HELIC.AL

CONDEMNED TO REPEAT

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Artefactos de Dolor - La Niña

La Nina
How does your pain define you?

A foreigner in a foreign land. Unrequited love. Broken homes. Domestic violence. Terminal illness. Death. Distance. Personal injury. Financial ruin. Absence. How does your pain define you?

La Niña is the debut album from Artefactos de Dolor. Recounting collective past and present struggles, La Niña is a cathartic exercise to confront the pain that exists in all of us; the scars that form our faces, bodies, and souls. Each song exposes a facet of pain that manifests inside the outsider; the local; the nomad; the hermit; the dreamer; the thinker; the scorned; the lover.

A.D.D. was formed in 2017 by Mexican artist Alyssa Cecilia Barrera Auvinen, and NYC [by way of Ohio] vets Todd Sines [Interval, .xtrak] and Charles Noel [Interval, Archetyp]. Raised in the contentious Mexican/US border town of Nuevo Laredo, MX and Laredo, TX. Alyssa is the daughter of a father from a criadore de gallos familia, with a long tradition of champion cock-fighters. Alyssa’s debut release as LDY OSC was first launched in 2017 with a single and an EP on The Bunker New York, with two forthcoming releases on Squirrels on Film and Kontra-Musik. She currently resides in Vienna with her husband Johannes Auvinen (TIN MAN), where she works on music production and vintage synthesizer repairs. Alyssa leads the trio’s plunge into uncharted cenotes on the second release on HELIC.AL. Since their inception, they have headlined the stages of Synthposium in Moscow, Russia, in addition to select dates in NYC, Tokyo, Los Angeles, San Francisco and Detroit, MI.

Wading through dozens of experiments Sines made whilst beta testing modular synths, the trio honed in on 11 selections to form the basis of La Niña. Conjuring Wixáritari ceremonies, Alyssa screeches, chants, shrills and squawks like an omni-directional exorcism in forward and reverse, replete with indigenous Mayan sounds — such as the pajaro tortuga “Turtle bird” wind instrument found on Ritmo Primal. With Sines on clarinet, bass, guitar, and programming; and Noel on percussion, bass, whispers, and synths; the trio volley their rhythmic, melodic and textural energies to create new spaces for Alyssa’s vocals to suggest, command, and seduce as the fulcrum in between.


La Niña debut on Inverted Audio

A bolder-than-bold combination of talents, Artefactos De Dolor (Spanish for Pain Artifacts) makes for a truly idiosyncratic and outstanding outfit in our age of extensively smoothed-down, virtually rendered aesthetics. Comprised of vocalist Alyssa Barrera (ldy Osc, The Bunker) and multi-talented producers Todd Sines (Peacefrog, Planet E, Residual) and Charles Noel (21/22, Ongaku, Black Nation), the US trio head far off the beaten track and into the wild, eager to explore further the darkest alcoves abuting industrial techno and EBM territories.

Focusing on the rugged nature of electronics and the wealth of potentialities left out unplumbed by the main alley wayfarers, Sines, Noel and Barrera aim to shake the scene free of the normative doxy’s yoke, by establishing a sound entirely emancipated from boring functionality and worn out floor-friendly patterns; their debut LP, ‘La Niña‘, setting particularly high production standards in that regard.

Lifted from the record, due out mid-July on HELIC.AL, our premiere ‘Ritmo Primal‘ is, as its name suggests, a much primitive-sounding affair. Like plunging into the throbbing heart of a pristine Andaean forest, brimming with unknown animal noises and shapeless incantatory whispers from the depths of time, it’s a mystic journey into the most lively of canopies we’re invited to, as AdD provide the downtempo acid meets Mexican folk soundtrack to mescalin-altered divagations a la Carlos Castaneda. End to end mind-bending stuff, you’ve been warned.

— Baptiste Girou
Inverted Audio

HELIC.AL001
INTERVAL | Transmit

Transmit
North American techno and minimal veterans indulge their mutual thing for dank post-punk and EBM-flirting styles.

“In 1986, something changed. Experimental music crept into the mainstream via cable programming and opened up a new world to unsuspecting youth craving for more. The seed for INTERVAL was planted in the 13-year-old mind of Todd Sines. From early bands ranging from punk, industrial, noise and techno, it wasn’t until 1991, where he met his musical better half, Charles Noel aka Archetyp in the formation of Body Release, with Titonton and Michael Szewczyk aka Textbeak when they really got the ball rolling.

25 years on, with countless releases for Peacefrog, Ghostly, Planet E, 7th City, Ongaku, Raw Fusion and Circus Co., their burning desire to leave a dent in the realm of post-punk, industrial, EBM and noise has resulted in INTERVAL’s transmit, their debut on HELIC.AL, featuring their close friend Andries Boekelman on bass. Tracked and mixed using Sines’s collection of vintage analog consoles, tape machines and effects units, it’s a departure from the increasingly sterile digital environment most have come to cherish. Instead, they’ve dumped laptops and pitch-correction for analogue time modulators designed for Stevie Wonder, and delays & reverbs dreamt up by Factory Records’ Martin Hannett. Self-described as “post-punk experimental shoegaze goth beat-driven mechanical dirges of love and lust”, INTERVAL is what happens when you take experienced electronic music producers who wear their broken hearts on their sleeves and get them back to their formative roots.

Listen

Artefactos de Dolor | La Niña previews
LDY OSC: New Brvtalism 191
NTS.LIVE: Todd Sines
Interval | Transmit at Inverted Audio

Press

Recent press

CONDEMNED TO REPEAT

A repository for ideas led + shaped by Charles Noel and Todd Sines.
Output from Artefactos De Dolor, INTERVAL, Mothersky, SSPS, Gramma, I/TMSZ & more.

In 1986, something changed. Experimental music crept into the mainstream via cable programming and opened up a new world to unsuspecting youth craving for more. The seed for INTERVAL was planted in the 13-year-old mind of Todd Sines. From early bands ranging from punk, industrial, noise and techno, it wasn’t until 1991, where he met his musical better half, Charles Noel in the formation of Body Release with Titonton Duvanté and Michael Szewczyk when they really got the ball rolling.

25 years on, with countless releases for Peacefrog, Ghostly, Planet E, 7th City, Ongaku, Raw Fusion and Circus Co., their burning desire to leave a dent in the realm of post-punk, industrial, EBM and noise has resulted in INTERVAL’s transmit, their debut on HELIC.AL, featuring their close friend Andries Boekelman on bass. Tracked and mixed using Sines’s collection of vintage analog consoles, tape machines and effects units, it’s a departure from the increasingly sterile digital environment most have come to cherish. Instead, they’ve dumped laptops and pitch-correction for analogue time modulators designed for Stevie Wonder, and delays & reverbs dreamt up by Factory Records’ Martin Hannett. Self-described as “post-punk experimental shoegaze goth beat-driven mechanical dirges of love and lust”, INTERVAL is what happens when you take experienced electronic music producers who wear their broken hearts on their sleeves and get them back to their formative roots.

HELIC.AL, the new label from Sines + Noel, functions as an constrained exercise to break from restrictions. Instead of the obvious new electronic dance music label that would be expected of these seasoned producers, HELIC.AL turns history on its ear, resulting in collaborations new and old. Future releases include works with Alyssa Barrera as Artefactos de Delor, Crash Course in Science’s Michael Zodorozny as I/TMSZ, Möthersky, SSPS & Gramma, in addition to side-projects of side-projects of side-projects.

CONTACT

HELIC.AL releases are available at select stores worldwide.
Distribution by Rush Hour NL, Kudos LTD UK

Please direct all inquiries to

info@helic.al