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DNT055 - Plankton Wat "Dawn of the Golden Eternity" $12ppd/$13ppd US/Canada *international please order from a distro close to you or order records from the distro and add this one*
Debut solo LP by Dewey Mahood of Portland psych-jammers Eternal Tapestry. Ten songs recorded at the Owl House basement last winter on cassette 4-track. The LP encompasses a vast array of sounds and moods, from blissed-out drone punk rippers to super chill deep space folk. Total late night stoney textures, and radiant sun anthems. Acoustic and electric guitar, drums, banjo, mbira, and some singing, all mega tripped with syrupy analogy delay. Really beautiful heavy zoners. Hand drawn covers and insert by Dewmah. Edition of 500 on marbled red vinyl.

$12ppd US

$13ppd Canada

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DNT051 - Sean McCann "Phylum Sigh" full-length cassette SOLD OUT, BUT DISTROS HAVE COPIES, EMAIL FOR HELP FINDING A COPY
Time to dust off that bong you have stored on the top shelf for special times..or whatever. Here's the debut full-length cassette by Sean McCann from San Francisco-by-way-of-Goleta. Meticulously recorded through out 2008, this album was crafted to numb minds and spin souls through use of euphoric strings and bending keyboard plains. Sean's most focused work to date. Hands down his best release yet, and that's saying a lot! Edition of 150 pro-dubbed baby blue cassettes in a plastic case with full-color wrap-around artwork. Look for SM's first LP on DNT later this year

"This time around it's McCann on DNT, with a cute little doggy on a couch on the cover. While that might not connote anything too outrageous, the tape may even be trippier than the Stunned, with a greater emphasis on electronic blips and pseudo techno effects fiddling. This can be seen from the outset on the first track, "Betazoid," which careens back and forth in electronic bliss, waters a bubblin'. Totally weird stuff here, endlessly aimless and drifting, but beneath all the murk you can here the soft tingling of banjo strings or the bass bellow of some distant organ line. Endlessly complex and really tough to get a handle on, this is stuff that avoids any overt genre and is just plain exciting. More than that though, it's also highly emotive. "Sunk Eyes" has drowning string gestures and laser tones flitting about in a surprisingly tough tugger of the heart strings. Beautiful. Or dig "Ice Age Tea," which takes the longing sounds of the previous track and opts to send them into some mental sink hole of bright colors and summer thunders. The second side has five tracks, and with that many angles squished into so little a space you'd think that not much would be possible, but McCann says so much from the outset that he really doesn't have to get that far to make his presence known. The opener, "Mango Christmas," lets loose from the outset with haunting vocal moves and decaying chatter above a highly rich and amorphous bubbling synth. "Meaningless Desire" gets a bit more deranged as Dolphins into the Future sounds bounce around above some saw blade string bows and warbling atmospheres. I could go on and on, especially seeing how this tape is VAST. Super long and totally fulfilling. You know the deal, every release this guy does is better than the last and these two are no exception, presenting some of the best work I've heard from him yet." -ear conditioned nightmare

"Swirling bright multileveled strings/keys dream music" -blastitude

"Sean McCann’s latest is a tour de force of wails, chimes, tweets, and spasms. Like the aftermath of a tornado ripping through a Medieval carnival, Phylum Sigh is an organic treat. The album draws its power from the sounds of busted Ferris wheels, carnie barkers, warped children’s jewelry boxes, and any kitchen sink-associated sound that can be transformed into the happy sounds of children at play amidst the rubble that was once a spritely theme park. Often, McCann’s Frankenstein creations border on the scary and sadistic — the sort of monkey-grinding fair that would accompany It, as he torments his long-time victims for the last time — but for reasons unexplainable, as distant and jarring as the songs seem, there’s a familiarity to cling to. Whatever specters conjured from Phylum Sigh’s ghost town are ran away by Peter Pan happy thoughts. During the darkest times, the happiest in all of us can flip the script and save us from damnation." -tiny mix tapes (http://www.tinymixtapes.com/TMT-Cerberus-05)

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DNT050 - "Psyched Punch" 2XC60 SOLD OUT
Has it really been three years now? Are you suuuure? And this the fiftieth release? Since many people are late to the game, we're doing this right. The first three sides of this release collect bits and pieces of some long out of print DNT releases. Missed the first DNT release? Well now you can hear Robedoor, Forbici, and others. Fell asleep the week the Warmth/Yellow Swans 7" came out? No problem! Also included are Mudboy, Nomen Dubium, Acre, Dead/Bird, German, Jazzfinger and Quilts. The fourth side is new music by the likes of Blank Realm, Super Minerals, Plankton Wat and Birdcatcher. Hand-numbered edition of 100 with full-color artwork By Dewey Mahood. Pro-dubbed C60s with sparkly glitter art.

"Got an ace little thing here.. I'm stubbornly refusing to go back to having a tape deck but things like this Psyched Punch double cassette (released to celebrate the third anniversary of DNT Records) are making resistance ever more difficult. Contributors include the likes of Yellow Swans, Plankton Wat, Robedoor and Jazzfinger and the music includes the likes of drone, noise, ambience, experimental electronics and all kinds of weird and wonderful combinations of the above, with moods range from relaxing to bracing to Clangers. Amazing stuff and all packaged up all cracking like with a neat plastic case and loads of colours and glitter. Phil says it looks like something a five-year-old would make and that pretty much sums up the beauty of it. Highest rekomendayshuns!" -norman records

"Here's a double cassette offering I've been trying to wrap my mind around in the last couple weeks. In celebration of DNT's 3 year anniversary and the 50th release on the label, Tynan put together this double cassette compilation featuring past favorites from the label alongside one final side of new material from four DNT-style projects. Four sides and about 15 projects is a lotto ingest at once, but the compilation does a fine job of reminding us what a strong aesthetic stamp DNT has, making for a pretty nicely flowing offering here.
With something like this it seems impossible to cover it all, but highlights come from the opening track, an early Robedoor track called "Tribe Rites" off, I believe, the first DNT compilation. Real plodding and much buzzier and weirder than their more doom oriented stuff of late. Forbici's manic electronic psychosis on "Remote Concentrator" is out of control while Yellow Swans' "Untitled" crackles and leaks static all over the surge lines. Jazzfinger and Plankton Wat make swell appearances, as does Mudboy's "Untitled" and Super Minerals classic "The Piss." The gentle and extended "Pink Hotel" by Quilts is also a real highlight, spreading out for 15 long minutes of organ drone and simmer that lasts long enough to clear the pallet for the incoming new material on the fourth side.
As for the new material, time is given to Blank Realm, Plankton Wat, Super Minerals and Birdcatcher. It's a nice way to present the material, looking back on the label's past without feeling like a straight retrospective. Pointing firmly toward the future, these four bands all present some swell material, with Blank Realm's "Cat's on the Edge" grooving like the Doors on floors in a kind of lazy goth psych groove. Nice stuff that reaches a nice rolling boil of numb nod and trod. Think a lyrically spare, post-Can take on Question Mark & the Mysterions. Plankton Wats' "Ghosts" is a spare guitar and voice drifter whose open incantations present a kind of ritualized summer haze, tinkling bells and all. Super Minerals "Purple Gravity Spindles" finds the unit meshing their minimalist Clusters sound with the dirty and hollow groove of earlier releases, though the sound here treads slightly heavier on the side of The Piss, only with a warmth and cavernous glow to it. Like some slowly deteriorating jungle cave, humid and sticky. Quite a beautiful one here, a real full and defined sound. The closing "Dusk" by Birdcatcher is a fine end to the excursion, not only closing out the tape as a milestone of arrival, but also pointing its deranged finger forward toward a future of more psychosis-stemmed sounds from this consistently killer label. Really nice package that got snagged up pretty quick from the label, but poke around. Well worth finding, and a great way to hear some stuff you probably won't get to hear again. " -ear conditoned nightmare

"The tape starts spooling with a vintage Robedoor track “Tribal Rites.” All militant, pounding drums, angsty wordless vocals and a whole lot of fuzz bleeding everywhere. Quite a good track that transports me back to 2006 when I first heard the band. Forbici is next with “Remote Concentrator.” Never heard of Forbici before but apparently they released something on DNT. This track is wiggly, directionless electronics—decent but not totally my speed. German makes the first of two appearances here with the minute long “Vein,” a surely grooving interlude. The Warmth/Yellow Swans 7inch (which was one of the earliest AuxOut reviews) is captured here in its entirety. Check the old review if you want more details but Warmth conjures a sonic bog and Yellow Swans are brighter than usual and as awesome as ever. Also, I finally learned what the Warmth track is called (“Demode”) cause the info is hidden behind a blotch of blue ink on the 7inch. German returns with “Neun,” a track of boisterous drumming and clanging, ghostly thumb piano. “Ironlung Wheeze” by Dead/Bird is the side’s finale. A bit like the Warmth joint but full of sputtering synthesizers and dying machines. “Desert City Summer” by Nomen Dubium kicks off Side B in style. I remember a ND tape coming out a while ago on DNT a while back but I never checked it out and, man, I wish I had. This track is one of best of the comp. It’s incredibly lush and melodic and gorgeous. Really knocked my socks off when I first heard it. Wonderfully layered with some of the strata being soothing and other bits being of a more chugging nature but all blending beautifully. This cat has a VHS due later on DNT; I’m so there. UK crew Jazzfinger contributes a piece called “Birth of the Knife” and believe me it fucking sounds like the birth of a knife. Violent, sharp, searing, grinding, serrated, metallic—all belied by a lilting reed organ which as far as I can tell is the only sound source. Unassumingly but unflinchingly bloodthirsty. Plankton Wat contributes a track of winding reversed guitar called “Translucent Nights” and Acre closes the side doing his thing with unchanging walls of sound. The final side of the reissued material begins with an untitled track by Mudboy. Since I’ve heard all DNT Mudboy releases save for Livish I can deduce this comes from that. The track features signature stacked organ lines and waves crashing in the background. A nice, borderline meditative track. Super Minerals make their first appearance with the title-track from The Piss, one of the most apocalyptic moments from the tape’s apocalyptic half-hour. Swollen sores of fuzz bear down on oppressive shrieks, creaks and rattling before they approach melody in the final moments. Quilts contribute the 15 minute “Pink Hotel” from their split with Quintana Roo way back from ’06 if I remember correctly. This comp is interesting cause it only looks back 3-4 years, but you can see how quickly the underground changes. Quilts, for instance, put out some cool stuff awhile back but have since dissipated (I guess) cause I haven’t heard or thought about them lately. Anyhow, “Pink Hotel” is a sweet track, if on the long side. There’s a lot of space in the piece, silence is poked through with plinking (toy?) piano, manipulated vocal slur and a static drone—all of which are run through delay pedals. By the end they have scraped together a subtle but persuasive melody. Moving on the side of new material... The biggest surprise for me was the Blank Realm song “Cats on the Edge.” The bits and pieces I’d heard of Blank Realm was fine, folky free-psych stuff but it didn’t leave much of a mark. This track however is utterly slammin’. It’s nearly 8 minutes of mellow, ravin’ 60sish organ driven psych rock. This track is just the epitome of cool. The band constructs the song really well, perfectly balancing surfy spy guitar, heavy organ riffage, a solid rhythm section and a touch of wispy vox and keeping it all moving with chugging grooviness with effective dynamic shifts. Basically, I never want this track to end. It’s in a fist fight with Nomen Dubium for my favorite new discovery. Plankton Wat contributes another short track which weirdly enough has a lot of vocals in it in addition to the guitar. Super Minerals return with an awesome track “Purple Gravity Spindles.” It features the Minerals in total spirit summoning mode. After a bombastic opening, a good chunk is pretty quiet with a lonely flute until Phil and Will bring on heaps and heaps of lush, living sound. Really transcendent and frighteningly beautiful. I don’t know anything about Birdcatcher but they close with “Dusk.” It’s a good track similar to Super Minerals with murky flute loops (part of a complete breakfast) and bowed something-or-others creating a real doomy vibe." -auxiliary out blog
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DNT048 - Black Pus/Foot Village split 12" SOLD OUT
Including the tracks from their split cassette released last year on DBA, this 12" adds 1 Foot Village bonus track and 2 Black Pus bonus tracks. This music is raw, distorted, and totally fucked up drum rock. Each 12" includes a 16" x 22" poster that is a full color animal photo with art by Brian Chippendale screened on top. Brian is the dude behind Black Pus and he is the drummer of Lightning Bolt. This release is all about drums being punk as fuck. Edition of 300. Co-released with Deathbomb Arc.

"The Foot Village side starts off with demented voices talking about food until a big load of trashy noise kicks in that Phil reckons is like every train in the world running over his head all at once. He's a sensitive soul, that one. Basically it's just a massive shit off televised instrumenthammerthon like someone's sampled a couple of seconds of Shit and Shine at their most manic and repeated it over and over. Ace in other words. They do have a shorter track that's more in the vein of that 7", dual male-female vocals scrapping it out over trashcan tribal drum clattering. Black Pus is B-Brian Chippendale (Rescue Ranger) from Lightning Bolt, I've heard a couple of his CDR jobs in this guise and they were both quite tidy. This doesn't let the side down at all, the apple hasn't fallen that far from the tree as it does sound like a more dirgey and repetitive of his main noisemongers.. It sounds like DJ Scotch Egg is there too but they're fucking with his amp so you can only hear him occasionally. This is packaged in quite remarkable fashion, inside a plastic sleeve the record is held inside a massive folded up page from a nature book with one side screen printed with the artwork. Wowsers!" -norman records

"DNT keeps working their way up the awesome label chain with another LP, co-released with Deathbomb Arc, notched on its belt, not to mention having some sure to be amazing LPs on the way by Ducktails, Social Junk and Barrabarracuda. The disgustingly/cleverly named Black Pus (a joke on the three trillion “Black ______” band names in existence) is the solo project of Brian Chippendale—he’s in Lightning Bolt, in case you are unaware. When the needle drops yr hit with the riotous party jam explosion of “Floatzilla”. I know Chippendale is playing drums and singing but there’s a lot of fuzz in here too and I’m not sure where it's coming from cause it sounds overdub-free. Anyway who cares, I’m just loving how groovy and swinging this track is while also being a sludgy bludgeoning. The song moves relentlessly at the max frequency of fun. It real cool, to paraphrase Gwendolyn Brooks. There’s a weird electronic pseudo-flute freak out at the end which is just icing on the cake. “Altar Rat” matches energetic free drumming with crumbling, squeaking noise loops. I think there may be an electronic drum kit at work here in addition to Chippendales usual set-up, because the drums have a bit of a phased/filtered vibe with electro-pad-sounding interjections. This track is a slow-melting mass of drums, feedback, and vocals much like the first track but it sounds like it’s in danger of imploding in on itself at any time. It’s like an unstable nucleus on wax. The Pus’s last entry is “The Black Whole” beginning drumless with a funky low-end synth loop and lots of pretty(!) layers of keyboard on top of it. Even without the drums the piece grooves endlessly (well, until the end groove). I love Chippendale’s drumming but he should totally explore this drumless area further, it’s a rad and different take on synth music. A classic side overall. L.A. drum nuts Foot Village take the other side with two tracks of silly voices and some the most fiery drumming I’ve ever heard. The silly voices are actually really hilarious particularly the opening dialogue of “Race to the End of Food”, where a sinister sounding dude challenges a hungry guy to a race for food. Every time the guy says “me hungy”, it has be in stitches. However, this isn’t a comedy album (I think) and, as I mentioned, the drumming is ferocious. It reminds a bit of Ettrick in double drum mode but multiplied to the point where all the drumming becomes a blur. This track almost comes off like a noise record because of how all the fury of drums is built upon and matted on top of itself. A few brave souls attempt vocals but can’t really be heard above the volcanic din. My favorite part is a brief drum solo just before the race’s winner is announced, everyone claps and one sane individual in the room says “I can’t believe this is our song”. “420 (National Holiday)” fits in snugly with the classic Foot Village song format, and is one of the best examples of the format I might add. Excellent dynamic, polyrhythmic drumming and everyone contributing to the catchy four-part vocal chants. This too gives way to another hilarious skit about "The Celestial Bong". I usually am not down with stoner-based humor but it's pretty funny here. The female stoner voice is so pitch-perfect that I just lose it when she says “ohhh, that suuucks. I don’t know, maaan.” Another face melting/gut busting recording from the Foot Village. The Black Pus/Foot Village LP is sold out on DNT’s end (though I’d still recommend taking advantage of his killer 3-for-$15 vinyl deal) but Deathbomb Arc is still selling copies last I checked. The artwork is done by Chippendale and it’s an awesome bit of silk screen graffiti over a fold-out animal poster. Each one is different too, I got two cuddly tigers." -http://auxiliaryout.blogspot.com/

"Just received word about four new (killer looking) DNT releases, which reminded me that I hadn't gotten around to this Black Pus/Foot Village split co-released by Deathbomb Arc. But before we talk about the delicious ear delights, allow me to direct you toward that beautiful cover designed by Lightning Bolt's Brian Chippendale. I've seen a bunch of different animals used (mine's a llama, which is sick if you catch my drift) but I figured the label stock photo was enough to wet the appetite. It's actually a reissue of a Deathbomb Arc CS from last year sometime, only with two bonus tracks from Black Pus and one from Foot Village. The first of the unlabeled sides is Brian Chippendale's Black Pus. Considering that Chippendale is the drummer for Lightning Bolt, it's not difficult to see how this stuff fits right in with that aesthetic. Chippendale's drums are crushing, pummeling along beneath walls of static, glitched out electronics and near indecipherable vocals that take electronic thrash to its most extreme conclusion. Using a variety of overdubbed electronic scribbles, Chippendale has a kinetic propulsion rarely matched, and his scrawling gestures and blown out gusto find some odd meeting ground between Rashied Ali and Merzbow. Really beautiful, cathartic stuff, as active and physical as it comes. The Foot Village side opens with some weird, crazed spoken word stuff about me being "hungy" and how we'll all do whatever we have to for food. Some starved stuff that really puts the ass in ass-backwards. When everyone is properly ready to race for food, the whole thing opens up into a total crushing onslaught of percussive mayhem. Just fucking manic distopia here. Full frontal assault that delves into way more chaotic territory than Friendship Nation ever did. Nice and muddy and, like the flip side, as crazed as can be. Mellows out a bit later on, with more synchronized chanting and the like, but the message is clear. Drumming and screaming are fun. I suppose the chants of "420!" suggest other things are fun as well... The whole LP represents the onslaught that DNT has been harvesting from time to time of late, and though it may not be for the feint of heart, it does serve its purpose well. Why punch pillows when you can thrash your body about in contorted mayhem? Sounds way more fun to me." -ear conditioned nightmare

"This will knock the plaque off your teeth and out of your arteries. Black Pus, lead by Lightning Bolt's Brian Chippendale is extreme noise punk in the vein of Harry Pussy. Foot Village are at their loudest and most extreme, the drums are so fucked up that it borders on noise. Excellent and extreme." -Z Gun
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DNT046 - Steve Gunn/Shawn Mcmillon "End of the City" split LP SOLD OUT, PLEASE VISIT http://abaddonrecords.blogspot.com TO GET A COPY!
This record showcases two very talented musicians in their prime. Steve's side clearly displays his guitar wizardry, while remaining honest and heartfelt. After several years with GHQ, Steve has sharpened his skills and it really shows. If you've had the pleasure of seeing him perform live, you know exactly what I mean. Shawn's recent collaborations with Warmer Milks seep through on his side of the album. Bleaker and darker than Steve's side, Shawn tells his tale through guitar, piano, synth and tape manipulation. It's completely engrossing. With it's many crooked bends and turns, it will lead you to a sort of discomforting fulfillment that gets more intense with each listen. Edition of 500 on black vinyl in a pro-printed jacket with full color artwork by Mary Kidd. Co-released with Abandon Ship & Abaddon.

"Excellent split LP featuring GHQ's Steve Gunn on one side with an acoustic guitar figure, heavy on repetition and with a gorgeous warm sound. The sound around the guitar builds up with bowed strings and electric guitar into a lovely piece of hypnotic American blues / folk. Shawn David McMillen is a member / ex-member of Ash Castles on the Ghost, Friday Group and Iron Kite. His side explores ethnic and primitive folk in a more experimental way with barbiturate spiked accumulations of strings and metal." -boa melody bar

"The first side belongs to Gunn, whose done some great solo work as well as stuff with GHQ and Zac Davis along the way. This is easily the best and most complete example of his vision yet though, subtly mixing folk guitar ramblings with drone, percussion, and an almost jammy bluegrass vibe that isn't so much about drifting through space and reaching towards the cosmos as it is about slowing the pace and reaching for the cosmos (the beverage that is...). Actually naw, that's not true, this is way more lie back in the field with scotch in hand material. The whole work takes its time too, building toward a gentle intersection of lines looped over and through one another with ad eft compositional touch. Almost a Moby Grape vibe here with the guitar angles, but far less song-based and more patient. A relaxing and rambling summer hummer that'll have you reaching for the wheat grass and the weed grass all at once. Gunn definitely has a knack for sounding like no one else, and he never subscribes to standard modes of "experimental" guitar, instead appearing for more focused on perfecting his distinct sound, and it's refreshing to here an artist with such a voice further pursuing his vision. If Gunn's side was a slow-mo stomper for the coming months, McMillen's is the incoming Winter air which, when meshed with the warmth, is sure to cause some odd weather patterns. Not strictly using guitar, McMillen (who's played with Warmer Milks) also pulls from piano, tapes, synth, and from the sounds of it some small percussion tactics to create a weird and disparate little composition that goes through a ton of zones. One moment there's a strange synth garble below some almost Chopin-style piano flourishes (though far more aimless of course...) before getting increasingly distorted with an incoming choir of both people and bird chirps. A lot of weird spaces here, none of it is too claustrophobic which keeps it eerie without slipping into cliched modes. Some of this stuff even gets a bit dream-like, as shimmering sounds and voices meld together in building toward some distant and odd realm. Really effective stuff, and a great opposition to the single-minded side of Gunn. Despite its differences though, it feels just as carefully constructed and cared for, ultimately displaying just as effective and complete a voice as the counterpart on side one." -ear conditioned nightmare

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DNT045 - Sasqrotch/Yuko Chino split cassette
After countless outings practicing unsafe hesh, the mighty Sqrotchers have finally been burned by the evil loins of love. They have been infected with cruel, punishing, unforgiving Genre-rhea... Performed in burkas, recorded live at the smell 8-5-08. Flipside is Yuko Chino. Bedroom black metal at it's met-lest! Current Sasqrotch bassist/guitar danny no/fi brings you Filosofem era Burzum meets Khanate & Burning Witch for a night out on the town with Shellac's drum kit sans corpse paint & cut off jean jacket. I wish I had one of those... Art/design/layout & mastered by Danny No/Fi in an edition of 100 pro-dubbed cassettes.

"Never got around to this split on DNT so it got tucked away for a bit, which is a real shame considering the content therein. Splitting the action between two groups, the split explores some of the darkest territory a DNT release has contained, splitting the bill between the awesomely named Sasqrotch and Yuko Chino, the side project of Sasqrotch bassist and guitar player Danny. The first side is given over to the group effort, whose doom laden drone rock is thick and soupy as guitar wails are sent spiraling down into the vortex. It's a grizzly scene to be sure, but it does contain a certain intimacy and bedroom charm (though I suppose that's only the case if you can find the same in the likes of Robedoor or some other dark droners). The difference I suppose is that this isn't really drone so much as chiseled down rock forms, more in line with Sunn 0))) if they were to loosen their grip. Sax wails scream something creepily close to "Taps" as played from Uncle Sam's grave while crazy ghoulish howls emerge from the black. Totally heavy material here, with a definite end-of-days, dirge-like vibe. Even when it gets quieter, hunkering down into its lonely gloom, the terror is only amplified. Then the drums drop. And now Sasqrotch, cloaks in hand, display their true colors as the doom-metal scream heads that they are. And it is heavy as a black hole and expansive and just totally ruling. If you expected anything less from the Yuko Chino side, then the first sign you were right would be the cheerily innocent child singing like he's along some god forsaken gumdrop road. The first sign you were wrong would be the leaving of said child in favor of a minor melodic progression that is soon overlaid with the most shreddingest guitar loop ever. The bass and drums come next, and all too soon this thing has worked itself into a dark instrumental realm for harsh effected vocals to scream across like a razor to canvas. Raw as can be. Next comes the buzzing, which is accompanied by guitar twang and heavy bass oscillations while feared whispers turn into screams. Just bleak as hell, and totally killer. Super nice split and another success from DNT. The two sides fit right in next to each other but be warned. This ain't break up music. It's breakdown music. " -ear conditioned nightmare

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DNT044 - Pipeline Alpha "Darking Lights of Mazil" cassette SOLD OUT, EMAIL FOR HELP FINDING A COPY
Dark chills from Germany's Marcel Seeck aka Pipeline Alpha. Who has been under the radar for a few years now, with past releases on the Ruralfaune label and his own label Amid the Waves and here is his American debut. A forgotten dream of an archaic astral bardo. Boggy whisperings like an unfurled book of spells embeds you. Edition of 55 pro-dubbed cassettes with spraypainted/stenciled cases. 45 48 wave 616

"Whoa doggie! Yet ANOTHER DNT series is out already, and this time the suddenly prolific Tynan unloads one of his murkiest runs yet. Thought I'd start with this one from Pipeline Alpha. Had to go over seas for this one, enlisting Germany's Marcel Seeck, who apparently has had some stuff put out on Ruralfaune and also does stuff on his own Amid the Waves label. Hadn't heard/heard of his stuff before now, so here goes. Side one opens with "Nagelfar in an Icier Lull," which sort of scoots along with some weird, icy drones and odd gobbley-gook cauldron bubble. A serious Phantom of the Opera castle vibe here, only fed through some Vodka Soap/Dolphins into the Future approach. Slips right into the hushing"shhhs" of "Seth in Deserts," where some weird chant is said all shroud like. Could just be that I don't speak German, but this whole thing has that same Halloween vibe that Heath Moreland put out on that "Shrieks and Creaks" cassette a while back. Nice and airy instrumentation here, fog horns, slipping electronic gagunks, electronic neo-space/undersea urchin material. Some sax line quietly reverberating around, real simple and not jazzy at all. Just plain spaced out, with only the tiniest little rhythm pushing things into more mantra-like, head-nod/kneading grounds. Some real fertile ground here. Third and last track on the side, "Anubis Cures Aschmodaii," continues in this aesthetic realm; lots of dark greens mingling around, with some bass heavy droning beneath the metallic stutters. Side two only has two sides, which lets the whole thing sit a bit more uneasily. "Zusa" starts things in similar fashion, with long horn-like drones shot through some mountain pass. There's evil in the air style. Never really arrives though, maintaining a nice, ominous vibe that rests easy in stagnant discomfort. It's where the worry resides. Under the drones there are some truly glitched out, warm gook, not unlike the sticky-icky harnessings of Sam Goldberg's material. "Dark City" is even more ambient, with a nice pseudo industrial, muddled radio transmissions vibe. Sweet cover too, but limited to 55 so snaggeth quick." -ear conditioned nightmare

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DNT043 - Uneven Universe "Nightcrawler Walls" cassette SOLD OUT, EMAIL FOR HELP FINDING A COPY
Dan (Haunted Castle/Body Morph) and Holly acquired saxes awhile back and things haven't been the same since. Dank basement sax murk collides with bleak tape howls. Hand-numbered edition of 100 pro-dubbed ivory cassettes with skeleton imprinting. Cover artwork by Macklin Vietor.

"Haunted Castle's a name a lot of people know about, but lately that unit's Dan and Holly have been putting out more stuff under their new Uneven Universe project. Opting for the basement sax-electronics rig, the duo put out some serious no-go jams that fit right in with that whole midwest sound. This new DNT offering serves up a mighty slab well worth digging into. Opening with some electronic screech, it doesn't take long for the saxes to come in, bending around and echoing about behind aquarium bubbles. Keeping the skronk in control, Dan and Holly opt for an emphasize on taut unity of feel, with virtually every sax line serving as further textural drive to the electronic slashing. That bass low-end cranking keeps things as dismal as possible, but there's some lively interplay here as the sax's delay sends it bouncing about in the murky waters and buzzing click-clack of dismembered tape loops. Some beautiful moments come of it too, when the elctronics slink back to almost nothing and the sax moves about in lyrical dissonance only to be punctuated by some screeching oscillation or distant cargo carrier bellow. I guess this stuff could be compared to a group like Graveyards or Slither, but in my eyes it's a bit more Handicapper Horns style. Staying away from being too jazzy or low-end constructivist, the unit keep things intimate and fairly personal despite the apparent coldness of the atmosphere itself. It's imrpov without being "improv," staying noisey enough that there are genuinely unexpected moments of total morticious terror as well as stretches of immense softness and beauty. Has to be a killer live show. I could really go on and on about this as this is a sound I can really get behind, but instead I'll just suggest you find something by them, especially as they seem to have releases popping up everywhere right now. This cassette's sold out from DNT, but he says to e-mail if you're looking for it, and I'm sure Tomentosa's got a copy. Worth watching, very playful and thoughtful without trying so hard as to become sterile. And you gotta love the skeleton print on the tape, it's too perfect. " -ear conditioned nightmare blog

"The kids of Haunted Castle have dusted off their Uneven Universe banner for this release, but the jams here sound like they might have emanated from an actual haunted castle. The A side blends a tumbling, regurgitated hum with sounds of gurgling water, but that swirling bed of sound is quickly overthrown by shrieks of feedback. The eerie howls of a hotly mic-ed saxophone penetrate the din, exploding in brief bursts of far-out free jazz skronk. While, at first, this piercing sound is more than a little offsetting, it slowly begins to develop and draw the listener back in. With the use of the water sounds and dissonance, Uneven Universe are summoning the same sort of vibes as the Nevari Butchers tape from earlier last year. But here it isn’t oppressive - it’s almost welcoming. The side is sparse at times, allowing the sax sounds to really stretch out, heaving and flailing as they are overcome with delay. The wonderful thing is that, between each bleat, you can hear those plaintive wails fade out into an infinite silence. The B side picks up with more lonely sax calls, but here they’re kept on a tight leash, constantly being sucked back into the din by waves of distortion and effects. As the dark, watery electronics bubble and stagnate, the sax squals struggle to push through the murk of clicks and electronic gargle. With the nautical sounds going on, the sax starts to sound like the lonely call of a fog horn and the churning electronics like the engine of a overworked tugboat. This is a really solid release that nails a very specific, desolate vibe. It’s also a great peek into what’s going on in the scene if you’re not really into harsh “noise” releases. Released in an edition of 100 with the amazing artwork we’ve come to expect from the folks at DNT Records." -c60 radio
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DNT042 - Family Underground "Helium Rug" 1-sided LP
Denmark's drone demons release another one. A helium rug would float, which is exactly what your melted mind will do while listening to this record. Whistling blown by the birds of hell. This has been in the works for quite some time. Originally intended to come out last summer on their US tour, but we didn't want to flood the market (they already had 3 LPs coming out the same time). Edition of 299 on black vinyl with bi-color stencil on b-side. The front cover is what you will look like after listening to this. Your mind will split open unleashing the helium rug from within. Screenprinted covers. Artwork by Zachary Fleming.

"Edition of 299 copies limited edition LP w/screenprinted covers from these Danish heads, driving a spike through the sound of post-Velvets fuzz-dosed oblivion and levitating a whole warehouse full of singing drone via electronics, guitar and tunnels of subterranean wow. Heavy Kosmiche-via-UK bedroom vibe to this which is extremely sticky." -volcanic tongue

"The best thing to come out of Denmark other than pastries is are droners Family Underground (Phil would argue bacon too but I don't dig on swine). So the Family have a top one sided LP on DNT. 'Helium Rug' comes in a mouth watering silk screened sleeves. One side of the record has been sprayed with spray paint and the other has some way out psychedelic shit going off. They take it way beyond the drone with swirling harmonics and super freaky furry alien sounds. Pretty damn sweet..." (norman records)

"Spindly, tense drone from the Family, rattling with a mechanical anxiety throughout one side of a 12” record. The piece takes a little while to reach its full impact, but is fairly busy and interesting once it gets there, as guitar-based tones give way to pit yowling and a semblance of rhythm beating against the walls of the silo that holds it. 299 numbered copies, silkscreened sleeve, painted B-side; ultimately one more patch for the many holes in your life." -dusted

"Denmark dronesters Family Underground are an elusive bunch, but their consistently dazed fields of industrial lurch are prominent enough. With releases all over the map (Not Not Fun, Weird Forest, all over really...) the group has a way with dense, thickly metallic drone works that manage to boil the mind right over.Helium Rug is a single-sided effort for DNT that especially hits the mark as far as these folks are concerned. This is rich and vibrant stuff that manages to both sound mechanic and utterly organic at the same time. Mixing thick, silver drones with rattling maraca, steady hand drum, and vocal moans, the side manages to pull of the same sort of time-bent delirium that some of MV/EE's stuff does, only through utterly disparate means. The percussive backbone, to which the drones and vocals seem to pay no mind, gives the track a kind of tribal vibe despite its imagery conjuring something closer to stealth jets cruising overhead. The Skaters-y vocal yalps, heavily effected, mesh beautifully as the piece slowly bends itself into less propulsive territory. The whole thing actually morphs into a pretty messy cosmic stew, burning away in total delirium. Everything is off here, the percussion playing among themselves while shelves of drone melt across each other over top and odd cat calls blend into some alternate space the likes of which few drone artists are able to carve out for themselves.Walloping organ drones start to fill the mix, initiating a new slant for the side that starts to sound a bit like James Ferraro covering the Fugs. Weird stuff, but these guys sure have a grip on what they're doing. Absolutely beautiful screened cover art too, some of DNT's best, not to mention the pink spray job on side 2. Sure to get your money's worth too, as this single side is looong so's you can get lost in it right proper. Well worth finding." -ear conditioned nightmare

"I hadn’t heard anything for a little while from Copenhagen’s Family Underground, certainly one my favorite drone acts ever, so it was good to see what these three have been up to. The first sound that jumps out of Helium Rug is a very metallic flickering of frequencies. I don’t know it for a fact but this sounds like live-style Family Underground—heavy vibrations and a non-drum but percussive presence (usually a guitar). I really like the percussive element here, there’s a looped pattern of hollow-sounding noises as well as a slashing metallic clanging which sounds to me like what a home-made hi-hat would sound like. After a minute or two the layers and layers of drones lock in with the groove and further, vocal-sounding layers are added. At some point the record hits a locked groove in middle, though I’m not sure if that’s intentional or not. I’ve always liked that the Family use varying sound sources—guitars, pedals, vocals, other—and pull out very analogous, complementing sounds that all combine in a sweltering feast of noise. Most of their recent stuff I’m recalling had a pretty dense, round low-end tunneling quality but this piece has a bright tonal quality with a lot of rough edges. It’s like a garage drone band or something. Towards the end a pulsing bit of electronics pushes things along nicely and the piece has a rather modest but significant conclusion. This record is worth checking out if only for the documentation of this phase of their sound. They still sound undoubtedly “Family Underground” but this represents a contrast to the vibe of a lot of their other works in my opinion. Helium Rug came out in an edition 299 and is sold out at source but I’m sure you could still scrounge up a copy somewhere with a little bit of effort. The art is great, and fitting for Family Underground, the cover is a screen printed clusterfuck of lines and the back has minimal info stamped in smeared metallic gold ink. Also the non-playable side of the LP is spray painted with neon crop circles or something." -auxillary out

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DNT041 - Ducktails/Mudboy "Summer of Saucers" split cassette SOLD OUT
Well the summer is coming to an end now and I can't think of a better way to end it than with this tape, "Summer of Saucers". The A-Side is Providence's Raphael Lyon, better known as Mudboy. The side starts off by the lakeside, and you can hear frogs and geese nearby. It slowly builds up with keyboards coming into the picture before fading back to where it started. Lazy day at the river. It is also part one of his "Impossible Duets" series of songs. The flipside is New Jersey's Matt Mondanile aka Ducktails. Ducktails has been described by someone as "ectoplasmic and cartoonishly cosmic bliss" and with song titles such as "Chill Jam" and "Sun Out My Window" you'll be apt to agree. Colourful conehead artwork by George W. Myers of Grey Skull/Breaking World Records. In an edition of 100 pro-dubbed blue tapes.

"Just got the latest batch in from DNT-meister Tynan, featuring an LP from Black Pus and Foot Village as well as a Bobb Bruno tape. First in my deck was this one though, judging from the last Mudboy 7" I heard as well as all the hype (and killer myspace tracks) from Ducktails' Matt Mondanile. It's a New England lounge delight, providing two different takes on kicking back and calling it a day. The Mudboy side opts for the more contemplative back porch brewsky approach. Opening with some low murmur and a bunch of nature samples--birds, frogs, crickets--they all mix together before electronic murmurs start to zip around, thickening things up a bit. This nice bass growl keeps a steady pace to the whole work as it drifts--or rather, crawls--along, sounds panning all over with rich stretching and long delays. Nothing like that remix 7" at all, much more pensive and earthly, though hardly without its own droning playfulness. Rather than pulling from the new age angle for its beauty, like so many artists are wont to do lately, Mudboy opts to keep things skittering and hushed, like a soundtrack for some vegetable garden late at night when all the snails and crickets and slugs really have at those morsels under the moon. Or it could be one small cross section of a rain forest floor, an investigation of each little creature and plant that comes to inhabit the area underneath some star-lit palm leaf. Much smaller than the journeyman, Heart of Darkness jungle vibe more commonly presented. As the track drifts off we here the crunching of footsteps in the woods, a fitting close to this lonesome trek. Ducktails is Matt Mondanile, also of Predator Vision, a Hampshire grad with a typically west coast, sun-drenched tropical take on the whole sound. Here, fitting in quite nicely with Mudboy's side, Mondanile starts with a bassy, navy colored sprawl before synthesized washes of notes glide their way across building themselves up into trance inducing rhythmic motives that ride, just brightly enough to see, across the looping bass sky. Departing from the Corona-in-hand approach of the Breaking World Records 7", Ducktails shifts the setting from day-lit, shades on chill-out to sandy night time ship watching. Cliffs of rhythms build, swaying along as more and more textures are added--a flute now, 80s electronic piano--before, out of nowhere, the whole thing is cut off in favor of a more beat oriented tropical meltdown that still can't remove itself from the cool summer night atmosphere of the previous track. Maybe this is the soundtrack to the end of some all night coming of age movie. Of course that too must end, in favor of a much more contemplative Miami detective soundtrack, drifting along and losing its bearings as the scenes overtake the matter at hand. Or dig the solo guitar work of the next track, somehow meshing right in with it all. It's another super release from DNT, featuring some of the better work I've heard from these two, though I confess my experience is limited. Still, it's unusual for a split tape to work s well as a whole, but both these dudes manage to keep the summer breeze alive as October comes to a close and the leaves start falling. Beautiful work from a label that only gets better. Nice work all around." -ear conditioned nightmare
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DNT040 - "Caked Paradise" zine/compilation cdr SOLD OUT
Guess what everybody? DNT has now been around for two years! This is the compilation to celebrate it! Who wants cake? Totally (not really) in the making since last year's birthday comp. This one tops it for certain. Drone cake batter by Warmth & Quilts. Psychedelic icing by Moonmilk. The socks that grandma always gives you by German. Stringed folk-balloons by The North Sea & Nomen Dubium. Pink the tail on the donkey by Plankton Wat. Melted ice cream by The Mighty Acts of God. Art by: Puff & Magic, Dean Sullivan, Zach McCraw of Night Wound fame, Matt Maceda, and Zach Fleming. Writing by DJ Rick (Art for Spastics), Eric Hesson (maan), Matt Maceda, and Jon Isaac plus reviews of the past years releases, by Z-Gun, Animal Psi, Britt Brown of Cassette Gods & more. Plus then it's like, flip to the back bro and pop in the disk (remember when 'disc' was spelled with a k? what changed that?). Anyway, full-color art for some of it, black ink-colored paper for the rest of it. In a 'dvd' case with birthday stencils and invisible cake. Hand numbered out of 150. Eat up!
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DNT038 - Nomen Dubium "The Bering Sea" cassette
Nomen Dubium (aka Zachary Fleming) and I have been sharing music for quite some time now. And although I've always enjoyed his music, it's never quite fit in to the DNT-framework, but I've always been waiting for something that did. So when he sent me this song, I was excited and eagerly awaiting more. Well, now this tape is complete and ready for the world! He did the artwork too! (what you see right now might be the temporary image though..problems with the camera). Black cassettes with labels also designed by him. Limited to 50.

"Apparently this is one of Tynan’s friends, and the dude’s first tape. It’s not bad. Reminds me a lot of that Pillars of Heaven CS from several reviews back. Woozy one-man loop-scapes…lots of echo, oscillating tones, loosely new age hazy electronics beauty. Never gets too intense or purposeful, but I guess it’s less wishy-washy than some stuff in this genre."- Cassette Gods (http://cassettegods.blogspot.com/)
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DNT037 - Super Minerals "The Piss" cassette
New cassette by Long Beach's Super Minerals, which is Phil and William from psych band Magic Lanterns. "The Piss" takes a different route than ML using murky drones and faint cries for help. Heavily influenced by old zombie films. Limited to 75 hand numbered copies on piss yellow cassettes with gross hairy label art. Red fishy cover art with yellow splatter.

Ear Condtioned Nightmare Review (too long to post here)

"Disposing of theme, if not the maritime for their subsequent release and first cassette, the pair begin ‘The Piss’ through something of a transition, with fishbone cover art and the rocking docks of “Viral Cycles” suggesting a excursion landed in fetid water. The looping rhythm of the track reveals itself as mechanical in nature on “Sativa Dungeon” – really a greasy oscillation of noise like brute Futurism – but all around this stinking vessel we hear the stagnant sounds of gaseous swamp and thick, howling air. As the oscillation grows older, it inscribes itself into each track as the reels of the cassette turn. The self-referential pairing “They Said It Couldn’t Be Done” and “Done” appear as grafts of live jam, with flutes, bass skronk, and vocal passages sequenced in a motley and gap-toothed procession, as though only player could make one sound at a time. Wishy-washes of processed sound grow louder and with a lazy chimed accompaniment, serve to envelope what remains of the final two tracks, a true head-scratching psychedelia. Side B begins with the tomahawk percussion of “Reuptake”, what could be a current Excepter out-take with shambles of white tribalism and deep beatnik vocals. The guitar squalls of “High Spear Trial” are the first of its kind for this tape – a blistering episode blended nicely into a babbling procession of blistered oscillation - hopefully to be more employed on future releases. As a cassette claiming 14 tracks in 30 minutes, and with little duty to defined boundaries, it’s difficult to label the entries of spacious, whistling feedback of amp adjustment, the jogging séance of our two vocalists, or the bleating wire-tap of over-fed cables without pick-ups; given titles like “Futurelife”, “Slaughter & Loss”, and “Descended Swarm of the Undead”, it is clear the boys intend these brief expressions to remain just that, a folder of sketches. Compared to the (illusory?) more developed tracks of the front end, these and the final, self-titled track seem to trail away in a counter-intuitive move, lacing alone elements of the previous pieces with greater spacing, until nothing but the mechanical churn remains. On piss-colored tapes with labels, spattered cases, insert and color art - hand-numbered to 75." -animal psi
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DNT036 - Moonmilk "Hidden Speech" cassette SOLD OUT
Lia Tsamoglou and Kell Derrig-Hall make up this Australian drone duo. Umm..tape effects and dronescapes. partial field recordings? If I were good at writing descriptions I'd write like 10 pages on how good this tape is..but uh, yeah.. Anyway, crazy swirly intricate black and white cover art design by Zachary Fleming (who also comprises 100% of the project Nomen Dubium) in a DIY shrinkwrapped case with label-maker labels and red cassettes. Hand-numbered and limited to 100 copies. 'Poof!

"Moonmilk is Lia and Kell and they find frequencies they like and let them oscillate in muted stasis for several minutes, then add a high-pitched whine, or an extra layer of radio static, or a stereo-panned air conditioning unit, then fade out. Despite the name, there’s very little lunar or milky about the proceedings here. More of a numb, mechanistic sleepwalking vibe to these recordings, like a field recording of an electronics reply shop in the Valley after midnight…just one or 2 tired individuals slowly dealing with dusty machinery. The B side is twice as loud and ten times more new age (well, the first half is anyway…then the rotating turbines get turned back on), so I prefer it on principle."- Cassette Gods (http://cassettegods.blogspot.com/)
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DNT035 - Mudboy "MuDMuX Volume One" 7"
This is the first installment of a series of 7"'s to be released by various labels. Each record contains a single track on each side by a different band- produced, mixed, orchestrated, destroyed, mutilated and brought back to life by the dark dreams of Mr. mudboy. Side A of this first edition features an unearthed file by the Extreme Animals resurrected as a tribute to "Lil John Carpenter." Percussion by Jeremy Lazy "animal" Magnet Harris. Side B is a devastating whirlpool cliff walk based on a song written and sung by the DarkDarkDark band. Backup fingers by Alec K Redfearn of the Eyesores fame. Cover art is a hand made blue and gold 4 pass silkscreen by R Lyon in collaboration with Kevin Hooyman. Limited to 535.

"Garbled remixes of material recorded by Extreme Animals and Dark Dark Dark, committed by a typically jumpy Providence based polymath. The packaging is a goddamn riot of colours and textures. As to the music, well the A side is the most spunked-out cartoon soundtrack around, and the flip is dolorously recut accordian blues." (September 2008 Issue of Wire Magazine)

"Eccentrics seem to gravitate to the organ. From the straightlaced dudes romping on movie house pipe organs to soul masters like Timmy Thomas to underground heroes like Quintron, the keys off an odd home. Mudboy is the name now burbling about the organ underworld. His album on Not Not Fun is a great mind blitz. Here he embarks on what is to be the beginning of a series of him screwing around with other people's songs. On Mudmux he remixes or adds to or something songs by the Extreme Animals and DarkDarkDark for one eerie ballad of sorts and a tune that resembles an outtake from a soundtrack of odd movie music." -SS (Z-Gun)

"You gotta check this Mudboy sleeve. It's all lovely and hand made and painted with lovely metallic paint and everything. It seems Mudboy have a habit of having records in wicked sleeves. 'MuDmUX' is just kicking in with its intense drums and lovely John Carpenter synth sound that does the business for me as i love John Carpenter. There's clattering moments and then gentle breakdowns with trippy electronics This is way cool and you so need a piece of it." -(norman records)

"Resuscitated remixes by organ grinder Mudboy of Extreme Animals and DarkDarkDark. To say he makes an improvement on either is modest; that he may have found the key within his own keys to make these pieces more meaningful than they’d be on their own is more like it. Doesn’t take too many left turns, but instead focuses on the inherent spookiness of the tracks themselves, and builds on their very present “circus just left town” motif. 535 copies, blue vinyl, impressive silkscreened sleeves. Other labels have committed to releasing future installments of these remixes." -dusted

"The first in an ongoing series of remixes, arrangements and demolitions of other peoples' tracks, MUDMUX was the first I'd heard of Mudboy. As far as I can tell, Mudboy's based out of the lively Providence scene, but this is hardly Lightning Bolt material. Rather, Mudboy plays the organ, whether it be old school Wurlitzer style (he hunkered down to the mos