Recent Reviews

Getting back used to doing the blog is hard to get back in the habit of.  Here are some relatively recent reviews of Chvad SB & Azalia Snail.

North Carolina’s ethereal auteurs Silber Records bring us Structures, a hauntingly charming guitar drone from Chvad SB. The album encompasses two 20+ minute pieces of sculptured sonic hegemony, that swirl, glisten, crackle and shout with stunning effect. The album is minimalist and engaging, with lots of edge to tread and spark to admire. Love this one, and an absolute must have.
~ Floorshime Zipper Boots

The US drone creator Chvad SB released the two track single Structure on the 29th of December.
The two track single (available on bandcamp) runs for roughly three quarter of an hour of immersive soundscape.
The opening track Column sits around an extended note from which half-caught inflections almost imperceptibly surface akin to, invisible to the naked eye, imperfections in glass.
Pillar, my pick of the release, is a blurry flow of frequencies which clear to reveal, again, an extended single note, circled by detuned melodics of guitar.
As is usually the case with drone – be in no hurry having hit play as Pillar lasts the better part of twenty two minutes.
~ Tim Whale, Emerging Indie Bands

There’s no handy one- or two-word modifier to assign to the music of Azalia Snail. A singer, songwriter, and sculptor of sound and notes, she came out of New York in the early 1990s and cut a distinctive figure even by Gotham’s standard of independent-minded visionary rock.
Over the last 25 years, Snail has worked with seemingly contradictory elements. Her music is low-fidelity to the core and, at the same time, deeply ambient. She has perfected a kind of lo-fi total immersion, where each instrument has the tone of something borrowed or found, but in combination the arrangements give a ragged orchestral beauty to her surreal, catchy compositions.
~ Jen Dan, Stereo Embers

It’s been 13 yeas since I last interviewed Azalia Snail and she remains the creative whirlwind she always was. Starting in the late eighties, she moved prolifically through the US underground rock scene of the 1990s (the Queen of Lo-Fi) and collaborated with many of its soon to be stars like Beck, Trumans Water and Sebadoh. She kept up the pace in the 2000s when the music industry went through something of a revolution (when people stopped wanting to pay for music) and has continued right up to today. As she says in the interview below, “I am a lifer.”
She has always written very personal songs and on her new album, Neon Resistance, that is still very much the case. Its lead track, ‘Celeste (Can You Feel It)’ (video below), is huge, an epic Pop song that will ear-worm its way into your life. Let’s hope there really is that parallel universe where Azalia is a star and appreciated for producing songs like this and then lets all go live there! So many of these latest songs really do stay with you, Azalia has managed to capture her personality in them, produced something unique and original to her and they are just plain catchy.
‘Cherry Blossom’ is said to be a ‘calming song about death’ and it really is like a soothing anthem for everyone. The album was produced by Azalia’s husband, Dan West, who plays with her in LoveyDove. He has done an amazing job and given a track like, ‘Made Out Of Honey’, the perfect measure of everything to make it soar and add to the tally of outstanding songs here that will stand the test of time. Another of the highlights is a cover of Tom Petty’s ‘The Wild One, Forever’. This is a song close to Azalia’s heart and she has been singing it since she was a teen. Her version is quite breathtaking and a wonderful tribute.
‘Every Day is your Day” is said to be the anti-birthday song Azalia has always wanted to write. Why can’t every day be your day, she asks. Whimsical and quirky and very and accessible too, another song destined to last much more than a day. There is a more serious side to Azalia’s music as well, which she delivers with just as much passion, ‘Save this Place’ and ‘Weekend Back’ are described as ‘politically charged mantras that speak about the necessity of revolution and resistance.’ We live in a time when these issues need to be addressed as well.
‘The Moral Chemist’ is brilliant with lovely Latin rhythms and there is even a tribute to Alan Vega of Suicide. The closer is perfect too, ‘I am the Night Sky’, is said to be a song of protection and reflection and it sends us off to our own dreams and realities much the better for spending even this short time in the company of Azalia Snail. The theme of the album is stated as, ‘staying true to yourself, your vision, and the ones to whom you surround yourself. The resistance, after all, is irresistible.’ I couldn’t have summed the sentiments of all these songs better than that. If you love great uplifting and honest songs, then you will fall in love with this album.
~ Stephen Rennicks, Abstract Analogue

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Original Soundtrack – The God Inside My Ear

If you’ve been following Silber for a while, you know that I did some comics with Joe Badon a few years ago (Built & Bottle Comics: Salvation as well as writing a story for an anthology he put together) & a while ago he was doing a comic kickstarter for his Terra Kaiju comic & I helped put together a soundtrack compilation to promote the comic.  Recently Joe made a movie & he asked me to try to do some stuff for him & it was a lot of fun.  It’s been probably five years since I was actively pursuing soundtrack gigs & close to ten since I really worked on one.  It’s great to have people you work with moving up & doing exciting things & dragging you along with them.  For years I’ve felt like I’ve been trying to be the one dragging people up, so it’s great to feel like someone else is tugging me up when things are a bit down.  So anyway, The God Inside My Ear is on the festival circuit at this point, but hopefully we’ll all be able to see it in the near future.  Meanwhile here’s the soundtrack including at least one piece by me (maybe more, I did three & can’t remember how many he used).

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mixing & mixing & mixing

So I’ve spent the past few days working on a mix for a potential compilation appearance.  It’s not my normal style.  It’s something I wrote & recorded in five minutes on my niece’s piano ten years ago, but found the recording last month & cut up & rebuilt the piece, not exactly knowing what I was going for (I mean it’s clearly closer to Harold Budd in style than Small Life Form, even though that’s the moniker I slapped on it).  I thought I was done with it & sent it off to the compiler.  I asked Brian McKenzie/Electric Bird Noise if he was doing something for the same comp & he said he was & I sent him my piece to hear  & he had some suggestions for making the mix better.  So I made a new mix, then more suggestions & another mix & another mix & he did one for me as well.  It’s great to have someone to bounce your ideas on, but this is one of the problems I have with working on music on my computer.  In the 1990s I would have my 4 track & mix stuff down in real time onto my mini-disc recorder, sometimes playing extra parts live during the mix down. So what I had was the end.  There were glitches all over the place – timing issues, pops, crackles, breath in the mic,  a high noise floor – but it all kinda worked for me.  I think the Remora release Amerse from that era is my most popular album, even if not my best work.  These days even starting to record for me is a laborious process & it all feels more like work than it did twenty years ago & maybe that comes out in the music.  But I’m hoping that’s going to change.  Since having the drone cub, my time to dedicate to Silber & my own music/art has really declined, so maybe when I do figure out a way to get some time to get things done, there will be an immediacy & excitement again.  Last week I played a show where two bands covered “My Brother’s Guns & Knives” & I wrote that song as a 30 second long demo that Brian McKenzie said when listening to my current batch of demos should become a fuller song.  I really want to force myself back into that.  Playing with new ideas on a regular basis, that’s the fun part of music & even I admit that if you aren’t having fun with music anymore, it’s time to let it go because the 1990s aren’t coming back….

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2 Responses to mixing & mixing & mixing

  1. Lullabier says:

    The recording process has become often boring and laborious. I really enjoyed working on my latest Firetail EP, which has been recorded all in one single take. That kind of immediacy is really needed sometimes.

  2. Philip Palmer says:

    I much preferred the do it yourself 4 track cassette days to the do it yourself digital days we live in, but yeah, drive in theaters, milk delivered to your house, typewriters, and the Gaitlin gun.

Blogging & Data Mining & a Day

So I guess the decline with Facebook is really happening.  I’m not sad about it because I’ve never really connected to the platform like I did with MySpace.  It’s interesting to me that it’s happening without people having a clear space they are going to as a replacement & in a way it makes me hopeful to rebuilding some of the connections that have been lost for ten years both for me personally & for the world as a whole.  The blog here had pretty much died off in favor of the micro-blogging that is what FB/Twitter are all about, so I’m going to see if I can bring it back as something that feels like an interesting outlet to me & maybe some folks will start reading it again.  So here we are, with some of my inane stuff that may in someway be interesting to you starting with my two stories vaguely relating to Facebook.

So last week my ten year old cell phone went into a boot loop & I had to put it to factory settings to get it to work again.  I got pretty much all of my contacts loaded back in the phone fine & I’m pretty sure I didn’t even lose any of the demos I record on it since those are on the SD card (though I haven’t checked yet), but it’s so old now that it seems like I might not be able to install the few apps I did have & use on it because the current versions of the apps don’t work with it.  The main one that maybe some folks have already noticed is Instagram where I’d post really crap arty farty photos, which is why Instagram had become pretty much the only social media I used for anything other than broadcasting my own stuff.  On Instagram I didn’t have to read about national politics or the personal politics of people calling each other names for whatever reason.  I just got to see photos my friends took of their art or of their cats or of a show they went to & I could do it while waiting for the drone cub to get out of pre-school or in line at the grocery store, so it really fit my time schedule.  I also lost Spotify & Shazam.  So I’m debating getting a new to me phone, maybe even a semi-legit smart phone, but I’m also kinda fine with only having the ability to only use it as a phone & text device, especially if it in some way makes me more productive.  We’ll see how I go with it.

So I guess part of the thing with people leaving Facebook is they’re upset that Facebook is free because of ad revenue & data mining & the way it works.  I’ve never had a problem with it, though I have thought for the past 8 years that Facebook should offer an ad free option for $9.99 a month or something.  I also feel like it’s worth telling my personal experience with data mining on my favorite social network of the past, MySpace.  So back in 2007 I was using MySpace to find new folks who I thought would like Silber.  It was hard & tedious work & eventually I got a software robot to help do it.  Each time a new release came out I’d collect fan lists for seven “recommended if you like” bands & then I’d run those lists in Excel to tell me who liked at least four of those seven bands & I’d send them a personal message saying I saw they liked these bands & thought they mike like the new release on Silber.  A typical campaign would have 1000 people contacted & I’d get a band 200 new fans, Silber 50 new fans, one person calling me a spammer, & five thank you messages.  It really built the audience to a new level & it felt exciting, like things were naturally growing.  I suppose when the MySpace exodus happened in 2008/2009 I thought about doing the same thing on Facebook/Twitter, but it felt like I’d wasted so much time & energy on it at MySpace that I just didn’t want to do it again, not to mention that neither Facebook or Twitter are art/music friendly in the way MySpace was.  I spent some money on Facebook ads doing the same type of fan targeting & it seemed like it didn’t build any interest or communication in the way MySpace naturally did & I was pretty much done with thinking of Facebook or Twitter or social media in general as useful rather than necessary.  Meanwhile because of the volume of people interested in Silber because of MySpace the blog (originally started to hold me accountable for doing some work every single day) was getting a ton of traffic (a few thousand readers a day) so things still felt exciting, but as the shift happened from people using the internet in general to just using Facebook the readership dropped away & so I eventually quit the blog, but here I am trying to start it back up as the way people can keep up with me & Silber.

So today in the actual music news department, I sent a track in for Levi Fuller’s next Ball of Wax compilation.  It’s a Small Life Form track called “Old Sounds for a Young Piano”  & I recorded it back in 2005 or something on my niece’s piano, but cut it up to fix the timing issues & all that just a couple weeks ago.  I sometimes think one of my mistakes as a musician was not buying a $50 piano when I was 20, but I can’t imagine where I would’ve put the thing at pretty much any point in life.  In other Small Life Form news I got the recordings of the Small Life Form show from last week & while they are fine, I’m not happy enough with my personal vocal performance on it to release it; though it does make me want to bother to record some stuff in the style of the recent sets (droning reed organs & chantish vocals).  In still other Small Life Form news I have a two hour long collection of pieces that I’ve sent to a few folks to check out to see if it’s ready for release in the near future.

Today in the “life is hard” department, I did my taxes & I owe kind of a lot of money ($6000!  WTF!) because I do a thing where my pre-paid taxes each year are based on the taxes from the previous year (both my wife & I are independent contractors in our day jobs, so no taxes are withheld) & I forgot that last year’s taxes were totally thrown out of wack because the flood was a $10,000 right off & thankfully that hasn’t happened again.  In the grand scheme of things, I feel like the amount I pay in taxes is totally reasonable for the general feeling of safety & security living in the United States provides, it’s just scary when you see it in a giant lump.

More later.  Maybe tomorrow.

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Silber Newsletter March 23, 2018


I hope all is well.  It’s been a rough few weeks here at Silber.  I think I might have done legitimate damage to my shoulder doing a tiling job back in January, which I assume to be some kind of bone spur scenario based on the type of pain it is; but I keep re-aggravating it because I can’t not use my shoulder & have a two year old drone cub, so even though it’s been the six weeks it should take to heal, seems like it might be a bit longer.  Makes working on anything that requires concentration hard, in addition my data entry job has had some crazy issues that have basically doubled my workload (good for the wallet, bad for quality of life & getting Silber-ing done).  But life is still good, this week my wife stumbled on a picture of our cat (& Silber spokesmodel Gideon) on an animal shelter site (he’s been missing since July & we’d given up months ago).  We got him back in the house & his personality seems to have been altered during his extended spirit quest, so trying to get him back in a good place in the household.  Anyway, still a lot of good stuff going on.

There’s a new album from former lo-fi pop queen Azalia Snail (why former?  because there’s nothing lo-fi about the new high fidelity album!).  We’ve worked with her a couple times in the past & are psyched that she wanted to work with us again & while I know it’s not an exact match for those of you who think of Silber as a heavy drone label, I hope you can give this indie pop gem a chance & can help spread the word.  More info on it below.  There are physical CDs available shipped straight from Azalia herself, but I set the links up so you can just order them on the Silber website.

You may remember that last year Electric Bird Noise did a video for Phil Fox’s play “The Moon Flower”.  There’s a video of the play up now on YouTube –

Coming soon is the return of the 5in5 series & a couple of compilations about silence & symphonic music & some new stuff from slicnaton & PD Wilder & Goddakk & Philip Polk Palmer & Small Life Form.  It’s always busy around here & that’s a good thing.

More news soon.  Thanks for the interest & support & spread the word if you can.

Brian John Mitchell


Azalia SnailNeon Resistance
CD Album 2018 | Silber 262
12 tracks, 39 minutes
Download on Silber –
Listen on Bandcamp

“She has always written very personal songs and on her new album, Neon Resistance, that is still very much the case. Its lead track, ‘Celeste (Can You Feel It)’, is huge, an epic pop song that will ear-worm its way into your life. Let’s hope there really is that parallel universe where Azalia is a star & appreciated for producing songs like this & then lets all go live there!”
~ Stephen Rennicks, Ambient Analogue

Azalia Snail has been making her uniquely sweet, hypnotic, noise-inflected brand of pop music since the days before Nirvana broke. Her entire catalog has a spirit of timelessness where you could believe the music was rare gems from the late 1960s as well as from the 1990s when she first appeared on the scene or today. Upbeat, triumphant, & joyous – this is the true sound of resistance & it’s irresistable.

: Press Release
: Reviews
: Listen to the track Celeste (Can You Feel It?)
: Watch video for Field Rep


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Work Is A Thing I Try To Do

So I’ve been moving slow lately.  It’s been hard to get moving on doing things because lately I feel alone & isolated & that all the work at Silber is a drudgery that no one cares about.  In an effort to break out of this space, I’ve been making an effort to spend less time on Facebook the past couple weeks & it’s helped.  It seems like it’s gotten so full of negativity the past couple of years, just seeing friends yelling & mainly about things I could care less about & they don’t even actually care about either if they were honest with themselves.  It’s been good for me & I imagine generally unnoticed as far as anyone else goes.  The lack of negativity has gotten me in a space where I’m able to get more Silber work done while still spending time with my family even though I just got my work week increased by ten hours at one of my jobs.  In the past two days I got the panel layouts to two artists for some mini-comics (Pow Wow & Seabase17), solicited for contributors to a comic experiment written by my two year old daughter (it should be good & fun, tentative title is: “There was an Accident… And Now There’s A Monster”), did a first pass at mastering PD Wilder’s new album, & did the layout for the digital booklet for the new Azalia Snail.  & somehow instead of feeling completely exhausted, I feel energized & excited about the work again.  Life is hard, but life is good.  Thanks for caring about the work.

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Silber Newsletter February 3, 2018


I hope all is going well.  This past month flew by here at Silber trying to avoid & recover from minor disasters, so while we don’t have any new material this time out, we have lots of news for you.

First off we have two sales for those of you who do downloads.  In 2017 we ended up putting out 11 albums, 11 EPs, 2 singles, & 2 compilations, & you can get all 26 as a bundle for half price ($32) over here –  In addition, as some of you may have noticed we’ve been sneaking up a lot of the back catalog onto Bandcamp the past few months & with 125 releases up there, we’re right around halfway done & for a limited time you can get them all as a bundle for 75% off ($93.03) & while I’m not savvy enough to give a direct link for getting the whole thing, you can get it on this page for a Vlor re-issue that’s a free download –

We have a lot of stuff that should be coming out fairly soon.  A new album from lofi queen Azalia Snail due out in about a month (check out the video for the single “Field Rep” here – ).  5in5 EPs from Petridisch (old friend, new to the label, maybe call it electropop) & Rowland Yeargan (new friend, new to the label, aggressive ambient).  A new album from PD Wilder of Hotel Hotel.  The final album from Goddakk (at least that’s the word on the street).  Two collections of old songs from Philip Polk Palmer (followed by a collection of new ones).  An album from Small Life Form (collecting pieces I have no memory of recording in 2012 (for personal reasons)).  Possibly a new album from If Thousands (in the mixing process).  & I really think the two compilations I’ve been trying to put out for 2.5 years are going to be done soon as well.  Plus more I’m not sure enough of to mention.

I actually do have some news on the comic front this time out.  I’ve been talking to some of my collaborators & I’m hoping for the end of April to have at least one new issue of each of the following in our standard format: Pow Wow, Seabase17, Star, XO, & Lost Kisses.  I bought a new printer &, to be honest, not having a good printer was keeping me from being motivated to get new comics finished.  It’s also looking like things will be started on a second issue of Faun, a large scale Genius Junkie, & a series of short comic stories titled Small Town Tales.

Thanks for your support & interest.

Brian John Mitchell

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Today in the Life

So as some of you may have noticed, I don’t post about the minutia of running Silber like I used to. In part because it has become less interesting to me & I feel in general that makes writing about it less interesting to the reader. Another main reason is the amount of negativity that seems to be surrounding pretty much everything lately & I don’t feel a need to add to the feeling of division & seclusion that marks so much of life these days. But over the past little while some stuff has been happening that I feel a need to mention. So back in November I released Baptizer’s Holy War Renewal, which is a throwback record to 1990s industrial & power electronics complete with deliberately controversial song titles & samples as you may remember from the era. During the promotion process in early December I posted about it on a local noise group & there was a comment from someone saying that Baptizer was white power noise that had no place in the community or on Silber in addition to three likes on the post. So I deleted the post. Then the guy sent me a message saying it was a hateful record as was obvious from the cover & I had a moral duty to not have it available. I sent what I thought was a pretty elegant note explaining why I didn’t believe that to be true & received no response. In the mean time I asked around to some people trying to figure out why an image of crosses 600 years old would be so vehemently met & found out it had been used by some alt-right folks recently, which I had no idea of & Jim had no idea of. Then a couple weeks later I got an email from an artist formerly associated with the label asking “is this a straight up white power record?” I said, “no” & asked if he’d listened to the record & he said “no, but I can’t see any hope for it to be anything but blatantly racist.” I gave him a list of things I thought seemed reasonable refutations to the accusation of Baptizer as a racist (working in prison to help folks get GEDs, working with minority population in ESL programs, etc.) & was told “you know as well as I do that those things don’t prove anything” shortly followed by “either Baptizer’s catalog should be removed from the label or mine.” I don’t personally like bullies or censorship, so I said if that’s what he wanted I’d take down his material. A couple of weeks passed & he wrote me that he wanted his catalog taken down, I did it that day & had the digital aggregator pull down his Silber material from Spotify, etc. last week. I told him the material was taken down & his response was he was glad I respected his wishes because hateful music has repercussions, which I thought was just speaking about karma & the big picture of life. Then yesterday he posted six posts to Twitter about “Silber/Brian” being racist & xenophobic which got a lot more traction than his average posts on Twitter do & I suppose boosted his gamification for today when he posted that he had a new release available on Bandcamp (just a coincidence I suppose?). Whatever, free speech is still a thing (even if it is only done to be personally malicious to me & my business & the community I have been trying to build with Silber for almost 25 years) & I get an attempt to gain some footing on an imaginary moral high ground to boost one’s ego. I get that there’s nothing to be done to prove against racism & that trying to would just encourage the negative behavior on his part (remember 10 years ago when it was all the rage to call me a misogynist because I did a comic with Dave Sim?). I debated whether I should mention it at all, but everyone I’ve talked to has said I should put some kind of damage control in place, so here we are. I’m glad to not be associated with a cyberbully & I’m sorry to say I was for this long & was unaware of it & I apologize for that. I was told that I should mention Baptizer’s record has performed better than those of the former artist & that I don’t believe in censoring artists on the label & that in the end no one talks about Rozz Williams, Patty Smith, or Ian MacKaye being racist though they certainly could make a case for that in the current era. Brian McKenzie of Electric Bird Noise says I should call the guy given the history & friendship we had, but I kinda feel like if the guy had any good intentions with where he was coming from & what he was doing that he would’ve called me in the first place. I tried to get in touch with some other folks that had been close to the guy & it seems a lot of people have severed ties with him in the past few years for various reasons & it just makes sense for me to bail out as well because I can’t imagine a situation where I’d feel like I could trust the guy to not try to be hurtful to me & my work again. All that said, I hope for the best for him even though I also hope to never know what the rest of his journey is & I ended up wasting the day doing my best to erase evidence of him from my digital footprint.

In other news to put things in perspective about what Silber actually is & is about, an artist called me today to tell me that he had fallen back into alcoholism & his girlfriend kicked him out & took away his keys & he couldn’t afford to go to rehab & he thought it might be in the world’s best interest if he fell asleep in a snowbank & didn’t wake up. I told him if he could make it here, he could stay here (which isn’t a great offer from 1000 miles away) & if not he should go on Priceline & find a hotel with a heated pool at an affordable rate & call me tomorrow to let me know what’s up.

So yeah, that’s my day on top of my day job & trying to be a good dad.

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Silber Newsletter | New Guitar Drones from Chvad SB


I hope you are well, while 2017 is almost out the door, we have a release just out from Chvad SB.  This time out Chvad is doing guitar drones in the style that’s been associated with Silber from the very beginning, more info & places to stream or download listed below.

While we are always trying to get more out, we are pleased to say in the end we had 26 music releases this year (including 9 in our Christmas series), three mini-comics, & one issue of QRD.  I have every hope that next year will be even more productive & with enough interviews for an issue of QRD, a half dozen records almost ready to go, & more than a dozen comic scripts waiting to be typed up out of my notebooks — it already seems promising.

If you missed any of the music we put out in 2017, you can listen to it all on Spotify here – or of course you can peruse the back catalog here –

Thanks for all your interest & support & helping us to not only exist, but thrive in this era where so many labels are having difficulties.  It really means a lot to both me & all the artists in the roster.

Brian John Mitchell


Chvad SB - Structure Chvad SB - Structure
MP3 Album 2017 | Silber 257
2 tracks, 44 minutes
$5 download
Listen on Silber | Listen on Bandcamp | Listen on Spotify

Chvad SB’s sonic experiments focus on new sounds & textures, but always with a human edge. On Structure we have densely droning stings & slide guitar for tow slabs of drone caught in an endless moment.

: Listen to the track Column
: Press Release
: Reviews

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Silber Christmas 2017

Hey Starz,

I hope all is well.  Still recovering in life here.  I replaced a big chunk of the kitchen floor due to busted water pipe & of course now new weak spots are developing around the rest of the kitchen floor.  It’s enough to make you feel like renting is a better deal than home ownership, but rebuilding things like that does kinda make me bond with the home in the same way that sleeping in the car & putting in 200,000 miles on tour with my beloved & deceased Escort made me bond with that car. Meanwhile, still dealing with the pre-school plague.  So still catching up, but we got nine Christmas releases ready now (more info below or go to or on Spotify & new music from Chvad SB, & maybe Space Sweeper & Small Life Form super soon & Azalia Snail in the new year.


2016 Christmas Bundle 2017 Christmas Bundle
Download all 8 EPs & the compilation for just $8 (Half Price!)!

For Christmas 2017 we have 8 EPs from Electric Bird Noise, Yellow6, Small Life Form/Remora/Heavy for the Vintage/Philip Polk Palmer, Nonconnah, Lullabier, Baptizer, Hyperborean Echoes, & Dusty Tears plus the Experimental Christmas double compilation. Get them all for a discounted bundle of joy.

Various Artists - Experimental Christmas Series One Part One
Various Artists - Experimental Christmas Series One Part Two
Various Artists – Experimental Christmas Series One Parts One and Two
MP3 Compilation 2017 | Silber 259
18 tracks, 73 minutes
$5 download
Listen on Bandcamp to Part One
Listen on Bandcamp to Part One

The Experimental Christmas Show is an artistic communal experience created in 2008 by Adrian Wilson as part of his Maya Presents shows & expanding as an annual mini-tour across North Carolina in 2014. It’s primarily a musical event, but has incorporated & is always open to consciousness-expanding short-plays, art shows, stand-up comedy, performance art, etc. The musical expression is usually “noise” or “experimental” in nature, but with strange open ears the event has included banjo players, kora players, accordion players, trumpeters, etc. as well as musicians who have unnamable instruments of their own creation.

: Press Release

Track Listing:
Series One Point One
Knives of Spain – Winter (Ancient Music)
Small Life Form – Old Style #7
deathstar flux – Existentialist Waltz
subterrene – haunted, ghosting
Corneius F Van Stafrin III – Manifest Clairvoyant Ecstasis
The Sound of Square Triangles – Mutation 7.1
Nonconnah – This is Anti-Music
Clang Quartet – Escape from Herod
Series One Point Two
Remora – O Come, O Come, Emmanuel
Spookstina – Winter Underland
Bryce Eiman – Promise & Myth
Tristan Brooks – i can’t predict the ghost of christmas past actions
bLIND iNFANCY – Waking the Living (mixdown 2)
Quilla – Sacred Field
Orphling – My Mother’s Dreams
Adrian Wilson – Trash Can Lid Lullaby
Bret Hart – Xmas on Saturn

Nonconnah - Running to the Red (merry6mas 2017) Nonconnah – Winter EP ’17
MP3 EP 2017 | Silber 255
5 tracks, 22 minutes
$1 download
Listen on Bandcamp | Listen on Spotify

Nonconnah is back with what we hope to be an ongoing annual series of Winter EPs here at Silber. Shoegaze, minimalism, & field recordings echoing through a tunnel in the ice. Can you escape before everything collapses?

: Press Release
: Digital Booklet

Track Listing:
When You Sank Into The Leaf-Strewn Earth
When The Blackbirds Formed An Inverted Cross
When Your Hands Trembled As You Watched The Barren Fields
When The Ceiling Hit The Floor As The Barn Collapsed Around You
You Said “The Snow Is Like Amnesia. I’m Forgetting Everything”

Yellow6 - Running to the Red (merry6mas 2017) Yellow6 – Running to the Red (merry6mas 2017)
MP3 Album 2017 | Silber 254
13 tracks, 77 minutes
$1 download
Listen on Bandcamp | Listen on Spotify

The 19th in the ongoing series of merry6mas releases from Yellow6 composed of material recorded during 2017 that ends the year with no other home than this collection. Nearly 20 years in, do we still need to tell you that Yellow6 is post-angst guitar driven ambient?

: Digital Booklet

Track Listing:
later that evening (running)
6 x VI
we should be building bridges not walls
lo-fi loop junky #2
full moon
The Guildford Loop
looking glass (piano)
summer rain
summer skies
the next day
when is the day
later that evening 2 (running to the red)

Hyperborean Echoes - A Yule Offering Hyperborean Echoes – A Yule Offering
MP3 EP 2017 | Silber 251
3 tracks, 19 minutes
$1 download
Listen on Bandcamp | Listen on Spotify

Mesmerizing aural memories from a land of giants.

Track Listing:
Yule Bells
The Wanderer Brings Gifts

Electric Bird Noise - nam wen eht fo htrib Electric Bird Noise – nam wen eht fo htrib
MP3 EP 2017 | Silber 249
1 tracks, 21 minutes
$1 download
Listen on Bandcamp | Listen on Spotify

Electric Bird Noise returns with a 21 minute journey of loop driven ambient & claustrophobic guitar exploration. Elevator music for art galleries… really creepy art galleries.

Track Listing:
nam wen eht fo htrib

Baptizer - Crisis of the Modern World Baptizer – Crisis of the Modern World
MP3 EP 2017 | Silber 252
2 tracks, 18 minutes
$1 download
Listen on BandcampListen on Spotify

Baptizer explores the unfolding of the present dark age as a prelude to the return of the King. Other than vocals by Baptizer’s six and eight year old sons, the only sound source is a 5u analog synthesizer. Droning tension for the final credits of the end of the world.

Track Listing:
Crisis of the Modern World
Prelude to the Return of the King

Lullabier - 2512 Lullabier – 2512
MP3 EP 2017 | Silber 258
4 tracks, 14 minutes
$1 download
Listen on Bandcamp

A collection of Christmas songs from Lullabier, the covers personally translated by Andrea to make them more his own.

: Digital Booklet

Track Listing:
Natale A Ceneda (feat. Faro)
Natale A Serravalle
White Dizziness (Acoustic)
With A Star (Brian John Mitchell Remix)

Dusty Tears - Dusty Christmas Dusty Tears – Dusty Christmas
MP3 EP 2017 | Silber 253
3 tracks, 10 minutes
$1 download
Listen on Bandcamp | Listen on Spotify

Dusty Tears is Jamie Smith (Danghead) & Shane de Leon (Miss Massive Snowflake). They formed in 2016 after Smith’s daughter stated that her freshly dyed hair smelled like “dusty tears”, though the two first played together in Billings, Montana in 1987. For Dusty Tears return to Silber with Dusty Christmas, Smith & de Leon record content looping Morricone soundscapes alongside Dinosaur Jr. guitar burnings. A mix of vocal, instrumental, electronic & acoustic instrumentation, strong melodic wanderings, & inspired lyrics. It’s Christmas, wipe those tears away & put your sweater on.

Track Listing:
Fat Wallet
Dream Within a Nightmare
All My Love

Various Artists - Silent Nights Various Artists – Silent Nights
MP3 EP 2017 | Silber 256
4 tracks, 14 minutes
$1 download
Listen on Bandcamp
| Listen on Spotify

Four versions of the Christmas classic “Silent Night” – electroclash, ambient, & cacophonic mashups from Heavy for the Vintage, Philip Polk Palmer, Remora, & Small Life Form.

Track Listing:
Silent Night (Heavy for the Vinage)
Silent Night (Philip Polk Palmer)
Silent Night (Remora)
Silent Night (Small Life Form)

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