception of ‘Forest Scenes’. The record parallels this transformation, interrogating the boundaries between the forest and what is before \/ beyond it, building scenes of self-discovery through a kind of ecstasy in the unexplored. The forest is, at least in part, a metaphor for queer spaces, for spaces of self-discovery through community, through encounter. But the spaces of self-discovery, for MIZU, are also very much found within the songs themselves. This marvelous symbolic complexity holds Forest Scenes aloft, above mundane considerations of what is more or less beautiful. What is pastoral, what is modern, what is natural: all these considerations are teased out by MIZU’s compelling production, as she weaves electronic and environmental sounds, and cello both heavily processed and laid bare in a glorious, sweeping dream. But with the headlong dives into deconstructionist experimentation and the pathos, vulnerability, and staggering range of densities through a single instrumental body, MIZU asserts that ‘Forest Scenes’ could not be more her own, as she discovers herself within it.\u003c\/p\u003e\n\u003cp\u003eNotes by Mark Trecka \u003c\/p\u003e\n\u003cp\u003eReleases March 22, 2024\u003c\/p\u003e\n\u003cp\u003eColor-in-color Light Pink \u0026amp; Red Vinyl. Artwork by Daedalus Li.\u003c\/p\u003e\n\u003cp\u003eIncludes  pre-order of Forest Scenes.\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49962285826363,"sku":"LP-NNA-153-PINK","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/MIZU_Forest_Scenes.jpg?v=1736540809"},{"product_id":"ohyung-imagine-naked-2x-cassette","title":"OHYUNG - imagine naked! 2x CS","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eBrooklyn-based, Asian American musician and composer OHYUNG’s music is continuously shifting, investigating, and deconstructing the possibilities of form. \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eWritten and recorded mostly over just a 72-hour period, OHYUNG’s first album on NNA Tapes, the immersive and mesmerizing, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eimagine naked!\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e focuses on expansion and atmospheric depth. It is a collection of \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eloving ambient expressions of persistence, repetition, and variation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eEach song is titled after a line from t. tran le’s poem, “Vegetalscape,” which acts as an artistic companion to the album. The poem works to spotlight little things that le imparts beauty upon despite the challenges of living with mental illness, such as a bedroom garden, or a sibling’s voice singing in the shower. OHYUNG’s engulfing, gentle landscapes take on the context of something more literary than their wordless atmosphere—each line feels as though it informs the timbre of its connected piece—and they reflect le’s poem as these snapshots of small items and instances, and brief melodies are appreciated and made beautiful beyond their size.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe music of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eimagine naked!\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e is full and complex, each track using its time to articulate an entire spectrum of lived emotion with remarkable elegance and simplicity. Some of the songs revel in quiet magnificence: lead single “symphonies sweeping!” \u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eis the extension of a breathless instant, the moment between the orchestra’s end and the recognition of applause, as notes linger and hang in the air; “my hands hold flora!” begins as a low tone over a bleak, crackling background, but that gives way to something more bright and shimmering; the joyful and effervescent “i’m remembering!” is a kind memory, like recalling the details of a loved one’s face—an exuberance brought by clarity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eOther pieces seem to notice discomfort, like on “tucked in my stomach!,” which plays like a harsh self-reflection, emphasizing sharp, piercing tones. The melancholic piano notes on “yes my weeping frame!” fall over one another like a waterfall or a stream of tears. The title track, “imagine naked!,” is unencumbered by any additions, with somber drones that capture the vulnerability of being bare.\u003c\/p\u003e\n\u003cp\u003eThe final three songs close the album with a calming, sustained exhale. “philodendrons trail!” feels fresh and clean, and “oxalis unfold!” opens incrementally towards a warm light. The serene grand finale of “releases like gloves!’ (not included on the CD version) is entirely a world of its own—orange and purple sky, soundtracked by far-off refrains and the pressure of worry hissing away like steam.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eOn this album, OHYUNG shifts again, deliberately moving away from the experimental, electronic, hip-hop, and noise influenced work of their previous records, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eUntitled (Chinese Man with Flame)\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003ePROTECTOR\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e GODLESS\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and expanding on the space found in their work as a composer on films like \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eBambirak\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, which won the 2021 Short Film Jury Award for International Fiction at Sundance Film Festival, and the Gotham Award-nominated \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eTest Pattern\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e. By focusing on longer, more drawn-out, and textural compositions as an exercise in patience and as a means to cope with the difficult, oscillating new experience of time brought on by the pandemic, OHYUNG has found yet another new way to consider reality and feeling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eimagine naked! \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis humanist music that seeks to explore the mundane strangeness that defines our everyday and that breathes air, or purpose, or just some kind of color into ourselves and the people and the environment around us.\u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49962312368443,"sku":"CS-NNA-146","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/OHYUNG_imagine_naked.jpg?v=1736540763"},{"product_id":"rachika-nayar-our-hands-against-the-dusk-red-dusk-lp","title":"Rachika Nayar - Our Hands Against the Dusk Red Dusk Red LP","description":"\u003cp\u003eThe debut full-length from Brooklyn-based musician Rachika Nayar, Our Hands Against the Dusk, is animated by the experience of “touch\"—not just caress, but encounters, collisions, and the point of contact between worlds. Nayar composed the album over four years by processing her textured guitar playing with  means and combining the resulting sounds with shimmering synthesizer crescendos, lyrical piano, and orchestral strings. Via these methods, the album synthesizes a range of genres—ambient, deconstructed electronic, neoclassical, even Midwestern emo and beyond. It's a shifting stylistic bent that reflects a queer life woven between ever-evolving identities, discourses, and spaces.\u003c\/p\u003e\n\u003cp\u003eThe diverse influences are visible on longer tracks such as “Losing Too Is Still Ours,” which extends from rippling guitar figures and keening vocals to methodic, marching strings. Such titles reference a range of personal and cultural images—a Rainer Maria Rilke poem of great personal importance, an Indian mystic at whose Pondicherry ashram a family member had a moment of Hindu \"darshan,\" and other vivid motifs.\u003c\/p\u003e\n\u003cp\u003eFor Nayar, the album’s fluid but always deeply felt form is thus a way of translating that which could never be summed up\u003cspan class=\"bcTruncateMore\"\u003e with static names, words, or feelings. To that end, Our Hands Against the Dusk mines the flux and discontinuity of experience as fertile ground. Nayar’s debut invites us to join alongside it in thinking beyond metanarratives, as musical and emotional histories touch in its twilight space and refract into a multifaceted whole. In that endeavor, Our Hands Against the Dusk is an embrace and a hope.\u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49962359783739,"sku":"LP-NNA-136-RED","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/rachika_-_hands.jpg?v=1736540715"},{"product_id":"talsounds-acquiesce-black-lp","title":"TALsounds - Acquiesce Black LP","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eFor an artist whose career is almost entirely improvisational, TALsounds has refined a stunning style of music that sounds as meticulous as it does surprising. Since picking the moniker nine years ago, Natalie Chami has been flitting between experimental electronica, mood-driven minimalism, and classically trained choral singing as a solo artist in Chicago. On her fifth album, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, she dives inward without constraints and invites the listener to do the same, to lose track of time, and to let emotion dictate what happens next.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eChami is a DIY staple within Chicago’s electronic scene as a solo artist, a member of Good Willsmith, and a frequent collaborator of Brett Naucke, Matchess, and others. Over the years, she’s honed her skills onstage, particularly her ability to block out what’s happening around her to instead focus on her subconscious, letting it guide where she steers each song. Whether she’s opening for Merzbow or Mary Lattimore, Tim Hecker or Tortoise, Mdou Moctar or Kaitlyn Aurelia Smith, Chami is adept at fitting the unique vibe of each concert despite never actually deviating from her music’s core sound — a prime example of her percipience and sense of control.\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003ePerhaps it won’t come as a surprise, then, that Chami made a career out of these virtues. During weekdays, she works at ChiArts—Chicago's premiere public high school for music and the arts—as both the Vocal Chair admin and a teacher for music technology, vocal technique, and choir. On the weekends, she offers private vocal lessons to teenagers, in addition to her after school hours. Chami’s been teaching there for a decade now, and that regularity keeps her well-versed in patience, creativity, and expression.\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eAll of this funnels into\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Acquiesce\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, her newest album as TALsounds. Recorded at home as improvised sessions, the album is a fluid extrapolation of her thoughts, worries, and stresses, later trimmed down and reformatted into songs. Chami treats her voice like an instrument that breathes calm into interwoven electronic parts, often leaning into vowels instead of phrases, particularly the tall, forward sound of “i” words like “time,” “find,” and “decide.” Performed entirely by Chami and produced by Cooper Crain (Bitchin' Bajas, Cave), \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003eis full of entrancing moments, be it the trumpet-like call in “Muted Decision,” the typewriter beat of “Instance,” the flickering vocals in “Else,” or the alien-like glitching of “Dynasty.” It picks up from the stirring sounds of her 2017 record \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLove Sick—\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003enamed one of the best albums of the decade by\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Chicago Reader\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e—and closes its eyes, as if in meditation, to reflect on what’s next.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eRecorded between spring of 2018 and summer of 2019, \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ecaught Chami in a turbulent stretch of extremes. During that year, she collaborated on multiple local music projects. Conversations with her therapist often turned into risk factors for anxiety. Her academic colleagues were shifting titles. Above all else, she was finding her bearings alongside her now-fiance in their passionate first year of dating. Chami recorded less music in a single year than she ever had before, and she later realized it was because she was happy. Her previous full-lengths—2013’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eSky Face\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, 2015’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAll the Way\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, 2016’s \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eLifter + Lighter\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, and 2017’s\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003e Love Sick\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e—were topically heavier. This time, she was overwhelmed with questions: Am I actually happy? Is this what I want my happiness to look like? Is this change actually good? \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003ewas a way to sort through that.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“For me, it’s not about recording; it’s about playing,” says Chami. “It’s therapeutic, but sometimes I feel more weighted after I finish. It’s like playing gets me to confront whatever I’m thinking about, even if I don’t always find an answer.”\u003c\/p\u003e\n\u003cp\u003eThe clearest example of improvisational healing in real time is “No Rise,” an overlap of aquatic keys and shimmering synth trills. “No rise \/ there is no rise, I say \/ I’m breathing by my strength,” she sings, repeating the phrase as if slowly counting down. “Breath is what gets you through anxiety attacks. Even when you feel your weakest, you’re able to find some control,” explains Chami. “It’s weird to read the lyrics afterwards and see what I said, because when I’m in the moment, I don’t always realize what I need to say until after I’ve said it.”\u003cbr\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003eTALsounds made a name for herself within Chicago’s DIY electronic scene for her innate sense of feeling, flow, and fascination. With \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e, she demonstrates not just how hypnotic her music is or how stirring her vocal range is, but how these two combine naturally for her as an improvisational artist — and she’s poised to break out nationally because of that.\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-weight: 400;\"\u003eAcquiesce\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\"\u003e will be released on vinyl and  formats on May 22, via NNA Tapes. \u003c\/span\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49962512318779,"sku":"LP-NNA-123-BLACK","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/TALsounds_Acquiesce.jpg?v=1736540684"},{"product_id":"kalbells-ten-flowers-lp","title":"Kalbells - Ten Flowers LP","description":"\u003cp class=\"p1\"\u003eNNA is overjoyed to unveil ‘Ten Flowers,’ the debut album from Kalmia Traver’s solo venture Kalbells. Nearly a decade of tireless and dedicated work on writing, vocal, and saxophone duty with her euphoric art-pop band Rubblebucket has given Traver a wealth of musical strength and experience, inspiring fans across the world to be proud of who they are and let their individualism shine through. In recent years after coming face-to-face with some strenuous life hurdles, including an experience surviving cancer, Traver decided to engage in a period of creative personal retreat in order to focus on writing new music. Instantly finding the process to be deeply cathartic and healing, she emerged with not only an important sense of self-discovery, but an abundance of new songs as well - and the genesis of ‘Ten Flowers.’\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBy opening up the floodgates for inspiration and personal expression, Kalmia found a voice for her music that largely reflects her unique personality - a colorful world filled with imagination, wonder, honesty, light, and no shortage of gorgeous melody and harmony. After assembling a self-recorded demo of songs using voice, electronics, pocket synthesizer, and other musical odds and ends, Traver teamed up with singer, songwriter, producer and fellow Vermonter (and NNA Tapes artist) Ryan Power to enter the studio and make ‘Ten Flowers’ a beautiful reality.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA largely electronic record, ‘Ten Flowers’ creates an environment that is lush and vivid with warm, purring synthesizers, arpeggiated embellishments, and deep palpable bass tones. However the organic touch of humanity is still very present, integrating plenty of environmental recordings, percussion, woodwinds, tapping, clapping, and whistling that bestows the songs with a unique playfulness. These predominantly metronomic compositions are conducive to finding one’s personal groove, encouraging dancing throughout a variety of tempos and instilling the album with invigorating momentum, aided by the contributions of drummer Ian Chang (Son Lux, Landlady) on several occasions. The backbone of these songs is of course Kalmia’s distinctive voice, one that is delicate, vulnerable, and tender, yet at the same time self-assured, dynamic, and powerful in spirit. The intricate layering of vocals unleashes cascades of glorious harmony that coexist comfortably with the rich instrumental melodies that envelop each song. Her lyrics are able to communicate the diverse emotional currents of the human experience through a genuine poetic sentiment. Circling around themes of self discovery, empowerment, and the quest for unity inside \u0026amp; out, the lyrics acknowledge and face hardships by finding the light and beauty inside of them, and they rejoice in the freedom that comes with acceptance of mystery.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e‘Ten Flowers’ stands out not only in the NNA discography, but amongst the current droves of contemporary music as well. Traver’s natural talent, in conjunction with her seasoned experience, exude musical confidence and demonstrate a willingness to embrace a multitude of influences. The result is an individualized style that refuses to be compartmentalized, and transcends modern day genre corrals. The spirited collaboration between Traver's imagination and Power’s detailed production talents has birthed an album that invites one not just to listen to it, but to spend time inside of it, be enveloped by it, and find something new with each repeated visit. You just may end up learning something about yourself. Kalbells’ debut is a testament to the power of music to heal, and to achieve personal liberation. It is also an ode to the courage to explore oneself, to plant sweet, healing seeds that might blossom into fully unique work, a pure expression of self that is open, accepting, and bound by love.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eVinyl LP comes packaged with  download coupon.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cem\u003e\"I have not been this obsessed with a song in a long time.\"\u003c\/em\u003e\u003cbr\u003e\u003cb\u003e–Bob Boilen, Tiny Desk regarding the single “Why?!steria”\u003c\/b\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cem\u003e\"If Rubblebucket were the rave, Kalbells are the chill out room.\"\u003cbr\u003e\u003c\/em\u003e\u003cb\u003e–If It’s Too Loud\u003c\/b\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cem\u003e“a brooding delight, a colourful pop composition that drifts in and out of focus, plummeting in to the dark in moment before shifting in to far lighter climes as Traver’s sumptuous vocal takes centre-stage.”\u003c\/em\u003e\u003cbr\u003e\u003cb\u003e–Tom Johnson, Gold Flake Paint\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“intimate, quaint, and stunning… Traver’s vocals are soft and light, like a feather floating in the wind.”\u003c\/em\u003e\u003cbr\u003e\u003cb\u003e–The Revue\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“there’s an uplifting spirit to \u003ctraver\u003e new work… is it the bells, the synths, the whistles? Who cares, it’s simply great.”\u003c\/traver\u003e\u003c\/em\u003e\u003cbr\u003e\u003cb\u003e–Austin Town Hall\u003c\/b\u003e\u003c\/p\u003e","brand":"NNA Tapes","offers":[{"title":"Default Title","offer_id":49962604888379,"sku":"LP-NNA-101","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0916\/7831\/0715\/files\/NNA101.jpg?v=1736542202"}],"url":"https:\/\/clandestinedistribution.com\/collections\/available-releases.oembed?page=2","provider":"Clandestine Distribution ","version":"1.0","type":"link"}